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Lot 708
Entschlafen der Gottesmutter (Koimesis)Russisch, 18.Jh. Tempera über Kreidegrund und Leinwand auf Holz. Im leicht vertieften Mittelfeld auf Goldgrund Darstellung der Gottesmutter auf ihrem Sterbelager, umgeben von Aposteln, Erzengeln und Heiligen. Ihre Seele - ein Kind - trägt Christus vor Mandorla. Im Vordergrund schlägt ein Engel des Herrn die Hände des Jechoniak ab, da dieser versuchte, die Bahre zu stürzen. Im Hintergrund Architekturkulisse. Im Zentrum des oberen Bilddrittels Darstellung der thronenden Gottesmutter in Aureole, die von 2 Engeln gehalten wird. Sie wird umgeben von den 12 Aposteln auf Wolkensockeln, jeder begleitet von einem Engel. In der Mitte des oberen Bildrands flankieren Engel die offenen Pforten des Paradieses. 45x37,5 cm.- Kleine Schadstellen und Retouchen. Levkas der Umrandung freigelegt, kleine Fehlstellen. Rückseitig Spannungsriss.
Lot 88
Slave Emancipation in West Indies: a pink lustre lined toast water pot, lacking cover, printed in black with an elaborately costumed female standing figure inscribed in West Indian Creole ‘Fe go da Berry Hill, fe go see Quaco Sam’ and on the reverse a figure of a butcher at his work also inscribed in Creole, circa 1840, 113mm, small chip to body* The estate of Berry Hill is located in the parish of St Mary on Jamaica. In the article 'Quaco Sam: A relic of Archaic Jamaican Speech', Jamaica Journal number 45, 1981 by Dr Barbara Lalla the author refers to a series of crockery commissioned for Mrs Rebecca Brandon, just after her husband's death in 1838, among other evidence leading her to conclude that the Quaco Sam verses date from before emancipation quite possibly being written between 1812 and 1825 and set to music. It is not known when the tune was first heard in Jamaica, however it became a central part of Creole musical identity in the 1830s.See https://ufdc.ufl.edu/UF00090030/00036/22jA pair of nursery plates printed with not dis-similar scenes from the West Indies inscribed in Creole and with the undersides bearing the printed Brandon retailers mark were sold in our commemorative auction as lot 459 on 4th June 2005. Toast-water was drunk in the early-19th century for medicinal purposes, as a way of giving nutrients to invalids. It was made by pouring boiling water onto toast, letting it stand, then straining off the liquid using a jug with a perforated strainer within the spout. See British Museum number 2009,8024.1# commemorative, commemorate, slavery, anti-slavery
Lot 23
Love LPs, nine albums comprising Four Sail (Original Stereo, EX/VG+), Forever Changes (Butterfly Labels , EX/EX), Love Live (USA Picture Disc, EX/EX), Love Masters (Butterfly labels, EX/EX), Black Beauty (Numbered with Book, EX+/EX+), Reel to Real (EX/EX), Da Capo (German - Butterfly labels, EX/EX), Out Here (USA Double, EX-/EX/EX) and False Start (USA Gatefold, VG+/EX) - UK releases unless stated
Lot 459
Stamps: Rest of World: Large Da-Fi album of various countries and states including Danzig, Ecuador, Egypt and Finland from 1860s on including officials, Forces post and locals. Mint & used; 100s CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 1150
J. PURDEY & SONS A .30-06 CALIBRE BOLT-MAGAZINE SPORTING RIFLE, serial no. 27680, for 1972, 22in. nitro barrel engraved 'J. PURDEY & SONS. AUDLEY HOUSE. SOUTH AUDLEY STREET. LONDON. ENGLAND.', and with acanthus scroll detailing at the nocks form, block mounted open sights with two folding leaf sights, marked 100, 200 and 300 and with gold-inlaid sight lines, ramp-mounted bead foresight with serial numbered protective hood, the receiver (with thumb cutout) mounted with a Zeiss Diatal-DA 4x32 telescopic sight, serial no. 782551 on a Pachmayr quickly-detachable mount, floral engraved recoil blocks, serial numbered bolt with flattened chequered bolt knob, hinged floorplate with push button release, the receiver, floorplate and furniture engraved with bold scrolling acanthus on a matted background, well-figured pistolgrip stock with left-handed cheekpiece, monte carlo comb, engraved steel pistolgrip-cap (with trap), sling swivels detached (present in case), 14 3/4in. pull including buttplate, weight 8lb. 4oz. (unscoped) and 9lb. 3oz. (with scope), in its full length brass-cornered oak and leather case. S1 - Sold as a Section 1 Firearm under the 1968 Firearms Act
Lot 14
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), GRAZALEMA oil on board, signed image size 45cm x 45cm, overall size 65cm x 65cm Framed and under glass. Note: Inscribed verso in the artist's hand "Grazalema 12.09.01" although obscured by the back board. Note 2: Grazalema is a "white village" located in the north-eastern part of the province of Cádiz, in the autonomous community of Andalucia, Spain. It is situated in the foothills of the Sierra del Pinar mountain range. Note 3: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career.
