El solamente quería vivir: En Colombia la acción criminal de los grupos paramilitares [...]

Central Unitaria de Trabajadores de Colombia. El solamente quería vivir: En Colombia la acción criminal de los grupos paramilitares debe terminar: La CUT ante las naciones unidas y la OIT. Bogota: 1988. Second (expanded) edition. 23 cm, 119 pp.; a number of b/w portraits, photo reproductions, of assassinated politicians, NGO members, etc, in illus. color wrappers, rear wrap with crease starting to tear (closed). Illus. by Luis Caballero.

Gathering a number of important manifestos, speeches, and texts primarily by the central national union, but including statements by other student groups and left-wing organizations against paramilitary groups in Colombia. Includes a multi-page blank template for reporting missing persons to the United Nations.

Edition history is a bit confusing, first edition recorded in OCLC as 1982 (one location in North America, UT-A), but the CUT didn’t exist until 1986 and many of the texts and documents in the second edition date to 1987 and 1988. 2nd e. held by Harvard, Princeton, and UT-A. First only at UT-A

$90

Manolin: Novela Original

Canel, Eva. Manolin: Novela Original. Habana: Romero Rubio, 1891. First Edition. 19 cm,. 215 pp.; ownership inscription on half-title “Maria de Lourdes,”; in contemporary three-quarter calf, spine with five compartments and gilt title, rubbed, esp. at head of spine and rear corners, marbled boards scratched.

Romantic novel by the prolific Spanish journalist Eva Canel (1857-1932) who, in addition to writing seven novels and four plays, published a satirical newspaper in Havana, reported on the World’s Columbian Exposition (1893) for papers across Latin America, lived in Argentina, Bolivia, and Cuba, where she founded her own press, and in the ultimate paradox, was a friend to both Jose Martí and Valeriano Weyler.

Despite the unusual scope of her activities, Canel was not a feminist. During her coverage of the Columbian Exposition she wrote a confusing defense of traditional Spanish womanhood. “In Spain we know nothing of women’s congresses, because the women who struggle and who study, and who enter the literary, scientific, artistic, or journalistic arena, do so on the same footing as men, the culture of both sexes being thus measured by the same standard … what does it matter if Spanish girls are not allowed the liberty of traveling and going out unaccompanied…?” (A perfectly hilarious question for a woman who wrote a travelogue about Tierra del Fuego.)

But Canel thought nothing of writing and reading about scandalous affairs and female sexuality of the kind encountered in this book and the 19th-century romance genre more generally.

The novel was included in an exhibition of rare Cuban books at the University of Miami, though oddly their copy is a second edition published in Madrid. WorldCat identifies approximately four other institutional holdings in the US.

SOLD

Cited:

Canel, Eva. “The Spanish Woman.” The North American Review 157, no. 444 (1893): 566–70.

Zequeira, María. “Eva Canel, Una Mujer De Paradojas.” Anuario De Estudios Americanos, 2001.

Cocktail

Guerrico, Silvia. Cocktail (Para el atardecer de un sábado inglés): Cuentos Breves. Buenos Aires: Editorial Tor, 1932. First edition. 18.5 cm, 157 pp.; textblock toned with foxing, stories followed by five pages of publicity and press blurbs about Guerrico and an index. Color wrapper with illustration by Luis Macaya (1888-1953), older glue repairs to spine. With signed manuscript dedication from the author to Mané Bernardo on half-title, and a newspaper clipping with a photograph of the author, accompanied by a second handwritten note from Guerrico to Bernardo, both laid in. Note reads “A Mane Bernardo, amiga muy querida, en el atardecer de este sábado inglés en que la alegría de todas hizo editar un segundo cocktail. Cariñosamente. Silvia.” Together with a signed copy of: Guerrico, Silvia. Los príncipes azules. Montevideo: Rossi, 1927. First edition. 20 cm, 139, [5] pp.; in color illus. glued wrapper, illustration by Mario Castellanos. Losses to wrappers, spine, and interior chipped and toned. Reading copy only. Signed dedication by the author on half-title to the poet Fermín Estrella Gutiérrez.

Important association copies of early short stories by radio star Silvia Guerrico (Uruguay, 1905-1983), whose daily program in Buenos Aires became one of the most popular primetime shows in Rio Plata during the medium’s golden-age. Guerrico began her career as a theater critic in Montevideo, where she published Los príncipes azules (Prince charmings) when she was just 22. The collection was well-received by her contemporaries, including Juana de Ibarborou and Blanca Luz Brum. Brum wrote that “since she lives her life touching the painful and burning things, she could very well be a ‘little Russian’ in our literature [otherwise] prostituted by pornography and gauchismo.” (From publicity blurb in Cocktail, p. 157.)

Guerrico moved to Buenos Aires in 1928, where she shifted back and forth between print (incl. a regular newspaper column) and the radio, starting her own “magazine” program in late 1930. This quickly evolved into a daily broadcast called Cartel sonoro featuring many of her own poems and radio plays. Cartel sonoro was part of a wider effort to attract female audiences and consumers to variety shows and narrative programming. By the age of twenty-seven, Guerrico’s program had become a primetime success and an important platform for other women journalists and writers.

Despite her popularity, she was regularly criticized for the “vulgarity” and “femininity” of her on-air persona. Her rise corresponded to a new era of celebrity in Argentinian radio, and the government was just catching up to conservative concerns about the immorality of radio programming and modern music (particularly tango). It was during this period that she wrote the stories in Cocktail, which, like Los Principes Azules, depict modern women drinking and dancing and men who exploit and violate them. In Guerrico’s telling, the only exceptions to this dynamic are men and women of strong moral character brave enough to stand up for themselves. Guerrico’s playful dedication of Cocktail to her “dear friend” the lesbian puppeteer Mané Bernando conjures an intimate world of artist party-going on the “English Saturday”, i.e. the newly created legal right to a half-day off on Saturdays.

The cover illustration of Cocktail reflects the place tango had come to occupy in the Argentinian popular imagination. Associated in the 1930s with violence, the lower classes, and urban areas where prostitution was legal, the racist components of the image were part of the public association of tango with Afro-Argentinian traditions (“tango” and “tambo” were probably initially used to refer to musical gatherings of enslaved people in the Rio Plata).

Rare despite Guerrico’s fame: two copies listed by WorldCat for Cocktail; approx. 6 for Los príncipes. None in modern sales records.

$950

Further historical notes on Guerrico and censorship against women:

In 1933, shortly after Cocktail’s publication, Argentina passed laws to limit political speech on the radio and censor tango lyrics. In the spring of 1934, Guerrico interviewed Mexican film star Ramon Navarro for the evening news. Apologizing for recent poor reviews of his local performances, she offered him an impassioned defense that was the start of what became known as the “Guerrico affair”:

“I am going to say to you [...] what women would [say] if nobody was listening, if the mocking gaze of men did not weigh upon them, injuring and humiliating them. . . . Women love you, and there isn’t one who would not [like to say] thank you [...]. For an hour, from whatever movie screen in the world, you have …. erased all realities . . . there were no women who worked like dogs and had to marry some pimple-faced guy; there were no women who waited for the rough kiss of a dirty husband; there were no women overloaded with sadness and children. . . . Men have made life very difficult for women. And day-by-day, they make it uglier.”

Despite the seemingly low-stakes context of a radio interview, the speech’s implications about women’s desire, fantasy, and social silence surrounding their ordinary suffering was incendiary. The radio press called for government investigations. They questioned Guerrico’s qualifications, and women’s more generally, to speak. When she was not immediately fired they criticized her for having dared to “speak for Argentinian women” and described her as a “true threat to the tranquility of the radio listener.” One aggrieved reviewer wrote that Guerrico had proved “women and a microphone are incompatible.” Later that year, there was an executive degree with strict radio regulations to curb offensive content, a move that mirrored the new Hollywood industry guidelines known as the Hays Code. Eventually Guerrico was fired.

She found her way again with a more conservative radio program in the mid-1940s but went into exile after Perón’s election in 1946. After a number of years in Mexico, she eventually settled back in Uruguay.

Cited:

Ehrick, Christine. Radio and the Gendered Soundscape: Women and Broadcasting in Argentina and Uruguay, 1930-1950. United Kingdom: Cambridge University Press, 2015, pp. 33-69.

Flores en el desierto: Mujeres del Concejo Indígena de Gobierno

Muñoz Ramírez, Gloria. Flores en el desierto: Mujeres del Concejo Indígena de Gobierno. Mexico: Rosa-Luxemburg-Stiftung; Desinforémonos, 2018. Square, 22 cm, 175 pp.; profusely illustrated with color reproductions of photographs; color pictorial boards, extremities lightly rubbed, VG.

