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Girolamo Troppa, um 1630 Rocchette in Sabina – um 1710 Terni Troppa war als Nachfolger von Carlo Maratta in Rom und Umbrien tätig, wo meist sakrale Bildwerke seiner Hand zu finden sind.RINALDO UND ARMIDAÖl auf Leinwand. Doubliert.50,5 x 79 cm.Beigegeben ein Gutachten von Francesco Petrucci, Rom, November 2022, in Kopie.Dargestellt ist eine Szene aus Torquato Tassos (1544-1595) 1574 vollendetem Epos „Das befreite Jerusalem“. Tasso schildert dort, wie die sarazenische Zauberin Armida den Kreuzritter Rinaldo aus dem christlichen Lager gelockt hatte, mit dem Ziel ihn zu töten. Sie verliebte sich jedoch in ihn und entführte ihn auf eine magische Insel.Literatur:Vgl. Bulletin du Musée Hongrois des Beaux-Arts, 106-107, 2007, S. 115-129.Vgl. Francesco Petrucci, Pittura di Ritratto a Roma. Il Seicento, Bd. 3, Rom 2008.Vgl. R. Cantone, Girolamo Troppa poliedrico interprete della cultura figurativa romana del tardo Seicento, in: C. Sodano, Il restauro dell‘ Elemosina di San Tommaso da Villanova del Cavalier Gerolamo Troppa, Rom 2009, S. 52-65.Vgl. Francesco Petrucci, Considerazioni su Girolamo Troppa: un „tenebrista“del tardo Seicento romano, in: Prospettiva, 146, 2012, S. 88-102. Vgl. Erich Schleier, Altre aggiunte a Girolamo Troppa pittore e disegnatore, in: Studi di Storia dell‘ Arte, Bd. 26, 2015, S. 215-228.Vgl. Girolamo Troppa, Der Zeichner. Ein Phantom, Ausstellungskatalog, Köln 2016.Vgl. Roberto Della Portella, Girolamo Troppa (1636 - 1711), Terni 2020.Vgl. Francesco Petrucci, Girolamo Troppa. Un protagonista del Barocco romano, Todi 2021. (1370183) (13))

Girolamo Troppa, um 1630 Rocchette in Sabina – um 1710 Terni Troppa war als Nachfolger von Carlo Maratta in Rom und Umbrien tätig, wo meist sakrale Bildwerke seiner Hand zu finden sind.ANGELICA UND MEDOROÖl auf Leinwand. Doubliert.50,5 x 79 cm.Beigegeben ein ausführliches Gutachten von Francesco Petrucci, Rom, November 2022, in Kopie.Darstellung des legendären Liebespaares unter Bäumen, während Angelica ihre Namen in die Baumrinde ritzt. Die Episode entstammt dem Epos „Orlando Furioso“ (Der rasende Roland) von Ariost von 1532, war auch Stoff für Händels spätere Oper „Orlando“. Die gezeigte Szene findet in der Oper im II. Akt statt, dort jedoch in der Variante, dass Medoro die Namen der beiden Liebenden in die Rinde ritzt.Literatur:Vgl. Bulletin du Musée Hongrois des Beaux-Arts, 106-107, 2007, S. 115-129.Vgl. Francesco Petrucci, Pittura di Ritratto a Roma. Il Seicento, Bd. 3, Rom 2008.Vgl. R. Cantone, Girolamo Troppa poliedrico interprete della cultura figurativa romana del tardo Seicento, in: C. Sodano, Il restauro dell‘ Elemosina di San Tommaso da Villanova del Cavalier Gerolamo Troppa, Rom 2009, S. 52-65.Vgl. Francesco Petrucci, Considerazioni su Girolamo Troppa: un „tenebrista“ del tardo Seicento romano, in: Prospettiva, 146, 2012, S. 88-102. Vgl. Erich Schleier, Altre aggiunte a Girolamo Troppa pittore e disegnatore, in: Studi di Storia dell‘ Arte, Bd. 26, 2015, S. 215-228.Vgl. Girolamo Troppa, Der Zeichner. Ein Phantom, Ausstellungskatalog, Köln 2016.Vgl. Roberto Della Portella, Girolamo Troppa (1636 - 1711), Terni 2020.Vgl. Francesco Petrucci, Girolamo Troppa. Un protagonista del Barocco romano, Todi 2021. (1370184) (13))

Francesco Tironi, um 1745 Venedig – 1797 BolognaDER BACINO DI SAN MARCO MIT SAN GIORGIO MAGGIORE UND DER PUNTA DELLA DOGANAÖl auf Leinwand. Doubliert.66,5 x 84,5 cm.In Louis XV-Stil-Rahmen.Beigegeben ein Gutachten von Dr. Federica Spadotto, Padua, 27. Juni 2022, in Kopie.Unter hohem blauen Himmel mit einigen hellen Lichtstreifen am Horizont der ruhig verlaufende große Kanal, von der Sonne beschienen. Linksseitig am Ufer stehend eine Reihe von Palastgebäuden, während auf der rechten Seite die Insel San Giorgio Maggiore mit der gleichnamigen Kuppelkirche San Giorgio mit der Renaissance-Fassade und dem großen dahinterliegenden hohen Campanile zu erkennen ist. Auf dem Wasser selbst einige Boote, darunter besonders auffallend im Vordergrund eine mit zwei elegant gekleideten Damen besetzte Gondel, die zum Anlegen auf das linke Ufer zusteuert.Der Maler war nahezu vergessen, bevor ihn Hermann Voss 1927/28 mit seinem Werk über die Veduten Venedigs wieder bekannt gemacht hat. Über die Biografie des Malers ist nicht viel bekannt, er stammte wohl aus einer Familie aus Friaul. Neben Gesamtansichten und Stadtveduten allgemein berühmter Plätze findet sich im Werk Tironis nicht selten die Erfassung intimerer Stadtteile oder einzelner Bauten, wobei die beige-braune Farbgebung meist typisch für seine Werke ist.Literatur:Vgl. William George Constable, Canaletto, Giovanni Antonio Canal 1697 - 1768, Oxford 1962. Vgl. Antonio Morassi, Guardi, I dipinti, Mailand 1993.Vgl. Federica Spadotto, Io sono ‚700. L‘anima di Venezia tra pittori, mercanti e bottegheri da quadri, Sommacampagna 2018.Vgl. Maria Stefani Mantovanelli, Francesco Tironi, in: Arte Veneta, 1969, Nr. 24, S. 253-254. (1370953) (13)Francesco Tironi,ca. 1745 Venice – 1797 BolognaTHE BACINO DI SAN MARCO WITH SAN GIORGIO MAGGIORE AND the PUNTA DELLA DOGANA Oil on canvas. Relined.66.5 x 84.5 cm.Accompanied by an expert’s report by Dr Federica Spadotto, Padua, 27 June 2022, in copy.

William James, tätig 1730 – 1780, zug.VEDUTE AM CANAL GRANDEÖl auf Leinwand. Doubliert.49,6 x 57 cm.In vergoldetem Kehlrahmen mit Perlstab.Beigegeben ein Gutachten von Dr. Federica Spadotto, Padua, in Kopie.Ansicht des keilförmig in die Bildfläche führenden Canal Grande mit anschließender Bebauung und Gondelverkehr.William James war zwischen 1746 und 1771 als Vedutist tätig; die einzigen Informationen über seine künstlerische Persönlichkeit finden sich in Edward Edwards‘ „Anecdotes of Painters“ von 1808, in dem James als Schüler oder Mitarbeiter von Canaletto während dessen Aufenthalt in England zwischen 1746 und 1755 erwähnt wird. Sein künstlerischer Werdegang wurde teilweise durch eine Reihe von Londoner Ansichten rekonstruiert, die sich im Besitz des Ashmolean Museums in Oxford und den British Royal Collections befinden. Im Text des oben genannten Edwards findet sich jedoch die einzige Erwähnung seiner Malerei venezianischer Sujets, die der Biograf selbst als stark mit Canaletto verwandt sieht. Die Zuschreibung einiger Ansichten, die auf den internationalen Markt gelangten, an William James und vor allem das Vorhandensein einiger Leinwände, auf denen sein Name vollständig auf einer an den Originalrahmen angebrachten Plakette steht, lassen auf eine reiche Produktion von Stadtpanoramen schließen, die im Allgemeinen dem malerischen Repertoire von Antonio Canal entnommen sind, Werke, die es dem englischen Maler ermöglichten, zu den „vedutisti di Venezia“ (Vedutenmalern von Venedig) gezählt zu werden, obwohl seine biografische Abfolge keinen Hinweis auf einen möglichen Aufenthalt in der Lagunenstadt gibt. James war einer der bekanntesten Schüler Canalettos, der den Geschmack der venezianischen Stätten indirekt aufnahm, indem er die Werke betrachtete, die der Meister mit nach England gebracht hatte, und indem er an seiner Seite arbeitete, als er die große Nachfrage seiner Auftraggeber nach Ansichten der von ihnen so geliebten Lagunenstadt befriedigte. Werke seiner Hand kamen ins Victoria and Albert Museum, in den Kensington-Palast sowie ins Ashmolean Museum in Oxford. William James war im London des 18. Jahrhunderts ein hochgeschätzter Künstler. Einige seiner Londoner Ansichten wurden zwischen 1767 und 1771 auf der jährlichen Ausstellung der Society of Artists ausgestellt. In der Ausstellung von 1767 wurden zwei Gemälde präsentiert, die das westliche Ende der Westminster Bridge darstellten.Literatur:Vgl. Edward Edwards, Anecdotes of Painters, London 1808.Vgl. Federica Spadotto, I sono ‚700. L‘anima di Venezia tra pittori, mercanti e bottegheri da quadri, Sommacampagna 2018. (1370952) (13)William James,active 1730 – 1780, attributedVEDUTA ON THE GRAND CANAL Oil on canvas. Relined.49.6 x 57 cm.Accompanied by an expert’s report by Dr Federica Spadotto, Padua, in copy.

