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Rare and Out of Print Latin Americana 2019 California International Antiquarian Book Fair

1. ÁLBUM RECUERDO DE FÁBRICA DE CERVEZAS LA TROPICAL Y TÍVOLI. LA HABANA. La Habana: Grabado e impreso por el Instituto de Artes Gráficas de La Habana, 1923. 128 pages. b/w and color plates, illus., printed wrappers. (Some wear and minor stains to covers; last 7 pages with water stain to upper corners; o/w good_. 24x31.5cms. Album that documents the history of the Cuban breweries of Tropical and Tivoli plus the bottling company from 1888-1923. Profusely illustrated with photographs of Count de la Mortera, president of the company, and other subsequent presidents, positions of the company and employees. Describe the history of the factory with abundant photographs in b / w; the trophies awarded to beers; the manufacturing and bottling process; the gardens of La Tropical; the Tívoli brewery and propaganda. Includes two color pages with images of the Tropical beer and the Tívoli maltina. Only two copies in OCLC (Miami; Notre Dame) (110156) $750.00

2. [Alvarez Bravo, Manuel]. SE BUSCAN: RETRATOS INÉDITOS DE MANUEL ÁLVAREZ

BRAVO = WANTED: UNPUBLISHED PORTRAITS OF _MANUEL ÁLVAREZ BRAVO. Textos e imágenes = Texts and images: Archivo Manuel Álvarez Bravo_. México, D.F: Hydra+Fotografía; Inframundo Editorial; Archivo Manuel Álvarez Bravo_, (2019). 167 pages. b/w plates (some fldg.), ports., cat., b/w pict. fldg. wrps, b/w pict. d.j. that unfolds into a poster, plus 1 glossy photograph (18 x 13 cm.), loose as issued, inside protective translucent envelope, mounted inside a square depression on the inside of the left cover of the box, box includes orange silk ribbon for easy pullout of book, kept inside a square depression on the inside of the right cover of the box. BOX COVER READS: "Se buscan = Wanted" 24 cm. "Wanted" emerged from the cataloging process of the portraits through which Manuel Álvarez Bravo immortalized hundreds of people, both Mexican and foreign. The title is a metaphor to refer to the people who appear in these photographs, whose negatives did not include the personal data of those photographed. The characters were part of sometime in the history of Mexico, but they were lost, forgotten, and "prisoners" in the archive where they were digitized and cataloged. The photobook contains an introductory text of the Manuel Álvarez Bravo Archive and 161 portraits, of which more than forty have been identified. This edition is part of a special edition of one hundred copies that includes an original print in silver / gelatin and issued in specially designed box. “All the photos are accompanied by the cataloguing number of the negative used in the Archivo. The negatives have the following supports: glass plate, cellulose nitrate film and safety film. To facilitate the work in the Archivo, we used nicknames for some of the persons who were not identified; we have decided to include this in inverted commas.” --Page 22. CONTENTS: Advertencia = Warning / _Archivo Manuel Álvarez Bravo_ -- Claves de lectura = Photo captions clues. ENGLISH AND SPANISH TEXTS. LIMITED EDITION OF 100 OF THE BOOK, LIMITED EDITION OF THIS PHOTOGRAPH IS 25. (111744) $225.00 net

3. Anduiza, Jacinto. LIBRO DEL HOGAR. ES UNA SELECTA RECOPOLACIÓN RELATIVAS AL ARTE CULINARIO Y REPOSTERÍA. DA INSTRUCCIONES PARA LA CONSERVACIÓN DE LUGUMBRFES Y VIANDAS, ENSEÑA EL ARTE DE TRIACHAR Y EL DE SERVIR LAS MESAS. DEDICADO EN PARTICULAR AL C. GOBERNADOR RAFAEL CRAVIOTO Y EN GENERAL A LAS ESCUELAS DE NINAS DEL ESTADO DE HIDALGO. 1a. Edición. Pachuca, Hidalgo: Imp. La Europea de Arquero y Camacho, 1893. 608p. recipes, Rebound in quarter black calf with marbled boards, raised bands on spine and gold stamping. (Tape repair to tear on title page; Some handwritten annotations on title page; some yellowing as normal to paper; crease on t.p. and half title page; Rebound with new endpapers; vg+). Early printed recipes designed to instruct girls in Hidalgo how to cook. Strong Mexican influence with a large section devoted to dishes such as: Cabrito, Manchamanteles, many Moles, Quelites, as well as throughout the book. Some other recipes include: Puchero, Olla Podrida, Chorizos, Chimole. Scarce, only 2 listings in OCLC(75741) $2,300.00 4. Aragón Leiva, Agustín (Ed.). DICCIONARIO DE RECETAS DE COCINA, REPOSTERIA HELADOS Y BEBIDAS. México, D.F: Publicaciones Herrerias, S.A., bajo la supervisión del profesor Agustín Aragón Leiva, Relator y Censor de la H. Academia Mexicana de Gastronomía., 1942-1943. 2 vols; 991;959 p. illus., tbls., recipes, quarter, marbled endpapers, green calf with leatherette embossed covers, raised bands on spine with gold lettering) (Rebound without original covers; normal yellowing of paper; o/w tight, clean and vg+). One of the Mexican men who contributed his gastronomic knowledge through his profession, journalism, was Agustín Aragón Leyva, proof of this are the publications, the culinary promotion and the banquets he prepared for friends and neighbors in the colonia Santa María la Ribera. He inhabited the house on Calle Doctor Atl 215, formerly called Pino, in that tradition colony. "Agustín Aragón Leyva not only had a taste for cooking, he was also a positivist scholar with the most complete library in Latin America. "He always showed his love for gastronomy and more for Mexican food," explains Alejandro Céssar Rendón, assistant to the late sybarite. One of the most important cooking books that the journalist introduced is the Dictionary of Recipes for Cooking, Pastry, Ice Cream and Drinks, published in 1942 in two volumes, which show the trends of that time in Mexican cuisine. He was one of the pioneers of the gastronomic critic with the weekly participation in his column El Pan de Cada Día, published in the newspaper Ovaciones. Another of its gastronomic activities was to find the Academy of Gastronomy and Bromatology, a science that studies food. "He also collaborated in campaigns to increase the consumption of fish products and the culinary use of the rabbit," commented Puig and Stoppen, in one of the publications published by the Franz Mayer Museum: History of Mexican Cuisine through its Publications. One of his favorite dishes were the chiles en nogada that every August 28, the day of San Agustín, he tasted to celebrate his saint. Ref: Historia de la Cocina México a través de sus publicaciones, Puig y Stoppen, Museo Franz Mayer (111647) $950.00

5. [Borges, Jorge Luis]. Ángel, Adrián del. PORTRAIT PHOTOGRAPH: JORGE LUIS BORGES. b/w photographic portraits, mounted in cardboard frames (front with central hole and verso): Jorge Luis Borges (photo size 13 x 21 cm.), photograph is mounted in frame attached to front cover with strips of tape in verso of photograph. 13 x 21 cm.(photo). Black and white photographic portraits of poet and writer Jorge Luis Borges (Argentina 1899 - 1986), stamped in verso “Adrian del Angel” (111754) $300.00

6. Carillo, Antonia. NUEVO Y SENCILLO ARTE DE COCINA, REPOSTERIA Y REFRESCOS, DISPUESTO POR UNA MEXICANA Y EXPERIMENTADO POR PERSONAS INTELIGENTES ANTES DE DARSE A LA PRENSA. AUMENTADO CON OTRAS RECETAS. Tercera edición. México: Imprenta de Luis Inclán, 1865. 2 Vols. in 1: [2], 255 pages; pages 260-423, [26] pages. index bound in embossed decorated green faux-leather boards with gold stamping on spine. "La autora de esta obra fué la Sra. D. Antonia Carrillo de Madrid; por su fallecimiento es de su hija, quien lo tiene asegurado..." --Verso Title Page. 19th century cookbook of Mexican cuisine with hundreds of recipes for traditional dishes, desserts and drinks. Title Page for LIBRO SEGUNDO in page [257]. (some normal yellowing to pages; marginal wear and scuffs to corners of boards; o/w VG+ and solid copy). 16 cm. Scarce third edition of the first cook book by a woman printed in Mexico (first edition, 1836). Only two copies show in OCLC: UT San Antonio; University of Pennsylvania. (111639) $1,200.00

7. EL COCINERO VERACRUZANO: RECETAS ESPECIALES: PARA DISPONER TODA CLASE DE GUISADOS DE MARISCOA Y PESCADOS DE MAR. Tipográfica de las Escalerillas, 1873. 32 pages. bound in decorated, detailed embossed full black calve with gold stamping on front cover and spine. (Very clear with some wear to page edges and bottom corner of last few pages clipped; o/w vg+). 14 cm. RARE cook book from Mexico in a beautiful artistic handmade binding. Appears to be the first printed cookbook about Veracruzana cookery (fish and seafoods) as well as the first cook book on regional recipes printed in Mexico. Only one other recorded copy known (111494) $2,700.00

8. Deverdun, A.L. (Alfred Louis). COCINA CASERA FRANCESA, ILLUSTRADA: SELECCIÓN DE RECETAS CULINARIAS DE COCINA SENCILLA, 1ER. TOMO. 1ERA. EDICIÓN (1921) -- COCINA CASERA FRANCESA, ILLUSTRADA: SELECCIÓN DE RECETAS SENCILLAS DE COCINA, PASTELERIA Y DULCERÍA, 2O. TOMO. PRIMERA EDICIÓN (1922). México, D.F: Talleres Linotipograficos de "El Hogar", 1921-1922. 2 vols in one: 337, viii, [3] pages; 268 pages. b/w plates, draws., recipes, advts., Quarter leather w/ raised bands and gold stamping on spine, red cloth boards with leather corners. 14 cm. Scarce culinary book published in Mexico. Alfred-Louis Deverdun Perrot studied in Bordeaux, France with the restaurateur and confectioner, La Maison Sognon. Finishing his studies, in 1901, he inherited from his father La Dulcería y Pastelería by H. Deverdun Suc., better known as

the Dulcería Francesa, located in Mexico City. Due to his preparation and modern ideas, he created the banquet services to the benefit of the elites, starting in 1907 and later with the outbreak of the revolution in Mexico City, his business went into crisis and bankruptcy. Despite the financial crisis that the business had, Alfred-Louis accepted the invitation made by Sylvain Daumont, the person in charge of the banquets of the centennial celebrations of Independence, to take charge of the entire bakery. Considering this was a safe business, he asked the Sugar Products Association company, the material he used for these events. Money that he could not pay; so, he was sued. In November, when he wanted to collect his services from Daumont, the Mexican government refused to pay. The end of the long government of Porfirio Díaz and the short period that followed until the assassination of Francisco l. Madero, which ended the institutional peace, did not affect the French taste in the gastronomy of the elite. Alfred-Louis Deverdun was requested to serve banquets to members of the Jockey Club (Ascencio Ortega, 1997.24), but with monetary insecurity during the Revolution, at the end of 1911, he decided to close the "French Pastry, Maison Deverdun", ending with a tradition of more than half a century, of the French pastry. Alfred-Louis devoted himself to teaching cooking and baking and writing gastronomic notes in the newspaper E / Universal, under the title "La buena mesa", which consisted of a series of recipes designed for Housewives. In 1921, Alfred-Louis, at the suggestion of his friend Augusto Genin, wrote his first cookbook, under the title of Enlightened French Cuisine, where he included of his unpublished articles and recipes. Genin was also a descendant of confectioners, his parents owned the "Maison Plaisant" bakery, located on the second street of Plateros, Genin himself who wrote the preface to the book. He notes in the book that Mexico is among the few countries that have national delicacies, notable for their flavor, especially the "Gusano de Maguey which he states are exquisite (p. 7-8). El éxito del libro fue tal que Alfred-Louis se animó a escribir un segundo tomo, que salió publicado en 1922, en este hace una selección de recetas sencillas de cocina, pastelería y dulcería. Interspersed throughout with illustrated full-page advertisements for Mexico City merchants, kitchen appliance dealers and importers. From 1928 he edited the weekly magazine El Gastrónomo, which was a series of 28 numbers, where recipes and advice were given related to gastronomy, French and Mexican. REF: Rabell R. La cocina mexicana a través de los siglos. Vol. Vl. Lo Bella Época. México, Editorial Clío y Fundación Herdez, 1996. Cuadernos de Nutrición, Vol. 36, N°6, Noviembre/diciembre 2013

México, Fomento de Nutrición y Salud, A. C., 2013, 204-211. Only two copies in OCLC (UCSD, UT San Antonio). (111738) $600.00

