Group of Black LGBTQ+ Club Ephemera, San Francisco

Group of Black LGBTQ+ Club Ephemera, San Francisco, ca. 1970-1973. Seven broadsides and handbills: four 215 x 280 mm, two half-sheet handbills approx. 215 x 115 mm, one smaller, approx. 77 x 109 mm.; four black and white, three on colored papers, one broadside pierced at corners from orig. staples, else VG+.

Scarce documentation of social spaces for transgender people of color in the 1970s. Bo Jangles, a.k.a. Bojangles, was a black-owned club at Larkin and Ellis in “Polk Gulch,” the center of San Francisco’s LGBTQ+ bar scene in the 1960s and 1970s. It is described by trans activist Red Jordan Arobateau in his semi-autobiographical novel “Autumn Changes,” as an “all black [Soul] club full of sissies, dikes, studs and a few straight customers. Transsexual queens black as Cleopatra reign in full face, form & fashion. And small drag butches congregate; a few are ex prison inmates; and two of the most successful black lesbian pimps come down with their string of ladies for a night out on the town.” Weekly “taped” soul nights are advertised here along with live latin fusion music from bands Christian Black and Black Magic.

In the mid-1970s Bojangles relocated to the Tenderloin(?), where it continued to cater to a “black and brown queer crowd.”

$550

Rays of Sunlight from South America

Gardner, Alexander [and Henry De Witt Moulton]. Rays of Sunlight from South America. Washington, D.C.: Philp and Solomons, 1865. Oblong folio with 68 of the 70 original plates. Each with albumen print mounted recto, image approx. 17.2 x 22.5 cm, with letterpress caption and credits (Gardener for the “positive”; Moulton for the “negative”) on mount. Some mounts with minor soiling or damp stain to edges, not affecting images. Lacking front album cover, title page, preface and 2 plates (nos. [1] and [2]).

Monumental photographic album printed by famed Civil War photographer Alexander Gardner from negatives by an itinerant American photographer, Henry De Witt Moulton. Moulton’s photos of Lima and the Chincha Islands were taken while he was living in Peru, sometime between 1860 and mid-1863, when he returned to the US. The size of the edition is unknown, though it was printed around the same time as Gardner’s Photographic Sketch Book of the War (and advertised with it in early 1866), copies are exceedingly rare.

The album’s significance has been chronically underestimated. It provides fascinating transnational and bibliographic context for the better known Photographic Sketch Book, and comprises the most comprehensive photographic evidence of the historic guano deposits and the laborers who worked them. Gardener’s selection of 38 (36 in the present copy) views of Lima and Callao for the opening section of Rays of Sunlight largely follow other contemporary images of the capital’s major monuments. The extraordinary nature of the album lies instead in Gardner’s addition of 32 of Moulton’s unique “views of those celebrated Islands situated within the rainless region of the Peruvian Coast, and which furnish the richest fertilizing material known to agriculture.”*

In the early 1860s the Chincha Islands’ guano heaps were the world’s most important source of fertilizer. Revenues from the nationalized deposits paid for much of Peru’s public works from 1840-1870, including construction of the railways that crossed the Andes. Even more importantly, guano income was used by the state to free its black slaves and to abolish poll taxes on indigenous citizens.

Despite these progressive measures, the Chincha Islands’ guano piles were worked by prisoners and indentured Chinese laborers who were brought to Peru in large numbers under a policy known as Ley China to replace freed slaves in all aspects of industry and agriculture. Nearly half died from ill-treatment and overwork in one of the lesser-known and grim episodes of British Imperial human trafficking. Moulton’s “most interesting images concerned the soon to be depleted guano itself and the process used to exploit it.” His dramatic photos are the primary source for nearly all the existing photographic evidence of the Islands and the people who worked there, including scenes of the “Great Heap” with workmen loading rail cars, others of craft transporting the cargo to ships and piers, and poignant images of the laborers who Moulton seems to have seen as victims of exploitation. A small church for the workers appears three times; in one the prisoner-laborers are surrounded by armed soldiers while they kneel outside during Sunday services. Gardner’s rich contact prints preserve these minute details and the subtle value transitions captured in Moulton’s negatives.

