Malpighi,M.: Opera Omnia, seu thesaurus locupletissimus botanico-medico-anatomicus, viginti quatuor tractatus complectens ... Editio novissima. 3 Tle. in 1 Bd. Leiden, van der Aa 1687-90. 4°. 7 Bl., 170 S., 11 Bl., 379 S., 18 Bl., 16 S. Mit gest. Titel u. 115 (von 118, davon 10 dplblgr.) Kupfertafeln. Läd. Hldr. (Hdeckel lose). Nissen 2656. Pritzel 5763. Bibl. Wall. 6202. Hirsch-H. IV, 111. - Frühe Amsterdamer Gesamtausgabe der Werke mit dem häufig fehlenden 3. Tl. »Structura Glandularum... Epistola«. - » M. muß als Schöpfer der mikroskopischen Anatomie angesehen werden, indem er sich zuerst stark convexer Glaslinsen, sog. einfacher Mikroskope (Vergrößerung bis 180) zur Erforschung der feinen Structur der Organe bediente. Es ist da kein Gebiet, das er nicht durch wichtige Entdeckungen bereichert hätte« (Hirsch). - Gebrauchsspuren, mehrere Bibl.-St. Buchblock angebrochen. - (1668)
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Unbekannter Künstler: (19. Jh.). Blick einer Aussichtsplattform mit Geländer u. Stühlen auf eine Flussschleife mit Segelschiffen. - Blick auf ein umzäuntes Beet, 2 Häuser u. eine Flussschleife. Anonyme Aquarelle auf Papier, wohl um nach 1820. Ca. 8 x 11,5 cm. Mit schwarzer Tuscheinfassung unter Glas gerahmt u. in ein Briefmäppchen aus weißem Ldr. mit Bleistifthaltern geklebt (tls. stärkere Gebrauchssp.). Mit aufgesetzten schmalen Metallrahmen u. recto Metallschild mit Initialen "C.R." u. verso Metallschild mit Datum "1819". Da ein Rähmchen locker ist, konnten verso auf einem Bl. die hs. Bez. "Seeburg" u. "Worms" entziffert werden. - Hübsche, fein ausgeführte Ansichten. D
Piranesi, Giovanni Battista: (1720 Venedig - Rom 1778). Nella Tav. precedente si sono dimostrati gli avanzi del Mausoleo, e del Ponte d'Elio Adriano sino da loro Fondamenti... Kupferstich. Aus: Antichità Romane, Rom 1784. Plgr. 45 x 138 cm. Mit Namenszug re. unten i.d.Pl. - Kräftiger Druck. Auf dem weißen Rand leicht fl. u. Rand gebräunt. Minimal fl. i.d. Darstellung.
Sammlung: von 18 Schriften zu Graubünden in 23 Bdn. Versch. Formate u. Einbde. ╔Enthält u.a.:╗ Salutz,U.v. Zardin da l'orma fidela. Chur, Pfeffer 1711. Fehlen 12 Texts. - Appelo a Philippo dormiente ad Philippum vigilantem. Scuol, Dorta 1672. Seltener Druck. - Zschokke,H. Geschichte des Freystaats der drey Bünde im hohen Rhätien. 2. verb. Aufl. Zürich 1817. - Lehmann,H.L. Die Republik Graubünden,... 2 Bde. Magdeburg 1797-99. - Weitere. Versch. starke Gebrauchsspuren, nicht eingehend kollat.
Piranesi, Giovanni Battista: (1720 Venedig - Rom 1778). Profilo del Tempio dell Fortuna Virile... - Dalla lett. A sino alla B. - Pianta del Tempio della Fortuna Virile fabbricato da Servio Tullio Re de' Romani... - Pianta degli avanzi del Portoco fabbricato da M. Emilio Lepido, e P. Emilio Paolo fuori... 3 Kupferstiche. Aus: Antichità Romane, Rom 1784. Plgr. 39 x 24,5 cm - 40 x 25 cm. Mit Namenszug re. unten i.d.Pl. - Kräftige Drucke. Auf dem weißen Rand etw. fl., tls. i.d. Darstellung u. Rand gebräunt.
Two Tristan Da Cunha gold plated sterling silver £5 crowns, 2008 & 2009, a 585 ct gold proof miniature commemorative football medallion, 0.5g, 11mm diameter, a Britannia one ounce fine silver £2, two sterling silver proof commemorative crowns, three sterling silver proof Millionaires Collection coins comprising an Edward III gold plated double leopard, a Henry VIII testoon, and a gold plated Queen Anne 'Vigo' Crown, four enamelled coins and a sterling silver Royal Mail 15cm ruler, Birmingham 2000
FOLLOWER OF SIMON VOUETSAINT CECILIAOil on canvas127 x 100cm (50 x 39¼ in.)Provenance:Private collection, Blaisdon Hall, GloucestershireAn near-contemporary version of a picture by Vouet in the Blanton Museum of Art in Texas.Cecilia, a Christian martyr who lived in third-century, sits in front of a small organ. As the patron saint of music and musicians, she has been represented with a musical instrument since the fourteenth century. It is possible that Simon Vouet used his wife, the painter Virginia da Vezzo, as the model for the saint figure.
Duke Ellington Music is My Mistress by Edward Kennedy Ellington 1973 First Paperback Edition Softback Book with 522 pages published by Da Capo Press some ageing good conditionSold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
IWC "Da Vinci", Chronograph, um 1990750 Gelbgold-Gehäuse, Nr. 2479239, 30 mm. Weisses, signiertes Zifferblatt mit kleiner Sekunde, zwei Totalisatoren und Mondphase. Datumsfenster. Vergoldete Zeiger und Indizes, Chronographenzeiger aus gebläutem Stahl. Quarzwerk mit Chronograph. Funktionstüchtig. Blaues Lederband mit Dornschliesse. Mit Box und Bedienungsanleitung.- Minimale Gebrauchsspuren.
A selection of hardback books, primarily relating to art and craftsmanship, titles including: The Drawings of Leonardo Da Vinci, by A. E. Popham; Guide to Art Illustration, by J. S. Hodgson; Anatomy for the Artist, by Jeno Barcasy; The Contemporary and Lithographic Workshop Around the World, by Knigin and Zimiles; and others, one box.
