CATALOGUE 897 RBMS June 2016

1. Machoni de Cerdeña, Antonio. ARTE, Y VOCABULARIO DE LA LENGUA LULE, Y TONOCOTE. Madrid: Herederos de Juan Garcia Infanzon, 1732. xvi, 98, 136, 18 S. Old flexible vellum, spine lettered in ink. 12vo. (150 mm. x 102 mm.). FIRST EDITION OF ONE OF THE RAREST BOOKS OF ITS KIND, AND THE ONLY EVER PUBLISHED ON THE LULE AND TOCONOTE LANGUAGES. The Arte is the first, and almost only reliable source of what we know on the now extinct Lule language, spoken at the mission of San Esteban de Miraflores, in current northern Argentina; it is a grammar, dictionary, and catechism, meant for the use of missionaries, facilitating the communication and ultimately the evangelizing of the native population. Antonio Machoni (1671 – 1753) was a Jesuit missionary to the Paraguayan Missions, linguist, ethnographer, educator, cartographer, and explorer. Machoni dedicated his life to working at the missions in Paraguay; he joined 1708 Esteban de Urizar´s expedition to the Chaco in 1708, founded the mission of San Esteban de Miraflores, taught at the Colegio Maximo de Cordoba, and served as Procurator to the Province in Rome from 1732-33. His legacy includes also the Las siete estrellas de la mano de Jesus (1731), and a map of the Jesuit Province, pointing out the Missions and geographical reality of the region. Death found him in Argentina, in 1753, where he had spent most of his life. This copy contains a Licencia not called for in Medina, and not found in most copies, dated 25 november 1732. OCLC: British Library, National Library of Sweden, American Antiquarian Society, Biblioteca Nacional de España, Universidad de Sevilla, JCB, DIBAM); European Americana 732/150; Medina, BHA, 2844; Palau, 146154 ("obra buscada y rara actualmente"); Sabin 43315; BackerSommervogel 5:263; Viñaza, C. M. y M. Lenguas indígenas de América, 295(106742) $25,000.00

2. AUTOGRAPH ALBUM BELONGING TO RENOWNED CUBAN PIANIST CELINA COSTA DE BAYO IN WHICH IMPORTANT POETS, PAINTERS AND OTHER CUBAN AND MEXICAN ARTISTS HAVE LEFT THEIR MARK. CUBA, 1941-1957. Leather bound album, titled "Autografos" in gilt on front, all edges gilt. 17 x 13 cm. (6¾ x 5"). A charming guest album with paintings, drawings, poems, and autographs of wellknown Spanish-American (largely Cuban and Mexican) personalities. These autographs and personal notes were collected by notable Cuban pianist Celina Costa over the course of 13 years, between 1941 and 1957. The album contains 22 autographs, most of which have an accompanying text (some extending to several pages) and 12 page-length drawings with oil, ink, crayon, and pencil. The autographs and handwritten texts belong to the following: The artist’s mother (“her first music teacher”). Eduardo Zamacois (Cuba, 1873 -1971), noted Spanish-Cuban novelist; Enrique López Alarcón (Málaga, 1881 - 1948), poet, dramatist and journalist from Malaga; Mercedes Pinto de Roja (Canary Islands, 1883 - 1976), Canary poet, active also in Cuba, mother of the actress of Pituka de Foronda and the actors Rubén and Gustavo Rojo, active in Cuban films; Juan D. Tercero (Mexico, 1895 - 1987), noted Mexican pianist; Pituka de Foronda (Mexico, 1918 - 1999), actress and poet, provides a handwritten one-page poem titled "Acapulco"; José Echaniz (Cuba, 1905), renowned Cuban classical pianist; Claudio Arrau (Chile, 1903 - 1991) celebrated Chilean pianist; Angélica Morales (Mexico, 1911 -