In April 1864, just before Gardner assembled the album, the Chincha Islands became an object of great concern for the US when Spain seized them “as part of European efforts to re-establish colonial rule in South America while the United States was preoccupied with its Civil War.” He foresaw the historical value of the work when he wrote in his preface “In after times, these sketches of the Chincha Islands will have a peculiar interest [...] The original estimate of the length of time—one thousand years—that this deposit of the Chincha Islands would suffice for the wants of the world, is destined to prove fallacious. So great has become the demand for it that half the deposit of the largest island has been removed already; and the probabilities are, that in twenty years the supply will be exhausted.”

Four copies are recorded in three public collections: the Library of Congress, the New York Public Library, and the Public Library of Cincinnati. Two other copies have come to auction in the last 30 years. The most recent, a complete copy offered at Swann, sold for $35,000 in 2012.

$18,000

Isabelle Lausent-Herrera (2009). Tusans (tusheng) and the Changing Chinese Community in Peru. Journal of Chinese Overseas 5: 116.

Keith McElroy (1984). Henry De Witt Moulton: Rays of sunlight from South America. History of Photography, 8:1, 7-21.

Nineteen Press Photographs of Havana Riots, President Céspedes, and La Pentarquía

(Cuba) Nineteen Press Photographs of Havana Riots, President Céspedes, and La Pentarquía, 1933. Vintage silver prints, trimmed to various sizes, most close to 16.5 x 11.5 cm. Sixteen with typed English captions pasted verso, all with Vidal (Madrid) stamps, some with editing pencil marks, also verso. Lightly worn, three groups of prints (4, 2, and 2) taped together by a contemporary newspaper editor for layout. Overall VG.

Dramatic photographs taken during the first “Cuban crisis” of August-September 1933, including the Havana strikes and riots that led to the resignation and exile of President Gerardo Machado, the formation of a provisional government under President Carlos Manuel de Céspedes, and the subsequent coup d’etat that led to the latter’s removal and the establishment of the Pentarchy coalition.

The majority are focused on looting and violence in front of the Presidential Palace and the offices of El Heraldo newspaper in August 1933. Two captions identify members of the ABC resistance and other student organizations that fought against Machado and “El Porra,” the regime’s secret police.

Several other images show the Céspedes cabinet and moments from during the Sergeant’s Revolt in which it was overthrown. The constitutional crisis began decades of political instability and US interference, leading directly to the Batista dictatorship and eventually, to the Cuban Revolution.

No photographer identified but the captions were supplied by a US news organization. Stamps identify a Spanish agency founded by José Vidal.

$1500

25 Photographs

García, Héctor. 25 Vintage Photographs, ca. 1956-1966. Gelatin silver prints. Ranging from 12.5 x 17.5 cm to 25 x 20 cm, most 17 x 20 cm or larger. All with studio stamp verso, some with penciled inscriptions, five with editor’s red pencil cropping marks recto. One with date stamp 1966 verso, one inscribed 1956 by HG, 2 with lengthy penciled captions in HG’s hand, others with penciled annotations verso possibly in HG hand. A few slightly rippled, minor wear to edges and surfaces, most VG+.

Acclaimed Mexican photographer Héctor García (1923-2012) began his six-decade career as a student of Manuel Álvarez Bravo and Gabriel Figueroa at the Academia de Artes y Ciencias Cinematográficas. Inspired by Álvarez Bravo, García became a photojournalist, celebrated for his social criticism and images of Mexico City. From the late 1940s onward, the core of his work was street photography, taken during daily walks through the poor and working-class areas of the city where he grew up. García defined himself this way (“yo soy un fotógrafo callejero”) and “posited street photography as central to the medium itself by stating that ‘el mundo de fotógrafo está en la calle, y que allí está el elemento esencial para lograr buenas fotografías: el aspecto humano’ (the world of the photographer is the street, for it is there that one finds the element essential for good photographs: the human factor).”

He also won awards for his documentation of national protest movements in 1958 and 1968, and created well known portraits of his friends in the city’s artistic and intellectual circles, including Frida Kahlo, David Sisquieros, Dolores del Río, Octavio Paz, and Maria Félix.

