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26. BINKLEY, William C. (editor). Official
Correspondence of the Texan Revolution 1835-1836. New
York & London: D. Appleton-Century Co. for the American
Historical Association, . liv, 556 + xix [1, blank]
557-1125 pp. 2 vols., 8vo, original blue cloth with gilt
spines and vignette on front covers. Edges lightly foxed,
else very fine in dust jackets. Uncommon, and essential for
research on Texas Revolutionary documents.
First edition. See Basic Texas Books 106, where Jenkins, in discussing The Papers of the Texas Revolution, acknowledges Binkley's work, which "contains only about a fourth of the materials in the later compilation, but contains very valuable annotations by that learned scholar that are still quite useful."
27. [BLACK HISTORY]. PHOTOGRAPHY. Lot of 35 photographs by southern photographers including J. C. Coovert and C. F. Ray, generally Black Americans in Southern settings. Most are large format, but there are two postcards, which have matching photos. Some slight duplication. All seem to be from the 1890s-1920s.
(1) Photograph of Black woman and child on porch. 15 x 20 cm (5-7/8 x 7-7/8 inches). In pencil on verso: "Souvenir of the South. Put a name on it."
(2) Color print of Black family, couple seated on bench in front of house with child on ground. 17.4 x 13 cm (6-7/8 x 5-1/8 inches). Tiny piece missing from upper right corner and larger piece missing at lower left corner.
(3) Color print of well-dressed Black family (man, woman, 2 children) out for a walk. 17.4 x 12.8 cm (6-3/4 x 5 inches).
(4) Color-toned postcard: "43 Picking Cotton." Postcard version of #20, below.
(5) Photograph of small Black boy playing accordion for group of Black children and teenagers. 11 x 17.2 cm (4-3/8 x 6-3/4 inches). In pencil on verso: "Music has charms."
(6) Photograph of Black woman doing laundry in wash tub with boy watching. 16.2 x 11 cm (6-1/2 x 4-3/8 inches). In pencil on verso: "A Southern Laundry. Greeting from the South."
(7) Photograph of 3 Black field hands (2 women) hoeing. 17.2 x 10.4 cm (6-3/4 x 4 inches). In pencil on verso: "Chopping Cotton. Greeting from the South."
(8) Photograph of 2 Black children on a fence and a donkey behind them, labeled on negative, "Watching the Circus Go By." 12 x 19.4 cm (4-5/8 x 7-5/8 inches). Mounted on gray card stock.
(9) Photograph of Black children seated on ground. 11.2 x 16.5 cm (4-1/2 x 6-1/2 inches). Label at bottom: "Scene on the Southern Pacific-Sunset Route. Pickaninny Cotton Pickers."
(10) Color print of Black girl in white dress in front of fireplace. 10.6 x 14.8 cm (4-1/8 x 5-3/4 inches). Mounted on gold card stock.
(11) Photograph of 9 Black boys playing marbles. 11.2 x 16.6 cm (4-3/8 x 6-1/2 inches). Mounted on black card stock.
(12) Another copy of the same photograph. 18.5 x 23.6 cm (7-1/4 x 9-1/4 inches). Pencil date in lower corner "1899." Mounted on gray card stock.
(13) Photograph of cotton plants with Black man wearing hat in background. 11.2 x 16.2 cm (4-1/2 x 6-1/2 inches). Mounted on black card stock with embossed ornamental border. Typed label on verso: "Cotton filed [sic, field] Louisiana."
(14) Photograph of 9 field hands (rear view) picking cotton. 17.6 x 23.8 cm (6-7/8 x 9-3/8 inches). Mounted on heavy card stock.
(15) Photograph of cotton field with White man in hat standing in the middle. Signed on negative: "Randall Photo Davis Bros. Oct. 21. 06." 20 x 25 cm (7-3/4 x 9-3/4 inches). Mounted on heavy card stock with pencil caption at bottom: "Cotton Crop near Weatherford, Texas."
(16) Photograph of large room filled with infants (2 Black infants) and toddlers in beds and on small rocking chairs. Matron in background. 18.8 x 23.8 cm (7-3/8 x 9-3/8 inches). Mounted on gray card stock with ink note on verso: "Nursery."
(17) Photograph of White man in suit and hat in cotton field weighing basket of cotton as 6 Black cotton pickers look on. 19.8 x 24.8 cm (7-3/4 x 9-3/4 inches). Mounted on heavy card stock.
(18) Color-toned postcard made from the photograph in 17, entitled: "50. Weighing Cotton."
(19) Sepia-toned photograph of cotton bales with horse and wagon in their midst. 19.2 x 24.8 cm (7-5/8 x 9-3/4 inches). Pencil notes on verso: "Front entrance shed Photo by Coad[?]. OK F. C. Turner. Substitute for #252."