Interviews and photographs of ten women members of the Indigenous Government Council (Concejo Indígena de Gobierno [CIG]), a political body created in 2016 by the National Indigenous Congress (Council Congreso Nacional Indígena [CNI]) to be a collective indigenous voice united with the EZLN behind a single candidate for the Mexican presidency during the 2018 elections. The chosen candidate, María de Jesús Patricio Martínez, is a Nahua doctor, the CIG spokesperson, and the final interviewee in the present volume.

The book presents the striking stories of these women resistance leaders as they fight racism and the colonial legacy of dispossession to defend their history, language, natural resources, and sacred lands and ceremonies from “la hidra capitalista [que] avanza y avoraza todo lo que está a su alcance.”

The CIG/CNI’s governing principles are anticapitalist, autonomous, and horizontal: “Servir y no servirse, construir y no destruir, obedecer y no mandar, proponer y no imponer, convencer y no vencer, bajar y no subir, representar y no suplantar.”

A book produced intentionally in the public domain, unrecorded in OCLC either in physical or digital formats.

$450

Espejo en Sombra

Bertolé, Emilia. Espejo en Sombra. Buenos Aires: Mercatali, 1927. 16.5 cm, 78 pp.; textblock toned, foxed more noticeably in the first third, a few chips at fore edges; in color pictorial wrappers, with pochoir? illustration by Alfredo Guido, toned, spine chipped with a few small losses, reinforced at head and foot. With extensive manuscript dedication from the author. Limited edition, this copy numbered 606.

The only book published by the Argentinian poet and painter Emilia Bertolé (1896–1949), a member of the acclaimed Anaconda literary group and a close friend to its most famous members, Horacio Quiroga and Alfonsina Storni.

Though she is known more now for her painting, in the 1920s Bertolé’s name was mentioned by contemporary critics along with Storni and Juana de Ibarbourou as Rio de Plata’s greatest young poets. A lack of documentation of her role in this group provides an excellent opportunity for research into her poetry, which shares some of Storni’s emphasis on the modern women (e.g. Bertolé’s recurring image of a woman driving alone in this volume) and eroticism.

The pochoir illustration on the front wrapper is by Argentinian painter Alfredo Guido, who studied with Bertolé at the Academia Nacional de Bellas Artes. It is possibly a stylized portrait of Bertolé: Guido’s painted portrait of the poet won the Gold Medal at the XI Salon de Otoño (1927). In the painting, Bertolé is depicted with a light blue veil similar to the one that surrounds the female nude on the cover.

The extensive dedication and some of the poems reference spiritualism and Yogi Ramacharaka: reflecting the prominence of these trends in the Argentinian avantgarde, and, for both Guido and Bertolé, in Ricardo Rojas’s cultural naturalism, which privileged indianismo as a kind of local exoticism/orientalism (Rojas, Eurindia, 1924).

OCLC identifies three holdings in North America: Stonybrook, LOC, and IU.

See: Josefina Delgado. Alfonsina Storni: Una Biografía Esencial. Buenos Aires: Debolsillo, 2011.

$650

Cuentos para Mari-Sol

Brunet, Marta. Maria Valencia, Illus. Cuentos para Mari-Sol. Santiago de Chile: Zig Zag, nd. (1938?). First edition. 25.2 cm, 49, [1], pp.; letterpress? with four-color halftone title page and five four-color halftone plates, additional in-text color halftone illus. throughout; each of the seven stories beginning with a historiated initial “R” (“Resulta que…”); the page numbers with changing ornamental surrounds corresponding to the different stories. Text block clean and uniformly toned, colors bright with some ghosting/bleedthrough from the inking of the color illustrations. Orig. stapled card stock boards, rebacked, with orig. color illustrated wrapper, stained and reinforced at edges and spine where there were small losses, Brunet/Valencia “ex-libris” design on the rear wrapper.

First edition of the beloved mid-century Chilean children’s book, Cuentos para Mari-Sol. Authored by the award-winning novelist Marta Brunet (1897-1967) and the only edition with exuberant color illustrations by Maria Valencia, one of four participants in the groundbreaking neocubist Exposición de Diciembre (often described as the first abstract art exhibition in Chile). Known from a single other copy, at the Biblioteca Nacional de Chile (BNC), the first edition seems to have been rarely consulted by most Brunet bibliographers, who do not fully differentiate it from all subsequent editions. One of the seven stories appearing in the first edition is missing from all others, and the second edition, published approximately 25-30 years later, was much enlarged, including an additional thirteen stories (Los Cuentos de Mama Tolita) written many years after the original Cuentos para Mari-Sol.

Brunet was a feminist novelist, one of the earliest Latin American women writers who were not “simply displaying the ways in which women have been subordinated and excluded from the conventional social contract” but actually imagining “alternative social arrangements not based on fixed gender identities or conventional gender roles.” She was deeply involved in the Chilean suffrage movement, and her writing “violated in particular the limits of a rigidly class-based society, attacking ‘good customs’ (...) The demand for boldness in the behavior of women linked to the rise of the suffrage movement included above all the use of language.”

Both Brunet and Valencia had traveled to Europe in the 1910s and 1920s and were known for their participation in avant-garde intellectual circles there and in Chile, Argentina, and Venezuela. In addition to their involvement in the suffrage movement, they were also involved in Chilenidad and Americanismo, which prioritized local and indigenous references and expressions. Gabriela Mistral wrote of Brunet: “se ha amamantado de chilenidad. Chilenidad de paisaje, de acento, de costumbre, de carácter.” Cuentos de Mari-Sol is an example of Brunet’s early, rural chilenidad: familiar tropes of children’s folktales placed in a Chilean context (e.g. a protagonist condor; and the landscapes of Chile, rather than Europe). After Mistral, Brunet was the second woman to receive the National Prize for Literature, in 1961.

We offer the approximate date of 1938 for this edition because Valencia’s distinctive cover image is visible in a famous photograph taken of Brunet in that year (photograph in the collection of the BNC). Various bibliographies offer different dates, ranging from 1934 in Marting’s Spanish American Women Writers: A Bio-Bibliographic Source Book, to 1941 by the BNC.

$3500

Works cited:

Mistral, Gabriela. “Sobre Marta Brunet.” El Mercurio. July 8, 1929.

Oyarzún, Kemy. “Género y canon: la escritura de Marta Brunet.” Revista de la facultad de filosofía y humanidades, Universidad de Chile. No. 14. 2000.

Pignatello Regenstreif, Ellen G. Power, sexuality and the new social contract: Five twentieth century Latin American novels. Diss., Stanford University, 1994.

La Hora de Queda: Novelas Cortas

[Echeverría Bello, Inés]. Iris. La Hora de Queda: Novelas Cortas. Santiago: Imprenta Universitaria, 1918. First edition. 19 cm, 223 pp.; signed manuscript dedication from the author to “mi amigo Mario …” on ffep, brittle paper chipped and toned, in pictorial wrapper with nouveau cover design by Laureano Guevara Romero, soiled, with small water stain verso, spine repaired with losses.

Inés Echeverría Bello (1868-1949) was a Chilean author who published under the pseudonym “Iris”. This collection of six short stories was her fifth book. Literary critic Elvira Santa Cruz Ossa (1886-1960) reviewed La Hora de Queda psuedoymously in Zig Zag. She praised the stories, deeply influenced by the spiritualist movement, for their description of the “repetitive and confined” life of the upper class woman, in which “neither ‘freedom of thought’ nor the ‘right to reason for themselves’ were present.” Santa Cruz Ossa also wrote that this monotony revealed the urgency of progressive (feminist) ideas: “[existía un] abismo entre aquel ambiente femenino de la ‘Hora de queda’ y el de la hora presente”, “abismo que comienza a llenarse con el sacrificio de algunas, con la valentía de muchas, con la rebelión callada y vibrante de todas… Abismo que va llenándole el heroísmo de las que enarbolan el estandarte de ideas progresistas en medio del escarnio de timoratos y retrógrados.”

Echeverría Bello is generally acknowledged as one of Chile’s early feminists, for her work founding the women’s intellectual salons, The Reading Club and The Ladies Club, and for her passionate advocacy against domestic violence following the murder of her daughter Rebeca by Rebeca’s husband, Roberto Barceló (1934).

Cited: [Santa Cruz Ossa, Elvira]. Roxane. “Al margen de la hora de queda”. Zig-Zag. Número 699, Santiago, 13 de julio de 1918.

