La Ciudad Anarquista Americana

Quiroule, Pierre [pseudo. Falconnet, Joaquín Alejo]. La Ciudad Anarquista Americana: Obra de construcción revolucionaria con el plano de la ciudad libertaria. Buenos Aires: La Protesta, 1914. First edition. 18.5 cm, 283 pp.; the color folding map, 52 x 46 cm, present but loosened, a few small splits along creases; front wrapper lacking, spine and rear wrapper worn, losses at head; first signature stapled; small loss to forecorner of title page.

¡Queremos luz, queremos aire, queremos sol… y en vuestras ciudades y en vuestra organización social solo hay asfixia y tinieblas! [We want light, we want air, we want sun… and in your cities and in your social organization there is only suffocation and darkness!]

Extraordinary document of Latin American anarchist thought and urban planning, and a groundbreaking example in the history of utopian literature, almost unknown in English-language accounts.

Author Pierre Quiroule was a prolific anarchist writer in Argentina where a flourishing worker’s movement in the early 20th century produced numerous anarchist newspapers and periodicals that dominated the revolutionary press. Anarchism was a significant influence in Argentine intellectual circles and politics from 1890-1920, despite being marginalized in many scholarly accounts. (1) This is the context for Quiroule’s most important novel, “of crucial importance to understanding Argentine utopianism” (2) and how the utopian myth shaped national literature and identity. La Ciudad Anarquista distances itself from traditional (European) utopian fiction, which often takes place in ambiguous post-revolutionary eras and fantasy non-spaces, replacing them with definitively New World topographies and a story that highlights the painful transition from capitalist and monarchist society to an anarcho-communist future.

Anticipating some of the challenges of the Russian Revolution in 1917, Quiroule’s novel describes several rounds of political and social transformation, the first is a coup d’etat against the capitalist regime; the second is a revolution against the authoritarian communist state which replaces it. “The Anarchist City of America’s originality resides in the raising of these questions which had never before been addressed by utopian novels.” (3)

Quiroule identifies the metropolis as the corrupting organizational factor of the communist state, and proposes a new way of living in urban communities integrated with nature. For these descriptions he is clearly indebted to the literary examples of William Morris and Joseph Déjacque as well as the political theories of Piotr Kropotkin. Although he comes to some rather absurd conclusions about anarchist clothing and diet, he proposes a number of prophetic ideas about renewable energy (solar, wind, etc.) and the collectivization of land that relate to recent anarchist experiments.

Scarce: not reissued until 1976 and still unavailable in translation; no records of public sales; and only three OCLC holdings in North America: UFL, Washington U, and UNM.

HOLD

NOTES:

1. Santiago Juan-Navarro. “The Anarchist City of America: Libertarian Urban Utopias in the New World.” Atenea 29.1 (2009): 102.

2. op cit.

3. op cit., 105.

El Movimiento Estudiantil: Three Posters

El Movimiento Estudiantil de 1968: Three Posters. México: 1968. Donde hay lucha hay sacrificios [...], linocut?, 34 x 47 cm, center crease, newsprint toned as expected; Asesinos. Pueblo: el gobierno te engaña [...] ¡Despierta!; 29 x 43 cm, an uneven impression, colored ink slightly faded, typical minor soiling and staining for a protest poster; and Untitled [after Adolfo Mexiac]; offset?; 44.7 x 29.8 cm, unevenly trimmed.

Rare surviving graphics from the 1968 student protest movement in Mexico City, which ended shortly before the ‘68 Olympics on October 2nd with the infamous Tlatelolco Massacre. The posters were printed rapidly and inexpensively during the summer and early fall for use during massive demonstrations and as street propaganda. They were primarily created by student collectives at the San Carlos and La Esmerelda art schools using linocut and silkscreen in addition to offset presses. In addition to original artwork, the artists appropriated militant imagery and text from previous social protest movements and legendary Taller Grafica Popular prints.

This group includes two uncommon examples together with a variation on a famous Adolfo Mexiac linocut that was repurposed (with the artist’s permission) during the protests. The juxtaposition of student artwork and protest language with the official Olympic graphic, as seen on the Asesinos example, was a hallmark of many of the ‘68 poster designs.