A 19th century Chinese bronze censer or incense burner of compressed globular form with cast taotie mask handles, the exterior decorated with incised leiwen/keyfret banding and stylised phoenix and repeating scrolls around the circular foot, the base cast with six-character 'Da Ming Xuande Nian Zhi' mark within recessed rectangular cartouche, 12 cm wide (includes handles) x 6 cm high 418 gramsA fingerprint sized shallow dent to the body and a smaller dent, small indentation to the rim, some other light surface wear, scratches and imperfections
A 19th century Chinese censer or incense burner, late Qing dynasty, the tapered compressed rectangular body with two scrolling handles, standing on four hoofed feet, the centre of the base cast with six-character 'Da Ming Xuande Nian Zhi' reign mark within a recessed rectangular cartouche, 12.5 cm x 8.5 cm d x 7 cm h, 364 grams c/w a carved and pierced hardwood display standGood condition, light external surface wear only, blackened interior possibly through use, hardwood stand missing one foot
A large 19th century Chinese famille rose punch bowl, late Qing dynasty, the inside painted with large two-tone green veiny cabbage leaves and eight polychrome enamel butterflies around the central shou-symbol (longevity) roundel, the exterior decorated with a conforming design, six-character 'Da Qing Xianfeng Nian Zhi' reign mark in iron red to the centre of the base, 35 cm diameter x 16 cm highSome enamel losses around the rim, other enamel wear/degradation and colour irregularities and discoloration, 1.5 cm footrim chip
A Japanese polychrome wucai style bowl, Meiji/Taisho period, late 19th or early 20th century, painted in polychrome enamels and underglaze blue with sinuous dragons and stylised cloud formations, the interior with a front-facing dragon roundel and the base with a six-character Chinese Ming reign mark 'Da Ming Wanli Nian Zhi' 21.5. cm diameter, 10 cm highAreas of wear to enamel, firing imperfections and a small glaze misses around the rim, not chipped cracked or restored
A Chinese copper red langyao monochrome bottle vase in the 18th century manner, the exterior evenly covered with a rich strawberry red glaze with gilded rim, turqousie interior and base centred by the six-character 'Da Qing Qianlong Nian Zhi' seal script reign mark, 26 cm high post Qing dynastyGood condition without damage or restoration
A Chinese late Ming blue and white ‘bird and lotus’ kendi, painted with wading birds amid lotus and water ripples in a pond, the neck with leaf lappets, mark to base ‘Da Ming Nian Zao’ (Made in the Ming dynasty),Provenance- collected by the vendor’s grandfather while working and travelling in South East Asia in the 1930s - 1960s. 16.5 cm high, areas of restoration***CONDITION REPORT***Old professional restoration around circumference of cylindrical neck, which has discoloured over the years; similar restoration to an area of the spout; minor chip to tip of spout; numerous light surface scratches throughout.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese late Ming blue and white ewer, made for the Islamic market, Jiajing to Wanli period, painted with floral medallions and bands of foliage, the long scrolled spout with later mount and strut, later silver handle, mark to base ‘Da Ming Nian Zao’ (Made in the Great Ming dynasty),Provenance- collected by the vendor’s grandfather while working and travelling in South East Asia in the 1930s - 1960s. 21cm high, damage and later Islamic silver mounts***CONDITION REPORT***As catalogued, metal mounts later replacing the handle and strut, the handle joints crudely applied; a dark crack at shoulder, approx. 3cm, as shown; hairline crack around lower joint of spout; light surface scratches throughout and brown dis-colouration.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese Ming blue and white ‘lion’ dish, four character Ming mark, painted with four lions amid flowing ribbons around a central floral medallion, the cavetto with leafy scrolls and the broad rim with waves and circles, the underside decorated with foliate medallions, four character mark ‘Da Ming Nian Zao’ (Made during the Great Ming dynasty),Provenance- collected by the vendor’s grandfather while working and travelling in South East Asia in the 1930s - 1960s. 31cm diameter, chip and cracks***CONDITION REPORT***Typical glaze imperfections, scratches to the glaze and some firing cracks to the interior. There is a splinter chip to the underside of the rim with associated short hairline crack, and some star cracks to the base of the dish.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Early 16th century French School 'The Apostles drinking from the Fountain of Life’illuminated leaf watercolour and gold leaf on vellum, c.150021 x 11cm. Deus, in adjutorium meum intende.Domine, ad adjuvandum me festina.Gloria Patri et Filio [et Spiritui Sancto],sicut erat in principio et nunc et semperMemento, salutis Auctor,quod nostri quondam corporis,ex illibata Virginenascendo, formam sumpseris.Maria, mater gratiae,mater misericordiae,tu nos ab hoste protege,et hora mortis suscipe.Gloria tibi, Domine,qui natus es de Virgine,[cum Patre et Sancto Spirituin sempiterna saecula. Amen.]Antiphon: Missus estPsalmus**End of the prayer O sponsa Dei electa[O sponsa Dei electa,esto nobis via rectaad aeter]na gaudiaubi pax et gloria.Et nos semper aure piaDulcis exaudi Maria.O chosen spouse of God:be to us a straight path to eternal joy,where peace and glory are found.And you will always have a pious ear for us.So listen to us, sweet Mary.Verse: dignare me laudare Allow me to praisete virgo sacrata thee O sacred virginResponsio: Da mihi virtutemgive me strengthcontra hostes tuos against thy enemiesOratio: Gratiam tuam quesumusPour forth we beseech theeDomine mentibus nostris infunde;O Lord, thy grace into our hearts,ut qui, angelo nunciante, Cristi filii that we, who learnt of the incarnationtui incarnationem cognovimus,of Christ, thy son, by the message of an angel,per passionem eius et crucem, admay by his passion and cross be broughtresurrectionis gloriam perducamur.To the glory of his resurrectionPer eundem dominum nostrum IesumBy the same Jesus Christ our Lord,Cristum filium tuum, qui tecum vivit thy son, who lives and reignset regnat in unitate spiritus sancti deus, with thee in in the unity of the holy spirit, God,per omnia secula seculorum Amen. for ever and ever AmenBenedicamus domino Deo gratias.Let us praise the Lord. Thanks be to God.Ad primam At primeO Lord, make speed to save me:O Lord, make haste to help me.Glory be to the Father, and to the Son, [and to the Holy Ghost:]As it was in the beginning, is now and ever shall beRemember, O Creator Lord,that in the Virgin's sacred wombThou wast conceived, and of her fleshdidst our mortality assume.Mother of grace, O Mary blest,to thee, sweet fount of love, we fly;shield us through life, and take us henceto thy dear bosom when we die.O Jesu! born of Mary bright!Immortal glory be to Thee;praise to the Father infinite,and Holy Ghost eternally. Amen.Antiphon: It is finishedPsalm***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
LEÃO, Duarte Nunes de.- PRIMEIRA PARTE | DAS CHRONICAS DOS | REIS DE PORTVGAL, REFOR- | MADAS PELO LICENCIADO | DVARTE NVNEZ DO LIÃO, DESEM- | bargador da casa da Supplicação, per | mandado del Rei Dom Philip- | pe o primeiro de Portu- | gal, da gloriosa | memoria. | [gravura com as armas de Portugal].- Em Lisboa: Impresso por Pedro Crasbeeck, 1600.- [2], 239, [8] f.; 27 cm.- E., Edition published in the last year of the 16th century, comprising the chronicles of Count D. Henrique, D. Afonso Henriques, D. Sancho I, D. Afonso II, D. Sancho II, D. Afonso III, D. Dinis I, D. Afonso IV, D. Pedro I and D. Fernando I. The chronicle of King D. João I was only printed in 1643. Duarte Nunes (1530-1608), erudite historian, graduated in Law and judge of the Casa da Suplicação, after the death of Cardinal King D. Henrique, he warmly embraced the cause of Filipe I, whose right to succession he defended in writing against those who challenged him. Copy with library stamp (unidentified) poorly erased on the title page (with small loss of support), on page 1 (f. A1) and, probably, on page 239 (f. Ll4) with restoration. Small marginal wormhole (restored) on leaves 3, 4 and 5. Old handwritten ownership mark on the lower margin of the title page (Me. Fr. Mel. Pinto). White leaves added before leaves 82 and 135, 174. Otherwise, a copy slightly cropped and with slight browning, but generally clean. Recent binding, full rigid parchment, with laces and gold tooling on the spine and covers, which present, in the centre, the coat of arms of the Kingdom of Portugal, gold engraved. Anselmo, 523. Samodães, 2247. BN (16th century), 406. Library of King D. Manuel II of Portugal, 242.