1996), Mexican teacher and pianist; Margarita Nelken (Mexico, 1896 - 1968), important writer and politician. The drawings are identified thus: XIMPA: Beautiful and detailed ink drawing of Don Quijote, armend and on horseback; Eugenio Mingorance (Mexico, 1902 - 1979) splendid beach scene in oil; José María Giménez Botey (Catalonia, 1911 - 1974), interesting and intricate ink drawing of a string instrument; Luis Marin Bosqued (Spain, 1909 - 1987), painter; beautiful colored ink drawing of a seated woman; Montenegro (Mexico,1885 - 1968), Mexican painter, lithographer, scenographer; excellent ink drawing of a musical lyre with flowers; H. Pasos M., ink drawing and 3 pages of text; Germán Cueto (Mexico, 1883 - 1975), painter, sculptor and puppeteer; splendid crayon drawing of great abstract force. There are five other drawings whose authors are unidentified.(106740) $2,800.00 3. CALENDARIO PARA EL OBISPADO DE LA HABANA. 1864. Habana: Impreso con Real privilegio. B. May y Cia, 1864. b/w vignettes., hand decorated endpapers with gilt, red velvet with gilt decorations on both covers (some light wear to gilt) 12 vo. This "petit" Cuban calendar, nicely printed in Havana by the leading printer of the city. No copies in OCLC(106743) $1,800.00 4. Molina Campos, Florencio; Mario Zavattaro,; Luis Julio Medrano. A COMPLETE COLLECTION OF ALPARGATAS ALMANACS SHOWING GAUCHO LIFE IN ARGENTINA IN ALL ITS ASPECTS. Buenos Aires: Talleres Gráficos Colombatti & Cia. Ltda. (Alpargatas), 1931/1962. 19 almanacs, each containing 12 pages (one page per month): 14 illustrated by Florencio Molina Campos, 3 illustrated by Mario Zavattaro, and 2 by Julio Medrano. Preserved in a fine leather box ad-hock plus three oversized calendars loose, as issued. 36x36 cms;36x52cms.

Florencio Molina Campos (1891-1959) was an illustrator and painter known for his typical drawings of customs and daily life of the Argentine pampa. His drawings and paintings recall, with a touch of humor, typical gaucho customs. They were invariably caricatures, and frequently primitive, although with exaggerations and coloring that connect them also with a not ingenuous expressionism; his art reflects that of sharp observations of the gaucho world from an original and different lens. His work achieved great popularity when a shoe manufacturer (Alpargatas) contacted him to produce calendars with gaucho motifs; the almanacs were published between 1931 and 1936 (6 almanacs) , between 1940 and 1945 (6 almanacs) and between 1961 and 1962 ( 2 almanacs). While Molina Campos did not work at Alpargatas 2 other artists illustrated this famous Almanacs: Mario Zavattaro, an Argentinean painter, illustrated three almanacs (1937/39), while Luis Medrano, an Argentinean caricaturist, illustrated two (1946/47). ALL THE ALMANACS ARE PRESENT IN THIS IMPRESSIVE COLLECTION. This publicity material, revolutionary for its time, reached everywhere and the people immediately valued it as their being represented; each “month” was kept on the walls of bars, stores, houses, and ranches; it thus comprised a base for the first popular and gaucho art gallery; in our time bringing together a complete collection of these almanacs is practically impossible due to the custom of the people in tearing off, month by month, the pages of the almanac to show it on the walls of their houses or business(106745) $11,300.00 5. Pecanins, Yani. COSTURAS. México: [s.n.], 2015. 1 fldg. folio (8) pages. Signed and dated artists' book with collage consisting of old sewing related objects, cut-out rice paper sewing patterns and two inserted metal pins with black pinheads, four tipped-in buttons (different sizes and colors), cut-out old newspaper clippings, all tipped-in in one folio of cotton cartolina paper folded accordion style with hand written title. Signed and dated by artist. 132 cm (unfolded). ©Yani Penanins, 2015, libro único, collage” –Verso Cover. Artist book of found objects relating to sewing and sewing patterns. Edition of one.(106333) $600.00

6. Pichardo y Tapia, Estéban. DICCIONARIO PROVINCIAL DE VOCES CUBANAS. Matanzas, Cuba: Imprenta de la Real Marina, 1836. 273, [2] pages. full contemporary calf. 16 cm. First edition of this rare work adopted and much celebrated by literati, lay people, lexicologists, etc. This provincial dictionary can be found everywhere, from the most humble storefront to the National Law Library, according to the author. There are certain terms, uses and meanings that vary widely within the Island, and each region adopts one or the other according to whether they are from the east, west or central part of the country, from the districts of Trinidad and Cienfuegos to that of Bayamo. OCLC: Harvard, JCB, NYP, Miami, Queens College, Newberry, Dartmouth, SUNY Albany, Trinity College(106762) $2,400.00

7. Gomez-Peña, Guillermo. DOC/UNDOC DOCUMENTADO/UNDOCUMENTED ARS SHAMÁNICA PERFORMÁTICA. Santa Cruz, California: Moving Parts Press. 65 copies of which 15 make up a deluxe edition housed in an elaborate electronic case. 15 stand alone books have gone to the five collaborators. 35 copies, the balance of the edition, have been available for just over a year. Of these the printer has held back 10, leaving only 15 copies for sale (this number is the later). The result of a seven-year collaboration with Guillermo Gomez-Peña, Gustavo Vazquez, Jennifer González and Zachary Watkins, the book is a multiple media production. What does it mean to be documented or undocumented? How do these terms work across borders and boundaries such as those that exist between nations and language? What are the forms of policing and regulation that maintain such categories out of fear, cultural difference or economic domination? What parts of our lives are documented and what parts remain undocumented? The object itself carries within a crisis of identity: What is it exactly? A stage for an intimate one-

on-one performance? An unusual video screening room? A personal multi-media altar? A “vanity” used for preparing for a performance? It is all these things and it is also an original book, a performative artists’ book in search of a new format and a new audience. Each element stands by itself, but together they form an indescribable whole. To learn more about this complex project and see videos and photos of the work, go to: http://www.museoeduardocarrillo.org/news/docundoc/ (106261) $6,000.00