Lot 20
DAVID KWOK, KWO DA WEI (CHINESE, 1919-2003) - CAT STUDY Lithograph, signed, inscribed and dated "To Mr & Mrs Frank. Hickley, Best Wishes, Kwo Da Wei '81 S'pore" lower right, "A/P" lower left 60.5 x 41cm; 80 x 61cm (including frame) Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com Provenance: From the collection of Mr Frank Hickley and Mrs Pamela Hickley, OBE Additional Information: Pamela and Frank Hickely were long term Singapore residents, collectors and benefactors. Pamela was born in Malacca but spent the majority of her life in Singapore. She worked as the personal assistant to the last two colonial Governors of Singapore, Sir Robert Black and Sir William Goode. Pamela and her husband were both founding members of the Southeast Asian Ceramic Society, in Singapore in 1969. Pamela also serving as the Society’s president from 1996 to 1998. The couple were avid collectors of Oriental ceramics and together they formed one of the finest collections of Dehua blanc de chine ceramics in the world, the collection now in the Asian Civilizations Museum, Singapore.
Lot 23
TAITTINGER Champagner 'Collection' 1 Flasche 'Vieira da Silva' 1983 Brut, Region: Champagne, Frankreich, Rebsorte: Cuvée, 12% Vol. 750 ml, mit Geschenkbox, Alters- und Lagerungsspuren. NO SHIPPING OUTSIDE THE EU!| TAITTINGER champagne 'Collection' 1 bottle 'Vieira da Silva', 1983, brut, region: Champagne, France, grape: champagne blend, 12% Vol., 750 ml, with gift box, with signs of age and storage. NO SHIPPING OUTSIDE THE EU!
Lot 2093
MASSETO 1 Flasche CRU SUPERIORE DI MERLOT 1987 vino da tavola, Region: Toskana, Italien, Rebsorte: Merlot, 12,5% Vol., 750 ml, Füllstand VTS (very top shoulder). Etikett besch., Alters- und Lagerungsspuren. NO SHIPPING OUTSIDE THE EU!| MASSETO bottle CRU SUPERIORE DI MERLOT 1987, vino da tavola, region: Toscana, Italy, grape: Merlot, alcohol content: 12,5% vol. 750 ml, level VTS (very top shoulder), signs of age and storage. NO SHIPPING OUTSIDE THE EU!
Lot 2089
PAOLO CONTERNO BRIC GINESTRA 4 Flaschen NEBBIOLO DELLE LANGHE 1992 vino da tavola, Region: Piemonte, Italien, Rebsorte: Nebbiolo, 13% Vol., 750 ml, Füllstand 3 x BON (base of neck) / 1 x VTS (very top shoulder). Etiketten besch., Alters- und Lagerungsspuren. NO SHIPPING OUTSIDE THE EU!| PAOLO CONTERNO BRIC GINESTRA 4 bottles NEBBIOLO DELLE LANGHE 1992, vino da tavola, region: Piedmont, Italy, grape: Nebbiolo, alcohol content: 13% vol. 750 ml, level 3 x BON (base of neck) / 1 x VTS (very top shoulder), labels dem., signs of age and storage. NO SHIPPING OUTSIDE THE EU!
Lot 2091
MASSETO 1 Flasche CRU SUPERIORE DI MERLOT 1987 vino da tavola, Region: Toskana, Italien, Rebsorte: Merlot, 12,5% Vol., 750 ml, Füllstand VTS (very top shoulder). Etikett besch., Alters- und Lagerungsspuren. NO SHIPPING OUTSIDE THE EU!| MASSETO 1 bottle CRU SUPERIORE DI MERLOT 1987, vino da tavola, region: Toscana, Italy, grape: Merlot, alcohol content: 12,5% vol. 750 ml, level VTS (very top shoulder), signs of age and storage. NO SHIPPING OUTSIDE THE EU!
Lot 2094
MASSETO 1 Flasche CRU SUPERIORE DI MERLOT 1988 vino da tavola, Region: Toskana, Italien, Rebsorte: Merlot, 13% Vol., 750 ml, Füllstand VTS (very top shoulder). Etikett besch., Alters- und Lagerungsspuren. NO SHIPPING OUTSIDE THE EU!| MASSETO 1 bottle CRU SUPERIORE DI MERLOT 1988, vino da tavola, region: Toscana, Italy, grape: Merlot, alcohol content: 13% vol. 750 ml, level VTS (very top shoulder), label dem., signs of age and storage. NO SHIPPING OUTSIDE THE EU!
