{"title":"Empire","description":"\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eDiscover and acquire historical items, autographs, and collectible memorabilia selected by Glórias, transmitting something inspiring to future generations, diversifying your heritage with rare and culturally relevant pieces, offering a unique gift for someone special… or simply for the pleasure of learning and collecting.\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his obituary of Dom Pedro II, a close friend of the French writer George Sand reveals many previously unpublished details about the emperor's life.\u003c\/strong\u003e\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eObituary of Dom Pedro II by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":"Com certificado de autenticidade e garantia","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":"carta-em-nome-de-dom-pedro-ii-1887","title":"Letter in the name of Dom Pedro II (1887)","description":"\u003ch2\u003e \u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eDom Pedro II became interested in the research of a French agronomist specializing in olive trees, a few months before the end of the monarchy.\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n \u003cli\u003e\u003cstrong\u003eLetter from the Viscount of Nioaque to a French agricultural engineer.\u003c\/strong\u003e\u003c\/li\u003e\n\n\u003cli\u003e Cannes, December 12, 1887.\u003c\/li\u003e\n\n\u003cli\u003e One sheet: 20 cm x 27 cm (the letter: 11.2 cm x 18 cm).\u003c\/li\u003e\n\n\u003cli\u003e In French.\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\u003eOn July 29, 1887, Dom Pedro II, who was staying in France, came to spend the day at the Camille Flammarion observatory (which had all of Flammarion's books) in Juvisy, accompanied by the Viscount of Nioaque and L. Cruls, director of the Rio de Janeiro observatory. During this visit, he inaugurated the new telescope and observed the planet Venus.\u003cbr\u003e\u003cbr\u003e But who was the Viscount of Nioaque?\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eBehind every great personality, there are always lesser-known people, without whom the story would sometimes be very different: spouses, friends, dedicated assistants or secretaries.\u003cbr\u003e\u003c\/span\u003e \u003cbr\u003eThe Viscount of Nioaque was one of them. Not much is known about his life: he was a nobleman, born in Porto Alegre with the name Manuel Antônio da Rocha Faria, and began his career as a soldier in the French Navy for five years, under the command of Napoleon. He then returned to Brazil where he was a deputy, magistrate, senator and personal assistant to Dom Pedro II.\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eThis letter was written by him, in French, on behalf of the Emperor, to an agricultural engineer specializing in olive trees, a few months after his visit to the observatory in Paris. The letter is pasted onto a sheet of paper that the scientist commented on at the bottom.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan style=\"text-decoration: underline;\"\u003eLetter from the Viscount of Nioaque\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003e\u003cspan\u003eCannes, December 12, 1887\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003e\u003cspan\u003eHotel Beau Séjour\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003e\u003cspan\u003eSir,\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003e\u003cspan\u003eThe Emperor of Brazil received your letter of the 8th and will be very happy to read your interesting book. Receive His Majesty's thanks and respect.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003e\u003cspan\u003eViscount of Nioaque (spelled Nioac in French)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan style=\"text-decoration: underline;\"\u003eBelow, the (unidentified) recipient wrote\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e \u003cem\u003e\u003cspan\u003eViscount of Nioaque\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003e\u003cspan\u003eSecretary of the Emperor of Brazil\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003e\u003cspan\u003eAfter reading my work on olive trees, the Emperor asked to make an appointment with me. If the Emperor had not been deposed shortly afterwards, I would have won the most beautiful medal in existence, the Rose of Brazil.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cstrong\u003eI found this document interesting in at least two aspects: first, it is yet another testimony to Dom Pedro II's immense interest in science, scientists and France... which was reciprocal; second, it allows us to better imagine his agenda a few months before the end of the monarchy, in the company of his secretary - and certainly confidant - the Viscount of Nioaque, who, by the way, died in Cannes a few years later.\u003c\/strong\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":42720285720735,"sku":"422","price":1500.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/cartaviscondedenioaque.jpg?v=1682366486"},{"product_id":"fotografias-de-christiano-junior-1871","title":"Signature of Sister Dulce (1984)","description":"\u003ch2\u003e \u003cb\u003eIn 1984, Sister Dulce signs the main biography that made known the extraordinary social and philanthropic work of the first Brazilian Saint.\u003c\/b\u003e\n\u003c\/h2\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cstrong\u003eSister Dulce's dedication on the first page of the book \"Irmã Dulce dos Probres\", 11th edition, to a certain Andreline. 10 cm x 20 cm. No location information, 24th of ? from 1984. Good condition. Single piece.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn the mid-1950s, Sister Dulce (1914-1992) found a seriously injured man on the street and decided to take him to the Hospital das Clínicas, in Salvador. Upon arriving at the hospital with the patient on an improvised stretcher, she was prevented from entering by security, who stated that the hospital did not admit people without financial conditions to pay for medical care.