$275

Por Entre Frivolidades

Mejía, Abigail. Por Entre Frivolidades. Barcelona: Hermenegildo Miralles, 1922. 19.2 cm, 232, [6] pp.; color half-title, numerous printer’s ornaments, and illus. reproducing artwork and images from other sources; in embossed pictorial cloth with Mejia’s portrait laid-in recto, marbled fore edges, decorative endpapers, rear FEP with small chip, hinges weakened, final signature tightly sewn but beginning to separate.

Pioneering Dominican feminist Abigaíl Mejía (Abigaíl Mejia Soliere, 1895-1941) founded the country’s first political organization for women’s rights (Acción Feminista Dominicana). Trained as a teacher, she was a champion of girl’s education and job training for the poor. She was also an artist, photographer, and the founding director of the Dominican Republic’s National Museum.

Born in Santo Domingo, Mejía completed her schooling in Barcelona. She lived and worked there until her permanent return to Santo Domingo in 1925. She had already developed a reputation as a gifted writer while in Spain. From the age of seventeen she published in major Continental and Dominican newspapers, including essays on Hispano-America; literary criticism; prose; and other topics that reflected her many cultural and philosophical interests.

Her first book, Por Entre Frivolidades, is a collection of these early works. Mejía writes in her prologue that it is intended for “Dominican readers, to whom my articles are addressed almost exclusively.” Each is identified with its first published appearance (Santiago, Paris, Barcelona, San Juan de Puerto Rico, etc.). They are grouped into thematic sections (“De mi tierra” and “Alma femenina”, etc.) that foreshadow the diversity of her later feminist writing, known both for its wide-ranging literary references and its sympathy for aspects of the nation-state, Christianity, and motherhood.

Scarce, OCLC finds one holding, at Notre Dame. No appearance in modern auction records.

Elegantly printed and bound at the studio of Catalan lithographer and bookbinder Hermenegildo Miralles with many of his characteristic Modernisme ornaments and designs.

SOLD

Los misterios desvelados [sic]; tratados de quirognomia; el árbol del ocultismo [...]

Moraima Gelo, Zulema. Los misterios desvelados [sic]; tratados de quirognomia; el árbol del ocultismo; la luz en el sendero. Mexico, D.F.: np, 1929. 18.5 cm, 92 pp.; frontispiece portrait and 3 b/w pls., minor area of faded color pencil underlining on p. 34; in contemporary half calf, spine with gilt lettering, heavily rubbed, lacking orig. wrapper? Manuscript signature and dedication on verso of half-title by the author to Arthur Garcia (with his ex-libris stamp).

Zulema Moraima Gelo, born Maria Ciriaca Resendis, was a glamorous fortune teller and chirologist in Mexico City in the 1920s and 1930s. She claimed to be of “African Moorish” descent; her exoticized stage name, taken from a contemporary opera, reflects the popularity of Orientalism in literature and art of the period. Although divination and cartomancy would have been a common aspect of certain theatrical and public performances in Mexico in the 19th century, fortune tellers with fixed addresses and private rooms emerged only slowly in the early 20th. Initially they requested municipal authorization for their businesses, but by 1919, when Zulema applied for permission, the Mexico City had turned against fortune telling and created a policy not only to refuse new licenses, but to withdraw those which had been granted, and to prosecute fortune tellers and cartomancers as frauds.

Zulema therefore moved her studio frequently, and circulated in sympathetic artistic and intellectual circles where spiritualism was admired (she was praised by the poet Jose Emilio Pacheco as “our maximal visionary”). Unfortunately today she is mostly remembered for a series of public scandals involving her romantic life and deceptive business practices.

The present volume appeared during the height of her fame, when she toured to Havana as an “Arab clairvoyant” and correctly predicted political and global events (the Spanish Flu, the death of a local politician). It offers personal interpretation and instruction on familiar conventions of palmistry and divination. Seemingly issued in very limited numbers, OCLC identifying only one copy, at the Biblioteca Nacional de México.

$450

See: Avilés, M. M. (2017). La suerte está echada. Clarividentes, adivinadoras, palmistas y cartomancianas. Alquimia 61.

Cultura Doméstica; Cultura Femenina (all published)

(Feminism) [Karr, Carme, aka Carmen Karr] Cultura Doméstica: Revista Mensual de [...] las Diversas Ramas de la Vida Familiar. Año I, Núm 1-18; followed by Cultura Femenina: Revista Mensual Ilustrada de la Mujer y el Hogar. Año III, Núm 19-24 (all published). 26.8 cm, annual continuous pagination (122, 182, and 96 pp. respectively); illustrated women’s serial with texts in both Castilian and Catalan, bound in single cloth volume, lacking orig. wrappers. Barcelona: 1933-1935.

Uncommon Spanish Republican women’s serial directed by the Catalonian feminist and journalist, Carme Karr, who wrote for and edited some of Spain’s earliest feminist publications, including the magazines Feminal and Or y Grana. Women were granted suffrage in Spain in 1931 (and were elected to office that same year), but the could not actually participate in elections until November 1933, shortly after the origination Cultural Doméstica.

The serial documents the early days of this brief moment in Spanish women’s history (roughly 1931-1939), when new freedoms and roles were possible. This period lasted until the Republican defeat in the Civil War ushered in a new era of tradition and oppression. Along with monthly columns on women’s issues and news by Karr (e.g. “La mission social de la mujer en la vida moderna,” the magazine carried regular features on girl’s education, women at work and job training, medicine and family health, cooking, fashion, applied arts and interior design, all with an emphasis on modern styles, particularly German. Contributions by or articles on artists and authors including Elvira August Lewi, Margarita Sans Jordi, Margarita Xirgu, Anna Casanovas (book binder), Maria Teresa Vernet, Enriqueta Pascual Benigani, and the fashion houses Pedro Rodriguez and El Dique Flotante.

OCLC records one holding, in Barcelona.

$550

El Espacio Escultórico

(Land Art) (Abstract art) (Mexico)

Centro de Investigación y Servicios Museológicos, Universidad Nacional Autonoma de Mexico. El Espacio Escultórico. Mexico, D.F.: UNAM, 1980. 21.7 cm, 119 pp.; trilingual catalogue, profusely illus. in b/w, thumbed, with crease at fore corner affecting early pages; in color wrappers worn with creases, starting to separate at foot of spine, small chip in rear wrap.

This volume was the first and only monographic publication to document UNAM’s instantly recognizable, massive sculpture park. The park was one of Mexico’s most important public art projects in the second half of the 20th century. Conceived of by artist Federico Silva, the monumental works by Silva, Helen Escobedo, Manuel Felguérez, Matías Goeritz, Hersúa, and Sebastián respond to the extraordinary volcanic landscape of the surrounding ecological reserve incorporating elements of Land Art, pre-Hispanic imagery, and immersive geometric abstraction. The volume documents its planning, construction, and completion, including images of the architectural, archeological, and geological context of the site, the inauguration of the space, and the sculptures; together with artist biographies, artistic statements, and other short essays, followed by translations to English and French.

The colophon claims an edition of 3000. OCLC records fewer than 10 in public US collections, almost all museum libraries.

$550

Exposición Internacional de Barcelona. Catalogo Oficial de la Seccion Alemania

[Junta Nacional Alemana de Expos y Ferias]. Exposición Internacional de Barcelona. Catalogo Oficial de la Seccion Alemania. Berlin: Reichsdruckerei, 1929. 20.8 cm, 127, [32] pp.; illustrated throughout: 1 folding map, 23 b/w plates reproducing maps, floor plans, and architectural renderings, a further 12 b/w illus. from photos, with index followed by 32 unnumbered pages of ads for German exposition vendors. A broadside advertisement for a Spanish vendor laid in. Fore edges and front matter foxed, rest of interior relatively clean and tight; in stapled wrappers worn with foxing, discoloration, and a small repair.

A rare publication highlighting Lilly Reich’s prominent role as artistic director of the 1929 Barcelona International Exhibition, including her collaboration with Mies van der Rohe on the iconic German Pavilion and her plans for the other German sections. The simple and elegant catalogue was designed(?) by Reich and printed in Berlin, its chapters reproduce (from Reich’s drawings) the floor plans for the exhibition palaces and offer lengthy detail on the vendors and materials in each exhibition (industrial and applied arts, graphic arts, agriculture, electricity, communication and transport, textiles, construction and building materials, film, etc.).

