{"title":"Archive","description":"\u003cp\u003eSelected out-of-stock inventory, visible for research. Expect typos from inelegant past site migrations. Please \u003ca href=\"mailto:%20info@graphbooks.com\"\u003econtact\u003c\/a\u003e us for permissions.\u003c\/p\u003e","products":[{"product_id":"la-dattilografa-canzone-a-ballo","title":"La Dattilografa: Canzone a ballo.","description":"\u003cp\u003e(Women; Typists) (Operetta) Rocchi-Burlamacchi, G. \u003cstrong\u003eLa Dattilografa: Canzone a ballo\u003c\/strong\u003e. Florence: Mignani, 1939 [XVII]. Sheet music, 27 x 18.2 cm, [4] pp.; pictorial color self-wrapper. Cover sl. toned, very good. A\u003c\/p\u003e\n\u003cp\u003e bit of social satire from fascist Italy in this suggestive song (for dancing!) about typists and their machines. Not found in OCLC. SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373006282903,"sku":null,"price":95.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/dattilografa_252b7959-a36b-4607-82ed-58c9fbe9da48.jpg?v=1744228257"},{"product_id":"mirliton-el-companero-de-juan","title":"Mirlitón: El Compañero de Juan","description":"\u003cp\u003eEnriqueta, Maria [Camarillo]. Mirlitón: El Compañero de Juan. Madrid: Juan Pueyo, 1918. First Edition. 19.4, 232 pp.; some foxing, esp. in first quarter of text block; illus. color wrapper, worn and splitting at rear. Signed and dedicated by the author on ffep. Maria Enriqueta Camarillo was a contributor to the proto-feminist Mexican journal La Mujer Mexicana (1904-1906). She was the author of a mandatory Mexican grammar school textbook and many volumes of popular children's literature in Mexico. Miriltón was her first novel, preceding her well-known work El Secreto (1922), which was praised by Paul Valéry and selected by L'Académie française for a prize in 1923. She also translated works from classic French literature and philosophy into Spanish. \u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373008806039,"sku":null,"price":150.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/IMG_6571_cfa5a125-9301-4d44-bb9b-e41bd2881297.jpg?v=1744228382"},{"product_id":"illustrated-autograph-album-el-frente-de-juventudes-femenino-a-su-regidora","title":"Illustrated Autograph Album: El Frente de Juventudes Femenino a su Regidora Comarcal","description":"\u003cp\u003e(Education - Girls) (Fascism) [El Frente de Juventudes Femenino, Villanueva y Geltrú]. Illustrated Autograph Album: El Frente de Juventudes Femenino a su Regidora Comarcal. June 1943. Oblong 19.5 x 31 cm, 97 manuscript leaves; including approx. 90 pages individually executed by members of the Juventudes Femenino, approx. 90 with brightly colored pencil and pen drawings accompanying various inscriptions, poems, songs, and signatures; stab bound in brown faux-leather boards with leather thread, leather broken thus loosening the album, otherwise very good. With two leaves laid in, these two a bit frayed where they extended beyond the boards.\u003c\/p\u003e\n\u003cp\u003eUnique illustrated gift album for Sra. Mercedes Rodriguez, a regional commander of the Falange Party's Girls Youth Front, commemorating a political indoctrination summer camp focusing on home economics, physical education, religion, and social hygiene. During the Civil War, El Frente de Juventudes (like its fascist counterparts Hitlerjugend [Germany] and Balilla [Italy]) became an important part of securing a fascist future. Following the Nationalist victory, Franco made voluntary and involuntary state-sponsored youth organizations a priority of his new government, providing militarized style training for both boys and girls. Loosely based on scouting troops, the girls sections (“Margaritas” for 7-10 yr olds; “Flechas” for 10-18 yr olds) wore uniforms and practiced the songs and policies of the new Homeland. Later superseded by the Juventudes de la Sección Femenina (1945), the Margaritas and Flechas of 1943 were being prepared to be good wives and mothers to the soldiers of Spain: in addition to domestic skills (sewing, nursing, cooking, etc.), they were encouraged to be physically fit, hygienic, churchgoers capable of teaching the core Falange values (Dios, Patria, Hogar) to the next generation. In detailed drawings and inscriptions, the album documents the language and imagery of this indoctrination and its eerie combination of idealized femininity, children's comics, and facist propaganda. Again and again Margaritas and Flechas announce their dedication to their beloved (“cariño”) commander, obedience to the political hierarchy of the Falange (“a tus ordenes”), and submission to the collective goals of national syndicalism. ¡Arriba España! Despite its wide integration into girls education for more than thirty years, El Frente de Juventudes Femenino and the Juventudes de la Sección Femenina are poorly documented in North American institutions. \u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373009264791,"sku":null,"price":2250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/IMG_3350_1d386967-4b9a-4a3a-88c0-ba1f3a15b2a7.jpg?v=1744228412"},{"product_id":"los-misterios-desvelados-sic-tratados-de-quirognomia-el-arbol-del-ocultismo","title":"Los misterios desvelados [sic]; tratados de quirognomia; el árbol del ocultismo [...].","description":"\u003cp\u003eMoraima Gelo, Zulema.\u003cstrong\u003e Los misterios desvelados [sic]; tratados de quirognomia; el arbol del ocultismo; la luz en el sendero\u003c\/strong\u003e. Mexico, D.F.: np, 1929. 18.5 cm, 92 pp.; frontispiece portrait and 3 bw 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).\u003c\/p\u003e\n\u003cp\u003eZulema 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, 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”).\u003c\/p\u003e\n\u003cp\u003eUnfortunately, 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.\u003c\/p\u003e\n\u003cp\u003eSeemingly issued in very limited numbers, OCLC identifying only one copy, at the Biblioteca Nacional de México.\u003c\/p\u003e\n\u003cp\u003eSee: Avilés, M. M. (2017). \"La suerte está echada. Clarividentes, adivinadoras, palmistas y cartomancianas.\" \u003cem\u003eAlquimia\u003c\/em\u003e 61.\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373010870423,"sku":null,"price":450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/zulema4809_d37ce87c-1002-4722-93dd-6140fd49f73b.jpg?v=1744228476"},{"product_id":"ciudad-concreto","title":"Ciudad Concreto","description":"\u003cp\u003eLorena Ochoa, Ana and Elena Poniatowska, Intro. Ciudad Concreto. México, D.F.: Cresce Consultores, 2010. Oblong 28 cm, 135 pp.; 29 pp. bilingual front matter and introductory text, followed by 101 pp. reproducing Lorena Ochoa's photographs (most sheets printed recto and verso); in blind stamped cloth, title to front board and spine, one photographic print trimmed and tipped-in to front cover, cloth a bit rubbed, v minor scratches to front photo visible in raking light. One of 330 copies with a signed photograph (digital print) in corner mounts inside the front board, numbered and signed verso. VG+\u003c\/p\u003e\n\u003cp\u003eLorena Ochoa's photobook documents the mostly indigenous construction workers who built the “Segundo Piso” of the \u003cem\u003eperiférico\u003c\/em\u003e, Mexico City's massive new ring road. From 2004-2005 she photographed their dangerous labor on the road's famous second level and the precarious living circumstances they inhabited nearby. Poniatowska describes her as the “first and perhaps the only woman … to climb up one of the gigantic towers.” The photographs are intended to humanize a massive urban infrastructure project and understand its legacy in the lives of the people who built it. Following examples like Jorge Fon's renowned film Los albañiles (1976), Lorena Ochoa unveils both invisible labor and invisible people while also providing a view on the changing landscape of the ever-expanding city and a perhaps unintentional consideration of masculinity. No copies located in North American libraries. \u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373012246679,"sku":null,"price":550.