Rodrigues, Alberto Mariscano (1952-2013)
52 pp. Brazilian Book-Object Printed with Transparent Plastic Sheets. No Copies in WorldCat.52 folios. In original condition, with traces of age and use due to the fragility of the materials used to produce the book. ATTRACTIVE BRAZILIAN AVANT-GARDE. This title is a work of the author's youth and is extremely rare, and certainly, a small print run, as it is not even included in the author's available bibliography. Curious handcrafted book-object, with transparent plastic sheets, printed in black & white. The text is formed with words that circulate as you progress in reading each page. Included is an invitation to the launch of the book at Livraria Fresta (December 13, 1979), with introductory poetry by Haroldo de Campos, with the follwing text "The Alberto (Rodrigues) made a book out of glass, a book out of sheets of glass or water." Also included, a card printed with the words "Christmas: Night alva: Peace saves". Rodrigues was the introducer of the Indian zither in Brazil. Teacher, philosopher, writer and classically trained musician from Benares Hindu University, being the partner of Haroldo de Campos as a musician, on the occasion of the recordings of the CD that accompanies the monumental and well-known work Galáxia. WorldCat: no copies.
Carls, Francisco Henrique
Oblong. S.P. A Superb Visual Record of Brazil in the Late 19th Century. 48 Stunning Chromolithographs of Recife. Only 2 Copies in US Libraries.Oblong quarto (315 x 406mm). Lithographed pictorial title on yellow paper, lithographed prospectus dated 1878, and 48 chromolithograph plates. Original green cloth, gilt-lettered title (sympathetically re-backed with old spine laid down. A rare collection of chromolithographic views of Recife, and the state of Pernambuco. With original pictorial wrapper[?] bound as title-page and lithographed prospectus, dated August 1878. This is an impressive and lovely array of views of the Brazilian state of Pernambuco, particularly its capital city, Recife. The German lithographer Franz Heinrich Carls immigrated to Brazil in 1858 and eventually set up a lithographic printing house in Recife in 1861. It is thought that this album was first issued in 1873 with fifty plates, however, the prospectus present here asserts that the first issue had only thirty plates. In part, in translation: "I undertook this work several years ago, publishing 30 views, but the lack of skilled collaborators and the lack of time forced me to abandon it. Today, in light of the many improvements which have beautified our city, and aided by a highly skilled collaborator, I am honored to present these 10 views produced in chromolithograph . the complete series will have between 40 and 50 views." Copies with 50 views are known, and some include a chromo lithographed calendar for the year 1880; however, copies are very idiosyncratic and few, if any, contain the same complement of plates. In his prospectus, Carls details the price per plate for both subscribers and non-subscribers and a distribution and payment schedule. The skilled collaborator to whom Carls referred was Luiz Adam Cornell Krauss, a fellow German immigrant to Pernambuco. "The colorful and airy rendering contributes much to the appeal of this extensive series of images that forms one of the most comprehensive visual reports carried out on any Brazilian city in the period" (Correa do Lago). "a significant iconographic series for the visual memory of the country, depicting scenes of everyday life, customs and landscapes" (Silva, p. 1567) Correa do Lago, Brasiliana Itau pp. 328-329; Not in Borba de Moraes;Silva, "Franz Carls: Memórias Litográficas do Recife Oitocentista", in 21st Encontro Nacional de Pesquisadores em Artes Plásticas - Vida e Ficção / Arte e Fricção, 2012. WorldCat: Oliveira Lima; Cincinnati (32 plates).