(20) Photograph of 7 Black field hands picking cotton (same persons as appear in photo 17, above). Signed on negative: "Coovert Memphis © No. 1200." 19.8 x 24.8 cm (7-3/4 x 9-3/4 inches). In pencil on verso: "At the close of the day." Color-toned postcard version is #4, above.
(21) Photograph of cotton bales under a shed with mule-drawn wagons bringing in additional bales. Signed on negative: "Photo by Coovert. No. 209." 19.4 x 24.2 cm (7-5/8 x 9-1/2 inches).
(22) Another copy of the same photograph, mounted on card stock. 19.6 x 24.2 cm (7-5/8 x 9-5/8 inches). 7-inch long tear to photograph.
(23) Photograph of Black families (2 men, 4 women, 5 children) seated next to a canvas shack covered with patchwork quilts. Signed on negative with caption: "Photo by Coovert Memphis No 1454-At Home on the Levee-." 19.4 x 23.6 cm (7-5/8 x 9-1/4 inches).
(24) Photograph of Black families around wood-burning stove on bank of river with dwelling shack in background (2 men [1 in background], 4 women, 11 children seated, 2 older boys standing). Signed on negative: "Photo by Coovert Memphis No. 1451-All We Want is Rations-." 19 x 24 cm (7-1/2 x 9-3/8 inches).
(25) Photograph of Black boy standing against wooden rail fence. 17.2 x 11.2 cm (6-3/4 x 4-3/8 inches). Mounted on black card stock. In pencil on verso: "Living Easy Greeting from the South."
(26) Photograph of Black boy in ragged clothing. 16.8 x 11.4 cm (6-5/8 x 4-1/2 inches). Mounted on black card stock. In pencil on verso: "Rags & Tatters. Greetings from the South."
(27) Photograph of Black lad in short pants holding a watermelon. 23.8 x 19.2 cm (9-3/8 x 7-1/2 inches). Mounted on card stock with captions in pencil: "767. de first of de season" above photo and "Tannuru Regulen" below.
(28) Photograph of cotton bales outside a cotton gin. 19.2 x 24.6 cm (7-5/8 x 9-3/4 inches). Mounted on heavy card stock. In pencil on verso: "Cotton Gin Chickasha Okla."
(29) Photograph of Black field hands picking cotton with large pile of cotton bolls on drop cloth in foreground. Signed on negative: "Coovert. Photo G-ville. Miss. #188." 19.4 x 24.2 cm (7-5/8 x 9-1/2 inches). Mounted on heavy card stock. 7-inch tear to photograph.
(30) Photograph of bales of cotton in receiving yard with more bales being brought in on mule-drawn wagons. 20.4 x 25.6 cm (8 x 10-1/8 inches). Mounted on heavy card stock. 7-1/2 inch long tear to photograph.
(31) Photograph of bales of cotton on railroad loading dock. Mule-drawn wagons with additional bales in foreground. Open boxcars in background. Signed on negative: "Photo by Coovert, No. 238." 19 x 24.8 cm (7-1/2 x 9-3/4 inches). Mounted on heavy card stock.
(32) Photograph of "field" of bales of cotton. Cotton gin buildings in background. 19.6 x 25 cm (7-3/4 x 9-3/4 inches). Mounted on heavy gray card stock with caption in pencil: "Cotton Compressors."
(33) Photograph of group of 2 Black men and 2 Black women eating watermelon. Half watermelon in wheelbarrow in foreground. 19 x 24 cm (7-1/2 x 9-1/2 inches). Mounted on black card stock.
(34) Photograph of 9 Black boys eating watermelon.17.4 x 22.4 cm (6-3/4 x 8-7/8 inches). Mounted on gray card stock with copyright on verso, "1897, C. F. Ray, Ashville, N.C."
(35) Photograph of man seated in horse-drawn wagon. 19 x 23.2 cm (7-1/2 x 9-1/8 inches). Mounted on gray card stock embossed with scrollwork and copyright on verso: "1931. C.F. Ray, Asheville, N.C."
Photographer John Calvin Coovert, of Memphis, captured buildings, events, and scenes of everyday life in Memphis and surrounding area. Some of his photographs are in the Memphis and Shelby County Photograph Collection. The Library of Congress American Memory web site has three J. C. Coovert panoramas of cotton fields. Clarence F. Ray was a North Carolina photographer whose work is included in the database of North Carolina photographers through the year 1910, compiled from photographs and printed sources in the North Carolina Collection, University of North Carolina Library at Chapel Hill.
