Mexico (Mexique)

First edition consisting of a collection of editorials published in La Censura in 1849 and 1850, presented by Tomas Aznar Barbachano and Juan Carbó.

Cf. Sabin, 55255. Not in Leclerc.

Front cover and spine lacking, rear cover preserved but detached, soiling to the title-page.

Very rare (no copy in French public collections).

Rare first edition of the Spanish translation commissioned by Emperor Maximilian I, with the French text printed opposite (Not in Sabin. Not held at the BnF).

French and Spanish texts printed side by side in two columns.

Contemporary binding in navy blue half calf, spine with four raised bands framed with gilt garlands and decorated gilt compartments, restored to spine and joints; marbled paper boards, cat's-eye patterned endpapers and pastedowns.

Stamp of the Centro de estudios jurídicos "Lex" Mexico, Jul 16 1934, on the half-title and fore-edge ; clean and attractive interior condition.

First edition, illustrated with 26 folding tables framed typographically. (Not listed in Sabin, who only records under no. 22885 another economic publication by the same author, printed the same year.)

Contemporary half havana sheep binding, flat spine decorated with double gilt and blind fillets, brown sheep title label with minor losses, gilt date at foot, marbled paper boards slightly faded at the margins, some paper losses to the covers, marbled endpapers and pastedowns, rubbing to edges, corners worn.

Joints restored; small tear affecting the text on pages 83–84 of the second part.

A rare and highly valuable source on the dire state of the Mexican economy in the final years of Santa Anna’s dictatorship.

The folding tables provide a detailed account of the country’s production (notably tobacco), report on the national debt, break down military expenditures (army and navy), customs revenues (by region), the state of taxation, and more.

One table is devoted to lottery revenues.

The second part of the work, containing supporting documents, bears a separate title: "Documentos que se acompañan al presupuesto de hacienda para el quinto año economico".

A good copy.

Provenance: from the library of A. Montluc, Consul General of Mexico in Paris, with his bookplate on the front pastedown.

BUNUEL Luis Membership card for the Mexico City Hunting and Fishing Association

Membership card for the Mexico City Hunting and Fishing Association, with original black and white identity photo of Luis Buñuel to recto. Manuscript signatures of the President and Secretary of the Association below.
To interior and verso, various stamps and signatures from the Mexican authorities.
The card has been repaired with adhesive tape, which has yellowed a little.
Luis Buñuel neither hunted nor fished, but obtained this permit to be allowed to practice shooting.
"I like guns and shooting them. I have owned up to 65 revolvers and rifles but I sold most of my collection in 1964, convinced that I was going to die in that year. I have fired my guns pretty much everywhere, even in my office thanks to a special metal box that I set up opposite me on some shelves. You should never shoot in a sealed room. I lost an ear like that Saragossa. My specialty has always been reflex-shooting with a revolver. You take a few steps, turn sharply around and fire at a cut out - a little like in Westerns" (Luis Buñuel, My Last Sigh, 1982).
Though Buñuel only devotes a few lines to his passion for firearms in his autobiography, it nonetheless played an important part in his life. This interest came from his father, Leonardo Buñuel García, who was the commercial agent for Remington and Smith in Havana at the end of the 19th century. Dealing arms as well as his role as a hardware salesman, he quickly amassed a large fortune thanks to this burgeoning market. "His father...had a gun shop. When the young Buñuel was ill, he would lend him a revolver to amuse himself with. He also took him to the firing range, something Don Luis would later do in Mexico with his sons Juan-Luis and Rafael. He had a veritable passion for these objects and at the age of fourteen, got into the habit of walking around with a Browning hidden under his clothes, a gun that would be confiscated from him in school. The scenes in which guns are shown in his films are beyond counting, particularly during his Mexican period" (Manuel Rodríguez Blanco, Luis Buñuel, 2000).

BUNUEL Luis Firearms carry license, issued by the Mexican National Secretariat for Defense, for two guns, a Walther and a Remington, and a .22 caliber Colt and .22 Smith & Wesson.

