Almeida Mauricio De, First Edition (4 results)

8°, original pink printed wrappers (spine chipped, front wrapper detached, stain from cellophane tape across spine). Small wood-engraved royal arms of Portugal on title page. Internally fine, overall very good. xv, 144 pp. Lacking a frontispiece portrait of the author. *** FIRST EDITION. The lengthiest piece is a poem in six cantos on Isabel of Aragon (1271-1336), Queen of Portugal, wife of King Dinis. There is also a romance, an ode and a sonnet "Ao muito habil artista portuguez Mauricio José Sendim" (pp. 139-142), and 2 more sonnets. The prologue to Isabel mentions Sir Walter Scott, Lord Byron, Almeida Garrett's Adosinda (published in 1828), and discusses what subjects are appropriate for romantic poetry. The "Advertencia" to the poem entitled "A Visom, Poemeto" (pp. 115-138) promises that the poem is itself a discourse on the nature of romantic poetry: "No mesmo Poemeto procurei difinir o caracter de hum Poeta Romantico, e o que faz o distinctivo desta espece de Poesia." According to the Dicionário de literatura, Costa e Silva was an early adherent of Romanticism in Portugal - rather surprising given that he was in his 40s when Romanticism began to flourish in the 1830s.Missing from this copy of Isabel is a lithograph portrait of the author drawn by Mauricio José Sendim, to whom two of the poems in this volume are dedicated. The rear wrapper promises a list of subscribers with the next printing of the book, "o que breve se espera, pela grande concurrencia, que tem havido á mesma assignatura."Innocêncio notes that in this work, Costa e Silva decided, "talvez caprichosamente," to employ orthographical innovations, for example using the sixteenth-century form "visom" rather than "visão." He was widely criticized for this and desisted in future publications.José Maria da Costa e Silva (Lisbon, 1788-Lisbon, 1854) was 17 when he wrote his first poem, Passeio, published in 1816. (Almeida Garrett felt he had to express the "admiração e o indisivel prazer, que me deu o poema do Passeio.") Costa e Silva wrote more than 200 pieces for the theater and was editor and a contributor to the Crónica Constitucional de Lisboa, and a contributor to Ramalhete and Revista Universal Lisbonense.*** Innocêncio V, 27; on the author, see V, 25-29, VII, 122 (on the Sendim portrait), XIII, 90-91. See also the unsigned entry in Biblos V, 42. J.P.C., "Romantismo," Dicionário de literatura (1994), III, 963. Porbase locates four copies, all at the Biblioteca Nacional de Portugal. Jisc repeats British Library only.

2 works in 1 volume. 4°, traces of wrappers. Typographical rules beneath page numbers. First few leaves frayed and soiled at top edge. In good condition. Early ink manuscript on first leaf: "1796." 16 pp. *** FIRST and ONLY EDITION. Pessanha was tested on natural and political law, Church history, canon law, and Roman and Portuguese law.*** Not located in Porbase, which locates no works by this author. Not located in Jisc. Not located in NUC.*** BOUND WITH: SILVEIRA, Franciscus Raimundus da. Theses philosophico-iuridicae ex iurisprudentia naturali, sacra, romana, patriaque excerptae, necnon ex utriusque historia . publice propugnandas offert, pro laurea doctorali obtinenda . integra huius mensis die [in manuscript: "5 Julii 1797"]. [On first leaf:] Ioanni Mauricio da Silveira Patruo suo amabilissimo benevolentissimoque in aeternum gratiae gratitudinisque monumentum. [Colophon] Coimbra: Typis Academicis, 1797. Typographical ornaments bracketing page numbers. Printed on pale blue paper. Early ink manuscript on first leaf: "1797." 16 pp.FIRST and ONLY EDITION. Silveira was tested on natural, Roman, and canon law.* Not located in OCLC. Not located in Porbase, which lists no works by this author. Not located in Jisc.