(Lot of 35 photographs)
BLISS' LETTER TO
"HEAD QUARTERS, ARMY OF OCCUPATION, CORPUS CHRISTI, TEXAS NOV. 30TH. 1845"
28. BLISS, William Wallace Smith. Letter in a
secretarial hand, signed by Bliss, to Col. W. S. Harney,
dated at Head Quarters, Army of Occupation, Corpus Christi,
Texas, November 30, 1845. 2 pp., 8vo. Two small holes at
top affecting only text on verso, otherwise clean and very
An excellent letter written during the Republic period by Zachary Taylor's son-in-law, William Bliss, who served as adjutant general in the Mexican-American War. The letter requests that Colonel Harney vacate the troops in Bexar and establish a camp "from five to ten miles from town," reiterating a command previously given to the commander at Austin and now relayed to Colonel Harney at Bexar: "Reports alleging hostile intentions on the part of the Indians are always to be received with great caution, and the General would deem it a great misfortune to embroil the government with any Indian tribes, without the most imperative necessity, resulting from our obligations to defend the settlements of Texas...great allowance must be made for the habitual exaggeration of frontier people to such subjects." Harney was at the time commanding the Second Dragoons at Bexar.
TEXAS LAND SPECULATOR TAKEN
PRISONER BY THE MEXICANS 1837
JUSTICE AT LAST!
29. BOLING, B. B. Lot of 3 items relating Boling's capture while onboard the U.S. schooner Julius Caesar, bound for Brazoria and freighted with provisions for the Texian army valued at $30,000.
(1) Manuscript journal written by Boling narrating events April 9 to April 22, 1837, after being captured off the coast of Galveston on April 12. Written from prison at Matamoros, April 21-22, 1837. 7 pp. (plus calendar on last page). 12mo, in pencil on ruled paper. Very lightly written, first page difficult to read, creased where folded to pocket-size.
(2) Manuscript petition, signed by Boling, to the Congress of the Republic of Texas, recapping his experiences and seeking compensation for Texas land certificates he claims his Mexican captors confiscated. [Texas, 1838]. 2 pp., folio.
(3) Autograph letter, signed, from J. D. Kirkpatrick, addressed to Boling in Matagorda, dated at Kenner Bay Prairie, June 28, 1837. 3 pp., 8vo. Boling's friend humorously congratulates him on his release, commencing: "I hear you have recovered and escaped Old Nick this time."
An excellent complementary group, documenting a little-known episode of Republic history. Boling describes in quaint English and curious spelling his prisoner-of-war adventures. After the Julius Caesar sailed from Boston to New Orleans and was on its way to Texas, the Mexican warship General Terán seized her off the coast of Galveston. The Mexicans imprisoned the passengers and crews of both the Julius Caesar and the Texas Navy schooner-of-war Independence at Matamoros. Boling notes in part:
The 12th about [7?] o'clock
the Mexican brig General Teran was sean off a bout a
mile...she made sail...for the shooner and was soon in
musket shot of us when she fired a signal gun...Boker
[The Handbook of Texas Online: Shields
Booker] thought that they ware not confined and the
marines never kept thare guns in thare hands-on the
14th Booker, Capt. [E. W.?] Moore and
myself cald a meeting with the pasingers that remained on
the schooner. On the 16th we landed at the rio
Bravo 35 miles from Matamoris but ware put upstares in a
small room-22 of us guarded by about 30 solders...no thing
for to eate four days.... After we arrived in Mat. we ware
marched through the town and then to the calabos...I coud
not describe my fealings wel at that time-I loked round at
my companions and thar countinaces look as mine felt-That
we ware domed to drag out miserable life in
The Julius Caesar incident was a diplomatic can of worms, particularly after some impulsive Texian congressmen urged the Republic of Texas to "liberate" the captive ships and their crews and passengers (see Sam Houston's message of May 31, 1837, "To the Texas Congress, Vetoing the Resolution to Send Armed Vessels to Matamoras," Writings of Sam Houston I, pp. 108-11). It seems clear that Boling speculated in land, because in his petition he tells of buying land certificates from Texian soldiers.
(Lot of 3 items)
30. BOLTON, Herbert Eugene. Anza's California
Expeditions. Berkeley: University of California Press,
1930. xxi  529 + xii  473 + xxi [1, blank] 436 + x
 552 + xviii  426 pp., 14 maps (some folding), 106
plates, 47 facsimiles. 5 vols., complete, 8vo, original
navy cloth, gilt lettering on spine. Very fine set, some
First edition. Cowan, p. 60: "A work of extensive research and of most important historical value." Edwards, The Enduring Desert, p. 11: "A narrative of deep human interest, and profound significance. It brings together in one picture the pioneer work of soldier, missionary and colonist. It tells of the opening of a route of travel across the California mountains three quarters of a century ahead of the Forty-Niners." Hill, p. 29. Howell, California 50:310. Howes B583: "Monumental work containing translations of the original MS. diaries of Anza, Díaz, Garcés, Font and Paloú, relating to the 1773 and 1774 expeditions and the founding of both Monterey and San Francisco." Libros Californianos (Dawson-Howell & Hanna lists), pp. 37, 64: "Bolton's introductory volume is a brilliant presentation of the whole scene of Spain's expansion in the New World." Powell, California Classics, pp. 3-16; Southwestern Book Trails, p. 11: "The greatest of all Bolton's great works." Weber, California Missions, p. 9. Zamorano Eighty 7.
