Il padre di un assassino.

Traduzione di Italo Alighiero Chiusano. Copertinai serigrafia di Balilla Magistri. Milano, Ediz.Il Saggiatore 1960, cm.12x18, pp.54, legatura editoriale copertina figurata a colori. Collana Le Silerchie,31.

Traduz.di E.Pocar. Verona, Arnoldo Mondadori Ed. 1967, cm.11x18,5, pp.276, tascabile, cop.fig.a col. Collana Gli Oscar,93.

Bologna, Il Mulino 1978, cm.13x21, pp.258, brossura Collana Saggi,178.

Huitième édition. Tours, Alfred Mame et Fils 1869, cm.13,5x22, pp.375,(1), doppio frontesp. di cui il primo inciso, 3 tavv. ft. di cui una all'antiporta protette da velina, rilegatura coeva in percallina rossa, dorso a 4 falsi nervi con cassoncini in oro decorati all'interno. Bibliothèque de la Jeunesse Chrétienne, 1re Série en-8°.

Feltre, Famiglia Feltrina 1985, cm.23,5x22,5 formato albo, pp.300, nn. tavole b.n. nel testo. brossura figurata.

Text by Tyler Cann and a conversation between Lesley Vance and Richard Aldrich. Designed by Purtill Family Business. Published on the occasion of Lesley Vance's first solo museum exhibition, always circled whirling, Columbus Museum of Art, April 21 - September 3, 2023. For this exhibition, the Columbus Museum of Art offered up its celebrated collection of American modernist painting as a point of departure for Vance's work. For many years, Vance has found fellow travelers in artists like Charles Demuth, Arthur Dove, Marsden Hartley, and Georgia O’Keeffe. With 27 paintings, a few directly inspired by works in CMA’s collection, Vance reveals the affinities between her work and theirs. The echoes of these familiar modernist works rebound in this exhibition, transformed into something new, unstable, and strangely beguiling. 2023, cm.24x31,5 pp.112, legatura editoriale cartonata, copertina figurata a colori. It is easy to lose yourself in the fluid abstractions of painter Lesley Vance (born 1977). With quick gestures and hard contours, the Los Angeles-based artist creates swirling, interwoven forms that both delight and disorient the eye. Sometimes these spatial conundrums begin with something real in the world: an arrangement of objects, a glazed ceramic surface, or even another painting. Through Vance’s process of addition and erasure, these touchstones become distant but traceable memories, as her paintings emerge as their own indelible things in the world. Presenting Vance’s first solo exhibition in a public institution, the Columbus Museum of Art has offered up its celebrated collection of American modernist painting as a point of departure for her work. For many years, Vance has found fellow travelers in artists like Charles Demuth, Arthur Dove, Marsden Hartley, and Georgia O’Keeffe. With 27 paintings, a few directly inspired by works in CMA’s collection, Vance reveals the affinities between her work and theirs. The echoes of these familiar modernist works rebound in this exhibition, transformed into something new, unstable, and strangely beguiling.