Pierre Lefort (1767 - 1843)
8vo. 137 pp. Caribbean Medicine, Extremely Rare Martinique Imprint About Tropical Medicine, Yellow Fever, By Martinique s King s Physician. 8° (21.5 x 13.5 cm): 137 pp., bound in contemporary navy-blue paper wrappers, former owner's name "Dr. Leconte" inscribed in mss. pencil to the title. Extremely rare and highly important medical imprint from Martinique - this is the first printing of the official record of the daring experiments overseen in 1822 by Pierre Lefort, the chief physician of Martinique, that definitively proved for the first time that yellow fever was not contagious by way of human contact. The investigations involved extensively exposing Lefort's colleague, Dr. Jean Guyon, to all manner of elements supposedly riddled with the disease, with the result that he weathered the ordeal with no sign of infection; these findings revolutionized how professionals studied and treated yellow fever and how government officials handled outbreaks, as they were now less inclined to mandate unnecessary and damaging quarantines; published in Saint-Pierre, Martinique by the crown printer, Chez Fleurot. Yellow fever (French: fièvre jaune) is a viral hemorrhagic disease that initially causes a high fever and, in most cases, dissipates after five days. However, in 15% of cases, the illness rages back with a greater virulence, causing the patient to have a jaundiced appearance, with vomiting, leading to organ failure and death. Yellow fever had its origins in Africa and was initially transported to the New World aboard slave ships. It soon became a leading cause of death in the tropical and semi-tropical Americas, especially in the West Indies, killing many thousands of people annually. For decades, doctors and scientists struggled to understand the origin of yellow fever, how it spread, and how it could be mitigated, or cured. While some of their remedies may have marginally helped an infected patient to fight off death, comprehending the scourge, let alone the discovery of a cure, was long in the future. Up through the early 19th century, one of the great questions regarding yellow fever was whether it was contagious. While we know today that the disease is non-contagious, and the vector of its spread is by the mosquito, it is understandable that before this was known, it would have seemed as if the malady was spread human-to-human. Outbreaks tended to occur in specific locations, like villages, plantations, army barracks, or aboard vessels (where infested mosquitoes prevailed), which mimicked the spread of disease by human contact. The incorrect, but common, belief that yellow fever was contangoes led authorities to often impose quarantines upon affected locations or vessels, which was to the detriment of the care of the patients while being very harmful to the local economy. This all being said, there were always physicians who ardently believed that yellow fever was not contagious; however, for decades they were frustrated that they could not prove their case. This opened a debate between the âcontagionists' and the ânon-contagionists' in the global medical community. The author, Pierre-François Lefort (1767 - 1843), was one of the most prominent French public health officials of his era, responsible for a great leap forward in yellow fever research. The Mémoire was published in St. Pierre, Martinique, by the government printer, Chez Fleurot, with the approval and encouragement of Governor Donzelot. The bulk of the text is comprised of a lengthy essay whereupon Lefort describes the nature of the yellow fever as he sees it and discusses his experiences treating the disease. However, the most consequential part of the entire work comes in the form of a relatively brief âProcès-Verbaux' (pp. 126-30), or record of the experiments he oversaw that definitively proved that yellow fever was not contagious. Provenance The present example of the work features the name of a former owner, "Dr. Leconte", written in pencil to the title. This likely refers to Eugène Pierre Thomas Leconte (1822 - 1851), a French navy surgeon who served in Martinique and French Guiana treating yellow fever patients. References: Wellcome Collection: MST.238; Royal Society of Medicine: TR.B.95(2); Bibliothèque Universitaire de Nantes: 21353-3; Biblioteca nazionale di Napoli: BIB. PROV. 2. 828; OCLC: 14853280. WorldCat: 6 copies in US Libraires (NYC Acdy of Med, N. Orl, Harvard Med, Hopkins, NL of Med, JCB.
Sorapán de Rieros, Juan
8vo. S.P. Continúa del título: compuesta por el doctor Iuan de Sorapan de Rieros. 17th Century Spanish Medicine Through Proverbs. Gastronomy, Wines, Exercise, Sleep, Education, Pregnancy. 8vo; modern calf. FIRST EDITION OF THIS EARLY MEDICAL AND SCIENTIFIC SPANISH TRACT. Juan Sorapán de Rieros (1572-1638) was a famous doctor from Extremadura who, throughout his professional career, came to hold the positions of "physician and family member of the Holy Office of the Inquisition of Llerena and Granada, and of his Royal Chancery», whose president was also his personal doctor. In his Medicina española, Sorapán comments on some proverbs (forty-seven, in total) that cover topics related to health, trying to demonstrate how popular wisdom is combined with the scientific knowledge of the time. The two parts of the work, of almost six hundred pages, present a notable asymmetry: the first, the most conspicuous, consists of forty-three proverbs about "food, drink, exercise, sleep, Venus, mood accidents, change of air and place"; the second, with only four proverbs, deals with the "good education of children", "preservation from the plague", and "doubts about pregnant women". Sorapán intends with his work, on one hand, to exhibit his erudition; on the other, to disseminate the treaty as widely as possible, also for informative and social purposes, with the aim of contributing to the preservation of health. Notably, it adds 687 bibliographical citations of classical authors, which indicates the book's erudition level. Entre el Refranero y la "ciencia" médica: Juan Sorapán de Rieros (Massimo Marini Università di Roma La Sapienza, Instituto Cervantes, online) # WorldCat: 10 copies in US Libraries.
Denis, J. F.
