A Kisanji, wood and iron lamellaphone, engraved decoration "Capuita Symbols" on vertical friezes, Angolan - Tshokwe (related peoples), 20th C. (1st quarter), later varnishing, faults and defects, great patina wear, offered by Father Robalino, Superior of the Mission of Our Lady of Victories of the Benedictines - Luena (former Luso), Moxico Province. Notes: Provenance: Collection of Engenheio Elísio Romariz dos Santos Silva Fig. 3 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, p. 11. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx? q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 145, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças» identified in it as «Quissanje Txa-Nbunda»: "The base of the quissanje has edges turned upwards as used by the Bundas, however I cannot say that this item is from this ethnic group. ...]. Piece offered by Father Robalino [...] Superior of the Mission of Our Lady of Victories - Luena (former Luso), Moxico province [Luena], of the Benedictines, who didn't tell me where he had picked it up. (1972). Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 e 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 24,2 x 15,3 x 1,3 cm
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A kisanji, wood and iron lamellophone, carved decoration with geometric motifs "Messo-ia-issacala", Angolan - Tshokwe, 20th C. (1st quarter), missing lamellae, minor defects, patine wear, purchased in a village north of Munhango (about 20 km) in 1965. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 143, referred to in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Quissanje Kakolondondo»: "Decorated with incisions with a motif bearing the name of «messo-ia-issacala», which represents the eyes of the «issacala» bird through the bars of a cage.[...] Purchased in a village north of Munhango (about 20 km) in 1965 [...] Others kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 e 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 17,5 x 10,4 x 0,8 cm
A kisanji, wood and iron lamellophone, carved decoration "Geometric motifs" and "Capuita Symbol", Angolan - Tshokwe, 20th C. (1st quarter), major fault on the lower edge of the platform, other minor faults and defects, purchased in a village north of Munhango (about 20 km) in 1965. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 2 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, p. 11. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 144, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Quissanje Txa-Nbunda»: "The quissanje platform has the edges turned upside down and is used by the bundas. However, given the place where it was purchased, I am not sure that this piece is of bunda origin. Decorated with incisions forming 4 juxtaposed rectangles all decorated with the "Capuita" motif ( see no. 5). In the verticals of the total rectangle and in the intersection of the median circular decorations. The upper part, above the keys, is decorated with a frieze with 3 lozenges [...] Purchased in Munhango, in a village located 20 km to the north, in 1965 [...]. Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; em SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 and 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 24,4 x 13,7 x 1,8 cm
A kisanji, wood and iron lamellophone, carved decoration "Cauris", Angolan - Tshokwe, 20th C. (mid), small cracks, minor defects, patine wear, purchased at Lumeje on 30-05-1970. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 136, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Quissanje Kakolondondo»: "Decoration: rectangle with 3 incisions on the contour with inside arcs of circumference forming a design inspired by the «Cauries», which in time served as currency. According to J. Redinha, the name of this kissanji derives from its crystalline sounds, such as the voices of girls. [...] Purchased at Lumeje on 30.5.70 [...]." Cf. Bibliography referred to by the collector - REDINHA, José - "Campanha Etnográfica ao Tchiboco (Alto-Tchicapa) - Anotações e Documentação gráfica", volume 2. In "Diamag - Publicações Culturais nº 19". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1955, p. 20, where it is mentioned that "Kisanjis or Hand Pianos - There are different types found in Tchiboco […] This fact is explained by the reason that the kissanjis are objects that travel far in the hands of walkers, who use their compass to make walking easier. It happens, from time to time, that they leave them at the most diverse points, exchanged for articles, given or sold." Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 and 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 12 x 8,2 x 0,7 cm
A Kisanji with gourd, wood and iron lamellophone, with gourd (which works as a resonance box), carved decoration "Geometric motifs", Angolan - Tshokwe, 20th C. (mid), missing a lamella, minor defects, major patina wear, purchased in Mucussueje (Moxico) on 18-3-1971. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 4 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, p. 12. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 148, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Kakolondondo»:"Decoration by incisions - rectangle with 3 motifs; the central one is reminiscent of a stylized "mucupela" 2-stroke drum. Above the rectangle are three circumferential arches. [...] Purchased in Mucussueje [Moxico], on 18.3.71 [...]. According to José Redinha "The kisanjis «lungando", «muiemba», «kakolondondo», «tchakel» and «saso» usually apply sounding boards made of gourds." - cf. REDINHA, José - "Campanha Etnográfica ao Tchiboco (Alto-Tchicapa) - Anotações e Documentação gráfica", volume 2. In "Diamag - Publicações Culturais nº 19". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1955, p. 20. Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 and 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook". Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - (quissanje) 11,6 x 7,3 x 0,5 cm
