Shelf Life: Books, Manuscripts and Works on Paper from the Library of Stanley J. Seeger and Christopher Cone

[RMS Queen Mary]—Autograph album An autograph album, largely compiled on RMS Queen Mary, including on her maiden voyage, with the signatures of actors, sports personalities, and others, including Erich von Stroheim, Larry Adler, Irene Dunne, Helen Hayes, Dolores del Rio, Evelyn Laye, Noel Coward, Ricardo Cortez, Errol Flynn, Mary Pickford, Fred Perry, John Henry Lewis, and Pam Barton, 58 pages, oblong 8vo (112 x 135 mm), 1936 to 1954 (but chiefly 1936), black cloth, housed in a collector's box signed by Paul Wright as Captain of Queen Mary 2, wear to covers and spine, loss to front pastedown, some light spotting RMS Queen Mary sailed on her maiden voyage on 27 May 1936 and operated as a transatlantic liner until 1967 (except during the war years, when she carried troops). This album appears to have been compiled by a Miss R. Richards, who worked on the ship's telephone switchboard (she is named on a press cutting that is loosely inserted and her name is partially visible on the front pastedown).

View 1 of Lot 88: Maritime—Queen Mary (ship). Autograph Album

maritime—queen mary (ship). autograph album

A Marvelous Journey: The Collection of Maurice Tempelsman

height 27 ¾ in.; width 15 ⅝ in.; depth 16 in.

View 1 of Lot 95: A Queen Anne Dish Top Cherry Wood Candle Stand, Connecticut, circa 1785

a queen anne dish top cherry wood candle stand, connecticut, circa 1785

19th & 20th Century European and British Art Auction

Property from a Distinguished European Collection

Property from a Distinguished European Collection Émile Louis Picault French 1833 - 1922 King Menthuophis and Queen Nitocris each signed: E. PICAULT and stamped: GS bronze, dark brown patina 72cm., 28⅜in. and 72.5cm., 28½in.

View 1 of Lot 578: King Menthuophis and Queen Nitocris

king menthuophis and queen nitocris

Old Master Paintings & Works on Paper Day Auction

Property from a Distinguished Private Collection

Property from a Distinguished Private Collection Attributed to Bartolomeo Gagliardo, lo Spagnoletto Genoa 1555–c. 1626 Mercury transporting Psyche to Olympia bears on an added strip of paper old pen and ink initials: L. C pen and brown ink and wash over traces of black chalk 267 by 198 mm

View 1 of Lot 423:  Mercury transporting Psyche to Olympia

mercury transporting psyche to olympia

Master Sculpture from Four Millennia

Italian, early 19th century Intaglio with Mercury lulling Chelone (Chione) to sleep inscribed: ΑΠΟΛΛΩΝΙΑΣ carnelian, within a pendant mount intaglio: 40mm., 1½in.

View 1 of Lot 253: Intaglio with Mercury and Chelone

intaglio with mercury and chelone

Property from a British Private Collection

Property from a British Private Collection Agnes Slott-Møller Danish 1862 - 1937 King Valdemar and Queen Bengerd signed and dated AGNES SLOTT MØLLER / MCMXXXI lower right oil on canvas unframed: 240 by 215cm., 94½ by 84¾in. framed: 330 by 304cm., 123 by 119¾in. Held in a hand-painted frame by the artist.

View 1 of Lot 526: King Valdemar and Queen Bengerd

king valdemar and queen bengerd

Attributed to Hans Klingenberg (active Königsberg, circa 1593-after 1626) or Georg Schreiber (active Königsberg, circa 1600-1648)

Attributed to Hans Klingenberg (active Königsberg, circa 1593-after 1626) or Georg Schreiber (active Königsberg, circa 1600-1648) German, Königsberg, circa 1600 Amber pendant with a portrait of Queen Elizabeth I (1533-1603) inscribed: ELISABET · D · G · ANG: FRAN: HIB: ET: VIR: REGI: F: D + [ELIZABETH THANKS BE TO GOD QUEEN OF ENGLAND, FRANCE, IRELAND AND VIRGINIA DEFENDER OF THE FAITH] yellow amber, inset with a cameo probably carved from white amber or a tin rich compound, with gilt highlights, and painted foil or verre églomisé, within an 18th-century pendant mount 41mm., 1⅝in.