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/ciudadconcreto7044_a6166104-a03a-49d5-b72f-5e42b260b6b9.jpg?v=1744228545"},{"product_id":"manolin-novela-original","title":"Manolin: Novela Original","description":"\u003cp\u003eCanel, 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.\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373012377751,"sku":null,"price":400.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/manolin5_dab8af5a-1870-4237-ad13-3cf704602680.jpg?v=1744228548"},{"product_id":"frente-popular-en-todo-el-mundo","title":"Frente Popular en todo el mundo [...].","description":"\u003cp\u003eDimitrof, G. [Dimitrov, Georgi]. \u003cstrong\u003eFrente Popular en todo el mundo: La unidad obrera campesina en la lucha contra el fascismo\u003c\/strong\u003e. Mexico: Ediciones Frente Cultural, nd. [1935]. 19 cm, 111 pp.; color pictorial wrappers with losses, esp. to blank rear edges. A few chips in toned textblock. One signature, pp. 81-96, bound upside down.\u003c\/p\u003e\n\u003cp\u003eThe only Mexican edition of Georgi Dimitrov's Stalinist speeches promoting the Popular Front at the Comintern Congress, 1935. Dimitrov was a Bulgarian communist and General Secretary of the Comintern from 1935-1943. With three loose illustrated advertisements for other communist publications by Ediciones Frente Cultural (EFC), and a booksellers ticket on rear wrap from Libreria Navarro (EFC having been founded by Navarro owner, Enrique Navarro Orejel). One copy? of this edition located by WorldCat, at UT-A. Cataloged page numbers differ vastly (47pp according to UTA). Later Spanish editions published in Europe include Dimitrov's speeches from Comintern congresses in 1936 and 1937.  SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373012705431,"sku":"","price":225.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/frentepopularnavarro_ef302602-9bab-4d35-a93c-637f75c45006.jpg?v=1744228559"},{"product_id":"a-las-senoras-catolicas","title":"Á las Señoras Católicas.","description":"\u003cp\u003e[Lazos León, Florinda]. \u003cstrong\u003eÁ las Señoras Católicas.\u003c\/strong\u003e San Cristóbal [de las Casas], Mexico: np, 1926. Broadside. 46.5 x 33 cm. Thin colored paper, creased where folded, a few v minor defects at edges, otherwise very good condition.\u003c\/p\u003e\n\u003cp\u003eRevolutionary \u003cem\u003esoldadera\u003c\/em\u003e, suffragist, journalist, and labor organizer, Florinda Lazos León (1898-1973) advanced feminist and labor causes throughout Mexico, but particularly in her home state of Chiapas. During the Revolution she was a nurse in the Carrancista Liberating Army of the South and participated in organizing both the first Congress of Women Workers and Peasants of Chiapas (1919) and the first National Congress of Women Workers and Peasants (1931).\u003c\/p\u003e\n\u003cp\u003eScholarship on Mexican suffrage often omits the fact that Chiapas was the first Mexican state to grant women full rights of citizenship (“just” the fourth to give them the right to vote). In 1926, Lazos León became the first woman elected to the Chiapas legislature, more than a quarter century before women won the right to vote nationally. Though a few women had been elected in the Yucatan in 1924, they were not allowed to serve, making Lazos León the first woman ever to serve in a state-level elected office in Mexico.\u003c\/p\u003e\n\u003cp\u003eThis broadside was published after Lazos León announced her candidacy in a July issue of the worker's party newspaper that she edited, La Gleba, and shortly before her November election. It is addressed to the women of her hometown, San Cristóbal de las Casas. The text is a finessed position on the Cristeros Rebellion–a violent conflict between the Mexican state and the Catholic Church in the 1920s. The seeds of the rebellion began with the 1917 Mexican Constitution. It restricted the political and economic power of the Church through several measures: requiring primary schools to be secular, nationalizing their property, and banning public ceremonies; the Church's power was further reduced by additional statues and enforcement beginning in 1924 during the Calles presidency. Following increased anticlerical persecution, the Catholic hierarchy refused to conduct public mass and closed their churches in 1926. This led to an unusual role for women, who became the leading lay ministers of their communities. In the present document, Lazos Leon implores women not to be drawn into the conflict, or as she wrote, used as “cannon fodder” by powerful government and religious interests. Instead, she asks that they stay true to the roots of their Christianity and protect poor and working people (including the rights of indigenous peoples). \u003c\/p\u003e\n\u003cp\u003eTruly a rare surviving primary document authored by Lazos León who has no author record in WorldCat. SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373013000343,"sku":null,"price":1200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/florinda_19b974f8-ac3d-4b90-b8d7-324aae0ba0fc.jpg?v=1744228572"},{"product_id":"calarts-feminist-art-programs","title":"Feminist Art Program, California Institute of the Arts. Collaborative Project: “A Store of Our Own”","description":"\u003cp\u003e[Art – Feminism]. [Miriam Schapiro]. Feminist Art Program, California Institute of the Arts. Collaborative Project: “A Store of Our Own.” Poster for an exhibition held at Upper Gallery, California Institute of Arts, May 19-May 25, 1973. Valencia, CA: California Institute of Arts, 1973. Approx. 24 x 18 in., folded three times, toning in creases (not affecting image), orig. handwritten mailing address verso and adhesive closure; good.  The Feminist Art Program (FAP) at CalArts was founded in 1971 by Judy Chicago and Miriam Shapiro; this project, with individual exhibitions by students and teachers at CalArtsFAP, falls between CalArts’groundbreaking “Womanhouse” (1972) exhibition and the Feminist Art Festival (1974). It does not seem to be documented in the FAP archives (see finding aid: CalArts-003) or any other OCLC records.    SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373761650839,"sku":null,"price":75.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/calartsfemartprogposter.jpg?v=1744244085"},{"product_id":"perfect-feet-on-treasure-island","title":"Perfect Feet on Treasure Island","description":"\u003cp\u003e[Sculpture – Chiropodiatry]. Perfect Feet on Treasure Island. San Francisco, 1939. Press photo, 8 x 10 in., with typewritten caption and date stamp verso; minor wear and rippling, else good.  “Sculptor Beniamino Bufano and Dr. Charles E. Krausz, president of the National Association of Chiropodists try hard to decide who has the Treasure Island Perfect Foot. Virigina Sinclair of San Francisco finally won the contest which was held in conjunction with Chiropodist Day at the Exposition (Thursday July 27).” Bufano was a well-known sculptor and eccentric: a bigamist who sent his (accidentally) severed right index finger to President Woodrow Wilson to protest WWI, he also ended up embroiled in a Cold War art dispute that involved a phone call with Soviet Premier Nikolai Bulganin and a rebuke from Pres. Eisenhower's administration.    $35\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373762175127,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/BeniaminoBufano.jpg?v=1744244103"},{"product_id":"transgender-collection-of-ephemera","title":"[Transgender]. Collection of ephemera","description":"\u003cp\u003e[Transgender]. Collection of pamphlets, zines, fanzines, flyers, chapbooks, and other ephemera related to transgender, transsexual, and LGBTQ activism, youth, literature, health, humor, and social justice movements, 1973-2016 (most 1990s-present). Approx. 52 items: comprised of 34 monographic zines, pamphlets and flyers together with 18 issues of various serials; 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.   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 with collateral 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, a few Canadian.   