A kisanji, wood and iron lamellophone, carved decoration "Geometric motifs", Angolan - Tshokwe, 20th C. (1st quarter), missing lamellae, minor defects, patine wear, purchased from Samoroci of Sanzala Muanachina - right side of C.F.B railway at km 1056, near Luena (former Luso) - on July 12, 1974. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 221, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Quissanje»: "Decoration: a rectangle flanked by 6 lines(?) arranged parallel to the longer sides [...] the rectangle is decorated with incisions. 4 next to the longer sides (4+4); in the central part incisions (approximately) 30º forming in the central part a lozenge and 6 triangles. [...] Purchased from the same person as item 220 (Samoroci of Sanzala Muanachina, right side of the C.F.B railway at km 1056, near Luena [former Luso]) and on the same date (12. July. 1974) [...]." Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 e 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 13 x 9,5 x 0,5 cm
Four different combs, wood, carved decoration "Geometric and anthropomorphic motifs", Angolans - Tshokwe (related peoples), 20th C. (mid), faults and defects, patina wear, purchased: two in Luena in 1965 and 1970; one in Lumeje in 1967; and another one at Munhango in 1966. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, these combs correspond to items with numbers 5, 81, 82 and 83 mentioned in the notebook of the collector «Angola - Arte Negra, relação e descrição das peças». Item nº 5 is identified in this notebook as «Pente Txissaculo - pl - Issaculo», items nº 81, 82 and 83 are each identified as «Txissaculo». With regard to item number 5, it is mentioned that: "The hexagonal handle has, on the front part, engraved a face (two eyes, nose and mouth) and, contouring the sides of the polygon, two grooves; on the back part geometric drawings: two lines of small rectangles limited on the upper side by three grooves and on the lower side by four.The front side of the crosspiece is decorated with a drawing called «Caputita» or «Tupuita», often used in tattooing. Abbot Brevil interpreted it as being the schematic representation of the woman. H. Baumann, who found it in almost all the Bantus in Africa, interprets it as the man and the woman in copulation. On the back, the rectangle is divided by its diagonals and the triangles formed are decorated with grooves, some vertical and others parallel to one of the diagonals. [...] Item purchased from a Luena woman, in the sanzala of Soba Nacalunda, south side of the concentration of populations of Lumeje, on 30. Maio. 1970 [...]. Cf. Bibliography referred to by the collector: LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956, pp. 37-38. No. 81 is described as containing "Crosspiece decorated with incisions surmounted by a rod that has a carved head on top. [...] Purchased in Luena in 1965 [...]. The piece with no. 82 is described, containing a "Crosspiece decorated on the front side with incisions representing «Couris», surmounted by a rod with a carved head. [...] Purchased in Lumeje in 1967 [...]." No. 83 is referred to in the notebook, containing a "Crosspiece decorated with incisions, surmounted by a rod with a carved head. [...] Purchased in Munhango in 1966 [...]." "Musical instruments, combs, pipes, axes and finely crafted stools may include elaborate figurative and/or abstract motifs and belong to anyone who can afford to get them" - cf. JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". Lisboa: Museu Nacional de Etnologia, 2000, pp. 92 e 114-115. "Native-made combs are still very common in the Northeast of the Province, not least because their usefulness has intensified a lot in the last few decades, due to the disuse of the old red clay headdresses, which dispensed with daily care with the hairstyle. This type of headdress also influenced the disuse of hairpins, which are now replaced by combs. The ulotric hair of Africans admirably allows for the most varied headdress fantasies, and the comb is therefore a very useful piece. It also serves as an adornment, nailed in a suitable way, in the hair. For this reason, it is common for the crosspieces on the combs to feature cute carved decorations, sometimes with openwork, sometimes surmounted by small representations of women's heads, full-length human figures, birds and other motifs. There are two types of combs: those with staff sticks held together by fibers of cajana (a kind of reed), and those made of wood, whole, with teeth carved from a spared crosspiece that serves as a base."- cf. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, pp. 26-27. Other combs are represented in SANTOS, Soraia Ferreira (coord.) - "Herança Secular dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 129, nº inv. 2004.R.25; in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 157; in JORDÁN, Manuel. “Chokwe!- Art and Initiation Among Chokwe and Related Peoples”. Munich/London/New York: Prestel-Verlag, 1998, s/p, nº 52; in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 242, nº 164; and in the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lot 46., Dim. - (o maior) 19 cm
A six-leaf screen, Namban Art style, fully lacquered, painted and gilded wood "Arrival of the Portuguese to the coast of Japan in the large Carrack", Portuguese, 20th C., a loose hinge, minor defects, stamped FUNDAÇÃO R.E.S.S. (Ricardo do Espírito Santo Silva), dated 1990, numbered 11913, Dim. - (cada folha) 205 x 55 cm
Saint Anthony with the Child Jesus and a bag of bread, polychrome wood and gilt sculpture - dated ANNO DE 1739, silver halo and cross, Portuguese, 18th C. (2nd quarter), minor faults and defects, later cross and missing bottom, unmarked silver, pursuant to Decreto-Lei No. 120/2017, of September 15 - art. 2, paragraph 2, letter c), Dim. - 55 cm
Saint Anne teaching Our Lady to read, wood gilt and polychrome sculpture, glass eyes, silver halo and crown, Portuguese, 18th C. (mid), minor faults on decoration, unmarked silver, pursuant to Decreto-Lei No. 120/2017, of September 15 - art. 2, paragraph 2, letter c), Dim. - (escultura) 47 cm; (total) 54 cm
Our Lady of the Apocalypse, gilt and polychrome terracotta sculpture, womb with "Child Jesus" reliquary, gilt wooden base, silver crown, Portuguese, 18th C. (mid), missing part of the veil of Our Lady, missing part of the wing of the grain, small glueing and defects, silver without marks, pursuant to Decreto-Lei nº 120/2017, of 15 September - art. 2, paragraph 2, letter c), Dim. - (total sem coroa) 43 cm