8. Domingo F. Sarmiento, Domingo F. FACUNDO. Aguafuertes originales por Alfredo Guido. Printed by Alejandro Shaw. Bajo la dirección de Eduardo J. Bullrich y Carlos M. Mayer. Buenos Aires: Sociedad de Bibliófilos Argentinos, 1935. 309 pages. illustrated frontis, illustrations, one double paged, endpapers, full black calf with red calf strip inlay, in clam shell box. 28 cm. First title published by the Sociedad de Bibliófilos Argentinos. Number 40 of an edition of 105 copies. Alfredo Guido was a painter, illustrator and stage designer. He studied at the School of Fine Arts, where he excelled in the art of etching. He also worked as a set designer in the Teatro Colon in Buenos Aires. . In 1924 he was National Prize and four years later received the Grand Prize of Honor in the Ibero-American Exposition in Seville. In 1952 he won in the Biennial Exhibition of Madrid, the grand prize awarded for engraving, which came to confirm other international awards received earlier. OCLC: Harvard, British Library (106748) $5,500.00

9. LACRE: REVISTA DE COMUNICACIÓN ALTERNATIVA, NÚM. 1, 2. Consejo Editorial: Maria Teresa Cervantes, Alicia García Bergua; Ana García Bergua; Alonso Leal Güemer; Gertrudis Martínez de Hoyos Delamain; Francisco Pellicer Graham; Alejandro Queredo Runne; Armando Sáenz Carrillo; Austín Estrada; Martíntz de Hoyos Delamain; Francisco Pellicer Graham; Carmen Silva. México: La Tinta Morada, Impresores Alternativos, (1980). Artists' book comprising 10 contributions by different artists, original handmade mimegraphic with interventions, rubber stamp, some booklets in brown paper, loose as issued, inside handmade fldg. folder, inside brown paper bag sealed with sealing wax. Issue features contributions from Adriana Sandoval, Anacleta Morones Prieto, Isabel Quiñones, Chirstopher Dominguez Michael, Hernán Lara Zavala, José Antonio Robles, Rafael Barajas, Alicia García, and Rossana Durán. 30 x 20.5 cm. Complete set of the serial of handmade mimegraphic editions with prints by various artists. Participants in Number 1: Diego Toledo, Manuel Marín; Gerfrans; Ana Zárate/María Eguenia Guerra; Raúl Cardoso; Deepak Lakshminarayana; Alonso Leaf Gümer; Armando Saénz C.; Magalí Lara. Number 2, El Deseo: Editorial, Othón Tellez, Manuel Zavala; Alberto Castro Leñero; Fancisco Pellicer Graham; Paloma Díaz Abreu; Eduardo Chavez; Ruben Ortiz; Felipe Leal; El Fisgon. Fotografía cortesí de Rogleio Cuellar. LIMITED EDITION OF 1000 .(99209) $1,950.00 10. MUY PODEROSO SEÑOR: EL FISCAL DICE QUE HA VISTO CON LA CIRCUNSPECCIÓN Y MADUREZ DEBIDA EL EXPEDIENTE Y LOS BANDOS PUBLICADOS ENTRE MIL OCHOCIENTOS VEINTE Y CINCO HASTA EL PRESENTE INCLUSIVE… PUBLICADOS… PARA EXTINGUIR DE UNA VEZ, HASTA HOY, ÚLTIMOS RESTOS DE UNA DIVERSIÓN BÁRBARA Y FECUNDA EN TODA CLASE DE CRÍMENES Y EXCCESOS (sic). La Habana, Cuba]: c. 1835. 10 manuscript pages, letter size. Curious Cuban manuscript. Horseracing began in Cuba in the colonial period. The Spanish army kept an equestrian school in Colon. To combat boredom, they carved out a racetrack and began competing. Soon after, interest in the sport began to flourish, particularly in Camaguey. Boxes at the racetrack were packed, primarily with members of the Spanish military and their invited Cuban friends. It was then that, for the first time, spectators began to place bets by throwing small pouches from their boxes containing ounces of gold, the designated amount for each round of betting. Later on, horseracing began to catch on among the more popular classes, giving way to unpleasant situations among the fans. Once the races became more established, they were scheduled around the feasts of St John and St. Peter, and eventually became the scene of street fights and other public disturbances. Another problem discussed in the text is that, despite the fact that masks and all manner of costumes were prohibited, they were still allowed in Havana and other cities with dense populations. Given all of these problems, the (anonymous) author of this manuscript suggests abolishing this form of

