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Libreria de Antano

Disney presenta: Colección completa

Disney presenta: Colección completa

"Apocryphal Disney Tales by the Largest Publishing House in Latin America". 12 volumes in 8vo, all in original bindings. (ALL PUBLISHED), as follows: 1) El toro Ferdinando; 2) Mickey en Don Quijote; 3) El Rey Midas; 4) El sueño de Pluto; 5) El reloj de Mickey; 6) El avestruz de Donald; 7) Un viaje de Mickey y Cia.; 8) Pato Donald y los Pieles Rojas; 9) La tortuga y la liebre; 10) Pato Donald Quiromante; 11) Blancanieves y el Mago. 12) El museo de las maravillas. Editorial TOR was an Argentine publishing house established in Buenos Aires in 1916. At the time, it was the largest publisher in the history of Latin America. Its founder was Juan Carlos Torrendell, born in Palma de Mallorca, Spain, on October 25, 1895. Tor made important contributions to popular culture, publishing everything from Freud to Marx, from Tarzan to Salgari, including pirate, detective and cowboy stories, and attracting the attention of writers of such stature as Horacio Quiroga, Borges and Bioy Casares. Tor publications were cheaply produced, printed on newspaper, with satin paper covers and color illustrations by anonymous artists. Tor published the first edition of one of BorgesÂÂ' most important texts, Historia Universal de la Infamia, in 1935. When books by an author were sold out, Tor hired unknown writers to publish apocryphal texts attributed to the original author. This was the case with Tarzan, some stories based on those of Walt Disney, and the police novels of Mister Reeder and Sexton Blake. We offer here the complete series Â"Walt Disney Presenta,Â" largely composed of titles related to series Silly Symphonies.La majority of these texts are apocryphal. # WorldCat: no copies of ANY of the titles. La mayoría de los titulos corresponden a la serie de dibujos animados de Disney, Silly Symphonies: 1) El toro Ferdinando; 2) Mickey en Don Quijote; 3) El Rey Midas; 4) El sueño de Pluto; 5) El reloj de Mickey; 6) El avestruz de Donald; 7) Un viaje de Mickey y Cia.;8) Pato Donald y los Pieles Rojas; 9) La tortuga y la liebre; 10) Pato Donald Quiromante; 11) Blancanieves y el Mago; 12) El museo de las maravillas. Algunos son apócrifos creaciones de la editorial con personajes de Disney como: 8) Pato Donald y los Pieles Rojas; 10) Pato Donald Quiromante y 11) Blancanieves y el Mago. La Editorial TOR fue una editorial argentina creada en Buenos Aires en el año 1916; fue la más grande editorial de toda la historia en Latinoamérica. Su fundador fue Juan Carlos Torrendell, nacido en Palma de Mallorca, España, el 25 de octubre 1895. Tor hizo un enorme aporte a la cultura popular. De Freud a Marx, de Tarzán a Salgari, acumuló piratas, detectives, cowboys y también llamó la atención de escritores de la talla de Horacio Quiroga, Borges y Bioy Casares. Las ediciones de TOR eran muy económicas, impresas en papel de diario, con tapas de papel satinado y dibujos anónimos en colores. En la editorial se imprimio la primera edición de uno de los textos mas importantes de Borges, Historia Universal de la Infamia, en 1935. Cuando se agotaban los libros de determinado autor, TOR contrataba a escritores nacionales quienes redactaban textos apócrifos con el nombre del autor original. Así ocurrió con Tarzán, con historietas basadas en Walt Disney, novelas policiales de Mister Reeder y Sexton Blake. Ofrecemos aquí la colección completa de la serie "Walt Disney Presenta", compuesta en su mayoría por títulos relacionados con la serie Silly Symphonies. La mayoría de estos textos son apócrifos.
REAL PROVISIÓN DE FELIPE II confirmando una Carta de privilegio y confirmación dada por los Reyes Católicos por la que

REAL PROVISIÓN DE FELIPE II confirmando una Carta de privilegio y confirmación dada por los Reyes Católicos por la que,a su vez, ratificaban los privilegios que los Maestres de la Orden de SantiagoÂÂ.

