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The Spanish Civil War was a period of great political turmoil and upheaval in Spain. The war broke out on July 17, 1936, when a conservative military group led by the generals Emilio Mola and Francisco Franco tried to overthrow the country’s democratically-elected republican government. Political and social tensions had been building in Spain for years prior to the actual revolt.

The military rebels expected an easy win and were surprised to encounter a huge popular resistance, especially in more densely populated areas. In a very short time, Spain was split in half, with one zone controlled by the government, or the Republicans, and the other by rebels, known as the Nationalists. Three years of bloodshed and fighting followed. General Franco quickly emerged as the commander of the Nationalist side, facing the Republican leaders of President Azaña, Prime Minister Largo Caballero, and Prime Minister Negrín. The war eventually ended with a Nationalist victory on April 1, 1939, with an estimate 500,000 and Franco would rule Spain as dictator until his death in 1975.

Not surprisingly, numerous books, pamphlets, and periodicals were published during the war, covering both sides of the conflict in real time, as well as international observations on the war and statements of solidarity and sympathy with one side or the other. Here at Bernett Rare Books, we currently have a collection of Spanish Civil War publications which reflect both the Republican and Nationalist sides of the struggle, as well as international sympathies with and coverage of the war. The following three titles were all published in Spain during the war:

    Gómez Aparicio, Pedro. ¡A Bilbao! Estampas de la Guerra en Vizcaya. Granada: Librería Prieto (Ediciones Imperio), 1937. Octavo (17.5 x 12.2 cm). Original color printed wrappers; 354 pp., illustrated. Some light wear and soiling to covers, mild browning to pages, overall very good. (52999) $1,750

 

 

 

The first edition of the work by the Spanish journalist Pedro Gómez Aparicio (1903-1983). Born in Madrid, Aparicio served as the President of the Asociación de la Prensa de Madrid, served as deputy director of the Agencia EFE, and was awarded several prizes and medals for his work. He served as editor-in-chief of the newspaper El Debate, of the magazine Mundo, and was the founder and first director of the Granada-based newspaper El Ideal. He also worked as a professor of journalism and was awarded a Medalla al Mérito en el Trabajo personally by Franco. During the first two decades of Francoism, Aparicio was given his own radio commentary show on Radio Nacional de España, which was broadcast together with the news report. He was popularly known as “Pedrogo”. Prior to these years, during the Second Republic, he was an outspoken critic of the regime, which caused him to come up against issues of censorship. When the war broke out, he moved to Burgos and served as a war correspondent for the rebel troops.

This volume is dedicated to General Franco and all of those who fight, and sets out to cover the campaign in the north of Spain. It is divided into sixteen chapters laid out in a table of contents at the back. There are scattered laid-in illustrations from photographs of soldiers and civilians, and one fold-out map with tissue paper overlay showing the March 30th offensive.


ABC. Diario Ilustrado. Edición de Andalucia. No. 10340 (18 Julio 1936) through No. 11181 (2 Abril 1939). Approximately 841 issues total bound in 32 volumes of the Seville edition of the long-running conservative Catholic and monarchist Spanish journal, covering the period of the Spanish Civil War, being the majority of years XXXII through XXXV of the journal’s publication, with 5 volumes for 1936, 12 each for 1937 and 1938, and 3 for 1939. Quarto (12 1/2 x 9 1/4 inches). Cloth-backed boards with gilt-stamped title, month, and year to spine. Light rubbing and abrasions to covers, some light scattered toning and foxing to interior, overall very good. Sevilla, 1936-1939. (53365) $15,000

ABC was founded in Madrid in January 1903 by Torcuato Luca de Tena y Álvarez-Ossorio and published by Prensa Española, and in October of 1929 the Seville edition began publication. Over the years, 11 different editions have existed, although Madrid and Seville are the primary two.

Shortly after the outbreak of the Spanish Civl War, ABC Madrid was seized by the republican government, and the newspaper changed its politics to support the Republicans. ABC Sevilla, on the other hand, was supportive of the Nationalists. After the war ended, ABC Madrid was given back to its original owners by Franco, under whom ABC became the best-selling newspaper in Spain. As late as 2005, it was still the third-best-selling newspaper in Spain, and the oldest in Madrid. Publication continues to this day. Many of the issues have bold photographic or illustrated covers, some with photocollage, while many of the later issues have very few or no illustrations. An important publication providing a Nationalist perspective from the critical years of the Spanish Civil War. Scarce institutionally.

