{"title":"Empire","description":"\u003cp\u003eOriginal letters, documents, and photographs of the Brazilian imperial family — Dom Pedro I, Dom Pedro II, Empress Teresa Cristina, and Princess Isabel. Rare pieces selected by Glórias, with a certificate of authenticity.\u003c\/p\u003e","products":[{"product_id":"necrologia-de-dom-pedro-ii-por-edmond-planchut-1891","title":"Necrology of Dom Pedro II (1891)","description":"\u003ch2\u003e \u003cstrong\u003eIn his obituary of Dom Pedro II, a close friend of the French writer George Sand reveals many previously unpublished details about the emperor's life.\u003c\/strong\u003e\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eObituary of Dom Pedro II by Edmond Planchut.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e 12 pages.\u003c\/li\u003e\n\n\u003cli\u003e In French.\u003c\/li\u003e\n\n\u003cli\u003e 13.6 cm x 21.2 cm.\u003c\/li\u003e\n\n\u003cli\u003e France, Cannes region, 1891.\u003c\/li\u003e\n\n\u003cli\u003e Excellent condition\u003cmeta charset=\"utf-8\"\u003e of conservation.\u003c\/li\u003e\n\n\u003cli\u003e Unique piece.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e \u003cspan style=\"text-decoration: underline;\"\u003eExcerpts\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eIn the 19th century alone, how many kings, powerful emperors, similar to the cedar, as the poet says, saw the sickle fall on their proud heads and were swept away as a result of revolutionary turbulence? (...) Among all these sovereigns of various dispossessed titles, there is certainly one who is an exception, a notable exception: Dom Pedro de Alcântara, the Emperor of Brazil.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003eI will therefore only sketch the prince, and this sketch will describe him as I saw him when I had the honor of being admitted during the last winters he spent in France. It was Cannes, of all the winter resorts that were offered to him, that he loved the most. My conviction is that the noble outcast came less to enjoy a mild temperature and the rays of a vivifying sun, than to seek on the horizon of the blue gulf that forms there, a vaporous view of the bay of Rio de Janeiro (...).\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eAfter a few minutes of conversation with Dom Pedro, in the lounge of the hotel whose first floor he occupied, we were convinced that what worried him least was not his empire, but the lost crown (...). At one of the sessions of the city's literary society, in which he never failed to participate, a talented poet, M. Liegeant, felt it his duty to tell in his presence the story of his political life. The emperor, deeply moved, thanked the speaker courteously, but this return to a past that he had tried to forget affected him greatly: he was even, for a few days, seriously ill. It was said, and when the same society summoned him again, they spoke only of travel, natural history and archaeology.\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eIn the living room I mentioned (...), the tables, sofas, chairs (...) were covered with newspapers, magazines, novels of the day, photographs and opera scores. There were also the books in Arabic, Hebrew, Spanish, English and Portuguese that he translated fluently and from which he liked to read passages whenever the opportunity arose.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003eThis emperor was enthusiastic about poetry and came to consider Victor Hugo, whom he visited several times in Paris, as the greatest of French poets.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003eHe had a profound antipathy towards the novelists and the new realist school. He did not deny that they had enormous talent, but, like so many others, he wondered where it was necessary to pretend and see humanity only from its abject sides. He compared them to Walter Scott, Octave Feuillet and especially to George Sand, whom he considered the greatest writer, the most literary genius of the century. And then he quoted to me, since he had a prodigious memory, what the illustrious writer wrote (...).\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003e(...) He had told George Sand of his desire to meet and greet her in Berry, at the Château de Nohant, where she lived. Dom Pedro's request (...) was unsuccessful. Madame Sand, who had great simplicity of taste, feared that her dwelling, which was more rural than stately, would not have all the comforts to which she supposed a sovereign was accustomed, and feigned an impediment. When I mentioned to His Majesty that I had always been Nohant's host, the Emperor renewed his deep regret at not having met the illustrious writer. Then, upon learning that I had always maintained friendly relations with his two granddaughters, Aurore and Gabrielle, he asked me to tell them, very insistently, the admiration he had for their illustrious grandmother.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003eNo existence was calmer, better organized, than that of the Emperor Dom Pedro de Alcântara. With the exception of the temporary discomfort of which I have spoken, we never saw him ill.\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eEvery day, unless the wind was very strong, the Emperor would go out (...); he was invariably accompanied by his doctor and his valet. No medal on his coat (...). He would have himself driven along the road to Antibes or Frejus, returning invariably by a beautiful promenade that runs along the sea and which is called La Croisette, (...), with a firm and rapid step. When he met a familiar face on his way, he would stop and, after a cordial exchange, with a handshake, he would continue his walk until lunch. Part of the afternoon was devoted to her, Madame Countess of Anjou, in a new drive.