Figure umane.

Prima edizione. Firenze, Vallecchi Ed. 1935, cm.14x20, pp.153, brossura

Firenze, Vallecchi Editore 1932, cm.14,5x21,5, pp.398, brossura Coll.Opere di Giovanni Papini,8.

Ediz.definitiva con aggiunte e correzioni. Firenze, Vallecchi Ed. 1942, cm.13,5x19,5, pp.262, brossura Coll.Opere di G.P.18.

Todi, 1980, cm.16,5x24, pp.36, 8 tavv.bn.nt. brossura cop.fig. Coll.Res Tudertinae.

United States, The Perseus Press 2002, cm.16,5x24,5, pp.XXX,466, num.ill.bn.nt. legatura ed.soprac.fig. The Diligent began her journey in Brittany in 1731, and Harms follows her along the African coast where her goods were traded for slaves, to Martinique where her captives were sold to work on sugar plantations. Harms brings to life a world in which slavery was a commerce carried out without qualms. He shows the gruesome details of daily life aboard a slave ship, as well as French merchants wrangling with their government for the right to traffic in slaves, African kings waging epic wars for control of European slave trading posts, and representatives of European governments negotiating the complicated politics of the Guinea coast to ensure a stead supply of labor for their countries' colonies. The Diligent is filled with rich stories that explain how the slave trade worked on all levels, from geopolitics to the rigging

Paris, Librairie Plon 1928, cm.12x18,5, pp.265, brossura Piccola lacuna al dorso sup. ma buon esempl.

Paris, Rouart Lerolle & Cie 1939-1941, 3 voll.in uno, cm.16,5x27, pp.44; 77; 96, 12 tavv.in bn.ft., rilegatura anni '50 in mz.pelle, piatti in carta francese, titoli e filetti in oro al dorso, segnalibro in stoffa. Copp.origg.conservate. Restauro alla cop.del vol.III. Interni ingialliti per il tipo di carta ma buon esempl.

Une série photographique de Martin Widmer réalisée dans l'exposition de Jonathan Binet. Graphic design: Martin Widmer. Bilingual edition (English / French). CAN 2015, cm.23x33, pp.48, hardcover. col. A series of photographs by Martin Widmer, taken in Jonathan Binet's exhibition at CAN, Neuchâtel. Widmer's over-exposure disrupts the traditional contours of the artwork and questions the notions of authority and subject.