Catalogue 897 - Howard Karno Books
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)
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
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
4. Molina Campos,
Zavattaro,; Luis Julio
Medrano. A COMPLETE
GAUCHO LIFE IN
ARGENTINA IN ALL ITS
ASPECTS. Buenos Aires:
Colombatti & Cia. Ltda.
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)
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
©Yani Penanins, 2015, libro único, collage” –Verso Cover. Artist book of found objects relating
to sewing and sewing patterns. Edition of one.(106333)
Pichardo y Tapia, Estéban. DICCIONARIO PROVINCIAL DE VOCES CUBANAS.
Matanzas, Cuba: Imprenta de la Real Marina, 1836. 273,  pages. full contemporary calf. 16
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
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
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)
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)
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)
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,  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. 6pp, plus blank integral leaf; 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  lv, 32p 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)
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)
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
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.
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
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.
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.
#64/100 on “Charter Eggsshell” paper. Illustrations by Jorge Argerich.
Payró, Roberto J. El fantasma. Litografías de Raúl Veroni. Buenos Aires. Francisco A.
#89/100, on “Charter Eggsshell” paper. Illustrations by Raúl Veroni.
Mansilla, Lucio Victorio. El diario de mi vida. (Estudios morales). Buenos Aires. Francisco A.
#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,
#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
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
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)