The present group epitomizes his artistic talent and the contradictions he witnessed in a postrevolutionary Mexican society that idealized rural peasant life while nurturing anxiety over the growing importance of urban youth culture. “The period during which García began to work professionally coincides with President Miguel Alemán’s milagro mexicano (Mexican miracle, 1946–1952), an era of intensive urbanization and industrialization.” Images of laborers, children, and the homeless, as well as dynamic portraits of the transnational Pachuco culture (which thrived in the 1950s in lower class neighborhoods like Tepito); street barbers and musicians; and one of García himself, surrounded by children in a slum, all represent an emerging “modern” Mexico in great contrast to the one popularized by Alemán’s patriarchal, authoritarian PRI.

In 1950 he founded his own agency, Foto Press, and unlike many other photographers of his generation, was able to retain the rights to his work. The inexpensive papers and editorial notations and cropping marks (some of which are in García’s hand) are revealing of his working practices and speak to his commitment to photojournalism as both an art and information. Representing himself, he was able to actively collaborate with photo editors, as well as a number of writers, including Carlos Fuentes, Elena Garro, and Elena Poniatowska.

Despite the historical significance of his massive archive, holdings of vintage García prints are scarce in US institutions and often limited to celebrity portraits.

SOLD

Contents list available on request.

See Jesse Lerner, “The Proletarian Camera: Héctor García and the Reconfiguring of the Mexican Street,” in Ghosts of the Mexican Revolution in Mexican Literature and Visual Culture, pp. 191-218.

Offered in collaboration with Auger Down Books.

Para las Madres ...

(Maternal Health and Child Care) (Eugenics) Departamento de Salubridad, México. Para las Madres …. México, D.F.: D.A.P.P., 1939. 8vo, 64 pp.; 8 b/w pls., in pictorial stapled wrappers, rubbed and sunned. Good.

Propagandistic public health booklet promoting the connection between healthful, clean mothers and children and a strong society and nation. Including a section on the “certificado pre-nupcial,” a required premarital medical exam that was a part of the post-Revolutionary regulation of the national (“la gran familia mexicana’‘) family. The Mexican Eugenics Society was actively involved in the creation and implementation of these laws. Focusing on hygiene and care before marriage, during pregnancy, birth, and infancy, with sections on STDS, labor, early schooling, and the prevention of common infant diseases.

$95

El Paraíso de los Dulces Mexicanos

Galeria Universitaria Aristos. El Paraíso de los Dulces Mexicanos. México, D.F.: Universidad Nacional Autónoma de México, n.d. [1968]. Square 8vo, [16] pp.; primarily visual, some reproductions in color, with [2] pp. wove paper insert. Stapled color pictorial wraps, extremities worn.

Exh. cat. exploring the sculptural artistry of Mexican confectionaries. Surrealist and Pop overtones. With text and images by artists associated with UNAM in the late 1960s including Olga Costa and Victor Fosado.

OCLC finds one US holding: UCSD.

$75

Atlas de las Nubes para el Servicio meteorológico de la República Mexicana

Pastrana, Manuel E. Atlas de las Nubes para el Servicio meteorológico de la República Mexicana formado por Manuel E. Pastrana i del Observatorio Meteorológico Central de México [...]. Boston, MA: Heliotype Co., 1906. Oblong 4to, [9] leaves, 61, [4] pls.; introduction by Pastrana followed by plates, nos. 1-20, 22, 29, 31-34, 41-58, and 60 in color, very good; stamped publisher’s cloth with marbled endpapers; boards rubbed, corners bumped. Numbered 135 in ink on title, from stated edition of 1000.

The first cloud atlas produced for use by the Mexican meteorological service; most images reproduced from photographs taken at La Escuela Industrial Militar Porfirio Diaz in Morelia, Mexico. At the time of printing, the national meteorological service was comprised of 49 observatories, including one in each state. Each reported by telegraph to the central observatory in Tacubaya. The atlas’s classification and captions follow the recommendations of the 1891 International Meteorological Conference, Munich, and the first International Cloud Atlas (Hildebrandsson, Riggenbach, and Teisserenc de Bort, 1896).

Four US holdings listed in OCLC: UT, UNM, SDSU, and Stanford.

$1500

El Ĉina fotografia arto: kompilita de la redakcio de “Ĉina Fotografio.”