9. Espinosa y Tello, J. (Josef), [1763-1815]. ATLAS PARA EL VIAGE DE LAS GOLETAS SUTIL Y MEXICANA AL RECONOCIMIENTO DEL ESTRECHO DE JUAN DE FUCA EN 1792. Publicado en 1802. Madrid: Imprenta Real, 1802. (36) pages. b/w plates, ports., fldg. maps, illus endpapeges, boards. (rebound and washed, some wear and ink? stains mainly to margins in illustrations and maps). 32 cm. Atlas of the expedition journey of two brig-rigged schooners (Spanish goletas) built for exploring the newly discovered Strait of Georgia (Juan de Fuca Strait), carried out in 1792 under Dionisio Alcalá Galiano, on "Sutil", and Cayetano Valdés y Flores, on "Mexicana" through the inlet of the Pacific Ocean between Vancouver Island and Washington State. "The last and very important voyage up the Pacific coast to be undertaken by Spain is detailed in the nine maps and eight plates of the atlas. Galiano and Cayetano Valdes led the expedition, arriving in the northwest at the same time as Vancouver. Although the maps were published four years after the Vancouver maps, Wagner considers them in many respects to be superior, and Humboldt used them in his Essai Politique sur le Royaume de la Nouvelle Espagne. Wagner further states: "The general impression today...is that the English discoveries of Vancouver were published four years before those of the Spaniards. This...is a misapprehension... The principal reason, however, why the nomenclature and geography of Vancouver came to occupy the field was

that his maps were extensively copied by the famous English cartographer, Aaron Arrowsmith, and later by the English Admiralty." -- David Rumsey Historical Map Collection webpage (http://www.davidrumsey.com/maps254.html). CONTENTS: Nº 1. Carta esférica de la costa de California, que comprende desde Acapulco hasta cabo Perpetua -- Nº 2. Continuación de la Carta núm. 1º desde cabo Perpetua hasta la salida de las Goletas -- Nº 3. Continuación de la Carta núm. 2º desde la salida de las Goletas hasta la isla de Unalaska -- Nº 4. Carta plana de los reconocimientos hechos por el Capitán Sebastián Vizcaino -- Nº 5. Plano del Puerto de San Diego -- Nº 6. Ídem del puerto y bahía de Monterey -- Nº 7. Ídem de la cala de los Amigos en la entrada de Nutra -- Nº 8. Ídem del puerto de Mulgrave -- Nº 9. Idem del puerto del Desengaño -- Nº 10. Una fiesta celebrada en Nutka por su xefe Macuina á causa de haber dado su hija indicios de entrar en la pubertad -- Nº 11. Vista e lo interior de la cala de los Amigos y establecimiento español en la entrada de Nutka -- Nº 12. Retrato Macuina, xefe de Nutka -- Nº 13. Idem de Tetacús, xefe de la entrada de Juan de Fuca -- Nº 14. Idem de Tetacús, á quien los Españoles conocian con el nombre e María -- Nº 15. Caxon ú oratorio del xefe de Nutka -- Nº 16. Plancha de madera llena de geroglíficos -- Nº 17. Carta fiel de dos dibuxos que se hallan en el viage original de Hernando de Grijalva, de cuyas circunstancias se habla en el extracto que acompaña á esta obra.(111740) $7,000.00

10. [Fernández Ledesma, Gabriel y Angelina Beloff]. JEIÁKI SAPÍ UERÁNDJUPÍNDI. Sección Técnica de la Campaña de Alfabetización entre los Tarascos Monolingües, Número 2. Mexico: Secretaría de Educación Pública, Instituto de Alfabetización en Lenguas Indígenas, 1948. 20p. b/w illus., pict. wrps. (light wear in wraps; o/w very good copy). 20cm. Alphabetization book designed in 1948 by the Ministry of Education for the Purepecha speaking people (called also Tarascan) so they could learn to read and write in an effort against analphabetism in the region of Michoacán. The book presents a short story totally written in Purepecha and illustrated with full page xylographic prints attributed to Angelina Beloff and Gabriel Fernandez Ledesma. PUREPECHA AND SPANISH TEXT. (83611) $150.00

11. [Ferrocarril Eléctrico de Lerdo a Torreón]. VINTAGE PHOTO ALBUM OF THE ELECTRIC PLANT IN GOMEZ PALACIOS AND THE TRAINS, RAILWAYS AND STATIONS OF THE COMPAÑÍA DEL FERROCARRIL ELÉCTRICO DE LERDO A TORREÓN. Mexico: [publisher not identified], 1919-1922. (68) pages. 153 vintage photographs (various sizes), tipped-in in black sheets in string bound black boards. (weak hinges; front board is missing; marginal wear in verso boards; sticker "Albums LB Thebes" in left lower side of inner verso board). 21 x 27 cm. Early 20th century vintage photographs (1919-1921) of the reparation works done to the Electric Plant in Gomez Palacios and the trains, railways and stations of the Compañía del Ferrocarril Eléctrico de Lerdo a Torreón in the state of Durango, both worked under the same administration for more than twenty-five years. This was the first electric interurban tram in Latin America and the third electric railroad in Mexico - preceded only by streetcars in Nuevo Laredo in 1890 and Mexico City in 1900. The electric tramway connected the cities of Lerdo, Gómez Palacio and Torreón for 52 years. Lerdo and Gómez Palacio are cities in the state of Durango, Torreón, in the state of Coahuila. Later, it was extended to Ciudad Juárez and Mexico City. The most unusual tram in Torreón - perhaps in the whole world - was built by the Compañía Bancaria y de Tranvías Wah Yick (CBTWY), founded in 1906 by a Cantonese called Wong Foon. Chinese immigrants gathered in the most booming city of northern Mexico, where they had laundries, restaurants, clothing stores and banks and developed agricultural and real estate properties in the eastern part of the city. Because of Anti-Chinese sentiment during the Mexican Revolution, in 1911 the Revolutionaries killed 303 Chinese in Torreón, including most of the officers and employees of the CBTWY. After 1912, little is known about the development and later history of the interurban lines system and the four local trams functioning during the next half century. (111645) $3,000.00

12. FILE REGARDING EMILIANO ZAPATA AND THE EJÉRCITO LIBERTADOR DEL SUR WITH A SIGNED LETTER. 20 leaves of manuscripts and 22 leaves of mimeographed typescripts (many of them signed or annotated in manuscript), most about 13 x 8 1/2 inches or shorter; Zapata letter with faint dampstaining down vertical fold, a few items with minor edge wear, but generally well-preserved. Vp, July to November 1912 Emiliano Zapata (1879-1919) was a key figure in the Mexican Revolution. Commanding the Liberation Army of the South (Ejército Libertador del Sur) from his home state in Morelos, he sought land reform and supported the 1911 overthrow of Porfirio Diaz. When Diaz's successor Francisco Madero also proved uninterested in land reform, Zapata continued the struggle. Offered here is a file relating to the Madero government's counter-insurgency efforts against the Zapatistas. The highlight of this lot is a Letter Signed from Zapata to the railroad offices of Mexico, and is a warning notice to the government, the railroad companies and their employs and the passengers of future-armed attacks on all trains leaving or entering Mexico City. Headed "Ejercito Libertador del Sur, Circular 210" and dated Morelos, 25 August 1912, it begins "A las empresas ferrocarrileras, a las comerciantes y pasajeros de trenes. La junta revolucionaria del movimiento armado del sur y del centro de la República, en sesión verificada el día 15 del corriente acordó se haga conocer a las empresas ferrocarrileras como lo hago, que del día 10 de Septiembre serán atacados por mis fuerzas todos los trenes que salgan de la Ciudad de México a diferentes lugares de la República." It notifies all railroad employees and passengers that any trains leaving Mexico City after 10 September will be attacked by Zapata's revolutionary army. It closes "'Reforma, Libertad, Justicia y Ley." The body of the letter is in a secretarial hand, over his signature as "General en Jefe." Most extant Zapata signatures are from the 1914-19 period, and we are aware of no earlier signatures on the market since 1986. His signature is tighter and tidier than his later efforts but retains the distinctive hook swooping across from the penultimate "t". The remainder of the file consists of reports from field agents to the chief inspectors of the Mexican Police, Major Emiliano López Figueroa and Anastasio Bravo. They discuss attempts to infiltrate Zapatista bases in Morelos; investigations of Zapatista collaborators in Mexico City; and inspections of federal trains in search of smuggled ammunition and weapons. Several manuscripts signed documents and typed documents (memorandums, reports, letters, etc.) from diverse police agents (agentes) reporting actions in train surveillance and apprehensions against members (including a priest in Mexico City) of the armed movement and raids in their operations centers. Some surveillance police memos report of trains coming from El Paso (Texas?) and crossing through the states of Puebla and Morelos (Los Reyes, Teoyolucan, Matamoros, Jujutla, Cuautla, Cuernavaca, etc.). Another manuscript document addressed to the “Inspector General de Policia” asks for a credential or a safe pass “So that they do not commit abuses or arbitrariness to my person, such as those committed in Cuernavaca” where despite working for the Government, he was subject to cruel treatment (six days tied in a room and 4 months in prison).(109370) $4,900.00

13. García Cubas, Antonio. LOS INSURGENTES: JUEGO HISTÓRICO PARA NIÑOS: ALLENDE, GUERRERO, N. BRAVO, MORELOS, HIDALGO, MINA, MATAMOROS, ITURBIDE. Por... México: [publisher not identified], 1891. 1 lv folded. color map, ports. (some wear on folded corners, water stains not affecting text or plates, o/w very good copy; Lacks instructional booklet). 14 x 12 cm (folded); 78 x 30 cm (unfolded). Rare late 19 century cartographic game for children designed by Mexican cartography pioneer, geographer and academic Antonio García Cubas (1832-1912), a game designed to teach children about Mexico's War of Independence in which children follow the routes of eight insurgent generals (Ignacio Allende, Vicente Guerrero, Nicolás Bravo, José María Morelos, Miguel Hidalgo y Costilla, Xavier Mina, Mariano Matamoros and Agustín de Iturbide) across a map of the administrative territories of the Spanish Empire of New Spain: Nuevo Reyno de León (New Kingdom of León, now Nuevo León), Colonia de Nueva Santander (covering the Mexican state of Tamaulipas and extending into modern-day southern Texas in the United States), Intendencia de Guadalajara (now Jalisco, Nayarit and Colima), Intendencia de Valladolid (Michoacán), etc. Only one copy on OCLC (Getty). (111739) $3,600.00

14. [Glaubitz, Charles]. EL SHOW DEL NIÑO BURRO: CHARLES GLAUBITZ. 5 etching two color print. Printed from an original drawing directly on the zinc plates. Hand-printed in black ink and red. Tijuana, B.C.: La Brigada Ediciones, Agosto 2014. 5 folios. handmade edition of 5 aqua forte and aquatint technique prints 15"x30" in hahnemuhle paper 350 g plus 5 protective rice paper folios (18 x 22 in.), some with text, inside duo tone pict. portfolio, with 2 closure black ribbons on right side margins on both sides. sig. Edition of 30 with 3 printer proofs, 3 Artist’s proofs, 1 Bon à tirer. 57 cm. ISBN: 9789684340268. SIGNED, NUMBERED AND LIMITED EDITION OF 30 set of prints by Tijuana-based artist, illustrator and graphic novelist Charles Glaubitz (Los Mochis, Sinaloa 1973) The "niño-burro” (boy-donkey) is a California border character par excellence and has a close relationship with the American

comics and illustration. Is not an appropriation of the donkey-zebras of Tijuana, but a remake of the same emblem of the city […] It is not a harmless animal that pleases the tourist. It is a controversial character: childhood as a symbol of no domestication, of irreverence and, paradoxically, of candor. In addition to traveling back and forth between San Diego and Tijuana for many years, Charles Glaubitz regularly crosses borders and pushes boundaries in his work. The Tijuana-based painter, illustrator and graphic novelist has a visual style that employs iconic, cartoonish imagery such as Lucha Libre masks and skeleton-faced Mickey Mouse figures, as well as children in spacesuits and “Zonkey” costumes (Zonkeys are Tijuana Donkeys painted to look like Zebras). “During school, I was exposed to Joseph Campbell who is this scholar and academic who talked about world mythologies and focused not on their differences but on their similarities,” says Glaubitz, referring to his time at the California College of Arts in Oakland. (109871) $2,600.00

15. Gómez Arriola, Nacho. 10 AÑOS COMO PATRIMONIO MUNDIAL DE EL PAISAJE AGAVERO DE TEQUILA. Grabados y texto por... Guadalajara, México: Taller Gráfica de Comala, MMXVI (2016). 15 pages. handmade book and paper, b/w plates, port. frontis., ports., illus., tipped-in b/w, duo tone and color glossy photographs, typography prints, bound in agave handmade paper covers with embossed motifs and tile in covers and spine, sig. 18 cm. SIGNED EDITION of hand-printed typographical Letterpress artists' book bound in agave handmade paper and created in a Linotype machine by architect, restorer, writer, painter and sculptor Ignacio "Nacho" Gómez Arriola (b. Guadalajara, México 1955), founding member of the artisan printing workshop Taller Gráfica de Comala. This is a commemorative edition on the first decade of the UNESCO nomination (2006) of the Agave Landscape and Ancient Industrial Facilities of Tequila as a World Heritage Site. "EL PAISAJE AGAVERO DE TEQUILA: 10 AÑOS COMO PATRIMONIO MUNDIAL. Los grabados, la composición y la impresión fueron realizados por Nacho Gómez Arriola. Fue compuesto en tipo móvil de 18, 12 y 8 puntos y en linotipo con la colaboración de Salvador Botello en tipos Garamond, Bodoni y Tarea sobre papel hecho a mano. México, otoño del año 2016." --Colophon. “La portada fue impresa en papel de agave azul” –Inner Verso Cover. CONTENTS: Los 10 años como Patrimonio Mundial del Paisaje Agavero de Tequila -- Criterio II -- Criterio IV -- Criterio V -- Criterio VI. (111616) $125.00

