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326

PETER PAUL RUBENS - 1577-1640
La Gallerie du Palais du Luxembourg (The gallery of the Palais du Luxembourg)
NATTIER, Jean-Marc & Jean-Baptiste.- La Gallerie du Palais du Luxembourg peinte par Rubens dessinée par les Srs. Nattier et gravée par les plus illustres graveurs du temps...- A Paris: Chez le Sr. Duchange Graveur du Roy en son Academie Royale de Peinture et Sculpture, 1710.- 27 engravings; 52 cm. Set of work, but complete, of the collection of engravings that reproduce the paintings of Rubens, usually called "the cycle of Maria de Médicis " commissioned to the Palace of Luxembourg, currently exhibited at the Louvre Museum in Paris. Includes the following prints (with blank verse): 1 - La Gallerie du Palais du Luxembourg... (cover Sheet)); 2 - Avertissement (texto); 3 - Pierre Paul Rubens; 4 - Marie de Medicis; 5 - François de Medicis; 6 - Jeanne d’Autriche; 7 - La destinée de la Reine; 8 - La naissance de la Reine; 9 - L’éducation de la Reine; 10 - Henri IV. delibere sur son futur mariage; 11 - Le mariage de la Reine; 12 - Le debarquement de la Reine au port de Marseille; 13 - La ville de Lyon va audevant de la Reine; 14 - L’accouchement de la Reine; 15 - Le Roy part pour la guerre d’Allemagne; 16 - Le couronnement de la Reine (double print); 17 - L’Apotheose d’Henri IV et la Regence de la Reine (estampa dupla); 18 - Le gouvernement de la Reine (double print); 19 - Le voyage de la Reine au Pont de Cé; 20 - L’Echange des deux Reines; 21 - La Felicité de la Regence; 22 - La Majorite du Roy Louis XIII; 23 - La Reine s’enfuit de la ville de Blois; 24 - La Reine prend le parti de la paix; 25 - La conclusion de la paix; 26 - La Paix confirmé dans le Ciel; 27 - Le Tems decouvre la Verité. Edition entirely intaglio engraved (chisel and etching) by several engravers, of which we highlight Edelinck, Picart, Vermeulen, Audran, Duchange, etc. The set, in loose leaves, presents several imperfections, namely accentuated acidity, occasional water stains (tide), some restoration and excessive cutting, but outside the crease of the matrix; Coronation Engraving (16) very damaged near the fold, with slight loss of support; Engravings identified with numbers 7 and 27 (narrower) with trimmed margins; manually added ink to the exterior of the matrix. It is yet complete and is likely to be recovered.

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338

MANUSCRITO DE ARTE EQUESTRE (Equestrian Art Manuscript)
MANUSCRITO DE ARTE EQUESTRE.- NEWCASTLE, William Cavendish, Duke of.- Interpetração [sic] Do segundo Livro do novo methodo facil de ensinar os Cavallos Composto pelo Principe Guilherme, Marquez, e Conde de Neucastle. Com hum appendice de addições, e reflecçoens que o mesmo Author addicionou a sua obra, em que se ensina a trabalhar os Cavallos, segundo a ordem da natureza, e aprefeiçoar a natureza com a Subtileza da Arte, 1740. [na reserva do pé do rosto] Do Senhor Pedro Lopes de Azevedo Pinheyro Pereyra e Sá, Vigéssimo terceyro Senhor de Azevedo.- Século XVIII (1740).- 94 f.; 25 cm.- E. Eighteenth-century manuscript, decorated, ruled and calligraphed. According to the inscription of the foot of the cover page, it will have been elaborated for Pedro Lopes de Azevedo Pinheiro Pereira e Sá, 23rd Lord of the House of Azevedo, Solar dos Pinheiros (in Barcelos) and Morgado de Pouve, son of Leonardo Lopes de Azevedo and Margarida Isabel de Sousa; died without descent in 1776 and his brother the EP. Francisco Lopes de Azevedo inherited the bond, who, for his death (1781), passed on to his other brother Fradique. William Cavendish, 1st Duke of Newcastle (1592-1676), poet, politician and military, native of Yorkshire (RU), also became a master of riding and author of important Treatises of equestrian art. Title framed in watecolour architectural cartouche en "Grisaille", with vegetalist Ornatos and a bird (Eagle?) on top. The 93 pages of text, with double red miter and 23 ruled lines, are adorned with 30 large initials with vegetalist motifs (± 50 mm) and 29 of smaller format (± 18 mm). Some moisture stains slightly affecting the final 12 leaves. Slightly trimmed Volume, with a fold of about 15 mm on the lower edge of the face (safeguarding the aforementioned inscription). Otherwise, document generally clean and well maintained. Entire calf binding of the time, a little tired and with some damage to the spine. Remote provenance: Castello Melhor Catalogue (1878), Lot No. 350; Figanière Catalogue (1889), Lot No. 1784. Ex-Libris of João de Portugal Trigueiros de Aragão.

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