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Apollonio Facchinetti, auch genannt „Domenichini“,tätig 1740 – 1770 DIE RIALOTBRÜCKE GEGEN OSTENÖl auf Leinwand. Doubliert.73,5 x 109,5 cm.In vergoldetem, ornamental verzierten Rahmen.Beigegeben ein Gutachten von Dario Succi, Gorizia, in Kopie.In herrlicher Stimmung wird der Canal Grande gezeigt mit der ihn überziehenden Rialtobrücke und auf dem Gewässer fahrenden Gondeln mit Figurenstaffage; links sind Burchielli zu sehen, elegante Wasserfahrzeuge, die als Transportmittel von Edelleuten von Venedig nach Padua entlang des Brenta galten. Während das linke Ufer verschattet präsentiert wird, erstrahlt das rechte Ufer im Sommerlicht und gibt hinter der bekannten Brücke den Blick frei auf den Fondaco dei Tedeschi.Apollonio Facchinetti, nach dem Vornamen seines Vaters Domenico (1669-1743) auch Domenichini genannt, war ehemals als „Meister der Fondazione Langmatt“ bekannt geworden. Dreizehn Veduten der Langmatt-Stiftung in Baden haben nach Vorschlag von Dario Succi zu einer Benennung des Malers geführt. Sein Name wurde entdeckt durch die Korrespondenz zwischen dem britischen Minister Sir John Strange und dem venezianischen Gemäldeagenten Maria Sasso. Als Vedutist widmete sich Apollonio wohl ausschließlich der Stadt Venedig. Vermutlich war er ein Schüler Carlevaris (1663/65-1729/31), Francesco Albottos (1721/22-1757), oder Michele Giovanni Marieschis (1696/1710-1743). Der Zeitraum zwischen 1740 und 1750, in dem Giovanni Antonio Canal, genannt „Canaletto“ (1697-1768) sich in England aufhielt, kam Apollonio zugute, war er nun, bei den Reisenden der Grand Tour mit seinen Veduten äußerst beliebt. Bei etlichen Ausstellungen wurde die Anerkennung der im Stilvergleich stehenden Werke an Apollonio immer präziser.Literatur:Vgl. Gertrude Borghero (Hrsg.), Mythos Venedig. Venezianische Veduten des 18. Jahrhunderts, Mailand 1994.Vgl. Federica Spadotto, Io sono ‘700. L‘anima di Venezia tra pittori, mercanti e bottegheri da quadri, Sommacampagna 2018.Vgl. Dario Succi, Apollonio Domenichini. il Maestro della Fondazione Langmatt, in: Da Canaletto a Zuccarelli, Ausstellungskatalog, Udine 2003. (1391383) (3) (13)Apollonio Facchinetti, also known as “Domenichini”,active 1740 – 1770THE RIALTO BRIDGE TOWARDS THE EAST Oil on canvas. Relined.73.5 x 109.5 cm.Accompanied by an expert’s report by Dario Succi, Gorizia, in copy.