16. Gómez Arriola, Nacho. LO QUE VA QUEDANDO DE ESTA HISTORIA... Guadalajara, México: Taller Gráfica de Comala, MMXVIII (2018). 84 pages. handmade book and paper, b/w plates, port. frontis., ports., illus., tipped-in b/w, duo tone and color glossy photographs, typography prints, hardbound in leather covers with embossed motifs and tile in covers and spine, red silk ribbon as bookmark, sig. 13 cm. SIGNED AND DATED, NUMBERED AND LIMITED EDITION 11/50 of hand-printed typographical Letterpress artists' book created in a Linotype machine by architect, restorer, writer, painter and sculptor Ignacio "Nacho" Gómez Arriola (b. Guadalajara, México 1955), founding member of the artisan printing workshop Taller Gráfica de Comala. "La composición y la impresión

a mano del libro LO QUE VA QUEDANDO DE ESTA HISTORIA fueron realizados por Nacho Gómez Arriola en primavera del año 2018." --Colophon. CONTENTS: Lo que queda de la historia -- La memoria como soporte de la existencia -- Retazos de lo que soy y de los multiples oficios que he transitado -- Para encontrarme a mí mismo -- Lo que va quedando de esta historia: cuarenta y dos años de autorretratos 1976-2018 -- Arquitecto patrimoniologo -- El lado personal de la memoria -- El gozo con las artes de retaguardia -- Por tanto, concluyo que... (111614) $125.00 17. [Gómez Arriola, Nacho]. Rubin de la Borbolla, Sol. LA COCINA TRADICIONAL MEXICANA: CULTURA COMUNITARIA, ANCESTRAL Y VIVA: PATRIMONIO INMATERIAL DE LA HUMANIDAD UNESCO. Grabados e introducción por Nacho Gómez Arriola. "Libro tipográfico elaborado a mano en el Taller Gráfica de Comala" --Verso Cover. Guadalajara, México: Letrapress Taller Gráfica de Comala, Otoño de 2018. (8) pages. hand printed in cotton paper sheets duo tone plates, frontis., illus., plus 7 linoleum (lino) block relief prints, loose as issued, inside a tipped-in unglued envelope in inner verso cover, cut-out round sheet as endpaper, string bound boards, with tipped in sheet with printed title and manufactured using Agave Tequiliana Weber fiber (Azul variety of Jalisco) as closure strings, plus one lino printed card, loose as issued, all inside translucent envelope. 27 cm. LIMITED EDITION OF 50 COPIES of handmade artist's book with a brief history and the main attributes of why the Traditional Mexican cuisine - ancestral, ongoing community culture was inscribed in 2010 (5.COM) on the Representative List of the Intangible Cultural Heritage of Humanity of UNESCO. Includes 7 prints by "Nacho" Gómez Arriola in envelope titled "Cultivos originarios de México / grabados por Nacho Gómez Arriola". Gómez Arriola founded in 1984 the independent artisan printing workshop Taller Gráfica de Comala. CONTENTS: Para celebrar las cocinas tradicionales de México / Nacho Gómez Arriola -- La cocina tradicional mexicana / Sol Rubín de la Borbolla -- Patrimonio Cultural Inmaterial de la Humanidad UNESCO. (111667) $225.00 18. Gómez Orta, Agapito. RAMILLETE DEL BAJÍO GUANAJUATENSE :O SEA UN NUEVO LIBRO PRÁCTICO DE PASTELERÍA, NEVERÍA, DULCERÍA Y ALTA COCINA, CON EL MENU AL DIA EN CASA PARA USO DE LAS FAMILIAS. Celaya, Gto. [Mex.]: Agapito Gomez Orta, 1945. [8], 254, [2] pages. illustrations, advts., new endpapers, quarter calf with decorated boards, raised bands on spine and gilded. Rebound without original wrappers; Some yellowing as normal to paper; stains and minor chipping to gutter margin on title page and first page; o/w clean, tight). 23 cm. SCARCE work on the regional foods and recipes of the Guanajuato region of Mexico. Only two copies show in OCLC. First Edition. (111648) $1,600.00

A truly rare and important work on the woman who is considered the first feminist and one of the most brilliant minds in the New World. 19. Juana Inés de la Cruz (Asbaje), Sor. EXPLICACIÓN SUCCINTA DEL ARCO TRIUMPHAL QUE ERIGIÓ LA SANTA IGLESIA CATEDRAL METROPOLITANA DE MÉXICO EN LA FELIZ ENTRADA DEL EXCMO. SR. CONDE DE PAREDES, MARQUEZ DE LA LAGUNA, VIRREY, GOVERNADOR, Y CAPITAN GENERAL DE EFTA NUEVA EFPAÑA, Y PREFIDENTE DE FU REAL AUDIENCIA, Y CANCILLERIA. Que hizo la Madre Juana Inés de la Cruz, Religiosa del Convento de San Gerónimo de efta Ciudad. México, D.F: [publisher not identified], [November 30,1680?]. (8) pages. decorated margins., tailpiece, watermark not identified, new endpapers, bound in white vellum with red embossed title. (Newer vellum binding, some wear stains in covers, central pages are detached from spine, o/w clean and strong pages; VG+). 20 cm. This loa in the form of a sonnet is the rare second publication by sor Juana Inés de la Cruz (1648-1695). It explains the triumphal archway (a poetry archway designed by Sor Juana, located where the procession would stop before the entering the Cathedral, to listen to her explanation in verse of "Neptuno alegórico"), that welcomed the new viceroy Tomás Antonio de la Cerda, Conde de Paredes (later founder of New Mexico) and his wife María Luisa Manrique de Lara in their entrance into Mexico City in 1680. In the canvases and statues of this triumphal arch, the virtues of the new viceroy were represented, personified by the figure of Neptune. The lengthy sonnet was published as an explanation of the arch. It consists of three main parts: the "Dedication", "Reason" and "Explanation of the arch.” The edition has no date, but Manuel Toussaint supposes that it was published in December 1680 or, more likely, at the beginning of the following year along with the first edition of “Neptuno alegórico”. It is possible that among all the viceroys of New Spain, none of them have been honored by such expert representatives of Mexican letters. The Marquis and his wife, María Luisa Manrique de Lara, were received by two monumental arches: one, sponsored by the Metropolitan Church and located opposite the western door of the Cathedral, had been devised by sor Juana Inés de la Cruz; the other, erected by the Cabildo of the city in the plaza of Santo Domingo, oversaw Carlos de Sigüenza y Góngora. Sor Juana rejected the idea of glorifying her ruler through allusions to the Aztec tribes, as did her friend Carlos de Sigüenza y Góngora. It was composed in the present, unlike most of Sor Juana's works. It is one of the nun's most

erudite works, replete with allusions to the Greco-Roman world such as Homer, Ovid, Cicero, and Virgil. The viceroys were so satisfied with the work of Sor Juana that this would be the beginning of a long and fruitful friendship and patronage. We believe this work, while not as known as her later literary work it is the first recognition that Sor Juana was an important, respected public figure in her time. The incredible fact that the viceroys paused at the Sigüenza y Góngora arch, they continued forward and when they reached Sor Juana they stopped and listened to her explanation of the arch speaks to her position. A truly rare and important work on the woman who is considered the first feminist in the New World No records at auction or oclc, but the Biblioteca Nacional, UNAM does have a copy (as of 1952). References: Paz, Octavio. "Sor Juana Inés de la Cruz o las trampas de la fe." México: Fondo de Cultura Económica, 1982. Buxó, José Pascual. "Sor Juana Inés de la Cruz: Lectura barroca de la poesía." México: Renacimiento, 2006. Glantz, Margo. "Obras reunidas. Ensayos sobre literatura colonial." México: FCE, 2006. --------"Sor Juana Inés de la Cruz: Saberes y Placeres, Toluca, Instituto Mexiquense de Cultura, 1996 Toussaint, Manuel. "Loa con la descripción poética del arco que la catedral de México erigió para honrar al virrey conde de Paredes, el año de 1680, ed. facsimilar", pról. de Manuel Toussaint. México: Universidad Nacional Autónoma de México, 1952 ------ (1955), "Obras completas," t. 3. Serie: Estudios de Cultura Literaria Novohispana, 27 Seminario de Cultura Literaria Novohispana. Instituto de Investigaciones Bibliográficas, Consejo Nacional de Ciencia y Tecnología José Pascual Buxó. "Sor Juana Inés de la Cruz: El sentido y la letra." Universidad Nacional Autónoma de México Paulau 65264 mentions date at 1681). Medina. La imprenta en México.; v. 2, p. 518 (1203) (111737) $15,000.00 20. [Leyva Azze, José Emilio; Yaneh Esquijarosa Abradelo]. Loynaz, Dulce María. BESTIARIUM. Edición: Tatiana Zúñiga Góngora y Manuel Arias Silveira. Holguín, Cuba: Casa Editora Cuadernos Papiro, 2018. [3] fldg leaves. of handmade paper, illustrated with linocut printed typography, manually bound with line of red stitch, boards elaborated with fabric soaked in paper pulp, the central sheet is also handmade fabric soaked in paper pulp with collage of cotton strings and pieces of fabric and paper, includes one "Certificado de Autenticación" collaged with red ink stamp on first page, loose as issued. 33 cm. ISBN: 9789597163596. NUMBERED AND LIMITED EDITION NUMBER 17 OF 50 COPIES. Letterpress artists' book on handmade paper. "La Casa Editora Cuadernos Papiro, especializada en libros-arte, ubicada en Holguín, Cuba, hace constar que usted posee el ejemplar No.17, de una tirada de 50 ejemplares del libro-arte Bestiarum, de Dulce María Loynaz, impresos sobre papel hecho a mano. En cada hoja de papel se utilizaron técnicas tradicionales de elaboración, sin aditamentos químicos. Para cada ejemplar se utilizó la técnica de tejido bañado en pulpa de papel y el collage, el diseño es obra de José Emilio Leyva Azze y Yaneh Esquijarosa Abradelo. La impresión de textos se realizó en máquinas antiguas: Linotipio Mergenthaler Linotype Co. de 1900, prensas The Gordon and Price Co. de 1899, tipografía del siglo XXVII e impresión directa plano contra plano. Este libro-arte se terminó de imprimir en Cuadernos Papiro, el 30 de octubre de 2018. Dando fe de lo anterior, Para hacer el papel de este libro no se dañó la naturaleza.” --Certificado de autenticación sheet. (111678) $89.00 21. Leyva Azze, José Emilio. YERBAS PODEROSOAS. Edición: Tatiana Zúñiga Góngora y Manuel Arias Silveira. Holguín, Cuba: Casa Editora Cuadernos Papiro, 2018. [12] leaves. of handmade paper, illustrated with linocut printed typography, manually bound with natural twisted malangueta rope, assembled around a small tree stick, boards elaborated with 10 different fibers soaked in paper pulp with extensions of dried malangueta leaves as closure strings, two sheets with tipped-in decorative collagraph printed plates, plus one bookmark cut-out and decorated in the form of a dried tobacco? leave, loose as issued, includes one "Certificado de Autenticación" collaged with red ink stamp on first page, loose as issued. 34 cm. ISBN: 9789597163602. This book brings together a careful selection of essential plants for botany, cosmetics, pharmacology, cuisine and traditions of Cubans and Cubans. Each of its "powers" or values has been fervently transmitted by generations responsible for keeping them with zeal and pure wisdom. Popular culture and Afro-Cuban religions grant them well-deserved veneration and respect. Printed on handmade paper, on each sheet of paper traditional processing techniques were used, without chemical additives and more than ten types of

vegetable fibers that provide color, texture and exclusivity. NUMBERED AND LIMITED EDITION NUMBER 01 OF 50 COPIES. Letterpress artists' book on handmade paper created by José Emilio Leyva Azze (Holguin, Cuba 1964). "La Casa Editora Cuadernos Papiro, especializada en libros-arte, ubicada en Holguín, Cuba, hace constar que usted posee el ejemplar No.01, de una tirada de 50 ejemplares del libro-arte “Yerbas Poderosas. Impresos sobre papel hecho a mano, en cada hoja de papel se utilizaron técnicas tradicionales de elaboración, sin aditamentos químicos y más de diez tipos de fibras vegetales que le aportan color, textura y exclusividad. Para su ilustración se utilizó la técnica de colografía. El diseño es obra de José Emilio Leyva Azze. Su encuadernación es a mano con palos de los montes cubanos, malangueta y costal. La impresión de textos se realizó en máquinas antiguas: Linotipio Mergenthaler Linotype Co. de 1900, prensas The Gordon and Price Co. de 1899, tipografía del siglo XXVII e impresión directa plano contra plano. Este libro-arte se terminó de imprimir en Cuadernos Papiro, el 10 de noviembre de 2018. Dando fe de lo anterior, Para hacer el papel de este libro no se dañó la naturaleza.” --Certificado de autenticación sheet. CONTENTS: Plátano -- Girasol -- Albahaca -- Cebolla -- Caña de azúcar -- Maíz -- Ajo -- Perejil -- Romero -- Tabaco -- José Emilio Leyva Azze (111688) $125.00