pp. Brazilian Indians Entering Rouen in 1550 .and Poems in Tupi (Brazilian Indian Language) 104 pp; 1 fold plate at the end. CURIOSA BRASILIANA. FIRST EDITION. ".this small volume is today difficult to find, only a few copies having been issued. In it Ferdinand Denis pointed out to his readers the existence of two books and a manuscript describing the "entree" of Henry II of France into the city of Rouen in 1550, each containing a long text and an illustration of the Brazilian Indians who took part in the festivities. At the end of this work Denis writes about Brazil in the sixteenth century, and transcribes the Tupi Poems by Fahter Christovao Valente, which were written according to Father Araujo s grammar". (Borba de Moraes, vol 1, p.257). "Denis is concerned here with the festivities which took place on the occasion of the visit of Henri II and Catherine de Medicis in Rouen on 1 October 1550, and with the two publications of the time, as well as a manuscript on this event. For the amusement of the visitors, a Brazilian village was built as a main attraction; about fifty Indians living in the city were taken to live there. In addition 150 sailors, who had already been in Brazil and who were well acquainted with the situation, helped to animate the exotic scene. This spectacle, which bears witness to the close relations between France and Brazil in the sixteenth century, is reproduced in one of the publications mentioned in this book: "Cest la deduction du sumptueux ordre plaisantz spectacles et magnificaz theatres dresses et exhibitions par les citoiens de Rouen" (Rouen, 1551). The woodcut Figures des Brisilians is here reproduced as a folded plate. The work finishes with the "Poems Brasilicos", of Christovao Valente, that appeared first in Araujo s "Catecismo na lingoa Brasilica" (Lisbon, 1618)." (Bosch, Bibliotheca Brasiliana, # 452). This work had been translated into portuguese in 1944 as: "Uma festa brasileira "/Ferdinand Jean Denis; Cristóvão Valente; Cândido Jucá Filho; Plínio Ayrosa; Basílio de Magalhães Rio [de Janeiro] EPASA, 1944. Borba de Moraes, I, p. 257 e 276 nota.; Bosch, Bibliotheca Brasiliana, # 422; Sabin 19556; Raeders 38; Baldus 396; Plinio Ayrosa, p. 91-2; Rodrigues, 856. Sabin 199556. Baldus 396. Plinio Airosa, p. 91/92. WorldCat: 3 copies in US Libraries (Princeton, Harvard and JCB).
Lozza, R.
7vols. 4to. S.P. Perhaps the Most Important Concrete Art Periodical from Argentina. A Complete Run of 7 issues, of Utmost Rarity.7 issues. ALL PUBLISHED. Unbound, as issued. A fine copy of Raúl Lozza s concrete art journal, almost impossible to find complete and in fine condition as this copy. Lozza was co-founder of the 'Asociación Arte Concreto Invención', one of the first realizations of abstract art within the Argentinian avant-garde; before creating his own movement, 'Perceptism', which championed the unity of form and colour. Perceptismo - the movement's journal Perceptismo - stands as an important concrete art periodical of the 1950s: it became a critical platform for Lozza's art-theoretical standpoint, as well as the movement's geometric works, and their relationship to the history of modern art. Other members of the movement and contributors to the periodical include Lozza's brother Rembrandt V.D. Lozza and the art critic Abraham Haber. WorldCat: Seven copies in US Libraries (only 5 complete). Tulane, Met, MoMA, Getty, Houston; Miami (1-6 only), Princeton (1-6 only).
Pichardo y Tapia, E.
S.P. Surveyor-Cartographer. / José Valdepares, Editor. By The Father of Cuban Geography. Finest Map of Havana Ever Printed. A fantastic Large Colour Lithograph. Color lithograph, rolled 86 x 111 cm (34 x 44 inches).Extremely rare; a grand, separately issued work that is the finest and most influential map of Havana of the generation leading up to and during Cuban Independence, after the surveys of Este ban Pichardo, the âFather of Cuban Geography', it showcases Havana in unprecedented detail and precision, not only capturing the old town, but all Havana Harbour and the city's fast-growing suburbs; published in Paris in 1881, it served as the masterplan of metro Havana through the period of U.S. Military Government in Cuba (1898 - 1902), upon which the map was copied and issued in the U.S. for a variety of martial and civilian administrative purposes. This extremely rare, grand format separately issued work is the finest and most important map of Havana and its environs made in the twilight years of the Spanish colonial era. It was created by Este ban Pichardo, the âFather of Cuban Geography', who mapped the country to top-notch modern systematic scientific standards. It captures the Cuban capital as it appeared in the 1870s, when it had a population of around 180,000, and was one of the most beautiful, cultured, and well-appointed cities in the Americas. While central and southeastern Cuba was then engulfed in the turmoil of the Cuban insurrectionist conflicts of the Guerra de los Diez Años (1868-78) and La Guerra Chiquita (1879-80), Havana was not directly involved in the fighting. In fact, the city's economy benefited from war contracts, while its population continued to grow briskly, largely due to the arrival of immigrants from Spain. The map embraces the entire harbor of Havana and its environs and depicts the city proper, plus all its fast-growing suburbs and exurbs. Every street is pictured and labeled, with the street numbers given per block, while the city's numerous parks, squares, public institutions, and grand facilities (ex. forts, barracks, hospitals, schools/colleges, religious places, and large business campuses, etc.) are noted. Indicative of metro Havana's rapid growth, the streets of the several projected areas of development are shown by intermittent lines. The map was created by Este ban Pichardo while the esteemed polymath-cartographer was in his 70s. He bases the map upon his own surveys, as well as the best mapping done for the army and Havana's Public Works Department, creating an unrivaled graphic record of the city. The