A «Mwana Pwo» Mask, wood, fibers and metal, It has metallic rings in both ears, a mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (mid), faults and defects, purchased in Dundo, Lunda-Norte, in 1965. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Figs. 10 and 11 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, pp. 14-15. Original work available at https://memoria- africa.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 3, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo»: "Tattoos: - on the forehead and chin: «Mupila» (dash); - on the cheek: «Misoji (tears), «Lumba» (wheels) and cruciform marks; - on the chin and next to the lips: «Mipila» (singular «Mupila»); - on the nose: «Cangongo». Separating the "trilobed" hairstyle from the forehead is a row of 9 round brass studs. Two hoops to make earrings. [...] [...] Purchased on the outskirts of Dundo - Lunda, in June 1965, after a long week of talks and negotiations [...] and a new mask that had been offered to me by the Dundo Museum and executed by its private sculptors". The hairstyle depicted on the mask may be the "Kalarika" hairstyle, which is a Tshokwe hairstyle worn by women - vd. SANTOS, Eduardo dos - "Sobre a «Medicina» e a Magia dos Quiocos". In "Estudos, Ensaios e Documentos nº 80". Lisbon: Junta de Investigações do Ultramar, 1960, p. 130, fig. 124-125. For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (as "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (as "Masque Pwo"/"Pwo"); The catalog "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nº 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 and 153, nºs 11-15 (as "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; and https://www.metmuseum.org/art/ collection/search/319264?ft=Pwo&offset=0& ;rpp=40&pos=1, consulted on March 14, 2023 at 15:37, Dim. - 17 cm
Four different combs, wood, carved and pierced decoration "Geometric motifs", Angolans - Tshokwe (related peoples), 20th C. (mid), minor defects, patina wear, purchased: on the outskirts of Luena (former Luso), in 1967; two in Cangumbe, in 1968; and in Lubango (former Sá da Bandeira), in 1969. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, these combs correspond to items numbered 100, 104, 107 and 132 mentioned in the notebook of the collector «Angola - Arte Negra, relação e descrição das peças». Items nº 100, 104 and 107 are each identified as «Txissaculo», item nº 132 is identified only as «Comb». Item No. 100 is mentioned, containing a "Crosspiece decorated with incisions, triangular on one side and semi-circular on the other. Crosspiece surmounted by 3 small rods" [...] Purchased on the outskirts of Luena [former Luso] in 1967 [. ..]. No. 104 is described in the notebook, containing a "Crosspiece decorated with incisions, surmounted by two stems in the shape of an elephant's foot. [...] Purchased in Cangumbe, in 1968 [...]." Item number 107 is also mentioned in the collector's notebook, containing a "Crosspiece decorated with incisions; herringbone on one side and horizontal and crossed on the other side; surmounted by a rod in the shape of a lizard's head [...]. Purchased in Cangumbe in 1968 [...]." Item nº 132 is described, containing an "M-shaped crosspiece, decorated with incisions, forming an "M" and a triangle; the crosspiece is pierced by two symmetrical cuts (>
Three different combs, wood, carved and pierced decoration "Geometric motifs", Angolans - Tshokwe (related peoples), 20th C. (mid), minor defects, patina wear, two purchased in Munhango, in 1966, the other in Luau (former Teixeira de Sousa), in 1967. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, items with the numbers 76, 85 and 108 mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», each identified as «Comb». No. 76, referred to in the collector's notebook, is described as containing a "Crosspiece pierced by a circular sector. The upper part is adorned with vertical incisions; the lower part with vertical and oblique incisions forming triangles. Purchased in Munhango, in 1966 [...]." No. 85 is described, containing a "Crosspiece decorated with incisions surmounted by an arch with two small stems [...]. Purchased in Munhango in 1966 [...]." Item nº 108 is referred to, containing a "Crosspiece decorated with incisions forming four panels with four triangles each; the panels are divided two by two by vertical incisions in the center of the crosspiece. This is topped by an arch with two small and diverging rods . [...] Purchased in Luau [former Teixeira de Sousa] in 1967, [...]." Other combs are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 157; in JORDÁN, Manuel. “Chokwe!- Art and Initiation Among Chokwe and Related Peoples”. Munich/London/New York: Prestel-Verlag, 1998, p. 63, nº 52; and in the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 46., Dim. - (o maior) 21 cm
Family portrait, oil on canvas, European school, 17th/18th C., relined, restorations, large fault on the pictorial layer with possibility of detachment. Notes: back with printed paper label with the inscription White Art Museum - Cornell University, identifying the authorship of the Swedish painter Michael Dahl (1650-1740), Dim. - 110 x 144 cm
Four different combs, wood and iron, carved decoration "Geometric motifs", one of the combs with brush., Angolans - Tshokwe (related peoples), 20th C. (2nd half), minor defects, patina wear, purchased: one at Sanzala of Soba Jamba (northern concentration of Lumeje), on May 30th, 1970; two in Luau (former Teixeira de Sousa), in 1966 and 1967; and the other in Macano, on March 18th, 1971. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, these combs correspond to the pieces with the numbers 18, 103, 112 and 151 mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças». Items numbered 18, 103 and 151 are each identified as «Txissaculo», item No. 112 is identified as «Txissaculo with Mutchaia brush». Regarding item possibly number 18, the following is mentioned: "Small handle in the shape of a spike with a crease in the centre. Crosspiece decorated with vertical and horizontal details(?) on one side and vertical, horizontal and inclined ones on the other. [.. .] Purchased [...] on May 30. 