Reich was selected as the Barcelona exposition’s artistic director following her success with van der Rohe at the Deutscher Werkbund’s “Die Wohnung ’ exhibition in Stuttgart (1927). She was placed in charge of the Barcelona exhibition design and focused much of her energy on the interiors, including furniture, textiles, and bespoke display architecture. Most famously, she and Mies van der Rohe designed two chairs used in the German Pavilion, the MR20 and the “Barcelona” chairs. The MR20 is reproduced at the rear of the catalogue in an advertisement for furniture-maker Jös Muller. The advertising section and exhibitor lists feature a number of businesses associated with architecture and applied arts at the Werkbund and Bauhaus, as well as those notorious for their later association with National Socialism and slave labor: including a four-page spread for IG Farben and its associated brands; Deutsche Luft Hansa; Berlin-Karlsruher Industrie-Werke AG; and WUMAG (Görlitz).

The history of the collaboration between Lilly Reich and Mies van der Rohe was recovered in a 1996 exhibition at MoMA, which drew from the 800+ Reich drawings in the van der Rohe archive at the museum. These drawings confirm that Reich produced many if not all of the plans reproduced in the present catalogue.

We have identified 3 copies of the Spanish-language guide in public collections. Only one in the US, at Stanford, the others in Spain at the Reina Sofia and possibly the Museo de Pontevedra. A German edition was also published, with fewer pages and, according to the Deutsche Nationalbibliothek records, only 8 plates (vs the 35 appearing in the present copy). The only OCLC holding recorded in North America for the German edition is at the Getty. No modern auction records appear for either edition.

(HOLD)

Four Artists’ Books

Four Artists’ Books by Ediciones Vigia, 1990-1997. Early and uncommon examples from the famed Cuban artists’ book collective, a collaboration between artist Rolando Estévez and poet Alftedo Zaldivar. Each book is assembled by hand and includes hand coloring, found and recycled materials, and collaged elements.

Composed of:

Burgos, Julieta and Camilo Venegas Yero, C, Illus. Los Reyes Illuminados. Matanzas, Cuba: Ediciones Vigía. 1990. 16 x 17.5 cm, 18 pp.; toned, profusely illus. with some hand coloring; tied with brown cord, collaged wrappers, wrappers with minor closed splitting on top edges. Signed by Burgos. No. 53.

2 OCLC holdings: Univ. Miami and Notre Dame, as of December 2022 no others on the market.

Venegas Yero, Camilo. La venta de miel. Matanzas, Cuba: Ediciones Vigía, 1997. 2-.5 x 16 cm, [18] pp.; mimeograph with handwritten titles, stamps, collage elements; tied with brown string, pictorial front wrapper with collage elements. No. 103 (out of 200?).

1 OCLC holding: Univ. of Miami. As of December 2022 no others on the market.

Mendez, Roberto. Cena en casa de Levi, A.D . 1573. Matanzas, Cuba: Ediciones Vigía, 1990. Poem printed on four brown paper sheets, glued vertically to form a continuous single sheet, folded seven times and tied with a paper handle at head. Front panel with hand coloring. No. 139/200. Illustration and design by Rolando Estévez.

2 OCLC holdings: Univ. of Miami, Univ. of Utah. As of December 2022 no others on the market.

[Alcaeus] Ferraté, Juan y María Eugenia Alegría. Untitled [Alceo]. Matanzas, Cuba: Ediciones Vigía, n.d. ca. 1990s. 19.5 x 15 cm, [10] pp.; reproducing 3 poems by Alcaeus in Spanish with original Greek on facing page, followed by bibliography. No. 47. Illustration and design by Rolando Estévez. There appear to be two editions with different pictorial wrappers. The other edition is titled “Hablar de poesia”.

3 OCLC holdings: Univ. of Miami, Notre Dame, UC-Berkeley..

Vérascope, Taxiphote, Glyphoscope

(Trade Catalogue) (Photography) (WWI) Jules Richard. Vérascope, Taxiphote, Glyphoscope. Paris: [Jules Richard], 1918. 24 x 15 cm., 72 pp.; b/w illustrations throughout, light foxing to ffep, the rest of the interior quite bright with a few pages slightly foxed, lower stitch failing, two central sheets loosened. Embossed pictorial cover a bit soiled, faded office stamp on front cover.

WWI was a watershed moment in the relationship between photography and war. Although earlier wars were obviously photographed, the smaller cameras and new film formats available during WWI enabled combat photographers and soldiers themselves to take pictures of the war as it happened. Jules Richard was a second-generation instrument maker who entered the stereographic camera market in the early 1890s with the Vérascope, a compact camera known for its durability and innovative engineering. The first model was introduced in 1893 and it quickly became the bestselling stereograph camera of the period. The large Taxiphote viewer and storage cabinet was equally impressive in design, incorporating aspects of scientific instrumentation and clockmaking to create, according to the Oxford History of Science Museum “the most technically sophisticated” stereo viewer ever produced. It allowed a viewer to load up to 25 stereographs at the same time and then view them in any order. This extensive catalogue advertises these items and an exhaustive numner of accessories for the cameras, development, storage, and transport.

Richard was also known for his publicity. This example, issued during WWI, highlights the Vérascope’s suitability for war photography. More than half of the photographic illustrations in the catalogue are from the war, including images of soldiers and artillery in trenches, German flags at Invalides, “une boucherie sur le front,” a convoy of prisoners of war, troops in Alsace and Northern Africa, etc.

With tipped-in notice that the catalogue prices were established “according to pre-war manufacturing conditions” and in addition to possible price increases, the company “may need to suspend or stop the manufacture of certain items.”

Single holdings of other Jules Richard Vérascope catalogues found in OCLC, this one not recorded.

See: History of Science Museum, “Recent Acquisitions: Richard Verascope & Taxiphote,” Sphæra newsletter (Spring 1999).

$500

Collection of Genre Fiction Featuring Illustrations of Apes and Women, 1890-1994

Collection of Genre Fiction Featuring Illustrations of Apes and Women, 1890-1994. 42 titles, primarily adult/erotica, horror, noir, mystery, and science-fiction; in English, French, German, Spanish, Polish, and Russian; includes two non-fiction and four graphic novel or serial examples. Many pseudonymous or lacking complete publishing data. Detailed list of contents below.

A collection documenting the enduring racialized fantasy of women menaced by apes, responding to colonialism and shifts in scientific understanding and popular culture during the nineteenth and twentieth centuries. European accounts of sexual relationships between apes and women, with abduction and rape themes, date back to at least the 11th-century in St Peter Damian’s De Bono religiosi status et variorum animatium tropologia (1061) and his description of a Ligurian count cuckolded by a monkey (as told to him by Pope Alexander II!). John Donne’s Metempsychosis (1633) includes an ape who seduces one of Adam’s daughters; a later example is the the femicide in Edgar Allen Poe’s Murders in the Rue Morgue (1841) by an orangutan.

Gorillas were distinguished as a species in the 1840s; adult specimens were displayed for the first time in Paris in 1852; and Darwin’s Origin of the Species was published in 1859. Growing popular fascination with the physical and evolutionary kinship of apes and human followed, and the more specific gorilla|woman “tale type” emerged: this collection includes many examples from the 1920s-1940s building on and responding to the narrative structure and popularity of the Tarzan stories (1912 onward) and King Kong (1933).

In the one hundred years of publishing represented, endless variations on the theme emerge, but the confusion or failure of moral and species categories continues. Men become apes, apes become men, doomed and violent romances with white women ensue. The protagonists change over time and across genre (travelogues, future noir, LGBTQ, S&M, occult) but the vocabulary of impenetrable jungles, dark Africa, and helpless/drugged/sleeping women persist. The visualization of apes and women is based on a number of extremely racist prototypes, notably sculptor Emmanuel Fremiet’s Gorilla Abducting a Woman (1887) and his earlier, now destroyed, Gorilla Abducting a Negress (1859).

Important early examples in this group include Von einem Gorilla entführt (Philadelphia, 1867; 1890) and Tragedja odmłodzonej kobiety (Krakow, 1929).

$3500

See Georges Dodds, “Monkey-Spouse Sees Children Murdered, Escapes to Freedom! [...]” E.L.O. 11-12 (2005-2006), pp. 73-96 and Marek Zgórniak, et al. “Fremiet’s Gorillas: Why Do They Carry off Women?” Artibus et Historiae, 27:54, (2006), pp. 219–37.

CONTENTS:

Nonfiction:

Annan, David. Ape: Monster of the Movies. New York: Bounty Books, 1975. 25.5 cm, 93 pp.; cloth with orig. illus. dj, VG.

J.A. Richards, Inc. The First Story Ever Told [cover title]. New York, NY: Np, 1924. 18 cm, 26 pp.; trade cat. for a 20 vol. illus. “Library”. Stapled pictorial wrappers. VG.

