Parchment Manuscript signed by the King Louis XIV. Commission de Capitaine d’une…

Description

Parchment Manuscript signed by the King Louis XIV. Commission de Capitaine d’une Compagnie dans le Régiment de Cavalerie d’Imecour pour le Sieur Hervé. Oblong parchment manuscript measuring 300x480 mm. Text on the recto in elegant chancery handwriting, black ink. Under the handwritten signature of the King "Louis". Trace of brown wax seal. Small flaw in the text, some small stains and tear at the lower margin which does not affect the text. Nice piece despite some small flaws. Commission of captain of a company of the Imecour cavalry regiment for Mr. Hervé "... qui a donné des preuves de son talent, courage, expérience en la guerre, vigilance et good conduct, fidélité et affection..." Countersigned in end 'Par le Roy" by Louvois Le Tellier, Secretary of State for War. In the left margin, a handwritten note signed Le Comte d'Auvergne," which assigns Captain Hervè his place in the regiment. Frédéric-Maurice II de La Tour D'Auvergne, 1642-1707, Colonel General of the Light Cavalry, both French and foreign, Lieutenant General of the King's armies and Governor of the Province of Limousin.

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Parchment Manuscript signed by the King Louis XIV. Commission de Capitaine d’une Compagnie dans le Régiment de Cavalerie d’Imecour pour le Sieur Hervé. Oblong parchment manuscript measuring 300x480 mm. Text on the recto in elegant chancery handwriting, black ink. Under the handwritten signature of the King "Louis". Trace of brown wax seal. Small flaw in the text, some small stains and tear at the lower margin which does not affect the text. Nice piece despite some small flaws. Commission of captain of a company of the Imecour cavalry regiment for Mr. Hervé "... qui a donné des preuves de son talent, courage, expérience en la guerre, vigilance et good conduct, fidélité et affection..." Countersigned in end 'Par le Roy" by Louvois Le Tellier, Secretary of State for War. In the left margin, a handwritten note signed Le Comte d'Auvergne," which assigns Captain Hervè his place in the regiment. Frédéric-Maurice II de La Tour D'Auvergne, 1642-1707, Colonel General of the Light Cavalry, both French and foreign, Lieutenant General of the King's armies and Governor of the Province of Limousin.