Lot 2092
MASSETO 1 Flasche CRU SUPERIORE DI MERLOT 1987 vino da tavola, Region: Toskana, Italien, Rebsorte: Merlot, 12,5% Vol., 750 ml, Füllstand VTS (very top shoulder). Etikett besch., Alters- und Lagerungsspuren. NO SHIPPING OUTSIDE THE EU!| MASSETO 1 bottle CRU SUPERIORE DI MERLOT 1987, vino da tavola, region: Toscana, Italy, grape: Merlot, alcohol content: 12,5% vol. 750 ml, level VTS (very top shoulder), signs of age and storage. NO SHIPPING OUTSIDE THE EU!
Lot 2095
MASSETO 1 Flasche CRU SUPERIORE DI MERLOT 1988 vino da tavola, Region: Toskana, Italien, Rebsorte: Merlot, 13% Vol., 750 ml, Füllstand BON (base of shoulder). Etikett besch., Alters- und Lagerungsspuren. NO SHIPPING OUTSIDE THE EU!| MASSETO 1 bottle CRU SUPERIORE DI MERLOT 1988, vino da tavola, region: Toscana, Italy, grape: Merlot, alcohol content: 13% vol., 750 ml, level BON (base of shoulder), label dem., signs of age and storage. NO SHIPPING OUTSIDE THE EU!
Lot 17
STAMPS BRITISH COMMONWEALTH, with countries S-Z neatly arranged in six stockbooks. Many useful early to modern mint or used sets & singles with thematic interest. Potentially a high catalogue lot with countries incl South Africa, Sri Lanka, Sudan, Tanganyika, Trinidad & Tobago, Swaziland, Tonga, Tanzania, Tristan Da Cunha, Turks & Caicos, Zanzibar etc. Condition appears mostly fine! 1000s
Lot 703
Fußbecher mit Ligaturmonogramm FC Wohl Sachsen, 1763 Graustichiges, teils schliffverziertes Glas. Vierzehnpassig geschliffener Stand mit Bodenschliffstern. Kugeliger Hohlschaft und Kuppaansatz wabenfacettiert, in Kuppaansatz Rosette aus sieben eingestochenen Luftperlen, im Kuppaboden Abrissnarbe. Auf der leicht geweiteten Wandung zwischen einer Oliv- und Kugelschliffborte geschnittenes, partiell geblänktes Ligaturmonogramm ''FC'' unter Kurfürstenkrone. Gold an Lippenrand berieben. H. 12,7 cm Das Monogramm könnte sich auf Friedrich Christian von Sachsen (1722-1763) beziehen, der vom 5. Oktober 1763 bis zu seinem Tod an Pocken am 17. Dezember 1763 Kurfürst von Sachsen gewesen ist. Bereits als Kurprinz beschäftigte er sich mit den Ideen der Aufklärung. Die Notiz in seinem Tagebuch ''Die Fürsten sind für ihre Untertanen da und nicht die Untertanen für die Fürsten. Der Reichtum der Untertanen... machen das wahre Glück des Fürsten aus'' versuchte er von Anfang an umzusetzen und dem Land wirtschaftlich neue Impulse zu geben.
Lot 14
Vintage gelatin silver print11.7 x 15.4 in. (8.4 x 12.7 in. picture)Photographer's credit stamp andÊGalleria Il Diaframma CanonÊstamp on the versoPROVENANCEGalleria Il Diaframma, MilanLITERATUREAA.VV.,ÊMorire di classe. La condizione manicomiale fotografata da Carla Cerati e Gianni Berengo Gardin, Einaudi, Turin, 1960, (vertical version)This lot is subject to Artists Resale Rights
Lot 112A
' The Genius of Leonardo Da Vinci ' A Fine Collection of 50 Sterling Art Work Proof Struck Silver Medallions, Proof Struck In 92.5 Purity, Each Weighing 51.3 grams. Total Silver Weight 2550 grams - 82 ozs. Struck by John Pinches In 1974. Each Proof Struck Medallion Showing One of Leonardo Da Vinci Famous Paintings. This Complete Collection Is Housed In an Impressive Wooden Box With Six Pull Out Trays, The First 5 Trays House the 50 Medallions, The Sixth Tray Houses a Book on Leonardo Da Vinci with a Catalogue of All His Artwork, Information / Descriptions, Dates etc.
