CATALOGUE 912 Latin Americana

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1. ALBUM DE LA REVOLUCION CUBANA 1952-1959. Textos, J.M. Picart, Mario

Jiménez; dibujos por Capdevila. La Habana: Revista Cinegráfico, (1959). 271 Mounted

illustrations (collectors cards) throughout, Original color illustrated wrappers . (small

bumping at margins corners o/w almost fine, without the normal chipping seen on most

copies and very clean). 23x30cm.

Originally issued as a supplement to the magazine "Cinegrafica" is a strikingly composed

piece of propaganda. This scarce item, in all its comic book art glory, was intended to

introduce children (and the semi-literate) to the revolutionary spirit of Cuba "sin

pretensiones literarias." Children were to assemble the album with the cards found in their

packages of Felices caramels. It was surely a laborious process as the album requires 271

cards to fill the captioned windows. (This example is complete.) The level of violence is

shocking: explosions, mangled wreckage, pools of blood, gunshot wounds and dead bodies

abound. There is even the hint of rape in one scene. The album also portrays the

revolutionary struggle and its participants in a heroic light. The cover depicts battle on air,

land, and sea with Fidel Castro in the foreground and the spirit of Lenin looming in the

clouds. There is a two-page spread of 16 of the top revolutionaries including Castro and

Ernesto "Che" Guevara. Opens with the Coup of March 10, in which Batista overthrew the

Prio regime. Fidel Castro first appears with card 17 and the attack on Cuartel Moncada in

Santiago de Cuba. Considering the fragility of the materials and its intended audience, this

example is in remarkable condition. Only one example appears in American Book Auction

Records.

(108135) $1,800.00

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2. [Arias Bernal, Antonio]. ORIGINAL DRAWINGS (7) BY ANTONIO ARIAS

BERNAL.

Contents:

- Carrasquedo se hunde, 675. (Oaxaca). (protective rice paper with title "Caricatura 7ª

Plana 3 cols."). Three color ink drawing in white cardstock (32 x 25 cm)

- El imán, 625 (protective rice paper with title "Caricatura 7ª Plana 3 cols"). Three color ink

drawing in white cardstock (33.5 x 24.5 cm). México: N.p, c1950-1960. 2 cardstock folios

with ink colored drawings., pencil manuscript annotations and diagrams with a sheet of

protective rice paper tipped in front. sig. (marginal water stains and pencil mrks., overall

clean and strong drawings).

Two splendid original signed drawings by Antonio Arias Bernal probably for newspaper or

magazine production. Antonio Arias Bernal "The Brigadier", (Aguascalientes, 1913 - city of

Mexico, 1960) was one of the most celebrated Mexican cartoonists of the first half of the

20th century. He worked for major magazines, in the newspaper Excelsior. He was a

founding member of the Mexican magazines Mañana & Siempre!. During the rise of fascism,

Arias Bernal performed a myriad of anti-fascist cartons, which earned him the nickname of

"the cartoonist of the Second World War", and acquired great international prestige when

his cartoons were also picked up in Collier’s Magazine, Life, and The New York Times. Sold

as set

(109876) $895.00

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3. [Cantú, Federico]. POSTER SALA DE ARTE DE LA SRIA DE EDUCACIÓN

PÚBLICA. DIRECTOR GABRIEL HERNÁNDEZ LEDESMA. EXPOSICIÓN DEL PINTOR

FEDERICO CANTU DEL 10 AL 25 DE AGOSTO DE 1934. México, D.F: Secretaría de

Educación Pública, SEP; Sala de Arte, 1934. 1 fldg. large folio with duo tone plates. (folding

marks, some chipping in folding marks, some foxing, thin and brittle paper). 32 x 19 cm

(folded); 95 x 68 cm (unfolded).

Poster of exhibition of artist Federico Heraclio Cantú Garza (Monterrey, 1907 – Mexico City

1989) a noted painter, engraver and sculptor, considered to be a member of the Mexican

muralism movement although more academic and traditional. This original advertising

poster was designed for his first exhibition in Mexico. Between 1924 into the mid 1930's he

traveled in Europe and the United States, and was strongly influenced by the works of

Picasso. At this time he lived in the Rue Delambre, in Montparnasse. As a professional artist,

Cantu went on to paint many religious scenes, nudes, harlequins, portraits, and in his later

years, he became a sculptor(109877) $450.00

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4. [Castro, Rudolph]. Martínez, Virgilio. CENTRAL RESTAURANTE: EXPEDICIÓN EN

DESNIVELES: EXPLORACIÓN DE NUEVAS PLANTAS, 6. Concepto y dirección creativa

Rudolph Castro. Lima: Mater Iniciativa, 2016. (60) pages. handmade artist book made with

artisan cotton paper, rice paper pages, color plates, elevations (fldg.), black embossed

wrps., white artisan paper with embossed title. plus one cardboard folio (menu) with stiches

on right margin, loose as issued. Cover Title. 22 cm.

Artisan artist book with illustrations of native flowers by Rudolph Castro made specially for

Lima's celebrated Central restaurant, Chef VIrgilio Martinez cooks with ingredients obtained

at different elevations of the Andean mountains, from -20 Meters to 4,100 Meters. Includes

a tasting menu of 11 courses inspired by various Peruvian ecosystems. Mater Iniciativa is

the biological and cultural research center behind Central Restaurante. "Este libro posee

papeles artesanales elaborados a mano con fibra de algodón con diferentes agregados por

la Papelera Artesanal Don Bosco"--Colophon. CONTENTS: Cuadro físico del Perú. Geografía

de las plantas -- Sargazo – Tumba – Algarroba – Mashwa – Coca – Tarwi – Flor de papa –

Flor de cacao – Achiote. (109873) $100.00

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5. CHOQUE CULTURAL APRESENTA: XIRU GRAVURAS : 28 XILOGRAVURAS DE

ARTISTAS GAÚCHOS. São Paulo: Choque Cultural, 2008. (64) pages. duo tone platres,

Oriental double folded pages, illus. endpapers, boards. LIvro impresso na Gráfica Fidalga em

uma máquina tipográfica NUMA JOAHANNISBERG - 1929 47 cm. ISBN: 9788562126000.

Includes 28 engravings/posters from the southern region of Brazil in 32 folded leaves,

folded and printed on both sides, hand-bound within hard covers, one side bearing the

name of the artist, the other the artwork. Hand printed in a letterpress machine./ "Esse libro

foi organizado por Choque Cultural, Encadernado por Parte Papel"--Colophon. Contents:

Xiru / do Gaudério / Tupi: 'camarada, indio velho, mano' -- True -- Matheus Walter -

- Antonio de Paula -- Marcelo Monteiro -- Renata Polli -- Nina Moraes -- Lidia -- Pedro

Gutierres -- Trampo -- Rochelle Zandavalli -- Geraldo Tavares -- Carla Barth -- Carlos Dias -

- Virginia Simone -- Sylvio Ayala -- Fabio Zimbres -- Mateus Grimm -- Wagner Pinto --

Luciano Scherer -- Talita Hoffmann -- Tinico Rosa -- Vitinina -- Trampo -- Pingarilho -- Lia

Leticia -- Luiza Ritter -- Jotape Pax. EDITION 318/400(109521) $2,800.00

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6. [Dorfsman, Alex]. ALEX DORFSMAN: DECEPTION ISLAND 10 photographs

(archive digital print) 1 photograph enclosed in an acrylic box 20 x20x2.5 cm. México, D.F:

Troconi-Letayf. 10 photographs printed on Torchon 100% algodón de Hahnemühle, 290

gramos, 40 X 32 cms. Together in Box Tamaño: 43 X 34 X 6 cm. With certificate of

authenticity signed by photographer.

EDITION OF 20. What is real and what is not? Can you capture the universe in a puddle?

Dorfsman found in his home in Mexico a magnification lens with built-in focus a different

window to explore, decontextualize and compose reality. Thus, the microscope adapted to

the camera of his cell phone made the interior of the hospital room where his father spent

his last days become a constellation of shapes and textures to explore. Shot after shot, day

after day, the scaffolds of a cartography formed by spreadsheets of islands they could be

protozoa or planets or holes to another dimension. Toothpaste was suddenly transformed

into a blue milky way. And meanwhile, outside the frame circular on a black background, his

own personal world was fraying by leaps and bounds as his father, the first doctor who

scanned brains in Mexico, was going away. In January 2016, thousands of kilometers from

home, a San Diego garden became his new island to find landscapes in the leaves, in a few

grains of salt and pepper, in a zacate. A phone call., his father had stopped to exist.

Deception Island, the one we found in the Atlas, was discovered in 1820. It is in the

archipelago of the Shetland, north of Antarctica and it’s like a huge letter “C". In a word

game between disappointment, as it is translated incorrectly in Spanish, and the deception

that really means in English, Deception Island shows that precisely the imagination is the

antidote against the reigning reverie of a world where almost everything is already built,

closed, highly aestheticized. In the gap between fiction and reality, between representation

and what is represented between the archive and the allegory, this personal map appeals to

the ambiguity to wake up the imagination of the one who looks. Alex Dorfsman (Ciudad de

México, 1977) vive y trabaja en la Ciudad de México. Realizó la licenciatura en Artes

Plásticas en la Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda”, Ciudad de

México. Ha realizado exposiciones individuales y participado en varias exposiciones

colectivas en México y en el extranjero. Es miembro del Sistema Nacional de Creadores del

FONCA. Obtuvo la beca Programa de Fomento a Proyectos y Coinversiones Culturales del

FONCA, 2007-2008. Fue becario del programa Jóvenes Creadores del FONCA, generación

2005-2006. Recibió el Premio de Fotografía Latinoamericana Purificación García, 2011. Ha

realizado las siguientes publicaciones: Amidakuji, Ediciones Acapulco, Ciudad de México,

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2015. 3 pausas rumbo a Nikko, Editorial RM, Ciudad de México/Barcelona, 2014. This

mountain collapsed and became a bridge, Editorial RM, Ciudad de México/ Barcelona 2012.

