The Sacrifice of Madaline, or, From Earth to Glory by a Skyrocket

Walthall, P.W. The Sacrifice of Madaline, or, From Earth to Glory by a Skyrocket. [Cayuga, IN]: n.p., [1905]. 8vo, 48 pp.; 48 pp.; text memorializing a young schoolteacher, Minna Madaline Marie Ashley (19), who was killed by a firework, and another girl (2), Madaline’s namesake, who was maimed in the same festival by another firework, with five b/w pls. depicting victim and her funeral, very good; paper wraps, chipped at front fore-corner, sl. stained.

Heartfelt testimonials and Christian biography frame a macabre account of the young woman’s death, “the sharp point of the deadly missile struck her squarely in the left eye and buried itself in her brain. It was so tightly wedged in that it took the strength of two men to pull it out of her head.” The booklet includes a letter she wrote to be read in the event of her death.

SOLD

Collection of 66 Film Stills from Cardona’s Las Luchadoras Series

(Cinema – Mexico) (Women) Cardona, René (director); Guillermo Calderón (producer); Elizabeth Campbell and Lorena Velázquez (starring). Collection of 66 Film Stills from Las Luchadoras Contra El Médico Asesino and Las Luchadoras Contra La Momia, 1963-1964. Each photo approx. 8 x 10 in. (slight variations in final trim size), each numbered with abbreviated title in negative; near fine.

According to the Oxford Research Encyclopedia of Latin American History, lucha libre (Mexican professional wrestling) has included women’s matches since the 1940s. René Cardona, trained in Hollywood and one of Mexico’s most prolific filmmakers, brought the spectacle of these women fighters to the big screen in the early 1960s in a series of Luchadoras films. The movies share the surreal structure, campy gore, and psychedelic visuals that defined the innovative Mexploitation genre, but they also introduce a complex critique of its gender politics. In the Mexploitation universe, women were almost solely represented as passive victims; it was a radical departure for a woman to assume the heroic role of the luchador. Unfortunately, as scholars have pointed out, this power is limited to the voyeuristic space of a fantastical genre, its commercial success relies on the sexualization of cat-fights and the “narrative punishment” the luchadoras suffer in return for their empowerment.

This collection includes stills from the first two films in the loosely connected series. The stars, Lorena Velázquez and Elizabeth Campbell, were veteran Mexploitation actors; they (and their stunt doubles, whose lack of resemblance creates additional discontinuity in the film) battle transmogrifying monsters, other luchadoras, mad scientists, and Communists (including an “Asian” henchman named Mao). They are aided in Contra El Médico Asesino by a female mummy, the Aztec princess Xóchitl.

Imported and dubbed into English by K. Gordon Murray in the 1960s, the luchadoras were featured on late-night American television and achieved cult-film status.

See Doyle Greene, Mexploitation Cinema, 2005, for an exhaustive discussion of sex and class in the Luchadoras series.

SOLD

Collection of 93 Large Film Stills from the Golden Age of “Mexploitation” Cinema

(Cinema – Mexico) Collection of 93 Large Film Stills from the Golden Age of “Mexploitation” Cinema, 1957-1961. Comprised of film stills from four seminal Mexican horror-exploitation films: 20 from La Maldición de la Momia Azteca (1957); 27 from El Barón del Terror (1961); 14 from Muñecos Infernales (1961); and 32 from La Sangre de Nostradamus (1961). Each photo approx. 8 x 10 in. (slight variations in final trim size), all numbered with abbreviated title in negative; near fine.

These films’ distinctive genre of popular Mexican cinema merged the national tradition of lucha libre with horror, science-fi, surrealism, and Aztec mythology. Dizzying plots and low-budget productions frame violent, erotic, and supernatural tales. Though these can seem clumsy or anachronistic to US audiences, they depend on formal structures and cultural codes that are entirely different from the Hollywood context—ones that may even be said to disrupt those conventions. Film scholar Doyle Greene writes that Mexploitation is a “counter-cinema” that “addresses key issues in Mexican society: the valorization of mexicanidad (Mexican national identity), the cultural conflict between modernity and tradition, and [gender].”

El Barón del Terror (The Brainiac) is one of the best-known movies of the genre. The director, Chano Urueta, also directed El Monstruo resucitado (1953), a Frankenstein remake that is considered a milestone in Mexican horror. The collection includes images of many famous Mexploitation actors, directors, and producers: René Cardona, Ramón Gay, Elvira Quintana, German Robles, Abel and Alfredo Salazar, et al.

SOLD

Two Manuscript Documents Certifying the Chargeability of “Native Indian” Women

[New Bedford Overseers of the Poor]. Two Manuscript Documents Certifying the Chargeability of “Native Indian” Women. [New Bedford, Massachusetts]: May 25, 1820. Both on wove paper: 9 x 7-1/8 in. and 8-1/2 x 7-3/16 in.; strong creases where folded with small closed tears, one fold more significantly separated, not affecting text; both dated and signed by three selectman: Eli Haskell, Roger Haskell, and William Hathaway; women’s names written verso.

Bureaucratic banality provides a glimpse into the poorly documented lives of Native American people in southern New England in the early nineteenth century. Most tribal lands had been expropriated following the King Phillip’s War uprising; survivors faced the attrition of indentured servitude, slavery, and disease. The receipts address the status of two indigent “Native Indian” women who entered the Commonwealth from Rhode Island: Margaret Pratt, “supposed to have originated in Tiverton”; and Easter Hill, “born on Block Island,” “aged about 34,” and now deceased.

SOLD

Eight Sample Albums of Decorative Aluminum Foils

Aluminium-Walzwerke Singen G.m.b.H. Eight Sample Albums of Printed Decorative Aluminum Foils. Singen, Germany: ca. 1936-1939. Each approx. 6 x 10 in. with 40-100+ different patterns and styles, most numbered, a few of the albums with only 10-20 patterns but each shown in 10+ colors, many embossed; one album with introductory text in German; one duplicate; in stapled, embossed foil laminate wrappers, stamped verso with penciled dates on rear wrappers; overall very good, a few creases or small tears, surprisingly few losses given the material’s inherent fragility.

With hundreds of brightly colored abstract, floral, and pictorial designs, the albums offer an attractive overview of exuberant wartime foils. Specific patterns and colors could be customized and were probably used primarily for food packaging.

Parts of the Aluminium-Walzwerke Singen (AWS) business were militarized during this period. Following the end of the war, AWS was identified as having utilized thousands of forced laborers (either “foreign workers” or prisoners of war), most from the USSR.

SOLD

Nuestra Raza: Organo de la Colectividad de Color. Año III, No. 25

Nuestra Raza: Organo de la Colectividad de Color. Año III, No. 25 (August 24, 1935). Montevideo, Uruguay: 1935. 8vo, 20 pp.; b/w illus. throughout from community photos, edges worn, with chips or closed tears; stapled illus. wraps, small early repairs; a pair of stab holes from former binder?; fair.

Nuestra Raza was founded in 1917 by the authors, and sisters, Ventura and Maria Esperanza Barrios. The Uruguayan periodical was dedicated to publishing black poets and authors as well as addressing the political and cultural realities of the African diaspora in South America. It folded after less than a year and was resurrected in 1933 by Ventura her brother, the poet Pilar Barrios. By this time, Montevideo had become a center for the Afro-Uruguayan community. Its second run continued for 15 years, until 1948, but issues remain extremely scarce. The impact of the journal as an advocate for racial equality and the expression of black experience cannot be overstated for intellectuals across Latin America.

This issue commemorates founding journalist Maria Esperanza Barrios, who died in 1931. It also celebrates the third year of its publication, evaluating its role in the ongoing fight for racial justice in Uruguay.

OCLC records only one holding, on microform, and only through 1944. See Reid Anderson, Blackness in the White Nation, p. 216.

SOLD

Cultura Sexual. Nos. 3-6, 8-10, 13

Cultura Sexual. Nos. 3-6, 8-10, 13. Barcelona: Publicaciones Modernas (empresa colectivizada), n.d. [ca. 1935-1936]. 10 issues: each approx.. 7-1/4 x 5-1/2 in., 34 pp.; a variety of sexual topics, newsprint sl. toned, a few bent corners; stapled, illus. wraps; good.

A sizable group of 10 (of 15?) sex studies from Publicaciones Modernas, a press collectivized during the serial’s run, probably in 1935-1936. Each issue focuses on a single topic, attributed to various pseudonymous authors (ersatz authors’ signatures nevertheless accompany each introduction).

Resolutely historical and scientific texts—clearly influenced by materialist historiography and Engels—are contrasted with appealing covers and excited, descriptive introductions to each issue’s topic, including sexual communism, sadism, masochism, deflowering and rape, phallus cults, brothels, the “corruption of minors,” and abortion.

The history of the press at Ferrer de Blanes 7 may be of interest to Spanish graphic arts bibliographers: its precollectivization proprietor was the publisher of La Gaceta de las artes gráficas del libro y de la industria del papel.

Unrecorded in OCLC.

SOLD

La Cuestion Sexual. No. 1 through No. 9 (all published?)

[Lucenay, A. Martin de]. La Cuestion Sexual. No. 1 (June 1934) through No. 9 (October 1934) (all published?). Madrid: Editorial Fénix, 1934. 9 vols.: 8vo, each approx. 60-100 pp.; texts by “grandes autores,” most attributeable to Lucenay or one of his pseudonyms, many with 4 b/w pls., each with color pictorial wraps illustrated by “Esteban”; edge-worn, some titles with small losses esp. at spine, newsprint toned as expected.