Large 8°, unbound. Uncut and unopened. In good to very good condition. 8 pp. *** FIRST and ONLY EDITION of this very rare essay of art criticism by Manuel de Araujo Porto Alegre regarding paintings by António Manuel da Fonseca shown at an exhibition put on by the Sociedade Promotora de Bellas Artes.António Manuel da Fonseca (Lisbon,1796-Lisbon,1890) was a Portuguese painter, illustrator and theatrical designer best known for his mythological and historical scenes. His first studies were with his father, João Tomás da Fonseca, a painter and sculptor. His first known work is a panel depicting King João VI and D. Carlota Joaquina, executed in 1820 at the Palácio das Laranjeiras for Joaquim Pedro Quintela, 1.º Conde de Farrobo and his wife. Two years later, he produced a large series of frescoes at the Palácio de Quintela, mostly scenes from the Roman-Sabine wars, landscapes showing Rome and its environs and miscellaneous themes from Greek mythology. In 1825, he painted curtains for the Teatro Nacional de São Carlos, followed by a portrait of D. Pedro IV. Supported by the King and Conde de Quintela, he was able to go to Rome to complete his artistic training with Vincenzo Camuccini and Andrea Pozzi. He also spent time in London and Paris. Returning to Portugal in 1836, he was appointed a Professor of history painting at the Academia de Belas-Artes. In 1838, he designed costumes for a play by Almeida Garrett and did set designs for the opera Robert le diable by Giacomo Meyerbeer. Together with the lithographer, Maurício José Sendim (1786-1870), he created illustrations for the Quadros históricos by António Feliciano de Castilho.Fonseca. Fonseca continued to exhibit frequently, culminating in 1880 with a major exhibition in the Palácio de Cristal in Porto. He also served as drawing master to the future King Carlos and his brother D. Afonso, Duque do Porto. Manuel José de Araújo Porto-Alegre, Barão de Santo Ângelo (Rio Pardo, Rio Grande do Sul, 1806-Lisbon, 1879), was a Brazilian Romantic writer, painter, architect, diplomat and professor, considered to be one of the first Brazilian editorial cartoonists ever. He is the patron of the 32nd chair of the Brazilian Academy of Letters. In 1826 he studied under Jean-Baptiste Debret at the Imperial Academy of Fine Arts in Rio de Janeiro. In 1831, he left Brazil for Europe along with Debret, in order to improve his painting techniques. In 1835, he went to Italy, where he met another Brazilian poet, Gonçalves de Magalhães. Porto-Alegre and Magalhães would create in France, in the year of 1837, a short-lived magazine named Niterói, along with Francisco de Sales Torres Homem. In 1840 Porto Alegre was named the official painter and decorator of Emperor Pedro II's palace. He decorated the imperial palace in Petrópolis, the wedding of Pedro II with Teresa Cristina of the Two Sicilies and the emperor's coronation. Reuniting with Gonçalves de Magalhães and Torres Homem, he founded Minerva Brasiliense, a review that ran from 1843 to 1845, in which appeared his poem "Brasiliana". In 1844, with Torres Homem he founded the humor magazine Lanterna Mágica, where his caricatures appeared. In 1849, Porto-Alegre founded the magazine Guanabara, with Joaquim Manuel de Macedo and Gonçalves Dias. Considered the official journal of the Romantic movement in Brazil, it ran until 1856. After a brief fling with municipal politics, from 1854 to 1857 he was headmaster of the Imperial Academy of Fine Arts. In 1860, Porto-Alegre embarked on a diplomatic career, where he served as the consul of the Empire of Brazil in the Kingdom of Prussia, the Kingdom of Saxony and later in Portugal, where he died. His title was granted by D. Pedro II in 1874.*** Tancredo de Barros Paiva, Achêgas a um Diccionario de pseudonymos 920. Pamplona, Dicionário de pintores e escultores portugueses (2nd ed.), II, 317-23. Not in Sacramento Blake; for the author, see VI, 26-30. Porbase locates a single copy, in the Biblioteca Nacional de Portugal. Not located in Jisc. KVK (51 databases searched) locates only the copy cited by Porbase.