22. Lozza, Raúl. PROCESO ESPECIAL DEL COLOR EN LA PERCEPTISMO. Handwritten and signed original manuscript. No date (c. 1949). 27 pp. This is a rare manuscript with some notations by Raul Lozza. Raúl Lozza, an Argentine painter, craftsman, and illustrator, was born on October 27, 1911, in Alberti, Buenos Aires Province. He was a founding member of the Asociación de Arte Concreto-Invención, a non-figurative group, as well as the creator of perceptismo, a theory of color and open structure in painting that he called "cualimetría de la forma plana." To my knowledge this has never been published. "Raúl Lozza’s sixty-year painting career was dedicated to the exploration and radical development of the concept of Concretism as defined by European painters before and immediately after World War II. Lozza joined the Buenos Aires–based Asociación Arte Concreto-Invención (Concrete-Invention Art Association) in 1945. Inspired by Piet Mondrian, Theo van Doesburg, and the Swiss artist Max Bill, members of the Asociación advocated for their own brand of what van Doesburg called Art Concreto, which he defined as a kind of art “constructed of purely plastic elements (lines, planes, surfaces, colors); devoid

of references to nature, lyricism, symbolism, and the unconscious; and with no significance beyond itself.”1 The Asociación’s 1946 “Manifesto Invencionista [Inventionist Manifesto]” of which Lozza was a signatory, echoes van Doesburg’s call for a detachment from objects in nature, condemning “the illusion of representation” in favor of what the group calls the “scientific aesthetics of invention.”2 Lozza broke away from the Asociación two years later in order to create his own movement, which he called “Perceptismo,” or “Perceptism” in English. Consisting of but four people, two of whom were Lozza’s brothers, the group shared the Asociación’s Concretist point of view but expanded it beyond the confines of the canvas and stretcher. Its members advocated the complete rejection of the frame and the concomitant idea of a painting as a window. Instead, they favored what Lozza called “walls of color,” which were conceived of as actual walls painted in monochrome, upon which forms floated in relief. In practice, Lozza’s concept of a continuous wall of color was translated into paintings with smooth monochromic fields that traversed unbroken from one edge of the work’s surface to another, but the desire for pictorial elements—particularly color—to escape the confines of the canvas and colonize architectural space was prescient, presaging Neo-Concretism, the Brazilian-born movement that, more than a decade later, would bring color and shape into three-dimensional space." By (Laura Hoptman Posted on January 11, 2017 MOMAhttp://post.at.moma.org/content_items/946-raul-lozza-s-invention-no-150.) Below is a link to his biography. http://museolozza.com.ar/raul-lozza/biografia/(106591) $5,000.00

23. EL MAESTRO, REVISTA DE CULTURA NACIONAL. Tomo I: 1,2,3,4,5y6; Tomo II: 1,2,3,4y5,6; Tomo III: 1,2,3,4,5.

México: Talleres Gráficos de la Nación, 1921-1923. 17 issues in 15 vols. b/w plates, illus., draws., map, plans, mus. nots., tbls., ind., color pict. wrps. (Minor wear; some chipping to spines of some issues, a few issues with some staining or pencil marks in margins, one issue with loose front cover; considering age and original fragile paper it is in very good condition). 22cm. Rare early 20th century periodical with stunning illustrated covers, illustrations and vignettes. In March 1921

a text appeared in the Bulletin of UNAM announcing "the foundation of a great magazine: El Maestro",

whose function was to complete the work of the university and school establishments, expand the horizons

of workers and peasants, stimulate the study of professionals and schoolchildren, and animate with

practical suggestions the industrialists and exploiters of the land. In short, a publication was presented that

synthesized the training project of the then rector José Vasconcelos: to outline the route that the country's

progress should take. In the words of Francisco Monterde, the magazine appeared at the moment of

greatest impulse given until then to public education. With El Maestro, Vasconcelos presented the educator

"his aspect of greater importance". (Francisco Monterde, Las revistas literarias de México, México, D. F.,

Instituto Nacional de Bellas Artes/ Departamento de Literatura/ Secretaría de Educación Pública, 1963, p.

124). SOLD AS A SET (45871) $8,500.00

24. MANUEL BUENO ABAD: PERSONAL PHOTOGRAPHIC ARCHIVE. The archive is composed of four groups of photographs and personal correspondence: First Group. Large format album with 27 albumin photographs taken by photographer mainly at his hacienda, tipos mexicanos and one photograph of his studio on Mercaderes 1 in Mexico City. Second group. Large format album taken of the la Académia de San Carlos with 24 albumin images that show the outside interior of the salons, sculpture workshop much like the ones exhibited in the 2015 exhibition in Fototeca (see attached). Third Group. 47 albumin working images that he could not finish because of his early, unexpected death in 1892 leaving the contract with "la Junta Colombina de México" to print photographs of the objects of the Museo Nacional for the celebration in Madrid of the IV Centenario del Descubrimiento de América incomplete. Fourth Group. Various photographs, some of Manuel Bueno, others by his son and other contemporary photographers and correspondences and personal writings.

. This is the personal archive of the photographer Manuel Buen Abad, who was a remarkable portraitist, his photographic studio was located on the street of Mercaderes 1 that was in Mexico City. His work was awarded in the Paris exhibition of 1889 with Romualdo García a bronze medal, and again was awarded in 1893 at the Columbian exhibition in Chicago. Manuel Buen Abad died unexpectedly in 1892, leaving unfinished a contract with the Junta Colombina de México for the printing of photographic copies of objects of the National Museum for the celebration in Madrid of the IV Centenary of the Discovery of America. His premature death interrupted his prolific output, which focused on documenting institutional projects that showcased Mexican culture. The images exemplify the high quality of the prints that were made in Mexico in the last quarter of the 19th century, produced by a photographic studio in Mexico City. In 2015 the national photo library of Pachuca held an exhibition of Manuel Buen. With the title of "Manuel Buen Abad" and the Academia de San Carlos”, exhibiting only 17 images of the photographer, the exhibition only lasted 1 month due to the fragility of the materials (albumin). The views document from the facade to the various galleries of the old San Carlos Academy printed around 1890, using the albumin technique, were part of the exhibition "Manuel Buen Abad and the Academy of San Carlos", Sala Nacho López of the National Photo Library of the National Institute of Anthropology and History (INAH), in the city of Pachuca, Hidalgo. The catalogue states that the photographic prints are an invaluable testimony of the galleries of the National School of Fine Arts (former Academy of San Carlos), after the remodeling started in the second half of the nineteenth century. The impeccable views document from the facade of the building to the various galleries of engraving in sheet, sculpture, architecture, European painting, ancient painting, modern Mexican painting, as well as the named Clavé and Centenario, the first in honor of the Catalan painter Pelegrín Clavé, then director of the Painting Branch, and the second in commemoration of the centenary of the founding of the Academy of San Carlos in Mexico. The exhibition was curated by Mayra Mendoza, deputy director of the National Fototeca, Patricia Massé and Daniel Escorza, researchers attached to the National Photo Library System. Mayra Mendoza said that around 1869, Manuel Buen Abad was a student of the renowned Academy of San Carlos, restored two years earlier by Benito Juárez with the name of National School of Fine Arts, according to the Organic Law of Public Instruction in the Federal District, published in the Official Gazette of the Federation on December 2, 1867. It is interesting to note that little is known or written about Manuel Bueno Abad possibly due to his premature death. Biographical Notes: In 1878, Manuel Buen was considered a notable portraitist in the photographic studio of Empedradillo Street number 4 (before Cruces and Campa), which was in Mexico City. In 1881 he was appointed professor of drawing at the Industrial School of Huérfanos and a year later, in November 1882, the Ministry of Justice and Public Instruction asked him to take photographs of various paintings and

sculptures from the National School of Fine Arts. In June of 1888 the same year he was elected Photographer for the Mexican Commission for the International Exhibition of Paris (1889), where he won a bronze medal with the well-known photographer Romualdo García. He was awarded again in 1893 at the Columbian exhibition in Chicago. Manuel Buen Abad died unexpectedly in 1892, leaving unfinished a contract with the Junta Colombina de México for the printing of photographic copies of objects of the National Museum for the celebration in Madrid of the IV Centenary of the Discovery of America. REFERENCES: Exposición histórico-Americana de Madrid. Catálogo de la sección de México, Tomo II. Madrid, "Sucesores de Rivdeneyra, 1893, p. 386 Hermanos Valleto: p. 56(111731) $60,000.00

25. Mérida, Carlos. CARLOS MERIDA (1891-1984) SERIGRAPHS From miscellaneous portfolios. Signed in plate. PRICED EACH. (111755) $375.00

26. Mérida, Carlos. CARNIVALS IN MEXICO = CARNAVALES DE MEXICO: DIEZ LITOGRAFIAS ORIGINALES, EN COLOR. México: Talleres Gráficos de la Nación, 1940. 2-page text plus 6 silkscreen prints, in portfolio. Each plate signed in pencil by Mérida as well as portfolio. (Lacks 4 plates of the original 10; 3 plates with margins cut approx. 35x29cm; portfolio cover with wear; some light foxing on title page). 44.5cm. SIGNED NUMBERED EDITION OF NUMBER 450/500. (71311) $4,000.00

27. Mérida, Carlos. IMAGES DE GUATEMALA. TWO SILKSCREEN LANDSCAPE PLATES FROM THE PORTFOLIO . Paris: Editions des Quatre-Chemins, 1927. Glass framed has not been opened for inspection, sold as is. 23x27cm. Edition of 200, signed in plate. The first and the rarest portfolio by Carlos Merida that was published in 1928 and was the first published by Quatre-Chemins in Paris. The portfolio consisted of 10 plates and was printed by Ducros et Colas from plates that had been executed by Talleres Daniel Jaomet. The two present prints are the only two landscapes in the portfolio. One of the landscapes is in the 2018 retrospective exhibition of Carlos Merida at the Museo Nacional of Mexico (MUNAL). Sold as set. Ref: "Carlos Merida en Sus 90 Años"; "Carlos Mérida. Retrato escrito (1891-1984)", MUNAL, 2018(111750) $12,000.00

28. MEXICAN CALENDAR ART: CARTA BLANCA CALENDAR FOR 1956. México, D.F: Carta Blanca, 1956. 10 leaves. color plates, color pict. wrps. with central hole in upper side of all pages, used for hanging purposes, protective translucent plastic envelope. Cover Title. (Some chipping/wear at holes111427 used for hanging/ o/w almost fine). 26 x 34 cm. Wall hanging calendar elaborated for the beer brand Carta Blanca (formerly Cervecería Cuauhtémoc Moctezuma, now Heineken México) with color reproductions of 12 "cromos" of Mexican folk-art scenes (one different for each month) by noted artist Rafael Múñoz López (Mexico 1914-2004) (111612) $400.00

29. MEXICAN CALENDAR ART: GALERÍA ARTÍSTICA IEM INDUSTRIA ELÉCTRICA EN MÉXICO, 1956. México, D.F: Industria Eléctrica de México, 1956. 10 leaves. color and duo tone plates, bios/ chrons., color pict. wrps. in red plastic comb binding in upper side with central hole for hanging in central lower section. Cover Title. (marginal chipping and wear, o/w very good copy). 27 x 34 cm. Calendar published by Industria Eléctrica en México (IEM), a manufacturing company of products for electric power generation and home appliances. Includes works by Celia Calderón de la Barca, Luis Nishizahua, Fernando Castro Pacheco, Carlos Orozco Romero, Jesús Romero Galván and Raúl Anguiano(110654) $250.00

30. MEXICAN CALENDAR ART: IEM INDUSTRIA ELÉCTRICA EN MÉXICO PRESENTA 6 MURALISTAS MEXICANOS: J.C. OROZCO, DIEGO RIVERA, SIQUEIROS, FERMÍN REVUELTAS, CHAVEZ MORADO, J. GUERRERO GALVÁN. 1956. México, D.F: Industria Electrica de Mexico, 1956. 6 leaves. color and duo tone plates, bios/ chrons., color pict. wrps. in brown plastic comb binding in upper side with central hole for hanging in central lower section. Cover Title. (Marginal wear). 27 x 34 cm. Calendar published by Industria Eléctrica en México (IEM), a manufacturing company of products for electric power generation and home appliances. Includes details of murals painted by José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros, Fermín Revueltas, Jesús Guerrero Galván and José Chávez Morado. With biographical texts by Jorge J. Crespo de la Serna (110664) $325.00

31. MEXICAN CALENDAR ART: IEM INDUSTRIA ELÉCTRICA EN MÉXICO PRESENTA A SEIS PINTORES NOVELES TRIUNFADORES. 1958. México, D.F: Industria Electrica de Mexico, 1958. 11 leaves. color and duo tone plates, bios/ chrons., color pict. wrps. in white plastic comb binding in upper side with central hole for hanging in central lower section. Cover Title. N.B. Some verso folios left blank intentionally. (marginal chipping and wear, o/w very good copy). 27 x 34 cm. Calendar published by Industria Eléctrica en México (IEM), a manufacturing company of products for electric power generation and home appliances. Includes artwork by young painter already recognized: Gilberto Aceves Navarro, Celia Calderón, Lucinda Urrutia, Héctor Cruz, Vicente Rojo and Jesús Gallardo. With biographical texts by Jorge J. Crespo de la Serna (110679) $250.00