70 in the Sanzala of Soba Jamba - concentration north of Lumeje." With regard to nº 103, the following is mentioned: "Crosspiece decorated with incisions in the shape of a lozenge alternating with horizontal incisions in the spaces between them. The lozenges are made up of two triangles joined by their longer sides. The crosspiece is topped by two rods with a rectangular section connected at the top by a cylindrical shape.The crosspiece is separated from the teeth by two incisions.[...] Purchased in Luau [former Teixeira de Sousa], in 1966 [...]. Regarding nº 112, the following information is referred to "Small crosspiece decorated with incisions. Connected to the crosspiece by a strangulation, in trapeze that forms the brush [...]. Back side ornate. [...] Purchased in Luau [former Teixeira de Sousa] in 1967 [...] [...]." Cf. and vd. Bibliography referred to by the collector: REDINHA, José - "Campanha Etnográfica ao Tchiboco (Alto-Tchicapa) - Anotações e Documentação gráfica", volume 2. In "Diamag - Publicações Culturais nº 19". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1955, p. 19, where it is stated that "PENTES («Isakulo», plural of «Tchisakulo»): It is the Tshokwe term by which those objects are designated (Figs. 163-168). However, the indigenous comb does not correspond to the common idea of the modern comb and it still works as an adornment. It is used, indistinctly, by men and women"; and SANTOS, Eduardo dos - "Sobre a medicina e a Magia dos Quiocos". Lisboa: Junta de Investigações do Ultramar, 1960, s/p, fig. 130. With regard to nº 151, identified as «Txissaculo» in the handwritten notebook, the following information is mentioned: "Crosspiece topped by a small polygonal rod. The decoration of the crosspiece, by incisions, is formed by 4 juxtaposed rectangles with a border of vertical incisions [...] Each of the 4 rectangles is decorated with the "Capuita" motif (see nº5), which together form a beautiful design. Purchased at Macano(?). Other combs are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 157; in JORDÁN, Manuel. “Chokwe!- Art and Initiation Among Chokwe and Related Peoples”. Munich/London/New York: Prestel-Verlag, 1998, p. 63, nº 52; in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 242, nº 164; and in the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 46., Dim. - (o maior) 17,9 cm
A cabinet with flip-up top, mannerist, walnut, full ebony wood coating, central door occupying the height of two drawers, drawer fronts with marquetry in different types of wood “Landscapes with houses”, ripple moulded friezes, interior with oak and other wood marquetry, iron mounts, Southern Germany, 17th C., minor faults and defects. Notes: vd. RICCARDI-CUBIT, Monique - "Le Cabinet - Un Art Européen de la Renaissance à L'Époque Moderne". Paris: Editions L' Amateur, 1993, p. 32., Dim. - 43,5 x 60,5 x 31,2 cm
Forty-three (43) fortune telling pieces, different types of wood, fibers and other materials, Angolan - Tchokwe, 20th C., missing basket where the pieces are usually kept by the fortuneteller, defects, faults, wear, major patina wear, one purchased from Samoroci of Sanzala Muanachina, right side of C.F.B. railway at km.. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, one of the items is the number 220 mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Figura de Cesto de Adivinho» and described as "Anthropomorphic figure, seated, hands raised to the neck; elbows resting on knees and known(?) as «MU JIMO» [...]. Purchased from Samoroci of Sanzala Muanachina, right side of C. F. B. railway at km. 1036, near Luena (former Luso) [...], on 12.July.1974." The fortune telling basket was chosen as a typology to be exhibited at the exhibition "Contar Áfricas!" held between November 2018 and April 2019 at Padrão dos Descobrimentos, where it is stated that "The reasons for choosing it are based on the fact that the fortune telling basket is more than a mere utensil or equipment exclusive to the peoples and cultures of southwest Angola. It shows the combination of animal and plant elements that explain the world and the reasons for life, not as symbolic elements, but as ever-present realities. The «object» must be understood here as an unavoidable way of being in life and understanding it [...]" - cf. catalogue of the exhibition "Contar Áfricas!". Lisboa: EGEAC E.M, 2018, p. 48. Other fortune telling baskets are represented in JORDÁN, Manuel. “Chokwe!- Art and Initiation Among Chokwe and Related Peoples”. Munich/London/New York: Prestel-Verlag, 1998, pp. 140, 144 e 168-171 nºs 2, 118-121, Dim. - 27 x 27 x 6 cm
A «Mwana Pwo» Mask, wood, fibers, mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (1st quarter), missing headdress and neck netting, other faults and defects, possibly from Luena, Moxico Province. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 186, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Pwó»: "Well-sculpted protruding ears with pierced lobes; thin, upturned nose, with large, well-designed nostrils; open mouth with two rows of teeth; pointed, projecting chin. Decoration: on the forehead, from one ear to the other a symmetricaldecoration made with incisions that intersect (?) obliquely, with an undecorated space in the centre Tattoos: under the ears, on the forehead: variant of «Txiguelenguele» or «Samanana» characteristic of the Tshokwe (?). [...] On the faces: a tattoo on each side, symmetrical. [...] Offered by Jorge de Jesus Mouta, [...] on 6/3/72. This mask had been offered to him by an old merchant from Luena who had owned it for many years [...]. Comparing this piece with others that I had or have and that I saw up close, it seems to me that this one is lighter, which results from being much less thick, which is very clearly seen in the part of the faces that are broken, where the wood is not even 1 millimeter thick. Is this low thickness of the mask a feature of antiquity? I think so." For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (como "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, fig. 40-45 (como "Masque Pwo"/"Pwo"); the catalogue "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nº 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola" In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 e 153, nº 11-15 (como "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; and https://www.metmuseum.org/art/collection/search/319264? ft=Pwo&offset=0&rpp=40&pos=1,, Dim. - 17,5 cm