31. BONNER, T. D. (editor). The Life and
Adventures of James P. Beckwourth.... New York: Harper
& Brothers, 1856. 537 [1, blank] [2, ads] pp.,
frontispiece, illustrations. 8vo, contemporary
three-quarter red morocco over marbled boards,
gilt-lettered spine with raised bands, marbled endpapers.
First edition. Buck 156. Cowan, p. 41. Dobie, p. 71: "Beckwourth was the champion of all Western liars." Field 149. Graff 347: "Beckwourth's life is a classic of pioneer days in the West." Howes B601: "Highly colored, but basically authentic, narrative of a noted mountain character." Plains & Rockies IV:272:1n: "In Hubert Howe Bancroft's 'Pioneer Register,'...Beckwourth is described thus: 'Mulatto of Va., who became in the great West a famous hunter, guide, Indian-fighter, chief of the Crows, and horse-thief. No resume can do justice to his adventures, nor can the slightest faith be put in his statements.'...Recent scholars seem to take a more charitable view of Beckwourth's veracity." Rader 322. Rittenhouse 72. Smith 695. Donated to the Texas State Historical Association by Shirley and Clifton Caldwell.
32. [BOOK CLUB OF TEXAS]. TERRELL, A. W. From
Texas to Mexico and the Court of Maximilian in 1856.
Dallas [Chicago: Lakeside Press for] The Book Club of
Texas, 1933. xviii, 94  pp., frontispiece portrait, 2
plates. 8vo, original maize cloth over tan cloth. Light
fading to cloth, spine slightly dark, otherwise fine.
First edition, limited edition (printer's specimen). Gunn, Mexico in American & British Letters 1085. Lowman, Printing Arts in Texas, p. 25: "Features a previously unpublished drawing by O. Henry." Marcus, The Book Club of Texas 5. One of the few accounts of a Confederate expatriate in Mexico. Born in 1827 in Virginia, Terrell came to Texas in 1852. Terrell was elected a district judge in 1857 and served in that capacity until resigning to join the Confederate Army. He took part in battles in Missouri and Arkansas and rose to the rank of brigadier general. On learning of Lee's surrender, Terrell along with other Confederates traveled to Mexico where he joined the French Army of occupation. Appointed to the rank of colonel, he was frequently at the court of Maximilian. He returned to Texas in 1866 where he became a cotton grower on the Brazos River and later a member of the state legislature. Judge Terrell was a contributor to the quarterly of the Texas State Historical Association and at the time of his death in 1912 was serving as the association's president. A rare work almost unknown bibliographically. Donated to the Texas State Historical Association by Shirley and Clifton Caldwell.
SIGNED BY THE SAN JACINTO VET WHO SURVEYED & LAYED OUT THE TOWN OF HOUSTON IN 1836
33. BORDEN, John P[ettit]. Manuscript survey
notes. Certified copy of the survey notes made by E. S. R.
Wheelock in March 1835 for one league of land on the waters
of the Sabine and Wheelock Creek branches of Harlins Creek
on the Sabine River. Certification at bottom signed by
Borden as commissioner of the General Land Office, dated
November 16, 1840, with the embossed seal of the Land
Office. 1 p., 4to. Creased where folded. Fine.
John Pettit Borden was the first commissioner of the General Land Office. He served in the Revolution and was a lieutenant in Moseley Baker's company at San Jacinto. In 1836, John and his brother Gail Borden Jr. surveyed and laid out the town of Houston. He held the office of land commissioner from August 1837 to December 1840 and as first land commissioner had the huge task of assembling the land records that were scattered all over the new Republic. The Handbook of Texas Online (John Pettit Borden).
COMISIÓN PESQUISIDORA DE LA
FRONTERA DEL NORTE
A FINE LITTLE ARCHIVE WITH A RARE IMPRINT
34. [BORDERLANDS]. MEXICO. COMISIÓN
PESQUISIDORA DE LA FRONTERA DEL NORTE (Emilio Velasco,
Antonio Garcia Carrillo, and Agustin Siliceo, secretary).