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BROCHERO, Julián José. Patent of nobility of Don Luis Bermudo Soriano and Dona Antonia Ortiz De Espinosa. Membranous manuscript, Madrid, May 5, 1774. Membranous manuscript in 4to, mm. 300 x 200. Binding in full red morocco with very rich gold decorations on the plates and on the six-nerved spine, in the center of the plates the arms of King Charles III of Spain. Guard sheets in polychrome marbled paper. Interior consists of 68 vellum papers with text within red double linear frame, at corners arabesque decoration in blue. Text in Spanish, crisp chancery script, brown ink. In the opening two large illuminated folios: the first with two large coats of arms, the second, which serves as the Frontispiece, with the seal-stem of King Charles III surmounted by crown and the Author's name, within architectural composition with the two columns of the Royal House and the motto "Plus Ultra." In text, large illuminated Initials with landscapes, Figured headpieces with titles, Endpapers with coats of arms illuminated in bright colors and gold. Interleaved with coeval silks protecting the illustrations. Outside text a very large family tree dating from Don Ignacio Bermudo Soriano, fold-out. Beautiful, perfectly preserved specimen. Spanish heraldic manuscript from the 18th century, beautifully illuminated. The document is officially compiled and attested by Don Julian Joseph Brochero, first king of arms of Spain. The noble origins of the Bermudo Soriano, Medina Mejorada, La Cadena, Escovar and Ortiz de Espinosa lineages are described. The chapter devoted to each house depicts, in garish and vivid colors, the respective coat of arms, with rich gold embossing. The king of arms, the chief rank among those of the officers of arms, was the chief of the heralds and had the task of guarding the coats of arms granted, making any changes or additions that resulted from new concessions or marriage alliances. To this end, he also saw to recording and correcting the family trees of families. At the end of the volume, the Patente de Noblesse is guaranteed and countersigned by Felipe López de la Huerta, Oficial Real Contador del real Tribunal de Cuentas de Madrid en el Reyno de España.A similar manuscript by Brochero, "Certificación de nobleza y escudo de armas de Bernardo Ballerino," with the same title page, but without binding to the Arms, at the Archivo Histórico Nacional, CODICES, L.1415; digitized in: http://pares.mcu.es/ParesBusquedas20/catalogo/show/2610353. Parchment manuscript in 4to, mm. 300 x 200. Binding in full red morocco with rich gold decoration on the covers and on the ribbed back, in the middle of the plates the coat of arms of King Charles III of Spain. Endpapers in polychrome marbled paper. Interior consists of 68 vellum leaves with text within red double linear frame, at corners arabesque decoration in blue. Text in Spanish, crisp chancery script, brown ink. In the opening two large illuminated folios: the first with two large coats of arms, The second, which serves as the Title-page, with the seal-stem of King Charles III surmounted by crown and the Author's name, within architectural composition with the two columns of the Royal House and the motto "Plus Ultra." In the text, large illuminated Initials with landscapes, illustrated headpieces with titles, Tailpieces with coats of arms illuminated in bright colors and gold. Interleaved with coeval silks protecting the illustrations. Outside text a very large family tree dating back to Don Ignacio Bermudo Soriano, folded. Beautiful specimen. Spanish heraldic manuscript from the 18th century, beautifully illuminated. The document is officially drawn up and attested by Don Julian Joseph Brochero, first king-at-arms of Spain. The noble origins of the Bermudo Soriano, Medina Mejorada, La Cadena, Escovar and Ortiz de Espinosa lineages are described. The chapter devoted to each house depicts, in garish and vivid colors, the respective coat of arms, with rich gold embossing. The king of arms, the principal rank among those of the officers of arms, was the chief of the heralds and had the task of guarding the coats of arms granted, making any changes or additions that resulted from new concessions or marriage alliances. Because of this he also saw to recording and correcting the family trees of families. At the end of the volume, the Patent of Nobility is guaranteed and countersigned by Felipe López de la Huerta, Oficial Real Contador del real Tribunal de Cuentas de Madrid en el Reyno de España.A similar manuscript by Brochero, "Certificación de nobleza y escudo de armas de Bernardo Ballerino," with the same titlepage, but without Armorial binding of the King, at the Archivo Histórico Nacional, CODICES, L.1415; digitized in: http://pares.mcu.es/ParesBusquedas20/catalogo/show/2610353.

Estim. 300 - 400 EUR

DAVID, Jacques-Louis. Decret de la Convention Nationale, Du 29 mars 1793... relatif au don fait par David, d'un tableau representant Michel Lepelletier sur son lit de mort.Saint-Jean-d'Angély, J.B. Josserand, 1793 4to. 244x198 mm. 4 pages. Good state of preservation. Rare plate, important source of art history. Les Derniers Moments de Michel Lepeletier is a painter's homage to the revolutionary assassinated for voting for the death of King Louis XVI. The painting forms with The Death of Marat a diptych that was installed in the meeting room of the National Convention. Removed in 1795 and entrusted to the artist, who kept it until his death in Brussels, the painting was sold by his family to the revolutionary's daughter, Louise Suzanne de Mortefontaine. After this sale the painting disappeared, the most likely hypothesis being that it was destroyed by the daughter who wanted to make her father's revolutionary past disappear by destroying the painting and the engravings that were made from it. The painting is evidenced only by a drawing by Anatole Desvosge and a print by Tardieu that partially escaped destruction. The plaque also contains David's speech to the National Convention, March 29, 1793, in which he explains the painting's significance. 4to. 244x198 mm. 4 pp. Good condition. Rare booklet, an important source of art history. Les Derniers Moments by Michel Lepeletier is a tribute by the painter to the revolutionary assassinated for having voted for the death of King Louis XVI. The painting forms a diptych with The Death of Marat which was installed in the meeting room of the National Conference. Removed in 1795 and entrusted to the artist, who kept it until his death in Brussels, the painting was sold by his family to the revolutionary's daughter, Louise Suzanne de Mortefontaine. After this sale the painting disappeared, the most probable hypothesis is that it was destroyed by her daughter who wanted to make her father's revolutionary past disappear by destroying the painting and the engravings that had been made from it. The painting is evidenced only by a drawing by Anatole Desvosge and a print by Tardieu which partially escaped destruction.The booklet also contains David's speech to the National Convention, March 29, 1793, in which he explains the significance of the painting.

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