map was edited by a local draftsman, José Valdepares. The map was first published bearing the same title as the present, Plano de la Habana por D. Este ban T. Pichardo, agrimensor y maestro de obras. / Editor: D. José Valdepares (Paris: A. Simon for Imp. Becquet, 1874). However, this first edition seems to have been a âtrial run', as it is known to survive today in only a single institutional example, held by the Biblioteca Centro de Documentación de Defensa, in Madrid (shelfmark: 729.12 La Habana); this example has a numbered manuscript grid laid over it and seems to have been used a working copy. The second edition, represented by the present example, was issued in 1881, two years after Pichardo's passing, and is faithful to the 1874 edition, save that it is far more beautifully colored and executed to a higher quality of lithography. Although this edition was made in only a small print run, for high level administrative and commercial use, it proved to be highly influential. Upon the U.S. Invasion of Cuba during the Spanish-American War (1898) and during the subsequent U.S. Military Government in Cuba (1898 - 1902), the present map was used as the âmasterplan' of Havana by the Americans for all manners of military and civilian planning, as well as explaining the operations of U.S. entities in Cuba to Congress. Various editions of the Pichardo map, with modifications to suit specific purposes, were published in the Unities States. These American derivatives include the Military Map of Habana and Vicinity (Washington, DC: War Department, Adjutant-General's Office, 1898); as well as several different versions of the map, modified by the engineer William Murray Black to depict the city's road works, sanitation and drainage systems, etc., variously published between 1900 and 1902 by Julius Bien (New York); A. Hoen & Co. (Baltimore); and for the U.S. Army Corps of Engineers by Guggenheimer, Weil & Co. (Baltimore). The âreal' Pichardo map of 1881 is easily distinguishable from the American derivatives which, in addition to their modified content, were produced to much lower quality of lithography. Most of the American derivates are quite common, having been issued in relatively large print runs, compared to the extremely rare 1881 edition. The present map of Havana represented the apogee of Pichardo's urban/regional mapping and was proved to be his most internationally influential work.A Note on Rarity. The present map is extremely rare. It would have been issued in a limited print run, as it was an expensive work geared for high-level administrative and commercial use. Moreover, the map is of a large format and printed on fragile paper, leading to a very low survival rate. We can trace only 4 institutional examples of the present 1881 edition of the map, held by the Biblioteca Centro de Documentación de Defensa (Madrid); Archivo del Museo Naval de Madrid; Bibliothèque nationale de France; and the Bancroft Library (University of California-Berkeley). Moreover, we are not aware of any sales records for any other examples. Most of the American derivatives of the map are considerably less rare and appear with relative frequency on the market. * References: Biblioteca Centro de Documentación de Defensa (Madrid): 729.12 La Habana; Archivo del Museo Naval de Madrid: MN- 16-A-6; Bibliothèque nationale de France: GE FF-9680; Bancroft Library (Univ
(SLAVERY & ABOLITION--BRAZIL.)
2 pp. Broadsheet Printing of the Decree Which Freed the Enslaved of Brazil, at Age 60.2 pages, 13 x 8 1/2 inches, on one sheet, titled "Ministerio dos Negocios da Agricultura" (the issuing agency) and signed in type by Antonio da Silva Prado as president of the state of Sergipe. A MOST INTERESTING BROADSIDE ABOUT SOUTH AMERICAN SLAVERY. In 1885, Brazil and Cuba were the last nations that continued in the practice of slavery. On 28 September of that year, Brazil passed this feeble half-measure toward emancipation, the Saraiva-Cotegipe Law, which offered provisional freedom to all enslaved people upon reaching the age of 60, and forbid the sale of slaves across state lines. Brazil did not completely end slavery until 1888. We find no other examples of this printing, a circular issued by Brazil's Ministry of Agricultural Affairs. WorldCat: no copies.
4vols. S.P. Nos 1-4, (of 7 published). In octagonal shaped cardboard boxes, 20 x 20 cm, with colour printed title label on top lid. Includes loose sheets, poem objects and collages of various materials made to fit the box by various contributors. Produced in an edition of 400. The magazine existed from 1982-1985, 7 issues were released in total. Edited by the Cattelan artist collective of poets, painters and sculptors Lola Albarracín, J.M.Calleja, Jordi Cuyàs and Jaume Simon. Apparently each issue was released on a special (public) location and distributed for free. Includes: CAPS.A. 1 (Presentacio), numbered edition 306/400. Contributors: Lola Albarracín, J.M.Calleja, Jordi Cuyàs and Jaume Simon. Copy 306/400. Presented on April 24 1982 at the Municipal Museumof Mataró by Josep Maria Rovira Brull. CAPS.A. 2 (Trencaclosques), numbered edition 175/400. Contributors Lola Albarracín, J.M.Calleja, Jordi Cuyàs i Jaume Simon. Presented on June 26 1982 at the Plaza Mayor de Vic and on July 24 1982 at Plaza Santa Anna de Mataró. CAPS.A. 3 (Reflexos), numbered edition 037/400. Participants Benítez, J.M.Calleja, Jordi Cuyàs i Jaume Simon.Presented on November 19 1982 at the Reading Center of Reus by Pere Anguera. CAPS.A. 4 (Zas), numbered edition 210/440. This multiple does not feature a cardboard box like the former issues, but as a leporello in the same octagonal shape, held together by a pink ribbon. It folds out to 200 cm. Participants: M. dels Àngels Ballbé, Benítez, Pere Boix, Genís Cano, Jordi Catafal, Eduard Comabella, Joan FontRegàs, Nefer, Tonia Passola, Martí Peran, Feliu Plasencia, Ernest Puig, JA Sarmiento, Pep Segon, Poetic Text Group and Gustavo Vega. Presented on April 22 1983 at Can Xammar, Mataró. Worldcat: No copies in US Libraries.
