76. Nuevos versos del apasionado. 1911. Pictorial broadside verse, half sheet, printed on recto and verso, buff paper. Type-metal engraving: Distraught man with head in hands sits on a mattress on the floor dreaming of a woman who appears in a cloud above, small table with lit candle. Unsigned (attributed to Manuel Alfonso Manilla). 7.9 x 11.4 cm. Very fine.

 

77. Panteon antiguo epitafios. Undated. Pictorial broadside verse, full sheet, printed on recto, buff paper. Type-metal engraving: Calavera seated at right with weapons of violence (pistol, canon, knives, hypodermic needle, scythe) at his feet; he points toward a mausoleum, directing about a dozen representatives of humanity (tamalera, modista, matrona, soldado, torero, medico, etc.) to enter where another calavera awaits them. Unsigned. 15.1 x 22.0 cm. Chipped at blank margins, mild to moderate marginal staining and at left.

 

78. Panteon de menudencias [Periodical: Vol. I, No. 2]. November 2, 1919. Pictorial broadside verse, double sheet, printed on recto, buff paper. Type-metal engraving: Enormous hairy spider with grisly skull for head, holding smaller skulls and bones, caption above: Un vestiglo, two skulls at top right and left. Unsigned. 21.7 x 22.0 cm. Some short marginal tears and chipping (fortunately not affecting image or text). Unforgettable image--wonderfully appalling. Berdecio & Appelbaum, p. xii, Fig. E. Tyler 228: "One of the most famous calaveras attributed to Posada, this print is probably the work of another of the artists in the employ of Vanegas Arroyo. Although it is difficult to date such prints because of the many times they were used, the earliest print located is dated after Posada's death. Also, the print seems to be a caricature of Gen. Victoriano Huerta, who did not come to power (and therefore become a subject for caricature) until after Posada's death. Finally, students of the Mexican graphic arts almost universally condemn this print as not being in the style of Posada..., the exception being Antonio Rodríguez, who has recently published a book on Posada in which he insists this print as well as the calavera of Emiliano Zapata are the work of Posada or an assistant." See also Tyler, p. 46. The image is also known as Calavera Huertista and appears on a broadside entitled La hambrienta calavera.

 

79. Pleito de casados que siempre estan enojados [No. 31]. Undated. Pictorial broadside verse, half sheet, printed on recto and verso, hot pink paper. 2 type-metal engravings: (1) Domestic violence--husband wearing sombrero trying to beat his hag of a wife who is on the floor and portrayed as a demon; four other people try to restrain him. Unsigned (attributed to Posada). 9.3 x 13.2 cm. Tyler 60: "This print and verse are about the perpetual struggle between husband and wife, with the usual male chauvinist recommendations: find a good woman who is honorable and will be submissive. Posada's print shows a man who has apparently found an unruly spouse." (2) Domestic violence--two drunken ladies, one reeling, the other on the floor, with a man trying to hold up the reeling woman, pitcher on floor. Unsigned. 5.5 x 5.8 cm. Very fine.

 

80. Pormenores de la última ejucución. Fusilamiento de Jesús B. Martínez el dia 7 de enero de 1892. Undated. Pictorial broadside with prose, full sheet, printed on recto, buff paper. Type-metal engraving: Firing squad of six soldiers executing Martínez who is falling to ground and holding a crucifix, eyes staring upward, three witnesses and a priest observe at right. Unsigned. 15.2 x 24.2 cm. Some chipping and staining to lower and right margin (affecting small portion of line border and a letter or two). See under restrikes "Fusilamiento de Bruno Martínez...."

 

81. El prisionero en San Juan de Ulua [No. 7]. 1918. Pictorial broadside verse, half sheet, printed on recto, salmon paper. 2 zinc etchings: (1) View of the prison of San Juan Ulua with ships. Unsigned. 9.3 x 14.8 cm. (2) Prisoner with two soldiers. Unsigned. 6.1 x 4.9 cm. Very fine.

 

82. Pronunciamiento de leones contra gatos y ratones.... Undated. Pictorial broadside verse, half sheet, printed on recto and verso, buff paper. Zinc etching: Confrontation between two lions, three cats, and four rats. Unsigned. 6.9 x 11.5 cm. Slightly foxed.