(Photography) (China) (Esperanto) El Ĉina fotografia arto: kompilita de la redakcio de “Ĉina Fotografio.” [Beijing], China: Ĉina Esperanto-Ligo, 1963. Square 8vo, 112 pp.; chiefly illus., a few in color, lightly toned with a few small internal marks; publisher’s boards in pictorial dust jacket, corners bumped, dust jacket worn with significant losses.

Anthology of Chinese photography, published by the Chinese Esperanto Association of Peking (Beijing). The Esperanto introduction describes the national character of the emerging Chinese photographic style, one in which art is always in service to the workers, and the communist cause. Photography may also be a “weapon against imperialism.” Full-page reproductions with captions in Esperanto, photographers identified. Various genres represented, including landscape.

Single North American holding in OCLC: UCSD.

$30

Attenzione! Si avvicinano i “liberatori” anglo-assassini…

(Propaganda - Fascist) Attenzione! Si avvicinano i “liberatori” anglo-assassini… [Milan?], nd., ca. 1943. Poster printed in black and red, approx. 22-¾ x 19-¼ in.; toned, creases from vertical and horizontal folds, splitting at center; edges a bit worn, some foxing verso.

Poster warning inhabitants in German-controlled northern Italy of the dangers of the advancing Allied forces. “Reds,” “Jews,” and “hyenas of the air,” are coming for Italian women and children, converting them to their side with sweets and cigarettes.

OCLC locates one holding, at the Hoover.

$225

Elezioni Politiche 1913. Noi Anarchici.

(Anarchism) Elezioni Politiche 1913. Noi Anarchici … Broadside, 13 x 18-½ in.; creased, bottom edge roughly trimmed, typographic irregularities. Np, nd [1912-1913].

Anarchist broadside protesting the quasi-universal male suffrage granted to Italian men over 30 by the “moderately progressive” government of Giovanni Giolitti in 1912. The enfranchisement extended the vote to the very poor and illiterate, with the dramatic impact of trebling the electorate (from 3 to almost 9 million voters) in advance of the 1913 elections. The far left parties (Estrema) did not support the franchise; here anarchists protest it as a bourgeois “swindle,” keeping intact economic tyranny and solidifying the power of the political elite.

Italian anarchists were influenced by Mikhail Bakunin, who wrote “the whole system of representative government is an immense fraud resting on this fiction [of political liberty in the popular vote] ... Political power means domination.” (In fact, the “democratized” 1913 elections resulted in no representative gains by the revolutionary or working class parties of Estrema.)

$175

Grand Torneo Internazionale di Lotte Feminili al Salone Margherita

(Women) (Sport) Grand Torneo Internazionale di Lotte Feminili al Salone Margherita. Rome, 1912. Concertina booklet, closed: 5-½ x 3-⅜ in., illus. with ten portraits of the fighters, from England, Europe, Russia, and the US; some usual wear, esp. at folds.

Promotional booklet for a women’s wrestling tournament held an evening variety show at a well-known Roman theater. Photographs of each contestant are reproduced with captions identifying their last name, nationality, and weight. The earnest, athletic presentation of the “national champions” in this booklet was unusual for a sport regarded largely as entertainment. This style of presentation may have been related to contemporary interest in the international competition of the V Summer Olympiad, which opened the same month

We could not locate any other record of the tournament or the participants. Women’s wrestling was not included as an Olympic sport until 2004.

$900

30 Years of Amalgamated Cooperative Housing, 1927-1957

(Cooperative Housing) (Amalgamated Clothing Workers of America, AFL-CIO) Amalgamated Housing Corporation. 30 Years of Amalgamated Cooperative Housing, 1927-1957 [title from cover]. [New York]: [Amalgamated Housing Corporation], [1958]. 4to, [30] pp.; profusely illustrated, reproducing b/w photos and color charts; in stapled pictorial wraps, lightly worn, VG.

Sponsored in 1927 by the Amalgamated Clothing Workers Union, the Amalgamated Housing Corporation was the first limited equity housing cooperative in the United States. From its first site in the Bronx it eventually grew to encompass additional communities in Manhattan, including Amalgamated Dwellings and Hillman Houses on the Lower East Side.

