Castelli Reggiani.

Present.di Leonardo Rombai. Poggibonsi, Centro di Studi Chiantigiani 1994, cm.17x24, pp.147, con una carta più volte pieg.in allegato, brossura cop.fig. Coll.Centro di Studi Chiantigiani, Clante.

Fotografie di Gian Luigi Scarfiotti, Note storico-geografiche del Centro Studi Storici Chiantigiani. Firenze, Consorzio del Marchio Storico 1993, cm.24,5x21, pp.319, oltre 300 ill.a col.nt.raffiguranti etichette dei vini delle fattorie del Chianti. brossura cop.fig.

Compania Litografica Nacional 1988, cm.23,5x32, pp.176 ill.a colori. legatura editoriale cartonata con sopraccoperta figurata a colori.

Art Inst of Chicago 2025 cm.23x29, pp.111, legatura editoriale in tutta tela. An acrobat, carpenter, railroad repairman, and two-time naval war veteran, sculptor H. C. Westermann (1922–1981) rose to prominence in Chicago in the 1950s with new forms inspired by his personal experiences. This overdue reassessment of an understudied artist includes stunning new photographs of Westermann’s intricate and exceptionally crafted sculptures throughout his career. New essays by Giampaolo Bianconi and Thea Liberty Nichols explore his nonconformist attitudes about masculinity and his intense response to the horrors of war—a recurring theme in Westermann’s sculpture following his return from service in the Korean War—as well as his experiments with wordplay, connection to conceptualism, and astonishing contributions to American art. An interview with artist Ed Ruscha, who knew and admired Westermann and his attention to craft, gives context to Westermann’s complex role as an unpretentious father figure to American conceptual and pop artists.