Plot your progress, Casa Vecina, Ciudad de México 2012. Selección Natural, Editorial RM,

Ciudad de México/Barcelona 2008. It’s almost real, isn’t it? Editorial Diamantina, Ciudad de

México 2006. Fue co editor del libro La Panadería 1994-2002, Ciudad de México, Turner,

2004. Su trabajo forma parte de colecciones públicas y privadas como el MAM (Ciudad de

México), Centro de la Imagen (Ciudad de México), Museo de Arte Carrillo Gil (Ciudad de

México), MARCO (Monterrey), Fundación Televisa, Purificación García (España), Museum of

Photographic Arts, MOPA (San Diego), Art Museum of the Americas (Washington D.C.),

Alumnos 47 (Ciudad de México) (Excerpts translated from text by Sergio Rodríguez Blanco--

full text in Spanish below). En una época donde la utopía global dicta que todos somos

poetas o artistas interconectados democráticamente y que cualquier territorio es susceptible

de ser mapeado en alta resolución, Deception Island se reivindica contra el encantamiento

tecnológico mediante un arma insospechada de imaginación masiva: un pequeño

microscopio imperfecto marca Mi Alegría destinado a ser juguete hasta que cayó en manos

de Alex Dorfsman en la navidad de 2015. En la memoria, Dorfsman ya tenía la huella de

muchas islas recorridas durante los años previos: desde aquel archipiélago de Alaska

transitado por almas etílicas, hasta las cascadas imposibles de Islandia; desde el turismo

masivo de Hawaii, hasta la perfección bucólica de la pequeña Green Island, al sur de

Taiwan. ¿Qué es real y qué no lo es? ¿Se puede plasmar el universo en un charco? Esas

grandes preguntas que siempre suscitan los proyectos artísticos surgidos de sus viajes

insulares se reconfiguran, a escala de joyero o de miniaturista, en las imágenes logradas

con este aparatejo made in Mexico que le permitió vivir la paradoja de viajar sin moverse

demasiado. Como un naturalista del siglo XIX, Dorfsman halló en el lente casero de

aumento con foquito incorporado una ventana distinta para explorar, confiscar,

descontextualizar y componer la realidad. Así, el microscopio adaptado a la cámara de su

teléfono celular hizo que el interior de la habitación de hospital donde su padre pasaba sus

últimos días se convertiera en una constelación de formas y texturas por explorar. Disparo

tras disparo, día tras día, surgían los andamios de una cartografía conformada por planillas

de islas que podrían ser protozoos o planetas o agujeros a otra dimensión. La pasta de

dientes se transformaba, de pronto, en una vía láctea azul. Y mientras tanto, fuera del

encuadre circular sobre fondo negro, su propio mundo personal se iba deshilachando a

pasos agigantados a medida que su padre, el primer médico que escaneó cerebros en

México, se iba apagando. En enero de 2016, a miles de kilómetros de casa, un jardín de San

Diego se convirtió en su nueva isla para encontrar paisajes en las hojas, en unos granos de

sal y de pimienta, en un zacate. Como si estuviera haciendo tomografías del jardín, su mapa

personal registrado con tecnología rudimentaria sumó círculos cristalinos, terrosos y de

venas verdes. Una llamada de teléfono lo sacó de su viaje. La noticia llegó como un tiro de

hielo. Su padre había dejado de existir. Deception Island, la que encontramos en el Atlas,

fue descubierta en 1820. Está en el archipiélago de las Shetland, al norte de la Antártida y

es como una enorme letra “c”. En un juego de palabras entre decepción, como se traduce

incorrectamente en español, y el engaño que realmente significa en inglés, Deception Island

muestra que precisamente la imaginación es el antídoto contra la ensoñación reinante de un

mundo donde casi todo ya está construido, cerrado, altamente estetizado. En el intersticio

entre la ficción y la realidad, entre la representación y lo representado, entre el archivo y la

alegoría, este mapa personal apela a la ambigüedad para despertar la imaginación del que

mira. Movido por cierta melancolía de flâneur contemporáneo, Dorfsman es un recolector de

las huellas que alguien dejó ahí para encontrarlas y admirarlas infinitamente. La huella, dijo

Walter Benjamin, no es otra cosa que la aparición de una cercanía, por lejos que pueda

estar lo que la dejó atrás. No hace falta ir muy lejos para darse cuenta de que los viajes no

son los viajes, como ya escribió Pessoa. En realidad, el viaje es el viajero.(109903)

$5,700.00

9

7. [Ehrenberg, Felipe]. A COLLECTION OF EARLY INDEPENDENT, ALTERNATIVE

PRESS IN MEXICO 1981-1983 BY AND UNDER THE DIRECTION OF FELIPE

EHRENBERG. Jueves cada quien, Felipe Ehrenberg / Llamado, Editorial Llamarada /

Envolveros, Editorial Media Carta / Ojos Nocturos, Editorial la Ventana / Rencuentro por

PFEFFAR, Editorial Llamarada / Acotaciones a la Promocion Cultural, Edit. Llamarada /

Cultura, Cambio y Experiencia, Editorial Llamarrada / Pica Porte, Editorial Media Carta / Tres

inquietudws, Media Barta / Erase Eros, 1/2Carta / Erotic Errotico, Felipe Ehrenberg. 1981-

1983. 11 books illustrations.

The late 1970s and early 1980s saw a return to political art drawing outside the established

art scene in Mexico. New media and techniques developed using stencils, mimeograph,

blueprints, photocopies and rubber stamps as a means of reproduction. Felipe Ehrenberg

was a prime influence in producing and organizing students and artists in producing these

unorthodox publications. His efforts opened the field for more collective initiatives, for

groups like SUMA, Proceso Pentágono, Entre Tierras, La Cocina Ediciones; No Grupo among

others. These groups emerged from different ideologies; some from conceptual art, while

others had more to do with social or political concerns. From these groups came

independent presses such as La Flor del Otro Día, Tinta Morada, and Tres Sirenas . This

collection contains material from this last group of presses and student collectives.

Important for the history of books arts in Mexico. Sold as a set

(110023) $2,500.00

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8. Fernández Ledesma, Gabriel (Dir).

FORMA: REVISTA DE ARTES

PLÁSTICAS, VOL. I, N° 1-6, VOL. II,

N° 7. México: SEP-UNAM, 1926-1928. 7

issues: 42,42,44,44,52,56,42p. b/w and

color plates, b/w illus., facs., plans,

advts., wrps., plus 1 flyer inserted in No.

4, loose as issued. (volumes 2 and 4

wear to covers and minor chipping to

spines; vol. 4 with top corners rubbed

with some loss of paper; all other issues almost fine). 34cm.

A monthly publication ideated by painter Fernandez Ledesma and dedicated to Mexican

plastic arts with participation of noted artists, architects, art critics and intellectuals.

Contents include: Vol. I, No. 1. Octubre 1926: Agustín Lazo; Los daguerrotipos/ comentados

por Weston -- Las escuelas al aire libre / por S. (Salvador) Novo -- La Caricatura / por S.

Ramos - Ilustraciones de Covarrubias - Pinturas murales mexicana s/ J.Charlot - Móvil/ G.

Fernández Ledesma - El sentimiento estético de los juguetes mexicanos -- Proyecto de

Diego Rivera para un teatro en un puerto del Golfo de México/ colaboración técnica de

ingeniería de don Benito García Benítez -- Photographs by Agustin Jiménez; Vol. I, No. 2

Noviembre 1926: Máximo Pacheco, La fotografía de la Villa de Guadalupe - Talla en madera/

Lázaro López - Las capitulares de los libros de coro/ por Valerio Prieto - Manuel Manilla:

grabador mexicano - David Alfaro Siqueiros: un verdadero rebelde en arte, por Anita

Brenner -Arquitectura: estudio sobre Teposcolula / por Manuel Toussaint? Vol. I, No. 3,

1927: Escultura, talla directa/ Diego Rivera - Carlos Orozco como retratista/ Ana Brenner -

Ensayo sobre la danza Samuel Ramos - Los animales en los tejidos y bordados indígenas/

Miguel O. de Mendizábal - Fotografías de deportes/ G. Fernández Ledesma - Arte para los

obreros/ Renato Molina Enríquez - Los retablos del Señor del Hospital/ Dr. Atl - La pintura

mural de Fermín Revueltas/ R.M.E. - Consideraciones sobre arquitectura moderna/ por

Carlos Obregón Santacilia? Vol. I, No. 4, 1927: El pintor Rodriguez Lozano - La revolución

artística mexicana: Una lección/ por Maroto - Mosaicos Mexicanos/ por Ramón Mena -

Fotografía: La obra de Tina Modotti/ por R.M.E. (No. 4 includes a protest flyer against the

imprisonment of several Cuban intellectuals by the Cuban government)? Vol. I, No. 5, 1927:

El pintor Rufino Tamayo/ G. Fernández Ledesma - El Calabazo de Ayacucho/ por Rafael

Heliodoro Valle - Azulejos y paneles policromos de la época de la colonia/ por Luis G.

Serrano - Hermandad o Cofradía de Loceros; por Enrique A. Cervantes - El jarro maya

pintado/ por Dr. Silvanos G. Morley - Historia de Diego Rivera/ por Xavier Villaurrutia? Vol.

I, No. 6, 1928: Artistas y artesanos/ por el Dr. Pedro de Alba - La Naturaleza Virgen es el

Niño; por Guillermo Castillo - Siluetas Zacatecanas/ G. Fernández Ledesma - Lacas

Mexicanas: Los baúles de Olinalá/ por Renato Molina Enríquez - Obras de Hierro/ por M.

Romero de Terreros - El renacimiento el fresco en México: José Clemente Orozco: Su obra

monumental/ por J. Charlot? Vol. II, No. 7, 1928: un pintor japonés en México/ por F. Diaz

de León - El Centro Popular de Pintura de San Pablo / por J. Martin Ramírez - Norah Borges/

por Magda Portul - Fotografías de Weston; por F. Monterde García Icazbalceta - El arte en

México; por Walter Pach - El arte mexicano de la colonia; por A. Carrillo Gariel - El pintor

Roberto Montenegro/ por F. Abreu Gómez

(6195) $5,000.00

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9. FILE REGARDING EMILIANO ZAPATA AND THE EJÉRCITO LIBERTADOR DEL

SUR WITH A SIGNED LETTER BY EMILIANO ZAPATA. 20 leaves of manuscripts and 22

leaves of mimeographed typescripts (many of them signed or annotated in manuscript),

most about 13 x 8 1/2 inches or shorter; Zapata letter with faint dampstaining down

vertical fold, a few items with minor edge wear, but generally well-preserved. Vp, July to

November 1912

Emiliano Zapata (1879-1919) was a key figure in the Mexican Revolution. Commanding the

Liberation Army of the South (Ejército Libertador del Sur) from his home state in Morelos,

he sought land reform and supported the 1911 overthrow of Porfirio Diaz. When Diaz's

successor Francisco Madero also proved uninterested in land reform, Zapata continued the

struggle. Offered here is a file relating to the Madero government's counter-insurgency

efforts against the Zapatistas. The highlight of this lot is a Letter Signed from Zapata to the

railroad offices of Mexico, and is a warning notice to the government, the railroad

companies and their employs and the passengers of future-armed attacks on all trains

leaving or entering Mexico City. Headed "Ejercito Libertador del Sur, Circular 210" and

dated Morelos, 25 August 1912, it begins "A las empresas ferrocarrileras, a las comerciantes

y pasajeros de trenes. La junta revolucionaria del movimiento armado del sur y del centro

de la República, en sesión verificada el día 15 del corriente acordó se haga conocer a las

empresas ferrocarrileras como lo hago, que del día 10 de Septiembre serán atacados por

mis fuerzas todo los trenes que salgan de la Ciudad de México a diferentes lugares de la

República." It notifies all railroad employees and passengers that any trains leaving Mexico

City after 10 September will be attacked by Zapata's revolutionary army. It closes

"'Reforma, Libertad, Justicia y Ley." The body of the letter is in a secretarial hand, over his

signature as "General en Jefe." Most extant Zapata signatures are from the 1914-19 period,

and we are aware of no earlier signatures on the market since 1986. His signature is tighter

and more tidy than his later efforts, but retains the distinctive hook swooping across from

the penultimate "t". The remainder of the file consists of reports from field agents to the

chief inspectors of the Mexican Police, Major Emiliano López Figueroa and Anastasio Bravo.