 

SRI: El Camino de la Solidaridad. Unpaginated [40 pp.] magazine published during the Spanish Civil War by the Socorro Rojo Internacional (SRI, or International Red Aid), profusely illustrated. Small tabloid (14 1/2 x 10 5/8 inches). Original photomontage illustrated saddle-stitched wrappers. “Numero Gratuito” rubber-stamped to top of front cover, some light edgewear and minor chipping, crease along horizontal fold, light dust-staining to margins, overall very good. Madrid: Editorial Estampa, 1937. (53505) $1,500

This scarce Spanish-language magazine was a one-off publication, issued just six months after the start of the Spanish Civil War. It was published on behalf of the SRI (Socorro Rojo Internacional, or International Red Aid), a Spanish-Soviet organization formed by the Comintern, or Communist International, in 1922. The SRI was created to function as a sort of international Red Cross, independent of any religious organization, and in Spain was mostly involved in aid activities in the Republican zone, such as creating and running refugee camps, soup kitchens, libraries for soldiers, mobilization of dentists to the front, organization of charity drives for food and clothing, transportation networks between hospitals and the front, and the repurposing of various buildings into field hospitals, blood banks, and makeshift schools. Many of their activities had children as a central focus. (The Visual Front: Posters of the Spanish Civil War from UCSD’s Southworth Collection, 1998)

This publication highlights the SRI’s involvement in relief efforts. There are photo essays regarding sanitation work, the establishment of blood banks in Madrid and the provinces, dentistry work, the establishment of schools and children’s homes, refugees, and even reproductions of propaganda. There are many images which show the human cost of war, especially women and children affected by the fighting. The front cover features a photomontage designed by Spanish artist and graphic designer Ricardo Yesares Blanco, who signed his works “YES”. Scarce institutionally; as of June 2025, OCLC locates only two physical holdings at North American institutions.

 

 

Additionally, we have in our inventory two important publications from abroad, covering the war in great detail. The first of these was published in Paris for much of the duration of the war. Occident: Le Bi-Mensuel Franco-Espagnol. Year I, no. 1 (25 October 1937) through Year II, no. 39 (30 May 1939) (all published). Paris: Imprimerie Georges Lang, 1937-1939. Folio (58.5 x 38.5 cm). 1/2 leather with marbled boards, original illustrated newsprint self-wrappers bound in; each issue approximately 8 pp. Evidence of previous folds, some light abrasions and edgewear to boards, minor splitting to leather along spine, very minor toning, overall very good. (50048) $8,500

 

 

A complete run of all 39 issues of the Paris-based periodical, in tabloid format, dedicated to the solidarity of the French and Spanish people during the Spanish Civil War. This cultural journal contains articles by noted international cultural figures on various aspects of the war, Spanish culture, French interests in Spain, and other subjects, and is profusely illustrated throughout after photographs, caricatures, political cartoons, reproductions of posters, etc.

The fourth issue contains the “Manifest aux intellectuels espagnols”, a manifesto in support of General Franco and Franco’s Spanish intellectuals, signed by intellectuals from various right-wing factions. The scarce serial presents a compendium of in-depth articles and political analysis, but is perhaps most impressive for its rich trove of visually arresting images, with many photographs showing the destruction wrought during the war.

 

 

The second is a two-volume set issued by a prominent Soviet writer, journalist, and revolutionary. Ehrenburg, Ilya. (Erenburg, Il’ia.). Ispaniia. 2 volumes (102, 151 pp.), subtitled “UHP – Do 18 Iiulia 1936 Goda” (Until July 18, 1936) and “No Pasaran! – Grazhdanskaia Voina, Iiul’-Dekabr'” (The Civil War, July-December), profusely illustrated throughout. Large quarto (12 1/8 x 8 7/8 inches). Original embossed cloth, volume 2 with mounted title illustration. Some light rubbing and minor soiling to clovers, cover illustration to volume 2 slightly browned and rubbed, light toning and foxing throughout, a few spots of minor marginal damp-staining, first volume with handwritten inscription to front flyleaf, overall very good. Moscow and Leningrad: IZOGIZ/State Publishing House for Fine Arts, 1937. (53443) $8,500

Ilya Ehrenburg (1891-1967) was a prolific Soviet writer, journalist, translator, revolutionary, and prominent member of the Jewish Anti-Fascist Committee, who became first known for his reporting during WWI, WWII, and the Spanish Civil War. During the Spanish Civil War, he became directly involved in the military activities of the Republican camp and often accompanied the Republican army as a reporter for the newspaper Izvestiya. He was also frequently allowed by Stalin to visit Europe to help campaign for peace and socialism.