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOutraged by the situation, Sister Dulce refused to leave the man on the street and spent the night with him on the sidewalk in front of the hospital, waiting for assistance. The episode generated great repercussions in the local and national press, and ended up drawing attention to the precariousness of the public health system at the time.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003eFrom that incident, Sister Dulce intensified her struggle for more dignified and equal medical care for the poor population of Bahia, becoming an active voice in defending the rights of the sick and excluded. He founded hospitals, kindergartens, nursing homes and schools in Salvador. She was also responsible for campaigns to improve the living conditions of rural workers, and fought for the construction of popular housing.\u003cbr\u003e\u003c\/p\u003e\n\n \u003cp\u003eFor her social work, Sister Dulce was recognized nationally and internationally, receiving several awards and honors, such as the nomination for the Nobel Peace Prize in 1988. In 2019 she was canonized by Pope Francis, becoming the first Brazilian saint.\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003eThis biography of Sister Dulce, the best known, has become a great sales success in Brazil and abroad since its launch in 1983, with 18 editions to date (here the 11th), helping a lot to promote social and philanthropic work. from Sister Dulce to the whole world. This signature is the first I've seen from Santa in a decade.\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":44002676703391,"sku":"471","price":1000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/fotografiachristianojunior1.jpg?v=1685803981"},{"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":"Com certificado de autenticidade e garantia","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":"Com certificado de autenticidade e garantia","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":"documento-oficial-assinado-por-dom-pedro-i-1828","title":"Official document signed by Dom Pedro I (1828)","description":"\u003ch2 dir=\"ltr\"\u003e\n\n\u003cstrong\u003eIn 1828, Dom Pedro I signed an official document amidst the instability of the First Reign.\u003c\/strong\u003e\u003cb\u003e\u003c\/b\u003e\n\n\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cstrong\u003eOfficial document signed by Dom Pedro I.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eOne page, in Portuguese.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003e37 cm × 46 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eRio de Janeiro, December 27, 1828.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eDelicate state of preservation; document restored.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e\n\n \u003cspan\u003eUnique piece.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eThis is an official handwritten document, dated December 1828 and signed by Dom Pedro I, Emperor of Brazil. Written in the Portuguese of the time, the text has several manually crossed-out sections, indicating possible administrative revisions or cancellations. It is possibly an imperial decree, appointment, or decision issued during the early years of the Empire of Brazil, at a time of institutional consolidation after Independence (1822). The document is difficult to read.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eIn December 1828, Brazil, under the rule of Dom Pedro I, was going through a period of great political and diplomatic instability. The Empire had just suffered a significant defeat with the end of the Cisplatine War, which resulted in the loss of the Cisplatine Province (present-day Uruguay), now independent after the Treaty of Montevideo. This outcome weakened Dom Pedro's prestige, already criticized for his authoritarianism and for maintaining a predominantly Portuguese inner circle. At the same time, a dynastic crisis was worsening in Portugal: his brother, Dom Miguel, had usurped the throne destined for Dom Pedro's daughter, Maria II, leading the emperor to consider abdicating the Brazilian throne. By the end of 1828, Dom Pedro was a contested monarch, torn between two empires in crisis.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eThe document was in a very deteriorated state, having been stored for almost two centuries inside a wooden chest in the interior of the State of Rio de Janeiro. Time, humidity, and inadequate storage significantly affected the paper and ink, resulting in stains, tears, and partially illegible passages. Despite these conditions, the document was carefully restored, following best practices in document conservation, with the aim of preserving as much as possible its historical integrity and original material.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cstrong\u003eDocuments signed by Dom Pedro I are extremely rare. Because he was the first emperor of Brazil and his reign was short and turbulent (1822–1831), few official documents bearing his signature have survived to this day.\u003c\/strong\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":62425699254431,"sku":"517","price":10000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/cartapatentedompedroI1828frente.jpg?v=1753585228"},{"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":"Com certificado de autenticidade e garantia","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":"Com certificado de autenticidade e garantia","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":"Com certificado de autenticidade e garantia","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":"Com certificado de autenticidade e garantia","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\/imperio.oembed","provider":"Glórias | Autógrafos e Manuscritos Raros","version":"1.0","type":"link"}