A complete(?) run in nine issues of an informational sexuality series by the prolific author and sexologist, Dr. Angel Martin de Lucenay. Lucenay helped the popular Republican press, Editorial Fénix, develop a number of inexpensive sex ed projects addressed to a leftist audience. Most were written by him (sometimes pseudonymously), including the 60 volume set, Temas Sexuales (1932-1934). After Temas, Lucenay edited La Cuestion Sexual. In addition to his own writing, the series included texts by controversial European sexologists and scientists, such as Sergio Voronoff (monkey gland transplants) and Walter M. Gallichan (eugenicist). Titles cover drug addiction, abortion, rural sexuality, sterilization, frigidity, and prostitution.

Most vols. include black and white plates reproducing erotic or documentary photography (e.g. of prostitutes in the street). Lucenay worked with the Hermanos Mayo on Temas and they may have been responsible for the illustrations in this series as well.

Scarce, OCLC lists only two vols. from the series in institutional holdings worldwide, the rest seemingly unrecorded.

SOLD

La Pubblicità d’Italia: Nos. 5-20, 25-30, 37-38, and 43-46

La Pubblicità d’Italia: [Organo ufficiale del sindacato nazionale fascista agenzie e case di pubblicità]. Nos. 5-20, 25-30, 37-38, and 43-46. Milan: N.p., 1937-1941. 25 numbers in 11 issues: 7 bound in 2 vols. (nos. 7-18 and 43-46), 4 loose (nos. 5-6, 19-20, 25-30, and 37-38). 4to, approx. 90-150 pp. each; illustrated throughout, many in color, reproducing Italian advertising campaigns for various commercial, industrial, domestic, and agricultural products or brands, with articles on modern marketing strategy, mass communication, the art of propaganda, and collectivism, with a variety of printing techniques and papers, no. 43-46 with numerous folding plates, most issues good to very good internally, no. 7-8 final ten leaves defective, no. 25-30 with an abraded first leaf; bound issues with orig. pictorial wraps (except the back cover of no. 7-8 and the front cover of no. 43-46), loose issues in orig. wraps, no. 5-6 separated with losses to spine, no. 37-38 with rough 4 in. loss to front top edge.

A substantial run (25 of 60 numbers) of the remarkable Italian advertising review, much of it by or about the Fascist Party’s official ad agency, the Unione Pubblicità in Italia (UPI) and its associated artists, many of them well-known futurists. The publication captures the rich collaboration between the Italian avant-garde, advertisers, and propagandists in extravagantly produced issues that highlight fascism’s politically conscious advertising. In particular, it captures the Italian fascist affirmation of mass culture, modern consumers, and the psychology of advertising.

Features on specific markets in advertising include comestibles like food, liquor, and tobacco; arts including cinema, theater, fashion, and exhibitions; science and technology; industry; automobiles and motorcycles; tourism; and the armed forces. Essays discuss economic and technical aspects of advertising, including strategies and psychology, but also formal elements of color, type, design, etc. Also covered are various advertising media including film, television and radio.

Intended to demonstrate the innovation and sophistication of modern Italian advertising, the editors experimented with typography, illustrated plates, intaglio and block printing, and unusual papers ranging from laid to heavy gloss and newsprint. A special issue on Giambattista Bodoni and Gutenberg includes a reproduction of the type form for the title page.

Altogether an exhaustive survey of Italian advertising during the fascist period—and the artists who worked in its service, including: Fortunato Depero, Guido Marussig, Alredo Calvadini, Boccasile, Calze, Carlo Dinelli, Erberto Carboni, Dudovich, Biraghi, etc.

Early issues are scarce. OCLC lists only a few institutional holdings worldwide, all with partial or single-issue holdings. There are two locations recorded in North America: the Library of Congress (no physical copies; the OCLC record appears to be derived from their binding catalog, which references two issues never? held) and UI-UC’s copy, which is nearly complete.

SOLD

La Tragedia Social de la Mujer

Rodriguez Acosta, Ofelia. La Tragedia Social de la Mujer, Conferencia. Havana: Génesis, [1933?]. 8vo, 40 pp.; interior toned with sl. foxing, splitting at hinge; stapled color wrapper foxed, chipping at spine and loose. Ink author’s dedication on ffep, signed and dated “1935, Paris.”

A rare, signed imprint by the novelist and journalist Ofelia Rodriguez, one of Cuba’s most influential feminists. The book reprints a lecture given at the Lyceum (an women’s cultural club in Havana) attacking A.W. Nemilov’s claims about the biological inferiority of women. She argues that the “tragedy” of women is their exploitation, not their biology. Rodriguez’s feminism was more radical than many of her peers: she was in favor of free love, reproductive freedom, and homosexual marriage; her novel La vida manda (1929) scandalized the public with its sympathetic and erotic depiction of lesbianism and she authored one of Cuba’s earliest progressive novels about homosexuality En la noche del mundo (1940).

A rare, signed imprint by this important author. OCLC lists 4 holdings: Northwestern, Claremont, UC Berkeley, and UMich (microfiche?).

SOLD

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. 3 with a small loss in gutter not affecting text or images; spiral-bound color pictorial wraps, a bit foxed and worn at the edges and wire, No. 3 with small hole to 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, and photo essays. 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.

SOLD

Redención: Revista Mensual Feminista. Año III, Núm. 18

Bernal, Ana, Ed. Redención: Revista Mensual Feminista. Año III, Núm. 18 (Febrero 1917). Valencia, Spain: N.p., 1917. 8vo, 12 pp., in center of gathering one unrelated leaf bound in out of sequence, numbered 41-44; stapled self-wrapper, pages creased, small closed tear to fore edge of front wrapper.

Single issue of the suffragist periodical with letters to the editor and short articles discussing cultural and political issues related to women’s rights.

Although the publication ran from at least 1915-1922 and is known to scholars (and discussed in The Woman Citizen, Vol. IV, No. 33 [Mar. 6, 1920]), it is seemingly unrecorded in OCLC. A private library, Biblioteca de Mujeres de Madrid, claims to have the single copy.

SOLD

Bohemia-Moser-Praha

(Trade Catalogue). Bohemia-Moser-Praha. Prague: [Moser Glassworks], 1941. 4to, [8] typed and carbon copy leaves followed by 23 photographic prints mounted to [12] heavy card leaves, each interleaved with typed guards, photographs near fine, a few corner mounts detached; in stab-sewn paper wrappers, verso sl. soiled.

An attractive and surprisingly political tableware catalogue sent by Bohemia-Moser-Praha to the El Salvadorian legate in Madrid in June, 1941. The introductory materials list the company’s prominent clients: WWII-era heads of state and embassies. The list is a “who’s who” of Axis country leaders and their “co-belligerent” states, puppet governments, and neutral allies (Adolf Hitler, Francisco Franco, Pope Pious XI, the Emperor of Japan, Kings of Bulgaria, Italy, Romania, and Spain, the Sultan of Johore, etc.). A few Allies are also listed, including the King of England and American diplomats.

The interleaves identify the designs and prices of the tableware in the facing photographs, and provide the names of embassies and legations that have ordered the specific patterns shown. Franco’s selection is featured.

Moser was founded by the Czech-Jewish glass artist Ludwig Moser in 1857; a majority interest was sold in 1934 and the company was further nationalized after the Nazi occupation of Czechslovakia in 1939. In September 1941, a few months after this catalogue was released, much of the Moser family was killed in the Nazi liquidation of Jewish Bohemia.

SOLD

Otis Escalator and Inclined Elevators

(Trade Catalogue). Otis Elevator Company. Otis Escalator and Inclined Elevators. N.p.: Otis Elevator Company, 1922. 4to, [2], 21, [1] pp.; b/w illus. from photographs and artistic renderings throughout; stapled color pictorial wrapper worn at extremities, center leaf loosened from staples, else good.

Including images of escalators in commercial and industrial use across the world: Earls Court Station, London; Mitsukoshi Department Store, Tokio [sic]; Macy’s New York; New York City elevated trains; Mystic Dock, Boston & Maine Railroad; Fair Store, Chicago; Wm. Filene Sons, Boston; and Denver Dry Goods, Denver, etc.

OCLC lists one institutional holding: Cleveland PL.

SOLD

[Her Personal Car]

[Ford Motor Company]. [Her Personal Car]. N.p.: [Ford Motor Company], ca. 1924. Single-fold brochure, 8-1/2 x 11 in., [4] pp.; with two full-page color pictorial plates (probably pochoir), loose with orig. pamphlet stitch holes visible in gutter, area of glued paper in upper quarter of final page, fair.

An uncommon, finely realized example of Ford’s well-documented “Her Personal Car” campaign to make the motorcar relevant and accessible to the “young woman about town.” “It is doubtful whether any other accouterment of personal service contributes as much to the pleasure of the modern young lady as does her personal car […].”

Not in OCLC, which lists one related holding, a version illustrated from photographs rather than pochoir.

SOLD

Guropiusu to nihon bunka [Dr. Gropius in Japan]

Guropiusu to nihon bunka [Dr. Gropius in Japan]. Tokyo: Shokokusha, 1956. 8vo, [4], 406, [2], pp.; Japanese text illus. with b/w pls. reproducing photographs of Mr. and Mrs. Gropius and their Japanese hosts at various sites of architectural significance; brown cloth, spine and top edge sunned, small stain to spine, else very good. A manuscript gift inscription in kanji was probably written by the trip’s organizer, Shigeharu Matsumoto, a journalist and founding director of the International House, Tokyo. Tipped in manuscript annotations by a previous owner offer personal comments on people and places.