\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eThe evenings, with a few close friends, were spent around a billiard table at the hotel. He might be invited to an elegant party at one of those marvelous villas in Cannes. Miss Ruth Mercier, a watercolourist of immense talent, might invite him to an exhibition of her paintings. Or he might be invited to a charity event, a concert, or the performance of a new play; Dom Pedro never failed to go. The same thing happened when a renowned artist came to play at the city theatre. He paid for the tickets like a mere mortal and, as such, very modest, the best seats were not reserved for him. One evening he was satisfied with a lonely seat (...), whose entrance was bristling with irregular marches. More than one spectator was saddened; only the Emperor seemed not to mind (...).\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003ePhotographers and painters approached him incessantly, and so great was his kindness that he always gave himself up. He was about fifty years old, and really very handsome. One day, when he was posing for a painter friend of mine, His Majesty said to me in a foreign language, so as not to be understood by the artist:\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003e\"Whose hands is this man painting, see if they look like mine?\"\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003eAll those pastimes to which he indulged out of kindness, and also out of love for everything that was far from or near literature and science, did not prevent him from following with interest what was going on under the dome of the Institute. It was as he was leaving, barely covered, one of the sessions of the Academy of Moral and Political Sciences, of which he was a member, that a shudder seized him and carried him to the grave.\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eAs in previous years, if he had returned before the first cold snaps of winter, the sunny path of the Côte d'Azur, Dom Pedro would still have been one of the most beloved guests. It should be added that the repercussions of the disturbances that once again shook Brazil reached him more quickly in Paris than on a distant beach, and this was undoubtedly what made him postpone his departure for Cannes. He should have lived there only for the memory and the emptiness he left behind. As I write these lines, friends (...) announce to me with sad surprise that they find less excitement in the vicinity of Cannes than in the past and, on the charming promenade of the Croisette, a less lively crowd than in previous years.\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eThe absence or departure of a person, even the Emperor of Brazil, certainly cannot be the cause of the emptiness that my friends perceive. However, when every day, at the same time, on the same walk and for years, our eyes have become accustomed to encountering a beloved face, or one of those august personages who, like Dom Pedro, inspire sympathy, it is natural that when the habit ceases, we feel sadness as a great emptiness for the heart.\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003eEdmond Planchut was a journalist and adventurer, a close friend of the brilliant and scandalous French writer George Sand (1804 - 1876) and her daughters. Sand was a pioneering feminist whom Dom Pedro II admired, something that Princess Isabel disapproved of, as evidenced by a letter from her to her father: \u003cem\u003e\"Not a single word for me, and he finds time to go and visit George Sand, a woman of great talent, it is true, but also so immoral! (...) No matter how incognito he goes, one always knows who Mr. Dom Pedro de Alcântara is, and shouldn't he be, above all, a good Catholic and, therefore, keep away from himself anything that is immoral?\"\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cstrong\u003eThis text is a precious testimony about the Emperor of Brazil, written by someone who lived directly with him in Cannes, in the south of France, for months. The simple tastes and modesty of the Emperor, despite his prestige and immense culture, his admiration for the writers George Sand and Victor Hugo, his pleasure in coming to Cannes for long walks, his longing for Brazil and its people and, finally, the circumstances of his death and the impact it had on France, draw the attention of the reader who holds this exceptional document in his hands.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Glórias | Autógrafos e Manuscritos Raros","offers":[{"title":"Default Title","offer_id":115854704660,"sku":"227EBA16","price":2500.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/necrologia-dom-pedro-ii-por-edmond-planchut-1.jpg?v=1682366102"},{"product_id":"postal-manuscrito-da-condessa-de-paris-1939","title":"Handwritten postcard from the Countess of Paris (1939)","description":"\u003cp\u003e\u003cspan style=\"color: #0000ff;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\n\u003cspan style=\"color: rgb(43, 0, 255);\"\u003eThis item is no longer available. However, we may be able to put you in touch with its owner – who knows, they might accept your offer? – or, alternatively, suggest other pieces of similar interest, without any obligation. Contact us via WhatsApp: +55 31 98221-5758 or by email: contato@glorias.com.br\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cstrong\u003eExiled in Petrópolis, without her husband, during World War II, the Countess of Paris remains optimistic.\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\u003cstrong\u003ePostcard depicting the Countess of Paris or Princess Isabelle d'Orléans-Braganza, and her four young children.\u003c\/strong\u003e\u003c\/li\u003e\n\n\u003cli\u003eComes with a text from the Countess on the back, with New Year wishes (1939).\u003c\/li\u003e\n\n\u003cli\u003eNo information about the recipient.\u003c\/li\u003e\n\n\u003cli\u003eIn French.\u003c\/li\u003e\n\n\u003cli\u003e13.5 cm x 8.7 cm.