Splendore simultaneo del Palio di Siena. Pinacoteca nazionale di Siena.

Sesto Fiorentino, Villa Corsi Salviati,24 ottobre- 22 novembre 1981. A cura di Maria Pia Mannini. Firenze, Electa Ed. 1981, cm.22x24, pp.127, 66 illustrazioni bn.e alcune tavole a colori a piena pagina, brossura con copertina figurata a colori.

Centro di Cultura di Palazzo Grassi,Venezia. Firenze, Sansoni Ed. 1981, cm.21x25, pp.409, 332 illustrazioni bn.e a colori anche a piena pagina, brossura, sopraccoperta figurata a colori.

Firenze, Biblioteca Medica Laurenziana, 4/2-15/04/1984. Prefazione di Giulio Carlo Argan. Firenze, Centro Di Ed. 1984, cm.22x24, pp.214, numerose illustrazioni bn.e a colori nel testo molte a p.pagina, brossura con copertina figurata a colori.

Venezia, Palazzo Grassi, 30/9-22/10/1978. A cura di Marco Semenzato. Venezia, Azienda Automoma di Sogiorno e Turismo di Venezia 1978, cm.20x21, pp.328, illustrazioni bianco e nero e a colori nel testo, brossura con copertina figurata a colori. Collana Mostra Mercato Internazionale dell'Antiquariato.

London, Thames & Hudson 2017, cm.22,5x29, pp.208 illustrato a colori. legatura editoriale cartonata con sopraccoperta figurata a colori. Elephant ivory is a tactile, beautiful, and workable material. It can be made into many different forms and is the strongest material in the animal kingdom. It has been highly prized from the Paleolithic to the present day, and the impact on elephants has been severe?indeed, the Syrian elephant was hunted to extinction. Long ago, during the early first millennium bce?“The Age of Ivory”?literally thousands of carved ivories found their way to the Assyrian capital city of Kalhu, or modern Nimrud, in northern Iraq. The majority were not made there but arrived as gifts, tributes, or booty gathered by the Assyrian kings from the small neighboring states of the ancient Middle Eastern world, with the ivory itself probably sourced from the African elephant. These ivories form a unique and unparalleled record of the art of the Middle East. Ancient Ivory documents these outstanding works and includes a general history of the art of ancient ivory, creating a resource of exquisite detail and exceptional importance, as so many works have been destroyed or lost in the sacking of the Iraq Museum as well as in the ongoing conflict and destruction of cultural heritage in the region.