[Text commences]: El Ejecutivo de la Union, autorizado
por la ley de 30 de Setiembre último, nombró
á los que suscriben, para formar una Comision que
investigue y esclarezca los hechos sobre los perjuicios de
que se quejan ciudadanos de los Estados Unidos, y sobre los
que estos hayan causado á ciudadanos mejicanos, en
los Estados de Tamaulipas, Nuevo Leon y Coahuila, sea por
depredaciones de indios, por robo de ganado, ó por
cualesquiera otros ataques á las personas ó
á las propiedades. En consecuencia, la Comision
recibirá todas las quejas que se le presenten,
conforme á las reglas siguientes.... Matamoros,
November 21, 1872. Folio broadside. Edges with a few small
chips, else very fine. With: (1) File of correspondence and
decrees directed to the city council of Múzquiz,
Coahuila, facilitating the work of the Commission,
expanding its definition to include Indian depredations.
1873. 8 leaves. Fine. (2) File of correspondence regarding
the mounting of troops to combat Indian depredations,
directed to the magistrate of Múzquiz, Coahuila.
1873. 6 leaves. Fine. (3) File of correspondence regarding
Indian depredations, directed to the city council of
Múzquiz, Coahuila. January 1874. 18 leaves. Fine.
Very rare borderlands material.
The rare broadside invites all citizens who have suffered assault, robbery, or theft at the hands of U.S. citizens within Mexican territory since February 2, 1848 (Treaty of Guadalupe Hidalgo), or if the stolen goods were taken to the U.S., to present claims and evidence to the Investigating Commission of the Northern Border. The Mexican commission investigated increasingly chaotic conditions along the border and from the information gathered authorized publication in 1875 of an English translation of an official report on Indian and bandit depredations along both sides of the Rio Grande-Reports of the Committee of Investigation Sent in 1873 by the Mexican Government to the Frontier of Texas.
During the latter part of the nineteenth century, trans-border Indian depredations were a major cause of conflict between Mexico and the U.S., with both sides maintaining fully justifiable claims. The cases of Gerónimo and Vitorio are the most famous. The commissioners largely absolved Mexico and blamed the Texans, claiming that Texans disguising themselves as Indians frequently committed the crimes.
35. BOREIN, John Edward. [High, Wide &
Handsome]. Original etching, unsigned but etched
"Edward Borein." N.d. Image measures 12.6 x 10.2 cm (4-7/8
x 4 inches). Very fine. Under glass, matted, in wooden
A cowboy on a bucking bronco, in a cloud of dust, arm up and hat flying. Noted cowboy artist Edward Borein (1872-1945) excelled in depicting scenes of cowboys, horses, longhorn cattle, Indians, and the Southwest. He was born in San Leandro, California, and grew up in Oakland, a major center in the cattle industry. He began sketching at the age of five, surrounded by cowboys, vaqueros, cattle, and horses, subjects of which he never tired.
His family encouraged him to pursue art, but after spending one month at the San Francisco Art Association Art School, he decided to become a cowboy. At the age of twenty-one he worked ranches up and down the California coast and became proficient in roping, riding, saddle making, and lasso-braiding. He also continued sketching ranch scenes. His cowboy friends, impressed by his talent, encouraged him to submit to The Land of Sunshine magazine, where one of the earliest publications of his work appeared in August 1896. In the 1890s Borein also began painting in watercolor, struggled to master the medium, and eventually in his later years achieved some success with it, producing more than one thousand documented watercolors. He also tried oil painting but gave it up when he realized he could never paint as well as Charles Russell.
By 1904, Borein gave up the cowboy life and began to work as an illustrator in the Oakland area for newspapers and magazines. In 1907 he moved to New York to work as an illustrator. He also studied etching at the Art Students' League; this medium set him apart from other Western artists. Excelling as an etcher, he produced nearly four hundred different etchings that are now documented, though the exact number will probably never be known. He did not routinely sign or number his etchings, which bear a variety of signatures and penciled remarques. He used the basic techniques of traditional etching as well as dry-point needle and occasionally aquatint. His etchings are praised for their freshness and spontaneity. In 1921 Borein married and moved permanently to Santa Barbara, where he flourished as a prolific artist of Western and Southwestern themes such as the California missions and Native Americans. He paid careful attention to details and developed an identifiable style that set him apart.
36. BOREIN, John Edward. [Little Bucking
Horse]. Original etching, signed in pencil "Edward
Borein." Image measures 12.4 x 10 cm (4-7/8 x 3-7/8
inches). Under glass, matted, in wooden frame.
A cowboy on a bucking bronc, in a cloud of dust, waving his hat.