The first example is known from a copy in the UNAM archives, but otherwise unrecorded in OCLC holdings; we are unable to find location information for a copy of the second despite its reproduction by at least one blog. The third is a curious version of the Mexiac image, slightly altered from most period examples available for comparison, and evidence of the print collectives’ ongoing process of iteration and reproduction.

$1500

Por Que luchan las mujeres

(Mexico) (Feminism) [Chato, Illus.]. Por que luchan las mujeres. Mexico City: 1978. Broadside, 40 cm x 60 cm. Mild fading and toning, a few small chips to blank edges. Creased where folded. Signed “CHATO” in plate.

Poster advertising a feminist lecture series organized by teachers and students from the Physics and Mathematics department of UNAM. Listing the names and titles of the four lecturers and their presentations, including “que es feminismo” by Guatemalan poet Alaide Foppa [shortly before her disappearance by Guatemalan government forces]; “que es el sexismo” by renowned journalist Esperanza Brito; “la mujer en Mexico” by Elena Urrutia; and “alternativa politica” by anthropologist Marta Lamas.

The late 1970s marked an important shift in the Mexican feminist movement, as it aligned more closely with other leftist and worker’s movements. Foppa was the cofounder of the feminist journal Fem, and Brito was its director.

Not in OCLC or market records.

SOLD

Eight Spanish Republican Women’s Groups’ Handbills and Flyers

(Anarcho-Feminism) (Guerra Civil) (Suffrage) (Songs) [Agrupación Mujeres Libres; La Secció Femenina del Bloc Obrer i Camperol; Las Agrupaciones Femeninas del Partido Radical, et al.]. Eight Republican Women’s Groups Handbills and Flyers, ca. 1934-1938. Np, nd. [Barcelona, Madrid, et al.]. Various sizes ranging from 31.5 x 22 to 16.5 x 16.5 cm; all but one printed recto only, fragile papers with minor fraying and small closed tears or nicks throughout. One green paper foxed. One illustrated, linocut?

Rare ephemera from various Republican women’s political organizations during the Spanish Second Republic and the Civil War, these handbills express outrage with the failures of certain political leaders and parties, and appeal to women to vote (as proletariat workers; domestic laborers, and mothers). Women’s suffrage was established in 1933; these examples attempt to enlist their support for the FAI and CNT, Catalonian Independence, and voluntary military service, among other issues.

One important sheet contains two coplas (folk songs) first published in the anarcho-feminist “Mujeres Libres” magazine: “El sambenito” and “Alto la Revolución.” These represent the complexity and despair of the counter-revolutionary movements building at the end of the Civil War.

None of the present examples are recorded in OCLC collections.

$1200

1a Exposició de Cartells [...] Internacionals en Previsió dels Accidents de Treball

(Graphic Design) (Worker Safety) (Expositions) Generalitat de Catalunya, Conselleria de Treball; and Marti Bas, Illus. Calendar commemorating the 1a Exposició de Cartells Nacionals i Internacionals en Previsió dels Accidents de Treball. Barcelona: 1937. 23.5 x 16.6 cm; 52 weekly calendar sheets printed recto, each sheet illustrating a different international worker safety poster with explanations of the dangers represented in each, in Catalan. Sheets loose, neatly removed from their original perforated(?) binding, the final week mounted to a heavier card stock, weeks 43 and 46 with small losses to blind top edge where removed from binding. Orig. color cover present, illus. by Marti Bas, lightly foxed on blank verso, not affecting recto. Together with a second calendar: Generalitat de Catalunya, Conselleria de Treball. [Croada de La Previsio 1937]: [Commemoració de la 1a Exposició de Cartells Nacionals i Internacionals en Previsió dels Accidents de Treball…]. Barcelona: 1937. [Fotolitografia Barguño]. 11.4 x 7.7 cm. [8] pp., single sheet, tri-fold monthly calendar with 14 illus. Both VG+.