 

83. Repelito de catrines que les gusta enamorar y figuran mil jardines.... Undated. Pictorial broadside verse, half sheet, printed on recto and verso, very pale green paper. 2 prints: (1) Type metal engraving: Two sinister, lurking figures in a dark alley; man in fancy charro-type clothing strides down the street smoking; a woman looks on from a nearby balcony. Signed in print: Posada. 9.1 x 13.6 cm. Tyler 81 (another issue): "Here Posada and the poet are ridiculing the dandy who does not have a cent to his name but who still tries to woo the women. He might have a fancy shirt, but it is never clean because he does not wash it. He always pretends he has lots of money but says it is tied up in bank notes. He thinks he is incredibly handsome and he serenades the girls, but he is just a poor gigolo." (2) Zinc etching: Skinny man in suit and hat. Unsigned. 19.3 x 5.2 cm. Small chip at upper blank corner, else fine.

 

84. Se vá a la vida privada el Sr. Pablo Gonzalez?.... Undated. Pictorial broadside verse, half sheet, printed on recto, green paper. Type-metal engraving: Man with mustache and wearing dark suit points to left side of page. Unsigned. 9.0 x 6.0 cm. Light marginal browning and tiny chip to upper blank right corner. Revolutionary content in text.

 

85. Sensacional noticia la confesion de un esqueleto un alma en pena dentro del Templo del Carmen [No. 38]. 1903. Pictorial broadside verse, half sheet, printed on recto and verso, buff paper. Zinc etching: Before a confessional a man lies on the ground, a calavera to the left, and a heavily veiled ghostly woman at right exiting. Signed in print: Posada. 7.8 x 13.6 cm. Very fine. Tyler 59: "On Monday, September 21, 1903, José Reyes, the sacristan at the Templo del Carmen, went to close the church. A strange old woman was there, but she left as soon as he appeared. Then Reyes heard several moans. He lit a lantern to try to find out who or what was still in the church, but a terrifying scream paralyzed him, and his lantern went out. Such stories of churches haunted by ghosts are well known in folk literature."

 

86. Sensible defuncion. Hoy á las 9 y 5 minutos de la mañana, falleció el Señor Don Manuel Romero Rubio, Ministro de Gobernación [Gaceta Callejera No. 6]. October 3, 1895. Pictorial broadside with prose, full sheet, printed on recto, buff paper. Zinc etching: Corpse of Romero Rubio with head covered with a cloth lying on a bed with fancy bedspread and curtains in background. Unsigned. 7.9 x 11.9 cm. Fine.

 

87. Señora, su conejito ya no le gusta el zacate solo quiere chocolate que animal tan picudito. 1911. Pictorial broadside verse, half sheet, printed on recto and verso, yellow paper. Type-metal engraving: An older rotund woman wearing an apron gestures toward a rabbit sitting on a table while a lanky younger woman looks on with hands clasped. Unsigned (attributed to Manuel Manilla). 7.9 x 10.8 cm. Tyler 78 (describing another issue): "These verses concern a rabbit who has learned to drink chocolate and will, therefore, drink nothing else. The print is Manilla's way of disdaining the upper class, which has become accustomed to living a life of luxury. The engraving is typical of Manilla's style--particularly when contrasted with Posada's. The figures seem to represent coarser people; they are neither as delicately nor as facilely drawn as Posada's, and the whole composition seems to have a stiffness about it that characterizes Manilla's work."

 

88. Serranillo...registrada conforme a la Ley...A. Vanegas Arroyo...[No. 47]. Undated. Pictorial broadside verse, half sheet, printed on recto, orange paper. Zinc etching: Victorian-attired lady sitting by a tree writing a letter; mouse and bird below, houses in background. Unsigned. 26.2 x 12.3 cm. Fine.

 

89. Los siete fusilados del estado de Toluca (Gran corrido moderno) [No. 23]. 1902. Pictorial broadside verso, half sheet, printed on recto and verso, buff paper. Zinc etching: Seven men being executed by a firing squad, on-lookers in foreground. Unsigned. 7.1 x 13.7 cm. Very fine. Berdecio & Appelbaum 117.