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They discuss attempts to infiltrate Zapatista bases in Morelos; investigations of Zapatista

collaborators in Mexico City; and inspections of federal trains in search of smuggled

ammunition and weapons.several manuscript signed documents and typed documents

(memorandums, reports, letters, etc.) from diverse police agents (agentes) reporting

actions in train surveillance and apprehensions against members (including a priest in

Mexico City) of the armed movement and raids in their operations centers. Some

surveillance police memos report of trains coming from El Paso (Texas?) and crossing

through the states of Puebla and Morelos (Los Reyes, Teoyolucan, Matamoros, Jujutla,

Cuautla, Cuernavaca, etc.). Another manuscript document addressed to the “Inspector

General de Policia” asks for a credential or a safe pass “So that they do not commit abuses

or arbitrariness to my person, such as those committed in Cuernavaca” where despite

working for the Government, he was subject to cruel treatment (six days tied in a room and

4 months in prison).

(109370) $15,000.00

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10. [Glaubitz, Charles].

EL SHOW DEL NIÑO BURRO:

CHARLES GLAUBITZ. 5

etching two color print. Printed

from an original drawing

directly on the zinc plates.

Hand-printed in black ink and

red. Tijuana, B.C.: La Brigada

Ediciones, Agosto 2014. 5

folios. handmade edition of 5

aqua forte and aquatint

technique prints 15"x30" in

hahnemuhle paper 350 g plus 5

protective rice paper folios (18

x 22 in.), some with text,

inside duo tone pict. portfolio,

with 2 closure black ribbons on

right side margins on both

sides. sig. Edition of 30 with 3

printer proofs , 3 Artist’s

proofs, 1 Bon à tirer. 57 cm.

ISBN: 9789684340268.

SIGNED, NUMBERED AND

LIMITED EDITION OF 30 set of

prints by Tijuana-based artist,

illustrator and graphic novelist

Charles Glaubitz (Los Mochis,

Sinaloa 1973) The "niño-burro”

(boy-donkey) is a California

border character par excellence and has a close relationship with the American comics and

illustration. Is not an appropriation of the donkey-zebras of Tijuana, but a remake of the

same emblem of the city […] It is not a harmless animal that pleases the tourist. It is a

controversial character: childhood as a symbol of no domestication, of irreverence and,

paradoxically, of candor. In addition to traveling back and forth between San Diego and

Tijuana for many years, Charles Glaubitz regularly crosses borders and pushes boundaries

in his work. The Tijuana-based painter, illustrator and graphic novelist has a visual style

that employs iconic, cartoonish imagery such as Lucha Libre masks and skeleton-faced

Mickey Mouse figures, as well as children in spacesuits and “Zonkey” costumes (Zonkeys

are Tijuana Donkeys painted to look like Zebras). “During school, I was exposed to Joseph

Campbell who is this scholar and academic who talked about world mythologies and focused

not on their differences but on their similarities,” says Glaubitz, referring to his time at the

California College of Arts in Oakland.

(109871) $2,600.00

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11. [Guerra, Luis]. HASTA LA GLORIA: TEXAS FARMWORKERS MARCH TO

WASHINGTON FOR HUMAN RIGHTS. JUNE 18 TO SEP. 5, 1977. Large illuminated print

by Luis Guerra (Left to Right: Rita Martínez, Julio Coreño, Raquel Orendaín, Maria Salas,

Antonio Orendaín, Claudio Ramirez, and José Rodríguez). (Texas?): [publisher not

identified]; The artist, (1977). 1 folio. colored print, sig. (marginal tears and chipping, not

affecting print; o/w good copy). 45 x 59 cm.

Illuminated print by artist Luis Guerra (Austin, Texas) who created the famous and

definitive artwork of the TFWU's “March For Human Rights”. The print signed with

presentation on the verso upper left side by Marcial Silva?, the organizer for “Texas Farm

Workers Union”, mostly Mexican migrants who work on large farms in the Rio Grande

Valley, who in September of 1977 marched from San Juan, Texas to Washington D.C. in

protest for the minimum wage provisions and the right to organize, hold union elections and

bargain for union contracts.

Data and images obtained from webpage: https://netargv.com/2017/03/15/hasta-la-

gloria-with-texas-farmworkers-union/

(109863) $1,100.00

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12. Guzman, Juan <Hans Gutmann Guster> (b. 1911, Cologne, Germany, exiled and

became resident of Mexico 1940m - d. 1982, Mexico). FRIDA KAHLO PAINTING

"RETRATO DE MI FAMILIA" VINTAGE PHOTOGRAPH Hospital Ingles, Mexico City,

1950. 18.2x22.2cm

Guzman, the photographer was very involved in Mexican culture and became a Mexican

national never returning to Germany. Diego Rivera and Frida Kahlo friendship with him

opened the door to close contact with the art community in Mexico. In fact, one of the most

emotional photographs of the couple, published in Life magazine immediately after having

been taken in a bed at the English hospital was the kiss between the Rivera and Kahlo is of

his authorship. One of Guzmán's favorite subjects was to portray the artists at the moment

they are doing their work.

Reference:

González Cruz Manjarrez, Maricela. JUAN GUZMAN: UNA VISION DE LA MODERNIDAD.

Colección Círculo de Arte, Fotografía. México: Consejo Nacional para la Cultura y las Artes

CONACULTA, 2005.

(109974) $3,700.00

16

13. IGNACIO I. MADERO ORIGINAL PHOTOGRAPH ARCHIVE. 43 photographs

aprox. 5x7 inches and 70 original photographic postcards. 113 images in total.

An extraordinary lot with approximately 45 images of Ignacio I. Madero about 45 between

postcards and photographs. The remaining images are related. A number of the

photographs are by Osuma with stamp on verso. Many are captioned

(108871) $7,900.00

17

14. LACRE: REVISTA DE

COMUNICACIÓN

ALTERNATIVA, NÚM. 1, 2.

Consejo Editorial: Maria Teresa

Cervantes, Alicia García Bergua;

Ana García Bergua; Alonso Leal

Güemer; Gertrudis Martinez de

Hoyos Delamain; Francisco

Pellicer Graham; Alejandro

Queredo Runne; Armando Sáenz

Carrillo; Austin Estrada; Martínez

de Hoyos Delamain; Francisco

Pellicer Graham; Carmen Silva.

México: La Tinta Morada,

Impresores Alternativos, (1980).

Artists' book comprising 10

contributions by different artists,

original handmade mimegraphic with interventions, rubber stamp, some booklets in brown

paper, loose as issued, inside handmade fldg. folder, inside brown paper bag sealed with

sealing wax. Issue features contributions from Adriana Sandoval, Anacleta Morones Prieto,

Isabel Quiñones, Chirstopher Dominguez Michael, Hernán Lara Zavala, José Antonio Robles,

Rafael Barajas, Alicia García, and Rossana Durán. 30 x 20.5 cm.

Complete set of the serial of handmade mimegraphic editions with prints by various artists.

Participants in Number 1: Diego Toledo, Manuel Marín; Gerfrans; Ana Zárate/María Eguenia

Guerra; Raúl Cardoso; Deepak Lakshminarayana; Alonso Leaf Gümer; Armando Saénz C.;

Magalí Lara. LIMITED EDITION OF 1000 Number 2, El Deseo: Editorial, Othón Tellez, Manuel

Zavala; Alberto Castro Leñero; Francisco Pellicer Graham; Paloma Diaz Abreu; Eduardo

Chavez; Ruben Ortiz; Felipe Leal; El Fisgón. Fotografía cortesía de Rogelio Cuellar

.(99209) $1,950.00

18

15. [Lakra, Dr. [pseud] ne: Jerónimo López Ramirez; Toño Camuña]. MISTERIOS

CRÍPTICOS DEL KONFUCIONISMO: TOÑO CAMUÑA, DR.LAKRA. Aguascalientes: El Ojo

Peludo Impreciones, 2013. (62) pages. handmade and handbound edition with duo tone and

color plates, illus. endpapers, color pict. brown cardboard boards with black cloth spine and

corners, with tipped-in title in fosforecent colors. sig. Cover Titel. 51 cm. ISBN:

9789684340268.

SIGNED, NUMBERED AND LIMITED EDITION 16/66 of handmade artist book comprising

silkscreen prints and intervened vintage printed materials by artists and tattooists Dr. Lakra

(Mexico City, 1972) and Toño Camuñas (QTDXCL). “Esta primera edición de “Misterios

crípticos del kong-fucionismo” x Dr.Lakra y Toño Camuñas, se maketo, compuso, imprimió y

encuaderno en Aguascalientes el mes de los muertos del 2013. (Mr. Edgar “Moska”

Gómez)”--Colophon. The work of Jerónimo López Ramírez, better known as Dr. Lakra, is

characterized by irreverent and provocative images that transgress established norms,

leaving the viewer teetering between attraction and repulsion. While he is best known for

his drawings and paintings on appropriated posters, erotic magazines, and postcards, his

practice encompasses mural painting, collage and sculpture. Through these different

mediums he explores his interests in anthropology and ethnography, documenting his

fascination with the taboos, fetishes, myths and rituals of different cultures. An avid

collector of diverse objects, Lakra views the search for materials and images as an essential

aspect of his practice. His compositions combine historical references and contemporary

images, incorporating quotes from popular culture and intermingling them with diverse

religious and social iconographies. The way he juxtaposes and refashions these various

elements reveals a profound understanding of art history, as well as a subversive sense of

humor. Dr. Lakra dismantles and subverts dominant ideologies to question what is

considered civilized or barbaric, correct or incorrect, “high” or “folk” art. Dr. Lakra joined

the Taller de los Viernes from 1988 to 1991, where he began exploring painting, drawing

and collage. His most important exhibitions include: Dr. Lakra, Akvarelle Museet,

Skarhamm, Sweden (2015); Dr. Lakra and Toño Camuñas, Museo de los Pintores MUPO,

Oaxaca, Mexico (2014); Mexican Demons and Dancing Skeletons: Dr. Lakra in dialogue with

Posada, Hostelbro Kunstmuseum, Hostelbro, Denmark (2012); Dr. Lakra, Museo de la

Ciudad de Mexico, Mexico City (2011); Dr. Lakra, Museo de Arte Contemporaneo de

Monterrey MARCO, Mexico (2011); Dr. Lakra, Museo Amparo, Publa, Mexico (2011); Dr.