Giustino Menescardi, um 1720 Mailand – um 1776 Venedig ALLEGORIE – LA VIRTÚ VINCE L‘INVIDIA (DIE TUGEND SIEGT ÜBER DEN NEID)Öl auf Leinwand.66,4 x 53,4 cm.Gerahmt.Beigegeben eine ausführliche Expertise von Dr. Federica Spadotto, in Kopie.Die Bilddarstellung wiederholt einen Ausschnitt aus dem Deckengemälde von Giambattista Tiepolo (1696-1770) in der sala da ballo im Palazzo Labia in Venedig. Das Deckenbild entstand laut Pedrocco (S. 275) in den Jahren 1746/47. Im Bildzentrum des Deckenfreskos wird Pegasus und Bellefonte gezeigt, die an den Bildrändern positionierten reichen Figurenthemen zeigen überwiegend allegorische Motive. Im hier vorliegenden Gemälde wird eines dieser Themen herausgegriffen. Tugend und Neid als weibliche Allegorien, hier auf einem gemalten Stuckgesims, sind vor dem Wolkenhimmel sitzend zu sehen, der obere Bildrand schließt die Figurendarstellung ebenfalls mit gemalter Stuckornamentik ab. Die weibliche Personifikation der Tugend ist in reich drapiertem Brokatkleid gewandet, in der erhobenen Hand hält sie eine Figur der Pallas Athene, Göttin der Wissenschaften und der Kriegsführung. Die dagegen positionierte Figur ist in gebückter Haltung gezeigt, mit über die Schulter gerichtetem Blick dem Betrachter zugewandt. Giustino Menescardi empfing zwar Einflüsse aus der Emilia, doch er arbeitete überwiegend in der Stilistik von Tiepolo. 1739 und 1747 wird er in der Malerrolle Venedigs mit seinen Arbeiten in San Cassian und im Dogenpalast erwähnt. Doch bereits in Mailand dürfte er schon mit Tiepolo zusammengearbeitet haben, etwa im Palazzo Clerici und in der Kapelle von Sant‘Ambrogio. Rahmen besch. Der Maler wird erstmals 1739 und 1747 erwähnt und ist in der Gilde von Venedig eingetragen. Bekannt wurde er durch seine Werke in San Cassian und im Dogenpalast. Ferner wirkte er an der Ausstellung der Scuola Grande dei Carmini mit. Es wird angenommen, dass er als einer der Gehilfen von Tiepolo um 1740 in Mailand arbeitete. A.R.Literatur:Vgl. Laura Mocci, Menescardi, Giustino, in: Mario Caravale (Hrsg.), Dizionario Biografico degli Italiani (DBI), Bd. 73, Rom 2009.Vgl. Elena Favaro, L‘arte di pittori a Venezia e i suoi statuti, Florenz 1975.Vgl. Rodolfo Pallucchiuni, La pittura nel Veneto, Il Settecento, Bd. II, Mailand 1995, S. 239-250.Filippo Pedrocco, Tiepolo, Mailand 2002. (1361764) (11)Giustino Menescardi,ca. 1720 Milan – ca. 1776 VeniceALLEGORY – LA VIRTÙ VINCE L’INVIDIA (VIRTUE CONQUERS ENVY)Oil on canvas.66.4 x 53.4 cm.Accompanied by a detailed expert’s report by Dr Federica Spadotto, in copy. The depiction repeats a detail from a ceiling fresco by Giambattista Tiepolo (1696 Venice-1770 Madrid) in the ballroom of Palazzo Labia in Venice. Although Giustino Menescardi was influenced by the Emilian School, he mainly worked in the style of Tiepolo. In 1739 and 1747 he is mentioned as a painter in Venice with his works in San Cassian and in the Doge’s Palace. But he may have already worked with Tiepolo in Milan, for example in the Palazzo Clerici and in the Chapel of Sant’Ambrogio.

Max Liebermann, 1847 Berlin – 1935 ebendaJUNGE MIT PFERD AM STRANDE, 1907Öl auf Leinwand.65 x 71 cm.Rechts unten signiert und datiert „M. Liebermann 1907“In breitem teilebonisierten Rahmen.Beigegeben ein Gutachten vom Werkverzeichnisverfasser des Künstlers Prof. Dr. Matthias Eberle vom 7. Februar 2018, in Kopie.„Was mich persönlich betrifft, so bin ich in eine neue Periode getreten: in den drei Monaten, die ich jetzt in Holland war, habe ich mich wieder gehäutet, male Pferde.“ (Brief von Liebermann an Franz Servaes, 14.10.1900).„Junge mit Pferd am Strande“ gehört zu jenen Strandbildern, die Gustav Pauli 1911 als neuen Höhepunkt von Liebermanns Lebenswerk bezeichnet (Max Liebermann. Des Meisters Gemälde, 1911, S. 32 ). Ein junger Mann hält ein nach rechts gewandtes Pferd im Zaum, damit der Maler es am Meeresufer in Öl erfassen kann. Zu den Pferdebildern inspirierte ihn Isaac Israels, den er im Sommer in Holland traf und dessen schnelle Arbeitsweise ihn faszinierte. Schnell musste Liebermann beim vorliegenden Gemälde auch arbeiten. Das zeigt die flotte Malweise und das erforderte die Situation. Wie an den angelegten Ohren und angespannten Muskeln des Pferdes zu erkennen ist, war es nervös und hielt nur still, weil der Junge es für den Künstler am Zaum hielt. Da Liebermann im Freien vor dem Motiv malte, wehte ihm ständig Sand in die frische Farbe, der sich noch heute auf dem Bild, etwa auf dem Rückenbereich des Pferdes, befindet – ein untrüglicher Beweis für Pleinair-Malerei. Neben dem Motiv der badenden Knaben und der im Sand spielenden Mädchen entdeckte Liebermann nun auch das Pferd als Motiv für sich. Schon als Schüler des Berliner Pferdemahlers Carl Steffeck (1818-1890) lernte er, das Wesen dieser anmutigen Wesen zu erfassen. Entdeckte das Pferd als eigenständiges Motiv jedoch erst in seiner niederländischen Periode, wo zahlreiche Studien entstanden, in denen Liebermann die Bewegungsabläufe der Pferde genau studierte. Provenienz:Bruno Cassirer, Berlin 1914.Sammlung Ernst Keiler, Deutschland, erworben 1930er-Jahre.Durch Erbschaft an die Vorbesitzer.Sotheby’s, New York, 15. Mai 2018, Lot 122.Literatur:Erich Hancke, Max Liebermann: sein Leben und seine Werke, Berlin 1914, S. 543 (laut Eberle vermutlich das hier angebotene Gemälde).Matthias Eberle, Max Liebermann, 1847-1935, Werkverzeichnis der Gemälde und Ölstudien, Band 2, München 1996, 1907/31.Vgl. Ausstellungskatalog, Barbara C. Gilbert (Hrsg.), Max Liebermann: from Realism to impressionism, Los Angeles 2005, S. 43-44. (1371071) (13)Max Liebermann, 1847 Berlin – 1935 ibid.BOY WITH HORSE ON THE BEACH, 1907Oil on canvas.65 x 71 cm.Signed and dated lower right “M. Liebermann 1907”.Accompanied by an expert’s report by Professor Dr Matthias Eberle, the author of the catalogue raisonné dated 7 February 2018, in copy.“Junge mit Pferd am Strande” is one of the beach paintings that Gustav Pauli described as a new highlight in Liebermann’s oeuvre in 1911. (Max Liebermann. Des Meisters Gemälde, 1911, p. 32). As Liebermann was painting in front of the motif outdoors, sand was constantly blowing into the fresh paint, which is also still visible in the painting today, for example on the back of the horse – unmistakable proof of plein air painting.Provenance: Bruno Cassirer, Berlin (1914).Ernst Keiler collection, Germany, acquired in the 1930s. By inheritance to the previous owners.Sotheby’s, New York, 15 May 2018, lot 122. Literature: Erich Hancke, Max Liebermann. Sein Leben und seine Werke, Berlin 1914, p. 543 (according to Eberle this is probably the painting on offer for sale in this lot). Matthias Eberle, Max Liebermann - Werkverzeichnis der Gemälde und Ölstudien, vol. 2, Munich 1996, 1907 / 31. cf. Barbara C. Gilbert, Max Liebermann, From Realism to Impressionism, exhibition catalogue, Los Angeles / New York, 2005 / 2006, pp. 43-44.

Holländische Schule des 17. JahrhundertsLOT UND SEINE TÖCHTERÖl auf Holz.21,5 x 16,5 cm.In vergoldetem Rahmen mit Eierstab- und Muscheldekor.Das hier wiedergegebene altbiblische Thema zeigt den in der Mitte mit weißem Turban sitzenden alten Lot, der aus der brennenden Stadt Sodom mit seinen Töchtern geflohen ist. Da die Töchter befürchten, dass kein Mann im Lande sei, der ihnen Nachkommen geben könne, machen sie ihren Vater betrunken und verführen ihn. Im Hintergrund links das mit roten Flammen brennende Sodom und danach die Ehefrau des Lots, die zu einer Salzsäule erstarrt ist. Malerei in der typischen Manier des bekannten Themas. (1371433) (1) (18)Dutch School, 17th centuryLOT AND HIS DAUGHTERS Oil on panel.21.5 x 16.5 cm.