entertainment once and for all. This is an interesting document that brings to light a grave social problem in post-colonial Cuba.(106761) $2,900.00 11. ORIGINAL MANUSCRIPTS ON THE FIRST RAILROAD IN CUBA. 1. Lemaur, Félix. ORIGINAL MANUSCRIPTS RELATED TO THE FIRST COMMISSION TO PLAN CONSTRUCTION OF THE FIRST RAILROADS IN CUBA. [Manuscripts]: 1. Informe sobre el proyecto del camino de carriles de hierro dende esta plasa a la villa de Giünes (22 de Nov. 1830). 2. Continuación del informe sobre el proyecto del camino de carriles de hierro dende esta plasa a la villa de Giünes (14 de Diciembre de 1830). [Havana]: [n. p.], 15 November, 1830; 14 December 1830. 2 issues: pp. 194-200 , pp. 201-212, [38] pages. manuscripts, signed, inside translucent protective envelope, sting attached to inside spine of color pict. portfolio (v.g. copies, foxing, leaves toned, quite legible). 30 cm (manuscripts); 37 cm (portfolio).

A pair of planning reports regarding Cuba's first railroad. In the first flowering of railroad technology, just five years after the first test of a passenger train in England, Cuban leaders became interested in a rail line to carry sugar and coffee from inland Güines to the port in Havana. On August 8, 1830, Cuba established the first commission, "Junta de Caminos de Hierro, to meet to consider building a railroad. Failed Güines canal engineer Francisco Lemaur and Manuel Pastor were asked to be technical advisors. Location, costs and profitability were

key to developing a plan. The first of the objectives was reached quickly. John L. Sullivan and engineer from the United States brought in a proposals. Regarding the objective of the location of the route, the brother of Francisco, Felix Lemaur, brought in a report that was preferred by the Junta. Felix Lemaur also brought in a practical and honest economic budget proposal with a high profit margin. January 22, 1831, the junta made the final report and ended its task after agreeing to publish the report. A year passed without any effort to carry out the plans. In 1832 with reorganization of the colonial administration in Cuba the railroad project and it would take three years and a new group of engineers to build the railroad. (See Zanetti & Garcia, Sugar & Railroads: A Cuban History, pages 18-33.) The first document is titled 'Informe sobre el proyecto del camino de carriles de hierro dende esta plasa a la villa de Giünes' [sic] and the second longer document is 'Continuación del informe . . ."The first discusses the pros and cons of different routes, while the second discusses some of the engineering considerations that had been raised by American consultant John L. Sullivan, and compares the merits of steam power versus the much less expensive horse-drawn cars. These documents are of considerable importance to the history of Cuba and to the development of railroads in the Americas 2. Wright, Benjamin H. TWO LETTERS DISCUSSING THE RESULTS OF SURVEYS IN PREPARATION FOR THE FIRST RAILROAD IN CUBA. Two letters, translated from English originals, detailing Engineer Benjamin H. Wright's findings during his land survey in Cuba in 1834. New York: 1834-1835. 6[6]pp, plus blank integral leaf; [4]pp. Bifolium. (Minor toning and offsetting, old fold lines; minor worming and government stamp on final page of second document. Very Good). Civil engineer Benjamin Wright, who gained notoriety from his construction of the Erie Canal, was the first engineer contracted to begin work on Cuba's premiere railroad He was unable to travel to Cuba personally and put the work into the hand of German-American engineer Alfred Cruger, with his son Benjamin H. Wright assisting. The young Wright travelled to Cuba in 1834, where her performed surveys of the proposed land. However, Cruger and Wright soon clashed, resulting in Wright's resignation from the project. The first document describes his survey of the roads in Havana, with suggestions for effective and cost efficient repairs and consideration for issues such as water drain off in preparation for laying down the railroad tracks. He also discusses the pros and cons of the innovative Macadam Method, a relatively new type of road construction invented by John Loudon McAdam in 1820. The second letter was written just after his resignation from the project and savors of bitterness in his opinions about the direction of the project. 3. Crugar, Alfred. FIRST REPORT OF THE FIRST RAILROAD BUILDER IN CUBA. [Manuscript]: "A los Señores del la Comisión de la Rl. Junta de Formento para el Camino de Hierro de la Habana al Rincon." Cerro [Havana]: [n. p.], 1835. 1 folio [1] lv, 32p [1]lv. original wrappers, disbound. (Signed by the author, Alfredo Cruger, Director. Dated Octubre 20 1835. (A very good copy, old stab marks at inner margin, foxing, leaves toned, quite legible.) A detailed manuscript report on the proposed route of Cuba's first railroad. Cuba's first railroad