Appealing, otherwise unrecorded, artifacts of a graphic design exhibition organized during the Spanish Civil War by the Catalonian Ministry of Labor, probably in conjunction with the UGT (General Workers Union). The weekly calendar surveys 52 dramatic, often frightening, international accident prevention posters (incl. the workplace dangers of alcohol, electrical shocks; eye safety; braking; cranes, ladders, fire, slips and falls, heavy lifting, cables, scaffoldings, scalding, sharp tools, sewing machines, etc.). Examples drawn from safety campaigns in Finland, France, Germany, Hungary, Italy, Japan, The Netherlands, Norway, Poland, and the U.K. (Strange bedfellows given the political realities of many of these countries in January 1937!)

The safety posters themselves were probably the product of union efforts in individual countries, not necessarily by governmental organizations or propaganda offices. They underscore the dangerous and inhumane conditions that many laborers faced twenty years after the creation of the ILO in the Treaty of Versailles (1919). Occupational health and safety policy would not be nationally regulated in most of these countries for another thirty to forty years.

Cover illustration by artist Marti Bas, known for his work on other civil war-era posters and propaganda programs.

We are unable to find records of another copy of the weekly calendar in OCLC or market records, such as they are. The smaller, monthly calendar is known from other examples, but is also not listed in OCLC holdings.

$1750

Collection of National Shortwave Radio Station QSL Cards

(Graphic Design) (International Typographic Style) (Radio) Collection of National Shortwave Radio Station QSL Cards, 1950-1965.

A broad collection of state-sponsored graphic design spanning the golden-age of post-WWII advertising. The postcards incorporate elements of international typographic style and consumer advertising with local and national iconography. Together the collection demonstrates the adaptability and diffusion of mid-century modern design, and its importance to the progress of postwar international trade.

QSL cards can acknowledge either two-way radio communications or one-way radio transmissions; most of those in the present group acknowledge a reception report sent by the collection’s compiler, an amateur radio operator living in Lockport, NY.

Sent and traded since at least the 1920s, QSL postcards have developed into an expressive format for individual operators and larger stations. The current group is distinctive because it focuses on national radio stations; their designs reflect elements of state-level propaganda programs and design. Represented nations include: Argentina, Australia, Austria, Belgium, Belgian Congo, Brazil, Bulgaria, Republic of Congo, Denmark, Egypt, Germany, Israel, Italy, India, Jamaica, Japan, Lebanon, Monte Carlo, Morocco, Mozambique, Netherlands, New Zealand, Pakistan, Peru, Poland, Portugal, Senegal, South Africa, Switzerland, Tahiti, and Turkey. A few cities or territories are also included: Antilles, Brazzaville, Dakar, Guadalupe, Tangier, Prague (CSSR)

74 postcards, most around 15 x 10.5 cm, two much larger, all in color except six b/w real photo postcards and two with orig. photographic prints tipped in. Most with text in at least two languages (country of origin and English). Housed in plastic sleeves. Together with a folder including another 20+ examples and a small group of correspondence with national radio stations (1950-1960) for additional context.

$950

Skema. Mensile fotografico d’attualità. (All published).

Skema. Mensile fotografico d’attualità. Anno I, No. 1 (November 1969) through Anno VI, No. 12 (December 1974) (all published). Bologna: [ALFA Farmaceutici], 1969-1974.

Comprising a complete run of a rare Italian photographic serial with poster-sized color inserts designed and distributed in association with ALFA Farmaceutici. Monographic issues cover social, cultural, or political themes relevant to this tumultuous period in world history; each introduced by famous Italian public intellectuals, journalists, politicians, scientists, artists, and writers. Including Umberto Eco, Federico Fellini, Gianni Agnelli, and Gillo Dorfles.

Skema was a forum for unmediated photographic storytelling loosely modeled on the anti-realist movement Gruppo 63. In the first issue the editors state “ideas will be directly and freely provided by images: a medium that suffers from fewer alterations.” Echoing some of the experimentalist manifestos of Il Verri, Skema’s editors criticized the perceived transparency of language, freeing meaning to be made instead in the mind of the “viewer.” “Words will remain at the bottom,” with captions and textual interpretation only where world events “most deeply dug a furrow, or a wound, on the crust of common beliefs.”