The narration of Amalgamated’s success is accompanied by photos, maps, floor plans, and infographics that exemplify mid-century graphic design. Introductions by Jacob Potofsky and Abraham Kazan.

$150

Sous la jupe: illustré

Maindouce, G. Sous la jupe: illustré. Paris: Les Éditions du Couvre-Feu, n.d. [ca. 1933-1935]. 8vo, 115 pp.; erotic fiction illustrated with 28 b/w pls., most printed recto, some also verso; in orig. wrapper with color d.j., d.j. beginning to split at spine, edges worn, else very good. D.j. with misprint “Nombreuses illustrations sujestives” [sic] described by Pia.

Éditions Couvre-Feu was one of a number of imprints founded by Léon [a.k.a. Victor?] Vidal under the larger umbrella of his erotic publishing and fashion group, Société des Éditions Gauloises. Couvre-Feu specialized in pseudonymous fetish, sadomasochist, and bondage literature; illustrated with fetish photography by Studio Biederer and from the archives of Vidal’s other business, the lingerie company Diana-Slip, whose catalogue included anonymous fetish images by Brassaï, Kertesz, and Roger Schall.

Several editions bearing the title “Sous la jupe” were issued by Couvre-Feu between 1933-1935. They differ considerably from this rather avant-garde example and priority has not been convincingly established: one was unillustrated, another included extracts of several erotic stories with only scattered illustrations, a third was a promotional list of erotic publications, and an English variation was issued by Éditions Richepanse in 1935. Nevertheless, it is possible to match some of the “detourned” images in this artistic edition to others by the Studio Biederer and from the Diana-Slip catalogues.

Though recorded in Pia, P., Livres de l’Enfer, this version and d.j. seemingly uncommon, OCLC locates no holdings of this edition in North America.

$450

Radioactivo: Poderoso Fertilizador y Estimulante Para La Vegetación

Banco del Radium [Banque du Radium, Paris]. Radioactivo: Poderoso Fertilizador y Estimulante Para La Vegetación [title from wrapper]. Barcelona: [Banque du Radium] and [R. Cumellas], [1915]. 8vo, 8 pp.; in Spanish, some translated from French, printed in green, with historiated initials, near fine.

Attractive art nouveau promotional booklet for radium soil enrichment, from a period of explosive popular interest in radium. The text compares the “therapeutic” action of radium in agricultural applications to those in human medical treatments—combating unknown “infirmities” and cultivating new vigor.

Published by a Spanish representative for the radio-agricultural firm Banque du Radium, Paris. BDR was established by a friend and sponsor of Marie Curie, the French industrialist Emile Armet de Lisle. Armet de Lisle also published the journal Le Radium.

Uncommon, we locate no other examples of Banque du Radium or Banco del Radium promotional materials in OCLC or the trade.

$225

En La Ruta De La Amistad. México 68: Programa cultural de la XIX Olimpiada

Comité Organizador de los Juegos de la XIX Olimpiada. En La Ruta de La Amistad. México 68: Programa cultural de la XIX Olimpiada. México, D.F.: 1968. Spanish edition. Square 8vo, [44] pp.; each artist’s project illus. in b/w with route map and bios, sl. toned; in pictorial color wrappers with design attributed to Lance Wyman, extremities rubbed, fore-edge thumbed; good.

Catalogue of an ambitious public sculpture project designed to “bring contemporary art and the public together through total planning.” All the works were commissioned by an Olympic Committee and executed in concrete. Participants included: (in order of appearance) Ángela Gurría; Willi Gutmann; Miloslav Chlupáč; Kioshi Takahashi; Pierre Székely; Gonzalo Fonseca; Costantino Nivola; Jacques Moeschal; Todd Williams; Grzegorz Kowalski; Clement Meadmore; Herbert Bayer; Joop J Beljon; Itzhak Danziger; Olivier Seguin; Muhhammad Maliihi; Helen Escobedo; and Jorge Dubón. The monumental works lined the “Route of Friendship” leading to the Olympic Stadium. Most remain in their original sites, despite being abandoned by the government.

A scarce iteration of the iconic ‘68 Olympic graphics. New scholarship credits Beatrice Trueblood, director of Olympic publications, and the architect Pedro Ramirez Vazquez, for the design, in addition to Wyman.