commission, the "Junta de Caminos de Hierro," met to consider building the ...He arrived with in April of 1835 with Benjamin Wright, Jr., and this report by the railroad's noted German-American chief engineer was issued six months after his arrival in Cuba, and two years before the project's completion. He discusses in detail the engineering obstacles involved in two different routes between Havana and Rincón. Cruger and Wright soon clashed, resulting in Wright's resignation from the project. Zanetti & Garcia state that Crugar should be considered the first builder of the Cuban railroad. (See Zanetti & Garcia, Sugar & Railroads: A Cuban History, pages 18-33, 114.) Crugar printed a book in 1841 in Havana with a full report with only three copies showing in OCLC. A fascinating archive of manuscript material in three parts that spans the first planning documents to the first report of the first railroad builder in Cuba. Three of the most significant engineers are represented in this archive. These documents are of considerable importance to the history of Cuba and to the development of the railroads in the Americas.(106612) $10,000.00

12. Bray, Robert E. ORIGINAL WATERCOLOR VIEW TITLES "GUAYMAS, SONORA" 1882 BY THE ARTIST. Additional pencil note: "Taken from the Hotel Ferrocarril in 1881." Watercolor measures 11 x 16 inches on larger mat (12 x 17 1/4 inches) Very Good (There is another portrait pasted behind this one, apparently showing a Mexican officer and his wife). In 1876, near the time of this painting, Lippinoctt's Gazetteer said of Guaymas: "Its habor is the one of the best on the West Coast of Mexico, and it has an active and increasing trade." This view shows a number of small vessels in port and some buildings in town, and the artist notes that this view was apparently painted from the Hotel Ferrocarril.

Not much is known of Robert Bray; he is listed in Huges, ARTISTS IN CALIFORNIA, 1786-1940 as a resident of Los Angeles in 1902-1903.(106756) $4,350.00 13. PERSONAL ARCHIVE OF A SPANISH PHARMACIST WHO MOVED TO GUANTÁNAMO - INCLUDES INTERESTING DESCRIPTIONS OF VARIOUS TOWNS IN CUBA. a -Angulo y Suero, F. Recuerdo de un viaje a Cuba. De Madrid a Guantánamo. Guantánamo, Diciembre de 1871. 8vo.; MANUSCRIPT. 56 pp. Wrappers. Interesting manuscript narrating a trip undertaken by a pharmacist from Madrid to Guantánamo where he established a pharmacy. The trip is described in considerable detail until the arrival in Cuba where the ship docks in front of the Customs House and near the warship Blasco Nuñez de Balboa. [with] b-Angulo y Suero, F. Apuntes varios, referentes a datos geográficos de la Isla de Cuba, tomados del Diccionario de Pezuela y al Cementerio of Santiago de Cuba, tomados del archivo municipal de la Ciudad. Habana,1878. 8vo., MANUSCRIPT. 68 pp. Wrappers. Interesting geographical information on towns in Cuba. Includes a description of the mental institution Potrero Terzo as well as notes on the Cemetery de Sgo. de Cuba. [with] c-Angulo y Suero, F. Discurso científico del... leido en el solemne acto de recibir la investidura de Licenciado en la Facultad de Farmacia. "Del agua física y químicamente considerada" Madrid, Julio, 14 de 1865. Signed by the author. Together loose, as issued in marbled slipcover.(106744) $4,500.00

14. 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 who was one of the leaders of the “arte concreto” movements in Argentina. To my knowledge this has never been published. Below is a link to his biography. http://museolozza.com.ar/raul-lozza/biografia/ (106591) $7,800.00