Judaica ILLUMINATED MANUSCRIPT] "The Catholic Monarchs and the Jews of Spain in the 15th Century Early Document on Vellum Signed by King Phillip II and Lavishly Decorated". 8 folios, on vellum; gothic letters; signed ÂÂ"Yo el ReyÂÂ" (Felipe II). This is a literal copy of four documents given by the Infante Henry of Aragon (Villanueva, 1412 y Uclés, 1440), Commander don Alfonso de Cárdenas(Corral de Almaguer, 1480) and the Catholic Monarchs (Tordesillas, 1494).The document is of interest in that it reveals the tensions in cities and villages between Christians and prominent Jews throughout the 15th century. In this case, the authorities of Corral de Almaguer and of Ocaña, pertaining to the Order of Santiago, had complained to the Commanders of said order that the Jews of these towns bought lands from Christians and did not pay any kind of taxes on the purchase. After successive confirmation, the pronouncement of Infante Henry of Aragon is ratified: The Jews of Corral de Almaguer were ordered to pay the same taxes that Christians paid when they bought lands. The Jews of Ocaña, however, were declared exempt since they already paid taxes through other channels. This was a struggle that dragged on almost a century (1412-1494) and which, in the end, was settled by King Ferdinand and Queen Isabella. Evidently, these disputes were very important, justifying the involvement of the monarchs and later of King Phillip II. This is an extraordinary document for the history of Jews in Spain before their expulsion. ATTRACTIVE CONTEMPORARY ILLUMINATION -IDEAL FOR RESEARCH. "Los Reyes Católicos y los judíos en la España del Siglo XV - temprano documento on vellum, firmado por el Rey Felipe II y ricamente decorado". REAL PROVISIÓN DE FELIPE II confirmando una Carta de privilegio y confirmación dada por los Reyes Católicos por la que, a su vez, ratificaban los privilegios que los Maestres de la Orden de Santiago, el Infante Enrique de Aragón y don Alfonso de Cárdenas, habían concedido a la villa de Corral de Almaguer (Toledo).1572. Se trata de la copia literal de 4 documentos dados por el Infante don Enrique de Aragón (Villanueva, 1412 y Uclés, 1440), el Comendador don Alfonso de Cárdenas (Corral de Almaguer, 1480) y los Reyes Católicos (Tordesillas, 1494). El documento es interesante para conocer las tensiones existentes en las ciudades y villas con juderías de importancia, a lo largo del siglo XV. En este caso, las autoridades de Corral de Almaguer y las de Ocaña, pertenecientes a la Orden de Santiago, se habían quejado a los Comendadores de dicha orden, porque los judíos de estas villas compraban tierras a cristianos y no pagaban ninguna clase de impuestos por ello. Con las sucesivas confirmaciones, se ratifica lo dispuesto por el Infante Enrique de Aragón: que los judíos de Corral de Almaguer paguen los mismos pechos que pagaban los cristianos cuando compraban tierras, mientras a que los de Ocaña, que compraran tierras en Corral, se les declara exentos, porque ya pagaban pechos a través de su aljama. Fue una polémica que se arrastró por casi un siglo (1412-1494) y que, al final fué dirimida por los Reyes Fernando e Isabel la Católica. Evidentemente estas disputas tuvieron mucha importancia, lo que justifica la intervención de los Reyes Católicos y el Rey Felipe II. Extraordinario documento para la Historia de los judíos en España, antes de su expulsión. ATRACTIVAMENTE ILUMINADO EN LA EPOCA - IDEAL PARA RESEARCH.
Bound volume of his manuscript essays

Bound volume of his manuscript essays, ALL IN HIS HAND AND SIGNED BY HIM. 284 manuscript leaves, numbered by ink stamp on verse. 16 pieces bound and paginated together