These two volumes together comprise a pictorial history of the Spanish Civil War, devoted to the Spanish people’s struggle for independence. Each volume contains numerous black-and-white journalistic photographs and illustrations depicting daily village life, families, soldiers, meetings and gatherings, propaganda, war damage, with some graphic images of the dead and wounded. Each of the images is captioned in Cyrillic, many with paragraphs of descriptive text. There are several photographs by noted photographers such as Eli Lotar, Robert Capa, Oples, Reisner, and Chim (David Seymour). Alongside the photographs, the second volume also contains a John Hartfield photomontage and reproductions of numerous political posters. The covers of Volume 1 were designed by Eugene Golyahovsky, and Volume 2 was designed by El Lissitzky and Sophie Lissitzky-Küppers. Scarce institutionally.

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John Heartfield (born Helmut Herzfeld) was an important and ground-breaking artist in Germany, known as the inventor of photomontage. He anglicized his name in protest against the anti-British sentiments prevalent in Germany after the First World War. He was a member of Berlin Club Dada, later assisting with the Erste International Dada-Messe exhibition of 1920. His first photomontages were created for publications associated with the Dada movement as well as book jackets for the publishing house run by his brother, Malik-Verlag.

 

Heartfield is called by some the creator of photomontage, and is best known for having helped to pioneer the use of art as a political weapon, primarily through his famous anti-Nazi and anti-fascist photomontages. These collages were not simple combinations of pictures and text, but appropriated and reused photographs to achieve powerful political effects. He chose recognizable photographs of politicians or events from mainstream news sources, and then took apart and rearranged the images to change their meaning and provide a commentary on the current state of the country. His aim was to expose the dangers and abuses of power within the Nazi regime by highlighting their incompetence, greed, and hypocrisy. His most impactful images played with scale and stark juxtaposition to get their point across. His work shadowed and reflected the chaos and agitation present in Germany in the 1920’s and 1930’s, as it shifted towards social and political upheaval.

 

Heartfield’s images illustrating these tensions were so powerful that they helped to transform the photomontage into a powerful tool of mass communication. Some of his most impactful works were even mass-produced and distributed as posters in the streets of Berlin between 1932 and the Nazi rise to power in 1933, when the SS broke into Heartfield’s apartment and he was forced to flee Germany. Many of his best-known images were created for and published in the pages of AIZ – Die Arbeiter-Illustrierte-Zeitung, an illustrated left-wing worker’s journal published in Berlin, beginning in 1930.

 

Most of his sharpest satire was reserved for Adolf Hitler, parodying his poses, gestures, and symbols associated with the dictator. One such example is this image titled “Adolf, the Superman: Swallows Gold and Spouts Junk”. Heartfield has overlaid a well-known photograph of the Führer with a chest x-ray and replaced his heart with a swastika. The x-ray reveals coins collecting in his stomach. Heartfield’s image references a cartoon by Honoré Daumier, and alludes to the large contributions that industrialists were making to the Nazi Party in contradiction to its supposed roots in socialism. This image made such an impact that it was reproduced as a political poster in 1932.

 

Another example is “Der Sinn des Hitlergrusses”. Heartfield exaggerates the difference in size between Hitler and the man behind him, handing him money, to comment again on Hitler’s relationship to Germany’s wealthy industrialists, a puppet accepting financial influence and assistance.

 

“The Meaning of Geneva” depicts a white dove, the symbol of peace, impaled on a bayonet, a symbol of modern warfare. In the background is the League of Nations palace, where the Geneva disarmament conference took place in November 1932. The text accompanying the image reads, “Where Capital Lives, There Can Be No Peace!”

 

 

(Heartfield Photomontages) – AIZ. Die Arbeiter-Illustrierte-Zeitung. Year X, No. 1 (n.d., 1931) through Year XII, No. 9 (n.d., 1933). 112 total issues of the illustrated left-wing German worker’s journal, published in Berlin from 1924 to March of 1933, and afterward in Prague and then Paris until 1938, anti-Fascist and pro-Communist in stance, published by Communist political activist Willi Münzenberg and best-known for its propagandistic photomontages by John Heartfield, of which 26 are included in this collection, and including coverage of current events, women’s issues, and gender relations, original fiction and poetry, and above all photography, primarily submitted by amateur photographers. Profusely illustrated throughout. Some very minor defects or small repairs, overall excellent condition. Folio. Original illustrated wrpps. Berlin (Neuer Deutscher Verlag) 1931-1933. (48927)

Before AIZ began, a monthly magazine called Sowjet Russland im Bild (Soviet Russia in Pictures) was published by Internationale Arbeiter-Hilfe (Workers International Relief), a group led by Willi Münzenberg. The magazine contained reports about the recently created Russian Soviet state and the IAH, and in 1922 began reporting on the German proletariat. As the paper expanded coverage and attracted prominent contributors such as George Grosz, Käthe Kollwitz, Maxim Gorki, and George Bernard Shaw, it grew rapidly and reappeared on November 30, 1924 with the new name of AIZ and a new format. Over time it became the most widely read socialist pictorial newspaper in Germany.