Walter Gropius’s first and only trip to Japan was sponsored by the Rockefeller Foundation in 1954. This encounter was a critical, highly visible moment in the contentious postwar debate over Japanese internationalism and the development of a new, nonwestern modernism. The book describes three months of activity from the hosts’ point of view: visits to important historical and contemporary architectural sites, schools, workshops, and factories; and reproduces lectures as well as transcripts of dialogues between Gropius and Japanese architects, designers and craftspeople. Some chapters written by notable architects, including Kenzo Tange; another lengthy section translates Ise Gropius’s travel journal, as reported to The Architecture Committee (TAC) in Cambridge, MA; the book also includes an early version of Gropius’s essay on Japanese architecture (later published in Tange’s Katsura, 1960).

A note on the inscription: Shigeharu Matsumoto founded the International Cultural Center and the International House, becoming a leader of the internationalist movement that defined cultural and political policy in the postwar period. The handwritten notes in this volume suggest that the recipient, identified in the inscription as Miss McMill[a]n, knew Matsumoto and Gropius personally, and was “good friends” with designer Isamu Kenmochi. It seems possible that this McMill[a]n could be related to Louis McMillen or Robert McMillan, two TAC principles.

OCLC lists only three copies outside of Japan, two in North America: Columbia and Univ. of Chicago.

SOLD

L’Emballage Moderne: La Caisse Carton

L’Emballage Moderne: La Caisse Carton. Paris: Laboratoire Général pour Emballages, 1935. 4to, 99, [1] pp.; profusely illus. trade catalogue with b/w reproductions of photos, graphs, and other research; stapled color illus. “Kraft” wrappers, a few creases and spots front and rear; very good.

Cardboard boxes never looked so good. With detailed technical analysis and photographs comparing this modern shipping material to wood. Long section on special uses includes shipping eggs, fish, and live animals; musical instruments; electronics; fruits and flowers; and glass.

OCLC lists no copies in North American libraries.

SOLD

BAILARINA Y COUPLETISTA / DANZAS SUGESTIVAS

(Trade Card). “La Habanerita.” BAILARINA Y COUPLETISTA / DANZAS SUGESTIVAS / Grande y variado repertorio / LUJOSA PRESENTACIÓN. [Madrid]: N.p., [1912]. 3-1/2 x 5-1/2 in. postcard with publicity photo, pay rate, etc., printed recto and verso with manuscript notes and address; date from postmark.

Sent by the dancer, La Habanerita, to a talent agency in Granada. “Danzas sugestivas” was a euphemism for the Romani-influenced flamenco popular in Madrid nightclubs in the 1910s. Autographed postcards of famous coupletistas are known, but direct marketing examples from the performer to potential employers and agencies are uncommon.

SOLD

Pasen

Prange, Jacobus Marie. Pasen. 1938. Sheet: 6-1/4 x 4-3/4 in., woodblock: 3-1/2 x 2-5/8 in.; signed in pencil LR.

Prange (1904-1972) was a surrealist and later an art critic at the Dutch resistance paper Het Parool. The Easter greeting probably references the first anniversary of the German bombing of Guernica on April 26, 1937.

SOLD

Pagine di un Balilla

(Carati, Cosimo). Brandonisio, Michele, ed. Pagine di un Balilla. Rome: n.p., 1937. Small 8vo, 29, [2] pp.; b/w illus. by G. Ghirlanda; stapled paper wrapper, very good.

Italian fascist youth and paramilitary organization, Opera Nazionale Balilla, or Balilla. The Balilla Ten Commandments, with language referencing fascist “avanguardista,” are followed by short children’s stories.

Not found in OCLC.

SOLD

Frankfurter Sommerbäder

Nowotoy, M., ed. Frankfurter Sommerbäder. Frankfurt am Main: Städt. Badewesen, 1926. 8vo, 104 pp.; illus. throughout with b/w reproductions of maps, orig. graphics, photos, ads, etc. with descriptions of swimming holes and seasonal bathing news from the greater Frankfurt area; color wrapper with some light spotting, good to very good.

A Weimar-era swimming catalogue, representative of the naturalism movement. Mild nudity. OCLC finds no copies in North America.

SOLD

Sous La Cagoule: À Fresnes, Prison-Modèle

Humbert, Jeanne. Sous La Cagoule: À Fresnes, Prison-Modèle. Paris: Lutèce, [1933]. 8vo, 212 pp.; b/w reproductions of sketches by André Douhin and five b/w pls. reproducing prison photographs by H. Manuel; some pages toned with edge-wear and minor chipping, pictorial wrappers with top corner missing, fair.

Anarchist and pacifist Jeanne Humbert (1890-1986) was a leading activist for legal contraception in France in the 1920s. She was jailed many times for the dissemination of materials related to birth control, abortion, and antiracism. Although her Neomalthusian beliefs have made her a controversial figure, she spent her entire life fighting for sexual liberation, women’s rights, and peace.

Sous la cagoule is the second book she wrote describing her experience in prison and arguing for reform. The first concerned Saint-Lazare, where she was held for two years. Sous critiques the modern French penal system and the horrific conditions at Paris’s model prison, Fresnes, where she was later transferred.

OCLC finds no institutional holdings in North America.

SOLD

Sinfonet

(Sex - Computer Programming) Sinfonet. Sin & Answers [title from cover]. Sunnydale, CA: Sinfonet, 1982. 8vo, [2], 26, [2] pp.; promotional brochure for a sexual compatibility (rather than dating) service that relies on a customized computer program; stapled pictorial wrapper, somewhat toned, sl. curve at center crease, very good. With two original Business Reply Cards laid in.

Sinfonet, a.k.a. “Sex-Info” or “The Original Sin and Sexual Information Network (The Original),” claimed to be the first computer service to match users based on sexual preferences. The booklet is styled as a Q&A and is a fascinating read about the early use of computers to find potential sexual partners (rather than dates). The service relied on self-programming, which means members had to arrange to “place their own data directly into the machine.”

Specific questions include: How does it work? Can one communicate directly with the computer? What is meant by self-programming? Do I have to know how to operate a computer? How big is the computer? [A: “The central processing unit will have an approximate capacity of five hundred twelve thousand words.”] Suppose I lie to the computer? What is a code? How does the code work? Do you store data on people who are no longer members? What is your senior citizens’ special?

Unrecorded in OCLC.

SOLD

Scream. No. 1

Scream. No. 1 (Nov. 1975). Buffalo, NY: n.p., 1975.Oblong 4to, [18] pp.; mimeographed “screamzine” reproducing a few b/w graphics, mostly text by, and for, “radical gay people”; stapled pictorial wrapper, with unobtrusive pen marking upper right.

A monographic gay rights zine presumably published by students at Buffalo State to coincide with Gay Awareness Week at the university. Primarily addressing local events and politics.

Not recorded in OCLC.

SOLD

Supermatka

Jablońska, Elżbieta. Supermatka.

Documents Jablońska’s “Supermother” self-portrait project, in which the artist, dressed in a superhero costume, is posed with her son. The photographs were displayed on more than 400 billboards across Poland in 2002 in a watershed moment for the representation of women and domestic labor in that country.

OCLC finds no institutional holdings in North America.

SOLD

Mrs. States Recipe Book from the Mrs. America Pageant

(Pageants) Mrs. States Recipe Book from the Mrs. America Pageant [title from cover]. Phoenix, AZ: Mrs. America, Inc.: 1963. 8vo, [58] pp.; recipes and personal notes from each state’s participant, heavy card covers in plastic comb binding, some toning at edges of card, interior very good.

Contributions vary widely, many offer personal commentary on domestic matters.

OCLC records one copy: Kansas State.

SOLD

Beauty Secrets for Women

Pierce, R.V. and V.M. Pierce. Beauty Secrets for Women [title from cover]. [Buffalo, NY]: [Invalids’ Hotel and Surgical Institute], n.d. Oblong, approx. 3-3/4 x 5-1/3 in., 32 pp.; illus. throughout, booklet with stapled pictorial wraps; roughly trimmed, else good.

Patent medicine promotional booklet advertising women’s beauty and health secrets.

SOLD

The Great Latour Leap for Life

Latour, Marie. The Great Latour Leap for Life. N.p. [London?], n.d. Trade card: 5-1/8 x 3-1/4 in.; minor wear, left edge sl. trimmed?, else very good.

From verso: “To the Patrons of the Great London Show: The Beautiful Young Lady whose portrait adorns the front of this page will be presented in an Act original with herself, requiring more skill than ever before displayed by mortal, known as the ‘LATOUR LEAP FOR LIFE.’ She ascends a platform placed in the apex of the pavilion and at a signal and with a courage possessed by no man […].”

SOLD

Invitation to the Diner Annuel du Cercle des Gourmettes

Cercle des Gourmettes. Invitation to the Diner Annuel du Cercle des Gourmettes, 1938. [Paris]. Together with a photograph presumed to be of the event and an etched New Year greeting card from Ethel Ettlinger. Card: 9-1/9 x 6-5/8 in., illus. after Marie Laurencin; photo: 6 x 7-7/8 in.; etching: 9-1/4 x 7 in.; card with orig. center crease, photo edgeworn, etching toned and lightly foxed with creased corner, else very good.

Invitation to a dinner celebrating Madame Paul (Ethel) Ettlinger*: American expat, president and founder of the French women’s gourmet club Le Cercle des Gourmettes, begun in 1929 as a protest to the all-male Club des Cent. Existing documentation of Les Gourmettes’ early years is sparse, despite being a group that famously included Simone Beck and Julia Child. Child later cited these events as “the real beginning of French gastronomical life for me” (Shapiro, 43). In Bob Spitz’s 2012 biography, he writes that Beck, Child, and Louisette Bertholle considered naming their cooking school “L’Ecole des Gourmettes,” and that Child made a final visit to Mrs. Ettlinger on her last day in Paris in 1953, when the Childs moved to Marseilles. Ettlinger was nominated for the Chevalier de la Légion d’Honneur.