Antonietta Brandeis, 1849 Miskowitz – 1910 FlorenzVENEDIG – BLICK ÜBER EINEN KANAL MIT ZWEI BRÜCKENÖl auf Leinwand.29 x 48 cm.Rechts unten signiert.Gerahmt.Das Bildformat ist breit gewählt und bietet den Blick über den Verlauf eines Seitenkanals, der von zwei weitziehenden Brücken überspannt wird. An den Ufern Kähne, weiter hinten in hellem Licht anliegende Gondeln. Auf der Brücke wenige Figuren, dabei eine Mutter mit Kind. Die Lichtstimmung zeigt - wie in allen ihren Bildern - eine hervorragende Malqualität.Die Malerin studierte zunächst in Prag bei Karel Javúrek, war dann aber die erste Frau, die in Venedig 1867 von der Akademie bei Michelangelo Grigoletti (1801-1870) aufgenommen wurde. Sie widmete sich überwiegend dem Genre italienischer Stadtansichten, nicht nur von Venedig, sondern auch von Florenz, Bologna und Rom. Daneben entstanden auch Altarbilder, die sie allerdings mit „Antonio“ signierte, da sie sich als malende Frau diskriminiert sah. Die Galleria Revoltella in Triest erwarb bereits in der K.u.K.-Zeit eines ihrer Werke. A.R.Literatur:Vgl. Ettore Verga, Brandeis, Antonietta, in: Ulrich Thieme, Felix Becker (Hrsg.), Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart, Bd. 4, Leipzig 1910, S. 527. Vgl. Christian Hornig, Brandeis, Antonietta, in: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker (AKL), Bd. 13, München u. a. 1996, S. 602. Vgl. Paolo Serafini, Antonietta Brandeis, 1848-1926, Ausstellungskatalog, Modena 13.-21. Februar 2010, Turin 2010. (1370905) (11))

'Hommage to Leonardo da Vinci and Robert Indiana' (Love Story), Collage und Décollage, Papier auf Platte, 80 cm x 60 cm Werkmaß, signiert, 78 datiert, verso ebenfalls signiert, 1.1.1987 datiert, betitelt und mit Widmung: Für meinen lieben Freund Jürg Schüppenhauer, Weihnachten 1979 / Kettwig, Ecken bestoßenKarel Trinkewitz (1931 Meceríz/Czech Republic - 2014 Hamburg)Hommage to Leonardo da Vinci and Robert Indiana' (Love Story), collage and décollage, paper on panel, 80 cm x 60 cm, signed, dated 78, also signed on verso, dated 1.1.1987, titled and with dedication: Für meinen lieben Freund Jürg Schüppenhauer, Weihnachten 1979 / Kettwig, corners bumped

An Italian polychrome lava stone and pietre dure panel, attributed to Giovanni Battista Cali, documented Catania 1831-1837, the centre probably depicting the Hesiodic Cyclopes, the brothers Arges, Brontes, Steropes forging the thunderbolt of Zeus, flanked on the left by a view of Mount Etna with Catania cathedral and with the Cyclopean Isles to the right, set in a late 19th century associated oak table, with carved frieze, on fluted legs and castors, joined by stretchers, 74cm high, 85cm wide, 63cm deepProvenance: UK Private Collection since 1910.Footnotes: Note: The Catanese artist Giovanni Battista Cali came from a family of sculptors and is known to have produced mosaics mainly with views of Vesuvius and Etna. There is very little information on this maker other than that he was Sicilian and active in Naples in the second half of the 19th century and came from a family of sculptors. He was asked to produce works for the church of San Nicolò l' Arena in Catania and for the cathedral of Acireale. Rare signed examples by this maker are in the Museum of San Martino, Villa Rosebery and the Royal Palace in Naples. It is not possible to ascertain if the current lot is signed as it is set into a later oak table.Cali was the innovator of the use of lavic stone in his compositions. The Sicilian scientist Giuseppe Alessi was impressed by the works of Cali, writing thus  "...the peridot crystals...mixed with the Etnea lava .., provided a beautiful material for their craftsman...".A marble and pietre dure panel signed by Cali and dated 1886, with a scene of the eruption of Mount Etna, Da una Dimora di Palazzo Farnese, sold Sotheby's, Milan,18 May 2004, lot 240.  Another example centred with a view of the port of Catania, in the background Mount Etna erupting, on the right the city of Acireale and with Motta San' Anastasia with a similar border sold Sotheby’s, London, 27 April 2010, lot 74, £15,000.Condition Report: The top - the lower right corner with losses to the inset square specimen and the border.  An in-filled corner to the square above this.  Further losses to the right edge and historical in-fill at this point.  The mottled marble border to the three pictorial panels has small flat losses in places which are hardly visible to the eye.  Miniscule losses in areas overall consistent with age and use.  The top is fixed into the later oak base and it is not possible to remove to examine the underside.The table base has some sun bleach, scratches, stains and old gouges throughout, signs of old woodworm, piece of moulding missing from one leg, some small splits to wood, structurally sound, overall good condition.

Pentax Cameras ME Super with Vivitar f3.5-5.6 28-210mm lens; K1000 with Tamron f3.5 35-70mm lens; istDS with DA f3.5-5.6 18-55mm lens (both boxed); Pentax-M d1.7 50mm and Tokina f2.8 24mm lenses and a few other items

Saint Placidus (c. 515- c. 550). I tre libri della vita di S. Placido monaco, et martire, et de' compagni suoi, composta da Gordiano Discepolo di S. Benedetto, et per D. Gio. Battista da Crema monaco Camaldolese di Latino tradotta nella comune lingua volgare, a contemplatione delle Riverende Monache di S. Parigio in Treviso osservantissime, [?Venice], 15 August 1562, 119 leaves manuscript on thick paper, plus approximately 40 blank leaves, written in a neat hand with foliation throughout, occasional spotting, Palazzo Pitti exhibition note in pencil and paper ticket with manuscript inscription, ‘Principe Diego Pignatelli Angio’ to front pastedown, burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey beneath, gilt-gauffered edges (some gathers starting), contemporary Venetian red morocco gilt over wooden boards with bevelled edges, roll-tooled borders, the central panel decorated in gilt with leafy tools to centre-and-corner design, the ground of the centre and corners filled with gold dots, one tooled leather clasp (three others missing), some worm holes and edge wear, spine tooled in blind with leather label and gilt hatching to raised bands, slight wear at head and foot of spine, 4to (225 x 160 mm)QTY: (1)NOTE:Provenance: Diego Pignatelli Aragona (paper ticket); Palazzo Pitti exhibition, Florence, 1922, no. 262 (pencil note); W. A. Foyle, Beeleigh Abbey (bookplate).An old auction catalogue description loosely inserted in the book notes: ‘For similar bindings with the decoration partly dotted, cf. Tessier sale at Munich, 21 May 1900, lot 560, a binding dated 1575 with the name of one of the Donato family, and lot 187 in a sale at Hoepli's, Milan, 3 May 1928. Pitti Exhibition, 1922, no. 262.’Along with Saint Maur, Saint Placid is one of the earliest and closest followers of Saint Benedict. This biography recounts Placid’s life in three books, from birth to his martyrdom and includes lamentations and praises for him. Originally written in Latin by Gordianus this Italian translation was printed at least twice, the earliest edition noted being published in Venice by Fratelli Guerri in 1583.The Passio S. Placidi, written by 'Gordianus', is really the work of Peter the Deacon, a monk of Monte Cassino in the twelfth century. The writer confused Saint Placidus with the earlier Placitus, who was martyred in Sicily under Diocletian. Having thus made St. Placidus a martyr, he proceeds to account for this by attributing his martyrdom (anachronistically) to Saracen invaders from Spain, understandable if Peter the Deacon was writing in the aftermath of the Moslem invasions of Sicily. The translator, Giovanni Battista da Crema , born Giovanni Battista Gentili (flourished 1521-1560), was a Camaldolese monk. The earliest printed translation Vita di S. Placido monaco, et martire, diuisa in tre libri ... Tradotta di Latino in lingua volgare, dal R. P. D. Gio. Battista da Crema ... Nuouamente posta in luce dal R. Padre D. Sebastiano da Fabriano, was published in Venice in 1583.

Scriptores Historiae Augustae. [Part Two only:] Aelii Spartiani. De Vita Hadriani imperatoris ad Dioclitianum Augustum, Venice: Giovanni Rosso da Vercelli, 15 July 1490, 106 leaves (A8, B-Q6, R8) in roman type with blank spaces for capitals, contemporary annotations to margins in brown ink to 22 leaves (noting historical figures, prodigies, filling in several capital letters, and adding several further comments), first leaf with blank margins replaced with later laid paper (minimal loss to extreme upper right corner of the first two lines of title, with loss of two letters), some minor marks elsewhere, single wormhole to lower centre of the text throughout, not affecting legibility (with old repair to the holes in signature A), gilt edges with old manuscript title in brown ink to fore-margin, burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, gilt inner dentelles, late 19th or early 20th-century brown levant full morocco by David, folioQTY: (1)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate). Hain-Copinger 14563; Polain 3474. Proctor 5127. BMC V, 417. Goff S 342. Walsh 2214.The second part (of two) of one of the earliest printed editions of the Scriptores Historiae Augustae, the lives of the Roman emperors taken from various authors, including Suetonius, Aelius Spartianus, Julius Capitolinus, Flavius Vopiscus, Paulus Diaconus and others, compiled around the 4th century A.D. The first part, Suetonius' Vitae XII Caesarum, (66 leaves, a-c8, d-k6) not present here, was also published separately. The second part includes Aelius Spartianus, De vita Hadriani; Julius Capitolinus, Vulcatius Gallicanus, Aelius Lampridius, Trabellius Pollio and Flavius Vopiscus: De regum ac imperatorum Romanorum vita; and Eutropius and Paulus Diaconus, Historia Romana. Despite the uncertain authorship of the original text, it is the only continuous account in Latin for much of its period and remains a valuable primary source for historians.