Firearms carry license, issued by the Mexican National Secretariat for Defense, with a Mexican government stamp, numbered 0496.
Original black and white photograph of Luis Buñuel to upper flap of card. On reverse of flap, autograph signature and fingerprints of Luis Buñuel. Table showing the characteristics of the firearms, with their serial numbers: two guns, a Walther and Remington, 0.22 and 30-06 caliber, a .22 caliber Colt pistol and a .22 caliber Smith & Wesson revolver.
"I like guns and shooting them. I have owned up to 65 revolvers and rifles but I sold most of my collection in 1964, convinced that I was going to die in that year. I have fired my guns pretty much everywhere, even in my office thanks to a special metal box that I set up opposite me on some shelves. You should never shoot in a sealed room. I lost an ear like that Saragossa. My specialty has always been reflex-shooting with a revolver. You take a few steps, turn sharply around and fire at a cut out - a little like in Westerns" (Luis Buñuel, My Last Sigh, 1982).
Though Buñuel only devotes a few lines to his passion for firearms in his autobiography, it nonetheless played an important part in his life. This interest came from his father, Leonardo Buñuel García, who was the commercial agent for Remington and Smith in Havana at the end of the 19th century. Dealing arms as well as his role as a hardware salesman, he quickly amassed a large fortune thanks to this burgeoning market. "His father... had a gun shop. When the young Buñuel was ill, he would lend him a revolver to amuse himself with. He also took him to the firing range, something Don Luis would later do in Mexico with his sons Juan-Luis and Rafael. He had a veritable passion for these objects and at the age of fourteen, got into the habit of walking around with a Browning hidden under his clothes, a gun that would be confiscated from him in school. The scenes in which guns are shown in his films are beyond counting, particularly during his Mexican period" (Manuel Rodríguez Blanco, Luis Buñuel, 2000).

BUNUEL Luis Membership card for the Mexican Shooting Association

Membership card for the Mexican Shooting Association, metal, in a leather sleeve with a gilt target and the motto "tiro" on the upper part. Inside, two metal plaques, one with the logo of the Mexican Shooting Federation and the other with an engraved photograph of Luis Buñuel.
The logo on the leather case somewhat worn.
"I like guns and shooting them. I have owned up to 65 revolvers and rifles but I sold most of my collection in 1964, convinced that I was going to die in that year. I have fired my guns pretty much everywhere, even in my office thanks to a special metal box that I set up opposite me on some shelves. You should never shoot in a sealed room. I lost an ear like that Saragossa. My specialty has always been reflex-shooting with a revolver. You take a few steps, turn sharply around and fire at a cut out - a little like in Westerns" (Luis Buñuel, My Last Sigh, 1982).
Though Buñuel only devotes a few lines to his passion for firearms in his autobiography, it nonetheless played an important part in his life. This interest came from his father, Leonardo Buñuel García, who was the commercial agent for Remington and Smith in Havana at the end of the 19th century. Dealing arms as well as his role as a hardware salesman, he quickly amassed a large fortune thanks to this burgeoning market. "His father...had a gun shop. When the young Buñuel was ill, he would lend him a revolver to amuse himself with. He also took him to the firing range, something Don Luis would later do in Mexico with his sons Juan-Luis and Rafael. He had a veritable passion for these objects and at the age of fourteen, got into the habit of walking around with a Browning hidden under his clothes, a gun that would be confiscated from him in school. The scenes in which guns are shown in his films are beyond counting, particularly during his Mexican period" (Manuel Rodríguez Blanco, Luis Buñuel, 2000).

BUNUEL Luis Membership card for the Mexico City Hunting and Fishing Association

Membership card for the Mexico City Hunting and Fishing Association, with original black and white identity photo of Luis Buñuel to recto. Manuscript signatures of the President and Secretary of the Association below.
To verso, logo of the National Hunting, Shooting and Fishing Federation of the Republic of Mexico, membership number and manuscript signatures of the President and Secretary of that Federation.
Luis Buñuel neither hunted nor fished, but obtained this permit to be allowed to practice shooting.
"I like guns and shooting them. I have owned up to 65 revolvers and rifles but I sold most of my collection in 1964, convinced that I was going to die in that year. I have fired my guns pretty much everywhere, even in my office thanks to a special metal box that I set up opposite me on some shelves. You should never shoot in a sealed room. I lost an ear like that Saragossa. My specialty has always been reflex-shooting with a revolver. You take a few steps, turn sharply around and fire at a cut out - a little like in Westerns" (Luis Buñuel, My Last Sigh, 1982).
Though Buñuel only devotes a few lines to his passion for firearms in his autobiography, it nonetheless played an important part in his life. This interest came from his father, Leonardo Buñuel García, who was the commercial agent for Remington and Smith in Havana at the end of the 19th century. Dealing arms as well as his role as a hardware salesman, he quickly amassed a large fortune thanks to this burgeoning market. "His father...had a gun shop. When the young Buñuel was ill, he would lend him a revolver to amuse himself with. He also took him to the firing range, something Don Luis would later do in Mexico with his sons Juan-Luis and Rafael. He had a veritable passion for these objects and at the age of fourteen, got into the habit of walking around with a Browning hidden under his clothes, a gun that would be confiscated from him in school. The scenes in which guns are shown in his films are beyond counting, particularly during his Mexican period" (Manuel Rodríguez Blanco, Luis Buñuel, 2000).