Nervo, A. "Original Manuscript Poems by Amado Nervo, Great Exponent of Mexican Modernism". Amado Nervo (1870-1919) was an important Mexican poet and journalist, perhaps best known for coining the term "La Raza de Bronce" ("The Bronze Race") to describe Latinos. These 16 essays were apparently written at the same time, but were on several different paper stocks and were clearly bound together at a later date. Each is signed by Nervo in his hand. They are apparently clean final drafts. One of these manuscripts, "La última vanidad" (here on leaves 42-58) is reproduced in facsimile in the 1920 "Complete Works of Amado Nervo" after page XXIX: 28. According to our research (unfortunately not "scientific") some of the texts might be unpublished. The titles as written are: Actualidades espanolas: Las catastrofes * Colecciones y coleccionistas * Actualidades europeas: La abolicion de la pena de muerte en España * Actualidades europeas: La última vanidad * Piedras preciosas * Actualidad, sillones . . . y pollo * Actualidades europeas: Las joyas predilectas * José Canalejas * Algo sobre el Carlismo * Noches blancas * Actualidades celestes un mundo enigmatico * Melancolia real * La alegria de Mayo * La reina concha * Cronicas frivolas, antiguedades y anticuarios * and Un profesor de energia. Translated titles are: Spanish news: The catastrophes * Collections and collectors * European news: The abolition of the death penalty in Spain * European news: The last vanity * Precious stones * Actuality, armchairs. and chicken * European news: The favorite jewels * José Canalejas * Something about Carlism * White nights * Celestial news an enigmatic world * Real melancholy * The joy of May * The queen conch * Frivolous, antiquarian and antiquarian chronicles * and A professor of Energy. Several of these works discuss developments in Spain, particularly the rise of Carlism. Ideal for research. "Poemas originales manuscritos de Amado Nervo, gran exponente del Modernismo mexicano". Según nuestra investigación (lamentablemente no "cientifica") algunos de los textos puede llegar a ser inéditos. The titles as written are: Actualidades españoles: Las catastrofes * Colecciones y coleccionistas * Actualidades europeas: La abolicion de la pena de muerte en España * Actualidades europeas: La última vanidad * Piedras preciosas * Actualidad, sillones . . . y pollo * Actualidades europeas: Las joyas predilectas * José Canalejas * Algo sobre el Carlismo * Noches blancas * Actualidades celestes un mundo enigmatico * Melancolia real * La alegria de Mayo * La reina concha * Cronicas frivolas, antiguedades y anticuarios * and Un profesor de energia. Several of these works discuss developments in Spain, particularly the rise of Carlism.
Group of die cuts of the Spanish popular army. Album containing 73 die cuts

Group of die cuts of the Spanish popular army. Album containing 73 die cuts

Spanish Civil War - coleccionismo] "Unique Collection of Â"Die CutsÂ" on the Spanish Civil War". Set of military die-cuts formed by two sub-groups: A- Military machinery: ambulance; transport of a piece of 10.5; artillery gun; airplane phono-locator; parapet, anti-aircraft machine gun; 2 motorists; soldiers of different ranks: sergeant, colonel, commander, political commissar, cavalry commissar, lieutenant of cavalry, dynamiter, fortifier, soldier on his knees; 6 cavalry soldiers,8 infantry soldiers, 1 cavalry soldier, drum, bugler, rancher and puncher.B- Navy Section; "Crucero Miguel de Cervantes", battleship "Jaime" I; destroyer "Alsedo"; destroyer "Alcalá Galiano", Submarine B1; destructor "Sánchez Barcáíztegui"; Captain of the frigate and 13 sailors. It also includes 10 soldiers of the national army. Very rare collection of 73 die cuts on the popular army (republican) of the Spanish civil war. It includes 10 soldiers of the national army. These stampings were (and still are) collectibles for Spaniards, especially when they are complete and in good condition like the ones we offer here. (RF 1259). "Colección única de troquelados sobre la Guerra Civil Española". Album containing 73 troquelados Conjunto de troquelados militares formado por dos sub-grupos:A-Maquinaria militar: ambulancia; transporte de una pieza de 10,5; cañón de artillería; fono-localizador de aviones; parapeto, ametralladora antiaérea; 2 motoristas; soldados de diferentes rangos: Sargento, coronel, comandante, comisario político, comisario de caballería, teniente de caballería, dinamitero, fortificador, soldado de rodillas; 6 soldados de caballería, 8 soldados de infantería, 1 soldado de caballería, tambor, corneta, ranchero y pinche. B-Sección de Marina; "Crucero Miguel de Cervantes", acorazado "Jaime" I; destructor "Alsedo"; destructor "Alcalá Galiano", Submarino B1; destructor "Sánchez Barcáíztegui"; Capitán de Fragata y 13 marineros. Se incluyen ademas 10 soldados del ejército nacional. Muy rara colección de 73 troquelados sobre el ejército popular (republicano) de la guerra civil española. Se incluyen 10 soldados del ejército nacional. Estos troquelados eran (y siguen siendo) objetos de colección para los españoles, sobre todo cuando están completos y en buen estado como los que aquí ofrecemos.
Confessionario mayor

Confessionario mayor, en la lengua mexicana y castellana bound with Confessionario breve, en la lengua mexicana y castellana