Lot 223
PAIR OF FAMILLE ROSE LIDDED TEACUPS WITH SAUCERS DATED 1920AD 一九二O年 吳少峰款 江西瓷業公司底款 粉彩人物紋茶杯盞連蓋（一對） each thinly potted, painted to the exterior of the cup with an elderly man with two boy attendants, inscribed on the reverse with title, dated to the year of Geng Shen, corresponding to 1920, signed by the artist 'Wu Shao Feng', the base inscribed with a six-character workshop mark 'Jiang Xi Ci ye Gong Si' (Jiangxi Porcelain Company) in underglaze blue, the lid painted with a lady and inscribed 'Ba Da Shan Ren', central of the finial further inscribed with a six-character workshop mark(saucer: 11cm diameter, cup: 10.7cm diameter )
Lot 141
A part drinking glasses set with monogram for Queen Maria PiaBlown and molded crystal Geometric and foliage motifs decoration Grooved base of concentric circles Cup with monogram MP surmounted by engraved and gilt diagonal royal crown 2 decanters, 1 water jug, 1 beer cup, 8 sorbet cups, 18 water glasses, 16 red wine glasses, 13 Reno wine glasses, 17 Port glasses, 17 Madeira wine glasses, 17 anise liqueur glasses, 17 champagne glasses, 16 champagne flutes, and 18 punch cups 157 pieces in total France, circa 1901-1902 (minor losses, chips to the bottles bases)Provenance: Colecção Dr. Ricardo Espírito Santo Silva, palácio do Sobralinho, Alverca. Adquiridos pela Rainha Dona Maria Pia em Paris em 1902 nos armazéns Grand DépôtHeight: 33 cm (largest decanter) About The National Palace of Ajuda Glass CollectionThe heterogeneous character of the glass collection at the Palace of Ajuda coincides with the period during which, King Luís I (1838-1889) and Queen Maria Pia of Savoy (1847-1911), made the Palace their official Lisbon residence. Perhaps due to her Italian origins, Queen Maria Pia of Savoy had a true passion for glass. Throughout her 48 years in Portugal, between 1862 and 1910, the Queen was an avid collector of a variety of decorative and utilitarian objects, lighting equipment, mirrors, drinking glass and dressing table sets from all the main and most renowned European glass makers. An assiduous traveller in the context of her time, Queen Maria Pia undertook numerous European trips, having visited, often more than once, such cities as Madrid, Paris, Nice, Vienna, London, Carlsbad, Turin – her birthplace, Rome, Venice and Murano. Researching her diaries, note books and personal records, as well as those from her accompanying ladies-in-waiting, extant purchase receipts and specialised catalogues, it is possible to find many references to the most fashionable and prestigious European department stores and glassmaker’s showrooms such as A La Paix, Grand Dépot, Au Bon Marché, Baccarat, Moser, J&L Lobmeyr, Compagnia di Venezia e Murano and Salviati & Co., which she visited in her travels and from which she acquired numerous glass objects. In addition to personal visits, the Queen had specialised illustrated catalogues sent to her in Lisbon, from which she could order her chosen pieces.The personal interest for interior decoration and a sophisticated taste for the applied arts, which include the arts of the table, were undoubtedly related to the Queen’s character. It is evident that her taste evolved, and that her refined, precise and contemporary awareness weighed on her preferences for the best and most fashionable pieces in the market. From vast table sets, emblematic of luxury living in private or state occasions, to dressing table sets, drinking verres d’eau or liqueur, refreshment or bedroom sets, the Queen’s purchases were enriched by specific ownership or heraldic motifs, such as individual monograms - “MP”, “LI”, “LM” or “LMP”, often interlinked and surmounted by the Royal Crown, the Portuguese Royal Shield or the combined armorial shield for the Braganza-Savoy alliance. In this instance, the important drinking glass set that we are bringing to sale, features the Queen’s interlaced monogram “MP” surmounted by an elegant Royal Crown. The purchase invoice for this service is kept at Ajuda National palace archive, where it’s described as “Service Cristal torses et rinceaux riches”. This invoice issued by the Grand Dépôt on March 19, 1902 allows us to consider that this service may have been acquired during the Queen's stay in Paris in the year of 1901. In the collection of the Ajuda National palace there are 16 pieces of this service. VERITAS Art auctioneers would like to thank Dr. Maria João Burnay, curator of the Glass Collection at Ajuda National palace, for her availability to help us studying this service.Tiago Franco RodriguesLiterature: AA.VV. – “A royal lunch. A visita a Sintra da Rainha Alexandra do Reino Unido. 24 de Março de 1905” Parques de Sintra Monte da Lua, 2019 Maria João Burnay – “Dos revilalismos ao movimento secessionista vienense: Vidros da Boémia da Rainha D. Maria Pia” in AA.VV.- Colecções de arte em Portugal e Brasil nos séculos XIX e XX. Colecções Reais e colecções oficiais, Caleidoscópio, Lisboa, 2020, pp. 115 a 131.