Fiction:

Les Ardeurs de Zoé. Paris: Collection Gauloise, [1926]. 18.5 cm, 48 pp.; no. 59(?) in this erotic novel collection, b/w illus. within, stapled color pictorial wrapper. No North American holdings in OCLC.

The Ape Girl. New York: Star Distributors, 1982. ST 18. 17 cm, 180, (12) pp.; text followed by 12 pp. of advertisements for S&M literature, toys, etc. “Looking up into his simian face, she felt a moment of fear, but it was too late to turn back.”

Benjamin, Jack. Sex Between People and Their Pets. North Hollywood, CA: Barclay House, 1971. BH 7174. 17 cm, 187 pp.; previous owner’s annotations, some damp stain; color pictorial wrapper, worn. G.

Berry, Bryan. Dread Visitor. London: Panther Books, 1952. PB 28. 18.4 cm, 127 pp.; color pictorial wrappers, rear wrapper lower corner lacking. Fair. “Earth is held in a cloak of terror when a dread visitor descends from the past.”

Berthoud, Ferdinand. Legs Parsons. London: The Modern Publishing Company, n.d. (ca 1924-1925). 17.7 cm, 172 pp.; in color pictorial wrapper with illustration by Ellis Silas, wrappers very worn. Color advertisement for Oxo verso. No copies recorded by OCLC in North American institutions.

Braun, Lisa. Captured. First Niter Book. FN 239. Buffalo, NY: 1966. 16.5 cm, 159 pp.; color pictorial wrappers, ink annotation on rear wrapper. G. Not in OCLC, no copies found in the market.

Brown, Fredric. The Dead Ringer. New York: Bantam Books, 1949. BB 361. 16.2 cm, 212 pp.; color pictorial wrappers, sl faded, VG. “Murder Wears an Ugly Mask!”

Caval, Patrice. Savage Breed. Las Vegas: Playtime Books [Neva Paperbacks], 1964. 17.4 cm, 158 pp.; color pictorial wrappers. VG. Carnival Noir. “What good did it do here to try to be a gentleman? Obviously this koooky broad went for beasts … So Steve let the beast in him take over.”

Champsaur, Félicien. Ouha: Roi des Singes. Paris: Charpentier et Fasquelle, 1923 [22e mille]. 19 cm, 292 pp.; cover pictorial wrappers illustrated recto and verso with erotic variations on the woman and ape theme. Illustrations by Lucien Jaquelux (covers) and Edouard Chimot (head- and tailpieces). Text block and wrappers fragile and tones, with losses. From a recent review: “the thematic “missing link” between Burroughs’ Tarzan of the Apes (1912) and Edgar Wallace’s King Kong (1933).”

Dexter, John. The Sin Veldt. San Diego: Corinth Publications, 1966. 18 cm; 160 pp.; color pictorial wrappers. VG. “With Darvi on safari even the apes went ape!” One holding OCLC.

Diderot, Denis. Les Bijoux Indiscrets. Paris: Editions E.L., nd. [19—]. 18.5 cm, 252 pp.; unopened, color plates, color pictorial DJ in protective cover.

Gamma: New Frontiers in Fiction. Vol. 2, No. 5. North Hollywood, CA: Star Press, 1965. 18.3 cm, 127 pp.; stapled color pictorial wrappers, price in wax pencil on front cover, ink annotations on rear, heavily creased. Featuring a novel by Ron Goulart, “Nesbit,” and a story by Ray Bradbury, “A Careful Man Dies.”

Goulart’s story is an unusual twist on the ape-man fantasy: Nesbit Belgraf is a racist megalomaniac recruiting an army to invade the US and turn it into concentration camps for Jews and Negroes. He’s also the survivor of a brain transplant to a gorilla.

Gardner, Erle Stanley. Perry Mason Solves the Case of the Grinning Gorilla. New York: Pocket Books, 1973 [PB edition, orig. 1952]. 17.7 cm, 224 pp.; color pictorial wrappers with cover art from photography

Garland, Curtis. El Yeti. Selección Terror No. 117. Barcelona, Bogota, Buenos Aires, et al.: Editorial Bruguera: 1975. Cover illustration by Alberto Pujolar. 15 cm, 95 pp.; color pictorial wrapper rubbed with creases. G. No OCLC holdings in North America.

Hughes, Dorothy B. The Decliate Ape. New York: Pocket Book, 1944 [this 1947]. PB 422. 16.1 cm, 198 pp.; color pictorial wrappers, separating from endpapers at crown.

Има, Иво [Ima, Ivo]. Похитители разума [Pokhititeli razuma]. Np, nd. [Изд-во “М.Б.”]. ca. 1940s. 15.3 cm, 187 pp.; novel followed by table of contents; in color pictorial wrappers, spine chipped with loss at head, small closed tear (1cm) to fore edge. 5 North American records in OCLC none on the market.

Jason the Monkey. Np: Stallion Publication, nd. 20.7 cm, 54 pp.; two b/w pls., illus. stapled red wrappers, light wear. Psychiatry and bestiality pornographic fiction.

Kenyon, Paul. [Kenyon Engle, Lyle]. The Baroness: Flicker of Doom. New York: Pocket Books, 1974. 17.8 cm, 222 pp.; 2 pp. color advertisement for Kent Menthol cigarettes bound in; color pictorial wrappers. VG. Cover illus. by Hector Garrido.

Lorrain, Jean. Le Crime des Riches. Paris: Pierre Douville, 1905. 18.8 cm, 320 pp., [8] pp. illus. catalogue of Douville “nouveautés”; in gray paper with color label tipped in. Cover illustration by Guillaume, at least two different versions were produced. Textblock uniformly toned, rear wrapper soiled. VG-.

By the openly gay, Decadent author: “Un étude violente, sincère, presque toujours féroce, du monde aristocratique et gangrené qui peuple la Riviera. Ce livre est un acte d’accusation formidable contre la richesse qui engendre tous les vices et excuse toutes les tares…”

Marmor, Arnold. The 13 Sinners. Chicago: Camerarts, 1960. 18 cm, 128 pp.; color pictorial wrapper. “The 13 sinners, all marked for death!”

Mercier, Mario. La Cuvée de Singes. Paris: Editions Civilisation Nouvelle, 1970. 20. 8 cm, 189, [5] pp.; pictorial wrappers, photomontage by Denise Miège [Simansky]. Wrappers worn and starting at spine. Printed by Simansky, a poet and author of women’s erotica.

Monkey Business. Adults Only. Np (California?), Nd. (ca. 1970s). 16.8 cm, 191 pp.; 16 color pls., 9 b/w pls.; color pictorial wrappers. Pseudo-scientific bestiality with low-key (by current standards) photography of women and animals.

Oslow, John, Rev. [Pseudo.]. Von einem Gorilla entführt. Philadelphia: Old Franklin Publishing House, 1890. 23 cm., 61 pp.; 4 b/w pls. with captions, all signed EBB, toned, final 5 leaves with turned corners; faded pink pictorial wrappers, chipped.

German language edition of the novella “Captured by a Gorilla” first published in English and French (simultaneously?) in 1867. This edition is not recorded in OCLC, orig. editions exceedingly rare, one each at the NYPL (Eng.) and Library of Congress (Fr.). Purporting to be a kidnapping story told by Dr. Livingstone, explicitly refuted by him when he found out about the book.

Owen, Dean. Konga. Derby, CN: Monarch Books, 1960. MM 604. 18 cm, 144 pp.; color pictorial wrapper creased, spine splitting with some losses. Fair. Based on, and released at the same time as, the eponymous sci-fi horror film; original story and screenplay by Aben Kandel and Herman Cohen. Few institutional holdings in OCLC.

Peters, Jack. Erica’s Erotic Fantasy. Chatworth, CA: Publisher’s Consultants, 1977. Secretary Lust Series-104. 17.5 cm, 192 pp.; textblock toned, pictorial wrappers tight and clean. Not found in OCLC.

Reed, David V. The Whispering Gorilla. [London]: [World Fantasy Classics] and [Sydney Pemberton], 1950. 18.2 cm, 159 pp.; color pictorial wrappers, lower edge with crease starting. VG-. “The whole of the dark continent is terrorised by a gigantic gorilla, a gorilla who is not a gorilla, but a man.”

Saxon, Vin. Ape Rape. San Diego: Rapture Books, 1964. RB 202. 16.7 cm; 160 pp.; color pictorial wrappers lightly worn at edges. Not in OCLC.

Saxon, Vin. Caged Lust. San Diego: Rapture Books, 1967. 17.6 cm; 158 pp.; color pictorial wrappers, with small diamond holepunch to front cover, textblock toned. A new printing of Ape Rape, names changed and different wraps. Not in OCLC.