2vols. S.P. Issues 1-2 [ALL PUBLISHED]. Both issues are partly uncut, original wrappers, some browning and spines somewhat damaged. Directed by Guillermo Korn, with contributions by Mario Bravo, Pedro Henriquez Urena, E.M. Estrada, Fr. Romero, Alcides Gubellini, M. de Villarino, E. Palacio, Angel Ossorio, Raúl Ossegueda, J. Villafane, D.S. Etcheverry, A. Ghioldi, E.M. Estrada, etc. Illustrations by J.A. Ginzo, Carybé, Cl. Moreau, P. Olmos, M. Montesinos, a.o. Photography by Keate Weinzetl, Grete Stern, a.o.
Sarmiento, Martín
4to. S.P. escribióla. Fr. Martin Sarmiento del Orden de San Benito en el año de 1749. Publicala para beneficio comun, un amante de la humanidad. Rare First Edition of a Pioneering Study of a Plant Still Used Today for its Healing Properties. 4to; small woodcut decoration on title page; text with footnotes and on p. xxiii a note in a contemporary hand that the plant is described in the Diario de Madrid, 21 September 1785. [8], XXVI pp; modern leather. NO COPIES OF THIS EDITION IN US LIBRARIES. Rare first edition of this detailed study of the medical benefits of the plant Genista tridentata or carqueja by the Benedictine writer and scholar Father Martín Sarmiento, (Pedro José García Balboa). A man ahead of his time, he was an important figure of the Spanish Enlightenment, promoting institutions that would contribute to the technical and economic progress of Spain, including the Royal Botanical Garden of Madrid. Almost all his vast number of erudite studies on literature, language and science remained unpublished at his death but the manuscripts were collected by his friend the Duke of Medina Sidonia. This study which combines scholarly information and numerous practical examples, many from his own experience, of the healing virtues of the "carqueixa" was one of the earliest of his works to be published posthumously. Carqueja is still used to improve digestive functions, as a liver stimulant, as a diuretic, and also in colds and flu, and also for treating wounds in the form of poultices. Aguilar Piñal. Bib. S.XVIII, v. 7, 4160. Lopez Piñero et al, III, 1229. This edition not in Palau who cites the 1787 edition which is often wrongly thought to be the first edition. WorldCat: no copies in US Libraries.
Poe, Edgar Allan - Perez Bonalde, Juan Antonio
4to. S.P. Poe's "The Raven", First Spanish Edition. Lauds Shakespeare as the Best English Writer of All Ages and the Greatest Playwright of All Time. Not in WorldCat.4º (205 x 160 mm.) Original cloth, gilt lettered on front cover (worn at corners and spine). Portrait, title page, 4 ll. of the prologue by the Colombian writer Santiago Perez Triana, 12 ll. (last blank). Numerous illustrations. First Spanish edition of Poe's "The Raven", one of the most famous poems ever written. Translated by Pérez Bonalde, a Venezuelan romantic poet, in 1887, it is said to be the best version of the praised poem, always preserving Poe's full meter. The American writer, famous for his cultivation of mystery and macabre, was born in Boston in 1829, the son of two actors, who may have named him Edgar after the character in Shakespeare's King Lear. Poe declared himself an admirer of the Bard and once said that "Shakespeare has not left us a single rule that is not full of spirit and vigor." This version is not in World Cat!