ANDRADE, Jacinto Freire de .-VIDA | DE | DOM JOÃO | DE | CASTRO | QVARTO VISO-REY | DA INDIA. | ESCRITA POR IACINTO FREYRE | DE ANDRADA.- Lisboa: na Officina Craesbeeckiana, 1651.- [8], 443, [49] p.: 1 frontispício, 1 retrato, 1 grav.; 26 cm.- E., Original edition of the most important work of the author (1597-1657), priest, historian and poet, born in Beja, considered a model of good Portuguese language, having known at least one more edition in the 17th century (1671), seven in the 17th, and six in the 19th century. Illustrated edition with an engraved frontispiece, a portrait of D. João de Castro (at the beginning of the text) and a woodcut engraving inserted on p. 59, representing a cross of St. Thomas. Copy slightly cropped, with occasional minor blemishes. Frontispiece a little dusty, with manuscript ownership mark in the upper margin, dated 1811. Solid 20th century binding (wooden folders?), full skin (pork?), with blind tooling on the covers (multiple compartments) and spine, with new endpapers. Inocêncio, III, p. 239. Samodães, 1305. Arouca, A 352.
"Boulevard Hausseman (aspect)", tempera on cardboard, faults and hole in the support, unsigned, numbered 2 on a label attached to the front, back with exhibition catalogue Impression Ó-Futurista - realizada no Salão da ROYAL-PHOTO, Rua do Carmo - 55, 1º, de 15 a 20 de Fevereiro de 1925, and business card, by Pedro Victor Nobre da Costa Sequeira, Dim. - 30,5 x 38 cm
IESVS. | ALLEGAÇOES | DE DIREITO, QVE SE |offereceram ao muito alto, & | muito poderoso Rei Dom | HENRIQVE nosso | Señor na causa da soccessaõ | destes Reinos por parte da| Senhora Dona Catherina | sua sobrinha filha do Iffan | te dom Duarte seu irmão | a 22. de Outubro de | M.D.L.XXIX.- Almeirim: Impressas per Antonio Ribeiro & Francisco Correa, 1580.- [6], 128 f.: 2 gravuras; 30 cm.- E., An important specimen in the 16th century Portuguese bibliography, namely because it was printed in Almeirim and also because most of the known copies are either imperfect or incomplete, unlike the present one, a little cropped but in very good condition. The first sheet is especially rare, with the woodcut representation of D. Catarina's coat of arms (flattery), which is missing in most of the copies. The second engraving, on the fifth preliminary sheet (f. A5), with the family tree up to King D. Manuel I and D. Maria I, is also unusual. D. Catarina (1540-1614), Infanta of Portugal, was the second daughter of Infante D. Duarte, Duke of Guimarães, son of King D. Manuel I; she was a strong candidate for the throne of Portugal in the crisis of 1580, as she was heiress by manhood, while Philip II of Spain was the son of the Infanta D. Isabel (married to Charles V). Small cut on title page, affecting five letters on the front and 18 on the back, carefully redone. Minor tear on the outer edge of sheet 87, without lack of support. Otherwise, a complete copy, very clean and with large margins. Contemporary binding, entire flexible parchment, with minor imperfections. Samodães, 1855. Anselmo, 987. National Library (16th century), 6. King D. Manuel II of Portugal Library, 3.
CAMÕES, Luís de.- OBRAS | DE | LVIS DE CAMOÊS | PRINCEPE DOS POETAS | PORTUGUESES. | COM OS ARGUMENTOS DO | Lecenceado João Franco Barreto; & por elle emê- | dadas em esta nova impressaõ, que comprehende | todas as Obras, que deste insigne Autor se achà- | raõ impressas, & manuscritas, com o Index | dos nomes proprios.- Lisboa: por Antonio Craesbeek d' Mello, 1669.- [8], 376, 78 p.; 18 cm.- E. Junto com:- ----.- RIMAS | DE | LVIS DE CAMÕES | PRINCEPE DOS POETAS | PORTVGVESES. | PRIMEIRA, SEGVNDA, E | TERCEIRA PARTE, | NESTA NOVA IMPRESSAM | emmendadas, & accrescentadas, | PELLO LECENCEADO | IOAM FRANCO BARRETO.- Lisboa: na Officina de Antonio Craesbeeck de Mello, 1666.- [4], 368 p.; 18 cm.- E. Junto com: -----.- RIMAS | DE | LVIS DE CAMÕES | PRINCIPE DOS POETAS | PORTVGVEZES. | Segunda Parte. | Emendadas, & acrescentadas | pello Lecenceado Ioão Franco | Barreto.- Lisboa: Por Antonio Craesbeeck de Mello, 1669.- [4], 207, [1 br.] p.: 18 cm. Junto com: -----.- TERCEIRA | PARTE | DAS RIMAS | DO PRINCIPE DOS POETAS | PORTVGVESES v LVIS DE CAMOENS, | TIRADAS DE VARIOS MANVSCRITOS | muitos da letra do mesmo Autor, | POR D. ANTONIO ALVAREZ | da Cunha...- Por Antonio Craesbeeck de Mello, 1668.- [8], 108, [22] p.; 18 cm.- E., Volume consisting of four parts, corresponding respectively to “Os Lusíadas” and to the three parts of “Rimas”. These works often go together and present difficulties in collation or some faults, but the set is complete, exactly matching the descriptions in the catalogue of the José do Canto collection (nºs 36, 33, 35 and 34). Copy slightly cropped, but clean and without noticeable defects. Entire leather contemporary bindings, slightly worn, retaining the original marbled paper endpapers. Arouca, C 63, 71, 82 and 83. King D. Manuel II of Portugal Library, 713.
ENGRAVING. GOA.- A Ilha e Cidade de Goa Metropolitana da India e Partes Orientais qve esta en 15 graos da Banda do Norte.- [Amsterdam: Cornelis Claez, 1595-1596]. - 1 intaglio engraving;, Hand-coloured copperplate engraving and etching of the work “Itinerario”, by Jan Huygen van Linschoten (1563-1611), published in Amsterdam, 1595-96, by the Dutch engraver Johannes von Doetecum ( 1530-1605). It includes three coats of arms (of Portugal, Goa and the Archbishop of Goa) and four cartouches, one with the title, another with a dedication to Prince Albert of Austria, another with a descriptive caption and the last one with the edition information.slight creases when folding,Framed. Dim. - (gravura) 59,5 x 81,5 cm; (moldura) 71,5 x 92,8 cm
MENESES, D. Luís de (3º Conde da Ericeira).- HISTORIA | DE | PORTUGAL | RESTAURADO. | OFFERECIDA | AO SERENISSIMO PRINCIPE | DOM PEDRO | NOSSO SENHOR. | ESCRITTA | POR | DOM LUIS DE MENEZES | CONDE DA ERICEYRA...- Lisboa: Na Officina de Antonio Pedrozo Galraõ; Na Officina de Miguel Deslandes, 1710-1698.- 2 vols.: frontispício grav., 1 retrato; 33 cm.- E., D. Luís de Meneses (1632-1690), 3rd Count of Ericeira, military and political, born in Lisbon, was one of the most notable historians of the Restoration of Independence; he would commit suicide on May 26, 1690. First edition, the most appreciated and with the largest format, of this important title in Portuguese historiography, which reports the political-military events that took place in Portugal between 1640 and 1668. The collation of the two volumes is as follows: volume I - [12], 908, [31, 1 br.] p.: 1 engraved frontispiece, 1 portrait; volume II - [20], 975, [1 br.] p. The first volume is from the second edition, dated 1710 (the first is from 1679) and retains not only the engraved frontispiece, but also the beautiful portrait of the author (signed Fred. Bouttats) that is missing from most copies. The second volume dates from 1698 and was printed by Miguel Deslandes and does not include any engravings. Copy slightly cropped, with signs of handling and occasional light browning; engraved frontispiece slightly wrinkled. Ex-libris by João José d’Abreu M. M. de Lemos, in both volumes (on the front cover of volume II). Contemporary bindings, worn. Inocêncio, V, p. 307. Samodães, 2085. Arouca, M 302.