The etching, presumably made for the Ettlingers, observes in rhyme the high value of a woman gourmand and depicts a feast in which women are served by men. This is likely a reference to an early Gourmettes château dinner, ca. 1931, whose costumes and menu were influenced by spectacular Louis XIV-era events and included live entremets by Marie Kummer and modern dancer Colette Andris, who scandalized society during this period with nude performances.

*Ethel Ettlinger is referred to in certain sources as Paulette, including by Simone Beck. Thanks to Don Lindgren for suggesting this may have been an affectionate nickname, related to the ironic spelling of Gourmette.

Ref. “Nossa alimentação: A Festa des Gourmettes,” Revista da Semana No. 42 (Outubro 1931); and Laura Shapiro, Julia Child (New York: Penguin, 2007): 43.

SOLD

Potatisdrömmar

Bandolin, Gunilla. Potatisdrömmar. [Jönköping, Sweden]: n.p., 1993.

Oblong 8vo, 46 pp.; profusely illus., pictorial wraps with small abrasion to upper wrap, else very good. Inscribed by Bandolin on final page.

Exhibition catalogue for the Swedish sculptor and land artist. OCLC finds no copies in North American libraries.

SOLD

Free Space: A Bulletin of Solidarity. No. 1

Free Space: A Bulletin of Solidarity. No. 1 (Summer 1977) (all published). San Francisco: Friends of Free Space, 1977. 4to, 63 pp.; scattered b/w illus., stapled pictorial wraps, light wear, very good.

Counterculture serial, complete in one issue, associating surrealism and liberation. Essays express solidarity with freedom movements in South Africa and Latin America, Quebecois separatism, and gay rights. Notable artistic contributions by Lynn Hershman and Mimi Parent.

OCLC finds one copy: UC Berkeley.

SOLD

Album Surrealista de Ovarina Merck

[Ingenieros, Delia]. Album Surrealista de Ovarina Merck. [Buenos Aires]: [1938-1941]. 4to, 9-1/4 x 13-3/4 in., 78 pp.; commercial alphabetized ledger repurposed as a scrapbook, comprised chiefly of drawings, paintings, collages, and other manuscript materials tipped in, a few items laid in, most attributed to Ingenieros’s alter-ego Ovarina Merck, many dated, the first 21 pp. comprised of clippings of images and articles by Surrealists or about Surrealism; cloth with pasted manuscript label, rubbed and bumped. Together with: Kamia, Delia. Memorias de una Maga. Buenos Aires: Ediciones Meridion, 1956 [1952].

Delia Ingenieros (1915-1997), a.k.a. Ovarina Merck, a.k.a. Delia Kamia, a.k.a. Delia de Rothschild, a.k.a. Ikama, had a life as improbable and fascinating as her many pseudonyms. Her father was a prominent Argentinian intellectual, who dedicated his later life to socialism and occultism. (1) Despite his untimely passing, Delia was surrounded from an early age by writers, politicians, and artists. She completed her PhD in microbiology and obtained work as a laboratory scientist, all before women in Argentina were allowed to vote. When science failed to dispel an existential crisis in her early thirties, she turned to magic, illusionism, and “the marvelous,” much like her father. There, in a community of magicians, where her gender was once again unusual, she embraced the traditions of art, theater, and alchemy: “the prism of prestidigitation replaced the microscope’s lens, allowing her to study and know, not only bacteria, but the psychology of human beings.” (2)

If this sounds like fiction, it is because Ingenieros lead her life as the protagonist of a modern novel, creating new identities when it suited. The “surrealist” scrapbook dates from her time in university, a period during which she also began publishing her first scientific papers. It is a rich visual record of an uninhibited imagination, and although it owes a debt to European surrealism (the first section is devoted to reproductions of work by artists—e.g. Dali and Victor Brauner—who most inspired her), it is also distinctly Argentinian. Not content with stock allusions to the unconscious and dream-realities, Ingenieros used the scrapbook to document a parallel reality where absurd and magical events play out in the context of the real world.

Nominally, the book is a collaboration between Ingenieros and three friends, referred to here by the aliases M de la M, HM, MMM, and OM. In reality, the vast majority of the artwork has been attributed through manuscript annotations to OM (Ovarina Merck, Ingenieros’s alias), with a smaller number of items by HM (Hombre Mosca). Cross-referencing materials in the scrapbook (including ersatz university degrees; advertisements; and personal letters) allows us to speculate that HM was an alias for the architect Simon Ungar, a member of Grupo Astral, co-editor of the architecture review Tecné, and later responsible for overseeing completion of the only Le Corbusier building in South America, Casa Curutchet.

Most of the interplay in the scrapbook takes place between Ingenieros’s and Ungar’s numerous pseudonyms; their artwork and games reference Nazism, Boslehvism, the Spanish Civil War, and the student movement in Argentina, with which she was involved. Much of the rest of the content is irreverent, reflecting the deeply nonconformist attitude of contemporary literary and artistic movements in Argentina. The bold forgeries and complicated fictions of the scrapbook remind readers of Ingenieros’s immediate and personal association to these movements during this period: her younger sister Cecilia was dating Jorge Luis Borges.

Although the nature of Borges’s relationship with Cecilia is inexact, biographers and the author agree they dated for a few years, beginning sometime in 1938 and ending around 1943 when she broke it off to travel and study modern dance. In later interviews he claimed he wanted to marry her: he dedicated “The Immortal” to her, and fully credited her with the idea for “Emma Zunz,” one of his only stories featuring a named female protagonist. Borges also described spending time with the Ingenieros family during their courtship; one of his biographers tells how Delia gave him her father’s globe during a visit to their house (it later sat in his office at the National Library).

Other than these few notes, a great silence exists in Borges studies when it comes to Delia, despite the fact that she was his collaborator of record for his anthology Antiguas literaturas germánicas (1951). Borges intentionally erased this from his own bibliography when he wrote, in Blindness, that he hadn’t discovered Old English until the mid-1950s. When the book was republished (largely unchanged) as Literaturas germánicas medievales in 1966, Delia’s name was gone, replaced by his assistant and girlfriend Maria Esther Vazquez. A few sources list Delia as one of his romantic interests, but the mystery remains as to what kind of assistance she provided to the project, and why he renounced the earlier work. (See Vladimir Brljak, “Borges and the North,” in Defining Neomedievalism(s) II, p 107.)

In the intervening years between the scrapbook and Borges project, Delia largely abandoned her work as scientist to become a magician, moving from her alias Delia Kamia to the new nom-de-guerre, Ikama. She chronicles this journey in her autobiographical work, Memoirias de una maga (1952). In this account she shifts from the metaphoric or rhetorical use of surrealist symbols to a metaphysical crisis, ultimately rejecting psychology and embracing of the supernatural—or at least the literal possibilities of magic, prestidigitation, and illusion as a way of life.

HOLD

(1) Her father, José Ingenieros (1877-1925), was a socialist and theosophist who wrote for communist and occulist publications. He played a key role in the development of social policy in Argentina and was a leader of the University Reform of 1918, which had a tremendous impact on the relationship between student and labor movements in Latin America. In the last years of his life he left his position as the Chair of Experimental Psychology at the University of Buenos Aires [UAB], founding an anti-imperial magazine and collaborating with Argentinian anarchists.

(2) Memorias de una Maga. Buenos Aires: Ediciones Meridion, 1956 [1952], promotional text from dust jacket, inside flap: “el prisma de la prestidigitacion ha reemplazado con ventaja las lentes del microscopio, pues le permite estudiar y conocer, no ya las bacterias, sino la psicologia de los seres humanos.”

71 Modern Argentinian Architecture Photographs

Delpini, José Luis. Outstanding Collection of 71 Modern Argentinian Architecture Photographs (1937-1956). N.p. [Argentina], n.d., assembled ca. 1958. Seventy-one silver gelatin prints mounted on captioned card stock. Most approx. 9 x 6-1/2 in. (15.5 x 22.5 cm), a few trimmed, prints mounted to 12-1/8 x 9-1/8 in. card with holes punched for a previous binding(?), typed captions tipped-in, some signed in negative by various photography studios. Photographs very good+ with minor undulations. Housed in recent half-morocco clamshell box with marbled boards and gilt title to spine: La Arquitectura de Jose L. Depini.

The collection documents the remarkable career of Argentinian architect and engineer, José Luis Delpini (1897-1964). The photographs encompass twenty buildings and five unrealized or partially realized project models including markets, churches, factories, garages, a bus station, a bridge, a stadium, an airplane hangar, and an apartment building. Typed captions identify and date the projects and offer technical notes about their respective structural innovations.

Delpini was part of a generation of modern Argentinian architects who, beginning in the late 1920s, rejected the nationalist neocolonial revival and struggled to redefine Argentinian architecture in relation to the international vocabulary of modernism. He is best known outside of Argentina for two landmark buildings: the Mercado Abasto (1934) and La Bombonera stadium (1940), the legendary home of La Boca Juniors football team. Delpini designed these buildings in collaboration with architect Viktor Sulčič and surveyor Raul Bes, under the studio name Delpini-Sulčič-Bes. However, scholars credit the firm’s ambitious fusion of art and technology to Delpini and his virtuosic engineering, exemplified in the 1940s and 1950s through large-scale civic and industrial commissions documented in the collection. After the partnership dissolved in 1953, Delpini was solely responsible for a number of the most imaginative projects represented here – including the fantastical “Proyecto de Estadio Racional” and “Proyecto de Hangar de 200 m. de Luz Libre.”