$325

Rauschenberg: Selections

Rauschenberg, Robert. Rauschenberg: Selections. Catalogue of an exhibition held at the Fort Worth Art Center Museum, January 5 – February 2, 1969. Fort Worth, TX: Fort Worth Art Center Museum, [1968]. 4to, [46] leaves, incl. intro, descriptive and critical “collage,” [12] plates with b/w reproductions of artworks from the exhibition, exh. checklist, and bio; in orig. pictorial wraps, spine reinforced with tape, splitting at foot; ex-library with shelf mark sticker to front cover.

In a short intro, the museum’s director, Henry T. Hopkins, writes that he wanted to bring a substantial exhibition of the artist’s work to the state where he was born (and where it had rarely been seen). After meeting the artist to discuss the catalogue and face the “vexing problem of more words on art,” they decided to create a kind of collage of previously published writing. “Ideally the mild frustration produced by reading it will be a reminder of the interplay between art and life and as such, a reflection of Rauschenberg’s chosen realm.”

Rauschenberg put similar ideas to work in his well-known Abrams monograph, published the following year.

$759

Aire. No. 1 (Junio 1937) through No. 4 (Primavera 1938) (all published)

Aire. No. 1 (Junio 1937) through No. 4 (Primavera 1938) (all published). Barcelona: N.p., 1937-1938. 4to, 12-1/2 x 9-3/8 in., four issues: [48], [72], [74], [76] pp.; full-page illustrations throughout, incl. b/w reproductions, experimental typography and design, numerous multicolored printing techniques, with overlays and varied papers, corners bumped with a few creases and scattered toning to interior, No. 1 with horizontal edge loss on two leaves not affecting text or images, No. 4 with small dampstain to forecorner on a few central leaves, not affecting text or images; spiral-bound color pictorial wraps, Nos. 2 and 4 a bit foxed and worn at the edges and wire, No. 1 with small closed tear at foot of front wrap.

A complete run of “one of the most luxurious and visually dynamic publications of the [Spanish Civil] war.” This short-lived avant-garde aviation serial was published during the war under the direction of the Republican Air Force. The contents are antifascist and literary, promoting solidarity with the Popular Front, the USSR, and Mexico. Wartime aviation news is interspersed with articles on artistic and cultural topics, poetry, photo essays, and advertisements. The first issue’s somber and poetic epigraph belies the exuberant graphics: “Al hombre le nacieron alas … Cuando conquisto el cielo, quiso destruir la tierra.”

Artist Salvador Ortiga, known for his political graphics, was responsible for the dramatic covers and probably much of the design. Ortiga was arrested at the end of the war and died in a notorious Nationalist prison camp in 1939.

An oft-cited highlight of Guerra Civil print culture, rare complete. OCLC lists three North American holdings: UI-UC, UPenn, and Princeton.

See Jordan Mendelson, Revistas y Guerra, 1936-1939, Museo Reina Sofia, Madrid, 2007.

$2800

Collection of 31 photographs of Chilean modern dance pioneer Andrée Haas

[Modern Dance] [Chile]. Collection of 31 photographs of Chilean modern dance pioneer Andrée Haas. Comprised of 21 medium format prints: each trimmed to approx. 9 x 6-1/2 in.; and nine other prints: seven approx. 5 x 7 in. and two smaller; together with an undated playbill for a Andrée Haas performance at the Teatro Municipal, Santiago de Chile: 12-3/4 x 9-1/8 in. Fourteen of the photographs by Ignacio Hochhäusler, identified by recto ink signatures and/or studio stamps verso; six by Georges [Jorge] Sauré, signed in ink recto. Most good with light rubbing or toning, some with adhesive or adhered paper verso, a few edge worn, two with small losses at edge. Santiago de Chile: ca. 1930-1940.

Early modern dance in Chile was influenced greatly by the Swiss dancer Andrée Haas (1908-1981), a student of Émile-Jaques Dalcroze and founder of the first modern dance program at the University of Chile in 1928. Along with her colleague Elsa Martin, who studied with Mary Wigman, Haas taught new approaches to dance influenced by modern music, psychoanalysis, and personal expression.