View 1 of Lot 246: Amber pendant with a portrait of Queen Elizabeth I (1533-1603)

amber pendant with a portrait of queen elizabeth i (1533-1603)

Workshop of Frans Floris Solomon and the Queen of Sheba bears inscription, lower right: Franciscus Floris and numbering, upper right: 55 pen and brown ink and wash, squared in black chalk 265 by 327 mm

View 1 of Lot 413: Solomon and the Queen of Sheba

solomon and the queen of sheba

Includes <a href="https://www.sothebys.com/en/buy/luxury/watches/watch/audemars-piguet" rel="noopener noreferrer" target="_blank">Audemars Piguet</a> box and papers.

Royal Oak Offshore 'Queens Road' Limited Edition (Reference 26198TI.OO.D101CR.01). A 42mm titanium automatic wristwatch with date and chronograph.

A French <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the film A Queen is Crowned, produced for the release of documentary on <a href="https://www.sothebys.com/en/search?query=Queen+Elizabeth+II&amp;pfilters.dateRange=past" rel="noopener noreferrer" target="_blank">Queen Elizabeth II</a>’s Coronation.<ul><li>Georges Allard (French, 1916-2003).</li><li>Linen backed.</li><li>This work is presented unframed.</li></ul> Designed by Georges Allard, the acclaimed French poster artist, this is both a beautiful piece of cinema history and a striking Coronation image.

French A Queen is Crowned Movie Poster

A concert poster for the <a href="https://www.sothebys.com/en/search?query=queen&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Queen</a> performance that took place at Elland Road Football Club, Leeds, England on the 29th of May 1982. <ul><li>The performance was part of Queen’s Hot Space tour.&nbsp;</li><li>This work is presented unframed.</li></ul>

British Queen Concert Poster

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/music" rel="noopener noreferrer" target="_blank">concert poster</a> that was issued to promote the <a href="https://www.sothebys.com/en/search?query=Queen%20poster&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Queen</a> performance that took place at Stirling University, Scotland on the 16th of March, 1974 as part of their Queen II UK tour.<ul><li>The poster was obtained by a member of the support group NUTZ.</li><li>This work is presented unframed.</li></ul>

Scottish Queen Concert Poster

A black lace hat with silver polka dots that was previously owned by <a href="https://www.sothebys.com/en/search?query=Freddie+Mercury&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Freddie Mercury</a>.&nbsp;<ul><li>designed by Diana Moseley.</li><li>Commissioned for Freddie Mercury's Very Silly Hat Party, 1986.</li></ul> The hat was designed by Diana Moseley for Freddie’s ‘Very Silly Hat’ party that took place at his Garden Lodge home on his 40th&nbsp;birthday. Diana Moseley, in an interview with Sotheby’s, June 2023, recalled making the hats for this occasion:&nbsp;&nbsp;"Freddie&nbsp;had a huge sense of humor. I remember making all the hats for his 40th birthday party in 1986, each one specifically designed for a member of the family or one of his friends, like Mary, Jim, Joe,&nbsp;Peter&nbsp;and some actor friends. There were joke ones and a trick one for Freddie which nearly broke his jaw because it had an exploding device in it. He found it hilarious. When I arrived at the house with them, it was like giving out Christmas presents. The day before, they had all been bouncing around the house setting up the party, putting hatstands in the garden, as if for the Mad Hatter’s Tea Party. It was a curious sight, but so much fun.”&nbsp;The ‘exploding device’ referred to by Moseley is the mechanism inside the ‘<a href="https://www.sothebys.com/en/buy/auction/2023/freddie-mercury-a-world-of-his-own-crazy-little-things-2/freddie-mercurys-mad-hatter-top-hat-and-other-hats" rel="noopener noreferrer" target="_blank">Mad Hatter’ top hat</a> which made the top flip open to reveal the ‘surprise bang’.