32. MEXICAN CALENDAR ART: INDUSTRIA ELECTRICA DE MEXICO, 1952. México, D.F: Industria Electrica de Mexico, 1952. 10 leaves. color and duo tone plates, bios/ chrons., protective rice paper inserted, translucent wrps. bound with black metal grip in upper side with central hole for hanging. Cover Title. (First 3 months (January, February and March pages are missing, marginal chipping and wear, o/w very good copy). 38 x 24 cm. Calendar published by Industria Eléctrica en México (IEM), a manufacturing company of products for electric power generation and

home appliances. Includes works by Desiderio Hernández Xochitiotzin (Tlaxcala 1922-2007), considered the last of the great Mexican Muralists. CONTENTS: Abril. Las lavanderas / Amador Lugo -- Mayo. Girasoles / Olga Costa -- Junio. Puesto de gorditas de la Villa / Carlos Sánchez M. -- Julio. Bodegón / Desiderió Hernández Xochitiotzin -- Agosto. Coscomates / Fernando Castro Pacheco -- Septiembre. Naturaleza con sandía / Celia Calderón -- Octubre. El maguey que floreció / Nicolás Moreno -- Noviembre. Ofrenda / Desiderió Hernández Xochitiotzin -- Diciembre. Plantas junto al lago / Cordelia Urueta (110651) $200.00

33. MEXICAN CALENDAR ART: LOTERIA NACIONAL COVERS AND ARTWORK. México, D.F: Loteria Nacional, 1956. 10 leaves. color plates, color pict. wrps. bound with double loop wire, protective translucent plastic d.j. Cover Title. (marginal wear with l.l. corner of cover with crude 1/2" tape, o/w very good copy). 27 x 34 cm. Covers for the Loteria Nacional calendars with color reproductions of artwork (landscapes, watercolors, etc.) and "cromos" by noted Mexican artists Fernando? Bolaños Cacho, Diego Rivera, Guillermo Gómez Mayorga, Pastor Velázquez, Antonio Gómez y Rodríguez and others (110658) $250.00

34. MEXICAN COOKING MANUSCRIPT, 20TH CENTURY [NO TITLE]. México: [publisher not identified]; The authors, N.d. (Circa 1950's). pp. 24-191. handwritten recipes, written in sepia ink by probably two different hands in a beautiful calligraphy, tipped in b/w cut-out plates and inserted newspaper clips (some loose as issued), indexes (pages 175- [193]), marble boards, plus 1 empty envelope address to "Clara Guillen", loose as issued. (first 23 pages and front board missing, wear on board edges, not affecting text; partially detached spine, weak hinges; some foxing and chipping, o/w good copy). 22 cm. Notebook containing manuscript cooking recipes from the late 1950's, such as: Sopa Dorada, Fideos para vigilia, Fideos con leche, Gusanillos a la mexicana, Sopa de frijoles, Chiles en Nogada, Papas en gloria, Albóndigas, Budín de sémola, Huevos reales, Galletas de nata, Hot cakes, Manzanate, Postre de jícama y almendra among others. Includes collages of cut-out b/w and color plates and newspaper clips created by the authors. Includes newspaper clipings: Lo que interesa a las damas: el arte de comer bien / Paganelli -- Para su mesa / por Josefina Vázquez de Leon (111651) $400.00

35. MEXICO VINTAGE ALBUMEN PHOTOGRAPHS CIRCA 1866-1879. Mexico: 1866-1879?. 20 b/w albumen photographs tipped-in cardboard support, some decorated, some with studio stamp, some with handwritten ink dedicatory, loose as issued, unbound. One smaller one is hand painted in color (size 9.5 x 4.5 cm), sigs. 1 x 4.5 cm. ea. A collection of vintage albumen studio pocket size portraits (18) and 2 small photographs of a march in the Zocolo and funerary coach. Some of these 19th century small photographic cards (the earliest dated 1866, one year before the fall of the Second Mexican Empire of Maximillian I), include, in some cases, the studio name and address and in others a handwritten dedicatory, signed and dated on verso side. Photographic Studio mentioned include: Valleto & Cía. (México City), Fotografía de M. Rizo (Puebla), Fotografía de Gmo. (Guillermo) L. Zuber (Mazatlán) and Galería Fotográfica S. Franklin (Durango). The period between 1864-188? Was a period of tremendous development of portrait photography in

Mexico. The photographic inventions to create less complicated cameras and apparatus to develop the interest of photographic aficionados (photography for everyone). Manuel Rizzo, photographer from Puebla,

participated in the rush to gain a market throughout Mexico. He mounted a publicity campaign in national periodicals (e.g. Advertisement: “La Sociedad” miércoles 10 de octubre de 1866). The other photographer represented in this collection is Valleto Hermanos who began in the 1860s in Veracruz and their first studio in Mexico ity 1865 p.170 The period between 1864-188? Was a period of tremendous development of portrait photography in Mexico Valleto Hermanos—first studio in Mexico ity 1865--- before that started in the 1860s in Veracruz Mexico and became one of the most prominent photographic studios in Mexico in the late 19th century. Ref: "La fotografía durante el Imperio de Maximiliano", UNAM, 1996; "Valleto Hermanos Fotógrafos Mexicanos de entre siglos", UNAM, 2006 (111643) $3,400.00

36. Myrrha, Lais. DOSSIÊ CRUZEIRO DO SUL = SOUTHERN CROSS DOSSIER. Concepção: São Paulo: Ikrek Edições, 2017. 20 pages . wrps., plus one black cardboard folio with 4 cut-out holes, loose as issued, dos-à-dos binding. 21 cm. ISBN: 9788567769097. LIMITED, NUMBERED AND SIGNED BY THE ARTIST EDITION OF 200 COPIES. São Paulo based conceptual artist Lais Myrrha (b. Belo Horizonte1974) investigates instability areas and creates situations in which what used to be considered familiar suddenly becomes strange. The use of maps, astronomy and astrology is a recurring characteristic of her work. The artist makes the revelation in the book of an unknown fact: The Southern Cross star constellation is in an inverted position in the Brazilian flag. ENGLISH AND PORTUGUESE TEXTS. (109376) $75.00

37. NUESTRO LIBRO. Este libro se vende al precio de Un Peso y su producto es en favor de las obras que sostienen las Señoras de la Asociación de la Caridad de San Vicente de Paul en San Ángel. Primer Libro and Libro Tercero. México: Antigua Imprenta de Murguía, 1912-1924. 2 vols in 1: 120; 145p, plus ind. recipes, indices., rebound with new marbled endpapers in maroon quarter calf with decorated faux leather boards, raised bands and gold stamping. (Missing Libro Secundo; Paper varies between two volumes as published; almost fine). 16.5cm. A RARE and unusual set of two volumes (set of three). The third volume is unrecorded (dated 1918) The first volume of the small format cooking book with traditional Mexican recipes organized into 30 menus,

with an introductory text on table setting and etiquette. Highlights incluye: Sopa de pluma, Sesos con macarrones, Huachinango fresco con salsa italiana, Postre de nuez, Arroz con pescado and Helado de almendras among others. Appears to be the first edition. OCLC shows one copy of a 1924 edition but no others. The third volume was issued later with publishers note that both the first and second editions (volumes) had sold out and the third volume was offered with new recipes. This volume is devoted to recipes for weddings, baptisms, vegetarian recipes and recipes by colors, bread, drinks, and sweets. (111646) $1,200.00

38. O'Farrill, Rómulo. MI PATRIA: COMPENDIO HISTÓRICO, POLÍTICO, CIENTÍFICO, LITERARIO, INDUSTRIAL, COMERCIAL, SOCIAL Y RELIGIOSO DE MÉXICO. Por O'Farrill, Hernández y comp. México: "Tip. moderna" de Carlos Paz, 1890. iv, 203, [1] pages. frontispiece, 33 plates (lithographs) plates, ports., tbls., contemporary green embossed boards with embossed gold dedicatory "Al libreral y progestista Coronel Carlos E. Margin on front cover. (marginal wear in boards, 4 1/2 in. tear in lower section of back spine, some foxing in pages, not affecting text or plates). 22 cm. "Al liberal y progresista Coronel Carlos E. Margain"--Cover. Published later under title: A la patria. Compendio histórico-politico ... The 1894 edition (2d prelim. leaf) --attributes the work to Rómulo O'Farrill. Publisher was the brother of Ireno Paz divided into two parts: The first contains a brief review on the history of Mexico; who and how the make up the government system of President Díaz (Ministry of the Interior, Justice, Public Instruction, Development, Finance); a brief study of medicine in Mexico mentioning notable specialists; The railroads and their importance; Agriculture and industry, Religion. The second part refers to Mexico City, Customs, family, literature and specifically poetry where the importance of women in the social and cultural field of the country is highlighted; ends with small biographies of distinguished personalities such as Manuel González, Rafael Cravioto, José Vicente Villada, Miguel Quintana, Roman S. of Lascurain, Justo Sierra. The account shows diverse conceptions about Country and Nation in the epoch of Porfirio Díaz. 33 exquisite plates representative of late 19th century lithography. Scarce with 4 printed copies held in U.S. Libraries: Columbia University, UCLA, Yale, UT Austin and 2 copies in Mexico. (111641) $600.00

39. [Orozco, José Clemente]. Gómez Arriola, Nacho. EL HOSPICIO CABAÑAS: LA ANTIGUA 'CASA DE LA MISERICORDIA' DE GUADALAJARA. 20 AÑOS DE PERTENECER A LA LISTA DEL PATRIMONIO MUNDIAL UNESCO. Textos y grabados de... Guadalajara, México: Taller Gráfica de Comala, MMXVII (2017). 84 pages. handmade book and paper, b/w plates, port. frontis., ports., illus., tipped-in b/w, duo tone and color glossy photographs, typography prints, stitch bound wrps., d.j. with embossed motifs and tile in covers, sig. COVER READS "El Hospicio Cabañas: Patrimonio Mundial UNESCO" 13 cm. SIGNED, NUMBERED AND LIMITED EDITION 14/50 of hand-printed typographical Letterpress artists' book created in a Linotype machine by architect, restorer, writer, painter and sculptor Ignacio "Nacho" Gómez Arriola (b. Guadalajara, México 1955), founding member of the artisan printing workshop Taller Gráfica de Comala. "La composición y la impresión a mano del libro HOSPICIO CABAÑAS fueron realizados por Nacho Gómez Arriola. Fue compuesto en tipo móvil de las fuentes tipográficas Gramond e Intertype con la colaboración de Salvador Botello. Se terminó de imprimir en Verano del año 2017. Se estamparon a mano 50 ejemplares firmados y numerados por el autor." --Colophon. The Hospicio Cabañas is a 19th century orphanage designed by Manuel Tolsá. The Neoclassical complex includes a group of mural paintings in the chapel, in particular the allegory El Hombre de Fuego (The Man of Fire) by José Clemente Orozco, considered to be one of the masterpieces of 20th century mural painting. The book includes four criterions used for the nomination as UNESCO World Heritage. CONTENTS: Veinte años de ser Patrimonio Mundial -- La antigua Casa de la Misericordia -- La transformación del hospicio en Patrimonio Mundial -- Criterio I -- Criterio II -- Criterio III -- Criterio IV.(111620) $135.00

40. Pecanins, Yani. ABANICOS. México, D.F: Cocina Ediciones Mimeográficas, 1984. (8) sheets. Signed and dated artists' book with 8 cardboard sheets with collages inspired in the handheld folding fan (hand fan), with cut-out plates tipped-in in accordion folded papers, stapled rice and translucent paper with cotton strings glued with wax seal, issued in handmade brown cardboard box elaborated using brown tape to hold the side pieces, with nine tipped-in buttons (different sizes and colors), sewed over 5 cut-out cards with numbers, tipped-in cover; red ink stamp in verso side of box. 14 x 14 cm (sheet); 15 x 15 x 3 cm (box). SIGNED LIMITED EDITION OF 50 COPIES of vintage artist book created and printed by artist Yani Pecanins in 1984 when Cocina Ediciones was still in existence. The famous Cocina Ediciones, an independent Mexican editorial dedicated to the production of artists' books was founded by Yani Pecanins and Gabriel Macotela. "Esta cajita fue totalmente recortada, pegada e impresa a mano, en mimeógrafo. Tiraje de 50 ejemplares se terminó de imprimir en 1984." --Bottom of box. CONTENTS: AlmicI -- Aleteo -- Humo -- Vientos alisos -- Barcelona -- Abreme -- BL (111652) $1,900.00