Lakra, The Drawing Center, New York, United States (2011); Los dos amigos, Dr. Lakra &

19

Abraham Cruzvillegas, Museo de Arte Contemporaneo de Oaxaca MACO, Mexico (2005); Dr.

Lakra, Kunsthaus Tacheles, Berlin, Germany (1993). He has participated in group

exhibitions at the following institutions: The Barbican, London, United Kingdom (2015); The

Brandts-Museum of Art and Visual Culture, Odense, Denmark (2014); Quai Branly Museum,

Paris, France (2014); Museo Nacional de Arte, Guadalajara, Mexico (2014); Museo de Arte

Carrillo Gil, Mexico City, Mexico (2013); Nordiska Akvarellmuseet, Skärhamn, Sweden

(2012); Centro de las Artes San Agustín Etla, Oaxaca, Mexico (2011); Manila

Contemporary, Makati, Phillippines (2010); Museum of Contemporary Art San Diego, San

Diego, United States (2010); Museo Universitario del Chopo, Mexico City, Mexico (2010);

FLAG Art Foundation, New York, United States (2010); Museau da Cidade, Lisbon, Portugal

(2009); The Alameda National Center, San Antonio, United States (2008); Yokahama

Museum of Art, Yokahama, Japan (2007); Museum of Modern Art MoMA, New York, United

States (2007); Museum of Contemporary Art, Chicago, United States (2007); Museum of

Modern Art, Copenhagen, Denmark (2007), among others. Dr. Lakra currently lives and

works in Oaxaca, Mexico.(109868) $4,300.00

16. León, Mayra. WIRIKUTA, TERRITORIO

SAGRADO EN RESISTENCIA. Colección: Minilibros.

México, D.F: Amoxcalli, Taller de Libros de Artistas,

2017. 1 folio [28] pages. handmade book with b/w

plates, folded accordion style, bound together, with

green boards with painted motifs, left margins with

black threads for closure. 13 cm.

SIGNED, NUMBERED AND LIMITED EDITION 36/61

Prints by Mayra León regarding the Huichol resistance

against the Canadian miners. “Consta de 61 ejemplares

firmados y numerados, sellos y pintura, y 6 ejemplares

para la artista (p/a). Todos están intervenidos con

sellos y pintura.”—Colophon

(109874) $90.00

20

17. Lozza, Raúl. PROCESO ESPECIAL DEL

COLOR EN LA PERCEPTISMO. Handwritten

and signed original manuscript. No date (c.

1949). 27 pp.

This is a rare manuscript with some notations

by Raul Lozza. Raúl Lozza, an Argentine

painter, craftsman, and illustrator, was born

on October 27, 1911, in Alberti, Buenos Aires

Province. He was a founding member of the

Asociación de Arte Concreto-Invención, a non-

figurative group, as well as the creator of

perceptismo, a theory of color and open

structure in painting that he called

"cualimetría de la forma plana." To my

knowledge this has never been published.

"Raúl Lozza’s sixty-year painting career was

dedicated to the exploration and radical

development of the concept of Concretism as

defined by European painters before and

immediately after World War II. Lozza joined

the Buenos Aires–based Asociación Arte

Concreto-Invención (Concrete-Invention Art

Association) in 1945. Inspired by Piet

Mondrian, Theo van Doesburg, and the Swiss

artist Max Bill, members of the Asociación

advocated for their own brand of what van

Doesburg called Art Concreto, which he defined as a kind of art “constructed of purely

plastic elements (lines, planes, surfaces, colors); devoid of references to nature, lyricism,

symbolism, and the unconscious; and with no significance beyond itself.”1 The Asociación’s

1946 “Manifesto Invencionista [Inventionist Manifesto]” of which Lozza was a signatory,

echoes van Doesburg’s call for a detachment from objects in nature, condemning “the

illusion of representation” in favor of what the group calls the “scientific aesthetics of

invention.”2 Lozza broke away from the Asociación two years later in order to create his

own movement, which he called “Perceptismo,” or “Perceptism” in English. Consisting of but

four people, two of whom were Lozza’s brothers, the group shared the Asociación’s

Concretist point of view but expanded it beyond the confines of the canvas and stretcher.

Its members advocated the complete rejection of the frame and the concomitant idea of a

painting as a window. Instead, they favored what Lozza called “walls of color,” which were

conceived of as actual walls painted in monochrome, upon which forms floated in relief. In

practice, Lozza’s concept of a continuous wall of color was translated into paintings with

smooth monochromic fields that traversed unbroken from one edge of the work’s surface to

another, but the desire for pictorial elements—particularly color—to escape the confines of

the canvas and colonize architectural space was prescient, presaging Neo-Concretism, the

Brazilian-born movement that, more than a decade later, would bring color and shape into

three-dimensional space." By (Laura Hoptman Posted on January 11, 2017

MOMAhttp://post.at.moma.org/content_items/946-raul-lozza-s-invention-no-150.) Below is

a link to his biography. http://museolozza.com.ar/raul-lozza/biografia/(106591)

$5,000.00

21

18. MEXICAN COOKING MANUSCRIPT: [NO TITLE]. [México]: [publisher not

identified]; The authors, c1900. 499 pages (first 451 pages with recipes, last 48 pages

blank). yellowish paper with handwritten recipes, written in sepia ink by different hands in a

beautiful calligraphy, , black boards, with vellum spine and corners. (water stains,

apparently from different hand; not affecting text). 17cm.

Early 20th century manuscript cookbook with recipes written in in a beautiful Pamer method

calligraphy including: Sopa de pan tostado, Salsa para perdiz (pichones), Vaca a la catalana,

Pernil asado, Riñones al jerez, Pajaritos guisados, Chorlitos, Lenguado en masa, Leche frita,

Frituras de caldo, Tamales aliñados, Pichones con sangre, Liebre a la marengo, and many

more. Contain an index(109882) $900.00

19. MEXICAN COOKING MANUSCRIPT: [NO TITLE]. [México]: [publisher not

identified]; The authors, c1920. (86) pages. yellowish paper with handwritten recipes, ink

written by different hands in a beautiful calligraphy, string bound, newspaper clip inserte,

loose as issued. (missing front cover, marginal chipping and wear to covers, water stain in

verso cover; not affecting text; detached spine and weak hinges). 22 cm.

Early 20th century anonymous manuscript cookbook with recipes written in in a beautiful

Pamer method calligraphy. Traditional recipes including: Arroz a la Valenciana, Besitos de

dama, Albondigón, Chorizos, Buñuelos de viento, Brioche, Chipotles en vinagre, Bacalao a la

Veracruzana, Tamales de arroz, Rompope, and many more(109880) $700.00

20. MEXICAN MANUSCRIPT DOCUMENTS: 1773, EXPEDIENTE FORMADO SOBRE

LAS CUENTAS PRESENTADAS AS[I] POR DON BENITO OCHOA, CAPIT.N COM.TE

QUE FUE EL PRECIDIO DE SAN CARLOS (1773, RECORD COMPILED CONCERNING

THE ACCOUNTS PRESENTED BY DON BENITO OCHOA, CAPTAIN COMMANDER,

FROM THE PRISION OF SAN CARLOS). México, D.F: [publisher not identified], 1773.

(38) folios, plus one blank folio. string bound manuscript, sigs., some documents with Royal

Spanish stamp that reads: "Sello Tercero, vn real. Años de mil setecientos y sesenta y ocho,

y sesenta y nueve” (some foxing, some marginal chipping). 31 cm.

Most concern payments to the prisons for work of wagons drivers and teamsters

(“carrreteros”) and their supervisors and mules for the cleaning of the city streets, including

cleaning up trash heaps and mountains of dirt. In two documents Indian cart drivers are

mentioned (“Yndios carreteros”) as well as their supervisors. In a few cases the prisoners

("galeotes") are named and with the number of days they worked. They are signed by

various local officials involved in the transactions. Several reports are directed to the

Viceroy of New Spain, Antonio María de Bucareli y Ursúa, and have his signature

acknowledging receipt of them. “...recibos girados semanalmente por el Marques del Valle

de la Colina, y por lo que toca á lo erogado en paga de Carreteros, Sobrestantes y demás

asienta así mismo el referido…”--Page [10](109528) $2,500.00

22

21. MEXICAN MANUSCRIPT DOCUMENTS: AÑO DE 1772. CUENTA DE LA ARCA DE

LA MASITA DEL PRESIDIO DE SAN CARLOS, PRESENTADA POR DON ANTONIO

LECCA, TEZORERO MAYORDOMO DE ESTA N.C. (YEAR 1772. ACCOUNT OF THE

CLOTHING FUND OF THE PRISON OF SAN CARLOS, PRESENTED BY DON ANTONIO

LECCA, HEAD TREASURER OF THIS MOST NOBLE CITY). México, D.F: 1771-1776. (34)

folios, plus two blank folios. string bound manuscript, sigs., some documents with Royal

Spanish stamp that reads: "Sello Qvarto, vn qvartillo. Años de mil setecientos y sesenta y

seis, y sesenta y siete” (some light foxing, some marginal chipping). 31 cm.

Six year span off documents that are signed and are receipts or acknowledgments of

payments to the fund for providing clothing to the prisoners. A few concern labor provided

by the prisoners, who were essentially slave laborers -they are called "galeotes" in the

documents, lit. "gallery slaves". They are also called "presidiarios" (convicts) and "presos"

(prisoners). One of their tasks was cleaning the streets of the city. Other receipts concerns

payment for 20 wagons and for the iron rims for their wheels; outfitting wagons; a wagon

for street cleaning; treatment for sick prisoners at the hospital for the poor (Hospicio de los

Pobres). They are signed by various local officials involved in the transaction. “Lic. D.