Freddie Mercury's Polka Dot Hat

A Scandinavian <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/music" rel="noopener noreferrer" target="_blank">concert poster</a> for the <a href="https://www.sothebys.com/en/search?query=queen&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Queen</a> 'Sheer Heart Attack' tour.<ul><li>Concert poster for the Scandinavian leg of Queen’s 1974 ‘Sheer Heart Attack’ tour. </li><li>The group performed in Sweden, Finland and Denmark.&nbsp;</li><li>This work is presented unframed.</li></ul>

Scandinavian Queen Sheer Heart Attack Tour Poster 

Bank checks <a href="https://www.sothebys.com/en/buy/luxury/collectibles?query=signed&amp;locale=en" rel="noopener noreferrer" target="_blank">signed</a> by members of the band <a href="https://www.sothebys.com/en/search?query=queen+the+band&amp;pfilters.dateRange=past" rel="noopener noreferrer" target="_blank">Queen</a> in 1980.<ul><li>Sold as a set of 3.</li><li>Freddie Mercury and John Deacon have signed a Coutts &amp; Co Queen Productions Limited check; Freddie has signed in blue ballpoint and John Deacon has signed in blue ink - signing his name John R. Deacon; the check is dated the 19th of November 1980 for £1,848.68, payable to Queen Fan Club.</li><li>Brian May and John Deacon have signed a Coutts &amp; Co Mountain Studios (Montreux) Limited check; both have signed in black pen; Brian has signed Brian H. May and John has signed John. R. Deacon; the check is dated the 22nd of April 1980 for £1,715.72, payable to Jim Beach. Jim was Queen’s manager.</li><li>Roger Taylor and John Deacon have signed a Coutts &amp; Co Raincloud Productions Limited check, John has signed John R. Deacon in blue pen and Roger has signed in blue ballpoint pen; the check is dated the 14th of May 1980 for £2,795.04, payable to Queen Productions Limited.</li></ul>

Bank Checks Signed by Members of the Band Queen

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/music" rel="noopener noreferrer" target="_blank">concert poster</a> the was produced to promote the <a href="https://www.sothebys.com/en/search?query=queen%20the%20band&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Queen</a> performance that took place at Sporthalle St. Jakob, Basel, Switzerland on the 19th of May, 1977.<ul><li>The concert was part of the group’s ‘A Day At The Races’ tour. </li><li>This work is presented unframed.&nbsp;</li></ul>

Swiss Queen Concert Poster

A Portrait of Dona Maria De Austria, Queen of Hungary, full length, in a gold and silver embroidered dress

A Portrait of Dona Maria De Austria, Queen of Hungary, full length, in a gold and silver embroidered dress

<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">First editions</a> of this English government text relating to acts of Parliament under the reign of Queen Anne.<ul><li>Published for the Parliament of Great Britain, under Anne, Queen of England.</li><li>ANNO REGNI ANNAE REGINAE MAGNA BRITANNIAE, FRANCIAE, &amp; HIBERNIAE, DUODECIMO [Thirty-Nine Acts of Parliament, Passed in the Twelfth Year of Queen Anne's Reign].</li><li>London: Printed by John Baskett, 1713-1717.&nbsp;</li><li>Folio.</li><li>Bound in full contemporary calf, with banded spine and tooling to boards.</li></ul>

Thirty-Nine Acts of Parliament, Passed in the Twelfth Year of Queen Anne's Reign

Montegrappa limited-edition Queen of Hearts sterling silver and green resin fountain pen.<ul><li>This item is part of&nbsp;<a href="https://www.sothebys.com/en/videos/finding-joy-in-beauty-gucci-westman-at-the-emporium?locale=en" rel="noopener noreferrer" target="_blank">Gucci Westman's Edit</a>.</li><li>Model: Queen of Hearts</li><li>Number: 14</li><li>Cap and Barrel: Sterling silver and green resin</li><li>Nib/Tip: White gold medium nib</li><li>Signed: Montegrappa on barrel</li><li>Does not include a presentation box.</li><li>This piece is final sale and not eligible for return.</li></ul>