37. BOREIN, John Edward. [Noontime in
Taos]. Original etching and dry-point signed in pencil
"Edward Borein 1915." Image measures 20 x 30.4 cm (7-3/4 x
11-7/8 inches). Very fine. Under glass, matted, in wooden
Image of Taos pueblo buildings with a donkey in left foreground, chickens in the yard, and in the background a man helping a child up a ladder. High aesthetics.
EARLY COLORFUL ACCOUNT OF THE
38. BOSSU, [Jean Barnard]. Nouveaux Voyages aux
Indes Occidentales.... Paris: Le Jay, 1768. xx, 264
pp., frontispiece, engraved plates. 2 vols. in one, 16mo,
full calf by Sangorski & Sutcliffe. Recto of
frontispiece with early manuscript note in French. Very
Second edition (first edition also Paris, 1768, same collation, plates, etc.; the book was banned, accounting for the rarity of the first edition). One of the most colorful and detailed accounts by a traveler in the early Mississippi Valley. Clark, Old South II:5: "Bossu's writings constitute an important chapter in early Louisiana social history. He describes conditions of travel inland [as far north as Arkansas, Illinois, and the Missouri River country], the outlandish things that could and did happen to a European, his experiences among the Indians, the nature and customs of the country, and the general fauna. This book may be considered a major travel account." Field 156. Howes B626: "This officer's first and second tours of service among the Indians from Alabama to Illinois. For comments, too critical of the ministry, Bossu was imprisoned and his book banned for awhile in France; this probably accounts for the scarcity of the first edition, of which Sabin found no record." Donated to the Texas State Historical Association by Shirley and Clifton Caldwell.
39. BRISCOE, Andrew. Autograph document, signed,
dated at Houston, February 28, 1838. 1 p., 12mo (unrelated
document on verso). Browned, a few stains, small split at
upper edge where previously folded, upper right corner
filled, overall fine.
Brisco, a merchant, patriot, judge, and railroad promoter, was appointed chief justice of Harrisburg County by Sam Houston in 1836. In this official capacity and as an ex officio notary public for the Republic of Texas, he authenticates documentation on a financial instrument in the amount of $500, relating to and specifically mentioning Thomas Jefferson Chambers and Samuel Rhodes Fisher. Fisher, secretary of the Texas Navy during the Republic era, represented Matagorda Municipality in the Convention of 1836 at WashingtonontheBrazos and there signed the Texas Declaration of Independence. Chambers (1802-65) was the first Anglo attorney licensed to practice law in Texas, a cunning land speculator, and author of the Chambers Code for Coahuila y Tejas. See The Handbook of Texas Online (Andrew Briscoe).
COLORFUL RAILROAD POSTER
40. [BROADSIDE]. GREAT ROCK ISLAND ROUTE. CHICAGO,
ROCK ISLAND & PACIFIC RAILWAY. Great Rock Island
Route C. R. I. & P. RY. Solid Vestibule Express Trains
Daily Kansas City to Denver, Colorado Springs and Pueblo.
Through Fast Express Trains to All Points in Southern
Nebraska, Kansas & Indian Territory. Pullman Palace
Sleeping Cars, Dining Cars and Free Reclining Chair Cars.
Connections in Union Depots at Junctional and Terminal
Points.... Chicago: Orcutt Litho. Co., [1890s?]. Folio
broadside advertising poster, measuring 54.8 x 35 cm
(21-1/2 x 13-3/4 inches), printed in full, vivid color,
with inset illustration of a man carrying a bag and an
umbrella, two illustrations of the interior of trains (one
large and one small), and one small exterior illustration.
Edges with a few tiny chips, some tears neatly repaired.
Fine. Under glass in contemporary wooden frame.
The Rock Island and LaSalle Railroad Company was incorporated on February 27, 1847, for the purpose of building a railroad from La Salle to Rock Island, Illinois, to provide an overland link between the Mississippi and Illinois Rivers. The line went through various permutations typical of many of the nineteenth-century lines. In 1886 a charter was issued to the Chicago, Kansas and Nebraska Railway Company to build the Kansas and Colorado mileage, and the railroad continued to expand, gradually building across Indian Territory to Texas and New Mexico Territory. The survey followed roughly along the old Chisholm Trail. On June 10, 1891, the lines in Kansas, Nebraska and Colorado were consolidated into the Rock Island System, and in 1892 building was resumed on the line from Minco, Oklahoma; the Texas state line was reached before year's end. That year the Chicago, Rock Island and Texas Railway Company was chartered in Texas and track was laid from Fort Worth to meet, at the Red River, with the line that had been built down from Minco, and through service was opened from Chicago to Texas. For more on the Rock Island system, see The Handbook of Texas Online (Rock Island System).