 

90. Tambores y cornetas. Canto Guerrero, inedito para musica.... 1911. Pictorial broadside verse, half sheet, printed on recto and verso, buff paper. Zinc etching: A conglomerate of patriotic images relating to independence: goddess of liberty writing in a large tome, flag, Mexican eagle on cactus with snake, hands clasped, armaments of war, bright sunburst. Unsigned. 15.4 x 16.0 cm. Light marginal browning, else fine.

 

91. La Tarasca. 1897? Pictorial broadside with prose and verse, full sheet printed on recto and verso, buff paper. Type-metal engraving: Chimera (feline creature with wings, long pointed tail and tongue) on wheels. Unsigned. 9.5 x 15.4. Several smaller type-metal illustrations (charro; street scene with fruit seller and water carrier; forced laborers at El Valle Nacional, etc.), some which may be portions of larger plates. Fine.

 

92. ¡Terribilísima inundación! En el barrio de San Luisíto de la ciudad de Monterrey [No. 37]. 1903. Pictorial broadside with prose, half sheet, printed on recto and verso, buff paper. Type-metal engraving: Street scene with eight agitated men and women fleeing a hail storm , lightning bolts in a dark sky, bright street lamp. Unsigned (attributed to Posada). 7.7 x 13.1 cm. Fine. Mexican Fine Arts Center Museum, Chicago, Exhibit, p. 37 (illustrating image as used in another work, Al fin del mundo). Tyler 52 (another use). See the same image herein: ¡Furibunda tempestad, desplomes, muertos y heridos!

 

93. La terrible granizada del 9 de abril de 1904. ¡Furibunda tempestad, desplomes, muertos y heridos! [No. 49]. 1904. Pictorial broadside verse, half sheet, printed on recto and verso, buff paper. Type-metal engraving: Street scene with eight agitated men and women fleeing a hail storm , lightning bolts in a dark sky, bright street lamp. Unsigned (attributed to Posada). 7.7 x 13.1 cm. Other than light chipping to blank left margin, fine. Mexican Fine Arts Center Museum, Chicago, Exhibit, p. 37 (illustrating image as used in another work, Al fin del mundo). Tyler 52 (another use). See the same image herein: ¡Terribilísima inundación! En el barrio de San Luisíto de la Ciudad de Monterrey.

 

94. La terrible noche del 17 de agosto de 1890. Ultimos recuerdos del Sargento 2o. Zeferino Martínez. Undated. Pictorial broadside verse, full sheet, printed on recto and verso, buff paper. 2 type-metal engravings: (1) Three soldiers, one bayoneting a lieutenant with arms raised, the other two brandishing weapons; behind is a table with two sheets of paper and an inkwell, chair overturned and papers on floor. Unsigned (attributed to Posada). 13.9 x 19.2 cm. Tyler 111: "Many of the prints done by Posada for Vanegas Arroyo were clearly based on newspaper accounts of incidents. Either Posada would create a print for a story or Vanegas Arroyo would use a plate that he already had on hand to illustrate it. The murder of Lt. Francisco Calapiz by another soldier is an example of an incident where Posada's work was probably inspired by a contemporary newspaper account." (2) Seven soldiers bear a coffin on a caisson. Unsigned. 10.5 x 16.6 cm. Light marginal wear, generally fine.

 

95. Triste fin que tuvo en Mexico, pues fue presto o fusilado Don Gustavo el Fatidico, el famoso Ojo Parado. Undated [1913?]. Pictorial broadside with verse and prose, half sheet, printed on recto and verso, buff paper. 2 illustrations: (1) Zinc etching: Fat man in coat lying face down in a pool of blood. Unsigned. 6.7 x 12.6 cm. (2) Half-tone photographic portrait of Gustavo Madero. Very fine. Text describes the political intrigue of Gustavo Madero (brother Francisco Madero) and his assassination by Huerta.

 

96. ¡Triste y lamentable acontecimiento, que pasó en las minas "Las Esperanzas" en el Tiro 3 "La Conquista" el 25 Junio de 1903 [No. 27]. 1903. Pictorial broadside verse, half sheet, printed on recto and verso, buff paper. Type-metal engraving: Mining disaster with conflagration, laborers fleeing. Unsigned. 7.3 x 12.7 cm. Fine.