Vigny, Benno. Tragedja odmłodzonej kobiety (Nell John). [Krakow], [Lwow], et al.: “Lektor” Instytut Literacki, 1929. First Polish Edition. 19 cm, 197 pp.; in color pictorial wrappers by “J. St. Kilian”, worn at foot and lower edge. Originally published in German as Nell John. Der Roman einer Verjüngten (Nell John, The Tale of a Rejuvenated Woman).

No OCLC records outside of Poland.

Whitmore, Linda. The Frantic Teeny-Boppers. Brooklyn, NY: Libertine Books, 1970. LR 205. 17.6 cm, 191 pp.; pictorial wrappers creased and sl. faded. G. Not in OCLC.

Williams, J.X. Black Mass Minx. San Diego: Phenix Publishers, 1967. Late-House Library. LL 708. 16.2 cm, 192 pp.; color pictorial wrappers, price marked recto and verso, otherwise VG. Not recorded in OCLC. Protagonist is Jason January, an occult bookstore owner!

Williams, J.X. Mistress-At-Large. San Diego: Phenix Publishers, 1968. Pleasure Reader. PR 138. 17.8 cm; 159 pp.; color pictorial wrappers. VG. “Absolutely everybody went ape for her!” One record in OCLC.

Williams, J.X. The Unsucsexful [sic] Swap. San Diego: Phenix Publishers, 1968. Companion Book. CB 588. 17.7 cm, 159 pp.; color pictorial wrappers, rear wrapper creased at corner. “She had to escape the rapacious ape!”

Graphic Novels and Serials:

Kirby, Jack. The Sandman. Vol. 2, No. 3 (July 1975). New York: DC Comics [National Periodical Publications], 1975. 19 [i.e. 38] pp.; thumbed with creases, starting to fray at corner.

El Libro Rojo, No. 402. (La Cabeza Del Mono). México: Novedades Editores, 1978. 15. 2 cm; color pictorial wrappers. VG.

Sensacional de artes marciales, No. 70. (El Discípulo del Mono Ebrio). México: Editorial Ejea, 1993. 15 cm, 95 pp.; color pictorial wrappers, color comics. VG.

Startling Detective Adventures. Vol. 5, No. 26 (July 1930). Louisville, KY: Fawcett Publications, 1930. 28.3 cm, 98 pp.; profusely illustrated with color pictorial wrappers, spine rubbed with minor loss at foot and crown. G. “Mighigan’s Gorilla Murderer.” Scarce.

Poetry:

Bernard, Kenneth. The Baboon in the Nightclub: A Poem. Santa Maria: Asylum Arts, 1994. 21.5 cm, 71 pp. B/W cover illustration. Near fine.

[Healey, Greville Giles]. McDill, Alexander. Musings on Big Sur Women and One Ape. Monterey, CA: Angel Press, 1979. 20.8 cm, 45 pp.; cover design by Pousel Productions. Overstrom House, Big Sur.

Voss, Fred and Joan Jobe Smith. The Honeymoon of King Kong & Emily Dickinson. Albuquerque, NM: Zerx Press, 1993. 21.5 cm, 41 pp.; chapbook, ed. of 300; stapled pictorial wrappers, illus. throughout.

Three Modern Turkish Architecture Catalogues

(Architecture) (Turkey) Güngör, I Hulusi. Şehirler Nasıl Imar Edilir. Istanbul: Çeltüt Marbaacılık, 1969. Tall 4to, 160 pp.; primarily b/w illustrations, in pictorial wrappers, edge wear and a creased corner. VG. WITH: Gerçek, Cemil. Şevki Vanlı: Mimarlık Calışmaları. The works of Şevki Vanlı. Ankara: Yaprak Kitabevi, 1977. Square 4to, 142, [20] pp.; primarily b/w illustrations reproducing floorplans, elevations, sketches, and photographs, text in Turkish and English; in pictorial wrappers, binding tight, wrappers rubbed and toned, light bookstore stamp to front cover. AND: Gerçek, Cemil. Sedad Hakkı Eldem: Büyük Konutlar. Ankara: Yaprak Kitabevi, 1982. Square 4to, 160 pp.; primarily illustrations, reproducing elevations, floorplans, sketches, etc.; in pictorial french wrappers, worn and bumped, owner’s name in ink on half-title.

Three books on modern Turkish architecture. Two monographs celebrate the work of architects Sedad Hakkı Eldem and Şevki Vanlı, the third considers urban planning of outdoor space, mostly parks, playgrounds, public art, zoos, and street-level infrastructure including train stations, and garbage receptacles.

Two of the books were published by Yaprak Kitabevi for their nationalistic Proje Uygulama series (nos. 1 and 4 of 4), publicizing modern Turkish architecture.

We find no North American OCLC holdings of the first title, the second only at MIT.

$225

Grand Pensionnat de Jeunes Filles. Situation Exceptionelle d’Hygiène & d’Agrément

(Education) (Girls) Institution Belle-Vue. Grand Pensionnat de Jeunes Filles. Situation Exceptionelle d’Hygiène & d’Agrément. Paris: A. Breger Frères, n.d. [ca. 1895]. Oblong 17.5 x 13 cm., 24 plates (printed recto only). Plates printed by “neo-bromure” method (similar to an Albertype or heliotype) with captions; in pictorial wrappers, very good.

Promotional book for a girls’ boarding school located in Fontenay sous Bois, now a suburb of Paris. Fine views of the interior facilities, many with students at study and play, including classrooms, the gymnasium, the art studio, and the dormitories, as well as the expansive grounds (30,000m2 de parc) used for “le tennis” and “étude en plein air.” Extensive photographs of these activities testify to a growing belief in healthful outdoor activity as an aspect of the “complete” education of girls and a cure for modernity’s spiritual and moral ailments.

The school seems to have operated under the direction of Catholic nuns from 1893 through WWI, adding classes for poor children in 1904 and a free parish school in 1911. Transformed into a Francisican seminary in 1923, the building is known locally as the center of the area’s antifacist Resistance activities during WWII.

Not located in OCLC.

$300

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.

Acción Plástica Popular: Educación y Aprendizaje a Escala Nacional. Con ciento cinco reproducciones

(Arts Education) (Socialism) García Maroto, Gabriel. Acción Plástica Popular: Educación y Aprendizaje a Escala Nacional. Con ciento cinco reproducciones. México, D.F.: Editorial Plastica Americana, 1945. 8vo, 220 pp.; profuse b/w illus. from woodcuts by Mexican students and the author, plus [32] b/w pls. reproducing artworks from Mexico and Spain, as well as infographics and other designs by the author. In yellow pictorial publisher’s cloth, worn and darkened, corner’s bumped, spine with small losses to cloth at foot. Ink marks on ffep and rear pastedown.

Well-illustrated book about a short-lived experimental children’s art program, the Escuelas de Acción Artística (EAA). Iterations in both Mexico and Cuba built on the revolutionary educational ideals of the Escuelas de Pintura al Aire Libre, founded a decade earlier in Mexico City. The EAA incorporated these ideals with indigenous methods and styles, and prioritized free expression. These were important aspects of Indigenismo in Mexican arts in the early twentieth century, but the schools were later criticized for paternalistic assumptions about the “authenticity” of “naive” native arts.

The author, Gabriel García Maroto, was an exiled Spanish printer, artist, and critic who trained in one of Cuba’s Escuelas de Acción Artística in the late 1920s. He brought the EAA philosophy to Michoacan, founding several programs there with the support of governor (and future President) Lazaro Cárdenas. The schools taught print-making, drawing, and painting to predominantly indigenous and working-class women and children. Aligned with Cárdenas’s work on agrarian and land reform, García Maroto believed that his schools could teach the people to “possess” their land through art.

García Maroto was a member of avant-garde Spanish artistic circles in the 1920s and 30s. As a printer, he was an active member of the Republican Asociación de Intelectuales Antifascistas para la Defensa de la Cultura and had the distinction of publishing Frederico García Lorca’s first book. He began “Editorial Plastica Americana’’ with the intention of issuing a “Colección Plástica Mexicana” series but this appears to be the only title ever published under either imprint. After settling in Mexico, he also promoted art education for children with hearing problems. The book is dedicated to his son, the deaf painter Jose García Narezo.

See: Jolly, Jennifer. Creating Pátzcuaro, Creating Mexico: Art, Tourism, and Nation Building under Lázaro Cárdenas. Austin, TX: University of Texas, 2018, pp. 47-51.