Lot 142
An important tankard with cover from the collection of King Fernando II (1816-1885)Portuguese silver tankard with cover, 19th century Double body, the inner in plain gilt silver and the outer of profuse repoussé and chiselled decoration with classical female masks, floral and foliage motifs and fruits, interlaced with volutes Fruit basket lid pommel Acanthus leaf, foliage motifs and classical bearded mask decoration to handle and neo-medieval thumbpiece with female bust Marked with King Fernando's gothic F monogram under the Royal Crown and inventory number 36 Maker's mark CIMS for Cirilo José Maz da Silva (L-198.0), registered June, 9th 1826 and Lisbon city mark (L-42.0) for ca. 1822 to ca. 1860Literature: F. Moutinho de Almeida/Rita Carlos "Inventário de Marcas de Pratas Portuguesas e Brasileiras" séc. XV a 1887 pp. 141, 111Height: 16 cm845 g Catalogue EssayAn unquestionable defining figure within the Portuguese 19th century cultural panorama, King Fernando II (Ferdinand of Saxe-Coburg-Gotha-Koháry, (Vienna 1816 – Lisbon 1885) would reveal himself, soon after his arrival in Portugal following his marriage to Queen Maria II of Portugal (1819-1853), as a committed and knowledgeable art collector. Amongst the broad scope of his interests, gold smithery certainly occupied a most relevant position as can be assessed from the 1866 inventory of his estate. In this long manuscript list, compiled by the king himself, all the collected objects are described and classified, possible manufacture dates proposed, and technical and aesthetic analyses annotated. This inventory is also revealing in terms of provenances, both in terms of which objects were King Fernando’s own acquisitions and which were gifted to him. Additionally, to dissipate any possible doubts on their ownership, the king also noted at the end of each entry: “Propriedade Minha” (My Own Property). Bequeathed to the Pena National Palace, in whose archive it is now preserved, this important inventory has recently been studied and published on-line, allowing for a deeper knowledge of various objects that have, through time, been dispersed, and are now owned by various public and private collections, or whose location is unknown, as a consequence of the splitting of the inheritance upon the King’s death. The tankard now brought to sale at auction by Veritas is recorded in this inventory list under nr.119, book I, which lists “Objects in silver, gold, etc.”: N.º 119) Caneca de prata por dentro dourada em relevo e cinzelada. Feita no estilo da renaissance, na officina de R. Pinto. Foi-me dada pela rainha D. Maria II de saudosa memoria, é uma bonita peça e tem a particularidade de me ter servido desde os primeiros annos depois da minha chegada a este paiz até ao dia de hoje, para conter a agoa para lavar a bocca; e accompanhou-me em muitas viagens n’este paiz. – Tem tampa móvel. Propr. minha. (Nr. 199) Silver tankard gilded on the inside in reliefs and chiselled. Made in the Renaissance style at the workshop of R. Pinto. It was gifted to me by Queen Maria II of wistful memory, it is an elegant piece and it has the peculiarity of having served me from the early years of my arrival to this country up untiltoday, to hold water to wash my mouth; and it has accompanied me in many travels through this country. – It has a mobile cover. My Property.) It is thus confirmed that the tankard was made in the workshop of Raimundo José Pinto (1807-1859), the Royal Silversmith that was also, certainly not coincidentally, the main supplier of both antique and modern silver pieces to the King consort. A master goldsmith, Raimundo José Pinto established himself as a businessman and dealer, having owned a very active workshop where Cirilo José Maz da Silva worked and whose mark (registered 1826) has been identified in this the tankard. Raimundo was also the co-owner of the firm Pinto & Sousa, based at Rua da Prata, in Lisbon, which after his death, becomes the renowned jeweller Estevão de Sousa. The inventory also clarifies that the tankard was a gift from Queen Maria II, prematurely dead in 1853, as well as that it was used for the King’s oral hygiene, a fact that explains its plain gilt interior. The fact that it accompanied King Fernando in his travels, from his early days in Portugal, suggests that it was a cherished object, as it can be expected within the Romantic sentimental context of the time, and independently of the antiquity or artistic merit that in general defined his collecting criteria, so clearly assessed from the secular 16th century Portuguese silver collection, partly preserved at Ajuda National Palace. Aware of her husband’s collecting interests, D. Maria gifted him other gold and silver pieces that are also described in the inventory and whose present location remains mostly unknown. D. Fernando refers such gifts in the “memorial diary” written following the Queen’s death, a document also kept in the Portuguese National Archives, a section of which we transcribe herewith: “Maria era tão boa, que prazer ela tinha em adivinhar os meus gostos. Para me ser agradável, ela, que antes não tinha a menor ideia de tais coisas, aprendera