"ONE TRUE GENIUS AMONG THE MANY STRONG PERSONALITIES THAT MARK AMERICAN POPULAR PRINTMAKING"Mayer, Popular Prints of the Americas
41. [BROADSIDE]. POSADA, José Guadalupe.
Aquí la calavera está, señores, de
toditos los buenos valedores [calaveras fighting,
dancing, etc.]. Broadside, full sheet, 39.2 x 29 cm
(15-1/2 x 11-1/4 inches), zinc etching printed in black on
blue paper. Some discoloration to edges, otherwise very
Not in Tyler, Posada's Mexico. Unrecorded broadside by the monumental Mexican printmaker who profoundly influenced subsequent Mexican artists, including Orozco and Rivera. Posada was the great artist of the Mexican revolution, and "the one true genius among the many strong personalities that mark American popular printmaking" (Mayor, Popular Prints of the Americas, p. 50). It is a distinct pleasure to offer this superb grouping of the print work of Posada, a most uncommon common man, whose work is recognizable virtually the world over. Posada's works are at once vivacious, profound, humorous, and tragic, brilliantly capturing not only the flow of Posada's times, but the human condition. Most of the prints we offer are on the preferred color papers, and generally are in excellent condition, much finer than usually found.
"ONE OF THE MOST RAUCOUS OF SCENES"TYLER
42. [BROADSIDE]. POSADA, José Guadalupe.
Barata de calaveras.... Mexico: Antonio Vanegas
Arroyo, 1907. Broadside printed on recto and verso, full
sheet, 40.2 x 29.4 cm (15-7/8 x 11-1/2 inches), type-metal
engraving printed in black on white paper [calaveras in a
cemetery seizing finely dressed ladies as calavera peasant
ladies applaud]. Verso: Continuation of poem, with three
more images. Paper browned, misprint of image of woman
being carried by skeleton, small tear to upper left edge,
lower left corner with small tear, else very fine.
Tyler, Posada's Mexico, #179, p. 264: "One of the most raucous of scenes-a group of calaveras apparently helping to celebrate the Day of the Dead-in which two working women are carried off into the world of the calavera."
43. [BROADSIDE]. POSADA, José Guadalupe.
Calavera Bolshevik. Mexico: A. Vanegas Arroyo, n.d.
Broadside, full sheet, 39 x 29 cm (15-1/4 x 11-1/2 inches),
zinc etching printed in black on pink paper [large running
calavera with rays from his eye sockets, arms outstretched,
holding bloody dagger, wearing large sombrero in a crowd of
calaveras, foreground littered with skulls]. Upper right
corner creased where folded, else very fine.
This print is one of the rare Posada broadsides, and very desirable not only for the classic calavera image but also for its super title: Calavera Bolshevik. Tyler does not list this broadside, but describes the image as used in another Posada broadside: "This dangerous-and violent-looking-calavera is apparently about the business of creating more calaveras.... One of Posada's most striking images of skeletons in motion, this print has been used for several different subjects, to represent the calavera from the state of Oaxaca or some other state or to show, after Posada's death, a presidential candidate running for an office that might, to take a hint from the calavera, do him in."
DON CHEPITO MARIHUANO
44. [BROADSIDE]. POSADA, José Guadalupe.
Calavera de actualidad, with Don Chepito Marihuano.
Mexico: Antonio Vanegas Arroyo, October 1911. Broadside,
full sheet, 40 x 30 cm (15-3/4 x 11-7/8 inches), type-metal
engraving printed in black on pink paper. Edges lightly
chipped, moderate stains on upper and lower right corners,
Don Chepito is Posada's comic-strip hero, who experiences all kinds of mishaps and represents the "folly of a snob who needs an audience to admire him" (Tyler, Posada's Mexico, p. 137). In this print, Tyler points out that the habit of smoking marijuana "makes even more striking the print in which we see Don Chepito, wearing a starched collar and a bow tie, standing on a floor strewn with skulls. He has picked one up and is looking at it closely, a second Hamlet holding the skull of old Yorick. But what exactly is going through the head-a head as bald as the calavera he is examining-of this ridiculous rival of the Shakespearian hero? The question will remain unanswered."
45. [BROADSIDE]. POSADA, José
Guadalupe. Calavera de Don Juan Tenorio. Aquí
está don Juan Tenorio de valor siempre notorio; pues
aunque hoy es calavera no lo babosea cualquiera.
Mexico: A. Vanegas Arroyo, n.d. Broadside, full sheet,
37 x 28.2 cm (14-1/2 x 11-1/8 inches), type-metal
engraving printed in black on beige paper. Very fine.
Don Juan Tenorio is a classic figure of the Spanish theater. The image depicts two calaveras dueling in a graveyard, one depicting Don Juan Tenorio in cape and hat, who is stabbing the other. Not in Tyler, Posada's Mexico.