Mexican imprint-1577] Molina, A. de "Two Notable Confession Manuals for Converting Indigenous Populations in Nahuatl Bound Together. EXCEEDINGLY RARE 16TH CENTURY MEXICAN IMPRINTS. with a rare engraving on the cover. 2 works bound in one volume. 4to; text illustrations. 113 [i.e. 132], [4]; 20 leaves. later vellum; early inscription on title page of the Colegio de Tepotzotlan. A STUPENDOUS MEXICAN PIECE. OF THE UTMOST RARITY AND INTEREST. A COMPLETE COPY EN IN EXCELLENT CONDITION. THESE ARE TWO WORKS BOUND TOGETHER IN ONE VOLUME. Second editions of works first published in 1565, with parallel text in Nahuatl and Spanish. On the title page of the Confessionario Breve, Pilling notes the "singular engraving which I have not seen in any other book of this epoch, which represents the saviour placed in a press with two screws, and shedding from the five wounds torrents of blood, which flow out below the press and are caught by two angels, in a chalice." The Confesionario mayor en lengua mexicana y castellana is a religious work published in 1565 by Fray Alonso de Molina, written with the goal of serving as a manual for imparting the sacrament of confession to the indigenous peoples of New Spain, specifically the Nahua-speaking communities or Aztecs, after the Conquest. The work contains important descriptions of native religious traditions and of the Nahua or "Mexican" language since it was written in that language and in Spanish. THE AUTHOR: Fray Alonso de Molina, was a Spanish lexicographer born in Spain in 1513. Among other works, he composed the most complete dictionary of Nahuatl. Aside from this responsibilities as a priest, Molina devoted himself to reading and writing in Nahuatl and pronounced numerous sermons in that language. His Diccionario en lengua mexicana y castellana, was written between 1555 and 1571. Later, in 1571 he would include the Diccionario español- nahuatl. It was the first dictionary published in the New World and the first systematic treatment of an indigenous language. It was of great utility for missionaries but also served as an effective weapon for Colonial rule. Molina arrived in Mexico immediately after the campaign of conquest of Hernán Cortés. He was the first non-Native teacher of the Nahua language; he worked, studied and lived among the Franciscans and he became the first Catholic priest to be ordained in New Spain. He serverd as interpreter for Spanish priests who initiated their missionary duties of conversion and teaching the Bible to native Mexican populations. * Icazbalceta 76, 75; Medina, Mexico 86a, 79; Palau 174364, 174362; Pilling 2607, 2605; Sabin 49873, 49872. Only one other copy of either edition of either work found at auction since 1966. # WorldCat: 4 copies in US Libraries (UCLA, Indiana, JCB, Texas). "Dos Notables confesionarios para los indígenas en lengua Nahuatl bound together - EXCEEDINGLY RARE 16TH CENTURY MEXICAN IMPRINTS - con un raro grabado en la portada". ESTUPENDA PIEZA MEXICANA. DE LA MAYOR RAREZA E INTERES. EJEMPLAR COMPLETO Y EN EXCELENTE ESTADO. SON DOS OBRAS ENCUADERNADAS EN UN VOLUMEN. El confesionario mayor, en lengua mexicana y castellana es una obra escrita de carácter religioso publicada en 1565 por el fray Alonso de Molina, con la finalidad de servir de confesionario, esto es, como manual para la impartición del sacramento de la confesión a los indígenas de la Nueva España tras la conquista. Contiene importantes descripciones de las tradiciones religiosas de los indígenas así como de la lengua náhuatl o "mexicana", ya que fue escrito en dicho idioma y en castellano. EL AUTOR: Fray Alonso de Molina, lexicógrafo español, nació en Nueva España en 1513. Realizó el Diccionario más completo en lengua náhuatl. Además de sus responsabilidades como sacerdote, Molina se dedicó a la lectura y escritura del náhuatl y pronunció numerosas sermones en esa lengua. Su Diccionario en lengua mexicana y castellana, fue escrito entre 1555 y 1571; más tarde en 1571, incluiría el diccionario español-náhuatl. Fue el primer diccionario impreso en el Nuevo Mundo y el primer acercamiento sistemático a un idioma indígena. Fue de mucha utilidad para los misioneros pero también fue un arma efectiva para la política colonial. Molina llegó a México, inmediatamente después de la conquista de Hernán Cortés. Fue el primer maestro, no indígena, de la lengua náhuatl; trabajó, estudió y convivió al lado de los religiosos franciscanos, siendo el primer sacerdote católico ordenado en la Nueva España. Sirvió como intérprete a los religiosos españoles que iniciaban la tarea de evangelización y descripción de la Biblia a los indígenas mexicanos. * Icazbalceta 76, 75; Medina, Mexico 86a, 79; Palau 174364, 174362; Pilling 2607, 2605; Sabin 49873, 49872. Only one other copy of either edition of either work found at auction since 1966. # WorldCat: 4 copies in US Libraries (UCLA, Indiana, JCB, Texas).
El mundo tal como es