Leonardus de Utino. Sermones quadragesimales de legibus fratris Leonardi de Utino sacre theologie doctoris ordinis predicatorum, Vicenza: Impensa [et] diligentia maxima Stephani koblinger de Vienna impressum hoc op[us] p[re]clarissimu[m] Vince[n]tie octauo cale[n]d[as] decembris. MCCCCLXXViiii [24 November 1479], 403 (of 404) leaves, a2-10, b-s10, t8, v-y10, 1-2 8, 3-19 10, lacking the first leaf (a1), which is blank to recto but has a Table to verso, text printed in Koblinger's types 2:150G and 3:74G, in double column, 52 lines per column, capital spaces, rubricated throughout, larger red initials and numerous small initials in red, primary initial on a2 recto unrealised, burgundy morocco gilt book plate of W. A. Foyle, Beeleigh Abbey to front pastedown, scattered contemporary marginal annotations in brown ink, light soiling to recto of first leaf, a5 with some creasing to blank fore-margin, a few minor marginal stains and small repairs (small repairs, not affecting text, minor paper repair to head of inner margin of a5-6, s8-10 with stain to lower outer blank margin, z4 with small paper repairs to lower blank margin, 7 9-10, and 8 1-2 with small paper repairs and associated stain to lower outer margins, light water stain to lower outer corners at rear of volume), early 20th-century Italian limp full vellum, lettered by hand to spine (endpapers renewed), thick Chancery folio (290 x 195 mm)QTY: (1)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate).GW M17926; Goff L148; BN 15th century VII 1043 (IB.31825); BSB-INK L124; Bod-inc L077.Rare: only two auction records of this edition located (Catawiki, 2021 and Christies New York, The Knakles Collection of Incunabula, 17 April 2000, lot 151.The collected sermons of the famous Dominican Friar Leonardo Mateo da Udine (died 1469). Leonardo delivered sermons across Italy, including Rome, Florence, Venice and Milan, and served as professor of Theology and rector of the Dominican school at Bologna before he became prior of the Convent of St Dominic, also in Bologna.The second of four books printed at Vicenza by the prototypographer of Vienna. This edition of the Udine Dominican Leonardo's popular sermons is a page-for-page reprint of the first edition, printed in 1473 at Venice by Franciscus Renner and Nicolaus de Frankfordia. Koblinger probably trained in Renner's office, since the material and texts of all three of Koblinger's signed Vicenza editions show connections with Renner, including the unusual method of signing using the alphabet (a-y) followed by arabic numerals. The two gothic founts used in both this and Koblinger's 1480 edition of Utino's Sermones de sanctis vary only slightly from types of the same size used by Renner up until 1477-1478. Koblinger presumably acquired the punches and/or types after the dissolution of the Renner-Frankfordia partnership in 1477. By 1481 Koblinger had returned to his native Vienna, where he was almost certainly responsible for the production of a German-Italian vocabulary and 7 or 8 other unsigned tracts, printed in 1482 and 1485.Koblinger printed only a handful of books including the first ever issued in Vienna. The sermones is the second of just four known works printed by Koblinger in Vicenza, before he returned to Vienna in 1481. There he published the Vocabolista Italico-Tedesco, the first book to be published in Vienna.

IMPRESSIVE MAINLY FINE MH COLLECTION OF BRITISH COMMONWEALTH, for countries from Seychelles to Zululand, many useful mid period sets to top values amongst which we note; Seychelles 1912, 1917,1921 and 1952 sets, Sierra Leone 1921 set to 10s, 1933 Wilberforce to 10s, Somaliland Prot 1903 sets, 1904, 1905, 1912,1921, 1938 & 1951 sets, Southern Nigeria 1901, 1904 1912 sets, St Kitts and Nevis 1921 and 1952 sets, St Helena 1924 badge set to £1 (less 15s), 1934 and 1938 sets, St Lucia 1936, 1938 and 1949 sets. SWA 1931 bilingual pairs set, Swaziland 1933 and 1938 set, Tristan Da Cunha 1952 set, Tanganyika 1922 Giraffes set (hi values all sideways wmk) Trinidad and Tobago 1922 values to £1, Turks & Caicos 1950 set, BVI 1899,1938,1952 sets, Zululand 1894 to £1 etc

[Samaritani (G.L. da)] [Raccolta di Costumi Napolitani], no title or text, 20 hand-coloured lithographs of streetsellers & tradesmen etc., some light marginal soiling, several with slight water-staining to top edge, broken and loose, contemporary roan-backed embossed-paper boards, rubbed, spine a little worn, preserved in modern cloth portfolio, morocco label, [Bobins 1512; cf.Colas 2635, 18 plates, c.1825], tall 8vo, [Naples], [1846].⁂ Including water-carrier, Pulcinella (including title and date), cane chairmaker, public scribe, cobbler, and sellers of watermelons, strawberries, eggs, pizzas, pasta etc.

A polished bronze tripod censer, 17th/18th century, the compressed globular body on three short feet and cast with a pair of high loop handles, base with six character ‘da Ming Xuande nain zhi’ mark to base (fitted wood ying and yang stand),

TAYLOR'S 1987 QUINTA DE VARGELLAS AND WARRE'S 1984 QUINTA DA CAVADINHA PORT Taylor's 1987 Quinta de Vargellas - 20.5% ABV / 75clWarre's 1984 Quinta da Cavadinha - 20% ABV / 75cl Qty: 2

British Commonwealth stamps: white bag of 2 empty, unused Prinz and Stelero stockbooks with unmounted mint commemorative issues of 1970s/1980s from GB regions (including Channel Islands), Gibraltar, St. Vincent and Tristan da Cunha, accumulation in 40+ original envelopes with 1 or more stock cards within includes numerous sets up to highest values, this includes Gibraltar arms £5, mini-sheets, sheetlets, souvenir pack & booklets, se-tenant strips/pairs, 100s, with photographs indicative, in addition, signed ‘launch of HMS Invincible cover’.

GB & British Empire/ C’wealth stamps: Simplex & Senator albums (2) with mainly mint QEII definitives and commemoratives, some KGVI to £1/$5 highest value, GB pre-decimal includes various sets and blocks, other dominion issues found in full or part sets in such as Aden, Brunei, KUT, Hong Kong, Malta, Seychelles, Tristan da Cunha and Tonga, good clean collection.

Florentine School, 18th centuryPortrait of Leonardo da Vinciminiature on copper, circular5.5cm diameter, in an ornate Florentine carved giltwood frameCondition Reportoverall: 18 x 15cm

Attributed to Lelio Orsi da Novellara (Italian, 1511-1587)Christ on the Cross;verso, Christ's head and right armstamped with collector's stamp l.r., red chalk, octagonal18 x 15cm, unframedProvenance: Commendatore Genevosio, his stamp (Lugt 545);Bonhams, New Bond Street, London, 8 July 2002, lot 72.Condition Reportoverall: 35 x 27.5cm (mount)The work is attached to a sheet of paper measuring 27 x 20.5cm by a piece of tape applied to the reverse of the top edge. Time staining with small brown spots and speckles, please see images. Light creasing.

TRISTAN DA CUNHA - QEII full set unmounted mint + spares including 5/- and 10/-, SG cat £140

Great Britain 1850 - Envelope posted to Exeter cancelled with diamond 2 London cancel on SG8 1d red sing ring DA/FE-2/1850 cancel blue Exeter/FE3/1850/A cancel

Great Britain 1860-1890 - Assortment earlies (17) stamps mint for sorting also G.V., embossed stamp cut out with Tristan Da Cuna Double Ring complete on piece

Giovanni da Bologna (1529-1608)-school, Hercules and the Centaur, bronze cast, with original gilding (partly rubbed), very fine hand finish, probably by a French sculptor from the 18th century? On later ebonized wooden base with red and grey marble plinths. Total height 62 cm

Giovanni Battista Cima da Conegliano (1459 – 1517) – Circle. Maria with Child in landscape. Tempera on oil on wooden panel. Framed. On the reverse remains of descriptions and wax seales. 46 x 35 cm.

A «Mwana Pwo» Mask, wood, fibers and metal, it has copper rings in both ears, with a religious medal on the left one, a mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, minor defects, 20th C. (3rd quarter). Sculpted by Samuentacuta Utende, Lóvua post, Chitato municipality, Lunda-Norte province, in 1963. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 6 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work entitled "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of the Huambo Town Hall (former Nova Lisboa) - Angola, p. 13. Original work available at https://memoria-africa.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, accessed March 16, 2023 at 11:16. Item number 2, mentioned in the collector's notebook «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo (Jovem)»:"Tattoos: - on the forehead: «Txíngelengele» or «Samanana», a cruciform sign that must be or was a symbol of the Tshokwe people, who still bear it in all manifestations of art; - on the nose: «Cangongo» (small bush mouse, with thin fur, considered a delicacy) - this tattoo serves, in part, to differentiate the Tshokwe from the other peoples of Lunda; - on the chin, cheeks and corners of the eyes: «Mipila» which means traces [...]. Copper rings on the ears («Txijingu»), with a religious aluminum medal on the left one. [...] The masked man's suit is made of mesh and has fake breasts, usually made from gourds. Over the costume they wear a kind of skirt in fabrics of feminine taste and a thick dance belt (muia) applied over the hips, decorated with beads and bells, a belt that is exclusive to women, with the purpose of highlighting the lively movement. from the hips. The choreography of the masked man, who is a professional dancer, is characterized by mime, gestures and woman's steps, in which the voluptuous movement of the hips predominates. In addition to representing Woman, the feminine genius of dance, grace and beauty, it can also represent a spell (Wanga) «Kaponya Ka Pwó» [...] of terrible effects. When a «Mukixi Wa Pwó» dancer dies, the mask should normally disappear with him. Therefore, the heir by matrilineal descent, the nephew, the eldest son of the eldest sister residing in the village (here the avunculocal rule is observed), must take the mask and the garment, wrap them in cloth and leaves, take them to a secluded spot in the forest, usually close to a river bank, dig a deep hole and bury them carefully. When he deposits the mask at the bottom of the hole and starts to pour earth over it to cover it, he utters the following words: “Go and stay with my uncle, whose companion you are. He was a great dancer thanks to you and that's why you should accompany him. I'm going to make another mask to continue my uncle's work, which will certainly help me to be as good as he was»). [...] Mask sculpted by Samuentacuta Utende, relative of Soba Tchissessengue, Posto de Lóvua, municipality of Chitato, Lunda, in 1963. Purchased on the advice of its sculptor, an artist of great fame, who also worked for commissions for the Museum of Dundo, in June 1965, when I visited this Museum [...]." Cf. bibliography referred to by the collector: LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, p. 150; and LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956, (possibly) pp. 40 and 42-43, figs. 42 and 45. A «muia» is essentially an exterior belt - cf. SANTOS, Eduardo dos - "Sobre a «Medicina» e a Magia dos Quiocos". In "Estudos, Ensaios e Documentos nº 80". Lisboa: Junta de Investigações do Ultramar, 1960, p. 68. For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (as "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (as "Masque Pwo"/"Pwo"); The catalog "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nº 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 and 153, nºs 11-15 (as "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; and https://www.metmuseum.org/art/ collection/search/319264?ft=Pwo&offset=0& ;rpp=40&pos=1, consulted on March 14, 2023 at 15:37, Dim. - 22 cm