15. SOCIEDAD DE BILIÓFILOS ARGENTINOS: A COLLECTION. Sarmiento, Domingo Faustino. Facundo. Buenos Aires. Francisco A. Colombo, 1933. #36/100 on “Japan” paper. With an original drawing and etchings by Alfredo Guido. Lugones, Leopoldo. Romances del Río Seco. Con dibujos de Alberto Güiraldes. Buenos Aires. Francisco A. Colombo, 1938. #72/95 on “Perusia” paper. Illustrations by Alberto Güiraldes. Echeverría, Esteban. El Matadero. Buenos Aires. Francisco A. Colombo, 1944. #44/100, on “Charther Eggshell” paper. Illustrations by Waldimiro Melgarejo Muñoz. With original proofs of the etchings in different states. Becher, Emilio. Diálogo de las sombras. Buenos Aires. Francisco A. Colombo, 1947. #5/100 on “Perusia de Fabriano” paper. Wilde, Eduardo. Tini. Aguafuertes de Cata Tórtola de Bianchi. Buenos Aires. Estudio de Artes Gráficas “Futura”, 1948. # 64/ 91, on “Charter Eggsshel” paper. Etchings by Cata Mórtola de Bianchi. López, Lucio Vicente. El salto de Azcochinga. Ilustrado con xilografías originales de Alberto Nicasio. Buenos Aires. Sociedad de Bibliófilos Argentinos, 1951. #33/100 on “Charter Eggshell” paper. Illustrations by Alberto Nicasio. González, Joaquín V. La selva de los reptiles. Punta secas por María Carmen Portela. Buenos Aires. Francisco A. Colombo, 1953. #89/100, on “Charter Eggshell” paper. Illustrations by María Carmen Portela.

Lugones, Leopoldo. Al Rastro. Episodio de "La Guerra Gaucha".Buenos Aires. Francisco A. Colombo, 1955. #64/100 on “Charter Eggsshell” paper. Illustrations by Jorge Argerich. Payró, Roberto J. El fantasma. Litografías de Raúl Veroni. Buenos Aires. Francisco A. Colombo, 1957. #89/100, on “Charter Eggsshell” paper. Illustrations by Raúl Veroni. Mansilla, Lucio Victorio. El diario de mi vida. (Estudios morales). Buenos Aires. Francisco A. Colombo, 1962. #64/100 on “Charter Eggsshell” paper. One engraving in “fototipia” by Estudios Edar. Cané, Miguel. El canto de la sirena. Buenos Aires. Francisco A. Colombo, 1966. #60/100, on “Charter Eggshell” paper. Illustrations by Victor Delhez. Booz, Mateo. Cuentos Santafecinos. Buenos Aires. Francisco A. Colombo, 1969. #64/100 on “Charter Eggshell” paper. With etchings by Enrique Fernández Chelo. Hernández, José. Martín Fierro. Consejos a sus hijos. Grabados de Víctor L. Rebuffo. Buenos Aires. Francisco A. Colombo, 1972. #10/100. This is one of the 25 copies of “Fabriano a la cuve” paper with a suite containing a series of the xilographies in different states. Several signes by Víctor Rebuffo. Lynch, Benito. Tres cuentos. (Palo verde. Pedro Amoy y su perro. Tengo mi moro). Buenos Aires. Francisco A. Colombo, 1972. #1/100 on “Charter Eggshell” paper. Illustrations by Adolfo Bellocq. Mansilla, Lucio Victorio. Una excursión a los Indios Ranqueles. Buenos Aires 1870. Tomo I. Buenos Aires. Francisco A. Colombo, 1974. #50/100. on “Japan Kyokushi” paper. A unique copy with one original pencil drawing by the illustrator, Roberto J. Paez. With 13 etchings. Banchs, Enrique. Poemas. Aguafuertes de Raúl Russo. Buenos Aires. Francisco A. Colombo, 1975. #50/100, on “Guarro” paper. Illustrations by Raúl Russo. 36 titles. Mansilla, Lucio Victorio. Una excursión a los Indios Ranqueles. Buenos Aires, 1870. Tomo 2º. Buenos Aires. Francisco A. Colombo, 1977. #50/100 on “Japan Kyokushi” paper. A unique copy with one original pencil drawing by the illustrator Roberto J. Paez. With 11 etchings. Storni, Alfonsina. Poemas. Aguafuertes de Gabriela Aberastury. Buenos Aires. “Gabinete del Grabado”, 1978. #28/100 on “Guarro” paper. This copy includes a suite with five engravings on “sueco” paper, signed and numbered by the illustrator, Gabriela Aberasturi. Güiraldes, Ricardo. Don Segundo Sombra. Buenos Aires. “Gabinete del Grabado”, 1979. #50/100, on “Auvergne Crème” paper. Illustrations by Aída Carballo. Martínez Estrada, Ezequiel. Tres Cuentos. Aguafuertes de Leopoldo Presas. Buenos Aires. Audivert, 1981. #28/100, on “Guarro” paper. Etchings by Leopoldo Presas. Groussac, Paul. Mendoza y Garay. Buenos Aires. Instituto Salesiano de Artes Gráficas, 1982. #1/100 on "Dauphin de France" cream paper. Illustrations by Antonio