Encuadernación de tapa dura. Condition: Excelente. 1ª Edición. Córdoba, Argentina 1966. (sin paginar) Presidente James Mc Cloud. Director: Christian Sorenson. Comisario General: Ernesto Farina. Diagramación del catálogo: Melano. Jurado: Alfred Barr (h), Arnold Bode, Sam Hunter, Aldo Pellegrini y Carlos Raúl Villanueva. Artistas participantes: Mario Abreu, Pedro Alcántara, Gilberto Almeida, Luis Arias, Federico Assler, Marcelo Bonevardi, Roser Bru, Michael Burt, Joao Camara Filho, Delia Cancela y Pablo Mesejean, Enrique Mario Careaga, Jorge Carrasco Núñez, Theo Constante, J. M. Cruxent, Carlos Cruz Diez, Gerardo Chavez, Jaime Davila, Ernesto Deira, Juan Manuel de la Colina, Jorge de la Vega, Delia del Carril, Antonio Dias, Pedro di Lascio, Juan Carlos Distéfano, Alfredo Falfan Vivanco, Pedro Friedeberg, Rubens Gerchmann, Fernando Grillon, Emilio Hernández, Francisco Hung, Patricia Israel, Eric Ray King, Helga Krebs, Gerd Leufert, Luis Lopez Loza, Rómulo Macció, Eduardo Mac Entyre, Roberto Magalhaes, Vicente Martín, Norman Mejía, Armando Morales, Rodolfo Mishaan, Alejandro Obregón, Rodolfo Opazo, María Luisa Pacheco Bernard, Jorge Páez Vilaró, Abraham Palatnik, Domingo Parada, César Paternosto, Giancarlo Puppo, Alirio Rodríguez, Hermenegildo Sabat, Bernando Salcedo, Hugo Sartore, Antonio Segui, Ivan Serpa, Flavio Shiro, Pablo Solano, Luis Solari, José Tang, Miguel Ángel Vidal, Aníbal Villacis, Armando Villegas, Vlady, Luis Alberto Wells, Ricardo Yrarrazaval, Ricardo Yustman y Luis Zilveti Calderón. Invitado de honor: Jesús Rafael Soto. Homenaje a Xul Solar. Apartado: Música Experimental. Primeras Jornadas Americanas. Texto de Magda Sorenson. Participan: Jose Vicente Asuar, Earl Brown, John Cage, Aurelio de la Vega, Mauricio Kagel, Gerardo Gandini, Ernst Krenk, etc. Profusamente ilustrado con reproducciones de obras y retratos de los artistas citados. Tela de editor con sobrecubierta original con diseño de Jesús Rafael Soto, invitado de honor, ganador del máximo galardón de la edición de 1964. 3ª bienal americana de arte. Argentina, Cordoba 1966, Primeras Jornadas Americanas de música experimental: Disco me 1 - Faz A) Jose Vicente Asuar: "Preludio la noche" electronica - Gerald Strang "Composition IV" Musica de computadora 7094 - Pedro Echarte: "Treno" electronica - Gordon Mumma "The desdren interleaf 13 february 1945" Electronica - Faz B) Lejaren Hiller "Estudio nº7" Electronica - Horario Vaggione "Sonata Nº4" Piano y cinta - Alcides Lanza: "Plectros II" Piano y cinta magnetofonica - Edgardo Canton: "Voix Inouies" Electronica. Disco me 2 Faz A) Morton Feldman: "Four instruments" Instrumental - Virgilio Tosco: "Vision apocaliptica" Piano - Ernst Krenek: "Quintona"Eléctronica - Earle Brown: "Four System" Instrumental / Faz B John Cage "Variations II" Cinta e instrumentos heteredoxos - Piano A. Touriello - G. Gandini - John Cage "Variations II" Cinta e instrumentos heterodoxos - Piano P. Echarte - H. Vaggione - Oscar Bazan: "Atomos II" Instrumental - Christian Wolff: "for two pianos" Instrumental. Cubierta realizada por Jesús Rafael Soto. Excelente estado.