41. Pecanins, Yani. LIBRO QUE HICE EN EL TALLER DE GAIL RIEHE. [México, D.F.]: Taller de Gail Riehe, 2014. 1 fldg. folio (16) pages. Signed and dated artists' book comprising vintage air mail envelope “Via Aerea” with one rice paper folio with pencil drawings, folded accordion style with hand written title with collage consisting of an assemblage constructed with tipped-in small white buttons, white paper labeling tags with strings, black sewing thread; cut-out plates, one construction made of paper, twigs, and thread on top of tipped-in metal pin, and a tipped-in collage with a cut-out old newspaper clipping, a

button and small cut-out pieces of printed paper strung in white string. Signed and dated by artist. 12 x 12 cm; 12 x 88 cm (unfolded); 12 x 14 cm (envelope). Artist book. Edition of one created at a workshop given by Gail Rieke at the Museo Carrillo Gil in Mexico City. "Gail Rieke is an internationally recognized collage/ assemblage/ installation artist and teacher who lives and works in Santa Fe, New Mexico with her husband, painter Zachariah Rieke. Gail has taught at the University of Florida in Gainesville, Florida; the University of Alberta Edmonton in Alberta, Canada; and the Santa Fe University of Art and Design in Santa Fe, New Mexico. In the US, she has presented workshops and lectures at various venues including the San Francisco Center for the Book in California, Penland School in North Carolina, and Haystack School in Maine. Internationally in 2014, she taught "Artist as Traveler" at Museo Carrillo Gil in Mexico City." --Gail Rieke webpage (https://www.riekestudios.com/biography.html)(111653) $385.00

42. Pecanins, Yani. LO QUE SOY... "Libro único, ejemplar hecho a mano, collage"-- Verso Cover. [Mexico, D.F.]: [publisher not identified]; The artist, Enero 2019. (12) pages. Signed and dated artists' book comprising 4 fldg. folios of cotton paper, string and glued bound containing assemblage collages using pieces of illustrated rice paper, white strings, small fabric pieces, pieces of torn vintage (grammar?) school book, pieces of decorated wood, a carved wood comb tipped-in first page with tipped-in cut-out pieces of b/w and color plates from newspaper and magazine clippings, 1 original receipt of "Colegio Francés 'San Borja'" with printed concept and hand written notes, dated 31st of august of 1931 and signed by "the director", 1 glossy color postcard, folded in center pages, two glossy photographs tipped-in, with one small silver paper embossed seal, pieces of manuscript and typed texts. Signed and dated by artist. 22 cm.

Artist book. Edition of one created by artist Yani Pecanins. In an unusual use of photographs, the artist has used some of her childhood photographs. CONTENTS: Dividida en dos: Retazos, búscame, en las pequeñas cosas, a ver sí soy -- Lo que soy, y lo que quiero ser -- Me busco cada día y que encuentro -- Lo que dejas atrás, lo que encuentras en esas cosas pequeñas. -- Casi desnuda, casi vestido, casi nada... y adonde voy?? -- Escucharlas, cada una de sus palabras, dos instantes... volver sobre mis pasos... -- Aquí me siento cómoda, aquí puedo ser (111742) $1,850.00

43. Pecanins, Yani. TRANSPARENCIAS. Ejemplar único. [Mexico, D.F.]: [publisher not identified]; The artist, Enero 2019. 8 bound envelopes: (16) pages. Signed and dated artists' book comprising vintage rice paper album used to keep photographs, with hand written title and date, in a collage consisting of an assemblage constructed album with tipped-in small white button inserted in transversal tipped-in tread and containing cut-out plates as Title Page, one used mail envelope with cancelled postal stamps from Spain (depicting General Franco) with 3 tipped- white pieces of paper, and with 6 collages consisting of assemblage constructed pieces with tipped-in cut-out old newspaper clippings and cut-out photocopied plates, one small silver paper embossed seal, small vintage photographs, with 5 small buttons glued to a card strip, white strings and several constructions made of paper, bound with red string in bow. The artists' book opens vertically rather than horizontally. Signed and dated by artist_ 17 x 11 cm. Artist book. Edition of one created by artist Yani Pecanins (111741) $1,500.00

44. Pombo, Rafael. RIN-RIN RENACUAJO: CUENTO SUDAMERICANO DE RAFAEL POMO Ilustrado por de José Chávez Morado. Biblioteca de Chapulín. México: Secretaría de Educación Púbica, SEP, 1942. 36p. color illus., wrps. Small folio. (Wrappers boxed browned at margin edges, soiled; staples rusted; o/w clean and bright). 32cm. Nicely illustrated finely printed children’s' book by the famous Chávez Morado. Incredible front wrap illustration. Scarce (109875) $250.00

45. Ponce, Manuel María. TWO MUSICAL MANUSCRIPTS BY MANUEL MARÍA PONCE: "MALGRÉ TOUT! DANZA PARA LA MANO IZQUIERDA SOLA" AND "HOJA DE ÁLBUM". México, D.F: [publisher not identified], 1900; 1911. 2 vols.: (4) pages ea. (2 fldg. leaves). Each: title page and 2 pages of musical scores. Malgré Tout written in ink; Hoja de album written in pencil. 34 cm. Original musical scores in the hand of Manuel María Ponce, signed. Malgré Tout! (1900): Impressed by the misfortune of his friend sculptor Jesús F. Contreras, who lost an arm when falling in molten metal, Ponce wrote a dance that bears the name that Contreras put on the monumental sculpture that he made with one hand and that is in a corner of the Alameda Central, in Mexico: Malgré Tout (In spite of everything) and written for the left hand. Ponce has a close relationship that began with Contreras and the Contreras family starting in his youth. Hoja de álbum (1911): When it was eventually published the dedication was to the daughters of Baudelio Contreras (brother of

Jesús Contreras). Both are dedicated to Baudelio Contreras, and are signed, dated, and with dedication by Ponce. (111241) $3,900.00

46. Ponce, Tiburcio. ALBUM RECUERDO DE MI VIAJE A MICHOACÁN. Morelia: Merceria "El Talisman", c1943. 2 Vols.: (24) pages ea. 12 original black and white glossy photographs mounted in accordion style folio, bound in faux-leather boards with embossed gold title_ (One book with marginal wear on boards. Second book with marginal wear on boards, accordion folio detached in two parts, o/w all photographs in very good condition). 17 cm (book); 16.5 cm x 132 cm (unfolded). Twelve original black and white photographs (a few duplicated) of erupting volcano Paricutin (also known as Cuiyutziro) in the state of

Michoacán.The eruption began in 1943 in a cornfield owned by Dionisio Pulido, near the town of Parícutin_. Many photographs have name and photographic plate on front of photographer of Lucas López which is significant in the photographic history of Mexico. For many years the work of Michoacán photographer Lucas López Ávalos, originally from Morelia had remained without a (re) public assessment, until an exhibition was organized for this purpose sponsored by the Regional Cooperation Center for Adult Education in Latin America and the Caribbean (CREFAL), in the framework of the 55th anniversary of this Center, whose history in photography, in turn, could not be seen to a large extent, in its first quarter of a century, of not This man of the camera was there for him. This exhibition, curated by photographer Carlos Blanco, was inaugurated on May 8, 2006 and remained exposed until 2007 at the Center's headquarters, under the title "Nunca es demasiado" late. Technically trained in the Foto Estudio Zavala with Lucas López Zavala, a well-known Moreliano photographer of the early twentieth century and who was also his uncle, Lucas López came to CREFAL invited by Professor Lucas Ortiz Benítez, who was the founding director of the institution. The combined experience of these three Lucas had very productive effects and generated thousands of photographs, not only for the private and social life of the state capital, but mainly for the region of the Pátzcuaro basin, where an educational experiment took place. that worked and transcended on an international scale. The images of this experiment would be the documentary support of the work of Lucas López, between 1951 and 1973. The CREFAL, originally called Center of Fundamental Education for Latin America, was inaugurated in 1951 with Pátzcuaro as headquarters, thanks to an initiative promoted by Jaime Torres Bodet, former secretary of Public Education in Mexico, who was then director general of the United Nations Educational, Scientific and Cultural Organization (UNESCO), seconded by the (OAS) and the government of Mexico. The fundamental education was a renovating educational current, that after the end of the Second World War (1939-1945) it was proposed to contribute to the reduction of the social backwardness in the rural, peasant and indigenous populations, to look for their progress and to improve their living standards. This is the framework in which Lucas López would develop his photographic work. Since the CREFAL in its early years had the need to create a technical infrastructure that would allow him to do his work and had to use the best professionals at his disposal, one of them was Lucas López, who put into practice what he had learned with his uncle and he proved to be very efficient, dedicating himself full time to photography, which we could define as institutional, in the understanding that he was destined to cover everything that requires a photographic record; for example, personnel identification images that there. Lucas López's work marks a before and after in the regional photography of Patzcuaro. Its record, beyond the eventual, is also systematic and constant, but at the same time multi-thematic and versatile; creates series of images through the subjects portrayed or the work processes that he must record. Beyond Patzcuaro, the photographs of Lucas López were known abroad by appearing in periodicals and diavistas that circulated in other countries and continents because of the distribution that UNESCO made of them, as part of the editorial and audio-visual production of the CREFAL.The absorbing and demanding of the institutional photographic work, and perhaps the lack of greater labor stimuli, caused Lucas López to terminate his relationship with CREFAL in 1973, where years ago its founding director Lucas Ortiz left in 1964. The photographic records after the departure of Lucas López became sporadic and irregular, they

lost unity and quality, and the photos of the institution were left in hands whose professional performance has left something because they were stored in the CREFAL archive, with a limited thematic and numerical order but not onomastic or chronological. This was relatively limited to the decade of the 1960s, as can be seen from an institutional process of archival reorganization, which had a major impetus in the 2005-2006 biennium. CREFAL does not have an adequate technical infrastructure for the conservation and preservation of images, that is, a heated vault, technical staff and ad hoc resources. Therefore, measures must be taken to guarantee a process of preservation of the photographic work under its protection, at least the one corresponding to the period of Lucas López worked, academic activities, field work in the communities, visitors and others. At the same time, it also participated in the elaboration of didactic materials that required the photographic image as support, based on a planning of pedagogues and specialists. An example of these materials was the diavista, also called fixed film, cinefix or fixed tape in that time, and then called filmina: it was a sequence of photographic images edited on a roll that were exhibited one by one, with a projector similar to those of slides, accompanied by a specific comment by a teacher or instructor , who could also be the one who projected. The diavista in English is equivalent to fil-mstrip.1 Diversity is the main characteristic of the images taken by Lucas López in the patzcuarense environment, and it is abundant in terms of the register of everyday regional activities: there you can find women They carry water in pitchers, fishermen in their jobs, artisans working in palm weaving or wood carving, peasants and indigenous laborers, vendors in the market placero on Fridays, for example. Ceremonies and local events: construction and inauguration of public works, visits of officials. (See; Alquima, Num. 22, Año 11 (2008) mayo-agusto). Additionally, the editor of the albums was an interesting figure in the development of radio in Morelia. In 1924 the city of Morelia saw the birth of one of the oldest radio stations in Mexico, the XEI. This achievement was the result of the enthusiasm of people like Messrs. Enrique and Francisco Gutiérrez, who owned the haberdashery "El Porvenir", who were attracted by this new medium that allowed to hear voices and music from a distant place as if they were in front of oneself. In its first years, the XEI made its transmissions in experimental form, like the rest of the incipient national radio broadcasters, and it was until the year of 1926 when it was granted the corresponding permission to become a commercial station and was, so they assigned him the acronym CYI. Since then it has been known with the historical nickname of "I" and the emergence of it is named after Don Tiburcio Ponce Gutiérrez (Born in Patzcuaro in 1898), who since his arrival in 1924 at the station dedicated every day of his life in front of it until August 8, 1976, when he passed away. (111640) $800.00