William James, tätig 1730 – 1780BLICK AUF DEN CANAL GRANDE IN VENEDIG MIT DER KIRCHE SANTA CROCE UND DER KIRCHE DEGLI SCALZIÖl auf Leinwand.38 x 63 cm.In ornamental verziertem und vergoldeten Rahmen.Beigegeben ein Gutachten von Dario Succi, Gorizia, in Kopie.Flankiert von zahlreichen prachtvollen Bauten am Ufer, der ruhige Canal Grande unter hohem hellblauen Himmel mit wenigen Wolkenformationen. Auf dem Wasser mehrere Gondeln, von denen besonders eine Gondel am linken Bildrand auffällt, da sie prachtvoll ausgestattet ist mit Vergoldung und geschlossenem Aufbau mit Fenstern. Auf der rechten Seite geht der Blick zu San Geremia und auf den Platz, wo damals die Kirche Santa Lucia stand. Der Kanal wird links- und rechtsseitig flankiert von einer Reihe imponierender Palazzi. Malerei im sommerlichen Licht, das von rechts auf die Stadt fällt und einige Gebäude teilweise leicht verschattet und andere sich im ruhigen Gewässer spiegeln lässt. Succi datiert das vorliegende Gemälde auf um 1770 und unterstreicht die wesentlichen Merkmale, die das Oeuvre von William James ausmachen: „die sichere perspektivische Einstellung, die genaue Wiedergabe der künstlerisch-architektonischen Elemente mit warmen Pigmenten, die lebhaften Sprenkel, die an sein Vorbild Canaletto erinnern, der schöne graublaue Farbton des Himmels, der flüssige Duktus mit den typischen Wirbeln, die die Bewegung der Wellen in der Art des Canaletto“. 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 der 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 ansieht. 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 und 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.Anmerkung:Zum stilistischen und chromatischen Vergleich dient ein Gemälde von William James, das 1993 in der Ausstellung „Canaletto & England“ in Birmingham unter Nr. 57 gezeigt wurde. (1391753) (4) (13)William James,active 1730 – 1780VIEW OF THE GRAND CANAL IN VENICE WITH SANTA CROCE AND CHURCH OF THE SCALZI Oil on canvas.38 x 63 cm.Accompanied by an expert’s report by Dario Succi, Gorizia, in copy. Notes:For a stylistic and chromatic comparison see a painting by William James, exhibited in 1993 under the title Canaletto & England in Birmingham under no. 57.

Apollonio Facchinetti, auch genannt „Domenichini“,tätig 1740 – um 1770DER CANAL GRANDE MIT DEM PALAZZO MORO LINÖl auf Leinwand. Doubliert.73,5 x 109,5 cm.In vergoldetem, ornamental verzierten Rahmen.Beigegeben ein Gutachten von Dario Succi, Gorizia, in Kopie.Von leicht erhöhtem Standpunkt fällt der Blick über den mit zahlreichen Gondeln befahrenen Canal Grande auf das bebaute Ufer mit dem massiven Bau des Palazzo Moro Lin in der Mitte unter hohem blauen Himmel mit großen Wolkenformationen. Dieser Bau ist auch als „Palazzo delle tredici Finestre“ (der dreizehn Fenster) bekannt und wurde 1670 von dem Toskaner Sebastiano Mazzoni für den Maler Pietro Liberi errichtet. Das Dachgeschoss wurde zwischen 1686 und 1703 angebaut. Mehrere Gebäude, teils mit rötlicher Fassade, schließen an den Palazzo an. Im Hintergrund rechts ist die Kirche Santa Maria della Carità mit ihren Glockenturm zu sehen, der im Februar 1743, dem ante quem des Gemäldes, einstürzte. Das Gemälde vereint eine sichere perspektivische Anordnung, eine wirkungsvolle Wiedergabe der architektonischen Elemente und harmonische Farbtöne. Die Figuren auf den Booten tragen dazu bei, die Komposition zu beleben und ein Gefühl von räumlicher Tiefe zu vermitteln. Diese Venedig-Ansicht, die vor 1743 entstanden sein wird, zeigt eine Schaffenszeit des Künstlers, die durch zurückhaltende Leuchtkraft mit besonderer Herausarbeitung der Hell-Dunkel-Passagen gekennzeichnet ist.Facchinetti, nach dem Vornamen seines Vaters Domenico (1669-1743) auch Domenichini genannt, war ehemals als „Meister der Fondazione Langmatt“ bekannt geworden. Dreizehn Veduten der Langmatt-Stiftung in Baden haben nach Vorschlag von Dario Succi zu einer Benennung des Malers geführt. Sein Name wurde entdeckt durch die Korrespondenz zwischen dem britischen Minister Sir John Strange und dem venezianischen Gemäldeagenten Maria Sasso. Als Vedutist widmete sich Apollonio wohl ausschließlich der Stadt Venedig. Vermutlich war er ein Schüler Carlevaris (1663/65-1729/31), Francesco Albottos (1721/22-1757), oder Michele Giovanni Marieschis (1696/1710-1743). Der Zeitraum zwischen 1740 und 1750, in dem Giovanni Antonio Canal, genannt „Canaletto“ (1697-1768) sich in England aufhielt, kam Apollonio zugute, war er nun, bei den Reisenden der Grand Tour mit seinen Veduten äußerst beliebt. Bei etlichen Ausstellungen wurde die Anerkennung der im Stilvergleich stehenden Werke an Apollonio immer präziser.Literatur:Vgl. Gertrude Borghero (Hrsg.), Mythos Venedig. Venezianische Veduten des 18. Jahrhunderts, Mailand 1994.Vgl. Federica Spadotto, Io sono ’700. L’anima di Venezia tra pittori, mercanti e bottegheri da quadri, Sommacampagna 2018.Vgl. Dario Succi, Apollonio Domenichini. il Maestro della Fondazione Langmatt, in: Da Canaletto a Zuccarelli, Ausstellungskatalog, Udine 2003. (1391382) (3) (13)Apollonio Facchinetti, also known as “Domenichini”, active 1740 – ca. 1770THE GRAND CANAL WITH PALAZZO MORO LIN Oil on canvas. Relined.73.5 x 109.5 cm.Accompanied by an experts report by Dario Succi, Gorizia, in copy.