Together the collection presents a diverse, intergenerational picture of the evolving scope of North American trans experience and activism. Most items are not recorded in OCLC, a few held only by Univ. of Michigan, still less held by more than a single library in North America. Full list available on request.    SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373762273431,"sku":null,"price":825.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/transgender2.jpg?v=1744244107"},{"product_id":"archive-spanish-right","title":"Spanish Neofascist Archive","description":"\u003cp\u003eArchive of 325+ items related to Spanish far-right political parties and their youth sections, ca. 1976-1996. This personal archive follows the rise of the extreme right during La Transición, the period of political turmoil following the death of Franco in 1975, into the contested, unstable new democracy of the 1980s, with all its crises including an attempted military coup, paramilitary terrorism by groups on the right and left, and finally the right's radicalization and alignment with other European neofascist movements during the 1990s in response to rising unemployment, immigration, and the European CommunityEuropean Union treaties.   The photographs record large demonstrations, graffiti, community organizing, parades, and smaller group protests in addition the more mundane activities of meetings and annual congresses, with a special emphasis on youth activities. Likewise, the documents reflect both the often-mild public face of the far-right, with its coded expressions of honor, family, and patriotism, and the radical racism, xenophobia, homophobia, and nationalism that entered the party platforms.   Comprised of approx. 175+ photographs, most color, 55 in large format, 17.5 x 23.5 cm., the rest approx. 10 x 15 cm., some with captions verso identifying places and dates; 150+ documents includes serials, pamphlets, small flyers, broadsides, posters, correspondence, miscellaneous items, and 20 pieces of foreign ephemera (France, Italy, Germany, UK, US). Photographs near fine or very good, a few merely good; documents range from fair to near fine, most good to very good, some older items with edge-wear, closed tears, or toning. Most items not located in OCLC.  Housed in archival binder and box.  $2750  * * *  From Franco's death until 1981, Spanish rightist parties struggled for continuity with the previous regime (Franco's party: Falange Española de las J.O.N.S.) and the national-syndicalist system. Their mottos repeated familiar nationalist themes: e.g. “For God, the Fatherland, and Justice,” and claimed to advocate for a “third way.” One of the most important of these parties, the Fuerza Nueva (“fascist nostalgists”), had a particularly strong base in Catalonia, in the cities of Valencia and Barcelona, where it fought to maintain the unity of the region with campaigns for bilingualism and antiseparatism. The electoral success of the Spanish Socialist Worker's Party in 1982 ushered in an era of resistance for the far right, who began to align themselves with more radical fascist ideas under new party names including Frente Nacional (FN), Alianza Nacional 18 Julio, Círculo Español de Amigos de Europa (CEDADE), and Juntas Españolas (and Jóvenes de Juntas Españolas).   A number of the serials, broadsides and flyers in this archive attest to influence of other European countries’far-right philosophes: Fuerza Nueva and Juntas Españolas were inspired by the ideas of Julius Evola, Jean-Marie Le Pen, Léon Degrelle, and Otto Skorzeny among others. And despite the often white-washed public literature distributed by these groups, the youth and paramilitary sections of these parties were violent, with numerous murders and instances of vigilantism attributed to the Fuerza Nueva during the 1980s. Some of the photos in the archive relate to the assassination of Ricardo Saenz de Ynestrillas (his son led the Alianza por la Unidad Nacional until he was imprisoned for attempted murder).  By the late 1980s and early 1990s anxiety increased in Spanish right-wing circles with continued economic uncertainties and the extension of the European Community with invitations to Turkey and former USSR Eastern bloc countries to join the zone. The archival materials from this period, which include more than 20 pieces from foreign organizations in Italy, Germany, England and the USA, show a newly emboldened right making explicit visual and rhetorical references to fascist and Nazi propaganda.    Altogether an extraordinary view inside European extremist subculture.\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373762764951,"sku":null,"price":2750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/IMG_20170301_135526.jpg?v=1744244160"},{"product_id":"a-creme-du-harem-masque-de-beaute","title":"Harem: La Crème du Harem (Masque de Beauté)","description":"\u003cp\u003e[Advertisement] Harem: La Crème du Harem (Masque de Beauté) [title from cover]. [Spain]: N.p., n.d. [ca. 1930s]. 4 x 4-34 in., single leaf, folded, with horizontal cut-away, blue and black ink on silvered paper, very good.   Orientalist, acrostic promotional flyer for skin cream: “Hermosea  Atrae  Rejuvenece  Embellece  Misteriosamente.”     SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373762928791,"sku":null,"price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/harem1.jpg?v=1744244175"},{"product_id":"voice-of-women-bulletin-of-the-african-national-congress","title":"VOW [Voice of Women]: Bulletin of the African National Congress (S.A.) Women ’s Section. No. 2","description":"\u003cp\u003eVOW [Voice of Women]: Bulletin of the African National Congress (S.A.) Women's Section. No. 2 (November 1973). Morogoro, Tanzania: A.N.C. Women's Section, 1973.  8vo, [24] pp.; side-stapled mimeograph, front cover reproducing drawing by “Dorothy Nyembe age 15,” self-wrapper bumped and creased, paper sl. toned.   Rare documentation from the Women's Section of the ANC, published in exile in Tanzania (and later in Zambia). Contents focus on antiapartheid and solidarity as well as specific reports on women's apartheid experiences and resistance.  OCLC locates no issues of VOW in North American institutions.    SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373763059863,"sku":null,"price":35.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/vow.jpg?v=1744244180"},{"product_id":"exposicion-y-proyeccion-de-obras-digitales","title":"Exposición y Proyección de Obras Digitales Alta Entropía","description":"\u003cp\u003eGrupo Trevat. Exposición y Proyección de Obras Digitales Alta Entropía [title from cover]. Buenos Aires: Planetario de la Ciudad de Buenos Aires, 1995. 8vo, [4] pp.; color illus. exh. catalogue in color pictorial wrappers, small pen inscription on rear wrapper, otherwise very good.  Otherwise unrecorded exhibition catalogue of the short-lived Argentinian digital art collective, Grupo Trevat, a collaboration between renowned modern artist Gyula Kosice (then in his 70s), José E. García Mayoraz, and Ladislao P. Györi.     SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373763190935,"sku":null,"price":100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/IMG_20180305_091704.jpg?v=1744244184"},{"product_id":"why-she-cant-balance-her-budget","title":"Why She Can ’t Balance Her Budget","description":"\u003cp\u003eWhere the American Dollar Goes: Why She Can't Balance Her Budget. N.p., n.d. Unfolded card, 6-34 x 9 in.; worn and sl. toned, good.     Self-published sexist infographic with period healthcare and beauty trade names, ca. 1950, possibly earlier.      SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373763289239,"sku":null,"price":55.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/americandollargoes3.jpg?v=1744244191"},{"product_id":"formulario-de-cockteleria","title":"Formulario de Cocktelería","description":"Hevia, Enrique. Formulario de Cocktelería. Antwerp: La Sección de Propaganda de Destilerías Van den Bergh \u0026amp; C., n.d. 8vo, 4-34 x 3 in., [1-4], 5-87, [1] pp.; promotional cocktail recipes using Van den Bergh distilleries “La Campana” liquors, illus. throughout with bw reproductions of the relevant bottles; in brown paper boards, stamped; boards sl. warped with dampstain affecting some pages.     