El mundo tal como es, o todos locos

Martínez López, Don Pedro "Anti-Monarchical Periodical Against Fernando VII- The Author Had to Escape to France". 8º; 6 issues in one vol; ALL PUBLISHED; contemporary Spanish calf. AN IMPORTANT POLITICAL PERIODICAL. COMPLETE. The author, Don Pedro Martínez López, (Villahoz, Burgos, 1797 - Neully, 1867) was a Spanish writer, hispanist specialized in Romance languages, grammars and dictionaries. Researcher and literary critic of the work of Salvá. In March 1830, he had to flee his country, to escape the persecutions of the Ferdinand regime, which had condemned him to death for publishing between 1828 and 1829, these six issues, a periodical in which he had dared to violently attack the clergy and to insult the "holy person of the King", to whom he satirized scathingly. He lived in exile (Paris), most of his life, without abandoning his struggle against the prevailing regime in his country. This rare periodical, of which we offer a complete copy, contains the most violent writings against Ferdinand VII and his regime which were published at the time. WorldCat: no copies in US Libraries, one copy elsewhere (Univ of Toronto). "Periódico antimonárquico contra Fernando VII". El autor, Don Pedro Martínez López, (Villahoz, Burgos, 1797 - Neully. 1867) fue un escritor español, hispanista especializado en lenguas románicas, gramáticas y diccionarios. Investigador y crítico literario de la obra de Salvá. En Marzo de 1830, tuvo que huir de su país, para escapar de las persecuciones del régimen fernandino, que lo había condenado a muerte por haber editado entre 1828 y 1829, estos seis números, periódico en el que se había atrevido a atacar violentamente al clero y a insultar a la "persona sagrada del Rey", a quien satirizaba mordazmente. Vivió en el exilio (Paris), la mayor parte de su vida, sin abandonar su lucha contra el régimen imperante en su país. Este raro periódico, del que ofrecemos todo lo publicado, contiene los escritos más violentos contra Fernando VII y su régimen, que se hayan dado a luz en la época.
Five handwritten letters

Five handwritten letters, four of them holograph, addressed to “My dear friend Fredy” (Alfredo Guthmann)

Torres García, J. "Five Holograph Letters from Joaquín Torres García to a Poet and Friend * Relevant Content*". [with] Torres García, Manolita Piña de. Holograph letter (by the author under the name Ifigenia Torres García) also addressed to "My dear Fredy" n.p. (Montevideo) n.d. (c1970?). Small folio (5) & 8vo (1). 9 folios written in pencil (1) and sepia, black and blue inks (8) on "Extra Strong" Velin paper.The letters, written in Montevideo, are dated 1 September 1942; n.d. (but September 1942); 17 January and 3 March 1943; and 30 October 1945, respectively. A significant group of correspondence between Joaquín Torres García and poet, photographer, traveler, explorer and sailor Alfredo ("Fredi") Guthmann, a well-known figure of Argentine culture that fits into the category of "poète maudit" or "raro" in the art world of the 20th century. Fredi Guthmann not only established a deep friendship with renowned Uruguayan artist Joaquín Torres García, which extended beyond the death of the latter through his widow and two sons, Horacio and Augusto, who were painters, but was also the organizer and promoter of the first exhibition of Torres García's work in Buenos Aires, in the prestigious Müller Gallery, as well as the financier of the publication of Universalismo constructivo, Torres García's manifesto, which he dedicated to Fredi Guthman "in the spirit of Johann Sebastian Bach." In fact, the correspondence we are offering, dates from the period when the exhibition at the Müller Gallery was being prepared and also when Torres García was writing Universalismo constructivo, which is described in one letter as "a magnificent book" and which "has produced enough text for two more books but I will cut it when I reach 1000 pages." In the following letter, he goes on to declare that the book will actually have "about 1200 pages and 200 engravings and color plates." With respect to the exhibition at the Müller Gallery, Torres García chooses to balance his "naturalist" paintings with "seven abstract paintings (non figurative) because "I am sure I will find people there who will be interested in this kind of painting and that will surely write about it" and "because many young people will be disappointed if they don't see anything constructivist." Personal and family references alternate with allusions to his feverish creative and pedagogical activity, with the creation of the Workshop-School that would prove to play such a transcendental role and "begins to assert its influence beyond official approaches to art." The proof of Torres García's anti-academic spirit is his decisive opinion regarding the work of painter José Cuneo, whom he considers "a man who does not know where he is going" and who "has broken a record for stupidity." His own innovative and experimental attitude towards art is revealed in those "experimental paintings that I would call atonal, that is to say, instead of being grounded in tone, they are grounded in color, therefore, in pure color, without mixture. In other words, they are parallel to atonal music." The letter from Manolita Piña that is included in this group of letters reaffirms the profound affection and mutual recognition that united Torres García and his family with their notable correspondent, Fredi Guthmann. Full scans/transcriptions of the letters available on request.
Razón puntual de los sucessos más memorables