Meneses Rodrigues Riberiro, Julio
8vo. 33 (1 pp) pp. Continua del título: Quelimane (Mozambique): Apostolado pelo Livro e pela Liturgia [Apostolate through the Book and the Liturgy]. Women s Rights in Africa. Mozambique Imprint. 8°, 33 pp., [1 pp.] text page, blank sheet, mimeographed text on yellow paper, stapled. An unusual mimeographed pamphlet on Bantu women's traditional rights, which could change with the education, brought by Christian missionary schools. This unusual pamphlet in Portuguese language discusses the subject of traditional rights of Bantu (ethno-racial group of South Africa) women. The listed women's rights include among other saving money, ordering food for the family, controlling breeding of chicken, bossing around children until they get married, expressing sexual desire, working as healer and soothsayer, consulting with the head of the community, if their husband beats them without reason etc. The pamphlet appears to be written as an informational booklet for the missionaries, working in Africa, with advice on how to approach the traditional role of women, which could with missionary schools change drastically and change relationships between men and women in a negative way. The author Júlio Meneses Rodrigues Ribeiro was a Portuguese missionary, who worked in Mozambique and published his woks in local presses and newspapers. He authored several works (listed on the last text page of this pamphlet), related to Africa and missionaries. We could not trace any institutional examples on the internet.
9vols. 8vo. S.P. Renowned Literary and Artistic Journal from Argentina. One Issue on Russian Authors, Another on "Young" Poets. Issues 1-9 (of 10). Original wrappers. Nine (of 10) issues of the important Argentinian journal of art and literature, which highlighted many prominent Spanish American writers, as well as provocative Symbolist and Decadent artwork by Alfredo Guido, Rodolfo Franco, Lopez Naguil, and others. The contributors included Gabriela Mistral, Jose Rodo, Roberto Giusti ("La Amante de Petronio"), Bernard Shaw, Gabriele d'Annunzio, and many others; issue #9 was devoted to young poets. Number 6 on Russian authors. Lafleur, H.R., Las revistas literarias argentinas, 1893-1967 (pp 85-88). # WorldCat: no copies in US Libraries.
Cuenca, Juan Francisco
4to. S.P. Fine Engraved Title Page. 4to; Place and date of publication supplied by Palau and Medina; License to print, pt. 1, verso of leaf [4], 1st count, dated: Mexico y março 11. de 1664 años; letter to the King dated in pt. 1, verso of leaf [7], 1st count: Ciudad de Mexico 25 de febrero de 1665; Letter from the King to the author, in pt. 1, verso of leaf [8], 1st count, dated: Zaragoça, y octobre à 20 de 1665; Pagination: pt. 1: [11], 47, 46-135, [6] leaves; pt. 2: 321, [15] leaves; Title framed in ornamental border; woodcut head and tail pieces; initials; woodcut illustration of the Kings of Aragon in pt. 1, verso of leaf [10]. Full-page engraving of the Kings of Spain, engraved title page. [9], 135, [6], 321, [15] leaves. modern 1/2 vellum over marbled boards. A MEXICAN RARITY: only 2 copies found in US Libraires. First edition of this work of notable historical and genealogical interest for Aragón and Mexico. An important study of privileges and exemptions of Aragonese nobles and hidalgos, published in part to lend scholarly support for the privileges that viceregal authorities granted to peninsular Spaniards. Upon finishing the book, the author could not publish it in Spain, his having been named by the crown to important posts in Mexico. Once there, he published this volume with the hope of producing a second, something that he never accomplished. The 135 dedicatory leaves are a Compendium of the History of Aragón with its own index of notable events. All the copies have an engraved title page somewhat trimmed on the lower edge since the engraving is larger than the format of the book. An interesting link between Spain and Mexico. Medina, J. T. México, 920; Palau y Dulcet (2. ed.) 178029; Porrua, hnos. Cat. de libros mexicanos, 7588 # WorldCat (US Libraries): 3 copies (JCB, Bancroft & Penn).
8vo. S.P. Continua del título: .Confirmado pela opinião dos mais celebres philosophos e physiologistas: Pythagoras, Porta, Agrippa, Cagliostro, Lavater, Gall, Spurzheim, etc. 8°, early lime-green cloth boards with moiré design (some wear and stains, especially at corners). Small wood-engraved vignette on title page. (2 ll.), vi pp., (2 ll. tables), 82 pp. FIRST and ONLY EDITION of this fortune-telling game for women. Choose a question on love, marriage, and business from one of the 80 provided (pp. iii-vi), get a series of odd or even numbers from a handful of coins, and use the table following p. vi to determine where in the main text to find the answer. The title reassures readers that the system is based on eminent philosophers and physiognomists such as Pythagoras, Porta, Agrippa, Cagliostro, Lavater, Gall, and Spurzheim. Ramos, A edição de língua portuguesa em França 393: without collation. Not located in Innocêncio. Not in Fonseca, Pseudónimos. Not located in Porbase. Not located in Jisc. KVK (51 databases searched) locatedonly the copy cited in the Bibliothèque nationale de France.WorldCat: no copies in US Libraries.