In early projects including the Mercado Abasto and La Bombonera, his work is distinguished by cavernous interior space, achieved through the use of reinforced concrete (often prefabricated), shell roofs, natural light delivered by ceiling louvers, and “luz libre” (i.e. clear span) distances free of intermediary supports. The photographs track the evolution of these ideas in the 40s and 50s, highlighting structural and stylistic features of some of his most famous work, including the Iglesia del Asilo del Hospital Italiano, “El Condor” Garage, and textile factories across the country. Given the format, the level of technical detail in the captions, and the fine quality of the prints, we speculate that someone with access to Delpini’s studio archive prepared the collection, perhaps as a type of portfolio or presentation album. It is also possible that it was related to his teaching: Delpini was a professor in the Faculty of Engineering at the University of Buenos Aires, where he also founded the Laboratory of Structural Research. He became the first Chair of Structural Composition just before his death, in 1964.

Altogether an exceptional and comprehensive survey of an important Argentinian architect who fused the vocabularies of modernist architecture and industrial design. Although a few of the images, particularly of the Mercado Abasto, are known, most seem never to have been published.

SOLD

Museo Tecnologico C.F.E

Comisión Federal de Electricidad. Museo Tecnologico C.F.E. [title from cover]. [Mexico City]: Museo Tecnologico, 1972. Oblong 8vo, v, [76], 51 pp.; chiefly b/w reproductions of photographs by Juan Francisco Ríos, followed by 51 pp. of text and graphics explaining exhibitions at the museum; in illus. wrappers, rear wrapper with small chip at lower corner, newsprint sl. toned, else very good.

Uncommon photobook promoting the Museo Tecnológico de la Comisión Federal de Electricidad (MUTEC). MUTEC was inaugurated in 1970 as Mexico’s first technology museum dedicated to modern applied sciences. In director Antonio Rodriguez’s introduction, he writes that MUTEC means to be a “living, dynamic, and open” institution that will promote the newest technologies through ample cultural programming.

The primary photographic section of the book documents activities at the museum, including kinetic art exhibitions, cinema festivals, expositions of industrial design, and concerts (including works of electronic music).

Not found in OCLC.

HOLD

Catalogue of Summer Session

[Decorative Arts – Mayan Revival] California School of Fine Arts. Catalogue of Summer Session. San Francisco: California School of Fine Arts, [1921]. 8vo, 14 pp.; stapled pictorial wrappers, near fine.

Promotional booklet by California fine press Taylor & Taylor advertises the school’s summer courses for 1921, including a “special course” in “Applied Aztec Design” with Mexican sculptor and expert on Aztec-Toltec and Mayan art, Francisco Cornejo, best known in the US for the lavish facades of the Mayan Theater in Los Angeles (1927) and for designing the costumes and scenery for choregrapher Ted Shawn’s Xochitil (1920), which starred the young Martha Graham. The cover is unsigned, but possibly by Cornejo.

Fine example of dialogue between Californian and Mexican modernists in the first half of the twentieth century; OCLC finds one copy in North America: Cal State.

SOLD

Muros, tejidos y armaduras

Amaral, Olga de. Muros, tejidos y armaduras. Bogotá: Museo de Arte Moderno Bogotá, 1972. Oblong 4to, [24] pp.; profusely illus. in b/w and color, with introductory texts and artist bio; pages comprised of six folding leaves; in paper wrappers, rubbed at edges, otherwise very good.

Early catalogue of the renowned Colombian fiber artist, just three years after she was included in MoMA’s groundbreaking exhibition “Wall Hangings.”

SOLD

Conferencia Latinoamericana Sobre Desarrollo Urbano

Alcaldía Mayor de Bogotá, et al. Conferencia Latinoamericana Sobre Desarrollo Urbano. Bogotá: [Alcaldía Mayor de Bogotá; Universidad de Andes; and IBM Corp.], 1975. Oblong 4to, 132 pp.; reproducing fourteen papers from an international conference bringing together experts from Latin America, Europe, and the United States, each paper proceeded by a photograph and bio of the participant; newsprint toned, in illus. paper wrappers, spine rubbed, front wrapper with bent corner, reinforced verso with tape, otherwise good.

Rare document of a landmark gathering of politicians, urban planners, architects, public service officials, and industry partners to discuss the future of Latin American cities. Reproduces papers by Diego Arria Salicetti, Governor of Caracas; David Grove, Vice-President of IBM; John Lindsay, ex-Mayor of New York; Alfonso Palacio Rudas, Mayor of Bogotá; Jean Taulelle, Prefect of Paris; Jorge Valencia Jaramillo, poet and President of the Society of Colombian Economists; and others.

OCLC finds no copies in North America.

SOLD

Arte Abstracto Geometrico

Rubiano Caballero, Germán. Arte Abstracto Geometrico. [Bogota]: Museo de Arte Universidad Nacional de Colombia, 1987. Square 8vo, [20] pp.; introduction by the curator, Rubiano, with 8 full-age b/w illus. and artist biographies; orig. paper wraps, toned with some sl. staining to front wrapper, good.

Catalogue of the exhibition surveying the diverse modes of abstract art in Colombia, from its inception until the present day, including many women artists: Cecilia Coronel, Margarita Gutiérrez, Ana Mercedes Hoyos, Teresa Sanchez, and Fanny Sanín.

Not found in OCLC.

SOLD

Mujer: A Photographic Exhibition on the Latin Woman

[Steiner, Lisl]. Mujer: A Photographic Exhibition on the Latin Woman. Exhibition poster for the Institute of Contemporary Hispanic Art: New York, 1976. Approx. 22-3/4 x 15-1/4 in, creased at folds, small tear along fold. Extensive autograph dedication verso from Austrian artist Lisl Steiner to Argentinian artist Gyula Kosice, discussing water sculpture and her involvement in Madí and Arte Concreto.

Steiner was born in Austria but her parents fled to Argentina after the Anschluss. She attended art school in Argentina and was one of the few women artists associated with Madí. She immigrated to the United States in 1960.

We find no record of the poster institutionally or in the market.

SOLD

Two Mexican Communist Flyers

Two Mexican Communist Flyers Denouncing Nazism and the German-Soviet Pact. [Mexico City]: [1939]. 5-3/4 x 8-1/4 in. and 8 x 6 in.; toned with small pencil inscriptions noting place and date.

“Sabía Usted…” advertises the daily newspaper El Popular, founded by a group of Marxist labor activists a year earlier in Mexico City. It announces the paper’s editorial independence from the right-wing political interests of other journals and wire services, including Transocean, which it accuses (correctly) of being an organ of Nazi propaganda.

The second flyer is for a speech by Hernan Laborde, then Secretary-General of the Partido Comunista Mexicano (PCM), addressing the significance of the Soviet-German nonaggression pact. Only months later, Laborde and others would be expelled from the PCM by the notorious Purging Commission of the “Extraordinary Congress,” for their refusal to support Soviet efforts to eliminate Trotsky. It advertises entertainment following Laborde’s speech, including “una Gran Pelicula Soviética.”

Not found in OCLC.

SOLD

Cancionero

Comite Central de la Juventud Socialista Popular. Cancionero. Santiago de Chile: Juventud Socialista Popular, 1954. 7-1/8 x 5-1/8 in., [16] pp.; songs “de lucha y de liberación,” a few b/w illus. and color paper wrappers, newsprint sl. brittle as expected, otherwise very good.

Spanish-language communist songbook, including one for Rosa Luxembourg by renowned anarchist poet Elias Castelnuovo, otherwise unrecorded(?).

Not found in OCLC.

SOLD

Cancionero

[Fernandez, Esther] Guerrero, Eduardo, Ed. Cancionero: Album No. 29. [Mexico City]: Eduardo Guerrero, [1938]. 7-7/8 x 6 in., [15] pp.; color illus. stapled wrappers, corners bent, otherwise good.

Songbook featuring popular folksongs and music from La Adelita, with cover illus. of the movie’s star, Mexican actress (and painter) Esther Fernandez. Adelita tells the story of a woman who joins Pancho Villa’s revolutionary army as a nurse and ends up as a soldier. Also includes an early version of a song celebrating the expropriation of foreign oil assets in Mexico, in March 1938.

Not found in OCLC.

SOLD

Meccano

Munizaga Vigil, Gustavo. Meccano. Santiago de Chile: 1970. Oblong small 4to, 10-1/2 x 8-1/2 in., [52] pp.; poems, mostly in Spanish, a few in English, illus. throughout with b/w reproductions of line drawings by the author; sl. toning, pictorial paper wrappers chipped at spine. With five-page manuscript letter in English by the author, dated January 12, 1971, laid-in.

Experimental poetry, mostly on architecture and urbanism, by the Chilean architectural historian, Munizaga Vigil. Accompanied by a fascinating and lengthy letter from the author to a Dutch friend, describing the lived experience of Chile’s political situation during the dramatic months following Allende’s election. His frank appraisal of the socialist revolution depicts a hopeful intellectual class at odds with the philosophy of the Chilean Popular Front: “For the many that constitute the people, this revolution is the only way out. But to others, those of us that grew around ideas and values now foreign or misunderstood, it is difficult … There is an idea of a socialist totalitarian and “everyone the same” state. There is a growing mistrust for freely expressed personal unofficial ideas. This is not new in Chile. But now it can become a machinery. I hope we can build our country around socialism and that we become less static, less formal, more human.”

OCLC locates no institutional holdings in North America.