The eye-catching covers, unusual photographic spreads, and striking color inserts were the responsibility of designer Marco Caroli. Together with editor Franco Vanni, they created a unique visual language juxtaposing international photojournalism, modern infographics, and quotable short form essays in a section called “di parere.”

Topical issues included protest movements, drugs, feminism, avantgarde theater, and Vietnam. But many were also dedicated to scientific and economic aspects of the difficult period that followed Italy’s “economic miracle”: hunger, prisons, agriculture, space, housing, the elderly, divorce, computers, mafia, circus, ecology, China, Latin America, propaganda, anthropology, and a few on single artists or philosophers: Irinia Ionesco, Ghitta Carell, Pablo Picasso, Diderot, and Galileo; among the photojournalism are press photos of installation art, Pop, and assemblage by artists including Wolf Vostell, Andy Warhol, and Ed Kienholz.

The scarcity of complete runs and bibliographic study has led to confusion about Skema’s origins. It is not, as it is often described, a progressive publication with independent social criticism. Instead, it is a deft work of appropriation: produced by Alfa as a promotional tool for its medical and biotech clientele. Skema’s inventive design and forward-looking reporting were a creative and subtle advertisement that was discontinued when production became too expensive. We speculate that Skema was the brainchild of Alfa’s founder, Marino Golinelli, listed in early issues as a member of the editorial board. Later Golinelli became an important collector of contemporary art and a celebrated philanthropist supporting projects in education, arts, and the sciences.

These experimental artistic attitudes were brought to bear on the cataclysmic socio-economic changes affecting lived realities in Italy and abroad. In the case of Skema, they reflect an increased demand for cultural consumption from a new Italian middle class, and the growing sophistication of bourgeois taste.

Scarce. OCLC finds one complete run at the University of Rome. A few scattered issues recorded in British, European, and North American holdings (UCSD and UCLA).

$4500

62 numbers in 58 fascicules, plus two supplements (to Anno III, no. 2 and Anno V, no. 10), Issues range from 60-74 pp., early issues almost exclusively illustrated, reproducing b/w photographs from Italian and international press agencies, including ANSA, Farabola, Publifoto, Keystone, Liverani, Lehtikuva, UPI, and AP among many. Later issues with up to 20 pp. of text on orange newsprint. About 30 issues with color inserts or advertisements offered as a “manifesto” or “regalo una stampa a colori,” some in poster format (unfolded: 22 ½ x 15 ¾ in.), others small bound-in half-page pamphlets, or full-page vintage Fiat ads. Some toning as expected, illustrated wrappers somewhat rubbed, scattered creasing and rounding at corners. Many stamped internally “Omaggi ALFA Farmaceutici [...]” Small loss to front wrap of Anno. I, No. 1. Lacking five inserts or advertisements as follows: Anno II, Nos. 4 and 13; Anno III, No. 7; Anno IV, No. 3; and Anno V, no. 12.

Twenty-One Egyptian and Syrian Tourist Guides, Pamphlets, and Ephemera

​(Middle East) (Tourism) Sammelband of Twenty-One Egyptian and Syrian Tourist Guides, Pamphlets, and Ephemera, ca. 1958. 24.5 cm. Materials primarily printed in Cairo and Damascus, a few from Madrid, Brussels, et al. Most illustrated in color, with texts in Arabic, English, French, German, and Spanish. Various sizes with orig. wrappers bound in red cloth with gilt title to spine, boards rubbed and bumped, endpapers brittle and worn. Two guides with losses or closed tears, rest good.

In addition to guides to the obvious touristic destinations, many items promoting modern life and industry in the Middle East, including a copy of Abdel Nasser’s Philosophy of the Revolution, and a 40 pp. promotional booklet for the Sadd-El-Aali dam.

$300

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.

$950

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

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

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

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

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 a small loss to blank edge on two leaves not affecting text or images. No. 4 with small dampstain to blank fore corner on a few central leaves. Spiral-bound color pictorial wraps, No. 1 with short closed tear to front wrap, Nos. 2 and 4 a bit foxed and worn at the edges and wire.

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.

$2500

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