Antonio Lecca, Abogado dela Audiencia y Tesorero de los propios y demás nuestra N.C

(Noble Ciudad) Digo que: hoy rindo fe en la Ciudad del Presidio S. Carlos, para forzados que

mantenidos por esta N.C. se destinaran al aseo, limpieza de sus calles, según las reformas y

otras ordenanzas hechas por el Exmo. S. Virrey Marques de Croix?, estimo servir obligación

al dar firma.”—Page [36](109527) $3,750.00

22. Motolinía de Villarreal, Estela. RECETAS DE COCINA DE ESTELA MOTOLINÍA DE

VILLARREAL MANUSCRIPT COOKBOOK. (México): 1957. handwritten recipes with tabed

index at rear. (Spine missing, but book intact; boards worn).

Extensive cook book with emphasis on Mexican traditional dishes that include: Crema de

Chile Poblano en Frío;Quesadillas de Sardina; Tinga poblana, Pollo a la Plaza con Frijoles

negros(110020) $450.00

23

23. EL NACIONAL. Newspaper. marzo a octubre de 1933. 60 issues. (V.g).

60 issues, complete, for March to October of 1933. General Gildardo Magaña serialized what

would become his famous book: “Emiliano Zapata y el agrarismo en México”.

(109987) $12,500.00

24. NOVENA EN OBSEQUIO DE LA

INCOMPARABLE VIRGEN Y MARTIR SANTA

CECILIA, ESPECIAL ABOGADA DE LA PUREZA, E

INSIGNE BIENHECHORA DE SUS DEVOTOS:

DISPUSOLA L. A. Con licencia de ordinario. El Exmo.

e Illmo. Sr. Dr. D. Francisco Pablo Vazquez (segun

consta en su Decréto de 10 de Septiembre de 1831)

por sí y á nombre de los Illmos. Obispos de

Michoacán, Guadalajara, Durango y Monterey (sic),

concedio 200 días de Indulgencias á todos los fieles

por cada una de las Oraciones comprehendidas en

esta Novena. México: Oficina del C. Alejandro Valdes,

a cargo de J. M. E., 1831. 30p. frontis., illus., full leather binding with gold stamping in

spine and boards. (water stains in frontis. some wear in boards, not affecting text, o/w very

good). 16 cm.

Small format edition of praying book devoted to Saint Cecilia, with beautiful frontis print of

the saint and her identifying iconography: an organ as she is the patron saint of the

musicians. First edition. Only one copy shows in OCLC.

(77184) $200.00

24

25. Ocampo, Isidoro (b. Veracruz 1910-1983). CAMIÓN. 1932. Dry point print number

6/30, signed and dated in the plate and signed and dated in pencil l.r. 20.5 x 21cm.

Isidoro Ocampo was a member of the Liga de Escritores y Artistas Revolucionarios (LEAR)

and Taller de Gráfica Popular (TGP). Reference: Pérez Garcia, Santiago; Abigail Pasillas

Mendoza (Coords). "Isidoro Ocampo: Artista y Testtigo del México Posrevolucionario:

Colección Ernesto Arnoux. Coordinación general del proyecto...Textos: Laura González,

Abigail Pasillas Mendoza. México, D.F: Instituto Nacional de Bellas Artes INBA; Museo

Nacional de la Estampa, 2015.

(109976) $400.00

25

26. [Pacero, Tatiana]. TATIANA PARCERO: NATURA ET CORPORIS. México, D.F:

Troconi-Letayf. 6 color photographs on Torchon 100% cotton de Hahnemühle 3030cm; 3

diptic photographs on Torchon 100 cotton Hahnemühle de 285 grms 30x60 cms. Archival

digital print; 1 photograph printed by sublimation on madera Kiri 20x20cm. Box: 32 X 32 X

5 cm Certificate of authenticity signed by artist.

Edition of 20. The work in photography and video by Tatiana Parcero explores concepts such

as identity,memory, territory and time. His work has focused on the body as metaphor of

the private and the public, creating the juxtaposition technique of photosblack and white

printed on acetates on color photos; currently working inimages that reflect on the impact

of climate change and the importance to preserve natural resources.

Tatiano Parcero: 1967, Ciudad de México. Licenciada en Psicología por la UNAM, recibió un

MFA con especialización en fotografíade la New York University y el International Center of

Photography (NYU/ICP),EUA. Ha realizado muestras individuales y colectivas en México,

Estados Unidos,España, Argentina, Inglaterra, Italia, Puerto Rico, Francia, Japón, Brasil,

Cuba y Finlandia.Entre las más destacadas se encuentran: Revolución y Ritual: las

fotografíasde Sara Castrejón, Graciela Iturbide y Tatiana Parcero, Galería Ruth Chandler

Williamson,LA; Universus, Museo Archivo de la Fotografía, Cd. de México; The Real

Marvellous, MOT, Tokyo, Japón & MUSAC, Young and Restless, MoMA, NY.Su trabajo se

encuentra en prestigiosascolecciones públicas y privadas como TheMuseum of Fine Arts,

Houston, TX, The Museum of Latin American Art,(MoLAA),Long Beach, CA, Lowe Art

Museum, University of Miami, FL; The Mexican Museum,San Francisco, CA, EUA; Museo de

Arte Contemporáneo de Castilla y León (MUSAC)España entre otros.Ha recibido varios

premios y distinciones, entre otros: Sistema Nacional de Creadoresde Arte FONCA, México

(2011-2014); Premio Adquisición, MoLAA, LongBeach, CA, EUA (2007); Premio Adquisición,

XXXII Encuentro Nacional de Arte Joven,INBA/CNCA, México (1997).

(110022) $5,700.00

26

27. Paz, Ireneo. DICCIONARIO DEL HOGAR :RECOPILACIÓN DE RECETAS,

CONSEJOS, REGLAS Y LECCIONES SOBRE COCINA, REPOSTERIA, MEDICINA,

ECONOMIA, CRIA Y CUIDADO DE TODA CLASE DE ANIMALES DOMÉSTICOS,

HORTICULTURA, JARDINERIA, MODAS, MANUFACTURAS DIVERSAS Y CUANTO SE

RELACIONA CON EL BIENESTAR Y LA COMODIDAD EL SENO DE LAS FAMILIAS ...

México, D.F: Imprenta, litografía y encuandernación de I. Paz, 1904-1905. 2 volumes,

Paged continuously. recipes, bounbd in half green calf with marbled boards. OCLC:

71103710 (Volume one with tender front hinge, some water staining at upper margins, not

affecting text; Normal browning). 30cm .

Scarce title with only two holdings showing in OCLC. Many classic Mexican recipes and food

stuffs that include 8 pages of recipes for cajeta variations among other intriguing, hard to

find recipes(108679) $450.00

28. Pecanins, Yani. VIAJE EN ZEPPELIN. México, D.F: La

Duplicadora, Septiembre 2017. 24 láminas + insertos Carpeta

en pasta dura Impresión risográfica. 30 x 24.5cm.

At La Duplicadora we decided to publish this artist's book thirty

years after its appearance and at the time of the Hindenburg

accident, our proposal was not to carry out a facsimile edition,

but to carry out a tribute." In cooperation with Yani, we

revitalized the first edition without lost its essence: we used the

original elements such as photographs, texts, stamps, seals,

envelopes and labels, in the same way that she did in the

eighties, the print run was 120 copies and all the folders are

signed and numbered. Printing was done with the two

risographs of our workshop and the folder was drawn up by Su

Yin Wong. The original started in May 1987 and completed in

March 1988, A Journey in Zeppelin is an intimate, personal

journey that explores Yani's family

history.The Hindenburg was one of the

best German zeppelins built in history;

it was designed to be able to cross the

Atlantic with almost a hundred

passengers, among them was the

paternal family of Yani Pecanins. On

May 6, 1937, after completing his route

and arriving in New Jersey, the airship

caught fire. LIMITED, SIGNED EDITION

OF 120(109623) $420.00

27

29. [Pecanins, Yani]. DIARIO: YANI PECANINS. “Libro de artista. Libro único, 2017

noviembre. yanipecanis2@gmail.com. Mexico, D.F. 06140”--Label in bottom of box. México:

[publisher not identified]; The artist, 2017. Collage. Signed and dated artists' book

consisting of one vintage cardboard (cigar?) box lined with illus. paper with sting closure

and tipped-in handwritten label in front lid, with tipped-in pull-out white silk ribbon in box

bottom and comprising 9 diverse artistic assembled items in glassine envelopes (15 x 11

cm.) 20 x 12 x 5 cm (box). EDITION OF ONE. ARTIST BOOK CONTENTS:

-Folded rice paper with tipped-in label “Occidente” and sewn in dry leaf hold with string

entitled “Todos los días. Los días vienen y van, como pasar por ellos? Me pregunto” and

containing glassine envelopes with vintage newspaper clips and tipped in b/w figures.

-One glassine envelope entitled “Y está [sic] soy?” with sewn in vintage train ticket “72146.

WS adult return” that contains one pencil drawing and vintage newspaper clips and tipped in

b/w cut-out figures

-One glassine envelope entitled “Ay!” that contains one Derwent Graphic Pencil 5H (Hard),

sharpened on both sides and a newspaper clip with the article “La Delincuencia es Mala”

from Spanish newspaper El Mundo and dated January 28, 2008.

-Two glassine envelopes nos. 9 (front) and 12 (back), (front one is chipped and cracked in

bottom) bound together with glued piece of paper and entitled “Puedo ver, tocar”

comprising vintage newspaper clips and pieces of paper with b/w plates.

-One glassine envelope entitled “Puedo sentir” with sewn in grey button and metallic clip, ,

tipped-in piece of paper entitled “Y” with pencil drawings and tipped-in piece of vintage

typed letter.

-One glassine envelope entitled “Todo lo que oímos y vemos nos cambia…” with sewn in

large metal needle, tipped-in piece of paper entitled “A” and red string that contains one

newspaper clip and one glassine stamp envelope comprising plant dry seeds/leaves with

head pin as closure.

-One glassine envelope entitled “Viajar lejos, irme…” with sewn in grey button and tipped-in

piece of paper entitled “Z” that contains one newspaper clip, one section of front wrapper of

“Africa Pocket map” and pencil drawings

-One glassine envelope entitled “Puedo perderme” with sewn in grey button and tipped-in

piece of paper entitled “O” that contains one newspaper clipand pencil drawings

-One glassine closed envelope entitled “Reunir mis pedazos” with tipped-in piece of paper

entitled “K” that contains tipped-in cut-out letters and one entry ticket for a French museum

entitled “Entrée 9F, 342893B” tipped in translucent folio and pencil drawings

(109864) $875.00

28

30. [Pecanins, Yani]. ME BUSCO...CADA DÍA.. ARTIST BOOK BY YANI PECANINS.

Libro único, 2017. México: [publisher not identified]; The artist, 2017. 7 unnumbered of

different size pages. Collage. Signed and dated artists' book consisting of one booklet

entitled “Me busco… Me busco… cada día…” . Libro único y original, 2017 en Mexico, D.F)

bound in fldg. glassine wrps. inside handwritten white paper envelope (12.5 x 15.5 cm.) 27

x 15 cm.