A ceremonial hatchet, wood and metals, carved decoration "Figures carrying a cage"., Angolan - Holu, 20th C. (1st half), in need of bonding resin, minor faults and defects, purchased in Loremo - Camaxilo, District of Lunda. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 217, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Machadinha Cerimonial» : "Offer from the Administrator of the Pungo-Andongo Post, Mr. Rogério Monteiro Pinto on March 25, 1974. It had been purchased by him[…] in Loremo - Camaxilo, District of Lunda. I had difficulty classifying this item: Camaxilo is a Tshokwe area […], but this item did not fit the style. It was suggested to me that it would be Songo. Dr. António Barros Machado solved the problem with the photographs that he presented in his Monthly Report 7/1970; the photographed item even looks the same at first glance […]. Given the […] similarity between the items I own and the one photographed, if they didn't come from the same sculptor's hand, they are certainly from the same artistic centre". It could belong to a sculptor: "The sculptor's art, 'songi' (derived from 'kusonga', to sculpt), enjoys great prestige. His emblem consists of a small ceremonial adze with a handle shaped like an ornamental human head, which he carries on his shoulder." cf. BASTIN, Marie-Louise - "Escultura Tshokwe". Porto: Faculdade de Letras da Universidade do Porto, 1999, p. 24. Vd. similar hatchet in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 37, nº 4. "Finely crafted musical instruments, combs, pipes, axes and stools may include elaborate figurative and/or abstract motifs and belong to whoever can afford to obtain them". - cf. JORDÁN, Manuel - “Os Tshokwe e Povos Aparentados”. In “Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa”. Lisboa: Museu Nacional de Etnologia, 2000, p. 114., Dim. - 43 cm
MANUSCRITO.- OFFICIA pro diuersi Sãctis ad vsvm da Me. D. Anta. da Sylva. 1661.- Século XVII (1661).- 48 f.; 12 cm.- E., Manuscript on parchment. Small book of hours, with a simplified structure, composed of the following services (devotion texts) to be read during the eight canonical hours: Ursula (8 readings), Catherine of Alexandria (8 readings), Saint Anthony (8 readings), Prese[n ]tationis B.M. (7 readings), Lectio S Euangelii secundu[m] Matheu[m] (readings [8] to 12), Saint Joseph (8 readings), Lectio Sancti Evangelii secundu[m] Matheu[m] (readings 9 to 12), Seq[u]e[n]t. sancti Evangelii secundu[m] Matheu[m] (1 reading), In festo translationis S. Patris nostri Benedicti (8 readings), Office of the Rosary (8 readings), On the feast of St. Gabriel Archangel (4 + 4 readings), Office of the Guardian Angel (8 readings), Lectio S Evangelii secundum Matheum (readings 9 to 12), Office of the Holy Martyrs (1 prayer and 9 readings). The manuscript is missing page 37, where readings 5 and 6 of the Office of the Guardian Angel should appear, readings 4 and 7 being truncated (the missing page was replaced by a blank page). As decorative elements, we point out: calligraphic title page inserted in baroque cartouche, made with pen; initial F (fol. 1v) watermarked in gold, on a purple background (20x20 mm); large plant separator drawn in pen (fol. 26v); final inscription with the words Finis Lavs Deo., inserted in a cartouche; epigraphs, initials and separators of the readings in red; remaining text in Roman italic calligraphy. It was not possible for us to obtain information about the owner Mother Antonieta(?) da Silva. Contemporary crimson silk velvet binding, retaining the original silver clasp; marbled paper endpapers from the 19th century., unmarked silver, pursuant to Decreto-Lei No. 120/2017, of September 15 - art. 2, paragraph 2, letter c)
CIAMPINI, Giovanni Giustino.- DE | SACRIS ÆDIFICIIS | A CONSTANTINO MAGNO | CONSTRUCTIS. | SYNOPSIS HISTORICA | JOANNIS CIAMPINI | ROMANI...- Romae: Apud Joannem Jacobum Komarek Bohemum Typographum, & characterum Fusorem apud S. Angelum Custodem. M DC XCII [1692].- [16], 217, [3] p.: 1 portada grav., XXXV gravuras; 32 cm.- E., Giovanni Giustino Ciampino (1633-1698), Italian cleric, art historian and archaeologist, born in Rome, graduated in Law from the University of Macerata; Ciampino embarked on historical and archaeological studies, having published two master works, profusely illustrated: the first on the art of mosaics (Vetera monumenta..., Rome, 1690) and the present one (De sacris ædificis...), a history of the Early churches built in Europe and Asia (Italy, Palestine and Constantinople) under the aegis of Emperor Constantine I the Great. Original edition, illustrated with an allegorical frontispiece and 35 icopperplates prints, printed separately, of which 28 are foldable. The prints represent architectural and artistic aspects of the different temples. Very clean copy, keeping all prints very fresh and well folded. Contemporary binding, full sheepfskin, with traces of wormholes and missing pastedowns. Cicognara, 3672.
A ring, platinum, set with an emerald cut emerald with the approximate weight of 1.14 ct., 38 baguette cut diamonds with the approximate weight of 1.20 ct., 16 in 8/8 cut with the approximate weight of 0.20 ct. and 2 in antique brilliant cut with the approximate weight of 1.80 ct., 20th C. (mid), signs of use, without marks, pursuant to Decreto-Lei No. 120/2017, of September 15 - art. 2, paragraph 2, letter c), Dim. - 10 (16 mm) cm; Peso - 10 g.
A pair of cufflinks, 750/1000 gold, lapis lazuli plaque application, French, 20th C. (mid), signs of use, warranty mark, marked VAN CLEEF & ARPELS, numbered B 9534 and B 9535, without Portuguese marks, pursuant to Decreto-Lei No. 120/2017, of September 15 - art. 2, paragraph 2, letter c). Notes: 1. Although marked, and presumably produced by the brand in question, the item described above is not accompanied by the respective original documentation; 2. In these circumstances, the responsibility for the accuracy of the description assumed by Cabral Moncada Leilões does not cover this attribution which, although probable, it is not possible for us to prove., Dim. - 1,8 x 1,6 cm; Peso - 23 g.
A ring, 950/1000 platinum, set with an antique brilliant cut diamond with the approximate weight of 3.84 ct., colour grade, J~K and VVS purity, French, 20th C. (mid), signs of use, warranty mark, without Portuguese marks pursuant to Decreto-Lei nº 120/2017, of September 15 - art. 2, paragraph 2, letter c), Dim. - 12 (16,5 mm) cm; Peso - 4,9 g.