\u003c\/li\u003e\n\n\u003cli\u003eExcellent condition\u003cmeta charset=\"utf-8\"\u003e.\u003c\/li\u003e\n\n\u003cli\u003eUnique piece.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp\u003e\u003ci\u003ePetrópolis, December 26, 1939.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eHoping to see you soon, I wish you with all my heart a happy new year.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eYour affectionate,\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eIsabelle\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eCountess of Paris\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eThe Countess of Paris or Princess Isabelle d'Orléans-Braganza (1911 - 2003) was the granddaughter of Gaston d'Orléans and Princess Isabel, the last imperial princess of Brazil and daughter of Emperor Dom Pedro II of Brazil.\u003c\/p\u003e\n\u003cp\u003eConsidered one of the most beautiful women of her time, she married her cousin Henri d'Orléans (1908 - 1999), the presumed heir to the defunct French royal throne, in 1931 in Italy. She lived with her family in Belgium, Spain, Portugal, Morocco, and especially in France, where she spent much of her life, organizing many dinners with the global elite, but also various charity events. Generous, elegant, multilingual, and friendly, she was highly respected and admired, especially by the French.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThis letter, besides showcasing her elegant handwriting, shows the Countess of Paris with her four children (she had eleven children in total), when she was exiled in Brazil, in Petrópolis, during World War II, without her husband, who had remained in Europe. A few days later, in January 1940, her father, Prince Pedro de Alcântara D'Orléans-Braganza, passed away.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Glórias | Autógrafos e Manuscritos Raros","offers":[{"title":"Default Title","offer_id":137760210964,"sku":"172LEI20","price":0.0,"currency_code":"BRL","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/carta-manuscrita-condessa-de-paris-2.jpg?v=1682367734"},{"product_id":"desenho-antigo-da-baia-de-guanabara-1843","title":"Old drawing of Guanabara Bay (1843)","description":"\u003ch2\u003e\n\n\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003e\u003cspan data-redactor-span=\"true\" data-redactor-style-cache=\"font-size: 20px;\"\u003eIn 1843, the captain of a Dutch ship stationed in Guanabara Bay, drew the Sugarloaf Mountain with the Santa Cruz Fortress.\u003c\/span\u003e\u003c\/strong\u003e\n\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eHandwritten letter, with a drawing from the captain of a Dutch ship parked in Guanabara Bay.\u003c\/strong\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e One sheet, front and back.\u003c\/li\u003e\n\n\u003cli\u003e 15 cm x 25 cm.\u003c\/li\u003e\n\n\u003cli\u003e In Dutch.\u003c\/li\u003e\n\n\u003cli\u003e Rio de Janeiro, December 1843.\u003c\/li\u003e\n\n\u003cli\u003e Fragile paper.\u003c\/li\u003e\n\n\u003cli\u003e Unique piece.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp dir=\"ltr\"\u003e The text is part of a missing in-flight newspaper, which we translated into English. It has days, times, meteorological indications and observations of maritime activity in Guanabara Bay.\u003c\/p\u003e\n\n \u003cp dir=\"ltr\"\u003e\u003cu\u003eSome highlighted excerpts, translated from Dutch to Portuguese\u003c\/u\u003e\u003c\/p\u003e\n\n\u003cp dir=\"ltr\"\u003e \u003cem\u003e(...) The North American frigate Brandywine and Congress, the English corvette Juno and the steamship Hydra. The Russian schooner Baikal, the Brazilian frigate Cafregua and two small smooth-deck corvettes and also the English ship for sick and slaves Cressent (...).\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp dir=\"ltr\"\u003e \u003cem\u003e(...) He greeted the Brazilian government with 21 shots and N. Amer with 11 shots, which were returned (...)\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp dir=\"ltr\"\u003e \u003cem\u003e(...) On December 6th, we celebrated in the usual way the birthday of King William (...) our venerable king, the hero of Waterloo, and long live the king!!! He fired 199 shots that day, the N. Americ was kind enough to fire 35 shots in the afternoon, the other ships fired 21.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp dir=\"ltr\"\u003e Together with the São João Fortress and the Tamandaré da Laje Fort, the Santa Cruz Fortress constituted the main defensive structure of the bay, the city and the port of Rio de Janeiro, during the period of colonial Brazil and Imperial Brazil.\u003c\/p\u003e\n\n \u003cp dir=\"ltr\"\u003e\u003cstrong\u003eRecords from this time, in Guanabara Bay, are rarely available to the public, and even less to collectors.\u003c\/strong\u003e \u003cstrong\u003eThis document written 180 years ago, allows us to imagine the activity of the time, at the end of the year 1848. Including the slave trade and the extensive use of cannon fire to communicate... or celebrate the birthday of King William I of Germany , hero of the famous battle of Waterloo, the last of the French emperor Napoleon.\u003c\/strong\u003e \u003cstrong\u003eThe icing on the cake: the drawing of the Sugar Loaf behind the Santa Cruz Fortress, two important symbols of Rio de Janeiro to this day.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Glórias | Autógrafos e Manuscritos Raros","offers":[{"title":"Default Title","offer_id":42956528025759,"sku":"438","price":5000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/Bateauholandesrdj_1.jpg?v=1682365583"},{"product_id":"uma-fotografia-original-da-marca-alberto-henschel","title":"Original photography by the Alberto Henschel brand","description":"\u003cp\u003e\u003cspan style=\"color: #2b00ff;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan style=\"color: rgb(43, 0, 255);\"\u003eThis item is no longer available. However, we can potentially put you in touch with its owner – who knows, they might accept your offer? – or, alternatively, suggest other items of similar interest, without any obligation. Contact us via WhatsApp: +55 31 98221-5758 or email: contato@glorias.com.br\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003ch2\u003e\u003cb\u003eAt the end of the 19th century, the studio or Alberto Henschel himself portrayed an elegant Black man, in a carte de visite format.