![SANTÍSSIMO SACRAMENTO, Confraria do [de Lisboa].- ESTAS SAM AS GRAÇAS E INDVLGENCIAS CONCEDIDAS A CONFRARIA DO SANCTISSIMO SA](https://cdn.globalauctionplatform.com/192d8e06-40e6-40ad-aeac-af5c00e0a0af/c68ecd31-cec5-48bf-9dc5-af5c00fa6922/468x382.jpg)
SANTÍSSIMO SACRAMENTO, Confraria do [de Lisboa].- ESTAS SAM AS GRAÇAS E INDVLGENCIAS CONCEDIDAS A CONFRARIA DO SANCTISSIMO SACRAMENTO DA IGREIA DE SAM GIAM DA CIDA | de Lisboa, communicadas a confraria do Sanctissimo Sacramento da Igreja de Sancta Maria do arra- | balde da Villa de Sintra, conforme Bulla do Sancto Padre Paulo iij. de boa memoria, & breue de | indulto Apostolico, concedido a ditta confraria pollo Sanco Padre Pio iiij. seu suc- | cessor, a petição delRey Dom Sebastião, que sancta gloria aja. | [grande gravura xilográfica] | [...] | Dada em Lisboa sob meu sinal & sinete aos dezaseis dias do mes de Feue | ueiro [sic] ... Anno | do Nascimento de nosso SenhorIesu Christo, de M. D. LXXX...- S,l, [Lisboa]: s.n., s.d. [1580].- [12] p.; 28 cm.- B., Set of Papal Graces and Indulgences transmitted by Fiar Clemente do Couto, apostolic judge and minister of the Monastery of the Order of the Holy Trinity of the Redemption of Captives of the city of Lisbon and deputy for the conservation and protection of the Confraternity of the Blessed Sacrament of the Church of São Gião, in the same city. In addition to the engraving of the title page (135x110 mm), which represents a halo flanked by two angels in prayer, it includes another on A4r sheet (130x154 mm) depicting the Virgin and Child, in Heaven, with many little angels (four musicians) and cherubs, worshiped by shepherds. In the final two lines, on the back of the last page: ¶ E por quanto vos (espaço em branco, preenchido com os nomes de dois confrades: Manuel da [ilegível] e Tereza Maria] Ficays assentado no Liuro desta Confraria, ganhais todas as graças, & indulgencias nella contheudas. A handled and fragile copy, with imperfect margins and occasional stains, but complete with text and recoverable. Booklet not mentioned in the consulted bibliographies, namely Anselmo, Barbosa Machado or Inocêncio, nor in the usual catalogues and reference works, including the one from the National Library.
SOUSA, Pe.- Francisco de, S.J.- Oriente conquistado a Jesu Christo pelos Padres da Companhia de Jesus da Provincia de Goa.- Lisboa: Na Officina de Valentim da Costa Deslandes, 1710.- 2 vols.: 4 gravuras; 29 cm.- E., The author was born on the island of Itaparica (Baía, Brazil) in 1649, leaving for Goa in 1665, where he died in 1712. The first volume (part one): «...contèm os primeyros vinte, & dous annos desta Prouincia». The Second (Part Two) “...contem o que se obrou desdo anno de 1564 atè o anno de 1585”. The third part was never published. The collation of each of the volumes is as follows: I - [36], 895, [1 br.] p.: 2 engravings; II - [28], 620 p.: 2 engravings. The two volumes retain the four (different) engravings, two allegorical at the beginning of each part and two representing the author offering his work. Cropped volumes, with tangential damage to the engravings in the first volume; the two engravings in the second part have folded edges (to avoid cropping). Small old ownership mark in the lower margin of both title pages: Ferrão(?). Recent bindings, full parchment, with ties and titles handwritten on the spines. Inocêncio, III, p. 68 (These two volumes must be accompanied by four engraved prints). Borba de Moraes, p. 820 (very rare). Sommervogel, VII, p. 1405. Reiss & Auvermann, 819. BNP, Cota R 6238/9 A. (with the same collation).
Circumcision of the Child Jesus, oil on wood, copy of a panel from the altarpiece of the Main Chapel of the Cathedral of Lamego by Vasco Fernandes (Grão Vasco) - c. 1475-1542, Portuguese school, 16th. (mid), restoration. Notes: this work copies one of the panels from the Polyptych of the Main Chapel of the Cathedral of Lamego, by Vasco Fernandes (Grão Vasco) - c. 1475-1542, datable to c. 1506 to 1511, which is currently part of the Collection of the Museum of Lamego. Cabral Moncada Leilões aknowledges and thanks Professor Vítor Serrão for his availability in identifying and framing this painting. “O tema Grão Vasco ultrapassa largamente, em complexidade e interesse, o quadro bibliográfico e a produção artística do pintor Vasco Fernandes, um dos maiores protagonistas da pintura portuguesa do Renascimento. A história lendária da sua vida que se adensa no mistério de elementos essenciais não documentados - a sua naturalidade, filiação e formação artística - e se reifica na exaltação do «grande Vasco» ao longo de séculos, traduz um fenómeno singular, em Portugal, de heroificação de um artista. E este processo de prodigiosa fama e glória reflecte também uma recepção e apropriação, a vários títulos excepcional, da sua obra, não apenas por artistas que o seguiram e o copiaram, mas também pela sua clientela e pelos seus destinatários, ainda em vida e muito além da sua morte (RODRIGUES, Dalila, 2001: 29-94)”. - vd. RODRIGUES, Dalila - "Grão Vasco: Fama, Fortuna, Memória" in (coord.) AGOSTINHO, Ribeiro - “Além de Grão Vasco, Do Douro ao Mondego: A Pintura entre o Renascimento e a Contrarreforma”. Viseu: Museu Nacional Grão Vasco; Lisboa: Museu Nacional de Arte Antiga, 2016, p. 31. Several names of contemporary painters of Grão Vasco, residing in Viseu, and with unknown artistic activity, appear in the contemporary documentation, and may, therefore, correspond to the author of this painting: Pero Afonso, Fernando de Trosilhos, Henrique Fernandes, Manuel Fernandes, Manuel Vaz, João Dinis, Jerónimo Tavares, Álvaro de Brunhosa, Diogo Vaz Gamboa, Diogo Vaz - vd. SANTOS, Luís Reis - "Vasco Fernandes e os Pintores de Viseu do Século XVI". Lisboa: L. R. Santos, 1946, pp. 31-34., Dim. - 117 x 63 cm this work copies one of the panels from the Polyptych of the Main Chapel of the Cathedral of Lamego, by Vasco Fernandes (Grão Vasco) - c. 1475-1542, datable to c. 1506 to 1511, which is currently part of the Collection of the Museum of Lamego. Cabral Moncada Leilões aknowledges and thanks Professor Vítor Serrão for his availability in identifying and framing this painting. “O tema Grão Vasco ultrapassa largamente, em complexidade e interesse, o quadro bibliográfico e a produção artística do pintor Vasco Fernandes, um dos maiores protagonistas da pintura portuguesa do Renascimento. A história lendária da sua vida que se adensa no mistério de elementos essenciais não documentados - a sua naturalidade, filiação e formação artística - e se reifica na exaltação do «grande Vasco» ao longo de séculos, traduz um fenómeno singular, em Portugal, de heroificação de um artista. E este processo de prodigiosa fama e glória reflecte também uma recepção e apropriação, a vários títulos excepcional, da sua obra, não apenas por artistas que o seguiram e o copiaram, mas também pela sua clientela e pelos seus destinatários, ainda em vida e muito além da sua morte (RODRIGUES, Dalila, 2001: 29-94)”. - vd. RODRIGUES, Dalila - "Grão Vasco: Fama, Fortuna, Memória" in (coord.) AGOSTINHO, Ribeiro - “Além de Grão Vasco, Do Douro ao Mondego: A Pintura entre o Renascimento e a Contrarreforma”. Viseu: Museu Nacional Grão Vasco; Lisboa: Museu Nacional de Arte Antiga, 2016, p. 31. Several names of contemporary painters of Grão Vasco, residing in Viseu, and with unknown artistic activity, appear in the contemporary documentation, and may, therefore, correspond to the author of this painting: Pero Afonso, Fernando de Trosilhos, Henrique Fernandes, Manuel Fernandes, Manuel Vaz, João Dinis, Jerónimo Tavares, Álvaro de Brunhosa, Diogo Vaz Gamboa, Diogo Vaz - vd. SANTOS, Luís Reis - "Vasco Fernandes e os Pintores de Viseu do Século XVI". Lisboa: L. R. Santos, 1946, pp. 31-34.