A pair of earrings, gold and platinum, set with 2 antique brilliant cut diamonds with the approximate weight of 0.20 ct. and 2 larger ones with the approximate weight of 3 ct., colour grade K~L and quality VVS1, 20th C. (mid), signs of use, with case, without marks, pursuant to Decreto-Lei nº 120/2017, of September 15 - art. 2, paragraph 2, letter c), Dim. - 2 cm; Peso - 3,5 g.
A demi-parure - brooch and pair of earrings, gold decorated with black enamel, brooch set with 148 antique cut diamonds with a total approximate weight of 12.20 ct., the 7 largest diamonds weighing approximately 7 ct., pair of earrings set with 50 antique cut diamonds with an approximate weight of 8 .82 ct., with the 14 largest weighing approximately 8.50 ct., 19th C., earring with faults and defects, without marks, pursuant to Decreto-Lei nº 120/2017, of September 15 - art. 2, paragraph 2, letter c), Dim. - (alfinete) 4,5 x 9 cm; (brincos) 8 cm; Peso - 59,3 g.
A tastevin (wine tasting cup), silver, engraved decoration en relief "Leaves" with European family coat of arms, engraved medallion with inscription "WS 1730", European, 18th C. (1st half), signs of use, without marks, pursuant to Decreto-Lei No. 120/2017, of September 15 - art. 2, paragraph 2, letter c), Dim. - 10,5 x 28 cm; Peso - 687 g.
A pitcher with stand, Victorian (1837-1901), 925/1000 silver and gilt silver, decoration en relief "Flowers and leaves" and engraved with the coat of arms of the Scottish Rollo family, English, faults and wear to the gilt, London hallmark (1862), Edward & John Barnard makers' mark (1853-1869), without Portuguese marks, pursuant to Decreto-Lei no. 120/2017, of September 15 - art. 2, paragraph 2, letter c), Dim. - (jarro) 38 cm; (presentoir) 47,5 cm; Peso - 4.532 g.
A pair of bowls with handles and covers, George IV (1820-1830), 925/1000 silver, decoration en relief "Trunks" and engraved with the coat of arms of Joseph Neeld (1789–1856), owner of Grittleton House, Wiltshire (England), English, signs of use, London hallmark (1828-1829), Philip Rundell's (1746-1827) maker mark, base edge with engraved inscription RUNDELL BRIDGE ET RUNDELL AURIFICES REGIS LONDINI, without Portuguese marks, pursuant to Decreto-Lei No. 120/2017, of September 15 - art. 2, paragraph 2, letter c). Notes: Rundell [Philip Rundell - 1746–1827] & Bridge [John Bridge - 1755–1834] were English silversmiths based in London., Dim. - 18 x 22 x 16,5 cm; Peso - 3.164 g.
A «Mwana Pwo» Mask, wood, fibers, cowries, polychrome traces, mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (mid), wear, minor defects, purchased at Sanzala Muanachina, near Luena. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 233, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Mácara Muana Puo»:"Tattoos: - on the cheeks: 2 circles w/ crossed crosshatch -Lumba, nº 30 from the book "Tatuagens da Lunda" by Mesquitela de Lima; 2 tears under each eye «Massoja» [...]; - on the forehead: 2 « Mupila» on each side of the forehead [...]; Cangongo, on the forehead over the nose; - on the chin: «Cangonga» (?). [...] This piece was purchased on 07/12/74, at Sanzala Muanachina, near Luso [Luena], Km 1036 on the right side of the railway, beyond the Benedictine Mission. Its owner was the professional dancer Muanachina Samoroci(?), very well known in the region". Cf. bibliography cited by the collector - LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956, p. 35, fig. 30. Para o mesmo tipo de máscara vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (como "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (como "Masque Pwo"/"Pwo"); o catálogo "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nºs 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 e 153, nºs 11-15 (como "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; o catálogo do leilão realizado a 1 de Fevereiro de 2023 na Lempertz "Art of Africa, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; e https://www.metmuseum.org/art/collection/search/319264? ft=Pwo&offset=0&rpp=40&pos=1, consultado a 14 de Março de 2023 às 15:37., Dim. - 20,5 cm
A «Salampassu» mask, wood, copper and fibers, Democratic Republic of Congo, 20th C., faults and defects, purchased in Sandoa region (Katanga). Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 15, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara - Asalampasu»: "One of the characteristic features of these masks is the protruding forehead that overshadows the poorly differentiated features of the face. [...] Purchased in the Sandoa region (Katanga) by Luís de Carvalho, a merchant in Luau [former Teixeira de Sousa] and former employee of the C. F. B. railway and offered by him in 1966". Cf. Bibliography referred to by the collector: (possibly) FAGG, William Buller - "Sculptures africaines: les univers artistiques des tribus d'Afrique noire". Paris, Fernand Hazan, p. 65, tribe 100. Another «Salampassú» mask is represented in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 153, nº 15., Dim. - (total) 58 cm
A «Salampassu» mask, wood, copper, fibers, pigment traces, Democratic Republic of Congo, 20th C. (mid), minor faults and defects, purchased from a merchant of Luau (former Teixeira de Sousa - border with the Kalanga), who had brought it from Sandoa (Katanga), in 1966. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 16, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara - Asalampasu»: "Purchased [...] to a merchant from Luau [former Teixeira de Sousa] (border with the Kalanga), which he had brought from Sandoa (Katanga) in 1966". Another «Salampassú» mask is represented in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 153, nº 15., Dim. - (total) 51 cm
A «Mwana Pwo» Mask, wood, fibers and metal, mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (1st quarter), minor defects, from the region of Saurimo, province of Lunda-Sul. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 7 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa)- Angola, pp. 13-14. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 4, mentioned in the collector's notebook «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo»: "Tattoos: - on the forehead and chin: «Mupila»; - on the cheeks: «Masoji» (tears), «Tubenga» (which is not straight); - on the nose: «Cangongo». - The nasal septum is perforated to be crossed by a stick (mutondu wa zulu), ethnic mutilation that was widely used by the populations of northeastern Angola, but is now in disuse. - Several cross-shaped signs (variants of «mipila»?) all over the face. On the forehead are two brass head studs. [...] Purchased on May 30th. [19]70 to Sanssango Tchiouga, a Tshokwe dancer who represented(?) in the Lumeje region. This dancer lived in the Soba Jamba sanzala (Luena), north of the C. F. Benguela railway line [...]. The mask, his costume and two rattles were kept in a good wooden box with a lid [...]