Etching print included as the frontispiece of a unknown volume printed in 1780. The plate includes a classic biblical image of Adam and Eve in the garden of Eden at the moment the snake offers the fruit to Eve. The image includes excellent details of various animals scattered around the pint such as a frog, various insects, birds and a partially hidden cow laying in the tree line.

Affidavit from Miguel Ponce Borrego discussing irregularities among some military people in in Laredo. The document has a piece of tape on the right side of the paper protecting large tears on that side.

Folding fan. Sticks and guards of plain, unadorned wood. Paper leaf colored lithographed with line of musical score and lyrics across top, French text, and figural scene. Titled “Allégorie sur les États Généraux”.

Map shows late eighteenth century geographical outlines and major cities in North America, South America, and parts of Africa and Oceania. No scale indicated.

Map shows cities or settlements for "Nuovo Messico" [Mexico], "Colonie Inglesi" [British Colonies], "Loisiana" [Louisiana], the Antilles, and the Pacific coast of North America. Relief shown pictorially. Scale not given.

Map shows major cities along the coasts of North America, Central America, and the Antilles. Native American habitation in some areas of North America are also noted. Hand colored. Scale [ca. 1:37,500,000]. Map comes from Atlas de toutes les parties connues du globe terrestre [Atlas of all known parts of the globe] published in 1780.

Map shows major French, English and Spanish settlements on the North American continent, Central America, and the islands of the Caribean. Scale [ca. 1:34,500,000]. Map comes from Atlas de toutes les parties connues du globe terrestre [Atlas of all known parts of the globe] by Guillaume Raynal.

Map shows North America, South America, and part of Oceania in the western hemisphere and Europe, Asia, Africa, and the remainder of Oceania in the eastern hemisphere. Map is from the author's Atlas de Toutes les Parties Connues du Globe Terrestre [Atlas of All Known Parts of the Globe]. Scale [ca. 1:100,000,000].

Announcement from Joseph Antonio de la Garza Falcón to justicias mayores saying that two new companies of soldiers are being formed and that young men may present themselves. This document has pieces of tape attached to all sides of the paper, and contains a few noticeable stains.

Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.

Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.

The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.

The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.

Although the story of Bluebeard was familiar to French readers from Charles Perrault’s 1698 collection of children’s tales, transferring it to the operatic stage was problematic due in large part to the gruesome nature of the plot. Other violent works had appeared in Paris, but in this instance, the drama was to be performed at the Comédie-Italienne, which typically featured lighter plots than that of Raoul and Isaure. Nevertheless, the opera had a successful run, receiving over a hundred performances in the decade after its premiere. After its initial popularity, Raoul Bluebeard was staged less frequently, but it still made an impression on nineteenth-century composers, particularly Weber.

Paisiello’s Il barbiere di Siviglia was based on the first play, Le barbier de Séville, ou La precaution inutile (1772), of Beaumarchais’s famous trilogy. The controversial commentary on aristocracy caused the play to be banned from the stage for three years. The ban was lifted in 1775 and the work premiered that same year; Beaumarchais finally saw the work performed in 1780 when he was employed by Catherine II in St. Petersburg. Although Rossini’s later opera (of 1816) is more familiar today, Paisiello’s rendition was extremely popular throughout Europe during its time. The work was first performed in St. Petersburg in September of 1782.

Engraving of "Ben J. Franklin L.L.D." for European Magazine printed on April 1, 1783. The design is attributed to William Angus and printed by J. Fielding. The engraving shows an image of founding father Benjamin Franklin in a circular frame to replicate a painting by F. Schwediauer.

Various efficient cures and remedies for diseases and cattle plagues taken from newspapers.

Panorama, E front with Tuscan pavilions & replicated side buildings

Portrait of Captain Samuel Chandler, seated on a chair; he is wearing a uniform and holding a sheathed sword. There is a tricorne hat on a table to his left and a military painting on the wall above it.

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Map shows ports, cities, and physical features of Iviza, Majorca, Menorca, and adjacent smaller islands. Relief shown by hachures and pictorially. Depths shown by soundings. Scale not given.

Map shows coastline detail with towns, ports, islands, mountain peaks, and landmarks for Portugal and northwestern Spain. Includes illustrated title cartouche. Prime meridians: Tenerife, Paris, Cadiz, and Ferrol. Relief shown by hachures. Depths shown by soundings. Scale not given.

Map shows Mediterranean coastline coast from the western narrowing of the Mediterannean Sea at the Strait of Gibraltar along the Spanish coast of Andalusia near Cabo de Gata, and near Cabo Hone along the African coast of Morocco; cities, harbors, structural symbols, and anchorage. Includes "nota": Los Numeros de la Sonda son brazas de á 2. varas Castellanas. Relief shown pictorially and by hachures. Depths shown by soundings. Scale not given.

Map shows settlements, ports and roads for western Panama, including the Isthmus of Panama. Includes legend and text. Relief shown pictorially. Depths shown by soundings. Scale not given.