a apreciar e a amar as obras de arte. Com que alegria ela me trazia uma gravura de um bom mestre, alguma linda água-forte antiga ou algum belo trabalho em prata ou em prata dourada! Tudo o que veio dela, tudo o que ela arranjou e instalou comigo será sempre querido e precioso!” (Maria was very kind and had genuine pleasure in guessing my tastes. To be agreeable to me, she, who before had no idea of such things, had learned to enjoy and to love works of art. She would joyfully bring me a print by a renowned master, a charming antique etching or some beautiful silver or gilt-silver object! Everything that came from her, everything that she found and fitted with me will always be cherished and precious!). The tankard herewith described was engraved on the base with the King’s ownership mark (gothic script F) and the number 36, corresponding, not to the inventory referred above, but to another list compiled by a secretary in 1858, which is equally preserved at the National Archives. It this inventory it is described as “trabalho moderno, imitando o antigo, com cinco mascarões, sendo um na aza” (modern work copying the antique, with five classical masks, one in the handle). Following King Fernando II’s death it was eventually inventoried in his Necessidades Palace apartments Toilette, under nr. 2283, a detail that suggests that it had maintained the use for which it was originally destined. Described as “replicating Renaissance work” it was valued, for inheritance purposes, at 36 thousand reals. According to this post mortem inventory, also preserved at the National Archives, it became part of the lot inherited by Prince Afonso, Duke of Porto (1865-1920), commonly known as “O Arreda” (The Move Away), for his early interest in automobiles and speed. It was probably disposed of during the prince’s life, as was the case with other objects inherited from his grandfather which were acquired by Counsellor João Arroyo (1861-1930) and subsequently auctioned in the latter 1905 estate sale.Hugo XavierLiterature: Hugo Xavier, “Propriedade Minha”: ourivesaria, marfins e esmaltes da coleção de D. Fernando II, Coleções Em Foco | Palácios Nacionais |Sintra Queluz Pena, n.º 4, PSML, 2022. Disponível online em www.parquesdesintra.pt
Lot 199
A royal coachGilt silverAn 18th century style miniature coach replicaChiselled floral and foliage decoration with Portuguese crowned armorial from the reign of king D.João V/D.JoséRed velvet lined interior with bevelled glass windows and doorsLisbon hallmark, Eagle 833/000 for 1938-1985 and maker's nr.1792 Florêncio José da CostaHeight: 15 cmLength: 35 cm2740 g
Lot 277
A tea and coffee set with trayPortuguese silverTeapot, coffee pot, milk jug, sugar bowl and trayScalloped body of winglet handle and urn lid pommelOn a circular scalloped foot of engraved friezeTray of protruding handles and identical decorationBoar hallmark 833/1000 (1887-1938 and same date maker's mark "Ourivesaria da Guia"Alt.:21 cm57x33 cm4060 g
Lot 289
A trophy - Racing - Jockey Club 1st prize (handicap) October, 2nd 1876French silver, 19th centuryCover of chiselled decoration of foliage motifs surmounted by jockey figureThe body of profuse reliefs and chiselled decoration allusive to horse racing with foliage motifs and garlandsCartouche inscribed "Lisboa, 2 de outubro 1876 Extenção da corrida 1300 metros" and "Premier Souvenir Muley Jockey Adams" On a central fluted shaft and circular foot decorated with three sculptural horsesFrench export marks, "Tête de Mercure" 950/1000 (1839-1879) and maker's mark HugoHeight: 47 cm3265 g
Lot 313
A set of five serving piecesPortuguese silver, 19th centurySoup ladle, serving spoon, fish servers and meat carversOporto assay-mark (P55.0b) and maker's mark (P-218) António da Costa (1887)Literature:F. Moitinho de Almeida/Rita Carlos"Inventário de Marcas de Pratas Portuguesas e Brasileiras"séc. XV a 1887pp. 231,262847 g
Lot 336
An important verseuse François-Thomas Germain (1726-1791)French silver, 18th century (1755-56) Pear shaper body of spiralled gadroons that extend to the spout Base and cover edges of joint acanthus leaves clusters Volute thumb piece The lid with sliding mechanism for inserting whisk Carved rosewood handle Paris assay-marks for 1750-1756 stamped FTG for François-Thomas Germain. Two Paris warrantee marks letter K for (1750-1751) and letter P for (1755-56) (spout cover missing)Height: 26 cm1180 g Catalogue EssayCoffee or chocolate pot, defined by a circular base and bulging twisted spiralled body, accentuated by shallow, smooth fluting that extends to the short and broad spout. Counter-curved profile wooden handle and circular section cover, featuring a sliding element for opening and closing a small orifice for fitting a whisk to homogenize its contents.HISTORY AND PROVENANCEInformation about the history of this piece is scarce, similarly to what often happens with mobile heritage destined for secular use within domestic contexts, whose existence is not always considered in the extant documentation. Nonetheless, it is known that this coffee or chocolate pot, still owned by her descendants, belonged to the 5th Countess of Ficalho, Maria Josefa