![SPRINGETT, William Samuel Pitt].- Recollections of Madeira / by W. S. P. S.- London: published for the author, 1843.- 15, [1](https://cdn.globalauctionplatform.com/192d8e06-40e6-40ad-aeac-af5c00e0a0af/9c0b6996-f985-4e63-953c-af5c00fa5fdd/468x382.jpg)
SPRINGETT, William Samuel Pitt].- Recollections of Madeira / by W. S. P. S.- London: published for the author, 1843.- 15, [1 br.] p.: [2], 18 litografias color. em 15 f.; 48 cm.- E., The author (1813-1860) married in 1841 Matilda Penford, who was probably born in Quinta da Achada, near Funchal (Madeira). The couple, who had 13 children, lived in Quinta do Faial, in Santa Maria Maior, also close to Funchal, owned by João José de Bettencourt e Freitas. The edition consists of a frontispiece and a page with the dedication (to Mrs. Go. Stoddart), both lithographed; followed by the preface (blank verso), and four pages with the “Introductory remarks”; the descriptions of the prints occupy the last eight preliminary pages (the last one is blank); the 18 hand-coloured lithographs were stamped on the last 15 sheets, based on drawings by the author. Some prints with the lower margin (next to the edge) a little fragile. Otherwise, a copy with very slight browning, but generally clean, keeping the colour of the prints very fresh, from one of the rarest and most beautiful illustrated books on Madeira. There are copies that are part of a list of subscribers following the preface, which the present one does not include. Binding with leather spine (remade), keeping the original folders in gauffered paper (gauffré), with engraving of the title on the upper cover. Duarte de Sousa, II, 684.
BALTAZAR GOMES FIGUEIRA (1604-1674) E JOSEFA DE ÓBIDOS (OU DE AYALA) (1630-1684), "Mês de Abril" (c. 1668), oil on canvas, handwritten inscription "Pascoa de flores Abril/[...]/quando Alleluya amanhece/[...]; Obidos", restoration, signed "Obidos". Notes: It was part of the exhibitions: "Exposição das pinturas de Josefa de Óbidos", National Museum of Ancient Art, Lisbon, 1949, nº 14; "Pintura Portuguesa do séc. XVII. Histórias, lendas, narrativas", National Museum of Ancient Art, Lisbon, 2004, reproduced in the respective catalogue, pp. 124-125, no. 39; "Josefa de Óbidos e a Invenção do Barroco Português", National Museum of Ancient Art, 2015, reproduced in the respective catalogue, p. 103, nº 29. Although not included in the following two exhibitions, this work is also represented in the cataloueg of the Exhibition “Josefa de Óbidos e o tempo Barroco”, held at the King D. Luís I Painting Gallery, Ajuda National Palace, in 1991. Lisbon:Instituto Português do Património Cultural/TLP, p. 156, where the title “Mês de Agosto” is wrongly attributed, since the inscriptions had not yet been discovered, according to the text that accompanies the work in the catalogue of the exhibition "Pintura Portuguesa do séc. XVII. Histórias, lendas, narrativas", held at the National Museum of Ancient Art, Lisbon, 2004, being represented in the respective catalogue, pp. 124-125, no. 39; and in the exhibition catalogue “Josepha na Ogiva”. Óbidos: Galeria Ogiva, 1972, s.p, s.n, under the title “Doces e Flores”; and in CAETANO, Joaquim de Oliveira, "Reading the Fate of the Christ Child - New Masterpiece by Josefa de Ayala (1630-1684). Montevideo: Jaime Eguiguren Art & Antiques, pp. 54-55, fig. 16, where it is mentioned that in the "Páscoa e flores",literature of the time, which inspired the painting "A leitura da sina do Menino Jesus" (1667), figures refer to Jesus as "Páscoa e flores", the same expression that is in the caption. It is also identifiable in a photograph of the interiors of the Palace of the Counts of Sabugosa, an archive of images of Mário Novais, currently in the Art Library of the Calouste Gulbenkian Foundation and in https://acasasenhorial.org/acs/index.php/pt/fontes-documentais/fotografia/277-palacio-dos-condes-de-sabugosa, accessed on November 9, 2022 at 2:55 pm.", Dim. - 111,5 x 176 cm It was part of the exhibitions: "Exposição das pinturas de Josefa de Óbidos", National Museum of Ancient Art, Lisbon, 1949, nº 14; "Pintura Portuguesa do séc. XVII. Histórias, lendas, narrativas", National Museum of Ancient Art, Lisbon, 2004, reproduced in the respective catalogue, pp. 124-125, no. 39; "Josefa de Óbidos e a Invenção do Barroco Português", National Museum of Ancient Art, 2015, reproduced in the respective catalogue, p. 103, nº 29. Although not included in the following two exhibitions, this work is also represented in the cataloueg of the Exhibition “Josefa de Óbidos e o tempo Barroco”, held at the King D. Luís I Painting Gallery, Ajuda National Palace, in 1991. Lisbon:Instituto Português do Património Cultural/TLP, p. 156, where the title “Mês de Agosto” is wrongly attributed, since the inscriptions had not yet been discovered, according to the text that accompanies the work in the catalogue of the exhibition "Pintura Portuguesa do séc. XVII. Histórias, lendas, narrativas", held at the National Museum of Ancient Art, Lisbon, 2004, being represented in the respective catalogue, pp. 124-125, no. 39; and in the exhibition catalogue “Josepha na Ogiva”. Óbidos: Galeria Ogiva, 1972, s.p, s.n, under the title “Doces e Flores”; and in CAETANO, Joaquim de Oliveira, "Reading the Fate of the Christ Child - New Masterpiece by Josefa de Ayala (1630-1684). Montevideo: Jaime Eguiguren Art & Antiques, pp. 54-55, fig. 16, where it is mentioned that in the "Páscoa e flores",literature of the time, which inspired the painting "A leitura da sina do Menino Jesus" (1667), figures refer to Jesus as "Páscoa e flores", the same expression that is in the caption. It is also identifiable in a photograph of the interiors of the Palace of the Counts of Sabugosa, an archive of images of Mário Novais, currently in the Art Library of the Calouste Gulbenkian Foundation and in https://acasasenhorial.org/acs/index.php/pt/fontes-documentais/fotografia/277-palacio-dos-condes-de-sabugosa, accessed on November 9, 2022 at 2:55 pm."