$550

(Antiprostitution) (Mann White-Slave Act) Group of Instructive Literature

(Antiprostitution) (Mann White-Slave Act) Group of Instructive Literature Against Forced Prostitution, i.e. White Slavery, and Supporting Rescue Homes and Charities, 1871-1945.

Together six examples reflecting seventy years of popular hysteria over the plight of innocent young women forced into prostitution, tales that usually end in rescue and salvation or death. Two items of particular interest, one an evangelical biography of Evangeline Reams and her Ohio homes for wayward girls; the other an unusual pamphlet warning mothers and daughters about the devices used by “white slavers” on their victims.

$125

Including:

*Bingham, Theodore A. The Girl That Disappears: The Real Facts about White Slave Traffic. Boston: Gorham Press, 1911. 8vo, 87 pp.; illus. frontispiece; cloth, a bit rubbed. Very Good. Written by the former police commissioner for Greater New York.

*Clark, Harry. Evangeline Reams: A Brief Sketch of Her Life and Story of The Friends Rescue Home. [Damascus, OH]: Friends Rescue Home, n.d. [after 1940]. 8vo, 131 pp.; illus. from photos of Ms. Reams, the rescue homes, the rescued girls, etc. Printed wrapper, rubbed and lightly sunned. Very Good.

*Morse, Northrop. Peach Bloom: An Original Play in Four Acts. New York, NY: Medical Review of Reviews, 1913. 8vo, 184 pp.; publisher’s cloth, corners bumped, front board with small marks and stain.

*Muhlenberg, W. A. The Woman and Her Accusers: A Plea for the Midnight Mission …. New York: NY: Pliny F. Smith, 1871. 8vo, 72 pp.; cloth with gilt title, corners bumped. Good.

*Pratt, William H. God Amid the Shadows. Indianapolis, IN: N.p., n.d. 8vo, 153 pp.; blue pictorial wrapper, well worn.

*A Tragic End: A Timely Warning to Mothers and Daughters, Also on Exposure of Some of the Devices Used by ‘White Slavers’ for Catching Unwary Victims. Accordion pamphlet, illus. Los Angeles, CA: Free Tract Society, n.d. With rescue home directory, after 1945.

(Sexual Health) (Religious Orders) Sammelband of Five French Medical Theses

(Sexual Health) (Religious Orders) Sammelband of Five French Medical Theses, 1792-1793. Unbound pamphlets, stitched, 21 x 14 cm, untrimmed. Engraved headpieces, wide margins, some general darkening and light staining or foxing; dampstain affecting gutter of final two pamphlets, else good, sound copies.

A group of First Republic-era medical pamphlets published at the Faculté de médecine de Montpellier, under the direction of some of the era’s most famous vitalist physicians and chemists, i.e. Paul-Joseph Bartez and Henri Fouquet.

The final pamphlet, by Lion, is a rare thesis on sexual diseases caused by excessive or insufficient sexual activity. The epigraph by Voltaire sets the tone with the warning “L’abstinence ou l’excès ne fit jamais d’heureux.” [“Abstinence or excess never made anyone happy.”] Lion speculates on the effects of abstinence in the health of priests and nuns, at risk for “erotic deliriums,” visions, and hysteria. He discusses masturbation and admonishes against marriage between a young woman and an older man. Particularly interesting in the context of the French Revolutionary “reorganization” of the Church.

Only no. 4 is noted in OCLC, with one holding, in Wales. The rest, including Lion, are not recorded institutionally.

$500

Durand, Joanne-Antonio-Guillelmo. De atmosphaera quatenus physicum, chemicum et medicum spectat, selecta quaedam [...]. Monsepelii: J.G. Tournel, et primo Reipublicae [1792]. 51 pp.
Duhult, Francisco. Dissertatio anatomico-physiologica de systemate lymphatico seu absorbenti [...]. Monsepelii: J.G. Tournel, 1793. 41 pp.
Magistel, Gabriel. Collecta quaedam circa naturae morborum cognoscendae necessitatem [...]. Monsepelii: J.G. Tournel, 1793. 29 pp.; closed tear beginning at fore edge, p. 3.
Vidal, Joannes-Baptista. Quaedam circa naturae vires, et circa perturbationem virium vitalium [...]. Monsepelii: J.G. Tournel, 1793. 29 pp. Some footnotes in French. Partially a vitalist assessment of epilepsy, just over ten years after its first classification in French.
Lion, Laurentius-Basilius. Pensum academicum circa tum continentiae, tum lubricitatis morbos [...]. Monsepelii: Tournel Patris & Filli, 1792. 16 pp. Some footnotes in French.

Rosalba Carriera per l’inaugurazione delle sale degli autoritratti nella R. Galleria degli Uffizi

Malamani, Vittorio. Rosalba Carriera per l’inaugurazione delle sale degli autoritratti nella R. Galleria degli Uffizi. Rome: Ministero dell’Istruzione Pubblica, 1899. First separate edition. Large 4to, 125 pp.; with illus. facsimile reproductions of Carriera’s letters and 9 plates, most reproducing engravings made after her paintings and pastels, some in color, bound together at rear, contents very good with occasional small marks, pages untrimmed; orig. paper wrpprs. present but separated with significant chipping at edges of both covers, spine lacking. Manuscript presentation inscription on half-title from the author to Riccardo Artoni(?). Together with 3 b/w prints of Carriera’s L’Innocenza (1705; a.k.a. La Giovinetta della Colomba) by Ed. Alinari. Carriera submitted L’Innocenza to the Accademia di San Luca and on the basis of its quality was the first woman admitted to Rome’s all-male academy.

This extract is seemingly the first major monographic work devoted to Rosalba Carriera (1675-1757), and the missing “first edition” to Vittorio Malamani’s later Carriera catalogue (Bergamo: Istituto Italiano d’Arti Grafiche Editore, 1910). Originally published in Le Gallerie nazionali italiane: notizie e documenti 4 (1896-1897), pp. 27-149, it is the first application of modern art historical methods to Carriera’s artwork and career.

On the occasion of the opening of the Uffizi’s new self-portrait gallery, Malamani set out to correct a problem that Carriera’s biographers still encounter: little is known of her early training and her established biography is dependent on both short sentimental elegies published decades after her death and transcriptions of her journals and letters heavily edited by friends, family, and prejudiced translators.

Rare. The 1899 first edition listed by OCLC at only two European institutions, all other holdings are the second edition.

$550

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

Mexico

Comité Organizador de la Participación en la Exposición Ibero-Americana de Sevilla, Luis Alberto de Herrera, and Francisco A. Sáenz. Mexico. [Mexico]: Talleres gráficos de la nación, 1929. Oblong 4to, 591 pp.; full-page b/w pls. throughout, paper toned, pls. very good; 3/4 green cloth, corners bumped, paper labels stained.

Large format, encyclopedic album commissioned by the government’s department of propaganda to present the modern political and social structures, and economic successes of post-revolutionary Mexico to an international audience. Lavishly illustrated with tipped-in plates reproducing photographs of government buildings, schools, public transportation, industrial and commercial sites, and public works. Most plates with decorative borders inspired by Aztec designs. The album culminates with images and descriptions of the Mexican pavilion in Sevilla.

An important piece of propaganda describing the massive reforms of the post-revolutionary period, it was published under President Calles’ direction in the year that he founded the Partido Revolucionario Institucional (PRI), a time in which the “social revolution” was very much still at risk.

Example 440 of 3000.

$450

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

Instruction chrétienne pour l’éducation des filles

(Maintenon, Francoise d’Aubigné, Marquise de.) D. R., Abbé. Instruction chrétienne pour l’éducation des filles, tirée des maximes de l’Evangile, des SS. Pères et des conciles. Dédié à Madame de Maintenon. Paris: Urbain Coustelier, 1687.

12mo, [26], 429, [6] pp.; engraved frontispiece, with engraved vignette and numerous head- and tail-pieces and initials; in contemporary calf, spine with raised bands, gilt stamped panels, worn and chipped at ends, corners, and front hinge, joints weakened but holding, interior good with scattered darkening, one brief, marginal worm hole, small repair to frontispiece. Contemporary ownership inscriptions(?) on front pastedown and ff, possibly 17th- or 18th-century; child-like ink lettering of Madame de Maintenon’s name, also possibly 17th- or 18th-cent, beneath frontispiece portrait.

Françoise d’Aubigné (1635-1719), Marquise de Maintenon, has been an object of popular fascination for three centuries. She was Louis XIV’s second wife and governess to his illegitimate children (later legitimized). The couple married secretly in late 1683 or early 1684, following the death of Queen Marie-Thérèse. Maintenon moved into the royal apartments at Versailles and lived there until Louis XIV’s death. Although her legacy is controversial, the Marquise was a skilled educator and used her position to found the first royal school for girls at Saint-Cyr. It opened in the newly built Maison Royal de Saint-Louis in 1686.