\u003c\/b\u003e\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003ePhotograph by the studio or Alberto Henschel himself.\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003ePortrait of an unidentified Black man.\u003c\/li\u003e\n\u003cli\u003e6.3 cm x 10.4 cm.\u003c\/li\u003e\n\u003cli\u003eNo information regarding the date or location, but it is estimated to have been taken between 1866 and 1890.\u003c\/li\u003e\n\u003cli\u003eExcellent condition\u003cmeta charset=\"utf-8\"\u003e. \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe history of photography in Brazil begins in 1833, with Hercule Florence, a French pioneer unknown to most. In the following years, a dozen photographers began to work in various parts of Brazil. Most of them were Europeans, French and German.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlberto Henschel was one of them. Born in Germany in 1827, he arrived in Brazil in 1866, and died in Rio de Janeiro or São Paulo (there is a doubt among historians) in 1882. He is known for his photographs that documented the culture, social and economic life of Brazil, at the end of the 19th century. He was also one of the first photographers to document the Amazon and its inhabitants. He eventually earned the title of Photographer of the Imperial House, allowing him to photograph the daily life of the Brazilian monarchy during the reign of Dom Pedro II. He even photographed the emperor and his family. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eBut in my opinion, his main contribution to the history of Brazilian photography was the photographic record of Black people, enslaved and free, differentiating himself from other photographers by portraying them freely and with dignity, as people and not as objects. This photograph is a beautiful example.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eI found this photograph in England. I researched countless sources to try to find more information about it, without success. I didn't find another copy of it. And it could be one of Henschel's first photographs, from the late 1860s, or a later photograph of him or one of his assistants. When he died, his company was sold to other entrepreneurs, who continued to strategically use his name for some years, taking advantage of the great prestige that the \"Henschel\" brand had acquired.\u003cbr\u003e\u003cbr\u003eOn the back of the photo, \"carte de visite\" is written in French (visiting card) and the rest is in English. During the Empire period in Brazil (1822-1889), the official language of the country was already Portuguese. However, there was a great French influence on Brazilian culture and society at that time, especially among the elite and nobility. Many members of the Brazilian aristocracy were educated in France and spoke French fluently, in addition to adopting French customs and fashions. French was also often taught in Brazilian schools as a foreign language, along with English. Furthermore, France was an important trading partner of Brazil during that period, which also contributed to the presence of the French language in Brazilian society at the time. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAnyway, I admit I have little information about this small photograph, but I hope its aesthetics, its dignity, and its author, Alberto Henschel, one of the pioneers of photography in Brazil, catch your attention as they caught mine.\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Glórias | Autógrafos e Manuscritos Raros","offers":[{"title":"Default Title","offer_id":43015382302879,"sku":"472","price":0.0,"currency_code":"BRL","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/fotonegroalbertohenschel1.jpg?v=1682367515"},{"product_id":"fotografia-original-do-estudio-christiano-jr-pacheco-1871","title":"Original photograph from the Christiano Jr. \u0026amp; Pacheco studio (1871)","description":"\u003ch2\u003e\n\n\u003cmeta charset=\"UTF-8\"\u003e \u003cstrong\u003eIn 1871, the renowned photography studio Christiano Jr. \u0026amp; Pacheco portrayed a typical woman from Rio's elite.\u003c\/strong\u003e\n\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cstrong\u003ePhotograph by Laurinda N. Sampaio taken by the Christiano Jr. \u0026amp; Pacheco studio, with dedication.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e\n\n \u003cspan\u003eAnd\u003c\/span\u003e \u003cspan\u003ein Portuguese.\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003e+\/- 6 cm x 10 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eRio de Janeiro, 1871.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eExcellent condition\u003cmeta charset=\"utf-8\"\u003e of conservation.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eUnique piece.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n \u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis photograph was taken in 1871 at the Christiano Jr. \u0026amp; Pacheco studio, located on Rua da Quitanda, in Rio de Janeiro, capital of the Empire of Brazil. Christiano Jr.'s studio was famous for the high quality of its images, and the photo format, known as carte de visite, was very popular in the 19th century, often used for exchanging souvenirs between friends and family.