Haas included coursework in gymnastics, eurhythmics, free dancing, choreography, pantomime, and other techniques drawn from Dalcroze, Wigman, and Rudolf Laban. As the only modern dance teacher in Chile until the late 1930s, her classes were the principal origin for most of the first generation of Chilean modern ballet dancers, including Malucha Solarí. Her program and many well-reviewed performances in Santiago during the 1930s have been described as a critical element of the explosion in public appetite for avantgarde arts in Chile during this period. These performances came well before Kurt Joos’s South American tour in 1940, often described, perhaps unjustly, as the seminal moment in Chilean modern dance history.

This group of photographs documents the expressive and gestural movement that Haas popularized in Chile. Many of the prints are by Georges [Jorge] Sauré and Ignacio Hochhäusler, both well-known portraitists of Chilean artists and intelligentsia.

Most of the images are identifiable as Haas, ca. 1930, from a similar image in the catalogue of the Salon des Independientes, 1931. A few photos somewhat later, two group photographs, and two headshots of other performers, probably Elsa Martin.

See María José Cifuentes, Historia Social de la Danza en Chile (Santiago: LOM Ediciones, 2007); Andrée Haas, “La Escuela de Danza del Instituto de Extension Musical,” Revista Musical Chilena, Año I, No. 7-8 (1945): 19-26; Eduardo Lira Espejo, “La Danza Sintesis Expresiva,” Revista de Arte Vol. 3, No. 13 (1937): 22-26; and Yolanda Montecino de Aguirre, “El ballet nacional chileno: perspectiva histórica y humana,” Revista Musical Chilena, Año 16, No. 80 (1962): 9-30.

$2250

Çayir Yapraklari (Leaves of Grass)

​Whitman, Walt. Trans. Suat Tașer. Çayir Yapraklari [Leaves of Grass]. Ankara: Buket Basimevi, 1961. Oblong 12mo unfolds to 6 x 23 cm; 19 pp. excerpted translations from Whitman’s Leaves of Grass, incl. 5 pp. intro. (in translation) by prominent American editor and socialist Max Eastman; color illus. wrpps. toned with two small stains (one from staple) on front wrap. Signed and inscribed by Taser, an important poet and political activist, on the first leaf.

Scarce, OCLC finds only 3 copies in North America.

$325

COLLECTION OF PROPAGANDA PHOTOGRAPHS OF THE SECCIÓN FEMENINA

40 silver gelatin prints: 36 approx. 5 x 7”, near fine, all stamped verso identifying two SS-PK photographers, [Bruno] Wisniewski and Ege, some with a “Sachregister” stamp and numbered pencil annotations verso; 3 smaller, approx. 3 x 4”, good; one 4 x 6” mounted to toned card, rubbed with a few scratches.

The Sección Femenina [SF] was officially recognized by General Franco following the end of the Spanish Civil War in 1939. Its mandate was to organize and educate women to be full participants in the reconstruction of the nation according to Falangist/fascist principles. To this end the SF had to reconcile politically conservative and religious (Catholic) doctrine with the modern social realities of the 1940s. It found itself in the awkward position of arguing strongly for the higher education of women and girls while rejecting “feminist intellectualism”. Similarly, it had to promote the ideal woman at home while providing a model for women whose membership in the workforce was an economic necessity.

The model of ideal femininity central to this mission had to be flexible enough to contain these contradictions. The photos in this collection exemplify this elastic image of womanhood, depicting SF leaders and members engaged in the wide variety of activities promoted by the organization. These include history and music classes, field hockey, cooking, sewing, childcare, and patriotic events. As a group they reflect the inherent ambivalence of the SF: an independent and powerful network of educated women that offered its members “an unusual level of public activism, both professionally and politically”, while preaching traditional ideology.

The Nazi Waffen-SS Propagandakopanien (SS-PK) was formed in 1938 to provide wartime propaganda to domestic German audiences. SS-PK photographers were embedded in armed divisions and diplomatic corps; these photos of the Sección Femenina were probably taken between October 1940 (when Hitler and Franco met in southern Spain) and late 1941, when relations between the two countries deteriorated as it became clear Spain would not officially enter the war. The names of the two photographers appear in other SS-PK records.

$2250