SOLD

[Transgender]. Collection of ephemera

[Transgender]. Collection of pamphlets, zines, chapbooks, and other ephemera related to transgender, transsexual, and LGBTQ activism, youth, literature, health, humor, and social justice movements, 1970-2015. (Most 2000-present). 35 items compromised of monographic zines, individual issues of serials, pamphlets, and flyers; most monographs and serials 8vo, many 20-40 pp., most side-stapled or folded, most profusely illustrated, many very good or near fine, a few with edge or corner wear, some older examples rubbed or toned. A few with author’s gift inscriptions.

Many examples feature creative writing of trans individuals and describe the personal experiences of trans youth and adults, others focus on trans resources and definitions; sexuality; poetry and artwork; some describe specific political theories including anarchism and gender; trans people and the prison-industrial complex; a few dedicated to mourning trans deaths by suicide and murder; advocating for violent resistance and self-defense; and advertising trans parties or events. Some additionally address civil rights and economic issues including racism, feminism, gentrification, homelessness, prostitution, and drugs. Authors are often pseudonymous and identify as transgender, nonbinary, MtF, FtM, and queer; most American.

Together the collection presents a diverse picture of the evolving scope of North American trans experience and activism. Most items are not recorded in OCLC or are recorded at only one library, only a few with multiple holdings.

Detailed list available on request.

SOLD

Diccionario del arte actual

Estrada, Maria Isabel [and Leonel Estrada?]. Diccionario del arte actual. Medellin: Departamento de Relaciones Publicas de Coltejer, 1970. Oblong 8vo, 30 pp.; alphabetical definition of contemporary art movements with 4 b/w reproductions of works by various artists; side-stapled blue and white wrappers, wrpprs. worn and splitting at spine, small area of discoloration (partially erased?) on front, interior sl. toned, pen inscription on title page.

A rare coeval document from the 1970 Coltejer Biennial (the official catalogue having been published after it closed), curated by Aguilera Cerni, Lawrence Alloway, and Giulio Carlo Argan. The second Biennial was expanded from the 1968 inaugural edition to include more artists and ambitious contemporary work from all disciplines, including computer art, performance, and installation. The Coltejer Biennials had a tremendous impact on Colombian contemporary art, this booklet was presumably produced as one of the many adaptations made in response to public criticism of the first Biennial and distributed as a helpful key for audiences unfamiliar with current aesthetic tendencies.

The booklet is described as “preparado por Maria Isabel Estrada,” the daughter of art critic and director of the biennial, Leonel Estrada. Leonel Estrada would later publish the highly regarded Arte actual: diccionario de términos y tendencias (Medellín, 1985), with Maria Isabel credited as a coauthor. It is unclear who authored the definitions found in the present volume, but they introduce fascinating translations of important international movements including Arte de Agua, Gutai, Sonocinetismo, Espacio Ambiental (as differentiated from Happenings), Estructuras de Repeticion, Arte de Participation, and Arte Programado.

OCLC locates no institutional copies outside of Colombia.

SOLD

Máximas Mínimas

[Latin America] [Graphic Design] Consuegra, David and Cecilia Cáceres [illus.]. Máximas Mínimas. Bogotá: [N.p.], 1982. Oblong small 4to, [24] pp.; text, including poems and thematic introduction to the synthesis of language and images, by Consuegra with b/w illus. by Cáceres; perfect bound white card wrapper, sl. marked at corners and spine, glue visible at gutter between the two sewn sections. Edition limited to 150 signed copies.

Consuegra designed the iconic logo of the Museum of Modern Art in Bogotá and a significant part of the museum’s exhibition materials during the 1960s-1970s. He also created the first professional graphic design program in Colombia, at the Universidad Jorge Tadeo Lozano. This experimental book was produced for and distributed at the 1982 International Book Expo in Leipzig, East Germany. Only one North American holding recorded in OCLC.

SOLD

EXPERIENCES IN ALASKA: As Told by the Cook and the Teacher

[Western Americana]. Risedorph, Caroline Wilhelmina and Lillian Elizabeth. EXPERIENCES IN ALASKA: As Told by the Cook and the Teacher [Cover Title - Original Photographic Typescript]. Treadwell, Alaska: The L.E.R. Publishing Co., 1906. Small 4to, custom booklet, beige card wraps around 24 leaves of bond typing paper bound into a maroon calf backstrip over spine via 2 brass rivets at left margin. Hand-watercolor title lettering to front. 15 sepia toned silver print snapshot photographs and approximately 2500 words of typed text to rectos only. Versos blank. Handmade holiday card and an additional silver print class photograph laid-in. Some light chipping, edge wear about wraps. Some toning to title page where ephemera laid-in at front. Otherwise internally bright, clean. Photographs well preserved. About very good overall.

An original account, illustrated by 15 original photographs, composed by sisters Caroline (b. 1877?) and Lillian (b. 1874) Risedorph of Seatle, of their experience working as a teacher and a cook, respectively, in the mining village of Treadwell, Alaska in the winter of 1906. Privately published in this vernacular style by the women, the inclusion of the original photographs and text of the introduction suggests to us a unique publication likely intended for circulation among close friends and family.

The narrative opens with the Risedorphs receiving word one had been awarded the position of teacher in Treadwell: “When the letter reached the sisters, bearing the announcement that one of them had been elected to teach the school at Treadwell, Alaska, and as the other, in an unthinking moment, had promised to act as cook in case of election, consternation and surprise on the part of both were marked [...].”

It continues on in a similarly eloquent and endearing fashion in 12 full pages of text to chronologically describe their journey, becoming settled, preparing the school (each lived in and worked in the school building), teaching and serving the students, etc., with particular focus on life on the frontier of Alaska. The text describes the grandeur of the natural scenery, the harsher realities and privations of life in Treadwell versus Seattle, and a visit into the gold mine.

“The teacher’s past experience has been with blase Queen Anne children, of Seattle accustomed to refinement and even luxury in their homes, and although they were very interesting, it was a problem to keep them interested. These are completely absorbed in all things from the large bottle of library paste to the shirred garters on the teacher’s arms.”

The various ethnicities of the 18 children seem, in the minds of the narrators, to account for this positive, diverse atmosphere (”[...]three Italians, two Slavonians, four Scotch, and the remaining few Americans.”), and the women appear particularly enamored by Spiro, a 6-year old Slovanian boy whose musings and questions seem an endless source of amusement.

A rich and well-executed unique primary source, with vernacular publication details (“to Mr. Willis whom ‘we saw about the paper’ and who gave it to us because it was soiled [...]”) and an uncommon written, as well as visual, glimpse into womens experience, education, and the ethnic diversity in early 20th Century Alaskan gold mine settlements. Not found in OCLC.

$1250

Contrapropuesta. Nos. 4-5 (all published?)

[Architecture – Latin America]. Gana Barrios, Rafael, Ed. Contrapropuesta. Nos. 4 (Aug. 1981) and 5 (Autumn 1982) (all published?). Santiago de Chile: [Escuela de Arquitectura de la Pontificia Universidad Catolica]: 1981-1982. Oblong 4to, two issues: 66, 92 pp.; illus. with b/w reproductions of photographs, architectural plans, maps, etc. with signatures and possible private ex-libris marks on half-titles, in color pictorial wrpps, edges and corners sl. worn.

The numbers at hand would seem to constitute the first (and only?) two issues of Contrapropuesta, though their numbering probably refers to earlier iterations of student journals published at the architectural school of Pontificia in three prior years (1898, 1910, and 1929). In original essays and translations from major international architecture publications, the students take up the questions of neoclassicism, modernism, and postmodernism in relation to specific problems in Chilean architecture and culture. No. 4 with letter laid in from one of the collaborators to the editor of a Spanish publication, Grieta.

Recorded in OCLC with no location or holdings.

SOLD

Ultramar. Año I, No. 1

[Architecture] [Latin America] Bello, Enrique, Ed. Ultramar. Año I, No. 1 (Dec. 1959). Santiago, Chile: 1959.

Folio, 21 5/8 x 15 1/4 in., 12 pp.; profusely illus. with b/w photographic reproductions, self-wrappers, center fold worn, esp. to front, with closed tear along fold at fore-edge affecting multiple pages, edges sl. frayed.

Enrique Bello was previously the founding editor of the Chilean avant-garde weekly, Pro Arte (1948-1956), which covered modern art and literature in Chile and abroad, including writing and criticism by Diego Rivera, Gabriela Mistral, Pablo Neruda, Rosamel del Valle, Roberto Matta, and many others.

Bello intended for Ultramar to provide similar coverage of the Chilean avant-garde, in a global context, “En este barquito de papel, viajaremos pues, todos juntos por Chile y por todos los mares cada dos semanas. Y ahora, todo el mundo a bordo!” The inaugural issue is largely dedicated to three topics, Oscar Niemeyer and Lúcio Costa’s magnum opus, Brasília; the 1959 São Paolo Bienal; and the Interantional Congress of Art Critics which had convened in Brasília, São Paolo, and Rio de Janeiro in September.

Profusely illustrated with photography of Brasília under construction by Rebeca Yáñez, and Chilean artists and their work at the Bienal, as well as caricatures of delegates at the Art Critics Congress by critic and cartoonist Antonio Romero.

Articles are by Bello and luminaries in the field including Andre Bloc, Costa, and Richard Neutra on Niemeyer.

Although there are bibliographic references to a No. 4, we are unable to locate a single issue in OCLC in September 2017.

SOLD

Аноар: еврейско культурно-обществено списание

[Hashomer Hatzair] Ашомеръ-ацаиръ. Аноар: еврейско культурно-обществено списание. Year 1, No. 1 (Dec. 15, 1935) to Year 4, No. 31 (April 25, 1939) (lacking No. 30). Sofia, Bulgaria: 1935-1939.