Berni. López, Lucio Vicente. La Gran Aldea. Costumbres Bonaerenses. Buenos Aires. Imprenta Dos Amigos, 1984. #28/100, on “Dauphin de France” cream paper. With a suite of seven original etchings numbered and signed by María Inés Vera. Fernández Moreno, Baldomero. Poesías. Aguafuertes de Alicia Scavino. Buenos Aires. Imprenta Dos Amigos, 1985. One of 100. This is a printed copy. Illustrations by Alicia Scavino. Obligado, Rafael. Leyendas Argentinas. Aguafuertes de Julio Pagano. Buenos Aires. Imprenta “Dos Amigos”, 1985. #69/95, on “Duphin de France” paper. With etchings by Julio Pagano. Girondo, Oliverio. Campo nuestro. Aguafuertes de Gabriela Aberastury. Buenos Aires. Imprenta Dos Amigos S. R. L. 1987. #28 on “Dauphin de France” paper. Illustrated with four etchings by Gabriela Aberastury. Mallea, Eduardo. Todo verdor perecerá. Buenos Aires. Editorial Dos Amigos, 1989. One of 100 copies on “Dauphin de France” cream paper. Illustrated with etchings by Susana Negri. Fray Mocho. Un viaje al País de los Matreros. Xilografías originales de Adolfo Belloq. Buenos Aires. Talleres Artesanales “Dos Amigos”, 1992. #28/100 on “Velin D’Arches” cream paper. Illustrations by Adolfo Belloq. Lugones, Leopoldo. Alas y otros poemas. Acrílicos de Aldo Chiappe. Buenos Aires. Artesanías Gráficas S. R. L., 1996. #50/75 on “Velin D’Arches” paper. Illustrations by Aldo Chiappe. Bioy Casares, Adolfo. El sueño de los héroes. Aguafuerte Cristina Gómez Moscoso. Buenos Aires. Artesanías Gráficas S. R. L., 1997. #48/80 on “Velin D’Arches” paper. Illustrations by Cristina Gómez Moscoso. Dávalos, Juan Carlos. Florilegio de poesías. Acuarelas de Lola Frexas. Buenos Aires. Artesanías Gráficas S. R. L., 1997. One of 80, on “Velín D´Arches”. Illustrations by Lola Frexas. García Márquez, Gabriel. El General en su Laberinto. Aguafuertes de Cristina Gómez Moscoso. Tomo I y II. Buenos Aires. Sociedad de Bibliófilos Argentinos, 2000/2001. Volume I: One of 100 on “Velin D´Arches” paper. Volume II: One of 100 on “Velin D´Arches” paper. Both with illustrations by Cristina Gómez Moscoso. Zorraquín Becú, H. En el cincuentenario de la Sociedad de Bibliófilos Argentinos. 1928-20 Agosto-1978. Buenos Aires. Francisco A. Colombo, 1978. A unique copy from the former President of the Sociedad de Bibliofilos, Juan Viviano, with personal papers and newspaper clippings.Both with illustrations by Cristina Gómez Moscoso.Zorraquín Becú, H. En el cincuentenario de la Sociedad de Bibliófilos Argentinos. 1928-20 Agosto-1978. Buenos Aires. Francisco A. Colombo, 1978. Zorraquin Becú, Horacio. Discurso en homenaje a Armando Braun Menéndez. Buenos Aires. Sociedad de Bibliófilos Argentinos, 1987. With an etching by Mirta Ripoll. Zorraquin Becú, Horacio. Tiempos de Rafael Obligado. Al cumplirse el centenario del Santos Vega (1885-1985). Buenos Aires. Ediciones Dos Amigos, 1989. #300 on”Canadiense verjurado” paper. Ros, Vicente. Bibliofilia y encuadernación. Disertación pronunciada el 13 de noviembre de 1991. Buenos Aires. Taller “Dos Amigos”, 1992. #28/200, on “Fabriano Kraft A la Cuve” paper. Illustrations byAlicia Scavino. Cáceres Freyre, Julián. Bibliotecas que he conocido como estudiante e investigador. Disertación pronunciada el 8 de setiembre de 1992. Buenos Aires. Artesanías Gráficas S.R.L., 1993. #28/150, on “Milano Fabriano A la Cuve” paper. Illustrations by Alicia Scavino.