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eThe image depicts a woman dressed in elegant attire typical of the aristocracy of the time, and the formal pose with the fan in her hands reflects the custom of presenting oneself with status and refinement in studio portraits. The environment, with the presence of decorated furniture, reinforces the social prestige of the person photographed, and the photographic technique used shows the sophistication of Christiano Junior's work.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n \u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn the back of the photograph, there is a handwritten dedication from a woman named Laurinda N. Sampaio, offering the portrait as a gesture of friendship and sympathy for D. Clementina. This type of exchange of portraits with personal dedications was common among members of the elite, reinforcing the emotional and social value of photography at the time.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp dir=\"ltr\"\u003e \u003cstrong\u003eThis image and dedication together provide a rich insight into customs and society during the Brazilian imperial period.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Glórias | Autógrafos e Manuscritos Raros","offers":[{"title":"Default Title","offer_id":46702422917279,"sku":"493","price":600.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/fotografia_mulher_imperio_1.jpg?v=1727074660"},{"product_id":"fotografia-original-de-leuzinger-1860s-1870s","title":"Two original photographs by George Leuzinger (1860s, 1870s)","description":"\u003ch2\u003e\n\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cstrong\u003eDuring the Empire, George Leuzinger, one of the pioneers of photography in Brazil, took two stereoscopic images of Rio de Janeiro.\u003cmeta charset=\"UTF-8\"\u003e\u003c\/strong\u003e\n\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cstrong\u003eTwo original stereoscopic photographs of Rio de Janeiro by George Leuzinger.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eIn Portuguese.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003e+\/- 9 cm x 17 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eRio de Janeiro, 1860-1880.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e\n\n \u003cspan\u003eaverage state\u003cmeta charset=\"utf-8\"\u003e of conservation.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eThese stereoscopic photographs were produced by the studio of George Leuzinger, one of Brazil's leading photographers in the 19th century. He was known for documenting the city of Rio de Janeiro and its urban transformations during the imperial period. Stereoscopic images such as these were an innovation at the time, creating a three-dimensional impression when viewed with special equipment.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n \u003cp dir=\"ltr\"\u003e\u003cspan\u003eLeuzinger’s photographs were part of a series entitled “Views of Rio de Janeiro,” which were very popular between 1860 and 1880. Rua do Ouvidor, where the studio was located, was the cultural and commercial center of the city. These photos were appreciated by the Rio elite and by collectors who sought to capture the landscape and daily life of imperial Brazil. Here, it is difficult to define exactly what was photographed, but they are probably central areas of the city, such as the port area, the buildings around Guanabara Bay, or hills with historic buildings.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp dir=\"ltr\"\u003e \u003cstrong\u003eThese images have great historical value, as they visually record life in Rio de Janeiro during the Second Empire. George Leuzinger was one of the first to use photography as a documentation tool, and his works are still highly valued by collectors of old photographs, representing an important legacy for the visual memory of Brazil.\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cul\u003e\u003c\/ul\u003e\n\n\u003cul\u003e\u003c\/ul\u003e","brand":"Glórias | Autógrafos e Manuscritos Raros","offers":[{"title":"Default Title","offer_id":46702497726623,"sku":"470","price":1000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/fotografia_george_leuzinger_1.jpg?v=1727074653"},{"product_id":"fotografias-antigas-da-ilha-de-madeira-seculo-xix","title":"Old photographs of Madeira Island (19th century)","description":"\u003ch2 dir=\"ltr\"\u003e\n\n \u003cstrong\u003eFive exceptional photographs reveal 19th-century Madeira.\u003c\/strong\u003e\u003cstrong\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/strong\u003e\n\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cstrong\u003eFive old photographs of Madeira Island.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003e17.5 cm x 25 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n \u003cli dir=\"ltr\"\u003e\u003cspan\u003e19th century.\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eGood condition, although the images are slightly faded.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e\n\n \u003cspan\u003eUnique set.\u003c\/span\u003e\u003cstrong\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/strong\u003e\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eThese five old photographs of Madeira Island are very rare examples from the late 19th century. Despite the inscription \"1842\" on the back of the photographs, it is highly unlikely that these images were taken in that year. In 1842, photography was still in its infancy, and existing processes, such as the daguerreotype, did not allow for paper copies like those shown in the images. The photographs presented have characteristics typical of albumen prints mounted on cardboard, common between 1865 and 1890. The inscription on the back may have another meaning, such as a personal reference or an error. Therefore, this is a valuable set of 19th-century images, but certainly from after 1842.