A Kisanji, a wood and iron lamellophone, double lamella frieze, engraved decoration "Geometric motifs", partly representing the «Capuita» symbol, lower lamellae with wax compound for tuning, Angolan - Tshokwe, 20th C. (1st half), minor defects, patine wear, back with signature of Soba MUFUPO, purchased in Lumeje on 5-30-1970, from soba Mufupo (Luena). Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 1 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, p. 10. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16 am. Item number 137, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças» , identified there as «Quissanje  Lungando»: "Decoration: 4 rectangles juxtaposed with equal decorations along the diagonals. The upper left and lower right with the motif «Capuita» (see nº5); the other two with skewed chess squares forming small lozenges with an excavated centre. On the back face, another «Capuita» symbol with ornamentation different from those on the face, within a rectangle [...]. Below this rectangle is roughly engraved(?) the signature of its owner "Mufupo". According to Redinha, the designation of this type of kisanji derives from its low sound. [...] Purchased in Lumeje on 30.5.70, from Soba Mufupo (Luena) [...]." Cf. bibliography referred to by the collector - REDINHA, José - "Campanha Etnográfica ao Tchiboco (Alto-Tchicapa) - Anotações e Documentação gráfica", volume 2. In "Diamag - Publicações Culturais nº 19". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1955, p. 20. "Finely crafted musical instruments, combs, pipes, axes and stools may include elaborate figurative and/or abstract motifs and belong to whoever can afford to obtain them." - cf. JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". Lisboa: Museu Nacional de Etnologia, 2000, p. 114. Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 and 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 26,6 x 14,8 x 0,9 cm

A Kisanji, wood and iron lamellaphone, engraved decoration "Capuita Symbols" on vertical friezes, Angolan - Tshokwe (related peoples), 20th C. (1st quarter), later varnishing, faults and defects, great patina wear, offered by Father Robalino, Superior of the Mission of Our Lady of Victories of the Benedictines - Luena (former Luso), Moxico Province. Notes: Provenance: Collection of Engenheio Elísio Romariz dos Santos Silva Fig. 3 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, p. 11. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx? q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 145, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças» identified in it as «Quissanje Txa-Nbunda»: "The base of the quissanje has edges turned upwards as used by the Bundas, however I cannot say that this item is from this ethnic group. ...]. Piece offered by Father Robalino [...] Superior of the Mission of Our Lady of Victories - Luena (former Luso), Moxico province [Luena], of the Benedictines, who didn't tell me where he had picked it up. (1972). Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 e 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 24,2 x 15,3 x 1,3 cm

SIMÃO DA VEIGA - 1879-1963, A Campino on horseback, oil on canvas, small restoration, signed, Dim. - 90 x 110 cm

SIMÃO DA VEIGA - 1879-1963, A harvester woman, oil on canvas, signed

SIMÃO DA VEIGA - 1879-1963, A fado singer, oil on canvas, signed, Dim. - 24,5 x 18,2 cm

SIMÃO DA VEIGA - 1879-1963, A harvester woman, oil on canvas, minor defects on canvas, signed. Notes: the work is reproduced in CARVALHO, Maria de Lurdes Reis V. - "Simão da Veiga. Pintor Naturalista (1879-1963)". Lisbon: Scribe, 2020, p. 109, no. 137., Dim. - 100 x 80 cm

A kisanji, wood and iron lamellophone, carved decoration with geometric motifs "Messo-ia-issacala", Angolan - Tshokwe, 20th C. (1st quarter), missing lamellae, minor defects, patine wear, purchased in a village north of Munhango (about 20 km) in 1965. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 143, referred to in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Quissanje Kakolondondo»: "Decorated with incisions with a motif bearing the name of «messo-ia-issacala», which represents the eyes of the «issacala» bird through the bars of a cage.[...] Purchased in a village north of Munhango (about 20 km) in 1965 [...] Others kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 e 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 17,5 x 10,4 x 0,8 cm

A kisanji, wood and iron lamellophone, carved decoration "Geometric motifs" and "Capuita Symbol", Angolan - Tshokwe, 20th C. (1st quarter), major fault on the lower edge of the platform, other minor faults and defects, purchased in a village north of Munhango (about 20 km) in 1965. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 2 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, p. 11. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 144, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Quissanje Txa-Nbunda»: "The quissanje platform has the edges turned upside down and is used by the bundas. However, given the place where it was purchased, I am not sure that this piece is of bunda origin. Decorated with incisions forming 4 juxtaposed rectangles all decorated with the "Capuita" motif ( see no. 5). In the verticals of the total rectangle and in the intersection of the median circular decorations. The upper part, above the keys, is decorated with a frieze with 3 lozenges [...] Purchased in Munhango, in a village located 20 km to the north, in 1965 [...]. Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; em SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 and 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 24,4 x 13,7 x 1,8 cm

A kisanji, wood and iron lamellophone, carved decoration "Cauris", Angolan - Tshokwe, 20th C. (mid), small cracks, minor defects, patine wear, purchased at Lumeje on 30-05-1970. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 136, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Quissanje Kakolondondo»: "Decoration: rectangle with 3 incisions on the contour with inside arcs of circumference forming a design inspired by the «Cauries», which in time served as currency. According to J. Redinha, the name of this kissanji derives from its crystalline sounds, such as the voices of girls. [...] Purchased at Lumeje on 30.5.70 [...]." Cf. Bibliography referred to by the collector - REDINHA, José - "Campanha Etnográfica ao Tchiboco (Alto-Tchicapa) - Anotações e Documentação gráfica", volume 2. In "Diamag - Publicações Culturais nº 19". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1955, p. 20, where it is mentioned that "Kisanjis or Hand Pianos - There are different types found in Tchiboco […] This fact is explained by the reason that the kissanjis are objects that travel far in the hands of walkers, who use their compass to make walking easier. It happens, from time to time, that they leave them at the most diverse points, exchanged for articles, given or sold." Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 and 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 12 x 8,2 x 0,7 cm

A Kisanji with gourd, wood and iron lamellophone, with gourd (which works as a resonance box), carved decoration "Geometric motifs", Angolan - Tshokwe, 20th C. (mid), missing a lamella, minor defects, major patina wear, purchased in Mucussueje (Moxico) on 18-3-1971. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 4 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, p. 12. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 148, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Kakolondondo»:"Decoration by incisions - rectangle with 3 motifs; the central one is reminiscent of a stylized "mucupela" 2-stroke drum. Above the rectangle are three circumferential arches. [...] Purchased in Mucussueje [Moxico], on 18.3.71 [...]. According to José Redinha "The kisanjis «lungando", «muiemba», «kakolondondo», «tchakel» and «saso» usually apply sounding boards made of gourds." - cf. REDINHA, José - "Campanha Etnográfica ao Tchiboco (Alto-Tchicapa) - Anotações e Documentação gráfica", volume 2. In "Diamag - Publicações Culturais nº 19". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1955, p. 20. Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 and 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook". Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - (quissanje) 11,6 x 7,3 x 0,5 cm

MARIA HELENA VIEIRA DA SILVA - 1908-1992, Untitled, gouache on paper, signed, dedication PARA ANTÓNIO RAMOS ROSA, COM MUITO CARINHO E AMIZADE, MARIA HELENA, signed and dated 19.II.82 on the back. Notes: Accompanied by a copy of the interview given by the poet António Ramos Rosa to "Olá Semanário" magazine, under the heading "Um quadro da minha vida" reproduced below, in which the poet expressly mentions that (...) Este guache de Vieira da Silva foi-me oferecido depois de eu ter escrito um poema sobre a sua pintura (...). Cabral Moncada Auctioneers thanks the Comité Arpad Szenes - Vieira da Silva, on the person of Virginie Duval, who indicated the name and date of the poem by António Ramos Rosa: “Um espaço de silêncio", 1981., Dim. - 26,5 x 20,5 cm

A kisanji, wood and iron lamellophone, carved decoration "Geometric motifs", Angolan - Tshokwe, 20th C. (1st quarter), missing lamellae, minor defects, patine wear, purchased from Samoroci of Sanzala Muanachina - right side of C.F.B railway at km 1056, near Luena (former Luso) - on July 12, 1974. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 221, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Quissanje»: "Decoration: a rectangle flanked by 6 lines(?) arranged parallel to the longer sides [...] the rectangle is decorated with incisions. 4 next to the longer sides (4+4); in the central part incisions (approximately) 30º forming in the central part a lozenge and 6 triangles. [...] Purchased from the same person as item 220 (Samoroci of Sanzala Muanachina, right side of the C.F.B railway at km 1056, near Luena [former Luso]) and on the same date (12. July. 1974) [...]." Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 e 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 13 x 9,5 x 0,5 cm

Four different combs, wood, carved decoration "Geometric and anthropomorphic motifs", Angolans - Tshokwe (related peoples), 20th C. (mid), faults and defects, patina wear, purchased: two in Luena in 1965 and 1970; one in Lumeje in 1967; and another one at Munhango in 1966. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, these combs correspond to items with numbers 5, 81, 82 and 83 mentioned in the notebook of the collector «Angola - Arte Negra, relação e descrição das peças». Item nº 5 is identified in this notebook as «Pente Txissaculo - pl - Issaculo», items nº 81, 82 and 83 are each identified as «Txissaculo». With regard to item number 5, it is mentioned that: "The hexagonal handle has, on the front part, engraved a face (two eyes, nose and mouth) and, contouring the sides of the polygon, two grooves; on the back part geometric drawings: two lines of small rectangles limited on the upper side by three grooves and on the lower side by four.The front side of the crosspiece is decorated with a drawing called «Caputita» or «Tupuita», often used in tattooing. Abbot Brevil interpreted it as being the schematic representation of the woman. H. Baumann, who found it in almost all the Bantus in Africa, interprets it as the man and the woman in copulation. On the back, the rectangle is divided by its diagonals and the triangles formed are decorated with grooves, some vertical and others parallel to one of the diagonals. [...] Item purchased from a Luena woman, in the sanzala of Soba Nacalunda, south side of the concentration of populations of Lumeje, on 30. Maio. 1970 [...]. Cf. Bibliography referred to by the collector: LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956, pp. 37-38. No. 81 is described as containing "Crosspiece decorated with incisions surmounted by a rod that has a carved head on top. [...] Purchased in Luena in 1965 [...]. The piece with no. 82 is described, containing a "Crosspiece decorated on the front side with incisions representing «Couris», surmounted by a rod with a carved head. [...] Purchased in Lumeje in 1967 [...]." No. 83 is referred to in the notebook, containing a "Crosspiece decorated with incisions, surmounted by a rod with a carved head. [...] Purchased in Munhango in 1966 [...]." "Musical instruments, combs, pipes, axes and finely crafted stools may include elaborate figurative and/or abstract motifs and belong to anyone who can afford to get them" - cf. JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". Lisboa: Museu Nacional de Etnologia, 2000, pp. 92 e 114-115. "Native-made combs are still very common in the Northeast of the Province, not least because their usefulness has intensified a lot in the last few decades, due to the disuse of the old red clay headdresses, which dispensed with daily care with the hairstyle. This type of headdress also influenced the disuse of hairpins, which are now replaced by combs. The ulotric hair of Africans admirably allows for the most varied headdress fantasies, and the comb is therefore a very useful piece. It also serves as an adornment, nailed in a suitable way, in the hair. For this reason, it is common for the crosspieces on the combs to feature cute carved decorations, sometimes with openwork, sometimes surmounted by small representations of women's heads, full-length human figures, birds and other motifs. There are two types of combs: those with staff sticks held together by fibers of cajana (a kind of reed), and those made of wood, whole, with teeth carved from a spared crosspiece that serves as a base."- cf. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, pp. 26-27. Other combs are represented in SANTOS, Soraia Ferreira (coord.) - "Herança Secular dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 129, nº inv. 2004.R.25; in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 157; in JORDÁN, Manuel. “Chokwe!- Art and Initiation Among Chokwe and Related Peoples”. Munich/London/New York: Prestel-Verlag, 1998, s/p, nº 52; in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 242, nº 164; and in the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lot 46., Dim. - (o maior) 19 cm

