A potential teaching collection of original letterpress broadsides and chapbooks by José Guadalupe Posada and Manuel Manilla.

Item Details

Mexico City, A. Vanegas Arroyo, Late 1890s to c.1920.

See description.

His sharp graver spared neither rich nor poor...The distribution of blacks and whites, the inflection of line, proportion, all in Posada’s own style, and because of this quality, he ranks among the greatest. - Diego Rivera

Posada's animated skeletons have become something of a benchmark for establishing the global identity of Mexican Art. - Mark McDonald, "Mexican Prints at the Vanguard" (catalogue for a 2024 exhibition at The Metropolitan Museum of Art.

Offered here is a collection of prints comprising 143 original late 19th-early 20th century broadsides and chapbooks with wood-engraved and metal- cut illustrations by the Mexican artists José Guadalupe Posada (1852-1913) and Manuel Manilla (c.1830-1890). The curated collection, assembled over 20+ years, includes a number of the artists’ iconic and rare images. The collection includes only the originally issued broadsides with letterpress text, and no later reprints of the images only.

A checklist of titles, including condition notes, is available upon request.

Bibliographical descriptions for each object, including title, date, dimensions in inches and centimeters, and condition notes has been completed and will be included with the collection. (See below for examples.)

Thematically, this collection comprises: 48 Calaveras; 38 Crimes, disasters, sensational events; 11 Historical; 9 Humor;
5 Religious; 5 Games; 11 Chapbooks; 16 Chapbook covers (before folding and sewing).

Condition: Generally very good to excellent, with only occasional age and fold toning, creases, edge chipping and minor losses. No restorations or repairs. Any condition faults will be described in the checklist.

Typical of this form of communication, the broadsides were letterpress-printed on thin inexpensive and fragile papers. Despite the effort and skill that went into producing them, the printed sheets were ephemeral, and not meant to survive. Thus, a collection in this condition is extremely rare.

94 of the pieces are professionally matted in 86 mats (8 mats showing two pieces each), including protective archival inner mylar covers. Overall mat sizes are either 16 x 20 or 24 x 30 inches. 49 pieces are enclosed in archival mylar sleeves only. 

Posada is widely regarded as the father of 20th century Mexican printmaking. His subjects range from people and events related to the Mexican Revolution of 1912, iconic skeleton images (“Calaveras”) associated in popular culture with the Day of the Dead, crimes, sensational events, natural disasters and devotional images. His prints influenced the artwork of Diego Rivera and Frieda Kahlo, as well as the artists of the Mexican print collective Taller Grafica Popular. Posada’s prints are widely recognized as icons of the Mexican Day of the Dead, especially his “Katrina” image, included on a Calavera broadside in the collection. More popular adaptations include album cover art for the Grateful Dead.

Significant collections of Posada’s prints are in the Getty Museum, Stanford University, University of Southern California, Library of Congress, University of New Mexico, University of Hawaii, Amon Carter Museum, and Tulane University.

Additional information from internet sources:
José Guadalupe Posada, one of Mexico's most prominent artists, was born in Aguascalientes on February 2, 1852. He was taught lithography and engraving by Trinidad Pedroso at a young age and went to work for the newspaper El Jicote, drawing political cartoons by the end of his teenage years. As an adult, Posada also submitted works to popular periodicals such as Nuevo Siglo, La Patria Ilustrada and El Padre Cobos. The bulk of Posada's best known work was done in association with the printer A. Vanegas Arroyo, with whom he became associated in 1896. Posada died on January 20, 1913.
Posada's imagery is both revolutionary and artistic. His pen codified a significant set of images associated in particular with the Day of the Dead in both Mexican and Mexican American cultures, giving these images significant political and social as well as aesthetic content. His work with various segments of the Mexican left, particularly the anarchist groupings centered around the Magonistas, are a vital part of the Mexican revolutionary heritage. His influence on Diego Rivera and the Taller Gráfica Popular artists is immeasurable.

Six examples of bibliographical descriptions completed for all 143 objects in the collection:

CALAVERA DE LOS PATINADORES \ Haciéndose á un lado vales \ Si no quieren una soba, \ Pescar quise á un germán la calavera \ Y me trajo á barrer el muy tronera. \ La muerte no tiene iguales \ Cuando la arman con escoba. \ Ni la muerte se escapa á sus rencores, \ Y aquí estoy entre mil patinadores.
n.d. 11 x 15.625 inches (27.9 x 39.7 cm). 16 x 20 inches matted. Contemporary hand-coloring. Calavera.

DE ESTE FAMOSO HIPODROMO EN LA PISTA \ NO FALTARA NI UN SOLO PERIODISTA. \ LA MUERTE INEXORABLE NO RESPETA \ NI A LOS QUE VEIS AQUI EN BICICLETA. n.d. 15.5 x 23.375 (39.4 x 59.4 cm). 24 x 30 inches matted. Calavera.

¡¡Horrible y espantosísimo acontecimiento!! \ UN HIJO INFAME QUE EVENENA A SUS PADRES Y A UNA CRIADA EN PACHUCA. \ TERRIBLE TEMPESTAD QUE SE DES ARROYA EL DIA 8 DEL MES PASADO. n.d. 7.375 x 11 inches (18.7 x 27.9 cm). Light pink paper. Crimes, disasters, sensational events.

¡TERRIBILISIMO EJEMPLAR! \ ¡¡¡¡¡Una Niña calumniadora a quien se lleva el Demon!!!!! 1910. 7 x 10.5 inches (17.8 x 26.7 cm). 16 x 20 inches matted. 
Crimes, disasters, sensational events.

EL FUSILAMIENTO \ DE FRANCISCO MARTINEZ, \ EN LA CIUDAD DE PACHUCA \ EL 12 DE JULIO DE 1906.
1906. 8 x 12.25 inches (20.3 x 31.1 cm). 16 x 20 inches matted. Historical.

ORACULO MIGNON. Signed. n.d. 7.5 x 5.5 inches (19.1 x 14.0 cm). 16 x 20 inches matted. Chapbook cover.