![[RODRIGO DO PORTO, Frei, O.F.M.].- COMPENDIO | E SVMMARIO DE | CONFESSORES, TIRADO de | toda a substancia do Manual: copilado](https://cdn.globalauctionplatform.com/192d8e06-40e6-40ad-aeac-af5c00e0a0af/bba0a7ab-2ca7-4ce6-9108-af5c00fa5244/468x382.jpg)
[RODRIGO DO PORTO, Frei, O.F.M.].- COMPENDIO | E SVMMARIO DE | CONFESSORES, TIRADO de | toda a substancia do Manual: copilado, & | abreuiado por hum Religioso, frade | Menor da orde[m] de S. Francisco | da Provincia da Piedade. | Acresce[n]tara[m]selhe em os lugares cõuenientes as cousas | mais comu[n]as q[ue] se ordenarão em o S. Cõcilio Tri- | de[n]tino. Cõ as excomunhões da bulla da Cea. | [pequena gravura xilográfica] | Impresso na dita cidade [de Braga]: por Gõçalo Fernãdez Impressor de sua S.R., 1579.- [16], 658, [59, 1 br.] p.; 15 cm.- E., Work published without the name of the author (according to the bibliography), Friar Minor of the Province of Piedade. Barbosa Machado considers it “the first sum of Moral that came out in vulgar language in this Kingdom”. The “Compendio”, originally published as “Manual de confessors” in 1549, would have at least six more editions during the 16th century. The present edition includes the guidelines of D. Friar Bartolomeu dos Mártires, after his participation in the third session of the Council of Trent: ¶ Foy visto, & emendado de muitos erros que nas impressões passadas auia, por mandado do Reuere[n]diss. S. Archbishop of Braga. The approval is given by D. Friar Amador Arrais. The copy, a little cropped with slight handling and slight browning lacks two blank sheets at the beginning and one at the end. Title page with antique ownership mark. Full of flexible parchment binding (from the period?), with new tie and endpapers. Anselmo, 542. BN (16th century), 816. King D. Manuel II of Portugal library does not mention.
PINHEL, Aires.- AD RVB. ET L. 2C. | C. de rescin. vend. |commentarij. | Authore Ario Pinelo Lusitano. | [gravura xilográfica com armas eclesiásticas].- Conimbricæ. Apud Antonium de Maris, mense Octobri, 1558.- [4], 157, [7] f.; 27 cm.- E., Treaty on the rescission of purchase and sale contracts (De rescindenda venditione), written by a notable jurisconsult born in Sesimbra. Aires Pinhel (ca. 1512/1515- ca. 1562) studied in Salamanca and got his doctorate in the city of Mondego, in Caesarian Law, having been appointed by King D. João III of Portugal to teach at this University by charter of 2 September 1539, shortly after the definitive transfer of the University of Lisbon to Coimbra; he was a judge at the Casa da Suplicação and, at the end of his career, a professor at the University of Salamanca, replacing another Portuguese jurist, Manuel da Costa. The engraving of the title page represents the ecclesiastical coat of arms of Cardinal D. Henrique, brother of King D. João III of Portugal and future king of Portugal. A slightly cropped copy, with slight browning and occasional old underlining, but overall clean. Handwritten ownership mark of the period, on the title page: Miguel Osorio Cabral. Recent binding, full sheepskin, with blind decoration on the covers and spine, according to the taste of the period (silk laces). Anselmo, 825. National Library (16th century), 592. King D. Manuel II of Portugal Library does not mention.
GRAVURA.- GUINÉ, MANICONGO & ANGOLA.- Typus orarum maritimarum Guineae, Manicongo, & Angolae ultra promontorium Bonae Spei.- [London: John Wolfe, 1598].- 1 gravura a talhe-doce; 380x520 mm (folha aparente)., copperplate (engraving and etching) navigation chart, hand-coloured, probably from the London edition of the “Itinerario”, by Jan Huygen van Linschoten (1563-1611), published in 1598, by the Flemish engraver Arnold Florent van Langren (1580-1644). Large descriptive cartouche, surmounted by the coat of arms of the Kingdom of Portugal. Below, another panoramic cartouche, representing the islands of Ascenção and Santa Helena, both discovered by the Galician navigator João da Nova, in 1501, at the time in the service of Portugal. Very fresh, central crease, framed proof. Dim. - gravura) 42 x 54,5 cm; (moldura) 53 x 65 cm
FRANCIS SMITH - 1881-1961, Untitled, oil on canvas, signed. Notes: Cabral Moncada Leilões acknowledges and thanks Dr. Jorge Gonçalves da Costa for confirming the authorship of this work., Dim. - 47 x 56 cm Cabral Moncada Leilões acknowledges and thanks Dr. Jorge Gonçalves da Costa for confirming the authorship of this work.
GRAVURA. ILHA TERCEIRA (Açores).- A Cidade de Angra na ilha de Iesv Xpo da Terceira qve esta em 39 graos.- [Amsterdam: Cornelis Claez, 1595-1596].-- 1 copperplate engraving; 570x800 mm (image); 600x 815 mm. (apparent leaf)., Copperplate print engraving (engraving and etching), from the work “Itinerario”, by Jan Huygen van Linschoten (1563-1611), published in Amsterdam, 1595-96, by the Dutch engraver Johannes von Doetecum (1530-1605) . It includes five cartouches, a compass rose and the coats of arms of Portugal and the Azores, highlighting, in the upper right corner, the dedication to D. Cristóvão de Moura (1538-1613), 1st Count of Castelo Rodrigo and capitão-donatário of the city of Angra. Hand coloured, central crease, slightly trimmed but preserving the matrix crease, fradem proof. Dim. - (gravura) 50 x 85 cm; (moldura) 61 x 96 cm
BVLLAS DOS | SANCTOS PADRES | PIO QVINTO, E GREGORIO .XIII. | Contratos, & prouisões del Rey nosso Señor, sobre | os petitorios, & memposteiros da sanctissima | Trindade, & seus priuilegios. | Impressos por prouisaõ & licença do dito senhor, a instancia | do P. Frei Baptista Ministro Prouincial, & | vigairo geral da dita ordem & redempção de | catiuos nestes Reinos de Portugal.- Lixboa: Per Antonio Ribeiro, 1579.- 34, [2, 2 br.] f.; 26 cm.- E., It contains an important set of royal and ecclesiastical documents, namely two contracts (between the kings D. Afonso V and D. Sebastião of Portugal, and the priests of the Order of the Trinity) on the redemption of captives, charters and royal charters on the privileges and regiment of the memposteiros or alms recipients for the Order and respective papal bulls. Copy slightly handled and with some stains and underlines, requiring intervention. It is however complete and with good margins. Recent binding, full parchment, overlapping the worn contemporary binding in soft parchment, with opistographic writing in Gothic characters. Provenance: Library of the Marquises of Praia and Monforte / Pedro de Azevedo, November 2044, lot 120. Anselmo, National Library and King D. Manuel II of Portugal Library do not mention.