Five different combs, fibers, braided decoration "Geometric motifs", Angolans - Tshokwe (related peoples), 20th C. (2nd half), faults and defects, patina wear, four purchased in sanzala of Muata Sabumbo, in June 1965, another in Luacano in 1966. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, these combs correspond to items number 71, 72, 73, 74 and 89 mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças» and each one identified in it as «Txissaculus». The collector mentions that items numbered 71, 72, 73 and 74 were purchased under the same conditions, so it is assumed that the three items were then purchased at sanzala of Muata Sabumbo(?), in June 1965. Item nº 89 is described in the notebook as a "Crosspiece decorated with incisions [...] Purchased at Luacano(?) in 1966 [...]. " Other combs are represented in SANTOS, Soraia Ferreira (coord.) - "Herança Secular dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 135, nºs inv. 2004.R.70 e 2002.R.285., Dim. - (o maior) 18 cm

A «Mwana Pwo» Mask, wood, fibers and metal, It has metallic rings in both ears, a mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (mid), faults and defects, purchased in Dundo, Lunda-Norte, in 1965. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Figs. 10 and 11 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, pp. 14-15. Original work available at https://memoria- africa.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 3, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo»: "Tattoos: - on the forehead and chin: «Mupila» (dash); - on the cheek: «Misoji (tears), «Lumba» (wheels) and cruciform marks; - on the chin and next to the lips: «Mipila» (singular «Mupila»); - on the nose: «Cangongo». Separating the "trilobed" hairstyle from the forehead is a row of 9 round brass studs. Two hoops to make earrings. [...] [...] Purchased on the outskirts of Dundo - Lunda, in June 1965, after a long week of talks and negotiations [...] and a new mask that had been offered to me by the Dundo Museum and executed by its private sculptors". The hairstyle depicted on the mask may be the "Kalarika" hairstyle, which is a Tshokwe hairstyle worn by women - vd. SANTOS, Eduardo dos - "Sobre a «Medicina» e a Magia dos Quiocos". In "Estudos, Ensaios e Documentos nº 80". Lisbon: Junta de Investigações do Ultramar, 1960, p. 130, fig. 124-125. For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (as "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (as "Masque Pwo"/"Pwo"); The catalog "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nº 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 and 153, nºs 11-15 (as "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; and https://www.metmuseum.org/art/ collection/search/319264?ft=Pwo&offset=0& ;rpp=40&pos=1, consulted on March 14, 2023 at 15:37, Dim. - 17 cm

Four different combs, wood, carved and pierced decoration "Geometric motifs", Angolans - Tshokwe (related peoples), 20th C. (mid), minor defects, patina wear, purchased: on the outskirts of Luena (former Luso), in 1967; two in Cangumbe, in 1968; and in Lubango (former Sá da Bandeira), in 1969. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, these combs correspond to items numbered 100, 104, 107 and 132 mentioned in the notebook of the collector «Angola - Arte Negra, relação e descrição das peças». Items nº 100, 104 and 107 are each identified as «Txissaculo», item nº 132 is identified only as «Comb». Item No. 100 is mentioned, containing a "Crosspiece decorated with incisions, triangular on one side and semi-circular on the other. Crosspiece surmounted by 3 small rods" [...] Purchased on the outskirts of Luena [former Luso] in 1967 [. ..]. No. 104 is described in the notebook, containing a "Crosspiece decorated with incisions, surmounted by two stems in the shape of an elephant's foot. [...] Purchased in Cangumbe, in 1968 [...]." Item number 107 is also mentioned in the collector's notebook, containing a "Crosspiece decorated with incisions; herringbone on one side and horizontal and crossed on the other side; surmounted by a rod in the shape of a lizard's head [...]. Purchased in Cangumbe in 1968 [...]." Item nº 132 is described, containing an "M-shaped crosspiece, decorated with incisions, forming an "M" and a triangle; the crosspiece is pierced by two symmetrical cuts (>

Two different combs, wood and pigments, carved decoration "Geometric motifs"., Angolans - Tshokwe (related peoples), 20th C. (mid), minor defects, patina wear, one purchased in the village of Caviva (approximately 31 km south of Cubal), in May 1965, the other purchased in Lubango (former Sá da Bandeira), in 1969. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, items numbered 129 and 133 referred to in the collector's notebook «Angola - Arte Negra, Relação e descrição das peças», each identified as «Pente»: Item nº 129 is described, containing a "Crosspiece in the shape of a bell decorated with incisions; on one side, an animal with horns (possibly an ox); on the other 4 lozenges in a cross connected by their apexes. The edges of the bell are decorated with two bands of incisions. [...] Purchased in the village of Caviva (approximately 31 km south of Cubal) in May 1965 [...]." Item number 133 is referred to in the notebook, containing a "Crosspiece decorated on one side only, rectangular with rounded corners; the decoration is made by incisions - at the centre two ribbons in small pyramidal spikes with a square base (3 series on each ribbon); The sides are decorated with the same spikes forming lozenges. [...] Purchased in Lubango (former Sá da Bandeira) in 1969 [...].", Dim. - (o maior) 17,3 cm

CONSTITVUIÇÕES | SINODAES DO BIS- | PADO DE VISEV FEITAS, | E ORDENADAS EM SYNODO PELO | ILLVSTRISSIMO, E REVE- | rendissimo Senhor Dom Ioão Manoel | Bispo de Viseu, & do Conselho de | Sua Magestade.- Em Coimbra: Por Nicolao Carualho Impressor da Vniuersidade, 1617.- [24], 377, [3 br., 2, 2 br.], 156 p.: 1 portada gravada; 27 cm.- E., Third edition of the «Sinodaes Constitutions» of the Diocese of Viseu, the first two having been printed in 1527 and 1555, respectively, under D. Miguel da Silva and D. Gonçalo Pinheiro. The last 156 pages are part of the “Regulation of the Auditorio Ecclesiastico”. The copy, slightly cropped, preserves the architectural allegorical frontispiece, copperplate print, slightly handled and with imperfect margins, which is missing in most copies; outer corners with small flaws in the first 12 leaves. It is, however, complete and, in general, clean. Full flexible parchment binding, a little wofrn and lacking free endpapers. Inocêncio II, p. 107. Arouca, C 556.

ROSÁRIO, Frei Diogo do, O.P. (trad.)- SVMMA | CAYETANA TRESLADADA | em Portugues, com muytas Annotações, & casos | de consciencia, & Decretos do sagrado | Concilio Tridentino: | Pollo Padre Frey Diogo do Rosayro, da ordem de | São Domingos, Por mandado do muy Illust. & Re | uerendiss. Senhor Dom frey Bartholamau dos Mar | tyres, Arcebispo & Senhor de Braga, rimas das | Espanhas, &c. | [gravura] | ¶ Foy vista & examinada...- Impressa em Coimbra: por Antonio de Maris, Anno 1573.- [12], 442 f.; 14 cm.- E., The Dominican Fr. Diogo do Rosário, born in Évora, was prior in the convent of Guimarães, the city where he died in 1580. Fr. Diogo Diogo had a close relationship with D. Fr. Bartolomeu dos Mártires who commissioned him to publish a new legendarium (Braga, 1567) which was reprinted several times, as well as the translation of the “Summa Caietana”, by the Dominican exegete, theologian and Italian cardinal Tommaso de Vio (1469-1534). In fact, at least six Portuguese editions of the Rosarian translation of the “Summa” are known (Lisbon, 1557, 1560; Coimbra, 1566 and 1573; Braga, 1565 and 1566), the present one being probably one of the rarest, since there is no copy in the National Library or in the Biblioteca de D. Manuel II. Copy slightly cropped, with some restorations on the title page, slightly affecting the text on front and verso; Minor restorations on subsequent leaves. Binding from the 20th century (probably from the workshop of Mestre Império Graça), with blind tooling on the covers and spine. Anselm, 863.

SEMEDO, João Curvo.- Polyanthea medicinal: noticias galenicas, e chymicas, repartidas em tres tratados...- Quarta vez impressa / por seu filho o Reverendo Ignacio Curvo Semmedo.- Lisboa Occidental: Na Officina de Antonio Pedrozo Galram, 1727.- [60], 879, [1 br.], 32, [4], 11, [1 br], [1, 1 br.] p.: 1 portada grav., 2 retratos grav.; 29 cm.- E., João Curvo Semedo (1635-1719), born in Monforte, a physician of great fame and experience, bequeathed us an extensive bibliography in the specialty, in Portuguese, which was a pioneer in Portugal. The edition is illustrated with a frontispiece engraved with the coat of arms of the dedicatee, a portrait of Cardinal de Sousa (dedicate) and another of the author, before the beginning of the text. The volume includes, at the end (32 p.), a «Memorial de varios simplices que da India Oriental, da America. & de outras partes do mundo vem ao nosso Reyno...", followed by the "Manifesto aos amantes da saúde" (11 p.); the last page, printed only on the front, contains some rare "Advertencias dignas de serem sabidas", of the responsibility of the author's son. Slightly handled copy, with a slight trim to the head. Contemporary binding, full sheepskin, a little worn, preserving the original endpapers. Inocêncio, III, p. 357.