8vo, 30 of 31 published issues, each 20 pp.; illus. stapled self-wrappers with occasional illus. within, each with handwritten date in Cyrillic and roman numerals on cover, no. 1 front wrapper detached with 1/2 in. loss LL, no. 28 front wrapper detached, otherwise newsprint sl. toned and brittle as expected.

Near complete run of this scarce Zionist serial published by the Bulgarian branch of the socialist youth organization Hashomer Hatzair (“The Young Guard”). Founded in Eastern Europe in 1916, Hashomer Hatzair encouraged Jewish youth to maintain their identity and culture in new environments, resisting middle-class urban life and economics in favor of cooperative labor, agriculture, and the values of social justice. Members participated in service trips and, later, organized illegal immigrations to Palestine. Issue number one of Аноар [Anoar], features a photomontage of Degania, the first kibbutz. Hashomer Hatzair members were also leaders in the resistance movement in Jewish ghettos and in concentration camps (e.g. Ḥaykah Grossman [Białystok], Mordekhai Anielewicz [Warsaw], and Abba Kovner [Vilna]).

The Bulgarian branch began publishing this “Jewish Culture and Society” journal after Hashomer Hatzair had undergone a profound political shift to the left, supporting a bi-national solution in Palestine and resisting the influence of the Soviet communist party. Its contents are varied: supporting the vision of a new, egalitarian and socialist nation of Eretz Yisrael; extolling the virtues of work and farming; reporting on Nazism, anti-Semitism in Bulgaria and across Europe, the Polish ghetto system, and resistance efforts; and reviewing arts and literature.

Anoar also includes intriguing essays on psychoanalysis and the psychologist Alfred Adler, both influences on Hashomer Hatzair and eventually on policy in the new state of Israel, despite the natural opposition of Zionist (collective) and psychoanalytic (individualist) thought.

The serial was printed by “Задружень трудъ” – a cooperative that also printed anarchist materials – and edited by Isaac Bidzherano. The stylized cover photomontages and great interior design are uncredited, though some in-text caricatures and illustrations are signed.

OCLC finds no institutional holdings in North America and only a single issue? at the National Library of Israel. Additional research reveals a partial run at Sofia University, Bulgaria.

SOLD

Huachipato. Año I, No. 1–No. 12.

[Chile] [Intentional Communities] [Graphic Design] Compañía de Acero del Pacífico. Huachipato. Año I, No. 1 (Oct. 1953)–No. 12 (Sept. 1954). [Concepción, Chile]: [Compañía de Acero del Pacífico], 1953-1954.

8vo, 12 issues bound in one vol., each 16 pp.; profuse b/w illus., orig. color wrappers bound in; earlier two-hole punch at left margin, current papered boards rubbed, bumped, and chipped, not affecting contents.

Complete first year of the company journal for the Chilean mining and manufacturing giant, Compañía de Acero del Pacífico [CAP]. CAP opened the Huachipato steel mill in Talcahuano, Chile, in 1947; it remains the only steelmaker in the country that produces steel from raw materials. In addition to the factory, CAP built worker housing, a medical center, and schools, and developed arts and culture in the industrial port. CAP continued to influence urban planning and demographics in the city throughout the 20th century.

The Huachipato magazine chronicles this newly built “company town,” reporting on industrial and technological achievements, social activities, health and human services, sports, union issues, and education. The covers are a celebration of midcentury industrial aesthetics.

A soccer team of the same name was founded by company employees and now competes in Chile’s primer league.

OCLC locates just a single later issue at UT, three at Cornell, and one? at Biblioteca AECID, Madrid.

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Templo Myrurgiano: Erigido en la Argentina por Falcon & Cia. en el año 1939

[Architecture] [Latin America] Templo Myrurgiano: Erigido en la Argentina por Falcon & Cia. en el año 1939. [Buenos Aires]: n.p., 1939.

Oblong 4to (11 x 14 in.), [22] leaves with 21 photos, each 7 x 9 in.; self-published presentation album with printed transparent interleaves, first interleaf partially detached and first leaf foxed, else very good, photos near fine; spiral wire binding, poly-covered boards with decorative wire edges, metallic paste downs, poly sl. rubbed.

Elegant presentation album promoting the opening of Falcon & Cia., the Argentinian distributor of Myrurgia, the Spanish perfumer and cosmetics manufacturer. Falcon & Cia.’s offices were located at 743 Juncal, in the iconic Palacio Estrugamou block, the monumental example of Parisian residential architecture in Buenos Aires. Completed in 1929 in a Second Empire (-ish) style as the world financial markets were collapsing, the building is an exuberant pastiche of French classical architectural references.

In contrast to this visual typology of luxury and leisure, aimed at Argentina’s haute bourgeoisie, the modernized headquarters of Falcon & Cia. celebrate utility and functional forms. The album showcases the renovated interior, with modern open offices and architectural details, and Art Deco furniture and design elements. All the ornamentation has been stripped from columns, windows, and floors, reflecting a popular international style. This subdued classicism may also reflect the economics of the period at the outbreak of WWII, when Spanish companies like Myrurgia expanded into South America – developing new markets and manufacturing their products locally to avoid the chaos of the Civil War.

Unrecorded in OCLC.

SOLD

Semáforo

[Spanish Civil War] [Film] Comité Ejecutivo de Espectáculos Públicos de Valencia y Provincia, Confederación Nacional del Trabajo (CNT), and Unión General de Trabajadores de España (UGT). Semáforo: Revista del Comité Ejecutivo de Espectáculos Públicos de Valencia y Provincia. Año II, No. 11 (Apr. 15, 1937)-No.16 (Oct. 15, 1937). Valencia, Spain: UGT-CNT, 1937. 4to, six issues, each [36] pp.; illus. throughout in b/w; color illus. wrappers rubbed with a few small creases and one 1/2 in. closed tear.

Sizable run of the short-lived film journal (1936-37) irregularly published during the Spanish Civil War by a committee of socialist and anarchist propagandists from the UGT and the CNT-FAI. Each issue begins with an editorial promoting the Republican cause and antifascism in arts and culture. These essays address different aspects of art’s role in a socialist society and describe a new, emancipatory path for Spanish film and theater—a necessary corrective for the “poison” administered by the bourgeois film industry before the Republican victory in 1931.

Much of the design can be attributed to Mexican illustrator Juan Pérez del Muro, whose background in pop culture and satire is visible in the erotic covers, interior caricatures, and satirical photomontages of European dictators including Hitler and Mussolini. Under the direction of the anarchist journalist Higinio Noja Ruiz, Semáforo covered cinema, experimental theater, dance, and political philosophy, with features on Soviet films and those of the socialist Spanish production company Film Popular. Essays address scenography, visual arts, music, and the committee-based structure and economics of anarcho-syndicalist film and theater industries. Some advertisements and reviews refer to lost films, destroyed by the government during Franco’s dictatorship. Three of the six issues have rear cover illustrations advertising the Nuestra Natacha, which went missing at the end of the war.

OCLC finds a single incomplete run located in North America (UC San Diego) and two other partial holdings worldwide (University of Barcelona and IISH, Amsterdam).

SOLD

Pentalfa: Magazine Naturo-Desnudista y Trofologica

Capo, Nicolas, Ed. Pentalfa: Magazine Naturo-Desnudista y Trofologica [subtitle varies]. Nos. 170 (May 31, 1933), 198 (1934), and Suplemento No. 1 (1934?). Barcelona: N.p., 1933-34.

Three issues: two 4to (12-1/4 x 8-1/2 in.), supplement small 8vo (6-3/4 x 4-3/4 in.), each [12-18] pp.; illus. throughout with b/w reproductions; self-wrappers printed recto and verso, some thumb wear on fore-edge, toning as expected.

In 1926, naturopath Dr. Nicolas Capo founded the Pentalfa society and magazine to promote nudism, exercise, nutrition, and free love. In addition to advocating pseudo-scientific herbal and sun therapies, Capo’s organization was linked to the international naturist movement and its campaign for sexual and cultural freedoms. This modern, internationalist position was increasingly identified with the radical left during the early 1930s and eventually with anarchist and Republican parties during the Civil War. Following Franco’s victory, Capo lived in exile in Uruguay.

Issue No. 170 was published shortly after the 1933 German national elections and the editors provide a response to Nazi ideology and increasing censure of German nudist groups.

OCLC finds no holdings in North America.

SOLD

Biofilia: Revista Mensual de Culto a La Vida

[Spanish Civil War] [Nudism] Brunet, Laura, Ed. Biofilia: Revista Mensual de Culto a La Vida. Año I, No. 1 (Nov. 1935) and Año II, No. 11 (Dec. 1936). Barcelona: [Editorial Sanxo], 1935-1936. Two issues, 8vo, both 32 pp.; illus. throughout with reproductions from photographs and other artistic media, No. 1 with supplemental plate laid in, newsprint darkened as expected, otherwise very good; stapled pictorial wrappers with some wear, second issue completely separated with 2 in. closed tear recto and foxing.

First and eleventh issues of the Second Republic nudist magazine (1935-1937) edited by anarchist and naturalist Joan Sanxo i Farrerons under the pseudonym Laura Brunet. Editorials and essays in Biofilia draw explicit links between Republican revolutionary ideology and nudism, including worker’s rights, anticapitalism and antifascism, and cultural freedom.

During the Civil War, Sanxo self-published under the names Editorial Sanxo and Imprenta Layetana; the rear wrapper of the Dec. 1936 issue is an advertisement for his series Estampas de la Revolución. In addition to other anarchist and nudist materials, Ed. Sanxo published Civil War propaganda, and artists involved in Biofilia were celebrated designers of Republican graphics.

