Riviste giuridiche italiane 1865-1945.

Traduz.di Enrico Massa. Milano, Garzanti 1971, cm.11x18, pp.361, 23 ill.bn.in tavv.ft.e 37 ill.in bn.nt., tascabile, cop.ill.a colori. Collana I Garzanti,301.

Preface by Leigh B.Block and John Maxon. Introduction and catalogue by Harold Joachim. Chicago, The Art Institute of Chicago 1974, cm.23x25,5, pp.166,(2), 82 tavv.nt. di cui 12 a col., brossura, cop.fig. a colori.

New York, Museum of Modern Art 2000, cm.23x30, pp.248 illustrato a colori. brossura con copertina figurata a colori.

Princeton University Press 2025, cm.24x28, pp.272, illustrato a colori. legatura editoriale cartonata con sopraccoperta figurata a colori. A major reexamination of the life, art, and legacy of a self-taught American master Grandma Moses: A Good Day’s Work repositions Anna Mary Robertson “Grandma” Moses (1860–1961) as a multidimensional force in American art, whose beloved recollections of rural life earned her a distinctive place in the cultural imagination of the postwar era. Moses was eighty years old when Otto Kallir, a New York art dealer and recent émigré from Nazi-held Austria, introduced her to the world. “Grandma Moses,” as the press dubbed her, quickly became a polarizing figure, beloved by the public yet dismissed by the art world for her story-time scenes and lack of formal training. Drawing on Moses’s reflection on her own life as “a good day’s work,” the book charts