 

97. Tristímas lamentaciones de un enganchado [No. 39]. 1903. Pictorial broadside verse, half sheet, printed on recto and verso, buff paper. 2 zinc etchings: (1) Lettering at top: "El Valle Nacional", with man in serape and sombrero addressing a crowd of laborers and gesturing to an oval at right illustrating workers laboring at an institution. Signed in print: Posada. 11.7 x 15.5 cm. Tyler 141: "One of the hallowed traditions of Porfirian Mexico was kidnapping of workers to send to the Valle Nacional and Islas Marias plantation regions, where they were forced to work under a so-called contract. Most of the workers never returned. These regions and the conditions under which the workers had to work and live became the subject of a scathing exposé by John Kenneth Turner in his Barbarous Mexico, published in 1911. The plantations were also used as a place of exile for political prisoners. And when the Yaqui Indians of the northwest were finally subdued by Corral, many of them were sent to work on plantations in the south of Mexico." (2) Finely dressed couple with man kneeling and holding the hand of a woman, who has turned her head away from him. Unsigned. 5.7 x 7.1 cm. Minor marginal wear and staining.

 

98. Tristisimos recuerdos de Antonio Montes matador de toros, muerto en México en 1907.... Undated [1907 or after]. Pictorial broadside verse, half sheet, printed on recto and verso, buff paper. Zinc etching: Bullfight scene with one bullfighter shaking cape at the bull, and another aloft as the bull stands resolute and the crowd roars. Unsigned (attributed to Posada). 8.6 x 14.2 cm. Light waterstaining to blank margins. Tyler 93 and note to 94: "One of the most famous bullfighters to perform in Mexico, the Spaniard Antonio Montes was gored fighting a bull in the Plaza de México on the afternoon of January 13, 1907. First he received a minor injury as he got too close to the bull while finishing his capework; then, as he placed the sword into the bull, the animal pinned him against the barrier and injured him fatally. He died four days later in his room at the Hotel Edison. The following week the chapel of the Spanish cemetery where his body was being kept pending shipment to Spain burned."

 

99. Versos de Valentin Mancera traidos del estado de Guanajuato.... Undated. Pictorial broadside verse, half sheet, printed on recto and verso, maize paper. Zinc etching: Man playing guitar while man with serape and sombrero and two armed soldiers watch. Several variants of this broadside exist. Unsigned (attributed to Posada). 8.2 x 13.6 cm. Lower blank margin chipped. Tyler 11 (see 10 for type-metal version): "An outlaw from the state of Guanajuato who was betrayed by two prostitutes and murdered by the police became one of the most famous hero-types of Mexico, probably because the balladeers dwelt on his accomplishments rather than his crimes. Valentín Mancera...was most famous for his hatred of the gachupines, the pureblood Spaniards or the upper class. His class hatred and the details surrounding his death made him a natural for the corridistas. These two prints [Tyler 10 and 11]...are interesting because of the differences in style. The earliest is a type-metal engraving, done by the process that Posada used after abandoning lithography and wood engraving. He discovered another process, zinc etching, used to create the second broadside [Tyler 11]. Etching is much quicker than either wood or Type-metal engraving: Posada drew a picture on a zinc plate with an acid-resistant ink and then bathed the plate in acid so that all that was not protected by the ink was etched away, leaving his drawing standing in relief. The process could be completed in less than an hour."

 

100. Versos del temblor del 26 de marzo de 1908. 1908. Pictorial broadside verse, half sheet, printed on recto and verso, buff paper. Type-metal engraving: Four musicians and three ladies in gowns and a gentleman in formal attire standing before a mirror. Unsigned (attributed to Posada). 5.0 x 11.8 cm. Fine. Tyler 53: "Mexico suffered another earthquake in 1908, rather small by comparison with that of 1907, but causing much damage.... This Posada print illustrates the earthquake only in that this group of musicians might be singing a corrido of the quake. It is possible that Vanegas Arroyo was unable to locate a plate of an earthquake scene rapidly enough to use."

