Scene di Londra.

Traduzione dall'inglese di G.Celenza. Milano, Garzanti Ed. 1965, cm.13x19,5, pp.230, legatura editoriale cartonata sopraccoperta. Coll.R20°.

Traduz.di Giulio De Angelis. Milano, Garzanti Ed. 1982, cm.11x17,7, pp.XXIII,368, tascabile,cop.fig.a col. Coll.I Grandi Libri.

Introduzione di Giuseppe Gadda Conti. Traduzione di Oriana Previtali. Milano, Rizzoli Ed. 1974, cm.13x20, pp.374, brossura cop.ill.a col. BUR.

Milano, Garzanti Ed. 1986, cm.13x19,5, pp.230, brossura copertina figurata a colori. Coll.I Grandi Libri.

Paris, Edtions France-Empire 1955, cm.14x19, pp.315, alcune ill.bn.ft. brossura sopracop.fig.a col.

Pistoia, Cav.Alberto Pacinotti & C. s.d. (anni '30), cm.17,5x24,5, pp.148, numerose ill.in bn.nt., brossura, cop.ornata. (Cop.distaccata e con un angolo post.restaurato).

Milano, Skira 2022, cm.23x28, pp.120 ill.colori. legatura editoriale copertina figurata a colori. The artist fashions these realms by drawing upon her expansive knowledge of picture-making traditions ranging from the Renaissance to the Rococo. In charting the ever-expanding dimensions of this female-dominated universe, Critchlow casually disarms the distinctions that inform concepts of high and low culture by uncovering the ways in which class and racial difference are routinely conflated. The voluptuous, self-possessed women who explore Critchlow’s fantasy landscapes and pensively occupy domestic interiors or otherwise blank pages owe as much to the aesthetics of Love and Hip Hop as they do to Peter Paul Rubens, and thus prompt the viewer to consider the disparate ways in which we esteem these forms of culture—and the women they feature.

London, Oxford University Press 1957, cm.16x25, pp.1492, legatura editoriale in tutta tela. Testo in inglese. Prima edizione.