EDITION OF ONE. Collage artist book

(109866) $300.00

31. [Pecanins, Yani]. TODO SE FUE... =

EVERYTHING IS GONE: YANI PECANINS. "Libro único

= one of a kind, 2017. Artist book = Libro de artista,

handmade = hecho a mano" --Labels in verso side.

México: [publisher not identified]; The artist, 2017.

Collage. Signed and dated artists' book consisting of one

vintage washboard featuring a glass grate in sturdy wood

frame with burned large legend in in front that

reads "todo se fue…” assamblaged with 10 fabric

handkerchief (for women and men), 7 white and 3 color

fabrics some embroided or with motifs, sewn buttons,

glassine envelope, one pin-head inserted, tipped-in small

labels with string and cut-out illus. pieces of paper, all

swen / bound together and glued to the front glass grate

of the washboard. (the glass grate has no cracks, chips or

major scratches, the wood frame with marginal wear to

both ends of the frame and brand name “Washboard ...

N° 60” is partly erased as intended by the artist). 59 x 34

x 4 cm.

EDITION OF ONE. Collage artist book relating to the loss

of close family members within a period of a year

(109867) $4,800.00

29

32. Picon, Matias. GRAFIKA CRIMINAL: ESCRITURAS

ENCRIPTOGRAFIAS. São Paulo: Choque Cultural, 2015. (7)

folios. b/w and duo tone original engravings, sig., b/w pict.

cardboard wrps. Horizontal binding. 50 x 36.

LIMITED, NUMBERED AND SIGNED 15/30 book-object by

multimedia artist Matias Picón (b. Uruguay, lives and works in

São Paulo), whose main activities involve music, photography

and graphic art. Since 2000, he has been creating bound art

editions in the form of artists books, records and zines

(109515) $240.00

33. [Posada, José Guadalupe]. LA

COCINA EN EL BOLSILLO. SEVEN

(7) NUMBERS 1. Primer Cuaderno

de la Cocina en el Bolsillo. Colección

de recetas para la economia

domestica. No date, 16 p.

2. Primer Cuaderno de la Cocina en

el Bolsillo. Colección de recetas para

la economia domestica. 1907, 16p.

3. Primer Cuaderno de la Cocina en

el Bolsillo. Colección de recetas para

la economia domestica. 1910, 16p.

4,5. Cuaderno Segundo de la Cocina

en el Bolsillo. Colección y variada de

recetas para guisos, postres, frutas

de horno, dulces y otras golosinas

escogidas para todos los guatos.

1913, 16p. (2 copies with variations

of typography, rear wrappers; one

copy with food stain on lower portion

but text clear; typographical error in

one copy).

6. Tercer Cuaderno de la Cocina en el

Bolsillo. Colección de recetas para la

economia domestica. 1909, 16p.

(one inch food stain on bottom portion of pages, text is clearly read).

7. Septimo Cuaderno de la Cocina en el Bolsillo. Colección de recetas para la economia

domestica. No date, 16p. (wrappers separated but text and covers in vg condition). Cover

image repeated from 1907 edition above but with different recipes.

. México: A. Vanegas Arroyo, 1910. pict. wrps. 15x9.5cm.

An interesting small collection of illustrated chapbooks by illustrated by Posada devoted to

Mexican cooking. These have variations of typography and the illustrated covers and

vignettes. Volume one copies have same recipes except addition Pulque Rompope recipe in

1910 version, typography and images different with each. Sold as set.

(107757) $665.00

30

34. Sacabo, Josephine. LUX PERPETUA. Text: Sor Juana Ines de la Cruz. Design by

Jacqueline Miro; Original photogravures printed by Meg Turner and Jennifer Shaw;

Letterpress executed by John Fitzgerald; Hand bound by Small Editions Press. New Orleans:

Luna Press, 2017. This luxury edition of 5 signed and numbered book is presented in a silk

box designed and built by Small Editions. It measures 12 ½ x 16 inches. The book is

entirely handcrafted from the binding to the photogravure and silk screen images printed on

handmade Japanese Mura Udaban paper. The 16 leaves of texts printed on both sides are

letterpress on Japanese Sekishu tissue. Lux Perpetua features 20 photogravures measuring

7 ½ x 9 ½ inches and two double-page foldouts, and two full bleed double-page spreads.

"This series was inspired by the life and work of Sor Juana Ines de la Cruz a 17th century

Mexican nun who was one of the greatest poets and intellectuals of the American continent.

She created the most renowned salon of her time from behind the bars of her cloistered cell

and in that cell she studied science and philosophy, wrote poems, plays and music, and

championed women's rights to intellectual and spiritual freedom. In the end after resisting

valiantly for over twenty years, she was silenced by the Inquisition. It is my hope that these

images will help break that silence so that we may once again “hear her with our eyes” This

work is dedicate to women everywhere who, whatever their confines, prevail. They are out

hope....Sor Juana's work seem to me to be enormously relevant today, particularly for

women, because it is the story of a very courageous and gifted woman living and fighting

for intellectual and spiritual reedom,, not unlike the brave women in Iran and Africa, Ciudad

Juarez, or New Orleans for that matter, who are basically fighting the same fight across

continents and centuries-and who have still not won. It's also relevant as a cautionary tale

about the oppressive side of prevailing ideologies, whether it be the inquisition or the

Taliban..."Josephine Sacabo. During her 36-year career, her work has been featured in over

40 gallery and museum exhibition in the U.S., Europe and Mexico. She has been the

recipient of multiple awards and is included in the permanent collections of the Museum of

Modern Art, the George Eastman House, the International Center of Photography, the

Smithsonian Museum, The Library of Congress, among others. Sacabo divides her time

between New Orleans and Mexico. Both place inform her work.”

(108246) $8,000.00

31

35. SALONES PALACIO NACIONAL PHOTOGRAPHIC ALBUM. México, D.F:

Presidencia de la República - Subdirección de Almacenes e Inventario. Dirección General de

Administración 1988 - 1994, 1994. 535 individual photographs (mostly 6x4cm), leather

bound with gold stamped title.

Contains a meticulous inventory of furniture, paintings, accessories and other decorative

elements of the halls of the National Palace in Mexico City. In total, 535 individual

photographs, mostly 6 x 4 cm., are included, which portray all the inventoried pieces. Each

photograph is accompanied by a description and inventory number. The album includes the

different environments, galleries and halls of the National Palace, including the presidential

office, the library, the meeting room, the dining room, etc. Important register of assets

found in the National Palace at the end of the Presidency of Carlos Salinas de

Gortari.(109975) $2,400.00

32

36. SIGLO 1: POESÍA. Numbers: 1,2,3,4,7,8. Editor: Alfonso Loya. México, D.F: 1

(marzo 1964)-1965. 5 issues: 43 x 60 cm. folded to 43 x 10 cm; prints: 28x22cm. b/w and

duo tone ink, b/w plates. (Missing numbers 5,6,9).

A monthly serial devoted to Mexican and Latin American poetry, prose and essays on art

and a graphic print that accompanies each. Some contributors include Homero Aridjis,

Gonzalo Arango (pioneer of the movimiento Nadaista in Colombia), Tilo Wenner (Argentina),

Juan Calzadilla (Venezuela), Nicanor Parra (Chile), Jose Koser (Cuba), Iglesias Roberto

Fernandez (Panama-Mexico). Prints by Fernando Macotela, Emilio Ortiz, Enrique Bessonart,

Carlos Coffen Serpas, Alberto Gironella Ceased with number 9. OCLC only shows 4 copies

with only one complete. Sold as a set(110021) $450.00

37. [Taller de Gráfica

Popúlar]. CALAVERAS

RESURRECTAS: 16 AÑOS

DE CALAVERAS

POLÍTICAS DEL TALLER

DE GRÁFICA POPULAR.

México, D.F: Offset Beltran,

1954. (34) pages. b/w

plates (some fldg.), b/w pict.

wrps. folded folio inserted,

loose as issued Cover title.

(some foxing, not affecting

text; o/w good solid copy).

23 cm.

Linoleum cut prints from

Taller de Gráfica Popular.

"En esta colección de

calaveras han intervenido

los siguientes colaboradores:

Ignacio Aguirre, Luis Arenal,

Raul Anguiano, Alberto

Beltrán, Ángel Bracho,

Arturo García Bustos, Celia

Calderón, Fernando Castro

P., Elizabeth Catlett,

Gustavo Casillas, Miguel

Covarrubias, José Chávez

Morado, Francisco

Dosamantes, Alberto Díaz,

Jesus Escobedo, Gabriel

Fernández Ledesma, Antonio

Franco, Andrea Gómez,

Elena Huerta, Sarah Jiménez

Vernis, Armando Lopez,

Francisco Luna, Leopoldo Méndez, Adolfo Mexiac, Francisco Mora, Isidoro Ocampo, Pablo

O'Higgins, Feliciano Pena, Fanny Rabinovich Ravel, Guillermo Rodríguez Camacho, Mariana

Yampolsky, Alfredo Zalce. Escritores: Gonzalo Beltrán, Juan de la Cabada, Agustín Cué

Cánovas, Luis Córdoba, Pepe Grillo, Renato Leduc, Emmanuel Palacios, Efraín Huerta,

Enrique Alatorre, Jose Perera Castellot, Alejandro Zentebo,"--Inner Verso Cover(109862)

$250.00

33

38. [(Texas Revolution)]. Corro, José Justo. EL PRESIDENTE INTERINO DE LA

REPÚBLICA Á LOS VALIENTES DEL EJERCITO MEJICANO. ¡SOLDADOS! ¡UNO DE LOS

AZARES TAN FRECUENTES EN LA GUERRA HA PURESTO EN PODER DE LOS

ENEMIGOS DE LA INDEPENDENCIA AL HEROICO VENCEDOR DE TAMPICO, AL

PRESIDENTE DE LA REPÚBLICA, Á VUESTRO GENERAL EN GEFE, AL IDOLO DE

NUESTROS CORAZONES, AL INMORTAL SANTA ANNA...NUESTRO DUELO HA

COMENZADO EN EL INFAUSTO 21 DE ABRIL Y DESDE ESE DÍA SE EXPLICA CON

ENERGÍA EL SENTIMIENTO DE VENGANZA EN TODOS LOS PECHO MEXICANOS...AY

DE LOS ENEMIGOS DE LA PATRIA! LOS EXTERIORES SERÁN VENCIDOS: LOS

DOMÉSTICOS CATIGADOS EJEMPLARMENTE SI ALGUNO OSARE EN ESTA GUERRA

SAGRADA ENVILECER Á SU PATRIA UNIENDO SUS CRIMINALES DESEOS Á LOS DE

LOS REBELDES DE TEJAS! Broadside. México: May 19 1836. Broadside. 32x22 cm.