 

 

101. Versos muy extravagantes divertidos fabulosos de reír y pasar el rato para todos los curiosos. 1911. Pictorial broadside verse, half sheet, printed on recto and verso, buff paper. Zinc etching: Group of animals (bird of prey dressed as soldier, caped frog with liquor bottle, coyote, buzzard, owl, monkey, etc.). Unsigned (attributed to Posada). 7.2 x 12.6 cm. Minor chipping to blank margins. Tyler 76: "This broadside, which probably is better known in Mexico as El corrido de los animales, is similar to songs such as 'Froggie Went A-Courtin' in the English tradition of animal ballads.... Here the coyote, thought by the Mexican to be one of the sliest of the animals, is the center of attention. Although Vanegas Arroyo employed poets to write verses for him, the 'versos muy extravagantes' are based upon regional ballads that probably originated in Spain."

 

102. Visita y despedimento al Señor de Ixtapalapa....[No. 54]. Undated. Pictorial broadside verse, half sheet, printed on recto and verso, salmon paper. Type-metal engraving: Bearded saint in elaborate reliquary with guardian angels in plumed helmets other either side. Unsigned. 10.0 x 15.0 cm. Very fine.

 

103. Visita y despedimento al Señor de Ixtapalapa...[No. 54]. Undated. Pictorial broadside verse, half sheet, printed on recto and verso, buff paper. Type-metal engraving: Bearded saint in elaborate reliquary with guardian angels in plumed helmets other either side. Unsigned. 10.0 x 15.0 cm. A few trivial chips to blank margins. Fine. Another copy of preceding, but on a different colored paper.

 

104. El volcan del Peñon de Mexico y los de "El Popocatepetl" y el del "Peleé" [No. 112]. Undated. Pictorial broadside with verse and prose, half sheet, printed on recto and verso, buff paper. Type-metal engraving: Erupting volcano with people and animals fleeing. Unsigned. 15.3 x 15.4 cm. Fine. Reports on the eruption of Peleé in the city of Saint-Pierre in the Caribbean as well as Popocatepetl.

 

105. Ya la autoridad echó garra al malvado Ignacio Parra [No. 33]. 1911. Pictorial broadside verse, half sheet, printed on recto and verso, buff paper. Zinc etching: Parra with sword aloft rides his prancing steed, in the background are small mounted figures resembling Indians. Signed in print: Posada. 12.4 x 14.1 cm. Other than light chipping and short tears to blank right margin, very fine. Good image. On verso are two additional illustrations (bird and putti). Tyler 7 (another issue, same image, different typesetting): "Parra was one of Heracleo Bernal's band of outlaws, well known during the Díaz era, who was finally hunted down and killed in 1892. The corridistas who penned these verses had to pretend that they did not like the bandits--'we are glad' he is dead, they finally admitted --but they recognized the hero status Parra and the others had among the pelados (poor Indians and peones)."

 

106. Ya la vieja de mi suegra no mas quiere regañar de a tiro la corta verde no la deja madurar [No. 42]. 1902. Pictorial broadside verse, half sheet, printed recto and verso, pink paper. Zinc etching: Domestic violence--woman attacking a man with a chair as his hat falls to the ground, a table overturns, a little dog barks excitedly, and a frightened but curious woman peers from a half open door. Unsigned. 8.0 x 11.1 cm. Very fine. This image was used several times in different broadsides.

 

107. Ya la vieja de mi suegra no mas quiere regañar de a tiro la corta verde no la deja madurar [No. 24]. 1907. Pictorial broadside verse, half sheet, printed recto and verso, buff paper. Zinc etching: Domestic violence--woman attacking a man with a chair as his hat falls to the ground, a table overturns, a little dog barks excitedly, and a frightened but curious woman peers from a half open door. Unsigned. 8.0 x 11.1 cm. Very fine. A reset version of preceding, using the same block, but with type changed and a different border.

 

108. El zapateado o jarabe tapatío.... 1918. Pictorial broadside verse, half sheet, printed on recto, grey paper. Zinc etching: Man in sombrero and woman in long skirt with ruffle, low-cut blouse, shawl, and necklace; the couple toasts with wine glasses, surrounded by well-wishers. Unsigned. 7.7 x 11.5 cm. Minor marginal browning.