. Purchasing the mask was very difficult because the dancer said that the mask had come from the region of Saurimo (Henrique de Carvalho) and that in Lumeje there was no sculptor who could make another one as beautiful and good [...]. For this reason, after a long conversation, not only with me, but also with his friends, whom he asked for advice, he decided to sell it [...] but when he handed it over, tears came to his eyes, it was a pity to part with it and to have to go without dancing for a while until he found another". According to Marie Louise-Bastin "The name of the mask is Pwo, "Woman", or Mwana Pwo, "Girl". It used to represent a mature woman who had proved her fertility by having a child. More recently, due to changing African values - possibly under European influence - this mask has represented a girl and the hope of having many children. The male masquerade, embodying the female ancestor, guarantees fertility to the spectators during his performance. He has fake breasts and wears cloth draped around his hips and a heavy crescent-shaped belt that bounces up and down as he moves his back. In the past, these gestures were discreet and elegant in order to teach women graceful manners. When ordering a mask, the dancer offered a brass coin, the symbolic price of a bride. Treated as if it were a person, the mask was often buried by the death of the dancer, whose profession generally passed to the nephew. A professional sculptor ('songi') was then tasked with producing a new mask, a process that formerly took several weeks. He worked in the bush, using as a model a woman whose beauty he admired. To that end, he took every opportunity to meet her and observe her features, including her tattoos, hairstyle, and jewelry. For this reason, female masks are often portraits; although they share the fundamental characteristics of all Tshokwe sculpture, each piece varies in subtle ways. The technical mastery of the sculptor, combined with the inspiration caused by the model, explain the great variety of sculptural expression always found in Tshokwe art. The «mukishi wa Pwo» adorns many objects, such as drums, sanzas and knife sheaths. When a female image works as a counterpoint to a representation of the male «Cihongo» mask, reference is also being made to the «Pwo». If the owner of the «Pwo» mask became ill, it was customary to consult a diviner to find out if it was the spirit of the «Pwo» mask that was causing the illness. If the dancer no longer had a mask, he would order a new one and inaugurate it near the «cota», after his wife had sacrificed a chicken over the head of the mask. He would then dance before the assembled village. Finally, there would be a communion meal between the dancer and his wife. The same ritual would be performed in the case of someone who had neglected a mask still in use. The dancer kept the «Pwo» mask usually in the «mutenji» hut outside the village or hidden in a basket in his own house.) cf. BASTIN, Marie-Louise - "Escultura Tshokwe". Porto: Faculdade de Letras da Universidade do Porto, 1999, pp. 102-103. Para o mesmo tipo de máscara vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (como "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (como "Masque Pwo/Pwo"); o catálogo "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nºs 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 e 153, nºs 11-15 (como "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; o catálogo do leilão realizado a 1 de Fevereiro de 2023 na Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; e https://www.metmuseum.org/art/collection/search/319264?ft=Pwo&offset=0&rpp=40&pos=1, consultado a 14 de Março de 2023 às 15:37., Dim. - 19 cm
A "Bird" mask, wood, fibers, fabric, plastic and glass beads, possibly a representative mask of the species «Bucorvus cafer» - southern ground hornbill, Angolan - Tshokwe, 20th C. (2nd half), wear, defects, wear patina, carved by the sculptor Savula and purchased in Sandando, Moxico province, in 1971. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 175, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Ngúngu»: "It represents a bird [...] (Bucorvus caffer). Ornithomorphic figure mask. [...] According to information from the owner of the mask and its sculptor Savula and the dancer who used it, Tchikua, this mukixe represents the bird Ngungu [...] The mask and costume (identical to Muana Pwó's) were wrapped in burlap, and the package placed inside the hut, in a corner, close to the ceiling. The dancer wore a very thick and heavy «muia» (dancing belt) (a section of about 1 meter in perimeter) (part of the muia’s filling was made of stones), with a fur tail and several bells. It was the first ornithomorphic mask(?) from Angola that I saw [...]. Purchased on 18.3.71, in Sandando, [...] from its owner and sculptor Savula. The mask was used by the professional dancer Teluikua(?)." See bibliography referred to by the collector - FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 18., Dim. - 30 cm
A Soba chair, wood, carved backrest "Face over vertical grooves", other carved decorations "Geometric motifs", leather seat, Angolan - Tshokwe, 20th C. (mid), many defects and faults in the leather, other faults and defects, Purchased in the Soba Jamba sanzala, on May 30, 1970, in the northern population concentration of Lumeje. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item no. 6, referred to in the collector's notebook «Angola - Arte Negra, Relação e descrição das peças», identified there by «Chair (Txituamo)»: "Back splat decorated with a face on vertical grooves. Decoration on the back geometric shape based on a square. The legs, stretchers and back splats support decorated with engraved circles and grooves perpendicular to the axes of the pieces [...] Purchased [...] from a kioco in Soba Jamba's sanzala, on May 30, 1970 in the northern concentration of Lumeje". Other soba chairs are represented in REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 61; em DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 150; em JORDÁN, Manuel. “Chokwe!- Art and Initiation Among Chokwe and Related Peoples”. Munich/London/New York: Prestel-Verlag, 1998, s/p, nºs 18-19 (como "Chief's throne"); in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 271-280, figs. 186-195 (as "Chaise"); and in KIANGALA, Manuel (direc.) - "A Evolução dos Tronos Lunda - Cokwe". Igombota: Museu Nacional de Antropologia/R. P. Angola, 1989, pp. 27-31 e 44-47., Dim. - 40 x 20 x 30 cm
Michaela Pastia (XX): Blumen in einer Vase. 1972.57 cm x 46 cm. Gemälde. Öl auf Tafel. Links unten signiert und datiert. Moderne / Zeitgenössische Kunst. Nach Angaben des Einlieferers Rumänien. Versand kann organisiert werden.Michaela Pastia (XX): Flowers in a vase. 1972. painting. Oil on panel. Signed and dated lower left. Modern / Contemporary Art. According to the consignor Romania. Shipping can be organised.