de Mello (1863-1941), daughter of the 4th Counts, Francisco Manuel de Mello Breyner (1837-1903) and Josefa Brito do Rio (1840-1892), and that it had entered the family collections some generations earlier. Made at the famous silversmith François-Thomas Germain’s workshops, in Paris, it might in fact have been acquired by the well-travelled and wealthy merchant Anselmo da Cruz Sobral (1728-1802), an ancestor of Maria Luísa Braamcamp Sobral de Almeida Castelo-Branco de Narbonne-Lara (1812-1890) who married the 2nd Marquess of Ficalho, António José de Mello Breyner Teles da Silva (1806-1893). Maria Luísa was the daughter of the 1st Counts of Sobral, and, through her mother, a descendant of the Duke of Narbonne-Lara (1755-1813), Minister of War to Louis XVI and aid-de-camp to Emperor Napoleon, a fact that establishes an unequivocal connection to France. We should not, however, neglect the suggestion (PENALVA & MAGALHÃES 2021, p. 131) that it may have entered the family via the 1st Marquess of Ponte de Lima, Tomás Xavier de Lima Teles da Silva (1727-1800), figure of the highest rank that, during the Marquess of Pombal consulate would know identical tragic fate as the Dukes of Aveiro who, before their imprisonment and the confiscation of their property, held in their collection important gold and silverware made by the Germain workshops, such as the extraordinary centrepiece that belongs to the Museu Nacional de Arte Antiga collection in Lisbon (inv. 1827 Our.).WHAT DOES IT TELL US: AUTHORSHIP AND DATINGDetailed analysis and observation of the coffee / chocolate pot allows us to gather information that is essential for its understanding. For one, the interpretation of the marks, for which was invaluable the cooperation of Michèle Bimbenet-Privat, allows for accurate dating of the piece and attribution of unequivocal authorship. As such, it is possible to assert that it is an object produced within the context of the French gold and silversmith François-Thomas Germain’s (1726-1791) workshop, son of the master gold and silversmith Thomas Germain (1673-1748). Thomas Germain had fulfilled numerous orders from Portuguese customers during the reign of King João V, either from the sovereign himself or from private patrons, such as the writing set gifted by the king to Cardinal Nuno da Cunha de Ataíde (1664-1750), or the porringer (écuelle) commissioned by Cardinal João da Mota e Silva (1685-1747), both now at the Musée du Louvre (inv. OA 9941 and inv. AO 6118) (VALE, 2016b and VALE 2018, pp. 72-73 e 119-122). His son, François-Thomas, who had studied at the Académie Royale de Peinture in order to get a good education in the art of drawing, competence seen as fundamental for the fulfilment of a gold and silversmith career, will inherit Thomas Germain official role as goldsmith and sculptor to the King of France (1748). Maintaining his father’s renowned workshop at the Galleries du Louvre, François-Thomas will carry on supplying the main European courts, from Saint Petersburg to Lisbon (D’OREY 1991, GODINHO 2002), with the most remarkable objects, often resorting to Thomas models. In 1765 however, the business goes into bankruptcy proceedings that determine its closure and the abandonment of the Louvre workshop (BAPST 1887, BIMBENET-PRIVAT 2002 and above all PERRIN 1993). The dating of the object, for which assessment concurred decisively the above-mentioned marks, reveals a curious situation, albeit not necessarily uncommon: the piece encompasses components from two distinctive moments in time. The cover, whose marks date to 1750-51, is articulated to a body made some years later, in 1755-56, but still by the same master FrançoisThomas Germain. Would the presence of the cover reflect an intervention in a coffee /chocolate pot whose body, for some unknown reason, needed replacing? Or did this cover, from 1750-51, correspond to a component that was already available at the Germain workshop when, five years later, it received an order for a coffee /chocolate pot? Unfortunately, we might never know the answer. The presence of the two discharge marks, 1750-51 in the cover and 1755-56 in the body, reveals however that the piece was destined for exporting rather than for the French market.One other question, which is also likely to remain unanswered, refers to the clarification of typology and inherent functionality of the piece. Is it a coffee pot or a chocolate pot? Nor the morphology nor the ornamental options, in terms of their characteristics, contribute to the answering of this question. The body, cover and handle shapes are identifiable in both extant coffee and chocolate pots. Although it can be argued that for the latter there is a preference for straight handles placed perpendicularly to the body, such option – as is the case with the notable coffee pot from the same maker kept at the Metropolitan Museum of New York (inv. 33.165.1) is not sine qua non condition. On the other hand, the orifice seen in the cover, destined for fitting a whisk to homogenize the liquid in the vessel’s interior, occurs in both coffee and chocolate pots. We cannot even count on the artist’s cooperation in terms of his