Looking back to Santa Reparata. A Cathedral within the Cathedral.

Firenze, Bonechi Editore 1970, cm.20,5x28, pp.128, numerose ill.in bn.e a col.nt., legatura ed.cartonata, sopracop.fig.a col.

Traduzione di Anna M.Speckel. Bologna, Gherardo Casini Editore 1967, cm.11,2x18,2, pp.191, tascabile, copertina figurata a colori. Collana I Libri del Sabato,60.

Milano, Sapere Edizioni 1973, cm.13,5x20, pp.158, brossura copertina figurata.

Firenze, Fortezza da Basso 30 marzo- 2 Aprile 1990. Introduzione di Massimo D'ambrosio. Nuova Zincografica Fiorentina 1990, cm.21x29, pp.24, illustrato bn. fascicolo spillato.

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.