RARE document related to the Texas Republic. Corro's proclamation of May 19, 1836, to the

Mexican people regarding the end of the Texas campaign. It appears to be the first

announcement to the Mexican people os Santa Anna's capture and the defeat of the Texas

expedition with details not present in the May 19, 1836 document signed by José Justo

Corro. It gives details of Santa Anna's capture. It is a separate broadside and we were only

able to document this broadside as reprinted in "Revue deux Mondes (1 julio 1836)" as cited

by Bulnes. Not located in OCLC or Streeter. Streeter 884 and 879 show two related

documents and note that none give details of Santa Anna's capture.

Reference: "Grandes mientiras de nuestra historia", Francisco Bulnes, 1904.(109978)

$22,500.00

39. [(Texas Revolution)]. MANIFIESTO DEL EJÉRCITO QUE HA OPERADO CONTRA

LOS TEJANOS Á LA NACION MEJICANA. Cuartel General en Matamoros, octubre 16 de

1836. San Luis Potosí: Reimpreso en la Imprenta del Gobierno á cargo de Jose Maria

Infante, [October] 1836. Elephant folio broadside, the signatories in double columns. 43 x

31 cm.

Streeter 855 locates but a single copy of the original Matamoros imprint. The army staff

there affirms its loyalty despite the disgraceful defeat at San Jacinto. Once their illustrious

leader, Santa Anna, has been released they vow to fight on in a renewed campaign against

“los rebeldes de Tejas.” OCLC does not show this contemporary reprint (the original

broadside only shows present at Yale and Arlington)(109996) $9,500.00

40. [(Texas Revolution)]. Ortiz Monasterio, José Maria. [DECREE OF THE CONGRESO

GENERAL, APPROVED BY JOSÉ JUSTO CORRO, PRESIDENT AD INTERIM, ON

DECEMBER 30, 1836, AND PROMULGATED THE SAME DAY BY JOSÉ MARIA ORTIZ

MONASTERIO, DIVIDING THE COUNTRY INTO AS MANY DEPARTMENTS AS THERE

FORMERLY WERE STATES, SEPARATING COAHUILA FROM TEXAS, AND

AUTHORIZING THE CENTRAL GOVERNMENT TO LOCATE THE CAPITAL OF TEXAS

WHERE MOST CONVENIENT WHEN ORDER IS RE-ESTABLISHED THERE.]. December

30 1836. Broadside. (Marginal notes fading).

Signed and dated by J. Raf. Canalizo (José Rafael Gómez-Canalizo Bocadillo, b. Querétaro,

Oro., 1791 - Ciudad de México, 1840). General Canalizo was the second governor of

Queretaro in 1829 (military commandant of Querétaro) and later from 1832 to 1833 when

liberal President Valentin Gomez Farias sent a replacement and ordered his apprehension.

He was a fervent military “santannaista” and the brother of D. Valentín Canalizo, the “right

hand” of noted President Ignacio Lopez de Santa Anna. With another sginature of Manuel

Ma(Maria) de Vertize, Oficial Mayor and includes marginal notes. Ref: Eberstadt, "Streeter

882 was unable to locate any other copy besides his own. Had this decree been passed in

34

1833, Texas might be a Mexican State today." Yale Exhibition 94." OCLC shows copies at

Yale, Southwestern University, University of Texas.(109992) $7,500.00

41. [(Texas Revolution)]. Ortiz Monasterio, José María. EL EXMO. SR. PRESIDENTE

INTERINO DE LA REPÚBLICA MEXICANA, SE HA SERVIDO DIRIGIRME EL DECRETO

QUE SIGUE: "EL PRESIDENTE INTERINO DE LA REPÚBLICA MEXICANA, Á TODOS

LOS QUE LAS PRESENTES VIEREN, SABED: México : Primera Secretaria de Estado.

Departamento del Exterior.

, June 18, 1836. (4) pages. Without title page; title from beginning of text. English and

Spanish in parallel columns. At head of title: Primera Secretaria de Estado. Departamento

del Exterior. Other title: Southwestern Boundary Treaty, 1836 (revised) (Marginal notes

faded).

Boundary treaty between Mexico and the United States, decree issued by José Justo Corro,

President ad interim, on June 18, 1836, and promulgated the same day by José Maria Ortiz

Monasterio, communicating the text of the second additional article to the boundary treaty

of January 12, 1828, between Mexico and the United States. With marginal notes. Signed

and noted "En tanto mando se publique y consteste? ... Junio de ... Ramón Covarrubias.

Ramón Covarrubias was the Governor of Querétaro. Not in Streeter. OCLC shows three

libraries with holdings: Southern Methodist University, Houston Public Library, University of

Texas. PARALLEL TEXTS IN SPANISH AND ENGLISH(109977) $14,500.00

42. [(Texas Revolution)]. A REPRINTING FROM EL DIARIO DEL GOBIERNO DE

MEXICO FOR JUNE 15, 1836, BEGINNING WITH AN ARTICLE SIGNED EE DEL

DIARIO, CONDEMNING FILISOLA FOR HIS WITHDRAWAL FROM TEXAS, FOLLOWED

BY THIRTEEN NUMBERED ITEMS CONCERNING GENERAL JOSÉ URRÉA]. Alcance al

num. 139. de la Opinion. Periodico oficial del Gobierno Superior del Departamento de San

Luis Potosí. [San Luis Potosí]: Imprenta del Gobierno á cargo del Ciudadano José Maria

Infante (Impreso de Leona Vicario), June 22 1836. 4 page folder printed on first [3] pages.

; 31.5x21.5 cm.

Condemning General Vicente Filisola for the Retreat of the Mexican Army. On the afternoon

of April 21, 1836, the Texan army, numbering around 900 men and led by General Sam

Houston, routed the larger Mexican army under General (and Mexican President) Antonio

Lopez de Santa Anna in eighteen minutes. The Mexican army was taken completely by

surprise, having been caught unawares during a siesta. The Mexicans lost nearly 700 men

with a further 730 having been taken prisoner, including Santa Anna himself. Many in Texas

called for the head of Santa Anna, but Houston used him to negotiate two treaties, one

public and one secret, which were signed at Velasco, Texas, on May 14, 1836. In essence,

the treaties ended hostilities in Texas and forced the complete withdrawal of Mexico's army

back across the Rio Grande River. Santa Anna's second in command, General Vicente

Filisola, was left with the Herculean task of withdrawing all Mexican forces from Texas

despite the opposition from his fellow officers. Ever the soldier, Filisola dutifully carried out

the orders of his superior. Naturally, the Mexican government did not recognize the Treaties

of Velasco, citing Santa Anna's status as a prisoner of war voided all authority he had to

make any deals, and ordered Filisola to remain on any land previously taken, but it was too

late. Filisola had ratified the treaties and Mexico's troops had already crossed the Nueces

River. The exhausted army would continue its retreat until it crossed the Rio Grande, finally

stopping at Matamoros. On June 12, 1836, Filisola was replaced by General José de Urrea.

he Mexican government publicly condemning Filisola for his retreat in an effort to assuage

the blow to 'national honor.' Titled 'News From Texas,' it begins with an official statement

from the government which reads, in full and in translation: 'Just when we thought things

were going so well with the war and we had practically succeeded in winning it, the

35

vanguard division led by our General President was defeated and our General President

captured. This demoralized the army and it retreated, thereby losing all the territory it had

gained thus far. General Vicente Filisola blindly followed the General President's orders to

retreat, and the Supreme Government forces arrived too late to prevent this from

happening. It is hard to believe that our General President actually wanted the army to

retreat, just when we were at the point of winning the war, as he was much too honorable

for that. It is disgraceful that General Filisola ordered the retreat, knowing full well that he

had the advantage. The enemy would interpret this as though our forces had fled the battle.

But what is even more outrageous, is that General Filisola accepted the enemy's cunningly-

crafted terms when he had no obligation to do so, unlike our General President, who was a

prisoner in fear for his life and recognized the Texan rebels as a legitimate 'Government,'

retreating from Texas without attempting a second assault that would certainly have been

successful. The Government will bring General Filisola to justice and let the Courts decide

his guilt or innocence. 'The Government is doing its duty to the public by publishing this

news, terrible though it may be, in addition to the following strict resolutions it has

considered itself honor-bound to pass. The Government believes there is yet time to bring

matters to a successful conclusion. 'The meritorious conduct of Generals José Urrea and

Francisco Vital Fernandez is worthy of recognition: the nation will be ever grateful for their

distinguished service, for as long as it has subjects as faithful and devoted to the

performance of their duties, the nation may rest in the knowledge that its glory remains

intact.' Following the report are 13 military orders dated May through June 1836 relating to

the appointment of Urrea in place of Filisola as General in Chief of the Texas Campaign.

OCLC shows only one holding at Yale. Reference: Streeter 903(109997) $14,500.00

43. [(Texas Revolution)]. Tornel, José Maria. [DECREE OF THE CONGRESO GENERAL,

APPROVED BY JOSÉ JUSTO CORRO, PRESIDENT AD INTERIM, ON MAY 20, 1836,

AND PROMULGATED THE SAME DAY BY JOSÉ MARIA TORNEL, PLEDGING EVERY

EFFORT TO SECURE THE LIBERTY OF SANTA ANNA, BUT DECLARING, IN SECTION

3, ANY PROMISES HE MAY MAKE WHILE A PRISONER NOT BINDING ON THE

GOVERNMENT.... JUAN JOSÉ DOMINGUEZ,; SAN LUIS POTOSÍ JUNIO 1 DE 1836.

MANUEL LOZANO, SECRETARIO Circulár 39. With heading: Secretaria de Guerra y

Marina con fecha 20 del prosimo pasado me dice lo que copio. San Luis Potosí: Gobierno

Superior del Departamento de San Luis Postosí, June 1 1836. Broadside.

A later, local edition in San Luis Potosí of the original of May 20, 1836. No copies of this

version show in Streeter or OCLC(109995) $6,500.00

44. [(Texas Revolution)]. Tornel, José Maria. [DECREE OF THE CONGRESO GENERAL,

APPROVED BY JOSÉ JUSTO CORRO, PRESIDENT AD INTERIM, ON MAY 20, 1836,

AND PROMULGATED THE SAME DAY BY JOSÉ MARIA TORNEL, PLEDGING EVERY

EFFORT TO SECURE THE LIBERTY OF SANTA ANNA, BUT DECLARING, IN SECTION

3, ANY PROMISES HE MAY MAKE WHILE A PRISONER NOT BINDING ON THE

GOVERNMENT. Mexico: May 20, 1836. Broadside. With heading: Secretaria de Guerra y

Marina. Seccion central.-Mesa 1.a. (Marginal notes faded).