ornamental grammar choices, as the motifs seen near the spout cannot be unequivocally identified as cocoa beans or as coffee grains. We would however accept this latter possibility, based on comparisons with other extant examples (see the above mentioned on this subject by PENALVA & MAGALHÃES 2021, p. 131). The French language addresses the question in a simpler and pragmatic manner by resorting to the term verseuse, generic yet encompassing, that refers to a spouted vase destined to serve and contain liquids. For convenience we have adopted it for referring the piece. While, for the moment, we must accept the dual probability in terms of the object’s functionality, as a coffee or as a chocolate pot, it is also important to leave open the option that it was intended for serving both drinks.CONTEXTCoffee pots and chocolate pots are typologies frequently present in the scope of 18th century secular silverware production, stylistically fitting within the Baroque and the Rococo periods. Some of the most interesting examples, from the standpoint of the creative expression of their maker’s, are identifiable from within the Italian and French contexts. [...] full text version available at https://veritas.art/en/lot/an-important-chocolate-pot-francois-thomas-germain-1726-1791-1783137335/Teresa Leonor M. Vale
Lot 432
A scalloped armorial plateExport porcelainPolychrome and gilt decoration with armorial crest for Cristovão Pereira de CastroChina, Qianlong reign (1736-1795)(minor losses to gilding)Literature: Nuno de Castro "A Porcelana Chinesa ao Tempo do Império" p. 189 e Santos Varela "Portugal na porcelana da China 500 anos de comércio" Vol. IV pp. 1275-1277Diam.: 24,5 cm
Lot 433
A scalloped armorial plateExport porcelainPolychrome and gilt decoration with armorial crest for Cristovão Pereira de CastroChina, Qianlong reign (1736-1795)(minor chip)Literature: Nuno de Castro "A Porcelana Chinesa ao Tempo do Império" p. 189 e Santos Varela "Portugal na porcelana da China 500 anos de comércio" Vol. IV pp. 1275-1277Diam.: 24,5 cm
Lot 651
João da Cunha Neves de Carvalho Portugal (1784-1856)A rare copy of the "Manifesto dos Realistas Portugueses"Printed in French, translated clandestinely in Portugal by Constantino Pereira da Costa (?-1859) and for that reason with no printers markIf features portrait of King Miguel I, a very rare occurrence in this Portuguese edition183821x14 cm
Lot 666
A letter by King Miguel I of Portugal to the Dr. António Joaquim Ribeiro Gomes AbreuMIGUEL, Dom (Rei de Portugal).- 1 Autographed letter (2p;20cm.).Letter addressed to Coimbra University Professor Dr. Antonio Joaquim Ribeiro Gomes d’Abreu, staunch absolutist, that had resigned his University chair for refusing to swear fidelity to the legal institutions and to Queen Maria II: …The honour, indifference and firmness of character with which you have resigned the Chair of Lecturer at the Faculty of Medicine at the University of Coimbra, that you had won through your study and knowledge should be a model to follow; Justifying the impossibility of providing any assistance continues: …Finding myself in exile living from the assistance of my friends I do not have resources to reward you; and to prove how honouring your conduct is however, you must count that I will share with you ever, that bread of tears that I shall have, as from this day onwards, I will regard you as a member of my family and as another son of mine”It is curious to refer that this vow did indeed materialize as King Miguel I did invite Dr. Gomes de Abreu to Bronnbach as tutor of his children in exileSigned and dated Nauheim 3rd July 1856Carta dirigida ao Prof. da Universidade de Coimbra Dr. Antonio Joaquim Ribeiro Gomes d'Abreu, absolutista convicto, que se havia demitido da cátedra por não querer prestar juramento de fidelidade ás instituições vigentes e a D. Maria: "..A honra, desinteresse e firmeza de carácter com que renunciastes a Cadeira de Lente Substituto da Faculdade de Medicina na Universidade de Coimbra, que vos tinheis ganho com o vosso estudo e saber devem servir de modelo"; Justificando a impossibilidade de prestar qualquer ajuda diz: "...Achando-me no exílio e vivendo do Obolo dos meus amigos não tenho com que vos possa remunerar; é provar quanto a vossa conducta he honroza, porém, vós deveis contar que eu repartirei convosco sempre, desse pão de lágrimas que eu tiver, porque de hoje em diante, vos considero como hum membro da minha familia, e agora mais hum filho". Estas palavras levaram a que o Dr. Gomes Abreu aceitasse o lugar de preceptor dos filhos de D. Miguel. Viveu o resto da sua vida em Bronnbach, acabando por morrer ali seis meses após o seu soberano.20x13 cm
Lot 669
A portrait of King Miguel I with a group of legitimistsPhotograph on paper and cardboardFrom left to right: João de Lemos Seixas Castelo Branco, Dr. Carlos Zeferino Pinto Coelho, Count of Avintes, Count of Bobadela, Marquess of Abrantes, José Izidoro Mouzinho, Francisco de Lemos, António Joaquim Ribeiro Gomes de Abreu, António Pereira da Cunha, Count of S.Martinho and António Pinto SaraivaLondon, ca. 18626,5x10 cm
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