47. RECETAS PRACTICAS PARA LA SENORA DE CASA SOBRE COCINA, REPOSTERIA, PASTELERIA, NEVERIA, ET.C Recopiladas por Algunas Socias de la Conferencia de la Santísima Trinidad para Sostenimiento de Su Hospital. Quinta Edición. Tomo I y Tomo II. Cuarta Edición. Guadalajara: Imp. de J.A. Rodríguez, 1895. 2 vols: 431;227 pages. recipes. quarter leather, stamp tipped in verso of front cover of volume 1 "Queda asegurada la propiedad literaria conforme á la ley. Francisco Santoscoy, Editor", marbled boards, raised bans on spine with title in gold stamping. (Worn boards with corners and spine rubbed; minor worm hold bottom margin of pages 429-431 not affecting text; Title page of volume one appears to be an older facsimile; o/w very clean, tight). 16 cm. RARE regional title that was wildly popular during the epoch. Eight known editions were printed between 1890-1914. Many unique recipes from tamales to cajetas. Includes: Buñuelos de Rábano; Buñuelos de Flor de Maíz; Salsa de Jitomates con Chiles Poblanos; Chiles Rellenos de Camarón, Estofada in salsa de chorizo; Pichones en escabeche; Patos en mole; tamales, empanadas de jocoqui; higate (and many other ates); camotes cubiertos, cacahuates cubiertos, elixir, garapiña, jarabe de granada; chicha, rompope; vino de nogal; helados de zapote, pitayita. No record in OCLC of this edition (111642) $2,500.00 48. [Simone, Nina]. Ponce, Agustina (Ed). NINA SIMONE. Diseño gráfico, Adrián Milián, graphic design. Colección Andante. Matanzas, Cuba: Ediciones Vigía, Enero de 2018_. (10) pages. b/w plates, hand illuminated color plates, frontis., illus., mus. notes, front cover has an assemblage of cut-outs that include a cut-out of a b/w portrait of Simone's head, decorated with fabric scarf, book is tipped in cut-out triptych, decorated with illus. cover and hand painted tilte in cut-out brown cardboard, tipped-in as closure. 23 cm. LIMITED EDITION 100 COPIES of handmade and illuminated edition comprising the music and text in English and Spanish of two songs by Nina Simone (1933-2003). Pages are of varying paper types with hand coloring and cutouts. “Para esta edición fueron usados papeles de diferentes texturas y gramajes, textiles, pintura acrílica de diferentes colores y cartón.” --Colophon. CONTENTS: I put a spell on you -- Feeling good_. ENGLISH AND SPANISH TEXTS (111687) $60.00 49. EL TESORO DE LA COCINA DICCIONARIO DE LAS FAMILIAS. LA COCINA PUESTA AL ALCANCE DE TODAS LAS INTELIGENTES Y FORTUNAS OBRA NOVISIMA QUE CONTIENE TODO LO CONCERNIENTE Á LA COCINA ESPAÑOLA, FRANCESA, ALEMANA, FLAMENCA, POLACA, RUSA, PROVENSALA, LANGUEDOCIANA, ITALIANA Y GÓTICA; MÉTODO DE SERVIR Y TRINCHAR EN LA MESA: UN CALENDARIO GASTRONÓMICO: UN TRATADO ESTENSO DE PASTELERÍA, MÉTODO FÁCIL PARA HACER HELADOS, CONFITADOS, LO MAS SELECTO DEL ARTE DE BIZCOCHERO, &C., &C., TOMADO TODO DE LOS MEJORES AUTORES MEXICANOS Y ESTRANJEROS. . México, D.F: Imprenta de Juan Nepomuceno del Valle, Puente de San Pedro y San Pablo núm. 8,, 1866. 8[66]. [1-3] 4-504, [1] 2-32 pp., 5 lithograph plates. contemporary brown embossed Mexican sheep, spine gilt lettered and decorated. (spine gilt lettered and decorated; spine and boards rubbed, corners bumped; title page with crudely repaired tear; pp469-474 with small tear in upper margin not affecting text; o/w clean except for a few minor food stains, tight). First edition. Not in standard sources, but mentioned in Janet Long, Conquista y Comida: Consequencias del encuentro de dos mundos (Mexico: UNAM, 2003, p. 473). This anonymously written dictionary-cookbook is divided into four sections: recipes; setting the table (illustrated by some of the lithographs); a gastronomical calendar indicating which vegetables and spices are in season; and the art of carving at the table (also illustrated by some of the lithographs). As the title indicates, many of the recipes are of foreign origin (e.g. “Peras á la alemana” and “Peras de Inglaterra confitadas”), although many of the ones given are native Mexican dishes using traditional ingredients. In some instances, the recipes for animals are extensive. For example, one finds eighteen different recipes, including a large sample of foreign dishes, for partridges. Drink and cake recipes are also extensive, including some borrowed from foreign cultures. Included, for example, is “Ponche inglés,” about which it is observed: “Esta bebida inglesa se ha propagado ya demasiado entre nosotros. Se la reputa capaz de restaurar las fuerzas del individuo, y se mira como un escelente digestivo, pero su abuso es peligroso” (p. 388). (The modern reader will recognize this drink as rum punch, here made with lemonade.) That recipe is supplemented by several more for native pulque and for a concoction called “Punche de muertos” (p. 395). Getting the food prepared is only half the battle, however, since it must eventually be served. The two sections on dining are replete with social customs and fashions, some of which were apparently problematic, especially for large gatherings. The first piece

of advice, for example, is to clean thoroughly and be prepared well ahead of time so that problems can be corrected. The author may well have suffered a few unpleasant meals, for warnings are given against trying to seat people too close together and against using the wrong kind of lighting. (The author prefers those suspended from the ceiling rather than those that sit on the table, which cast shadows and can be knocked over.) The author also apparently underwent rude servants at some point, because their appearance and behavior are specifically commented upon. Finally, the author also seems to have witnessed problematical carving, because obvious pitfalls are warned against: the knives must be of various but correct sizes, must be sharp, and the carving preferably takes place at a side table by someone with the proper knowledge and skills (“Sus manos deben ser ájiles y bien aseguradas, sus brazos flexibles y rollizos…”). All the plates serve to illustrate various table settings and the carving process for various cuts of meat (sides of beef, pork, various fowl, and fish). OCLC shows two copies (UCSD, UTSA). (92806) $2,500.00 50. TEXAS REVOLUTION DOCUMENTS: A COLLECTION OF 140 ITEMS DATED FROM 1829-1836. Please inquire for details (111743) $.0 51. Torres de Rubio, Vicenta. COCINA MICHOACANA. COCINA PROPIAMENTE DICHA. DULCES, INCLUSOS LOS DE ESTILO MICHOACANO, ATES, CONSERVAS MERMELADAS &. REPOSTERIA, LICORES. MISCELANEA: RECETAS PARA CURACIONES EN CASA, BARNICES, ABONES FINOS, COLORE EN LIENZOS, CULTIVO DE LAS PLANTAS, INGERTERIA &.&. Zamora, México: Imprenta Moderna, 1896. (vi) 796; xxxii pages. lithographic plates, full red decorated, gilded red half calf title page reads: " Manual de Cocina Michoacana" (Rebound with new marbled endpapers; very clean with some light normal yellowing). 22 cm. FIRST COOKBOOK TO BE PUBLISHED BY A WOMAN IN MEXICO. RARE. (9910) $2,600.00

52. [Vanegas Arroyo, Antonio]. Gómez Arriola, Nacho. DIA DE MUERTOS: LAS FIESTAS INDÍGENAS DEDICADAS A LOS MUERTOS PATRIMONIO INMAERIAL DE LA HUMANIDAD UNESCO. Textos, fotos y viñetas por... Guadalajara, México: Taller Gráfica de Comala, MMXVII (2017). (20) pages. handmade book and paper (some cut with motifs), b/w plates, port. frontis., tipped-in pieces of "papel picado" (color sheets of paper with cut-out motifs), tipped-in color glossy photographs, typography prints, hardbound in brown cardboard covers with tipped-in central cut-out central sheet with tile, sig. 27 cm. SIGNED AND DATED, NUMBERED AND LIMITED EDITION OF 50 of hand-printed typographical Letterpress artists' book created in a Linotype machine by architect, restorer, writer, painter and sculptor Ignacio "Nacho" Gómez Arriola (b. Guadalajara, México 1955), founding member of the artisan printing workshop Taller Gráfica de Comala. "Con muestras originales de papel picado para el Día de Muertos y algunos versos de La Calavera Tapatía de Antonio Vanegas Arroyo." --Title Page. A brief history and the main attributes of the “Indigenous festivity dedicated to the dead", a popular celebration inscribed in 2008 (3.COM) on the Representative List of

the Intangible Cultural Heritage of Humanity of UNESCO. CONTENTS: ¡Feliz día de los muertos! -- La memoria como medio para traer los antepasados al presente -- La Calavera Tapatía / Antonio Vanegas Arroyo (111721) $195.00

53. [Vargas Llosa, Mario]. Ángel, Adrián del. PORTRAIT PHOTOGRAPH: MARIO VARGAS LLOSA_. b/w photographic portraits, mounted in cardboard frames (front with central hole and verso) of Mario Vargas Llosa, photograph is mounted in back cover with transparent tipped-in holders _ 17 x 12 cm (photo). Black and white photographic portrait of author Mario Vargas Llosa (Peru 1936), with pencil and pen writings that read: “Mario Vargas Llosa, escritor peruano. Crónica de Patricio Gilbuit 1/32 10 -8 ½-. El autor de la “Casa Verde”, “La Ciudad…” (111752) $300.00

54. d'Agata, Antoine. OSCURANA. Special edition. México, D.F: Inframundo/Hydra; EDICIONES FIFV, Chile; KWY, Perú; LE DERNIER CRI, Francia; SUB, EDITORA, Argentina; VOID, Brasil-Grecia, 2018. 7 vols; v.p. OSCURANA, the special edition photobook, presents a body of work born from different journeys made by Antoine d'Agata over the course of 30+ years in Brazil, Peru, Nicaragua, El Salvador, Ecuador, Bolivia, Guatemala, Haiti, Puerto Rico, the United States, Cuba and Mexico. As part of the editorial project OSCURANA, INFRAMUNDO presents this book that offers a look at the work of Antoine d’Agata. The images flow throughout the book, taking us from pain, loneliness, and desolation to desire, passion, death and the fragile line that unites and divides us. The gaze of the author always remains right on the border between conscience and immersion in darkness, sensuality and pain. The book constructs a narrative in which photographs merge with materials, in which papers, like the one called Revolution or the delicate Butter paper, intermix with the crude texture of Kraft and other interesting papers found in Mexico. Antoine d’Agata Born in Marseilles, Antoine d'Agata left France in 1983 and remained overseas for the next ten years. Finding himself in New York in 1990, he pursued an interest in photography by taking courses at the

International Center of Photography, where his teachers included Larry Clark and Nan Goldin.During his time in New York, in 1991-92, d'Agata worked as an intern in the editorial department of Magnum, but despite his experiences and training in the US, after his return to France in 1993 he took a four-year break from photography. His first books of photographs, De Mala Muerte and Mala Noche, were published in 1998, and the following year Galerie Vu began distributing his work. In 2001 he published Hometown and won the Niépce Prize for young photographers. He continued to publish regularly: Vortex and Insomnia appeared in 2003, accompanying his exhibition 1001 Nuits, which opened in Paris in September; Stigma

was published in 2004, and Manifeste in 2005.In 2004 d'Agata joined Magnum Photos and in the same year, shot his first short film, Le Ventre du Monde (The World's Belly); this experiment led to his long feature

film Aka Ana, shot in 2006 in Tokyo.Since 2005 Antoine d'Agata has had no settled place of residence

but has worked around the world. Photobook and Editorial Project OSCURANA presents a body of work born from different journeys made by Antoine d'Agata over the course of 30+ years in Brazil, Peru, Nicaragua, El Salvador, Ecuador, Bolivia, Guatemala, Haiti, Puerto Rico, the United States, Cuba and Mexico. Based on a selection of works by Antoine d' Agata in Latin America, this project was developed among six publishers in various countries, through dialog and form of production that creates new proposals for the making of photobooks. OSCURANA offers a reflection on the work of extraordinary French author Antoine d'Agata, from the perspectives of different countries and publishers. In addition, it proposes an exploration of the wealth of possibilities offered by collaborative editorial projects. The seven different books share the artistic declaration of Antoine d’Agata, the text named OSCURANA, as well as the same dimensions, however each editor was given complete freedom in image and material selection, design, printing methods and binding. An essential part of the project is that each book has been developed and produced in the country of each publisher, using local materials and printing processes, making each book a living medium that responds to collaborative processes and dialog. These seven books come together in a boxed set, a limited edition of 100 copies, designed by Ramon Pez and produced by INFRAMUNDO. When this box is opened, it exposes silk-screened images and the seven books that show different versions of the body of work of Antoine d’Agata’s OSCURANA. “The photographs of the book Oscurana are remarkable for their immediate, almost brutal view of the societies taken in the brutal spiral of violence. Going through the violence of cultures, through the degeneration and the paroxysm of the flesh, the photographer tries to reveal fragments of society’s that escape from customary analysis and visualization

of the social body. He exposes himself, sharpens his consciousness of a world that he absorbs and feeds on, without the slightest precaution or judgment. Antoine d'Agata photographs inside communities who refusing to reduce themselves to servitude, find an escape in sexual ecstasy, narcotic experimentation, or self-destruction. Depravity seems to become, in a brutal manner, a last possible strategy towards urban survival and emancipation. The photographer looks at shattered bodies that struggle and console each other's in primitive copulation, an antidote to the profound silence that weighs on minds dehumanized by global economy and religion. Reality slowly dissolves through his gaze, in a phantasmagorical space devoid of depth or substance. In the obscene transparency of an ultra-communicational world, Antoine d'Agata, rejecting voyeuristic or sociological standpoints, takes responsibility for the position he assumes. He invents a language of made from instinct and flesh, as a barrier against puritanical and economical order, and frees himself from a global and insidious ideology geared to replacing desire with fear. In the photographs, an endless accumulation of empty gazes perpetuates the stunned deprivation of men defeated by history. In a world where everything is done to eradicate all traces of desire, rage, pain and fear, Antoine d'Agata photographs the fragile shadows that cut free of social control by appeasing animal urges, evading the moral order and accessing the last magic rites of instinct. Poverty is antithetical to order. From the various journeys that over thirty years Antoine d'Agata has made in the countries of Brazil, Peru, Nicaragua, Salvador, Ecuador, Bolivia, Guatemala, Chile, Haiti, Puerto Rico, Cuba and México (focusing in the last one). He extirpates the scary material that he uses to construct a tense, immobile diary. The devastated empty landscape around him reflects some increasingly volatile societies. Still images, cinematographic narratives, the black and white, the glom and darkness make up a personal diary that, through violent, intimate, sexual, death or narcotic encounters, confronts and dialogue with an increasingly sickening reality. To portray the lonely and marginal world he wanders through, the photographer uses a language that seems to degenerate and lose all humanity as time goes by.” (111751) $350.00 net

