Pianta di pomodoro.

Traduz.di Sergio Cotta. Torino, Einaudi Ed. 1955, cm.10,5x17, pp.300, brossura Coll.Piccola Biblioteca Scientifico Letteraria,42.

London - Edinburgh T.C. and E.C.Jack 1911, cm.20,5x29, pp.XXVI,331,(1), 27 tavv. a col. applicate, leg.ed.in tutta tela rossa, titoli e fregi in oro al dorso. (usuali segni d'uso alla leg.; copia mancante di 3 delle XXX tavv. applicate.)

Litografia a cinque colori. Livorno, Graphis Arte 1976, su foglio di cm.70x50, Edizione in 100+XXV. Esemplari nostro IV/XXV. Firmato a matita dall'autore. Timbro a secco Graphis Arte. Su carta Magnani di Pescia.

Art Inst of Chicago 2025 cm.23x29, pp.111, legatura editoriale in tutta tela. An acrobat, carpenter, railroad repairman, and two-time naval war veteran, sculptor H. C. Westermann (1922–1981) rose to prominence in Chicago in the 1950s with new forms inspired by his personal experiences. This overdue reassessment of an understudied artist includes stunning new photographs of Westermann’s intricate and exceptionally crafted sculptures throughout his career. New essays by Giampaolo Bianconi and Thea Liberty Nichols explore his nonconformist attitudes about masculinity and his intense response to the horrors of war—a recurring theme in Westermann’s sculpture following his return from service in the Korean War—as well as his experiments with wordplay, connection to conceptualism, and astonishing contributions to American art. An interview with artist Ed Ruscha, who knew and admired Westermann and his attention to craft, gives context to Westermann’s complex role as an unpretentious father figure to American conceptual and pop artists.