[Jesuits]. Portugal. Sovereign (1750-1777: Joseph)
4to. S.P. Continúa del título: e prohibir que com elles se tenha qualquer communicação verbal ou por escrito, pelos justissimos, e urgentissimos motivos", assima declarados, e debaixo das penas nella estabelecidas Other Title: (First line) Dom Joseph por graça de Deos Rey de Portugal . faço saber que havendo sido infatigaveis a constantissima benignidade e a Religiosissima Clemencia com que desde o tempo en que as opperaçoens que se practicaraõ para a execuçaõ do Tratado de Limites das Conquistas . para que o governo dos Regulares da Companhia denominada de Jesu . se apartasse do temerario e façanhoso projecto. Royal Decree of September 1759 which Suppresses and Expels the Order of the Society of Jesus from Portugal and All Portuguese Possessions in America, Asia and Africa. Extremely Rare, with Only 2 Copies in US Libraries. 4to; Text in Portuguese. "Registada na Secretaria de Estado dos Negocios do Reino no livro das Cartas, Alvara s, e Patentes a fo. 52. Nossa Senhora da Ajuda, a 4 de Setembro de 1759, Joaquim Joseph Borralho."-Page 7. Title from page 6. Imprint from colophon. Signatures: a4. A MOST RELEVANT DECREE. The decree details, among others, the reasons for the suppression and expulsion of all Jesuits of the territories under the jurisdiction of the Portuguese Crown, which includes an allegation that the society had conceived a bold project to usurp Brazil and was involved in an attempted assassination of the King. # WorldCat: 2 copies in US Libraries (Loyola, BC).
vols. 8vo. S.P. Practically Unknow and Novel Publication on Plastic Arts in Argentina. Only One Copy in OCLC, at MoMa. 8vo; includes 8 loose leaves with reproductions of works by different artists: Raoul Veroni, Enrique de Larrañaga, Clara Carrie, Alfredo Guido, and Tubio. EL PATIO is a cutting-edge publication from a typographical and editorial point of view. Its format, its minimalist cover art and the concept of making a publication with multiple and diverse "inserts" with graphic reproductions of works of art; is something completely new for the time. Naturally, it was a very expensive publication to produce, and did not find a public that demanded and supported it, that is why this publication, like others of the time, was only published in one issue. WorldCat (US Libraries): MoMA.
2vols. 8vo. S.P. Rare Argentinian Journal on Cinema. Attractive Covers. No Complete Copies in US Libraries2 vols. [ALL PUBLISHED]. Title from cover. "Revista de Cultura dirigida por Guido Aristarco. Latin American edition of the Italian magazine Cinema nuovo, adapted to the public of this continent. As we read in the prologue, it is also the continuation of the Cinema magazine published in 1952. Cinema Nuovo was a left-leaning Italian film magazine that existed between 1952 and 1996. It was headquartered in Milan, Italy. Cinema Nuovo was established by film critic Guido Aristarco in 1952. The first issue was published in Milan on 15 December 1952. The founding company was La Scuola, Arzigliano. Guido Aristarco also directed the magazine, which first published fortnightly and from the July-August 1958 issue it became bimonthly. The magazine had offices in Rome, Paris, New York City, Mexico City and Prague. Cinema Nuovo had a Marxist stance and was one of the targets of the Italian government like other left-leaning publications. Guido Aristarco supported neorealist cinema of Italy through his articles published in the magazine. Joseph Grieco was among the editors-in-chief, and Rudi Berger was one of the contributors. From 1954 to 1956 Cesare Zavattini published photo essays in Cinema Nuovo. Aristarco was an Italian film critic and author. A "dean" of Marxist film criticism, and the first professor of cinema in Italy. The magazine folded in 1996. Spanish film magazine Nuestro Cine modeled on Cinema Nuovo and followed the approach of Guido Aristarco. The other Spanish film magazine inspired by Cinema Nuovo and its founder Guido Aristarco was Objetivo, and the here offered Cine Nuovo Edicion Latinoamericana. WorldCat: apparently Iowa has had issue # 1 only.
vols. 8vo. S.P. A Mythical and Revolutionary Art Catalog from the "CAyC", the Art Center that Internationally Disseminated Conceptual Art from Latin America.Original cardboard folder containing loose sheets. Without the bag that contained the folder, as most known copies. Fully illustrated with b/w photos and diagrams. Catalog of the event organized by the Center for Art and Communication (CAyC) in the Roberto Arlt square in Buenos Aires in September 1972. Presented by: Grupo de los Trece. Organized by: Jorge Glusberg. The catalog consists of loose single sheets with b/w illustrations. Context: Towards the end of the sixties, when Jorge Glusberg created the Center for Art and Communication (CAyC), he thought of an interdisciplinary space that could generate an experimental art movement. On one side, it sought to articulate a network of communication between Latin American artists and critics and their Argentine counterparts, and on the other, to project itself internationally for the configuration of a new regional art. To launch his project, the critic coined the category ARTE DE SISTEMAS which, at the beginning, he identified with the practices associated with conceptual art that was being developed at that time in the international arena. Later, in his speech, the term was redefined and associated exclusively with the Latin American sphere. The regional theme that both the exhibitions and the interdisciplinary studies addressed was disseminated with the "CAyC seal" until the end of the 1970s, with a strong incidence nationally but especially internationally. In 1972 they held the group's second show, and the most controversial: CAyC al aire libre Arte e ideología; their intention was to "mingle with passers-by, with couples who make love, with groups of students, with children playing in the square", in short, with daily life. Jorge Glusberg , the organizer, points out: "Artists are giving an account of the emerging national reality of the social and political process of the moment". Inspired by the concept of "poor" as anti-technological, ephemeral and "committed to contingency", the exhibition in the square was resignified in the scarce 48 hours that it was open to the public, before it was closed and the works dismantled and confiscated. The exhibition became a veritable "war machine", that is, a device capable of undermining the centralism of the government apparatus. (Systems Art , the CAyC and the project of a new regional art. Prologue of the Catalog of the exhibition, OSDE Foundation, from July 25 to October 8, 2013). WorldCat (US Libraries only): apparently no copies.
