Picasso: Sculpture, Ceramics, Graphic Work.

London, Hayward Gallery, 19 March - 4 May 1975. With an Essay by David Mellor. London, Arts Council of Great Britain 1975, cm.21x27, pp.124, alcune ill. in nero nt. e 80 tavv. fotogr. in nero ft., leg. ed. in tutta tela, titolial piatto ant. e al dorso, sopraccoperta fig. (Timbro di appartenenza al piede del contropiatto posteriore.)

Edited by Sue Henger. New York, Rizzoli International Publications 1990, cm.23,5x31,2, pp.192,(4), numerose ill. e tavv.a col.nt., legatura ed.in tutta tela nera, titoli in bianco al piatto ant. e al dorso, sopraccop.fig.a col. [ottimo esemplare]

Washington, National Gallery of Art, 20 May - 29 July 1990. Catalogue by Nan Rosenthal and Ruth E.Fine. London, Thames and Hudson 1990, cm.25x31,5, pp.344,(2), alcune figg. in bn.e a col.nt. e 117 tavv.a 4 e a un col.ft., legatura ed.in tutta tela, impress.in oro al piatto ant. e titoli in oro al dorso, sopraccop.fig. a colori,

London, Walpole Gallery, 28 June - 28 July/4 - 9 September, 2000. Edited by Ferdinando Peretti. Società Editrice Umberto Allemandi & C. 2000, cm.21x30,5, pp.108, 36 plats in colours in the text. paperback. The thirty-six works in THE SETTECENTO IN VENICE reflects the sparkling Venetian sensibility so influential in the artistic development of Europe. Throughout the 18th century Venice had been losing the solid economic and political power acquired during the glory of the previous centuries. The Settecento was an age of economic decline, but with an incredible artistic fervour supported by the painting tradition from the 15th century onwards. With the support of a tolerant government, and a benevolent cosmopolitanism, Vencie lived the last and most suggestive time of its millennium vicissitude: 'this was the mighty roar of an old lion'."