Razón puntual de los sucessos más memorables, y de los extragos (sic), y daños que ha padecido la ciudad de GUATEMALA y su vecindarioÂ.

González Bustillo, J. "Natural Disasters in Guatemala". The old chroniclers mentioned fatal events and destructive activities that hit Guatemala and that were repeated over the centuries, producing real disasters with diseases and deaths due to these phenomena of nature. Earthquakes, furious volcanoes, floods. buildings in ruins, destruction of the city, mountains and collapsed hills, fires; the inhabitants of Guatemala, went back to rebuild one and again, the private buildings and the temples, with fear and despair. In this document, 34 serious and destructive events of nature are described, that destroyed Guatemala through the ages and the reconstruction task carried out by its inhabitants to be able to continue living. # WorldCat: 7 copies in US Libraries (Tulane, NYPL, Stony Book, Arizona, Berkeley, JCB, Texas). Los antiguos cronistas ya mencionaban sucesos funestos ydestructivos que azotaban a Guatemala (1541) y que se fueron repitiendo através de los siglos, produciendo verdaderos desastres con enfermedades y muertes a raíz de estos fenómenos de la naturaleza. Terremotos, furiosos volcanes, inundaciones.edificios en ruinas, destruccion de la ciudad, montes y cerros derrumbados, incendios. Los habitantes de Guatemala, volvieron a reedificar una y otra vez, los edificios particulares como los templos, con temor y desconsuelo. En este fiel documento se describen 34 graves y destructores sucesos de la naturaleza, que destruyeron a Guatemala a través de los tiempos y la tarea de reconstrucción que realizaron sus habitantes para poder seguirviviendo.
Four series (80 volumes) of Spanish Children books

Four series (80 volumes) of Spanish Children books

Spanish Juvenilia] "History and Stories for Children and Teenagers by One of the Most Important Spanish Publishers of All Times". 4 series (20 issues each): ÂÂÂ"CuentosÂÂÂ", ÂÂÂ"Vida de hombres celebresÂÂÂ", ÂÂÂ"CuentosÂÂÂ", ÂÂÂ"Episodios historicosÂÂÂ"; original illustrated wrappers; fine condition. Ramón Sopena (1867-1932) was a Spanish editor who founded the publishing house that bears his name in 1894 in Barcelona. He was a multifaceted editor that published essentially dictionaries and encyclopedias, but also, journals. For some time he also edited erotic works, and then opted for popular literature. In the children's genre, he published small works in series such as the ones we offer here: the CHILDREN COLLECTION or the LIBRARY FOR CHILDREN. The printing house had a long life, since it closed only in 2004. The purpose of the CHILDREN'S COLLECTION (ÂÂ"Episodios historicosÂÂ") ("Historical episodes"), was to make relevant topics of SpainÂÂ's history available to children. ÂÂ"Vida de hombres celebresÂÂ", ("Life of famous men"), are brief biographies of characters from Spanish and universal history. Finally the two series of ÂÂ"CuentosÂÂ" (ÂÂ"TalesÂÂ"), are small stories, without specifying their authors. # WorldCat: no copies of this series in US Libraries. "Historia y cuentos para niños y adolescentes por uno de los más relevantes editores españoles de todos los tiempos". 12vo; 4 series ( 20 issues each): ÂÂ"CuentosÂÂ", ÂÂ"Vida de hombres celebresÂÂ", ÂÂ"CuentosÂÂ", ÂÂ"Episodios historicosÂÂ"; original illustrated wrappers; fine condition. Ramón Sopena (1867-1932) fue un editor español que fundó la editorial que lleva su nombre en 1894 en Barcelona. Fue un editor multifacético que publicóesencialmente diccionarios y enciclopedias, pero también, revistas. Durante algún tiempo editó también obras eroticas, y luego optó por literatura popular. En el género infantil publicó pequeñas obras en series como las que ofrecemos aquí: la COLECCIÓN INFANTIL o la BIBLIOTECA PARA NIÑOS. La editorial tuvo larga vida, ya que recién desapareció en el año 2004. La COLECCIÓN INFANTIL, tenía como propósito de Ramón Sopenaponer al alcance de los niños temas relevantes de la historia de España. Es el caso de la serie Episodios históricos. (cuarta serie); en el caso de la 2da. serie se trata de breves biografías de personajes de la historia española y universal. Finalmente las series 1a. y 3a. se componen de pequeños cuentos, sin especificar sus autores.
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The National Hymn of the Independence of Buenos Ayres dedicated to the Boston Independent Company of Cadets by J. Langdon Esq. translated from the spanishÂÂ.