Queen of Hearts Limited Edition Fountain Pen

Ian Fleming Centenary Edition. London: Queen Anne Press, 2008 18 volumes, ONE OF 26 LETTERED SETS (THIS SET LETTER "M"), of a total edition of 406, 8vo, each volume in special pictorial bindings by Shepherds, Sangorski & Sutcliffe in dark blue morocco gilt onlaid with various coloured designs (in red, yellow, pink, green etc), each volume according to theme (Casino Royale with playing cards, From Russia with Love with design of Moscow, On her Majesty's Secret Service with Alpine ski resort etc), the spine of Diamonds are Forever incorporating a diamond, hand-sewn head- and tail-bands, all edges gilt, handmade watermarked endpapers, the text designed and typeset by Libanus Press, each volume in specially made blue cloth slipcase lettered in gilt, the set preserved in black cloth presentation box with Ian Fleming's crest in gilt on the lid A SPECTACULAR EDITION CELEBRATING THE CENTENARY OF THE BIRTH OF IAN FLEMING, FINELY BOUND BY SHEPHERDS, SANGORSKI & SUTCLIFFE. During his lifetime Fleming was the author of seventeen published books: twelve James Bond novels, starting with Casino Royale (1953), two volumes of Bond short stories; a book of travel journalism, Thrilling Cities; a nonfictional account of the diamond trade, The Diamond Smugglers, and the children's book, Chitty-Chitty-Bang-Bang. This collected edition—in fact the first of its kind ever published—adds Talk of the Devil, a collection of rarely seen material (some unpublished), as well as explanatory comments written by Fleming in the flyleaves of his personal copies. "M" is James Bond's boss and head of the British Secret Service, a composite character probably based on Rear-Admiral John Godfrey (Fleming's former boss in the Department of Naval Intelligence), Maxwell Knight, former head of counter-subversion in MI5 and Maurice Buckmaster, head of the F Section of the SOE. In the James Bond film franchise, the character has been played by Bernard Lee (until 1979), Judi Dench, and Ralph Fiennes. PROVENANCE: Sale in these rooms, 17 December 2009, lot 100

View 1 of Lot 59: Ian Fleming | The Centenary Edition, 2008, 18 volumes, one of 26 lettered sets (letter "M")

ian fleming | the centenary edition, 2008, 18 volumes, one of 26 lettered sets (letter "m")

Fine Books and Manuscripts, Including Americana. Part 2

(Bible in Latin) Illuminated manuscript fragment on vellum, Northern France, ca. 1240 13 consecutive leaves (153 x 102 mm), bound. Written in small dark brown gothic bookhand in two columns of 44 lines, ruled, 17 initials painted in shades of red, white, black, and blue, the majority of which with gold leaf, many with charming drolleries, with running titles in red and blue and countless one-line initials as well as pilcrows; margins slightly darkened and occasionally showing minor marks of usage, a few short tears to edges. Modern half vellum over marbled paper-covered boards, blackletter sticker title to upper board, red manuscript symbol to spine; lightly rubbed, sticker label lifting slightly. A attractive 13th-century example of Parisian manuscript illumination, likely accomplished by the renowned Gautier Lebaube Atelier, including the complete Books of Hosea, Joel, Amos, Obadiah, Jonah, Micah, Nahum, and Habakkuk. These beautiful leaves were likely created by the renowned Gautier Lebaube Atelier, active around 1240 in Paris. The atelier was named by Robert Branner after its leading illuminator, whose name survives on a full-page miniature showing a Tree of Consanguinity (formerly Glazier collection ms. 37, now Morgan Library). Below the kings’ feet a scroll unfolds bearing the words “GAUTIER.LEBAUBE.FIT.LABRE” (Gautier Lebaube made this tree). Under the reign of King Louis VIII and Queen Blanche of Castile, Parisian manuscript illumination experienced a Golden Age in which the Lebaube Atelier, and particularly its master, was a rising star. The artist and his atelier worked for high profile patrons including King Louis VIII and established themselves as one of the leading workshops of their time, producing stylistically cohesive and attractive works whose additional details deviated from the standard 13th-century iconography and added an enticing twist to the visual imagery of the period. Works by the artist and his collaborators can be found in leading public collections such as the BnF, Latin 36; Latin 14397, Pierpont Morgan Library, MS G.37, the Huntington Library, MS HM 1074, and Avranches, BM 24 (Gospels with gloss). Small and fantastic creatures, birds, and monsters feature prominently in the visual language of the workshop. A feature of the atelier are the tightly coiled hybrid creatures, often combining avian bodies with different animal heads, which appear in several of the initials in the present lot. REFERENCES Branner, Manuscript Painting in Paris during the Reign of Saint Louis, 1977; Two miniatures, (MS G.37.1-2), formerly Glazier Collection, https://www.themorgan.org/manuscript/77492; Sforzolini, "Un codice dell’atelier di Gautier Lebaube," in Classicismo: Medioevo, Rinascimento, barocco (1993), p. 57–63