CAMÕES, Luís de.- RIMAS | DE LVIS DE | CAMÕES. | ACRESCENTADAS NESTA | Terceyra impressão. | Dirigidas a Inclyta Vniuersidade | de Coimbra. | [gravura xilográfica com a esfera armilar] | Impressas com licença da Sancta Inquisição.- Em Lisboa: Por Pedro Crasbeeck. A custa de Domingos Fernandez mercador de libros. Com Priuilegio. Anno 1607.- [8], 102 [aliás 202], [5] f.; 18 cm.- E., One of the three known variants of the third edition of the Rimes and, probably, the first to come off the press by Pedro Craesbeeck. The present one, with an armillary sphere in the engraving of the title page, corresponds approximately to the description of the copy by José do Canto (Camoneana, 14), but presents the typographical error SENETO I. on page 1 (f. A1), still to be corrected. On the other hand, the numbering of the last leaf (202) was corrected, since there are copies with errors in the foliation (102 by 202). The other two variants feature the coat of arms of the Kingdom of Portugal in the title page engraving. In fact, the three variants also show significant compositional differences that are not constant from specimen to specimen. Therefore, serious bibliographic problems arise, as can be seen from the detailed descriptions of Tito de Noronha (Anuário da Sociedade Nacional Camoneana), José do Canto (14) and Brito Aranha (Inocêncio, 11) which also do not coincide. Copy slightly cropped and with slight browning, preserving the rare last blank sheet (c8) that completes the section c. Remote provenance: Ex-libris Marchionis Salsiae (Francesco Maria Berio 1765-1820, Marchese di Salza); a second ex-libris, on the back cover, with the motto: Comme Je Fus (William Ward, viscount Dudley, 1750-1823). The copy also has a small handwritten note in pencil by London bookseller Bernard Quarith, with the indication Perfect. A good contemporary binding, fully made of rigid parchment, with the original endpapers on plain paper. Inocêncio, XIV, p. 40/43. Palha, 1619. Arouca, C 66 (describes only the second variant).
SÃO TOMÁS, Frei Leão de, O.S.B.- BENEDICTINA | LVSITANA. | DEDICADA AO GRANDE | Patriarcha S. Bento. | ORDENADA PELLO P. M. | Fey Leão de S. Thomas Monje da Congrega- | ção de S. Bento de Portugal, & Lente de Ves- | pora igualado a Prima na Real, & insigne | Vniuersidade de Coimbra.- Em Coimbra: Na Officina de Diogo Gomes de Loureiro; Na Officina de Manoel de Carualho, 1644-1651.- 2 vols.: 1 retrato; 26 cm.- E, Fr. Leão de São Tomás (1574-1651) was abbot general of the Benedictine Monastery of Tibães, having started the construction of the respective church, which was only completed in 1661. The two volumes show the following collation: I - [8], 566, [38] p.; II - [8], 519, [1] p. The first volume presents a beautiful intaglio-engraved portrait of St. Benedict on the verso of the third folio. The second volume includes an alphabetical catalogue of the coats of arms of the kingdom's nobility, comprising 310 families. Copy slightly cropped with slight browning but complete and, in general, clean, preserving the rare portrait. Handwritten ownership on the title page of the second volume: Do uzo do Pe. Fr. Thome(?) da Conceição. Recent bindings, full flexible parchment, with ties and handwritten title on the spines. Inocencio, V, p. 170. Samodães, 3107. Arouca, S 277 and 278. According to Inocêncio, it is a work of great erudition and its author denounces great studies and deep knowledge of ancient things.
REGIMENTO dos Contos do Reyno, e Casa, nesta nova impressam acrescentado com hum alphabeto para nelle se achar com muita facilidade o que contem todos os capitulos [gravura com as armas de Portugal].- Em Lisboa: Na Officina de Valentim da Costa Deslandes, Impressor de Sua Magestade, 1708.- [16], 177, [1 br.]; 29 cm.- E., The Casa dos Contos, as the first organ for ordering and supervising State revenue and expenditure, can be considered the predecessor of the current Court of Auditors. The edition includes a large copperplate vignette on the title page, with the coat of arms of the Kingdom of Portugal and several chapters referring to the island territories, as well as Brazil, Africa and India. Slightly cropped copy (gilt edges), with some handling, covered in a remarkable contemporary binding, full “vieux rouge” shegreen, slightly worn, with multiple ornamental borders and central gold rectangle on both covers, with the coat of arms of Portugal gold engraved in the central reserve (new endpapers). Not mentioned in the consulted bibliographies.
A scalloped soup plate, Chinese export porcelain, blue decoration attributed to the Royal College of Nobles in Lisbon and traditionally called "Meninos da Palhavã" with polychrome and gilt "Monogram and royal crown" and inscription SETE BARRO HE OUTRO OUNICORNIO 1776, Qianlong period (1736-1795), hairline, small chips, slight wear on decoration. Notes: SETE BARRO HE OUTRO OUNICORNIO 1776, Dim. - 23,5 cm SETE BARRO HE OUTRO OUNICORNIO 1776
FIGUEIREDO, Manuel de Andrade de.- Nova escola para aprender a ler, escrever, e contar: primeira parte.- Lisboa Occidental: Na Officina de Bernardo da Costa de Carvalho, [1722].- [16], 156 p.: 1 portada grav., 1 retrato, [1], 44 gravuras; 30 cm.- E., First and only published part of the most famous Portuguese treatise on calligraphy. Complete copy, retaining all intaglio engravings: engraved title with the coat of arms of the Kingdom of Portugal overlooking Lisbon, the portrait of the author (signed by B. Picart), the calligraphed figure of the knight and the 44 engravings numbered from 1 to 44. Manuel de Andrade de Figueiredo (1670-1735), a leading figure in the calligraphic art of the 1700s, laid the foundations for teaching the so-called “letra caligráfica portuguesa”. His manual is divided into four parts: the first dedicated to the teaching of spoken and written Portuguese; the second presents the different types of letters used at the time; the third establishes the rules of Portuguese orthography; the fourth teaches the basics of arithmetic. The pictures represent handwriting exercises for students, notions of letter design and alphabets of various styles. Copy a little handled, with occasional minor restorations and stains from use and sometimes ink; tear on engraving 25, no lack of support, repaired with old adhesive tape. Contemporary binding, full leather, with some wear and new endpapers. Inocencio, V, p. 355. Samodães, 151. Ameal, 107. Ferreira Lima (Calígrafos), p. 7 et seq.