The author provides more than 80 recipes for cocktails, including a brief history and list of tools and ingredients. The Van den Bergh trademark is now owned by Freixenet (whose cava is advertised as an ingredient in this book). Undated, but probably 1930s.     Unrecorded in OCLC.      SOLD","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373763322007,"sku":null,"price":120.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/heviacocktails4.jpg?v=1744244203"},{"product_id":"el-movimiento-artistico-de-mexico","title":"El movimiento artistico de Mexico","description":"\u003cp\u003ePaz y Mino, Germania, Illus. Navarro Aceves, Salvador. El movimiento artistico de Mexico. Quito, Ecuador: Elan, 1935. 8vo, 110 pp.; color illus. pls., paper sl. toned; red cloth boards with orig. color illus. wraps bound in, boards rubbed, interior very good, colors bright.     Scarce imprint featuring illustrations by the Ecuadorian sculptor Germania Paz y Mino (1913 - 2002). Her large-format painting Lavanderas (1939) has become an iconic symbol of working-class women in Ecuador.   SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373763485847,"sku":null,"price":75.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/movimientoartistico1.jpg?v=1744244217"},{"product_id":"consideraciones-sobre-la-vivienda-para-arrendamientos-y-los-condominios","title":"Consideraciones sobre la vivienda para arrendamientos y los condominios","description":"\u003cp\u003e(Urban Planning) Ordo´ñez Ruiz, Jose´ Luis. Consideraciones sobre la vivienda para arrendamientos y los condominios. Me´xico, D.F.: Ca´mara Nacional de Comercio de la Ciudad de Me´xico, 1988. 4to, 94 pp.; pictorial wrapper, edges worn.   An illus. guide to the pros and cons of ownership under various structures, including condominiums. Published by the National Chamber of Commerce.   OCLC finds one US institutional holding, Univ. of Florida.    SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373763518615,"sku":null,"price":45.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/consideracionesvivienda.jpg?v=1744244220"},{"product_id":"vivienda-para-trabajadores-petroleros-paraiso-tabasco","title":"Vivienda para Trabajadores Petroleros: Paraiso, Tabasco","description":"\u003cp\u003e(Architecture) (Urban Planning) (Socialism) Alcala Tejeda, Javier; Javier Castillo Juarez; and Jesus Humberto Sanabria Miravete. Vivienda para Trabajadores Petroleros: Paraiso, Tabasco. Thesis, Universidad Nacional Auto´noma de Me´xico, Escuela Nacional de Arquitectura. Me´xico, D.F.: [1979]. Oblong 4to, 91 pp.; illus. include maps, graphs, comics, elevations and plans, including some folding; comb binding with pictorial card wraps, some wear. Dated gift inscription from Castillo to a friend.   Ideological proposal for worker housing at the Dos Bocas PEMEX petroleum plant in the Gulf of Me´xico. Construction had only recently begun at the time of the thesis presentation and the research responds to public controversy over its ecological and economic impacts, and the political expediency of PEMEX's sudden expansion in this strategic zone. The authors also echo the concerns of the Partido Mexicano de los Trabajadores (PMT), a revolutionary socialist party that emerged from the 1968 student protest movement. One of authors, Javier Castillo Juarez, was the son of engineer Heberto Castillo Martínez, founder of the PMT and inventor a key structural technology, tridilosa, for seismic zone construction.   Along with site research and design, the three students propose human-scaled architecture that looks toward the future of labor and urban living in place of modernist formalism. Traditional architectural thesis work is interspersed with anti-capitalist and anti-imperialist comics and polemic. In its conclusions the authors argue that the need for a truly revolutionary architecture exceeds university flag-waving; it requires methodological analysis and practical plans.  Not mentioned in OCLC.    SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373763846295,"sku":null,"price":225.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/vivienda31154.jpg?v=1744244241"},{"product_id":"espacios-libres-y-reservas-forestales-de-las-ciudades","title":"Espacios libres y reservas forestales de las ciudades [....]","description":"\u003cp\u003e(Urban Planning) (Parks) Quevedo, Miguel. Espacios libres y reservas forestales de las ciudades. Su adaptacio´n a jardines, parques y lugares de juego: aplicacio´n a la ciudad de Me´xico. Conferencia dada en la Exposicio´n de Higiene. Me´xico, D.F.: Gomar y Busson, 1911. 8vo, 40 pp.; [16] bw pls.; in orig. wrapper, pages toned, 2 with small repairs, else very good.   A comparative study of parks, gardens, and public green spaces in Me´xico City, the United States, and Europe, by the head of the Forest Department. Illustrated with maps and reproductions of contemporary photographs of citizens enjoying open spaces, playgrounds, and gardens.     OCLC finds a single US institutional holding at UC-Berkeley.  SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373763879063,"sku":null,"price":225.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/espacioslibres0515.jpg?v=1744244248"},{"product_id":"three-frente-popular-handbills-gratitud-a-mejico-homenaje-a-mexico","title":"Three Frente Popular Handbills: Gratitud a Méjico; Homenaje a Mexico; and Salud Hermano Méjico","description":"\u003cp\u003e[Los Amigos de Méjico; Asociación Española de Amigos de Mexico; and Partido Sindicalista España]. Three Frente Popular Handbills: Gratitud a Méjico; Homenaje de Madrid a Mexico; and ¡Salud Hermano Méjico! [Barcelona? and Madrid?, Spain]: ca. 1936-1939. Each sheet approx. 10-¾ in. x 8-¾ in.; minor wear as expected, a few pin holes, final example with v. small closed tear, approx. ¼ in., overall very good.  Unusual documentation of Spanish Republican gratitude for Mexican support during the Civil War. Under the leadership of President Lázaro Cárdenas, Mexico was the only country other than the USSR to denounce the British-French policy of nonintervention after the Nationalist's fascist coup. These handbills, by various organizations and parties associated with the Frente Popular, fuse well-known Republican propaganda themes with tropical and Neo-AztecMayan Revival designs. One image attributed to graphic artist Girón, known for other work for the Ministry of Propaganda.  As of April, 2019, we are unable to find examples in searchable institutional collections or the trade.    SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373764010135,"sku":null,"price":375.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/IMG_20190401_115335.jpg?v=1744244258"},{"product_id":"may-i-have-the-pleasure-of-escorting-you-home-this-evening","title":"May I have the pleasure of escorting you home this evening?","description":"\u003cp\u003e(Calling Card) Escort Card: May I have the pleasure of escorting you home this evening? [...]. N.p., n.d. [19th cent.]. 1-⅝ x 3-⅜ in., printed recto only; darkened, small loss at top corner.  “May I have the pleasure of escorting you home this evening? If so, keep this card. If not, please may I sit on the fence and see you go by? Strictly confidential.” Such flirtatious calling cards, a.k.a. “acquaintance cards,” were popular in the US in the late 19th-century.     $50\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373764042903,"sku":null,"price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/escortcard.jpg?v=1744244261"},{"product_id":"four-sex-worker-zines-and-comix","title":"Four Sex-Worker Zines and Comix","description":"\u003cp\u003eFour Sex-Worker Zines and Comix. Various publishers, most undated. Each 8vo, 12-40 pp.; profusely illustrated, stapled self-wrpprs, very good.  Three zines by the Chicago sex-worker collective Support Ho(s)e, of which two are related to the case of Alisha Walker and include her artwork. The final zine confronts the anti-trafficking movement from a pro-sexwork position.     SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373764141207,"sku":null,"price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/sexworkzines.jpg?v=1744244268"},{"product_id":"la-arquitectura-en-venezuela","title":"La Arquitectura en Venezuela","description":"\u003cp\u003e(Architecture) (Venezuela) (Modernism) [Comité Ejecutivo del IX Congreso Panamericano de Arquitectos]. \u003cstrong\u003eLa Arquitectura en Venezuela [title from cover]\u003c\/strong\u003e. [Caracas, Venezuela]: [Mendoza \u0026amp; Mendoza], [1955]. 4to, [48] pp.; profuse illus., a few in color, light dampstaining in gutter, more pronounced in early and final leaves; in stapled color pictorial wraps designed by “Villa,” separating sl. at spine, front soiled. Gift inscription in pen, p. [1], small annotation made on p. [40] identifying residence of previous owner.\u003c\/p\u003e\n\u003cp\u003eThis booklet, promoting La Sociedad Venezolana de Arquitectos, was distributed to the delegates of the IX Congreso Panamericano de Arquitectos, held in Carlos Raúl Villanueva's famed Aula Magna auditorium in the newly completed Ciudad Universitaria de Caracas, September 19-28, 1955. It includes photographic highlights of mid-century Venezuelan architecture and its “modernist evolution.” Captions identify buildings and architects, a final index provides additional technical details for each illustrated work. Includes photographic contributions by Colombian avant-garde photographer Leo Matiz. As of February 2020, no copies located in OCLC or the market. SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373764665495,"sku":null,"price":550.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/arquitecturavenezuela1.jpg?v=1744244321"},{"product_id":"caracas-ciudad-moderna","title":"Caracas: Ciudad Moderna","description":"\u003cp\u003e(Architecture) (Venezuela) (Modernism) (Propaganda) \u003cstrong\u003eCaracas: Ciudad Moderna\u003c\/strong\u003e. [Caracas, Venezuela]: [Mendoza \u0026amp; Mendoza], n.d. [1955?]. Oblong, 6 x 8-½ in., approx. [180] pp., most with illustrations, some in color; in color pictorial wrappers with illus. bifold, front rubbed and beginning to separate at front joint, rear wrapper chipping, a few leaves with corresponding chips.\u003c\/p\u003e\n\u003cp\u003eModernist photo book celebrating the rapid urbanization of Caracas under Venezuelan President Marcos Pérez Jiménez. Pérez Jiménez was a leader of the 1948 military coup which toppled the democratically elected government. He ascended to the presidency as a military dictator in 1953, initiating huge public works projects throughout Venezuela, but particularly in Caracas, which was experiencing unprecedented population growth. As propaganda, the book epitomizes the problematic “entanglement of modernist aesthetics with political agendas of modernization” during a period in which “the legitimacy of [Venezuelan] military rule [was] contingent on convincing displays of progress.” Photos of these projects, including highways, public housing, private residential districts, schools, parks, government buildings, and commercial shopping centers, are accompanied by brief, earnest texts lauding the government's achievements.\u003c\/p\u003e\n\u003cp\u003eThe book offers an important political framing to many of Venezuela's best known modernist landmarks, including La Ciudad Universitaria (CUC) and the Aula Magna, Centro Simon Bolivar, Edificio Galipan, Estadios Olimpicos, public housing “superbloques,” Casa Sindical, El Silencio, the Creole and Shell office buildings, et al. The Pérez Jiménez regime was deposed in a 1958 coup, bringing one of the most repressive governments in Latin America, to an end. The coup also halted one of the most sustained periods of growth in Caracas's history. The book is a primary document of the aesthetic and political impact of this important moment in Venezuela's history. Contributing photographers included Jewish Austrian expat Olga Seybert, sister of Lisette Model.\u003c\/p\u003e\n\u003cp\u003eScarce institutionally: OCLC recording four North American holdings (Ottawa, Brigham Young, UT-Austin, Univ. of Colorado). See Lisa Blackmore, S\u003cem\u003epectacular Modernity: Dictatorship, Space, and Visuality in Venezuela 1948-1958\u003c\/em\u003e, Pittsburgh: University of Pittsburgh Press, 2017. SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373764796567,"sku":null,"price":750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/caracasmoderna142407717.jpg?v=1744244340"},{"product_id":"sexual-consent-safety-first-guarantee","title":"(Sexual Consent) [Safety First Guarantee]","description":"\u003cp\u003e(Mann White-Slave Act) (Sexual Consent) \u003cstrong\u003e[Safety First Guarantee]\u003c\/strong\u003e. N.p., n.d. [after 1910, ca. 1930]. Ditto? card, printed recto only, 4-316 x 7-18 in., toned.\u003c\/p\u003e\n\u003cp\u003eA semi-serious sexual consent card, intended to indemnify a male against a Mann Act claim and a compelling early 20th-century precursor to the language of consent currently being considered in legal and institutional contexts. Enacted in 1910 at the height of “white slavery” hysteria, the Mann Act made interstate travel by a man and a women with the intent of committing sexual acts a crime. Its original ambiguous language, establishing a felony charge against the transport of “any woman or girl for the purpose of prostitution or debauchery, or for any other immoral purpose,” was infamously used to criminialize sexual behavior, even among consenting adults.\u003c\/p\u003e\n\u003cp\u003eIn particular, it was used to target interracial couples who travelled across state lines (e.g. Jack Johnson and Chuck Berry). The document certifies that an undersigned female is “above the age of consent, [in] my right mind and not under the influence of any drug or narcotic. Neither does he have to use any force, threats or promise to influence me. I am in no fear of him whatever; do not expect or want to marry him, don't know whether he is married or not, and don't care. I am not asleep or drunk and am entering into this relation with him because I love it and want it as much as he does [...]. Furthermore, I agree never to appear as a witness against him, or to prosecute under the Mann White Slave Act.” \u003c\/p\u003e\n\u003cp\u003eThe few known references to this gag indicate it was circulating in the 1920s before being updated for use by servicemen during WWII and the Korean War. Comparison with this evolving language suggests that our card was printed sometime in the late 1920s. A worthy object for further study. Only two copies are recorded in North American institutions, both considerably later than this example: Univ. of Rochester and Pepperdine. SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373764829335,"sku":null,"price":350.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/IMG_20201113_110346915_HDR2.jpg?v=1744244343"},{"product_id":"el-movimiento-estudiantil-three-posters","title":"El Movimiento Estudiantil: Three Posters","description":"\u003cp\u003eEl Movimiento Estudiantil de 1968: Three Posters. México: 1968. Donde hay lucha hay sacrificios [...], linocut?, 34 x 47 cm, center crease, newsprint toned as expected; Asesinos. Pueblo: el gobierno te engaña [...] ¡Despierta!; 29 x 43 cm, an uneven impression, colored ink slightly faded, typical minor soiling and staining for a protest poster; and Untitled [after Adolfo Mexiac]; offset?; 44.7 x 29.8 cm, unevenly trimmed.   Rare surviving graphics from the 1968 student protest movement in Mexico City, which ended shortly before the ‘68 Olympics on October 2nd with the infamous Tlatelolco Massacre. The posters were printed rapidly and inexpensively during the summer and early fall for use during massive demonstrations and as street propaganda. They were primarily created by student collectives at the San Carlos and La Esmerelda art schools using linocut and silkscreen in addition to offset presses. In addition to original artwork, the artists appropriated militant imagery and text from previous social protest movements and legendary Taller Grafica Popular prints.   