View 1 of Lot 461: (Bible in Latin) | Illuminated manuscript fragment on vellum, Northern France, c. 1240

(bible in latin) | illuminated manuscript fragment on vellum, northern france, c. 1240

Cabrera de Cordova, Luis Filipe Segundo, Rey de España. [Colophon:] Madrid: Luis Sanchez, 1619 Folio (305 x 200 mm). Engraved title-page, initials, vignettes; title page offset to the verso, small hole closer to hinge through twenty leaves (pp. 859–880), light foxing and occasional stains throughout, quire X contains a total of 11 leaves, X5-7 are added between pp. 328 and 329, these three leaves are foliated 329*, 330*, and 331*, the text follows uninterrupted. Late nineteenth-century half black morocco over marbled paper boards in double-ruled borders, spine in six compartments with semi-raised bands, labeled in second and date in fourth in gilt-lettering, remaining in gilt stars within double-ruled gilt borders, marbled endpapers; boards scuffed and rubbed, worn at extremities, hinges cracked but holding, endpapers mildly rippled, upper text block edges dust-soiled. First edition of this history on Phillip II’s reign from 1556 to 1583. An impressively detailed chronological account of the reign of Philip II with extensive indices, the present work includes numerous details of activities in the New World, including the expedition of Juan de Oñate to New Mexico, the housing of the archives at Simancas, the printing of the Biblia Regia in Flanders, and the move to the Gregorian Calendar. The engraved title page features Philip II, fitted for battle and pointing his sword at a crowd of oncoming soldiers. Cabrera de Cordova would quickly rise to prominence in royal circles, after being appointed the official scribe to the Duke of Osuna at age 25. Filipe Segundo's author would come into contact with King Philip II later in his life, when he was employed to organize the State archives. After the King's death, Cabrera de Cordova would become secretary to the queen and dedicate the present work to Philip's grandson. "This book was much used by all later Spanish historians." (Wagner) REFERENCES Alden & Landis 619/31; Heredia 7162; Salvá 2850; Palau 38917; Perez Pastor 1586; Wagner, Spanish Southwest 25 PROVENANCE José Maria Nepomuceno (library stamp to title-page)

View 1 of Lot 306: Cabrera de Cordova, Luis | First edition of this history of the reign of King Phillip II

cabrera de cordova, luis | first edition of this history of the reign of king phillip ii

Stoker, Bram Dracula. [London] Westminster: Archibald Constable and Company, 1897 8vo (192 x 125 mm). Half-title, without the publisher's catalogue, single "The Shoulder of Shasta" advertisement leaf at end; intermittent faint spotting. Publisher's yellow cloth lettered in red; some stains and soiling, split to the head of spine, some rubbing to lettering, minor spotting to top edge and fore-edge, text block a little shaken. Housed in a custom clamshell case. First edition, later issue, of Bram Stoker’s Gothic magnum opus. “I am all in a sea of wonders. I doubt; I fear; I think strange things, which I dare not confess to my own soul.” — Bram Stoker, Dracula Today, the popular conception of Dracula often differs significantly from Stoker’s original vision of the figure. For example, modern characterizations often depict him as vulnerable to sunlight, a detail entirely absent from the original novel. Another detail that may surprise current readers is the book’s relatively modest reception during Stoker’s lifetime. Stanley Stephanic notes: “Stoker was truly living in the shadow of the world of the arts ... until the lawsuit surrounding the copyright of Dracula and release of the film Nosferatu (1922) led to more focus falling upon the novel.” Nosferatu, coupled with countless stage adaptations, solidified Stoker’s lasting impact on popular culture, wherein “Dracula himself represents a side of humanity that remains unchanging, and which is constantly adapting to the times” (Stephanic). REFERENCES Dalby 10(a); Haycraft-Queen Cornerstone; Stephanic, Stanley J., "125 Years of Dracula," University of Virginia | Engagement, accessed 31 May 2026: https://engagement.virginia.edu/learn/thoughts-from-the-lawn/dracula-at-125; Wolff 6581