Peking China Teppich. Antik.300 cm x 240 cm. Handgeknüpft. Wolle auf Baumwolle. Circa 90 bis 110 Jahre alt. Jugendstil / Art Deco. Zustand siehe Fotos. Versand kann organisiert werden.Peking China carpet. Antique. Hand knotted. Wool on cotton. Approximately 90 to 110 years old. Condition see photos. Shipping can be organised.
Art Deco / Jugendstil Teppich. China Antik.354 cm x 277 cm. Handgeknüpft. Wolle auf Baumwolle. Ideale Gartenlandschaft. Circa 100 - 140 Jahre alt. Zustand siehe Fotos. Versand kann organisiert werden.Art Deco / Art Nouveau carpet. China Antique. Hand knotted. Wool on cotton. Garden landscape. Approximately 100 - 140 years old. Condition see photos. Shipping can be organised.
Nach Günther UECKER (1930 -). Nagelbaum.44 cm hoch x circa 20 cm Durchmesser. Handgefertigt. Nägel, weiße Farbe, Holzstamm. Mehrmals monogrammiert etc.. Siehe Fotos. Hommage an die Nagelkunstwerke im Stil von Günther UECKER. Versand kann organisiert werden.After Günther UECKER (1930 -). Nail Art. 44 cm high x circa 20 cm diameter. Handmade. Nails, white paint, wooden trunk. Monogrammed several times etc.. See photos. Homage to the nail art works in the style of Günther UECKER. Shipping can be organized.
NEOLITHIC FLINT PICK / ADZE EX HUGH FAWCETTFinely struck with excellent patina. The reverse bearing HF (Hugh Fawcett) collectors mark and the find spot. Lark Hall, Cavenham, Suffolk.13cm Lhttps://www.bristolmuseums.org.uk/bristol-museum-and-art-gallery/whats-on/late-lunch-talk-dr-fawcett-one-man-and-his-collection/
LYDIA KEMENY (1925-2012) 'THE RED CHAIR' An oil on board painting of a red chair with a table, sunflowers, oranges and bananas. Signed by the artist to the bottom left. Inscribed verso 'Hilton Gallery' 'Kemeny'. Mounted in a frame. 120cm x 75cm Lydia Kemeny, painter, illustrator, and designer, studied fashion at St Martin's School of Art and the Royal College of Art. As Head of Fashion at Central St Martin's from 1976, she taught and mentored John Galliano and Alexander McQueen. She exhibited at the Royal Academy, the London Group, and the New English Art Club. Lydia was the daughter of artist Kalman Kemeny (1896-1994).Works by Kemeny are held in the UK Government Art Collection, and are exceptionally scarce at auction.
CIRCLE OF SIR JOSHUA REYNOLDS (1723-1792) An oil on canvas portrait thought to depict a young Charles James Fox (1749-1806), son of Henry Fox 1st Baron of Holland (1705-1774) and future prominent Whig statesman, Foreign Secretary.59cm x 44.5cmFox was a gambling addict, womaniser, debtor, and dandy who was forgiven his failings by many because of his defence of civil liberty and his overwhelming charisma. This painting is perhaps a rare depiction of Fox as a young man, on the cusp of adolescence but still very much with an air of child-like innocence.Reynolds was known to have painted Charles Fox's portrait as an adult in 1783, as well as painting his father Henry Fox and Lady Caroline Fox in 1757.The work was reframed on the 23rd October 1987 at Colin Denny Ltd Fine Art Dealers in Chelsea, London. There is another receipt possibly related to this painting from July 28th 1987 at Colin Denny Ltd Fine Art Dealers, which states 'reline with wax impregnation, clean and restore'.Inscription on the back of the stretcher reads: 'Charles James Fox 1747-1806 first son of Henry Fox first Lord Holland by Lady Caroline daughter of 2nd Duke of Richmond. Foreign Secretary 1780 and 1806. This information may have been taken from a label on the original frame before the 1987 re framing.See the link below for a comparatively young looking Charles James Fox after Reynolds: A mezzotint of a triple portrait with Charles James Fox standing beside Lady Susan Strangways at a corner of Holland House, both three-quarter length, Lady Susan holding dove in her hands; with Lady Sarah Lennox leaning out of window above, towards her.This print was made by James Watson after a painting by Sir Joshua Reynolds. https://www.britishmuseum.org/collection/object/P_1832-1211-77
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