This was passed the day after the capture of Santa Anna had been announced by Presidente

"ad interim" José Juan Corro. This was published on the same day by the Secretary of War.

Signed and dated by J. Raf. Canalizo (José Rafael Gómez-Canalizo Bocadillo, b. Querétaro,

Oro., 1791 - Ciudad de México, 1840). General Canalizo was the second governor of

Queretaro in 1829 (military commandant of Querétaro) and later from 1832 to 1833 when

liberal President Valentin Gomez Farias sent a replacement and ordered his apprehension.

He was a fervent military “santannaista” and the brother of D. Valentín Canalizo, the “right

hand” of noted President Ignacio Lopez de Santa Anna. With marginal notes. Broadside (not

36

4-page folder printed on p. [1] as stated in Streeter 879. Reference: - García Ugarte, Maria

Eugenia. QUERÉTARO. HISTORIA BREVE / preámbulo de Alicia Hernández Chávez—3ª ed.;

Jenkins 181; Streeter Texas 879; Yale. The Only Located Copies of One Hundred Forty

Texas Pamphlets and Broadsides 91. Eberstadt, Texas 162:705. OCLC shows only

microform copies but two copies verified at Yale and Texas Tech.(109993) $12,500.00

45. [(Texas, California, New Mexico)]. Corro, José Justo. MEXICAN DECREE

ESTABLISHING THE DEPARTMENT OF TEXAS (TEN MONTHS AFTER THE REPUBLIC

OF TEXAS). [DIVIDING THE COUNTRY INTO AS MANY DEPARTMENTS AS THERE

FORMERLY WERE STATES, SEPARATING COAHUILA FROM TEXAS, AND

AUTHORIZING THE CENTRAL GOVERNMENT TO LOCATE THE CAPITAL OF TEXAS

WHERE MOST CONVENIENT WHEN ORDER IS RE-ESTABLISHED THERE]. "EL SR

OFICIAL MAYOR ENCARGADO DEL MINISTERIO DE RELACIONES CON FECHA : 20

DEL PROXIMO PASADO DICIEMBRE ME DICE LO QUE SIGUE...EL PRESIDENTE

INTERINO DE LA REPUBLICA MEXICANA SE HA SERVIDO DIRIGIRME EL DECRETO

QUE SIGUE..." Circular Num. 86. San Luis Potosí, México: Gobierno del Departamento de

San Luis Potosi, 7 January 1837. Letterpress broadside. 12 1/4 x 8 1/2 inches; small holes

in left corners, otherwise minimal wear.

A local edition of the decree approved December 30, 1836 by Justo Corro, as interim

president of Mexico, that sets forth a new arrangement of departments, creating the

Department of New Mexico, the Department of the Californias (alta y baja), and more. Most

notably, the Department of Coahuila y Tejas was divided into two departments. As Texas

was by that point under other management, this at least allowed Coahuila to function as a

normal department. Article 4 declares that a new capital for Tejas would be established

once order was restored. This printing was done by the department of San Luis de Potosí, 8

days after the original 30 December 1836 decree, by its governor Juan José Domínguez and

secretary Francisco Estrada. This printing not in Streeter (see Streeter 882). This printing

not found in OCLC.(109371) $4,500.00

46. Torres García, Joaquín. GUIONES, N° 1 AND 2. No. 1. Madrid, Jul, 16, 1933 -- No.

2. Paris, Marzo 5, 1930. Madrid; Paris: Grupo de Arte Constructivo, 1930-1933. 2 issues: 7

pages ea. wrps. (marginal wear and foxing, not affecting text; o/w good copies). 21 cm.

"Guides" were brief pamphlets in which Torres-Garcia condensed his artistic theories into

free verse form. Two small pamphlets. (U.T. Austin catalogue states all were published in

Madrid in 1933, the year before he left Spain). Complete sets of both numbers are

rare.(102632) $950.00

47. [Torres García, Joaquín]. Torres-García, Joaquín. LO APARENTE Y LO CONCRETO

EN EL ARTE, 2-5. Montevideo: Asociación de Arte Constructivo y Taller Torres-García,

1947-8. 4 vols: 45;40;40;64p. plus b/w plates, illus., color pict. boards. (Lacks volume 1).

20cm.

FIRST EDITION. "Estos fascíulos reunirán el texto de las lecciones dictadas ... en la Facultad

de Humanidades y Clencias de [la Universidad de] Montevideo, durante el afio

1947."Compilation of his lectures given at the Facultad de Humanidades Ciencias de

Montevideo in 1947." Complete original

issued in individual parts during 1947-1948. Much expression of the last major change in

his continuing search to resolve his artistic feelings and ideas. This was his last publication

before he died in 1949. See Palau 336968.(94715) $1,900.00

37

48. Torres-García, Joaquín. MISTICA DE LA

PINTURA. Montevideo: Asoc. de Arte Constuctivo,

Taller Torres-Garica, 1947. 46 pages. illus. wrps. (pen

notations and under lining throughout; some chipping

along spine).

Brief monograph in which Torres-Garcia sets forth and

explicates aspects of his theory of constructivism, in

particular the relationship of art to the living human

spirit, which he considers the true or essential core of

reality.(26492) $350.00

49. Torres-García, Joaquín. TRADICIÓN DEL

HOMBRE ABSTRACTO (DOCTRINA

CONSTRUCTIVISTA). Montevideo: Asociación de Arte

Constructivo; La Caño Hnos. Impresores, 1938. (80)p.

illus, wrps. 21cm.

FIRST EDITION. RARE. In 1938 Torres-García finished

the famous "Monumento Cósmico" in the Parque Rodó

and published this title, which he originally created a

manuscript illustrated by hand and which suggests that

the Abstract Man is on the margins of all time and

represents the universal civilizations most admired by

him. The Cosmos lies in the conflict between man and

the individual. “In 1938, when Torres-Garcia wrote “The

Tradition of Abstract Man’ he had been living in Uruguay

for four years. He had returned from Europe to his

native country after an absence of forty-five years. In

Montevideo he soon realized that the artistic atmosphere

was conservative and provincial but that young artist

were eager to learn about the latest art developments in Paris. He formed AAC (Association

of Constructivist Art) in 1935, and in 1944, the Taller Torres-Garcia. There, constructivist

art as well as traditional methods of drawing and painting from the model were taught and

studied. ‘The Tradition of Abstract Man’ is the result of the teaching and lecturing that

Torres-Garcia did during this period. It is a condensed account of his essential

ideas…Torres-Garcia’s concept of Abstract Man, spiritual man, derived from Hellenism,

which, for him embodied the highest human ideals in all the arts as well as philosophy…It

was published in a facsimile of his own handwriting; the size of words and the use of capital

letters are evidence of the importance he gave to a particular word or idea” (Ceclia Buzio de

Torres; Hayward Gallery: Torres-Garcia: Grid-Pattern Sign. London, 1985. pp 103-

111)(94199) $2,900.00

38

50. [Torres-García, Joaquín]. NUEVA ESCUELA DE ARTE DEL URUGUAY: PINTURA Y

ARTE CONSTRUCTIVO: CONTRIBUCIÓN AL ARTE DE LAS TRES AMÉRICAS = THE

NEW ART SCHOOL OF URUGUAY: PAINTING AND CONSTRUCTIVE ART:

CONTRIBUTION TO THE ART OF THE THREE AMERICAS = NOUVELLE ECOLE D'ART

DEL URUGUAY: PEINTURE ET ART CONSTRIJCTIF: CONTRIBUTION A L'ART DES

TROIS AMERIQUES. Montevideo: Publicaciones de la Asociación de Arte Constructivo,

1946. (64)p. b/w and color plates, wrps. (Some chipping on spine with 1/2 inch piece

missing at bottom of spine; o/w fine). 34 cm.

Scarce work that includes the first printing of "La Regla Abstracta" ("The Abstract Rule")

that he hand-lettered and illustrated. Mostly works of Torres Garcia. SPANISH, ENGLISH

AND FRENCH TEXT.(95034) $1,500.00

39

51. Troconi, Giovanni. HASTA

QUE LA MUERTE NOS SEPARE

/ FOTOGRAFÍA. Edición e

impresión a cargo de Giovanni

Troconi. Text: Pablo María

Moline. México, D.F: Troconi-

Letayf, 2017. 12 Fotografías

análogas de 46 X 31 cm printed

on Photo Rag 100% cotton de

Hahnemühle de 305 gramos.

Impresión digital (archival

digital print). Presented in a box

decorated as a wedding cake

topped with a figure of a bride

and groom. 56 X 42 X 13 cm.

LIMITED, SIGNED AND NUMBER

EDITION 1/3. The concept of

the project has to do with the

mistreatment of women and especially with domestic violence that occurs in all social

classes, but with different situations. In this case it is about denouncing this problem in the

Mexican lower middle class.

Inspired by Alejo Carpentier's

(Havana, Cuba, 1904-1980) idea

of "Really Wonderful", the artist

intended to show how, in most

cases, women are forced by the

social context and their family,

especially by the mother, to fulfill

a fatal destiny. In the specific

context of this project, it consists

of the following: With "great

enthusiasm" the mother

accompanies the daughter to buy

the wedding dress in the bridal

market in the neighborhood of La

Lagunilla; the wedding is done

with all the waste and possible

excesses that will surely be well above the family's economic possibilities, aggravating the

economic situation of this. As for the bride, she will fulfill her fatal fate or fatal circle

consisting of marrying, having many children, being mistreated by an alcoholic husband,

ending up abandoned in a deplorable economic situation and with life practically destroyed,

for finally, she in turn , take their own daughter to the same market to choose a wedding

dress, to close the circle that will be transmitted for generations.

(109872) $2,600.00

40

52. (VIETNAM WAR) GROUP OF APPROXIMATELY 96 PRESS PHOTOGRAPHS

RELATING TO AMERICAN INTERVENTION IN THE CONFLICT BETWEEN NORTH AND

SOUTH VIETNAM, WITH IMAGES OF U.S. MARINES AND VIETNAMESE RANGERS

ENGAGED IN COMBAT, SCENES OF CIVILIAN REFUGEES FLEEING OR INJURED,

MILITARY CASUALTIES, CAPTURED VIETCONG PRISONERS, ATTACK BOMBERS,

AND MORE. Silver prints, 8x10 inches (20.3x25.4 cm.), and the reverse, many are

"Radiophotos," with hand stamps and/or lengthy printed captions affixed to verso. 1963-

1967.

Majority are United Press photographs but also represent other international news agencies.

All were used in the newspaper "Mañana" published in Mexico during the War.(109994)

$650.00