This group includes two uncommon examples together with a variation on a famous Adolfo Mexiac linocut that was repurposed (with the artist's permission) during the protests. The juxtaposition of student artwork and protest language with the official Olympic graphic, as seen on the Asesinos example, was a hallmark of many of the ‘68 poster designs.  The first example is known from a copy in the UNAM archives, but otherwise unrecorded in OCLC holdings; we are unable to find location information for a copy of the second despite its reproduction by at least one blog. The third is a curious version of the Mexiac image, slightly altered from most period examples available for comparison, and evidence of the print collectives’ongoing process of iteration and reproduction.  SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373767450775,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/donde_hay_lucha.jpg?v=1744244481"},{"product_id":"mujer-sin-trabajo-ano-i-num-2","title":"Mujer Sin Trabajo. Año I, Num. 2","description":"\u003cp\u003eCaulliers, Mario, Ed. Mujer Sin Trabajo. Año I, Num. 2. Mexico, D.F.: 1932. 22.6 cm, 32 pp.; illustrated; stapled color wrappers, creased at centerfold, newsprint toned as expected.   Single issue of an otherwise unrecorded serial sold to raise money for women without work. Women collaborated in this ephemeral production, described in the editorial as an economic means to “support a group of industrious ladies who openly fight for life. Help them, encourage them, to continue on the path of struggle, of honesty, think of your little sisters, of your beloved daughters and avoid, if not with your financial contribution, with your gentlemanly attention and decency, their demoralization [corruption]. Close, with your chivalry, the doors of the cabarets and of prostitution.”     SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373767581847,"sku":null,"price":175.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/mujersintrabajo1.jpg?v=1744244495"},{"product_id":"propaganda-photographs-seccion-femenina-1941","title":"COLLECTION OF PROPAGANDA PHOTOGRAPHS OF THE SECCI\\u00d3N FEMENINA","description":"\u003cp\u003e40 silver gelatin prints: 36 approx. 5 x 7”, near fine, all stamped verso identifying two SS-PK photographers, [Bruno] Wisniewski and Ege, some with a “Sachregister” stamp and numbered pencil annotations verso; 3 smaller, approx. 3 x 4”, good; one 4 x 6” mounted to toned card, rubbed with a few scratches.   The Sección Femenina [SF] was officially recognized by General Franco following the end of the Spanish Civil War in 1939. Its mandate was to organize and educate women to be full participants in the reconstruction of the nation according to Falangistfascist principles. To this end the SF had to reconcile politically conservative and religious (Catholic) doctrine with the modern social realities of the 1940s. It found itself in the awkward position of arguing strongly for the higher education of women and girls while rejecting “feminist intellectualism”. Similarly, it had to promote the ideal woman at home while providing a model for women whose membership in the workforce was an economic necessity.   The model of ideal femininity central to this mission had to be flexible enough to contain these contradictions. The photos in this collection exemplify this elastic image of womanhood, depicting SF leaders and members engaged in the wide variety of activities promoted by the organization. These include history and music classes, field hockey, cooking, sewing, childcare, and patriotic events. As a group they reflect the inherent ambivalence of the SF: an independent and powerful network of educated women that offered its members “an unusual level of public activism, both professionally and politically”, while preaching traditional ideology.     The Nazi Waffen-SS Propagandakopanien (SS-PK) was formed in 1938 to provide wartime propaganda to domestic German audiences. SS-PK photographers were embedded in armed divisions and diplomatic corps; these photos of the Sección Femenina were probably taken between October 1940 (when Hitler and Franco met in southern Spain) and late 1941, when relations between the two countries deteriorated as it became clear Spain would not officially enter the war. The names of the two photographers appear in other SS-PK records.  SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373791895703,"sku":null,"price":2250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/IMG_20160929_162903.jpg?v=1744248274"},{"product_id":"afgrijs-all-published","title":"Afgrijs. No. 1 (March 1984) through No. 7 [1986?] (all published)","description":"\u003cp\u003e[Knust: Jan Dirk de Wilde, Alfred Boland, and Ubu Lemereis, eds.]. Afgrijs. No. 1 (March 1984) through No. 7 [19861987?] (all published). Nijmegen, Netherlands: [Knust Press], 1984-[1987?]. 8vo (21 x 14.8 cm), most approx. 28-34 pp., with orig. stapled color wrpps., near fine.  The experimental art serial Afgrijs was one of the first publications by the Dutch avant-garde collective Knust, a loose group of anarchist artists who met in the early 1980s in a Nijmegen squat. The Knust Press emerged as a leader in counterculture graphic arts during the heyday of the Dutch squatters movement. Although Knust members were inspired by underground comics including Zap, Raw, and Hari Kiri, Afgrijs's vivid, process-oriented issues resemble artist books more than comix or fanzines. They are primarily visual, influenced by neo-expressionism, graffiti, and concrete poetry, with supplemental materials bound, tipped, and laid in.   According to founder Jan Dirk de Wilde, the group's printing experiments began when they were given a 1930s Gestetner stencil machine. Tests with multiple inks were limited before they encountered a Roneograph with exchangeable color drums. The Roneo's analog duplicator allowed Knust artists to draw directly with a stylus onto the stencil blanks. It was good for “abstract, wild, uncontrolled multi-color printing”, whose thick, oily inks gave the publications a “physicality” akin to painting.  Together, the Afgrijs volumes are a complex assemblage of styles, colors, and techniques, fabricated just before the first digital stencil machines (Risographs) became commercially available and automated much of the labor for such fully realized artist publications. Knust and its sister organization, Extrapool, still exist thirty years later and continue to be leaders in experimental publishing, graphic design, and artist books.   Complete runs of Afgrijs, with all addenda, are extremely scarce. Like many anarchist serials, there were no colophons, entries were attributed to false names, and edition numbers and dating are often lacking or deliberately confused. OCLC finds two institutional holdings in North America: at MoMA [incomplete] and Yale [complete?]. The Yale catalogue calls for no. 5 to be issued in a cassette tape case. Existing members of Knust controvert this description, calling for no. 5 to be a single booklet as in the present copy (and for the cassette tape to be catalogued as a stand-alone edition, called Cassette voor Doven [Tape for the Deaf]).    SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373791961239,"sku":null,"price":850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/Afgrijscover.jpg?v=1744248291"},{"product_id":"progressive-canton","title":"Progressive Canton","description":"\u003cp\u003e[China] [Architecture] [Propaganda]  Canton Municipality. Progressive Canton. [Guangzhou, China]: Canton Municipal Office, 1921. 8vo, [2] 35 pp. and [31] bw photolithograph plates reproducing images of modern Canton municipal works (widening of streets for motor cars; the first “skyscraper”; new public gardens) and other urban design projects undertaken by the government of Sun Yat-Sen's new Republic of China, in orig. color wrpps., worn and splitting at spine with one loss to front rt corner, otherwise good.  