MARCOS DE LISBOA, Frei, O.F.M.- PRIMEIRA | PARTE DAS CHRO | NICAS DA ORDEM DOS FRA- | DES MENORES DO SERAPHICO PADRE | Sam Francisco, seu instituidor, & primeiro | Ministro geral : | que se pode chamar | Vitas patrum dos Menores. | [gravura xilográfica] | Copilada & tomada dos antigos liuros & memoriaes | da ordem, per frey Marcos de Lisboa frade Menor, | da prouincia de Portugal. &c. | Impressa com licença do conselho geral da | sancta Inquisição, & do Ordinario. |1587. |A custa de Ioam de Espnha | & Miguel de Arenas | Liureiros.- [No final] Foy impressa em Lisboa, per Antonio Ribeyro, Anno de 1587.- [12], 248 f.; 26 cm.- E. Junto com: -----.- PARTE SE- | GVNDA DAS CHRONICAS DA | Ordem dos frades menores & das ou | tras orde[n]s segunda & tercei | ra, instituidas na igreja | per o sanctissimo Pa | dre sam Fran | cisco. | [...] | ¶ Nouamente copilada & ordenada dos anti- | gos Liuros & Hystoriadores & memoria | es da ordem, per frey MARCOS de Lis- | boafrade menor da prouincia de | Portugal da obseruãcia, peraglo | ria de nosso Senhor & de se- | us sanctos, & edificaçam | das Almas. | ¶ He repartida esta parte em dez Liuros pera | mays clareza da Hystoria. | ¶ Com priuilegio. Vendese a quatorze | vinte[n]s e[m] papel, e[m] casa de Ioã de Borgonha.- [No final]: Lisboa em casa de Ioannes Blauio, [1562].- [6], CCLXXXVI f.; 29 cm.- E., Fr. Marcos de Lisboa OFM, (1511-1591) was a chronicler of the order and accompanied King D. Sebastião in 1574, on his first journey in Africa; later (1581) he became bishop of Porto. His «Crónicas da Ordem dos Frades Menores», achieved great editorial success, as for the 16th century alone we have news of four editions in Portugal, seven in Spain and about 17 in Italy (of its various parts). Complete set, consisting of two volumes of different editions. The first was printed by António Ribeiro in 1587 (the only volume published by this printer); the second, almost entirely composed in gothic characters, was printed by the German João Blávio de Colónia, in 1562, and the same printer also published the first volume (first part), in 1557, which is not included in this set. Slightly trimmed volumes, with slight browning and occasional minor stains; Title pages with Livraria de Alcobaça stamps covered with paper patches; both title pages, slightly used, with reconstructed margins and two antique ownerships. Bindings from the 18th century(?), full sheepskin, identical, slightly worn, with traces of wormholes. Initials F.I.M. engraved in gold at the foot of the spine of the first volume (and possibly the second, with a small flaw in the same place). Anselmo, 975 and 319. Biblioteca Nacional (16th century), 479 and 476. Biblioteca de D. Manuel II, 281 (for the 2nd and 3rd parts, not referring to the edition by António Ribeiro).

HENRIQUES, Francisco da Fonseca.- Medicina Lusitana, socorro delphico, aos clamores da natureza humana, para total profligaçaó de seus males; [...] Obra tripartida. Na primeyra parte se trata da Vida do Homem antes de nacer. Na segunda da arte de criar, e curar minimos, desde que nacem até serem adultos, e do methodo racional para curar a mayor parte dos males, que padecem os homens. A terceyra parte inclue hum tratado das febres...- Segunda impressaó, correcta, e aumentada pelo seu author...- Em Amsterdam: Em Caza de Miguel Diaz. Anno 1731.- [28], 851, [53] p.; 32 cm.- E., The author (1665-1731), also known as Dr. Mirandela, as he was born in this locality, was King João V's doctor. The work, with great success in its time, was first printed in Amsterdam, in 1710, and had a third edition in Porto, in 1751. A slightly trimmed copy, with light handling. Full sheepskin contemporary binding, with new endpapers. Inocencio, II, p. 378. Barbosa Machado, II, p. 148.

DEBRET, Jean-Baptiste.- Voyage pittoresque et historique au Brésil ou séjour d'un artiste français au Brésil depuis 1816 jusqu'en 1831 inclusivement.- Edição comemorativa do IV Centenário da Cidade de São Sebastião do Rio de Janeiro.- Rio de Janeiro: Comemorações do IV Centenário, 1965.- 3 vols.: il.; 55 cm.- B., Jean-Baptiste Debret (1768-1848), French painter and draftsman, lived in Brazil between 1816 and 1831, where he was a painting teacher, eventually becoming director of the Imperial Academy of Fine Arts. Back in Europe, between 1834 and 1839, he published in Paris his monumental «Voyage pittoresque...», illustrated with 153 hand-coloured engravings. This is the facsimile edition, printed in Tokyo, limited to 1003 copies (this one with number 978), based on the original edition, of what many consider the most beautiful book on Brazil. The first volume includes, in addition to a portrait of the author and a map of South America, 36 prints reproducing the lithographs, which mainly represent indigenous customs. The second volume features 49 reproductions (some doubles), a map and a plan of Rio de Janeiro. The third includes 54 prints and a facsimile of a letter from the Emperor. The prints of the last two volumes represent, predominantly, urban scenes. Very clean brochure copy, keeping its original cases intact, with bone clasps.

SOUSA, Manuel de Faria e.- ASIA | PORTVGVESA. | TOMO I. [II & III] | DE MANUEL DE FARIA, Y SOUSA | Cavallero de la Orden de Christo, | y de la Casa Real.- Lisboa: En la Officina de Henrique Valente de Oliveira, 1666-1675.- 3 vols.: il.; 29 cm.- E., First edition of one of the most emblematic works of Manuel de Faria e Sousa (1590-1649), poet, humanist and historian, born in Felgueiras. Complete copy, with the following 19 separate engravings (in the first volume copperplate ones, the rest xylographies). Volume I: Saint Helena, Cochin, Quiloa, Cananor, Sofala, Goa, Malacca, Hormuz, Chaul, Vasai and Diu. Volume II: Mozambique Island, Daman, Manar, Mangalor, Onor and Bargalor. Volume III: Muscat and Macao. The collation of each volume is as follows: I - [32], 396, [42] p; volume II - [8], 968, [2] p. III - [8], 564, [6] p. The three volumes also feature three engraved frontispieces and numerous copperplates prints and xylographies, integrated into the text, representing viceroys and other historical characters. The third volume includes the rare final sheet of errata (with a small restoration in the upper outer corner, slightly affecting some lines) which is missing from some copies. Title engraved from volume I, restored and mirrored, with the lower outer corner reconstructed; last leaf with minor restoration. The three slightly trimmed volumes, with slight browning and occasional minor stains, keep all the engravings very fresh and well folded. Old manuscript ownership in the Title of volume I: Da Congraga[çam] do Oratº do Porto. Recent bindings, full stiff parchment, with the title handwritten on the spines. Inocêncio, V, p. 416. Auvermann, 493. Arouca, S 530, 531 and 532.

A «Mwana Pwo» Mask, wood, fibers, cotton, beads and pigments, mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies., Angolan - Sandando, 20th C. (mid), minor faults and defects, carved by Txiezo Santope of the Sanzala Liangongo (Sandando, Moxico), used in the Sobado of Nhalukatuca of Cassai, Luena, Lunda province. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, piece number 58, referred to in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Lya Pheu» : "Tattoos: on the eyes: «Mutelumuna» which means to look sideways; in the middle of the forehead: variant of «Txiguelenguele» or «Samanana» characteristic of the quiocos (?); at the corner of the eyes and on the chin: «Mupila»; on the faces: two «Puniba» (?) (wheels) with a cross inside connected by «Tubenga» (?) which means something that is not straight or else the schematic representation of the skin of the jaguar or the musical instrument «Txinguvo» . This mask belonged to the dancer golale(?) of the NHALUKATUCA sobado (Luena) of Cassai. The mask was executed by the sculptor Txiezo Santope from Sanzala Liangongo (Sandando). The dancer who owned it called it Muana Pwó, which is the name because it is known among the Tchokwe. Purchased in Kasai (in the village located on the left side of the railway and east of the C.F.B. station) on 27 June 1970 [...]. Note: The mukixi Lya Pheu of the Luena performed the same function as the Mwana Pwo of the Tshokwe, and their masks are structurally identical. From my personal observation, I think I can conclude that a practical way of distinguishing them (in addition to possible identification by tattoos and hairstyles) is by the size of their family. The pure Tshokwe Muana Pwó masks have the face with a pronounced curvature (U). The more the mask moves away from its original formal purity, the more the face presents itself with greater curvature, which happens in Lya Pheu masks. This mukixi was also adopted, with the same symbology, by Bundas (Lya Mumbanda), Luxazes (Lya Mumbanda) and Guenguelas [...]. I don't know the masks of the Luxazes, but those of the Bundas and Guenguelas still have faces with less curvature than those of the Luenas, which confirms my opinion, as those ethnic groups are culturally more distant from the Tshokwe than the Luenas. This criterion seems to me to be still valid for evaluating the purity of the form of the Muana Pwó masks themselves". Cf. and vd. bibliography cited by the collector: LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956; and LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisbon: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 156-157, nº 19, where a «Lya Pheu» mask is represented., Dim. - 20 cm

PRIVILEGIOS | DOS CIDADÃOS DA | Cidade do Porto. | Concedidos & confirmados pellos Reys destes Rey- | nos, agora nouamente por el Rey dom Phe- | lippe II. nosso senhor. | Sendo Iuiz de fora o Lecenceado Rodrigo de Camera. | Vereadores. | Manoel Tauares Pereira. | Diogo Leite de Azeuedo. | Afonso Correea de Azeuedo. | Aluaro Ferreira Pereira. | Procurador da cidade Baptista da Costa de Saa...- No Porto: Em casa de Fructuoso Lourenço de Basto. Anno de M. DC. XI. [1611].- [4], 63, [1 br.] p.; 18 cm.- E., Original edition, featuring on the title page a xylographic engraving with the seal of the city of Porto, from a text that was only reissued in 1878. Slightly trimmed copy (carminated edges), with slight moisture stains (from the tide), especially margins, affecting the second half of the volume. At the end, a sheet is bound with a certificate, dated November 2, 1694 and signed by the city clerk Jerónimo Carneiro de Albuquerque, attesting that Pantaleão da Costa Pereira, resident outside the doors of “sima de villa”, outside the walls of said city [of Porto] is a citizen of the governance of the same city for having served in the position of almotacé. Recent binding, full sheepskin, with gold tooling on the spine and patina, in the style of the time. Inocêncio, VII, p. 24 and XVII, p. 306. Samodaes, 2573. Arouca, P 261.