\u003c\/span\u003e\u003cstrong\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n \u003cp role=\"presentation\" dir=\"ltr\"\u003e\u003cspan\u003eThe first image shows a large steamship anchored in Funchal Bay, with the city nestled against the mountains in the background; it is a typical scene from the time when Madeira was a stopover for transatlantic ships.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp role=\"presentation\" dir=\"ltr\"\u003e \u003cspan\u003eThe second, more faded image depicts a stone bridge over a stream amidst a mountainous and wooded landscape, a testament to local civil engineering and the island's rugged geography.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp role=\"presentation\" dir=\"ltr\"\u003e \u003cspan\u003eThe third photograph reveals an elegant paddlewheel ship, probably a British luxury steamer, anchored near a cliff with buildings, possibly on the south coast of the island.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp role=\"presentation\" dir=\"ltr\"\u003e \u003cspan\u003eThe fourth image is one of the most ethnographically valuable: we see a small group of people – including women with baskets on their heads – next to a thatched hut, illustrating aspects of rural life in Madeira.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp role=\"presentation\" dir=\"ltr\"\u003e\u003cspan\u003eThe last photograph is an urban view, probably of downtown Funchal, with two-story buildings, an ox-drawn carriage, and several human figures in period costumes—a vivid portrait of the daily life of the local elite and working class.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eIn the 19th century and earlier, the island of Madeira maintained deep ties with Brazil, marked by constant migrations, maritime trade, and family connections. Thousands of Madeirans emigrated to Brazil, especially to Rio de Janeiro, Bahia, and the south of the country, taking traditions with them and strengthening cultural bonds. Photography emerged as an important visual link in this relationship: portraits taken in studios in Funchal were sent to relatives in Brazil, while travelers and merchants took images of the island as souvenirs.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp dir=\"ltr\"\u003e\u003cstrong\u003eThese images are visual documents of great historical and cultural value, capturing the landscape, transport, architecture, and way of life in 19th-century Madeira.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Glórias | Autógrafos e Manuscritos Raros","offers":[{"title":"Default Title","offer_id":62425698533535,"sku":"605","price":3200.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/fotografiaantigailhadamadeiraseculoXIX_2.jpg?v=1753585246"},{"product_id":"estudo-de-benedito-calixto-a-partir-de-debret-por-volta-de-1900","title":"Study by Benedito Calixto based on Debret (around 1900)","description":"\u003ch2 dir=\"ltr\"\u003e\n\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\n\n\u003c\/h2\u003e\n\u003ch2\u003e\u003cstrong\u003eBenedito Calixto depicts the pillory of the old Praça do Rossio, in Rio de Janeiro, based on a work by Debret.\u003c\/strong\u003e\u003c\/h2\u003e\n\u003ch2 dir=\"ltr\"\u003e\u003cstrong\u003e\u003cmeta charset=\"UTF-8\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cstrong\u003ePencil drawing and text by Benedito Calixto about the pillory in Rio de Janeiro, inspired by Debret.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eA sheet of paper with two pages, front and back.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003e28.5 cm x 21.5 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eIn French.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eGood state of preservation.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eOne-of-a-kind.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan style=\"text-decoration: underline;\"\u003eFront transcription\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cem\u003eRIO DE JANEIRO'S OLD TOWN\u003cbr\u003e IN THE OLD ROSSIO SQUARE (drawing by the painter DEBRET)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cem\u003eWhat is immediately noticeable in Praça do Rocio, one of the oldest squares in Rio de Janeiro, is the granite column topped with a gilded copper armillary sphere.  Two small iron posts rest on the column's capital, clearly indicating the presence of a gallows – a symbol of the high justice exercised by the city government.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cem\u003eThis emblem (designed by Debret) is found in all inland cities of Brazil, but is generally represented in a very rudimentary way, by means of a large wooden trunk painted red and two pointed pieces of iron, intended to suggest a huge cleaver. These irons, placed horizontally near the center and covered with wood, form a small cross: one of them extends as if it were the handle, and the other, fixed vertically with firmness, is firmly attached to the top of the posts.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cem\u003e(A Picturesque Journey to Brazil, Volume III)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan style=\"text-decoration: underline;\"\u003eTranscription of the verse\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cem\u003eThe wooden pillories in some villages of Brazil, as depicted by the painter Debret.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eThis antique sheet features a very delicate pencil drawing of the pillory of Rio de Janeiro, located in the old Praça do Rocio (current Praça Tiradentes). In the center, a slender granite column rises, crowned by a gilded copper armillary sphere, a symbol of Portuguese royal power, flanked by small iron posts reminiscent of the gallows. The drawing is sober, but detailed enough to suggest the relief and imposing nature of the structure, while some sketched human figures in the background give a sense of scale. Below, a handwritten caption in Portuguese indicates that it is a drawing by the painter Debret, famous for recording life in 19th-century Brazil. The lower part of the sheet is occupied by a slightly faded handwritten text in French, describing the symbolic function of the monument and recalling its presence in other Brazilian cities as a mark of colonial judicial power.