This guide to Canton [Guangzhou] was produced in the months following Sun Yat-Sen's inauguration as the President of the self-proclaimed Republic of China on May 5, 1921. It provides a highly political portrait of the Republic's capital, aiming to acquaint English speakers with the history and significance of Canton while introducing modernizations undertaken by the government (only 9 years after the fall of the Qing dynasty).   The text is addressed to foreign diplomats and expats negotiating the volatile shifts in power during China's post-imperial era: it promotes the rational, European education of Canton's leaders, the meritocratic appointment of Sun Yat-Sen's son Sun Fo as mayor, popular support for the Republic, the state of the telephone, electric, and sewage systems, and the ambitious public works currently under construction.   The photographs show a metropolis in the midst of rapid modernization, emphasizing the destruction of the old city in favor of European-style city planning and the proliferation of Westernized architecture in municipal buildings and new residential districts.   Progressive Canton is a fascinating and scarce English-language guide to the political self-presentation of the Sun Yat-Sen government and the development of the temporary capital of the military government. It includes the full text of the city's Provisional Charter (December, 1920).    Rare, OCLC calls for 4 copies; 3 in North America, all in California.  SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373792059543,"sku":null,"price":350.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/Progressive_Canton_cover.jpg?v=1744248303"},{"product_id":"hombres-y-maquinas","title":"Hombres y Máquinas","description":"\u003cp\u003e[Larisa Reĭsner]. [Ramon Puyol]. Reissner, Larisa. Hombres y Máquinas. Madrid: Editorial Cenit, 1929.  First edition. 8vo, 260 pp.; cloth with original wrapper and spine bound in, boards scuffed and nicked, text block toned, else good.   Hombres y Máquinas is possibly the first anthology (and first Spanish translation?) of Bolshevik soldier and journalist Larisa Reisner's writing (it would be another thirty-five years before her collected works appeared in Russian). It is comprised of three of her long-form essays: Afghanistan (1924); The Land of Hindenburg (1925); and Coal, Iron and Living People (1925), each describing first-hand experiences: as part of the USSR's diplomatic mission in Afghanistan; as a revolutionary in Hamburg in 1923; and her journey through the Urals reporting on the lives of miners and factory workers. The anthology was published after her death of typhoid in 1926 at age 30; Reisner's lover Karl Radek provides the book's hagiographic prologue, which forever enshrined her in the Bolshevik pantheon.   Spanish Republican artist Ramon Puyol designed the cubistic cover, which is rarely present. Puyol is best-known for his Spanish civil war posters, authorship of the wartime slogan “no pasaran,” and the murals for the Spanish Pavilion at the 1937 Paris Exposition.   Uncommon, OCLC locates only one copy in North America; there are no other trade copies with the original illustrated cover.     SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373792321687,"sku":null,"price":125.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/Hombres_20y_20Maquinas_20cover.jpg?v=1744248329"},{"product_id":"le-chemin-du-souvenir","title":"Le Chemin du Souvenir","description":"\u003cp\u003eZuylen de Nyevelt [de Haar née de Rothschild], He´lȩ ̀ne de [and Renée Vivien?]. Le Chemin du Souvenir. Paris: Felix Juven, 1907.   First edition. 18.8 x 12.2 cm, 287 pp.; text block uniformly toned, orig. wrapper present; bound in red morocco by [Louis-Lazare] Creuzevault, spine with five raised bands and gilt title, gilt-tooled board edges and turn-ins, red silk doublures and free endpapers, marbled flyleaves, t.e.g.; corners bumped, minor wear to silk endpapers and lower board edges.   The Baroness He´lȩ ̀ne de Zuylen de Nyevelt (1863-1947) was heir to the French Rothschild banking fortune before being disowned for marrying a Roman Catholic. She was a lesbian and auto-racing pioneer (the first woman to race in a motor car) who had affairs with women of Parisian high society and the bohème. For five years she had a relationship with the Symbolist poet Renée Vivien, a prominent figure in Parisian Belle Époque literary circles who made a notorious appearance in Colette's Le Pur et l'impur.   Together, Zuylen de Nyevelt and Vivien published a number of plays, poems, and stories (most pseudonymously). Scholars have not definitively attributed all of their collaborations, but there is evidence that Le Chemin du Souvenir was probably written in part by Vivien. The work was published shortly before the women's dramatic split in 1907, an event that led to Vivien's mental breakdown and death.    Le Chemin is a melodrama with expressive Symbolist language, opposing material wealth with artistic and personal freedom. There are two star-crossed lovers and an ancestral home that the heroine, Viola, hopes to return to its former glory. (This may have been inspired by the Baroness's life: she famously used Rothschild money to restore her husband's 14th-century castle.) The novel covers sculpture, Wagner, and hermaphroditism with equal eroticism.   Coeval copies of Zuylen de Nyevelt's work are uncommon; this particular novel is recorded only at the BNF. Vivien bibliographies seem to be confused about its genre (sometimes listed as a play) and its authorship, which has remained uncertain during a period of reappraisal of Belle Époque lesbian literature.    SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373792452759,"sku":null,"price":725.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/chemincover.jpg?v=1744248358"},{"product_id":"my-playbook-for-women-about-sex","title":"My Playbook: for womenabout sex","description":"\u003cp\u003eBlank, Joani. My Playbook: for womenabout sex. Burlingame, CA: n.p., 1975. First edition. 4to, 24 pp.; illus. sex education activities book, “invented and handlettered by joani blank,” in orig. orange wrapper, cover illus. by Tee Corrine, with signed letter from author to “small press review” laid-in, worksheets unused, leaves sl. toned, wrapper lightly worn; overall very good.  A review copy of Blank's classic feminist sex education workbook with tasks including “portrait of my cunt,” letter writing addressed to an erotic zone of your body, and an application for membership to the “Society of Out-of-the-Closet Masturbators.” OCLC locates only 6 institutional holdings, 4 of the first edition.    SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373792944279,"sku":null,"price":175.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/playboookblank.jpg?v=1744248419"},{"product_id":"rsvp-score-for-the-university-art-museum-berkeley","title":"RSVP Score for the University Art Museum, Berkeley","description":"\u003cp\u003e[Halprin Workshops]. Halprin, Lawrence, et al. RSVP Score for the University Art Museum, May 27, 1971. Berkeley, CA: n.p., 1971. Collaborative score for a Halprin workshop at the UC Berkeley Art Museum, approx. 13 x 22 in., heavily creased at three primary folds, additional wear and markings, small stain verso, overall good.   The RSVP cycles were developed by landscape architect Lawrence Halprin and his wife Anna Halprin, a pioneering avant-garde choreographer, as a way of comparing and evaluating elements in a collaborative events; it enabled communities to cross-reference time, participants, sound, events, and spaces. This score documents an evening workshop organized by the Halprins, with the experimental San Francisco Dancers Workshop (founded by Anna), Dara Birnbaum (while she was a student at the San Francisco Art Institute), and Berkeley's Architecture Department. Projects discussed at the event include the Halprin projects Sea Ranch and Denver Skyline Park, as well as the Berkeley student union, parades, an MIT movie, Fort Worth, and the Seattle freeway.   Not recorded in OCLC.   SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373793140887,"sku":null,"price":125.