4to. [2], 54 leaves pp. NAHUATL. 4to, later mottled gilt calf; several early owners' inscriptions. The date is imperfectly printed in all copies, and has often been mistaken for 1716. Second edition of a Nahuatl grammar, revised and expanded by Antonio de Olmedo y Torre. The Franciscan monk Antonio de Vázquez Gastelu (1592-1685), "el Rey de Figueroa", was a teacher of Nahuatl in the royal colleges of San Pedro and San Juan de Puebla de los Ángeles, whose life remains largely an enigma, including his dates of birth and death. It is almost certain that he belonged to a Creole family of Basque origin from the Viceroyalty of New Spain. Puebla would be his hometown. Historiography has recognized him as the author of one of the three Nahuatl grammars published in the 17th century, along with that of Agustín de Vetancurt (1620-1700) and that of Juan Guerra. His Arte de la lengua mexicana, first published in 1689, was the subject of five successive editions (1693, 1726 (two different printers) and 1756) in the 17th and 18th centuries. The 18th century editions (1716, 1726, 1756) were revised by Antonio de Olmedo y Torre. He was a bachelor and a secular priest. The author expresses his intentions in the prologue to the reader: "How necessary it is to know art in any language to understand it; this is very well understood by this maxim of the Philosophers, who say arte perficitur natura, that is to say, that by means of art one perfects nature, so that when one knows a language well naturally, that is to say, when one has learned it by the sole use of dealing with the natives, if one learns the art of it together, one will be more perfect in the language, and one will speak more congruously". Medina, Puebla 361; Palau 354003; Pilling 1411; Sabin 26748 and 57227. Contreras García, Irma, Bibliografía sobre la castellanización de los grupos indígenas en la República Mexicana: siglos XVI al XX, México: UNAM-IIB, 1985, p. 221; Hernández de León-Portilla, Ascensión, Tepuztlahcuilolli: impresos en náhuatl. Historia y bibliografía, México: UNAM, 1988, p. 73.; Suárez Roca, José Luis, Lingüística misionera española, Oviedo: Pentalfa, 1992.; Niederehe, Hans-Josef (éd.), Bibliografía cronológica de la lingüística, la gramática y la lexicografía del español (BICRES). Desde el año 1701 hasta el año 1800, Amsterdam, Philadelphie: John Benjamins, 2005. WorldCat: JCB (with the correct date: 1726), NYC Hist Soc, Am Phil Soc Libr, Texas A&M (confusing the date for 1716).
8vo. S.P. [Morin Edmond (1824-1882) - Ricard Gustave (1823-1873) Illustrateurs]. A Quixote for the Youth. Exquisite Color Illustrations by Two Renowned Artists from France. No Copies in US Libraries. 8vo; oblong. (172x268mm). Engraved frontis, 16 pp of text + 15 full page hand-colored lithographs. Publisher s boards. FIRST EDITION. Very rare 'Don Quichotte pour les enfants', with 16 pages of text and 15 attractive hand-colored plates. The illustrators: Edmond Morin, was a painter, illustrator, lithographer, and etcher. Born in Le Havre, to Paris in 1846 where trained in Gleyre's studio; in 1850 settled in London, working as illustrator for several magazines, notably for the 'Illustrated London News'; co-founded a journal, 'Pen and Pencil', with Henry Duff Linton (q.v.), but the business was unsuccessful and, dejected, Morin returned to Paris (1857). There he collaborated on 'Le Monde Illustré', 'La Vie Parisienne' (to the latter until c.1871), and many others. Louis Gustave Ricard (1 September 1823, Marseille - 23 January 1873, Paris) was a French painter, known primarily for his portraits. His portrait of Paul de Musset exhibited at the Salon of 1872, is considered to be a prime example.
![Medicina española contenida en prouerbios vulgares de n[uest]ra lengua: muy prouechosa para todo genero de estados](https://rarebookinsider.com/wp-content/uploads/2023/11/31691182118.jpg)