CALAVERA DE LOS CAMIONES
46. [BROADSIDE]. POSADA, José Guadalupe.
La calavera de los camiones. ¡Ahi les va la
calavera de los meros copetones wue ha triunfado donde
quiera, y es la de los camiones.... Mexico: A. Vanegas
Arroyo, n.d. Broadside, full sheet, 37.2 x 28 cm (14-5/8 x
11 inches), zinc etching printed in black on pale green
paper. Lightly browned around the edges, else very
Same image as #147 in Tyler, Posada's Mexico (p. 237), in which a large skeleton, "Death," speaks and gestures to skulls on the ground and a smaller skeleton in the Centennial Graveyard. "Here Posada made the trip to the cemetery more convenient by having the tram bring the doomed passengers directly to their graves."
DAY OF THE DEAD CALAVERA
47. [BROADSIDE]. POSADA, José Guadalupe.
La calavera del Tenorio de la colonia de la bolsa.
¡Ojo, mucho ojo señores, que aquí la
calavera del mismo do Juan Tenorio que no teme a
cualquiera.... Mexico: Antonio Vanegas Arroyo, n.d.
Broadside, full sheet, 37.8 x 28 cm (14-7/8 x 11 inches),
zinc etching printed in black on gray paper. Very fine.
Tyler, Posada's Mexico, #193, p. 272: "Posada's calavera of Don Juan Tenorio features a popular entertainment traditionally presented during the Day of the Dead festivities. Performed in several acts with such titles as 'Libertinism,' 'Profanation,' and 'The Devil at the Gates of Heaven,' the Don Juan drama is enlivened by the Mexicans with music and dance.... Posada's calavera depicts the last scene in the drama, a confrontation between Don Juan and the ghost of the father of one of his romantic conquests. Set in a cemetery, the ghost...overpowers the wicked character and drags him off to hell."
GHASTLY CARICATURE OF
48. [BROADSIDE]. POSADA, José Guadalupe
(after). La gran calavera. Este cráneo
singular-verdades puede enseñar. N.p., .
Broadside printed on recto and verso, full sheet, 36 x 27
cm (14-1/4 x 10-1/2 inches) type-metal engraving printed in
black on tan paper. Verso: Continuation of the poem from
recto, plus La calavera de artesanos, half sheet
(image measures 12 x 22 cm; 4-1/2 x 8-5/8 inches)
type-metal engraving with Posada's engraved signature.
Lower edge chipped, two small tears at upper edge, moderate
damage from worm holes, one tear at lower edge, paper
browned and fragile, overall very good.
Tyler, Posada's Mexico, #166, p. 252: "This [La gran calavera] is one of the more famous prints attributed to Posada but almost surely not by him. The caricature is of Madero, and the text describes the worms that eat his flesh. Overthrown in February 1913, Madero was 'shot while trying to escape,' the time-honored application of the ley fuga. Gen. Victoriano Huerto engineered the murder and paved his own way to the presidency. Since Posada had died in January, before the uprising that resulted in Madero's death, he would not have witnessed the occasion for such a caricature of Madero"; # 184, p. 266 (describing image on verso): "A bitter comment on the futile lives of poor workers.... The print shows a circle of artisans. In the front are a tailor, a cobbler, and a coffin-maker, and in the back, a hat maker and a carpenter. In the back are two small calaveras in the upper left and right corners. One holds a spade, indicating that he is a ditch digger or, in the connotation of the calavera, a grave-digger, and the other is a house-painter. All the artisans have their jaws open as if they are crying out, complaining of their lot."
49. [BROADSIDE]. POSADA, José
Guadalupe. La Tarasca.... Mexico: Antonio Vanegas
Arroyo, n.d. Broadside printed on recto and verso, full
sheet, 40.2 x 30 cm (16 x 11-3/4 inches), type-metal
engraving printed in black on green paper. Verso:
Continuation of text and images. Tiny chips at lower edge,
else very fine.
This broadside has three images, the most dramatic being a winged monster with forked tongue and tail. On rich green paper.
50. [BROADSIDE]. POSADA, José
Guadalupe. ¡Rebumbio de calaveras de catrines y
borrachos de viejos y de muchachos de gatos y garbanceras!
Mexico: A. Vanegas Arroyo, n.d. 1 p., broadside, full
sheet, 37.2 x 28 (14-3/4 x 11 inches), zinc etching printed
in black on gray paper. Very fine.
The calavera Death is directing people toward the Pantheon. Text beneath the image: De este esqueleto, la huesuda mano, su fin indica al miserable humano. Esta muerte inflexible nos señala cual de la eternidad es la antesala.
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