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eBenedito Calixto (1853-1927), one of Brazil's great historical painters, produced this study based on the work of Debret. He had the habit of copying Debret and Rugendas to document architectural and social elements of colonial Brazil. Calixto painted numerous colonial and historical scenes, but most of his large compositions are related to São Vicente, Santos, São Paulo, and the São Paulo coast; as far as is known, no finished painting by Calixto directly depicts the pillory of Rio de Janeiro. Therefore, this work is probably a preparatory exercise, an archive copy, or a documentary plate, not intended for a final painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cstrong\u003eThis sheet is of great historical and documentary importance, as it was created by Benedito Calixto, one of the greatest historical painters in Brazil, based on the work of Debret. It was most likely produced between 1895 and 1915, a period in which Benedito Calixto dedicated himself to projects of historical memory, consulted Debret's works, and produced documentary studies for his compositions and institutional commissions.  It accurately depicts the pillory of the old Praça do Rossio in Rio de Janeiro, a symbolic monument of the colonial period that no longer exists. The rarity of the piece lies in the combination of the meticulous drawing and the explanatory text handwritten in French, highlighting Calixto's direct access to original sources and his concern for preserving the visual memory of the country. It is a unique testament to his practice as an artist and researcher, uniting art and historical scholarship in an exceptional medium, difficult to find in both private collections and institutional archives.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Glórias | Autógrafos e Manuscritos Raros","offers":[{"title":"Default Title","offer_id":62513774919839,"sku":"619a","price":6000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/textoedesenhobeneditocalixto1a.jpg?v=1759015698"},{"product_id":"desenho-naturalista-de-benedito-calixto-por-volta-de-1900","title":"Naturalist drawing by Benedito Calixto (circa 1900)","description":"\u003ch2 dir=\"ltr\"\u003e\u003cstrong\u003eAround 1900, Benedito Calixto studied seagulls and albatrosses in flight.\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cstrong\u003eNaturalist drawing by Benedito Calixto, in pencil.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eA leaf, a page.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003e27.5 cm x 20.5 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eIn French.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eIn good condition.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eOne-of-a-kind.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eThis pencil drawing presents various studies of seabirds in flight, probably seagulls and an albatross, identified by the handwritten inscription in the lower left: \"Gull Albatross\". In the center, a large bird with open wings stands out, carefully shaded to give volume, surrounded by other smaller figures in different positions and angles, suggesting movement and direct observation of nature. In the lower right margin, another annotation can be read, which is difficult to decipher, but which seems to refer to a scientific or naturalist source.  Due to the technique and the nature of the preparatory study, the sheet can be dated between the late 19th and early 20th centuries, a period in which Calixto intensely developed his work of observation and documentation of the São Paulo coast.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eBenedito Calixto (1853-1927) is a central figure in Brazilian painting, recognized above all for his marine landscapes, urban views, portraits, and historical scenes that sought to reconstruct the colonial and imperial memory of Brazil. A self-taught artist, he built a solid career, receiving public and religious commissions, and collaborated with cultural institutions. His work reflects both artistic sensibility and documentary concern, uniting the eye of a painter and the rigor of a visual researcher.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cstrong\u003eThis drawing is rare because it differs from Calixto's known final compositions: it is a naturalistic study, more intimate and spontaneous, revealing his creative process and his interest in faithfully recording the maritime environment. The importance of the sheet lies precisely in offering an authentic testimony of the artist's working method, completing the understanding of his production and enhancing his facet as an observer of nature, in addition to being a historical painter.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Glórias | Autógrafos e Manuscritos Raros","offers":[{"title":"Default Title","offer_id":62513786650783,"sku":"619b","price":6000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/textoedesenhobeneditocalixto2a.jpg?v=1759015690"},{"product_id":"grande-fotografia-panoramica-do-rio-de-janeiro-1875-1890","title":"Large panoramic photograph of Rio de Janeiro (1875-1890) ","description":"\u003ch2 dir=\"ltr\"\u003e\n\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cb id=\"docs-internal-guid-ab140335-7fff-2d88-da40-ade54a3c8b53\"\u003e\u003cspan\u003eAt the end of the 19th century, Rio de Janeiro consolidated itself as a commercial and maritime center.