National Gallery of Art - Washington.

Busto Arsizio, Bramante Edit. 1960, cm.19,5x24,5, pp.321, XXIII tavv.a col.e 84 bn.nt. legatura ed.in tutta tela, sopracop.fig.a col. Collana I Grandi Pittori Italiani dell'Ottocento,3.

Novara, Ist.Geografico De Agostini 1957, cm.26x34, pp.416, 643, centinaia di figg.bn.nt. legatura editoriale titoli in oro al piatto nel testo e al dorso, sopraccoperta figurata a colori.

Presentaz.di Xavier de Salas y Bosch. Milano, Rizzoli per TCI 1976, cm.24x32, pp.116, numerose ill. a col. e molte figg. in minimale in bn.nt., legatura ed.cartonata, sopraccop.fig. a colori. [buon esemplare.] Collana I Grandi Musei.

Presentazione di Dino Buzzati. Milano, Rizzoli 1966, cm.24x32, pp.120, 64 tavole a colori nel testo e catalogodelle opere legatura editoriale cartonata, copertina figurata a colori. Collana Classici dell'Arte,2.

Milano, Skira 2025, cm.16,5x22, pp.172, legatura editoriale cartonata. Inspired by fairy tales, London-based artist Maria Gvardeitseva (born 1982) takes a pronounced political and feminist approach to the story of her separation. She offers artistic tools celebrating “divorce art” that help women to look at the situation with self-love and cope with the trauma and challenges of patriarchy. For centuries, the breakup has been the prerogative of men. Today, about half of all marriages in Europe end in divorce and, significantly, 75 percent of divorce applications are filed by women. Perhaps that last statistic explains why women suffer more emotional hurt and find it harder than their ex-partners to build a new lifestyle and relationships. The cruel logic would be that if the woman marries for love and then decides it was a bad idea, the fault must be hers. So she suffers psychological and social consequences – self-blame, stigma, or both. The project 5-Minute Bedtime Stories resists this logic in a fabulous way. London-based artist Maria Gvardeitseva, divorced after 20 years of marriage, four children, numerous countries, and shared challenges, takes a pronounced political and feminist approach to the story of her separation, which transforms grief, sorrow, and hatred in order to let them go. She offers artistic tools celebrating “divorce art” that help women to look at the situation with self-love, rediscover the socio-political aspects of marriage, and cope with this life trauma and the challenges of patriarchy. She does this in a surprising way – by reference to fairy tales.