The issues included in this collection are: 1931 (Year X): Nos. 1-52; 1932 (Year XI): Nos. 1-52 (lacking no. 49 which was confiscated by the censorship authorities); and 1933 (Year XII): Nos. 1-9 (9 was the final issue published in Berlin after Hitler seized power).

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The 1960s were a tumultuous time in history, both in the United States and around the world. The 1960s saw the Bay of Pigs, the assassinations of John F. Kennedy and Dr. Martin Luther King Jr., important strides in the Civil Rights Movement including the Greensboro sit-in and the Selma-to-Montgomery march, student protests and demonstrations, second-wave feminism, and the Vietnam War.

The Black Panther Party (originally called the Black Panther Party for Self-Defense) came into existence during those years of political protest and change, being founded by Bobby Seale and Huey Newton on October 15, 1966. The left-wing organization’s goals were the right to self-defense, better housing, jobs, and education for African Americans in the United States. They were greatly influenced by Malcolm X, and believed that violence or the threat of violence might be needed to help bring about change. Later they added a focus on community social programs including feeding impoverished children and opening community health clinics. However, their earliest activity was often tied up in violence.

Their core practice at the time was armed citizens’ patrols to monitor the activity and behavior of the Oakland Police Department and challenge police brutality. Party members would listen to police calls on a short-wave radio, rush to the scene of the arrest with law books in hand, and inform the person being arrested of their constitutional rights. They carried loaded weapons during these patrols which they displayed publicly, but were careful to not interfere with any arrests.

In 1967, the California legislature passed the Mulford Act, named for one of its authors Don Mulford, which repealed a law allowing the carrying in public of loaded firearms. The bill was written as a response to the Panthers’ armed patrols, which were later called “copwatching”. The media even dubbed it “the Panther Bill”. As a response, on May 2, 1967, the Panthers marched, bearing arms, upon the State Capitol to protest the bill. They carried loaded rifles and shotguns and entered the Capitol to read aloud Executive Mandate Number 1, which was in opposition to the Mulford Act. They tried to enter the Assembly Chamber but were forced out, and so read the mandate out on the lawn. The legislature’s response was to pass the bill, and the protest and media coverage helped catapult the Black Panther Party into the national spotlight and led to a huge growth in membership numbers. F.A. Bernett currently has in its inventory a group of original press photographs taken during this 1967 protest.

Group of Black Panther Press Photographs. Eleven original press photographs documenting the 1967 Sacramento Black Panther Party armed protest against the Mulford Act and the ensuing court case, taken by Walter Zeboski, a former Associated Press photographer, with photographs showing members of the Black Panther Party on the steps of the California State Capitol, protesting inside the Capitol with guns raised, and on trial for felony charges stemming from the armed protest, six with original typed captions, one with hand-written notation to margin. Most sheets 8-1/8 x 11-3/4 in. Original loose photographs, housed in contemporary sheet protectors, some accompanied by original film negatives. N.p. (Sacramento, California) 1967.

Some of the figures identified in the photographs are Assemblyman Don Mulford, who sponsored the bill; Assemblyman Willie L. Brown, Jr.; Beverly Axelrod, a Sacramento attorney representing the Panthers; and Mark Comfort, Huey Newton, and Bobby Seale, Black Panther Party members on trial. (48837)

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Printer’s Archive for the Official Program of the Democratic National Convention of 1936.

June 30, 2016

A complete archive of the original artwork, photographs, advertisements, and fully edited and corrected typewritten essays which comprise the official guide to the 1936 Democratic National Convention, held in Philadelphia: including 41 original pen and ink drawings by Lyle Justis used as vignettes and illustrations throughout the text; over 200 original photographs, most with identification […]

Radical Newspapers and ‘The Graphic Design of Urgency’

January 15, 2010

Collection of Mid-century American and Canadian Leftist Literature; 184 individual issues of 59 serials comprising a unique collection of publications from the 1920s to the 1990s. [45779] F.A. Bernett Books recently acquired a private collection of leftist periodicals. In cataloging the material, I was struck over and over again by a particular quality of the […]