\u003c\/span\u003e\u003c\/b\u003e\u003cmeta charset=\"utf-8\"\u003e\n\n\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"ltr\" style=\"font-weight: bold;\"\u003e \u003cstrong\u003eLarge panoramic photograph of Rio de Janeiro, probably by Marc Ferrez.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eDimensions: 55 × 26 cm (stand) \/ 46.5 × 17 cm (image).\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eRio de Janeiro, between 1875 and 1890.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eExcellent condition; the photograph has been cleaned by a professional restorer.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eUnique piece.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n \u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis panorama presents a wide view of the port of Rio de Janeiro, observed from Morro do Castelo, one of the city's most emblematic landmarks in the 19th century, a hill entirely demolished in 1922. To the left, the bay appears intensely occupied by sailing ships and commercial vessels, with Sugarloaf Mountain clearly visible in the background. In the center, the docks, warehouses, and public buildings linked to port activity stand out, while towers of Baroque churches punctuate the horizon of the historic center; in the background, Corcovado, in the Tijuca Forest, where Christ the Redeemer would be inaugurated in 1931. To the right, a more industrial area, identifiable by a tall chimney probably associated with the Arsenal, completes the composition, enriched in the foreground by rooftops, sloping streets, and colonial houses, creating a striking contrast between the urban fabric and the monumentality of the port facilities. The panorama currently corresponds to the neighborhoods of Centro and Saúde, with a visual extension to Gamboa.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe combination of stylistic and technical characteristics strongly points to an attribution to Marc Ferrez (1843–1923). Few photographers in Brazil mastered, as he did, the creation of views of this magnitude, with the use of specific equipment and the careful assembly of albumen prints. The balanced composition, the uniform sharpness throughout the image, the richness of detail, and the ability to integrate relief, port, and urban fabric are recurring hallmarks of his work, also present in panoramas preserved at the Instituto Moreira Salles and the National Library, making this attribution the most coherent hypothesis.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cb id=\"docs-internal-guid-6e6a9173-7fff-6ae2-1de5-a5a87a23b775\"\u003eFew 19th-century albumen panoramas of this scale, especially those assembled from multiple images, have survived. Discovered in France and preserved in excellent condition, this panorama constitutes a unique visual testimony of a Rio de Janeiro that has since disappeared and should be part of one of the most important collections dedicated to Brazilian photography.\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cul\u003e\u003c\/ul\u003e","brand":"Glórias | Autógrafos e Manuscritos Raros","offers":[{"title":"Default Title","offer_id":62640304750751,"sku":"547","price":15000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/fotografiapanoramicariodejaneirofimimperio1_eb27783b-cda9-450e-bf41-3ce53033121f.jpg?v=1768167984"},{"product_id":"cartao-de-visitas-autografo-de-dom-pedro-augusto","title":"Autographed calling card of Dom Pedro Augusto (1888)","description":"\u003ch2\u003e\n\n\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eDom Pedro Augusto, son of Princess Leopoldina and grandson of Dom Pedro II, sends wishes for a speedy recovery.\u003c\/strong\u003e\n\n\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eCalling card of Dom Pedro Augusto with some handwritten lines\u003c\/strong\u003e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e9.7 cm x 5.8 cm.\u003c\/li\u003e\n\n\u003cli\u003eIn Portuguese.\u003c\/li\u003e\n\n\u003cli\u003eCannes, France, March 14, 1888\u003c\/li\u003e\n\n\u003cli\u003eExcellent condition\u003cmeta charset=\"utf-8\"\u003e.\u003c\/li\u003e\n\n\u003cli\u003eUnique item.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eCannes, March 14, 1888.\u003cbr\u003e\u003c\/em\u003e\u003cem\u003eI greet you, as well as the Viscountess, and wish you a full recovery.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eDom Pedro Augusto of Saxe-Coburg-Gotha (1866–1934) was the firstborn son of Princess Leopoldina of Brazil and Prince Ludwig August of Saxe-Coburg-Gotha, and therefore, the grandson of Emperor Dom Pedro II. During part of his youth, he was considered one of the possible successors to the Brazilian throne and maintained close contact with the imperial family. After the Proclamation of the Republic in 1889, he accompanied his family into exile in Europe. His trajectory was marked by withdrawal from public life and serious mental health problems in the following years.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eAutographed documents by Dom Pedro Augusto are rare on the market, and this is the first autographed calling card attributed to him that we have encountered. In addition to the rarity of the medium, the piece features a relatively long handwritten message, written and signed in Cannes, a city where the Imperial Family often spent long seasons. Another interesting detail is the date: March 14, 1888, less than two months before the promulgation of the Lei Áurea (Golden Law) by his aunt, Princess Isabel, on May 13 of that same year.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Glórias | Autógrafos e Manuscritos Raros","offers":[{"title":"Default Title","offer_id":62825755443359,"sku":"611","price":2500.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/8_3f8dee13-42a8-4a93-b6fa-ac91e5cce9c2.jpg?v=1783440280"}],"url":"https:\/\/glorias.com.br\/en\/collections\/autografos-imperio.oembed","provider":"Glórias | Autógrafos e Manuscritos Raros","version":"1.0","type":"link"}