The first issue’s cover and laid in supplemental broadside are by artist and illustrator Alloza (Josep Alloza i Villagrasa), the creator of many memorable UGT and CNT propaganda posters.

As of June 2017, we locate no record of the magazine in OCLC or on the market.

SOLD

Three Basque Liberation Movement Posters

[Three Basque Liberation Movement Posters].

Two Euskadi Ta Askatasuna [ETA] posters, 65 x 45 cm and 70 x 50 cm, together with a Euskadiko Alderdi Komunista [Partido Comunista de Euskadi] poster, 60 x 41 cm, edges a bit worn in places, a few small closed tears or pinholes, overall very good. Two with issuing statements: Hendaye, France: Mugalde, n.d.; Bilbao, Spain: Printzen, 1977.

The three posters were all likely printed in the late 1970s, during the deadliest years of the separatist struggle. There were several publishers in this period known for their association with the ETA, including Printzen in Bilbao and Mugalde in Hendaye, which issued some of the most recognizable ETA graphics. Mugalde violently entered the annals of the liberation struggle on April 7, 1975, when it was bombed in the first armed action by the Spanish neofascist group Anti-Terrorismo ETA [ATE].

Basque separatist graphics often reference Picasso’s painting Guernica, an international symbol of antifascism that holds particular significance for Basque people. Painted in Paris in response to the German bombing of the northern Spanish town in 1937, Picasso refused to allow it to travel to Spain until the fall of Francisco Franco, who ordered the attack. It remained on loan in New York at MOMA until 1981, when it was moved to Madrid. Multiple requests to exhibit the painting in the Basque region have been denied, only adding to its association by the Basques with Spanish repression.

OCLC finds no institutional holdings, but one of the posters appears on deposit at Universitat Autònoma de Barcelona.

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Färbungen auf Blumenstaff

[Trade Catalogs] [Dyes – Artificial Flowers] Chemische Fabriken vorm. Weiler-Ter Meer. Färbungen auf Blumenstaff. (Dyeings on fabrics for artificial flowers. Teintures sur calicot pour fleurs artificielles.) Uerdingen (Niederrhein), Germany: Chemische Fabriken vorm. Weiler ter Meer, n.d. [ca. 1900]. 11 x 5-1/4 in., leporello with 64 dyed fabric samples mounted on eight heavy card plates; light foxing to card, first and seventh plates with some foxing affecting fabric; in orig. pictorial wrapper, worn with small chips to extremities, cracked and splitting at head and tail.

Attractive trade catalog from the German chemical manufacturer specializing in textile dyes. Dyeing instructions and product names in German, English, and French.

Not in OCLC.

SOLD

Lafayette Towers

[Mies van der Rohe, Ludwig] Lafayette Towers [title from cover]. [Detroit, MI]: N.p., n.d. [ca. 1961]. Oblong folio, 11 x 14 in., [16] pp.; primarily illustrations, some in color, with pop-up building and multi-color inserts, mild thumbing lower right, overall very good; stapled color wrapper, front wrapper printed recto and verso with folding panel, rear wrapper with inside pocket flap containing eight apartment floor plans, loose as issued, wrappers toned along tail edge with scattered marks and discoloration, rear wrapper separated at top staple.

An enthusiastic sales pitch for Lafayette Towers—the final buildings designed by Mies van der Rohe as part of his original plans for Lafayette Park, one of Detroit’s major urban renewal projects. This large format promotional catalogue brings together the architect’s signature modernism with exuberant graphic marketing of its state-of-the-art appliances and luxury amenities. A startling, optimistic artifact of planned housing and intentional development in a city that would shortly experience dramatic changes following the Civil Rights movement and post-industrial contraction.

With the redevelopment of Lafayette Park, Mies van der Rohe and his frequent collaborator, the urban planner Ludwig Hilberseimer, imagined a largely traffic-free, independent neighborhood constructed on 130+ acres in downtown Detroit. The community was designed with its own infrastructure and a variety of residential options, from detached single-family homes to high-rise towers. Largely completed according to van der Rohe and Hilberseimer’s plans, it remains an economically and racially diverse community, and a case study of large-scale urban planning.

OCLC locates a single copy, at the Univ. of Michigan.

SOLD

Exposicion de Barcelona: Palacio de Proyecciones. Programa Oficial

[Fontanals i Mateu, Francesc] Exposicion de Barcelona: Palacio de Proyecciones. Temporada de Grandes Revistas. Programa Oficial [title from cover]. Barcelona: 1930. 8vo, [20] pp.; b/w illlus. throughout; pictorial color wrapper foxed with remains of a ticket? affixed to rear wrppr.

Program for Charles B. Cochran’s revue “Wake Up and Dream,” with music by Cole Porter, directed by Sonnie Hale, as performed in Barcelona during the summer of 1930. Cover illustration by Francesc Fontanals, graphic designer and brother of set designer Manuel Fontanals.

The Palacio de Proyecciones was constructed for the International Exhibition of 1929 and remodeled or demolished? soon after, eventually becoming the site for the Palacio de Congresos. The program’s schedule for June and July lists other spectacles including fireworks and performances by Pablo Casals. Spanish summary of the English dialogue tipped in. Number 692 out of unknown edition.

Recorded in OCLC with no locations.

SOLD

Or y Grana: Setmanari autonomista pera las donas, propulsor d’una Lliga Patriótica de Damas

Or y Grana: Setmanari autonomista pera las donas, propulsor d’una Lliga Patriótica de Damas. Year I, No. 1 (October 6, 1906) through Year II, No. 21 (Feb 28, 1907) (all published). Barcelona: N.p., 1906-1907.4to, complete run of 21 issues, most 16 pp.; profusely illus. in b/w, no. 13 printed in three colors, newsprint toned, scattered small closed tears to edges, else very good; issues bound in one vol., later half-calf, spine with gilt title and tooling, lightly rubbed.

The women’s weekly Or y Grana arrived in Barcelona following the great nineteenth-century revival of Catalan literature and art known as La Renaixença. It was written and edited by women, with political essays, poetry and fiction, reviews, and illustrations by leading graphic artists and caricaturists. The bold endeavor, often identified as the first “feminist” Catalan publication, was tempered by relatively conservative, bourgeois principles. Defined by nationalism and social Catholicism, the magazine defended the rights of working women and the poor, advocated for women’s education and better conditions for unmarried women and widows, while conceding the political subordination of women to men.

Or y Grana’s leadership included a number of important writers and proto-feminists: Dolors Monserdá de Maciá (journalist, novelist, and the first woman to preside over the preeminent literary contest, the Jocs Floral); Carme Karr (pacifist and suffragette); Maria Doménech (poet and author); and Josepha Dachs de Prat de la Riba (wife of the radical Catalonian nationalist Enric Prat de la Riba). Although Ora y Grana was short-lived, within weeks of its closure Karr began editing its long-running successor, Feminal, a literary magazine that more directly supported women’s rights.

Stylistically, the magazine captures the turn from Art Nouveau and Modernisme to the simpler lines and typography of Noucentisme. Although it was not a satirical publication, it addressed the battle of the sexes with abundant humor and caricature, including cartoons and illustrations by the most important caricaturists of the period: Apa; Bagaria; Joan Junceda; Ismael Smith, and the great Ricard Opisso, among others.

This landmark of Catalan women’s literature and early feminism is surprisingly scarce. OCLC locates no physical holdings in North America and only one complete run worldwide.

SOLD

Ellas: Semanario de las Mujeres Españolas

Ellas: Semanario de las Mujeres Españolas. Año IV, Nos. 151-153, 158. Madrid: n.p., 1935. Tabloid, each 20 pp.; with b/w photographic reproductions and illustrations; self-wrappers, newsprint toned with central horizontal creases, edge-worn with closed tears, no. 151 with additional foxing, discoloration, and split fold, no. 153 with chipping and some small losses not affecting text.

Four issues of the Republican-era Nationalist newspaper, which was intended to mobilize women in the collective fight against Republicans, communists, and other enemies of the right. Monarchist writer and propagandist José María Pemán founded the serial in 1931, following the constitutional recognition of a woman’s right to vote. Ellas espoused traditional Catholic values, railed against suffrage, reported on fashion and the arts, and came out in favor of the fascist policies of Italy and Germany.

Although some of the articles were written by men, many regular columns and features were penned by women, including high-profile intellectuals such as the industrial engineer Pilar Careaga (the first woman in Spain to receive this degree); María López Sagredo, the leader of the Defensa Femenina; Teresa Luzatti, leader of Juventud Católica Femenina; and Pilar Velasco Aranaz, the editor of the right-wing paper Acción Nacional.

These issues are from the last year of its publication, shortly before the Civil War. OCLC locates no issues in institutional collections outside of Spain.

SOLD

Laudium: Where the Indian Community of Pretoria Lives

Laudium: Where the Indian Community of Pretoria Lives. Pretoria, South Africa: Department for Cultural Affairs, City Council of Pretoria, 1968. Oblong 8vo, [20] pp.; promotional brochure designed by the city council to advertise the modern architecture, public infrastructure, recreation facilities, mosque, Hindu temple, and business district of an Indian township in Pretoria, profusely illus. in color and b/w, orig. color illus. wrappers rubbed, interior bright; very good.

Rare piece of apartheid government propaganda, putting a positive face on the separate “colored” community of Laudium, with architectural plans for council houses, costs for municipal services, and photos celebrating the modern amenities and free education available to residents of this segregated suburb. OCLC locates only a single holding in North America, at Michigan State.

SOLD