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/Halprin.jpg?v=1744248436"},{"product_id":"doloresthe-woman-of-tragedy","title":"Dolores—The Woman of Tragedy!","description":"(Women – Models). [Norine Fournier Lattimore]. Dolores—The Woman of Tragedy! London and New York: Pacific and Atlantic Photos, 1929. Bw press photo, 7 x 5 in., agency stamp and caption verso, minor toning and surface wear, caption on brittle newsprint.  Known as “Dolores,” Lattimore was a British actress and artist's model. Sculptor Jacob Epstein called her “The High Priestess of Beauty” and she lived with him (and his wife) for two years in the 1920s. Like Epstein, she was involved in many scandals, including her third marriage, to George Lattimore, an African-American lawyer and sports manager who founded the team that won the first Colored World's Basketball Championship.  This photograph was offered by P\u0026amp;A to accompany stories about the suicide of artist Frederick Atkinson in January 1929. Atkinson reportedly took his life after Dolores took his money (and left him for another man).     SOLD","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373793206423,"sku":null,"price":45.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/dolores.jpg?v=1744248446"},{"product_id":"transgender-ephemera","title":"[Transgender]. Collection of ephemera","description":"\u003cp\u003e[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\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373793435799,"sku":null,"price":950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/IMG_20180206_111527.jpg?v=1744248476"},{"product_id":"almanacco-antifascista","title":"Almanacco Antifascista","description":"\u003cp\u003ePatronati Italiani delle Vittime del Fascismo. Almanacco Antifascista: 1930. Paris, 1930. 8vo, 128 pp.; numerous bw illus. from graphic artworks and photographs of antifascist actions, famous communist authors, and workers murdered by the fascist regimes in Italy and Bulgaria, in orig. pictorial wrapper, a bit sunned with small mark to cover, bent fore-corner affecting approx. 20 pp. of text block, two unopened signatures pp. 65-80 and 81-96; else very good.  “Non dimenticate vittime fascismo!” Published by Italians in exile, this almanac is a daily digest commemorating communist and anti-imperialist struggles worldwide. In addition to the calendar, the volume discusses current events in Europe, the underground press in Italy, the first worldwide antifascist conference, fascism in Austria, and provides information for Italian emigrants in France.   The Patronati Italiani delle Vittime del Fascismo was a recognized union of Italian communists living in Paris between WWI and WWII, but this volume is currently unrecorded in OCLC holdings.     SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373793566871,"sku":null,"price":275.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/almanaccocover.jpg?v=1744248493"},{"product_id":"laudium","title":"Laudium: Where the Indian Community of Pretoria Lives","description":"\u003cp\u003eLaudium: 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 bw, 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\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373793599639,"sku":null,"price":175.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/laudium1.jpg?v=1744248503"},{"product_id":"lafayette-towers","title":"Lafayette Towers","description":"\u003cp\u003e[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\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373793763479,"sku":null,"price":950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/lafayette2.jpg?v=1744248555"},{"product_id":"basque-liberation-movement-posters-euskadi","title":"Three Basque Liberation Movement Posters","description":"\u003cp\u003e[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.    SOLD\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373793861783,"sku":null,"price":750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/IMG_20170612_163354.jpg?v=1744248571"},{"product_id":"biofilia-revista-mensual","title":"Biofilia: Revista Mensual de Culto a La Vida","description":"\u003cp\u003e[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\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373793894551,"sku":null,"price":350.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/biofilia1.jpg?v=1744248585"},{"product_id":"semaforo","title":"Semáforo","description":"\u003cp\u003e[Spanish Civil War] [Film] Comite´ Ejecutivo de Especta´culos Pu´blicos de Valencia y Provincia, Confederacio´n Nacional del Trabajo (CNT), and Unio´n 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 bw; color illus. wrappers rubbed with a few small creases and one 12 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\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373793960087,"sku":null,"price":1050.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/sema3.jpg?v=1744248625"},{"product_id":"ultramar-ano-i-no-1","title":"Ultramar. Año I, No. 1","description":"\u003cp\u003e[Architecture] [Latin America] Bello, Enrique, Ed. Ultramar. Año I, No. 1 (Dec. 1959). Santiago, Chile: 1959.  Folio, 21 58 x 15 14 in., 12 pp.; profusely illus. with bw 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\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373794549911,"sku":null,"price":850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/ultramar1.jpg?v=1744248682"},{"product_id":"contrapropuesta","title":"Contrapropuesta. Nos. 4-5 (all published?)","description":"\u003cp\u003e[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 bw 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\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373794648215,"sku":null,"price":350.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/contrapropuesta1.jpg?v=1744248700"},{"product_id":"diccionario-del-arte-actual","title":"Diccionario del arte actual","description":"\u003cp\u003eEstrada, 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 bw 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 te´rminos y tendencias (Medelli´n, 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\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373794812055,"sku":null,"price":225.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/IMG_20180110_162359.jpg?v=1744248734"},{"product_id":"conferencia-latinoamericana-sobre-desarrollo-urbano","title":"Conferencia Latinoamericana Sobre Desarrollo Urbano","description":"\u003cp\u003eAlcaldi´a Mayor de Bogota´, et al. Conferencia Latinoamericana Sobre Desarrollo Urbano. Bogota´: [Alcaldi´a Mayor de Bogota´; 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\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373795336343,"sku":null,"price":250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/IMG_20180305_091917.jpg?v=1744248782"},{"product_id":"olga-de-amaral-muros-tejidos-y-armaduras","title":"Muros, tejidos y armaduras","description":"\u003cp\u003eAmaral, Olga de. Muros, tejidos y armaduras. Bogotá: Museo de Arte Moderno Bogotá, 1972. Oblong 4to, [24] pp.; profusely illus. in bw 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\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373795369111,"sku":null,"price":75.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/amaral4.jpg?v=1744248788"},{"product_id":"museo-tecnologico-c-f-e","title":"Museo Tecnologico C.F.E","description":"\u003cp\u003eComisión Federal de Electricidad. Museo Tecnologico C.F.E. [title from cover]. [Mexico City]: Museo Tecnologico, 1972. Oblong 8vo, v, [76], 51 pp.; chiefly bw 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\u003c\/p\u003e","brand":"Graph Books","offers":[{"title":"Default Title","offer_id":45373795467415,"sku":null,"price":350.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/files\/museotech1.jpg?v=1744248799"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0677\/3194\/7671\/collections\/argentinawomenexh6077.jpg?v=1763664193","url":"https:\/\/graphbooks.com\/collections\/archive.oembed?page=8","provider":"Graph Books","version":"1.0","type":"link"}