55. [Pinzón, Dulce]. THE REAL STORY OF THE SUPERHEROES: DULCE PINZÓN. Presentation text by Iván Ruíz. México, D.F: Troconi-Letayf, 2018. 40 pages. 1 hardcover binding book-album, plus 10 color photos printed (archive quality digital print) on Hahnemühle Bamboo paper 100% cotton of 290 grams, (size 30 X 40 cm.), signed and numbered, Certificate of authenticity & Hologram signed by the artist. 50 x 40 cm (box). SIGNED, NUMBERED AND LIMITED EDITION OF 20 COPIES of a series of portraits of Mexican migrant workers - residents in NYC - who sacrifice their lives and their jobs to send their family a few dollars a month. After September 11, the notion of the “hero” began to rear its head in the public consciousness more and more frequently. The notion served a necessity in a time of national and global crisis to acknowledge those who showed extraordinary courage or determination in the face of danger, sometimes even sacrificing their lives to save others. However, in the whirlwind of journalism surrounding these deservedly front-page disasters and emergencies, it is easy to take for granted the heroes who sacrifice immeasurable life and labor in their day to day lives for the good of others but do so in a somewhat less spectacular setting. The Mexican immigrant worker in New York is a perfect example of the hero who has gone unnoticed. It is common for a Mexican worker in New York to work extraordinary hours in extreme conditions for very low wages which are saved at great cost and sacrifice and sent to families and communities in Mexico who rely on them to survive. The Mexican economy has quietly become dependent on the money sent from workers in the US. Conversely, the US economy has quietly become dependent on the labor of Mexican immigrants. Along with the depth of their sacrifice, it is the quietness of this dependence which makes Mexican immigrant workers a subject of interest. The principal objective of this series is to pay homage to these brave and determined men and women that somehow manage, without the help of any supernatural power, to withstand extreme conditions of labor in order to help their families and communities survive and prosper. This project consists of 20 color photographs of Mexican immigrants dressed in the costumes of popular American and Mexican superheroes. Each photo pictures the worker/superhero in their work environment and is accompanied by a short text including the worker’s name, their hometown in Mexico, the number of years they have been working in New York, and the amount of money they send to Mexico each week. Author Dulce Pinzón (Mexico, 1974) studied Communication at the Universidad de las Americas in Puebla, Mexico, as well as Photography at the Indiana University in Pennsylvania and at the International Center of Photography (ICP) in New York City, USA. (111734) $6,000.00

56. [Rice, Felicia]. Beausoleil, Beau. THE LONG DISTANCE. Prints by Felicia Rice. Santa Cruz, California: Moving Parts Press, 2019. (32) pages. hadbound book with color plates, boards, rice paper d.j. 37 cm. SIGNED, NUMBERED AND LIMITED EDITION OF 12/55. Artists book of seventeen poems by San Francisco poet, Beau Beausoleil. These spare narrow poems are written in the winter margins of love, alongside shards of waking dreams, and find place within our country’s vicious history. They reveal a mixture of the poet’s continuing concerns: social justice, and the interior spaces of love and memory. The poems are accompanied by four relief prints by book artist, typographer, letterpress printer, printmaker, publisher, and educator Felicia Rice. "Designed by Felicia Rice, with relief prints by the printer-publisher. Handset in Lightline Gothic and Garamond types, and letterpress-printed by Felicia Rice with Jared Cortez. Handbound by Craig Jensen of BookLab II in an edition of 55 signed and numbered copies."--Colophon (111747) $250.00

57. [Rice, Felicia]. Herrera, Juan Felipe. BORDERBUS. Images by Felicia Rice. Series Literatura Chicana / Latina. Santa Cruz, California: Moving Parts Press, 2019. 2 vols. in one. 2 accordion style volumes tipped-in each side of boards, each with separate front covers; on left side of boards: (29) cardboard pages with color plates bound accordion style tipped-in in boards; on right side of inner cover: (4) pages with b/w illus., sig., bound accordion style tipped-in in boards, plus one USB device inserted in central cut-out hole with brown silk ribbon to help pull out, plus 1 sheet of rice paper, loose as issued, used for protection. Pages printed on one side only, issued in rigid slipcase. “Forty-two copies designed in Garamond, Meridien, and Ultra types from photopolymer plates on Rives BFK tan paper by Felicia Rice. Images created by Rice and printed from photopolymer plates made by Rice and Jonathan Clark of The Artichoke Press. Letterpress and relief printing by Rice using a Vanderook proof press at Moving Parts Press. Binding by Craig Jensen of BookLab II."--Colophon. 21 x 34 cm (5.18 meters unfolded). SIGNED, NUMBERED AND LIMITED EDITION OF 21/42. BORDERBUS is a rendering of one long poem by Juan Felipe Herrera. The poem takes place on a U.S. Department of Homeland Security Immigration and Customs Enforcement (ICE)

bus. Two women have been detained while trying to cross the U.S.-Mexico border, and are being transported to a detention center. They speak in English and Spanish, whispering to avoid the attention of the guard. The text is embedded in prints by the artist/publisher and interpreted in audio recordings of the poem. Author Juan Felipe Herrera is a poet, performer, writer, cartoonist, teacher, and activist whose experiences as the child of migrant farmers have strongly shaped his work. In 2011, Herrera was elected a Chancellor of the Academy of American Poets. Herrera was the 21st United States Poet Laureate from 2015 to 2017, the nation’s first Chicano poet laureate. In the mid-1970’s he was the director of the Centro Cultural de la Raza in San Diego, an occupied water tank in Balboa Park that had been converted into an arts space for the Chicano community. Herrera’s publications include thirty collections of poetry, prose, short stories, young adult novels and picture books for children. The poem “Borderbus” first appeared in “Notes on the Assemblage” in 2015 from City Lights Books. This deluxe edition comprises prints and a case designed by book and performance artist, typographer and letterpress printer, printmaker, publisher, and educator Felicia Rice and built by Gary Combs. Rice’s relief prints layer saturated color fields, fingerprints, photographs, drawings, type, and reflective surfaces in a polychromatic sequence of eight-page spreads. The silver ropes of type present the whispered conversation between the two women on the bus. Rice’s sketches of the women’s faces are drawn from videos documenting the journey from Central America to the United States, Maria en Tierra de Nadie by Marcela Zamora and De Nadie by Tin Dirdamal. The case is mounted on a base etched with the final lines of the poem, “We are everything hermana / because we come from everything.” This treatment presents the book as an enduring marker of the many who have made "el viaje", the journey from the south to the U.S.-Mexico border. A USB drive included with the book contains two audio versions of the poem “Borderbus.” The first is a moving reading of the poem in two voices, by Marisol Baca and Gabriela D. Encinas, directed by Juan Felipe Herrera and recorded by Curtis Messer. The second is a recording of Herrera reading the poem. "BORDERBUS is the sixth in Moving Parts Press series, Literatura Chicana / Latina began in 1991." --Last page (111746) $2,500.00

58. [Troconi, Giovanni]. THE STORM COMING UP: GIOVANNI TROCONI. Presentation text by Pablo María Molinet. México, D.F: Troconi-Letayf, 2018. 5 digital photomontages printed (archive quality digital print) on Hahnemühle Photorag paper 100% cotton of 290 grams, (size 22.5 x 40 cm.), plus 1 metallic miniature Clone Soldier (approx. size 7.5 x 3.5 cm.), plus 1 metallic miniature of Darth Vader (approx. size 7.5 X 3.5 cm.), Certificate of authenticity & Hologram signed by the artist, inside box- hardcover binding container (carton and fabric) 24 x 42 cm (box). SIGNED, NUMBERED AND LIMITED EDITION OF 10 COPIES of digital photomontages of mysterious landscapes, taken by the author, inhabited by the troops of the Star Wars Galactic Empire and their leader Darth Vader. Author Giovanni Troconi (Mexico, 1960) a visual artist and graphic designer, who studied in the National School of Plastic Arts of the UNAM (ENAP); he also studied Graphic Design at the Design Institute of the Newman Foundation, in Caracas, Venezuela and Printmaking Techniques for Fine Arts at the Pratt Institute of New York. Troconi also has a specialty in photography and video by the Active School of Photography, with Professor Jan Hendrix. He is a museographer, academic and lecturer. Among his many publications there is the book Diseño Gráfico en México 100 Años, published by Artes de México. (111735) $2,000.00

58. VINTAGE POSTCARD OF THE ARRIVAL OF MADERO IN GUADALAJARA, AUGUST 5, 1910 DURING HIS FIRST PRESIDENTIAL TOUR. 1910. 24X21cm. Scarce. To end the tyrannical, 30-year reign of dictator Porfirio Diaz, an unlikely revolutionist had sprung up in the autumn of 1910. Francisco Madero, a five-foot, three-inch vegetarian and a wealthy idealist, decided the time was ripe to topple the Diaz regime that had left the wealth of Mexico in the hands of four percent of its inhabitants. Supported by guerrilla generals, Francisco Villa in the north, Emiliano Zapata in the south, and Alvaro Obregón in the west, Madero's revolutionary movement prevailed. Written on plate: "Llegada del Sr. Madero. Guad., 5-8-910- T.B."(94161) $150.00

59. [Weisman, Adam]. TLATELOLCO DESMENTIDO: ADAM WISEMAN. Concepto y diseño: Adam Wiseman, Lorena Campbell, Giovanni Troconi y Alejandro Letayf. Texto: Daniel Usabiaga_. México, D.F: Troconi-Letayf, julio de 2018. 1 box-hardcover binding container (size 23 x 51 cm), 1 tryptic with 3 color photographs, (size 20 x 50 cm ea., 24 x 150 cm. tryptic) printed (archive quality digital print) on Hahnemühle Photorag paper 100% cotton of 310 grams, signed and numbered, 10 color photographs printed (archive quality digital print) on Hahnemühle Photorag paper 100% cotton of 310 grams, (size 24 x 33 cm), signed and numbered, 1 video “Acción 27.02.14 / 20:00 horas”. Timelapse (Duration: 19 sec.), 1 flipbook “Acción 27.02.14 / 20:00 horas” (78 pages; size 7 x 10 cm), Certificate of authenticity & Hologram signed by the artist, all inside acrylic box. 24 x 52 cm (box). SIGNED, NUMBERED AND LIMITED EDITION OF 20 COPIES of photographic portfolio and artistic action by Adam Wiseman (1970) developed in Tlatelolco, a residential complex located in the iconic Plaza de las Tres Culturas. Mexico City and London based photographer Adam Wiseman was born and raised in Mexico City, the son of a Scottish mother and American father. Educated at NYU and ICP in NY he returned to Mexico City in 2001, where he has been exploring ways to challenge traditional documentary processes through concept driven photography and video. His editorial project "Tlatelolco Disproved" (Tlatelolco Desmentido) is both an urban landscape and the portrait of a community, created with the collaboration of more than 100 residents of the Chihuahua building, documented with photographs and video. The residential urban complex of Tlatelolco, completed in 1964, became the second largest of its kind on the American continent (after Co-op City in the Bronx). It was part of Mexico's ambitious movement towards modernization. Architect Mario Pani, a contemporary of Le Corbusier, brought functional modernist architecture to Mexico with its urban ensemble Nonoalco Tlatelolco, a utopian middle-class paradise. His project was carefully scheduled to be completed a couple of years before Mexico hosted the Olympic Games. Pani's dream was short-lived. Only 4 years after finishing Nonoalco Tlatelolco in 1968, and 10 days before the opening ceremony of the Olympic Games, the government massacred hundreds of students during a peaceful student protest. Less than two decades later the tragedy returned to Tlatelolco when hundreds of people died when one of the buildings collapsed in the 1985 earthquake. After the earthquake, the urban complex was transformed: the skin of the buildings, large panels that gave an elegant and uniform square shape to the whole, were removed when they were discovered to be highly inflammable material, and the origin of a series of fires. Many of the buildings were shortened by 3 floors, some demolished, and in others solid concrete columns were built on their facade to make them safer and stronger. Today,

Tlatelolco exhibits the scars of history. Far from Pani's vision, eroded by tragedy, it exists as a city that defines itself on its own terms. “I designed a series of abstractions on paper that refer to historical events. I translated these designs into light pixels that represent each window of the facade of the Chihuahua building. We invite the residents of the more than 90 apartments to participate in this experiment. The action was meticulously planned: each apartment received individual scripts that indicated when to turn on and off the lights throughout the apartment. The changes were given every 15 seconds for 23 minutes, which resulted in a total of 92 photographs. Without trial and little idea of why they did it, the neighbors collectively created a piece that bears a certain similarity to what was planned, but that acquired a life of its own. I was wrong to think that suspicion, fear, apathy and selfishness would limit participation, that the project would never reach a critical mass and therefore never achieve visual coherence. But more than 90% of the departments of the building participated with a spirit of community, blind faith, and without being able to see the results of their actions. Tlatelolco cannot be explained, it cannot be planned, and it could not be verified. Tlatelolco disproved.” (HKB Translation) --FONCA webpage. CONTENTS: Presentación / Daniel Usabiaga (111733) $4,500.00