Argentinean National Hymn Boston printing]. López, V. "First English Language Edition of the National Anthem of Argentina *A Rare Boston Imprint* Only Other Known Copy Held at Michigan". Folio. 9 pp. Modern folder. VERY RARE BOSTON IMPRINT. Text and musical score of the Argentine National Anthem. The complete text, including the four stanzas, is provided in bilingual form, in Spanish and English. The music for piano and three voices is arranged by T. Comer. The present edition was produced according to a Congressional Decree of 1848 by Henry Tolman, from the Office of Court Secretaries of the District of Massachusetts. The National Anthem of Argentina, which appears here as the anthem ÂÂ"of Argentine independenceÂÂ" has lyrics by Vicente López y Planes and music by Blas Parera. Its history dates to 1812 when the version written by Fray Cayetano Rodríguez, with score by Blas Parera, was initially approved. However, that version was replaced by the Asamblea XIII which ordered a new call for submissions, and this time the poem by López y Planes was unanimously approved. In both cases, the music was composed by Parera. The title of the piece underwent various changes, from ÂÂ"Patriotic MarchÂÂ" to ÂÂ"Patriotic National SongÂÂ"and ÂÂ"Patriotic Song.ÂÂ" In 1847 we find the title ÂÂ"Argentine National AnthemÂÂ" for the first time. The text also underwent some changes from its original version, as some of the more bellicose verses were removed, and in 1860 Pedro Esnaola modified the music of Parera. We have found only one copy at the Thomas A. Edison Collection of American Sheet Musicat the University of Michigan. # WorldCat: one copy in US Libraries (Michigan). "Primera edición en ingles del himno Nacional argentino *raro impreso de Boston * only other copy known at Michigan". La presente edición fue realizadade acuerdo a la Ley del Congreso de 1848, de Henry Tolman, en la Oficina de Secretarios de la Corte del Distrito de Massachusetts. El Himno Nacional Argentino, aquí editado como ÂÂ"de la Independencia de Buenos AiresÂÂ" posee letra de Vicente López y Planes y música de Blas Parera. Su historia se remonta a 1812, cuando fue aprobado el que escribiera Fray Cayetano Rodríguez, con música de Blas Parera. Sin embargo, aquella versión fue desplazada por una disposición de la Asamblea del año XIII, que decidió realizar una nueva convocatoria y esta vez el poema de López y Planes fue aprobado unánimemente. En ambas ocasiones la música pertenece a Parera. El título de la canción sufrió varios cambios, pasando de Â"Marcha PatrióticaÂ" a Â"Canción Patriótica NacionalÂ" y Â"Canción PatrióticaÂ". En un impreso de 1847 la hallamos por primera vez con el nombre de "Himno Nacional Argentino". El texto también reflejó cambios desde su versión original; le fueron quitados aquellos versos más guerreros, y en 1860 Pedro Esnaola realizó una modificación sobre la música de Parera. Solamente un ejemplar en la Universidad de Michigan, en la Thomas A. Edison Collection of American Sheet Music.