FIGUEIREDO, Pe. José Anastácio de (1766-1805).- Nova historia da Militar Ordem de Malta, e dos Senhores Grão-Priores della, em Portugal: fundada sobre os documentos, que só pódem supprir, confirmar, ou emendar o pouco, incerto, ou falso, que della se acha impresso; servindo incidentemente a outros muitos Assumptos, com geral utilidade.- Lisboa: na Officina de Simão Thaddeo Ferreira, 1800.- 3 vols.: 1 estampa desdobr.; 29 cm.- E., José Anastácio de Figueiredo (1766-1805), canon of the Collegiate Church of Our Lady of the Oliveira of Guimarães and corresponding member of the Royal Academy of Sciences. Second edition amended and added to "copious additions". The third volume ends, as in most cases, on p. 504 of the index, as explained by Inocêncio (IV, p. 233) "when printing reached this point, the author was forced to give up the task, in which he had committed himself with all his small possessions, and only after a long time did he decide to have the last complementary sheets of the index printed; the print run of these sheets was, however, so limited that it was only enough to complete a small number of copies, leaving almost the entire edition without them". The collation of the three volumes is as follows: 1 - [4], X, [1, 1 br.], 522 p.; II - [4], 396 p.: 1 unfolded engraving; III - 504 p. In volume I, p. 17 to 24 are bound after preliminary page VIII. Volume II includes a fold-out plate with a lapidary inscription. Very clean copy, with carmine edges. Full sheepskin bindings, recent, with ornamental borders on the covers, patina and gold tooling decoration on the spines, according to the taste of the period.
TELES, Pe. Baltasar, S.J.- HISTORIA | GERAL | DE ETHIOPIA | A | ALTA, | OV | PRESTE IOAM, | E DO QVE NELLA OBRÁRAM | OS | PADRES DA COMPANHIA | DE IESVS: | COMPOSTA NA MESMA | ETHIOPIA, | PELO PADRE MANOEL D'ALMEYDA, NATVRAL DE VIZEV, | PROVINCIAL, E VISITADOR, QVE FOY NA INDIA. | ABREVIADA COM NOVA RELEYÇAM, E METHODO, | PELO PADRE BALTHEZAR TELLEZ, NATVRAL DE LISBOA, | AMBOS DA MESMA COMPANHIA.- Em Coimbra: Na Officina de Manoel Dias, 1660.- [38], 736, [4] p.: 1 frontispício gravado, 1 mapa desdobr., 1 mapa; 28 cm.- E., First edition of a classic work that assumes great relevance in the panorama of the bibliography of the discoveries and missionary activity of the Society of Jesus, providing precious ethnographic, geographical, topographical, historical, scientific information, etc. Father Baltasar Teles (1596-1675), born in Lisbon, Jesuit and chronicler of the order, was a professor at the colleges of Évora, Coimbra, Braga and Lisbon (St. Antão College), of which he was rector. Copy with the following composition: half-title, allegorical frontispiece, title page, approve (2 f.), warnings about this map (the folding map of the lands and kingdoms of the Abyssinian Empire is pasted on the outer margin), commission, dedication, prologue to the reader ( 2f., having on the verso of the second page the “primeyra protestaçam do autor”), preface by the author, antidoron or remuneration offered to the reader (4 f.), poetry by Friar André Cardoso, letter from Friar Afonso Mendes (5 f.); the text follows, from p. 1 to 708. In the end, the multiplication table (pages 709 to 736). The copy lacks the last unnumbered sheet, which should contain, on the front, the “ultima protestaçam do autor” and on the verso, the errata. Copy carefully treated, washed, reglued and rebound, with occasional minor restorations. The original contemporary binding, full sheepskin, was reused and redone, with new endpapers. Samodães, 3338. Sommervogel, VII, 1909-1910. Arouca, T 35.
SVMMARIO | DAS INDVLGENCIAS, PRI | VILEGIOS, CONSERVATORIAS, INDVLTOS | Fauores, letras & graças, Sprituaes & Temporaes, concedidas pello Sanctissimo | em Christo Padre Gregorio XIII, Nosso Senhor, ora na Igreja de Deos Preside[n] | te, aos irmãos & Confrades da irmãdade & cõfraria de Sancta Maria Magdalena, | instituyda na Parochial Ygreja da mesma Magdalena desta Cidade de Lix | boa, per participação & cõmunicação in specie da principal Con | fraria da Charidade da Cidade de Roma. | [gravura xilográfica].- [Em Lisboa]: Com licença impressa, em casa de Marcos Borges, s.d. [1579].- [16] p.; 29 cm.- E., 16th century specimen unknown to bibliographers, including Anselmo and Simões. The title page includes a woodcut depicting Saint Mary Magdalene in Heaven, supported by four angels. Text composed in round and gothic characters. The last seven pages are part of a list of “Estações da Cidade de Roma, e de fora della”. At the end, an interesting block of text, composed in Gothic: «¶ E por quanto vos (blank space filled in by hand by the slave brother Augustine) ficais assentado no liuro desta Confraria de Sancta Maria Magdalena, participais & gozais de todas as graças, indulgencias, & priuilegios, contheudos neste Summario». Uncropped leaflet, very clean. Parchment cover (modern?). We are only aware of the existence of one copy in Portugal, at the National Library. (RES 3176 A.).
![MANUSCRITO.- [ÉVORA, Convento do Monte Calvário de].- Obituário das freiras clarissas.- Séculos XVI a XIX.- 160 f.; 21 cm. E.](https://cdn.globalauctionplatform.com/192d8e06-40e6-40ad-aeac-af5c00e0a0af/61ca89c4-7267-40ef-8641-af5c00fa8a2b/468x382.jpg)
MANUSCRITO.- [ÉVORA, Convento do Monte Calvário de].- Obituário das freiras clarissas.- Séculos XVI a XIX.- 160 f.; 21 cm. E., Obituary of the Poor Clares of the Convent of Saint Helena of Mount Calvary, in Évora. The Convent of Calvary, as it is known today, was founded in 1570 by the Infanta D. Maria of Portugal, the youngest daughter of King D. Manuel I of Portugal and belongs to the cloistered Order of Saint Clare. Manuscript of several hands, containing: a calligraphed title page of the 16th century: “Este liuro he da comunidade deste conuento do Caluario”; several introductory texts follow (historical note, “a culpa das noviças e madres”, graças e perdões, “os sanctos em que se pode levantar o interdito”, “da entrada do Rei neste convto. do calvario”, “palavras escritas no principio da regra”, “as festas em que se fazem procissões”, ceremonies, etc.). Following is a list with the “Numero das riligiozas que tem faliçido neste Convto. Do Calvº.” (nearly a hundred). On folio 34, a curious draft of a death certificate, dated 14 Dec. from 1706. From folios 38 and 149, there are records of deaths, dated between 1707 and 1889, the date on which the last nun died and closed the convent. The document includes more than fifty plate seals, all of which are well preserved, authenticating numerous visitor visas. Volume slightly disjointed and with occasional browning, caused by the ink. Antique binding (17th century?), full sheepskin, with blind decoration on the covers and spine, preserving one of the two metal clasps.
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