MACEDO, António de Sousa de.- LVSITANIA LIBERATA | ab Injusto Castellanorum dominio. | RESTITVTA | Legitimo Principi, Serenissimo JOANNI IV. Lusitaniæ, | Algarbiorum, Africæ, Arabiæ, Persiæ, Indiæ, Brasi- | liæ, &c. Regi Potentissimo. | Summo Pontifici, Imperio, Regibus, Rebus-publicis, cæterisque Orbis Christiani Principus | DEMONSTRATA...- Londini: In Officina Richardi Heron, 1645.- [30], 794, [22] p.: il.; 29 cm.- E., First and only published edition of one of the most important titles of the Restoration. The work, of exceptional graphic quality, is illustrated with the following 14 copper plte prints, all of them, with the exception of the title, printed next to the text: 1 - Portrait of D. João IV (f.1v); 2 - Allegorical title (between f. 1 and f.2); 3 - Lusitana (f. A2v.); 4 - Portrait of Count D. Henrique (p. 58); 5 - Apparition of Christ to King D. Afonso Henriques (p. 93); 6 - Portrait of King João I (p. 143); 7 - D. Manuel I, lying down, with family tree (p. 165); 8 - Phoenix Reborn (p. 470); 9 - Dragon curled up at the foot of a fruit tree (p. 542); 10 - King D. João IV on the throne (p. 560); 11 - King D. João IV on horseback (p. 650); 12 - Brigantine winged wyvern on a globe (p. 708); 13 - Coat of Arms of Portugal (p. 764); 14 - Allegory of Fame on obelisk (p. 792). Copy slightly handled and cropped, with slight browning. Mirror portrait of D. João IV (with free endpaper), with marginal imperfections; some engravings cropped by the matrix crease. It is, however, complete, with all the engravings, including the first one which is missing from most of the copies, exactly matching the description of Maria da Graça Pericão, in the catalogue of the Viscount da Trindade collection (220). Rare heraldic ex-libris of Ignazio Zanardi della Virgiliana (1695-1773), Venetian count of the Holy Roman Empire. Full sheepskin binding, with new endpapers and rebuilt spine. Palha, 2956. Samodaes, 3264. Bibliographic Exhibition of the Restoration, 1461.

A ceremonial hatchet, wood and metals, carved decoration "Figures carrying a cage"., Angolan - Holu, 20th C. (1st half), in need of bonding resin, minor faults and defects, purchased in Loremo - Camaxilo, District of Lunda. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 217, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Machadinha Cerimonial» : "Offer from the Administrator of the Pungo-Andongo Post, Mr. Rogério Monteiro Pinto on March 25, 1974. It had been purchased by him[…] in Loremo - Camaxilo, District of Lunda. I had difficulty classifying this item: Camaxilo is a Tshokwe area […], but this item did not fit the style. It was suggested to me that it would be Songo. Dr. António Barros Machado solved the problem with the photographs that he presented in his Monthly Report 7/1970; the photographed item even looks the same at first glance […]. Given the […] similarity between the items I own and the one photographed, if they didn't come from the same sculptor's hand, they are certainly from the same artistic centre". It could belong to a sculptor: "The sculptor's art, 'songi' (derived from 'kusonga', to sculpt), enjoys great prestige. His emblem consists of a small ceremonial adze with a handle shaped like an ornamental human head, which he carries on his shoulder." cf. BASTIN, Marie-Louise - "Escultura Tshokwe". Porto: Faculdade de Letras da Universidade do Porto, 1999, p. 24. Vd. similar hatchet in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 37, nº 4. "Finely crafted musical instruments, combs, pipes, axes and stools may include elaborate figurative and/or abstract motifs and belong to whoever can afford to obtain them". - cf. JORDÁN, Manuel - “Os Tshokwe e Povos Aparentados”. In “Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa”. Lisboa: Museu Nacional de Etnologia, 2000, p. 114., Dim. - 43 cm

MANUSCRITO.- OFFICIA pro diuersi Sãctis ad vsvm da Me. D. Anta. da Sylva. 1661.- Século XVII (1661).- 48 f.; 12 cm.- E., Manuscript on parchment. Small book of hours, with a simplified structure, composed of the following services (devotion texts) to be read during the eight canonical hours: Ursula (8 readings), Catherine of Alexandria (8 readings), Saint Anthony (8 readings), Prese[n ]tationis B.M. (7 readings), Lectio S Euangelii secundu[m] Matheu[m] (readings [8] to 12), Saint Joseph (8 readings), Lectio Sancti Evangelii secundu[m] Matheu[m] (readings 9 to 12), Seq[u]e[n]t. sancti Evangelii secundu[m] Matheu[m] (1 reading), In festo translationis S. Patris nostri Benedicti (8 readings), Office of the Rosary (8 readings), On the feast of St. Gabriel Archangel (4 + 4 readings), Office of the Guardian Angel (8 readings), Lectio S Evangelii secundum Matheum (readings 9 to 12), Office of the Holy Martyrs (1 prayer and 9 readings). The manuscript is missing page 37, where readings 5 and 6 of the Office of the Guardian Angel should appear, readings 4 and 7 being truncated (the missing page was replaced by a blank page). As decorative elements, we point out: calligraphic title page inserted in baroque cartouche, made with pen; initial F (fol. 1v) watermarked in gold, on a purple background (20x20 mm); large plant separator drawn in pen (fol. 26v); final inscription with the words Finis Lavs Deo., inserted in a cartouche; epigraphs, initials and separators of the readings in red; remaining text in Roman italic calligraphy. It was not possible for us to obtain information about the owner Mother Antonieta(?) da Silva. Contemporary crimson silk velvet binding, retaining the original silver clasp; marbled paper endpapers from the 19th century., unmarked silver, pursuant to Decreto-Lei No. 120/2017, of September 15 - art. 2, paragraph 2, letter c)

COSTA, Bernardino Camilo Cincinnato da.- O Portugal vinicola: estudos sobre a ampelographia e o valor œnologico das principaes castas de videiras de Portugal = Le Portugal vinicole: recherches sur l'ampélographie et la valeur œnologique des principaux cépages du Portugal.- Lisboa: Imprensa Nacional, 1900.- XLVIII, 483, [3 br.] p.: 2 mapas, LXXXIV estampas; 54 cm.- E., The author (1866-1930), professor, agronomist and veterinarian, was born in Margão (Salcete, Goa); he was a member of parliament, director of Companhia das Lezírias and member of the Academy of Sciences. A monumental work, commissioned and published by the Great Commission of Lisbon, presided over by Ressano Garcia, organizer of the Portuguese representation at the Universal Exhibition in Paris in 1900. Particularly appreciated are the 10 chromolithographs representing bunches of grapes from different national varieties, signed by Roque Gameiro. Clean and unopened copy, with only occasional light browning, keeping all the platers intact, with the respective cellophane separators. Recent green morocco half-binding, with large allusive tools (bunches of grapes) between the sections, preserving the booklets covers, with flaps.

MANUSCRITO.- PONTE DE LIMA.- [Traslado do foral manuelino de Terra de S. Martinho e Burral do Lima].- Século XVII (1624).- [26] f.; 28 cm., Authentic copy of the Manueline charter of Terra de S. Martinho and Burral de Lima (today Beiral do Lima), originally granted on May 1, 1515. The two settlements, located on the left bank of the river Lima, are today part, respectively, of the municipalities of Viana do Castelo and Ponte de Lima. On the front of the first folio, the first three lines bear the following title: «Treslado do foral da Villa de ponte de Lima e seu termo E primeiramente se segue a tauoada delle Tauoada da terra de são martinho e Regemguos dela». This title was added by the notary responsible for the copy and does not appear in the original manuscript of the charter, which is today in the Municipal Archive of Ponte de Lima. At the end of the transfer (fol. 27v), it includes a registration certificate with an autograph signature by the notary Francisco Rebelo de Sá and the signature of a second notary who verified the fidelity of the copy with the original. Paper section, sewn to the thread, with 34 sheets (eight blank); some moisture (tidal) stains and deep wormholes confined to outer margin. Transcription (of the charter) apparently in one hand, in linked cursive Gothic handwriting, fully legible. Certificate dated June 30, 1624., Dim. - 28 cm

CAMÕES, Luís de.- OS LVSIADAS | DE LVIS DE CAMOENS | PRINCIPE DA POESIA | HEROICA. | Dedicados ao D. Rodrigo da Cunha, Deputado do S. Officio.- Em Lisboa: Por Pedro Crasbeck, 1609.- [2], 186 f.; 18 cm.- E., First edition of the 17th century, published in Portugal, almost entirely in italic characters; there is news of another edition from 1607, but no copy is known, so its existence has not been proven. There is also a variant, with the same date, with the stanzas numbered in the press. The title page includes a xylography representing the coat of arms of the dedicatee, D. Rodrigo da Cunha (1577-1643), deputy of the Holy Office, who became archbishop of Braga and Lisbon. Copy slightly handled and with some wormholes, mostly marginal (restored on pages 1 to 19); small central wormhole (affecting some letters) on leaves 67 to 73; Irregular outer margin on first 20 leaves. It is, however, complete. Ex-libris of António Cupertino de Miranda. Contemporary binding, fully flexible parchment, a little worn (with new endpapers), retaining all the ties. Inocêncio, XIV, p. 45, nº 14. José do Canto, 16. Arouca, C 47.