View 1 of Lot 425: Stoker, Bram | First edition of Dracula, Stoker’s masterpiece

stoker, bram | first edition of dracula, stoker’s masterpiece

The Jay T. Snider Collection of Benjamin Franklin

Lewis Evans Geographical, Historical, Political, Philosophical and Mechanical Essays. The First, Containing an Analysis of a General Map of the British Colonies in America [map not present]. Philadelphia: Printed by B. Franklin, and D. Hall, 1755 [With:] Geographical, Historical, Political, Philosophical and Mechanical Essays. Number II. Containing a Letter. Philadelphia: Printed [by B. Franklin and D. Hall] for the Author, 1756 2 volumes, folio (255 x 196 mm). A few contemporary notes regarding the 1697 Treaty of Ryswick in the margins in Part I, one-page ad for Evans's Map and the "Analysis" pamphlet at rear of Part II; infrequent pale spots, a few leaves very faintly toned, altogether a pair of bright examples. Uniform later half calf, marbled paper boards, gilt decorated spines with two red morocco labels; light rubbing, a few small spots of wear at corners and spine ends. Housed together in a custom green morocco backed slipcase with chemises. Two works by Lewis Evans, the second, revised edition of part I and the first edition of part II, printed to accompany his seminal A General Map of the Middle British Colonies in America. Evans's map, not offered here, is among the most important ever produced of the North American colonies, and was "the best cartographical delineation of the colonies available at its time" (Howes). The first pamphlet, printed by Franklin in 1755, was sold both with the map and separately. With unprecedented transparency, Evans explains that, "as different parts of the map are done with different proportion of exactness, justice to the public, requires my distinguishing the degree of credit every part deserves." For example, he tells us what exactly he surveyed himself and how he went about it. He credits Fry and Jefferson for Virginia and Walter Hoxton for the Chesapeake Bay. Evans also acknowledges surveys of Eastern Pennsylvania by Edward Scull, a journal describing Ohio by William Franklin, and "a very intelligent Indian called The Eagle, who had a good notion of distances, bearings and delineating" (p. 10). He goes on to discuss various American Indian tribes, the major American waterways, and ends with a plea for the King to establish a colony in the Ohio Valley, "the region that was at the center of the friction between England and France" (Pritchard and Taliaferro, p. 172). The second part, which is ascribed to Franklin's press by Miller, includes a detailed response to an anonymous attack that was published in the 5 January 1756 issue of the New-York Mercury. That letter, reprinted in full as a preface, accused Evans of endorsing French claims to the area north of Lake Ontario. The mapmaker's response includes new information about those French claims, and a discussion of the best ways to counter them. According to Pritchard and Taliaferro, "while Evans conceded that that the French had rights to certain territory in America, he was convinced that they had severely encroached upon England's holdings … effectively confining the English to their existing coastal settlements" (Ibid). The first part is a second revised edition, first issue, of the text. It is "virtually a page-for-page resetting of the first edition with sub-titles added" (Miller). While the first work is offered occasionally in various editions, issues, and with and without the map, the second part is justifiably scarce — just seven copies have been sold at auction since the Streeter sale in 1967, per Rare Book Hub. REFERENCES Miller 606, 633; ESTC W14361, W24172; Evans 7419, 7652; cf. Pritchard and Taliaferro, Degrees of Latitude 34 (Evans's map)

View 1 of Lot 72: Lewis Evans | Two works printed by Franklin to accompany Evans's seminal map of the North American Colonies

lewis evans | two works printed by franklin to accompany evans's seminal map of the north american colonies