On the 20th of August of 1918 the mutual desire of forty eight men and one woman gave life to the Society of Bibliophiles Argentinos at the National Library, which was under the direction of Paul Groussac. The joint efforts and perseverance in the work realized by its members from its creation until the present has achieved the production of many of the most beautiful books published in Argentina. The volumes bring together in perfect harmony many of the most representative texts of the literary and historical life in Argentina with illustrators and artists of recognized importance. From Sarmiento to Mansilla, from Lugones to Bioy Casares, throughout these “works of literary art”, there runs the presence of the most significant personalities of the century, interpreted through their art by prestigious artists such as Alfredo Guido, Alberto Güiraldes, E. Fernández Chelo, Aida Carvallo, and many others. As “non commercial” publications designated solely for the members of the “Sociedad de Bibliófilos” the editions of these books did not go beyond 100 copies, all printed on paper of the finest quality, in different versions. The COLLECTION that we offer includes ALL of the works published by the Sociedad de Bibliófilos to the present in addition to publications of varied topics related to book collecting that complement the collection. According to our research, there is NO complete collection in the USA or Europe.(106738) $55,000.00 16. Olea, Nicolás (1635-1705). SUMMA TRIPARTITA SCHOLASTICA, PHILOSOPHIAE; SIVE CURSUS PHILOSOPHICUS TRIENNALIS, IN LOGICAM, PHYSICAM, ET METAPHYSICAM ARISTOTELIS… PARS PRIMA IN LOGICAM. Attribution: auctore R.P. Nicolao de Olea. [Lima]: Sumtibus Iosephi de Contreras Regio Limae Typographi, 1693. Double columns, Includes index, vellum; title page with marginal restorations. 4to (21 cm). FIRST EDITION OF THE FIRST SYSTEMATIC PHILOSOPHICAL TREATISE PRODUCED AND PRINTED IN SOUTH AMERICA. OF UTMOST INTEREST FOR THE HISTORY OF SCIENCE IN PERU, AND A LEGENDARY BIBLIOGRAPHICAL RARITY. The author, Nicolás de Olea, was a Peruvian Jesuit physicist who entered the Company of Jesus in 1652. From 1682 to 1686, he accompanied the Jesuit Provincial Martín de Jáuregui as a consultant to various Jesuits establishments in the Province of Peru. He is considered a Scholastic philosopher, a follower of the thought of Saint Thomas Aquinas, but possessing sufficient ideological expansiveness to cite Thomas Campanella, Giordano Bruno, Tycho Brahe, and other founders and exponents of the New Science. In this treatise, the author introduces the philosophy of René Descartes in Perú. Galileo is also mentioned in the text. A second part was printed in 1694 by the same printer, only held at JCB and the Medina collection. OCLC: 3 copies Tulane & JCB, DIBAM (Medina Collection). Palau 200172; Medina, J. T. Lima, 651; Vargas Ugarte, R. Impresos peruanos, 885(106741)$8,500.00

17. Silva, Carmen; Alicia Garcia Bergua (Eds). EL TENDEDERO DE OTOÑO 1983. EL TENDEDERO DE INVIERNO 1984. Viñetas Rossana Durán. [México]: La Tinta Morada, Impresores Alternativo; Editorial Penélope, Enero de 1984; Octubre de 1985. 2 numbers: 31p. b/w plates, some pages have tipped-in stickers in diverse colors and shapes (stars, moons, etc.), diverse ink stamps all over pages, string bound color wrps. (orange) with tipped-in white paper tag with string attached and stamped with title “El Tendedero” 23cm. Complete set of artist book serial. In 1982 Carmen Silva and Alicia Garcia Bergua met at the restaurant “La Veiga” in Mexico City to create a magazine with intimate and calligraphic texts by artists and authors. “El Tendedero (clothes line ) is created in collaboration with La Tinta Morada, Impresores Alternativos (Purple Ink, Alternative Printers) under the responsibility of Carmen Silva and Alicia Garcia Bergua”—P. 2. Includes a numbered and signed color photograph by R Figueroa Flores (1984). Contents 1984: Del departamento de lencería / Alicia García Bergua –- Un recuerdo / Adriana Sandoval –- Color de ojos azules / Anacleta Morones Prieto –- Muestra fraternidad / Isabel Quiñones –- Fragmentos para mariana / Christopher Domínguez Michael – De estos recuerdos palabras / Hernán Lara Zavala – Amarimantima foémica / Jose Antonio Robles –- Trabajo manual / Rafael Barajas (El Fisgon) y Alicia García. 1984: Includes a numbered and signed color photograph by R Figueroa Flores (1984). Contents 1985: Editorial – Parte de los Fragmentos completes / Leticia Hülsz Piccone – Lamentación de Doña Blanca / Marcela Fuentes Berain – Plaza / Elena Milan – Color de ojos azules (continuación) Anacleta Morones – Recado / Raúl Peñaloza – Texto / Hugo Heriart – La sortija / Hugo Heriart – Cuerpos ausentes / Margarita Mancilla – Los empolvados, los del armario / Alicia Garcia Bergua – Un encargo de viaje / Ilse Gradwohl – Trabajo manual / Agustin Estrada, Gabriel Figueroa y Jorge Vertiz. LIMITED EDITION OF 200(99251) $1,600.00