This treatise was dedicated to her just months later; a significant moment since it closely coincided with Louis XIV’s Edict of Fontainbleau, rescinding religious freedoms for the Protestant Huguenots, and for which the Marquise was publicly blamed (and mocked across Northern Europe). Her religious beliefs were a topic of scandalous speculation, since her father had been persecuted for Protestant heresies, but this book and her work at Saint-Cyr are evidence for her pragmatism. Her connection of the Christian education of girls to the king’s anti-Protestant campaign ensured the success of the school for a generation. The author’s arguments also reflect a shift in France away from secular girls schools toward religious education.

The present portrait of Maintenon presents another mystery, since there are no verified images of the Marquise as a young woman. It is likely that this is one of the earliest copies of a fictive engraving published by Pierre Giffart near the time of her marriage to the king. (See Henri Gelin, “Etude Iconographique of Madame Maintenon,” in Mémoires: Notes et Documents (Société historique et scientifique des Deux –Sèvres, 1907: 115-240.)

Institutionally scarce, OCLC locates two copies in North America: Northwestern and Toronto.

$950

Willem Sandberg. Three Stedelijk Museum Exhibition Catalogues, 1935-1941.

[Willem Sandberg]. Three Stedelijk Museum Exhibition Catalogues, 1935-1941.

Three catalogues designed by the celebrated graphic designer, curator, director of the Stedelijk, and member of the Dutch Resistance, Willem Sandberg.

1. Stedelijk Museum. Bouwkunst en verwante kunsten: tentoonstelling, georganiseerd door de Tentoonstellingsraad voor bouwkunst en verwante kunsten, ter gelegenheid van het 80-jarig jubileum van het genootschap Architectura et Amicitia, van 23 Nov. t/m. 15 Dec. 1935, in het Stedelijk Museum te Amsterdam. Amsterdam: Architectura et Amicitia, [1935]. 8vo, 63, [5] pp.; exhibition catalog of Dutch architecture and applied arts with graphics and typography by Willem Sandberg, illustrated throughout, with orig. illus. color wrpps., a bit rubbed with small closed split at front hinge, unobtrusive contemporary stamp on front cover, “Kunst ...”

Includes an introduction by architect M.J. Granpré Molière and checklist of the exhibition. A very rare catalogue with an exemplary abstract cover design by Sandberg. OCLC locates only 1 US holding: Columbia Univ.

2. Stedelijk Museum and C.W.H. Baard. 40 jaar Stedelijk Museum te Amsterdam: Tentoonstelling van Hedendaagsche, Monumentale Kunst, 14 September – 13 October 1935. [Amsterdam]: [Stedelijk Museum], [1935]. 8vo, 51 pp.; exhibition catalogue with forward by Stedelijk director C.W.H. Baard and 24 b/w pls. reproducing works from the checklist, color wrpps. designed by Willem Sandberg, sl. darkened, small numbered tag on spine.

“Ontwerp Sandberg” printed in lowercase on rear wrapper. OCLC finds 7 copies in North America, only 2 outside museum libraries (Harvard and Toronto).

3. Stedelijk Museum and J Q van Regteren Altena, et al. In Holland staat een huis: het interieur van 1800 tot heden : tentoonstelling in het Stedelijk Museum Amsterdam, Juli-October 1941. Amsterdam: Satdsdrukkerij, [1941]. Oblong 8vo, 64 pp.; WWII-era exhibition catalogue with impassioned introduction the history of Dutch interior design followed by room-by-room descriptions with photographic illus. (arranged chronologically by alphabet from 1800-1940), in color wrpps. with folding floor-plan of exhibition in rear wrapper, typography and design by Willem Sandberg, some edge-wear. OCLC records 8 North American institutional holdings.

$175

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GRAPH BOOKS: PRINTED MATTER FROM RADICAL ART AND SOCIAL MOVEMENTS. FEMINIST HISTORIANS OF MATERIAL CULTURE.

El solamente quería vivir: En Colombia la acción criminal de los grupos paramilitares [...]

Educación Femenina

Los hilos que nos tejen = Bek’ech sumo jit’iko’on [...]

Frente Popular en todo el mundo [...]

Manolin: Novela Original

Acción Femenina [title from cover]: V Asamblea

Exposición no. 2. Antonio Bonet: Arquitectura

Hacia la República Socialista de los Trabajadores [...]

Otoño Imperdonable

La Trampa

Quienes traicionaron al pueblo

Diez Maestros

Cocktail

Maria Fuentealba

La Mujer Proletaria: Poemas Escolares

Flores en el desierto: Mujeres del Concejo Indígena de Gobierno

Espejo en Sombra

La Mujer y su Expresión

Cuentos para Mari-Sol

La Hora de Queda: Novelas Cortas

Por Entre Frivolidades

Los misterios desvelados [sic]; tratados de quirognomia; el árbol del ocultismo [...]

Cultura Doméstica; Cultura Femenina (all published)

Traços biographicos da heroína brasileira Jovita Alves Feitosa ...

El Espacio Escultórico

Bajo las garras de la gestapo: 36 días en capilla

[1959 Dragon Yearbook]

Exposición Internacional de Barcelona. Catalogo Oficial de la Seccion Alemania

Four Artists’ Books

Ricardo Aldape Guerra: ¡Condenado a muerte!

La lucha política de las mujeres

Revista Mujeres Insurgentes

Mezzo cielo: Il giornale della lega delle donne comuniste italiane. Anno I, Nos. 1-2; Anno II, No. 1

Donne piemontesi nella lotta di liberazione 99 partigiane cadute, 185 deportate, 38 cadute civili

Vérascope, Taxiphote, Glyphoscope

La Protesta: Semanario de Batalla

Collection of Genre Fiction Featuring Illustrations of Apes and Women, 1890-1994

Mirlitón: El Compañero de Juan

Three Modern Turkish Architecture Catalogues

Catálogo de Peletería

Catálogo de Peletería

Publicité Chaumet. SEP/ETE/REM.

La Femme Canon. Chansonnette

Sheet music, 27.3 cm, [4] pp.; pictorial self-wrapper. Lower edge worn.

Grand Pensionnat de Jeunes Filles. Situation Exceptionelle d’Hygiène & d’Agrément

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

Primer Salon Nacional de la Estampa

Boletín de Artes Visuales. Nos. 1 and 4.

Museos: Realizaciones y Proyectos

Acción Plástica Popular: Educación y Aprendizaje a Escala Nacional. Con ciento cinco reproducciones

Plastica Bajacaliforniana: Selección Bienal 1977

Centro Deportivo Chapultepec: Recuerdo de la Inauguración de los Nuevos Edificios

10 Mujeres y Textil en 3D / 10 Women and Textile into 3D

Inauguración de su Nuevo Edificio

De l’extinction de la prostitution: pétition au Sénat, session de 1865

Small 8vo, 71, 36 pp.; text followed by 36 pp. catalogue of Garnier Frères, catalogue pages uncut; in printed wrapper with advert, rear wrap abraded at corner.

La Lotta Contro La Prostitutzione

(Antiprostitution) (Socialism) The Social Evil: Its Cause Effect and Cure

(Antiprostitution) (Mann White-Slave Act) Group of Instructive Literature

(Sexual Health) (Religious Orders) Sammelband of Five French Medical Theses

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

Five Illustrated Booklets Documenting the Fall and Death of Benito Mussolini and Clara Petacci

30 Years of Amalgamated Cooperative Housing, 1927-1957

Rosalba Carriera per l’inaugurazione delle sale degli autoritratti nella R. Galleria degli Uffizi

La prostitution [...] et ses multiples aspects

Le Véritable Guide des Jeunes Amoureux: Nouveaux Recueil des Lettres

Sous la jupe: illustré

Cine Cubano. Año 1, No. 3 and Año 2, No. 6.

Cuauhtemoc

¡Vean estos films!

Mexico

A ruptura da fotografia nos anos 50

Crónicas, documentos, y otros papeles.

Sol Lewitt

Rauschenberg: Selections

¿Qué es la CNT? : La emancipación de los trabajadores será obra de ellos mismos o no será

Pedrito Contreras y Juan del Campo

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

Nosotros: [Revista Mensual Anarquista]

GRAPH BOOKS: PRINTED MATTER FROM RADICAL ART AND SOCIAL MOVEMENTS.
FEMINIST HISTORIANS OF MATERIAL CULTURE.