Rodriguez, Eugenio Descrizione del viaggio a Rio de Janeiro della flotta di Napoli. Naples: Caro Batelli, 1844 8vo (265 x 170 mm). Uncut. Half title, initials, frontispiece portrait of Pedro II, two large folding handcolored lithograph plates of a panorama view of Rio de Janeiro on 2 sheets joined at center, and folding map of Bay of Rio de Janiero; yellow slip pasted over ex-libris name in lower corner with small hole, a few leaves cropped, occasional stains, foxing most significant to the title and frontispiece. Nineteenth-century half vellum over green marbled paper boards, smooth spine with black fillets, short author title; worn with some scuffing. First edition of beautiful views of the port of Rio de Janeiro. Traveling aboard the same vessel as Queen Tereza Cristina, soon-to-be wife of King Pedro II, naval officer Eugenio Rodrigo wrote Descrizione describing his voyage and time in Rio de Janeiro. The Sicilian native would expand upon the chronicle of this South American voyage of the Urania in Un periodo dell’utimo viaggio della fregata napoletana l’Urania, published in 1846. REFERENCES Berger (1980), p. 376; Borba de Moraes (1983), II, 743; Sabin 72508; Bosch 434; Brasiliana Itaú, p. 148; Duarte de Sousa, II, 617; Catalogo de Obras Raras da Biblioteca Municipal Mário de Andrade 2489-A

View 1 of Lot 331: Rodriguez, Eugenio | A richly handcolored panoramic view of Rio De Janeiro

rodriguez, eugenio | a richly handcolored panoramic view of rio de janeiro

Andrade, Manoel Carlos de Luz da Liberal, e Nobre Arte da Cavallaria. Lisbon: por ordem de Sua Magestade regina officina typographica, 1790 Folio (330 x 225 mm). Frontispiece engraved portrait of Prince D. Joao of Brazil, woodcut engraved royal arms of Portugal pasted to title-page, initials, vignettes, 93 plates, 23 folding; small tear to lower margins of ****1, repair on V1 with no loss of text, plate 2 foxed with a few tears, open diagonal tear to 2C affecting a few letters, a few gatherings nearly detached from spine, dampstaining and light foxing predominately to margins not affecting text. Mid-nineteenth century tree sheepskin, smooth spine with gilt bands, gilt-lettered dark green morocco label and repat decoration in gilt, marbled endpapers, edges sprinkled brown; joints cracked but holding, cover with a few scuffs, wear to extremities, endpapers foxed and with dampstains to lower margins. First edition of the most important Portuguese book on equestrianism. Commissioned by Queen Maria I of Portugal, Luz da Liberal was limited to 1,000 copies, of which 200 were offered for sale. Numerous plates depict future King João VI as a young prince and various courtiers tending, training, and exercising their horses in rich detail. This handsome work features the engravings of Joaquim Carneiro da Silva, Gaspar Fróis Machado, Manuel Alegre, Luiz Fernandez Piedra, Pietro Martini and Gregório de Queiroz. Luz da Liberal is visual treasure, not because of its intricate illustrations but of the text's use as a teaching aid — showing various stages of training and equipment. There would be an elevated interest Portuguese equestrianism amongst the royal and noble classes during the 18th century. The Real Academia Equestre da Corte (Royal Equestrian Academy of the Portuguese Royal Court) would begin during the reign of King João V. It would be the 4th Duke of Marialva and resident trainer, who would establish a founding element of Portuguese equestrianism still practiced today: Arte Marialva (Marialva tradition). This tradition, known for its lightness is depicted within the present work in various plates. Authorship of the present work, has also been at times attributed to Marialva. The Real Academia would later become the Portuguese School of Equestrian Art, one of the foremost classical riding academies in the world. REFERENCES Ameal 108; Avila Perez 202; Brunet I, 264; Imprensa Nacional 416; Innocêncio V, p. 386; Palha 489; Soares, Historia da gravura artística em Portugal I, 304 and II, 575-87; Torrecilla, Bibliografia hipica, 25; "Arte de Marialva: One of the true treasures of Portugal." Cielo Azure Lusitanos, 26 June 2017,https://www.lusitanostud.com/blog/2017/6/26/arte-de-marialva-one-of-the-true-treasures-of-portugal. Accessed 13 May 2026.

View 1 of Lot 303: Andrade, Manoel Carlos de | The most important Portuguese book on equestrianism

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