Theodor Rombouts, 1597 – 1637KARTENSPIELER AM TISCH MIT EINEM KIEBITZÖl auf Leinwand. Doubliert.145 x 200 cm.Beigegeben eine Expertise von Gianni Papi, Florenz, 11. April 2022, in Kopie.Wie nicht wenige Werke des Malers zeigt sich auch dieses in betontem Großformat. In abgedunkeltem Raum sitzen sich zwei Kartenspieler an einem Tisch gegenüber, zwei weitere Figuren, eine alte Wirtin und ein Jüngling vor seinem Glas und Teller sind rechts am Tischende zu sehen. Links dagegen beugt sich ein grauhaariger Alter weit vor, um in die Karten seines Tischnachbarn zu blicken. Die Figuren sind schlaglichtartig von links beleuchtet, aus einer Lichtquelle, die im Bild nicht zu sehen ist. Die Hell-Dunkel-Malerei des Caravaggismus lässt die Figuren umso plastischer erscheinen. Die Hauptfigur, ein Mann im noblen Landsknechtskostüm mit breitrandigem Hut und roter Feder und umgegürteter Stichwaffe im Halfter, sitzt einzig an der Frontseite des Tisches. Er hält seine Karten in der Linken und ist dabei eine rote Karte zu ziehen, während er gleichzeitig seine rechte Hand auffordernd an seinen Gegner richtet. Dieser wiederum zeigt sich noch unentschlossen. Die Darstellung lässt mehrere Deutungsmöglichkeiten des Spielgeschehens offen. Klar jedoch scheint, dass der Alte als Kibietz fungiert. Möglicherweise ist die Szene rechts dahingegen zu deuten, dass hier der Knappe des Landsknechts von der alten Wirtin ermahnt wird, von der Zusammenarbeit mit dem Betrüger abzulassen, was dieser nur mit einem Lächeln kommentiert.Papi sieht in dem vorliegenden Werk eine zweite eigenhändige Arbeit Theodor Rombouts, das sich im Museo di Belle Arti, Antwerpen, befindet. Bildaufbau und die Inszenierung der Darstellung stehen den Werken Caravaggios sehr nahe. So gilt Rombouts als der primäre Caravaggist dieser flämischen Stilrichtung. Zunächst studierte er unter anderem bei Abraham Janssens, vielleicht auch bei Nicolas Régnier in Antwerpen, bevor er sich 1616 nach Rom begab, um dort fast 10 Jahre zu bleiben. Es wird auch allgemein angenommen, dass er anlässlich eines Aufenthaltes in Florenz für Cosimo II de Medici arbeitete und damit auch mit Bartolomeo Manfredi in nahen Kontakt kam. 1625 wurde er Meister der Lukasgilde in Antwerpen.Auch in seinem bekannten Werk „Verleugnung Petri“ (Liechtenstein Museum) ist das Kartenspiel ein Begleitthema. Es erübrigt sich die Feststellung, dass Werke des Künstlers in weiteren bedeutenden Sammlungen zu finden sind. A.R.Literatur:Benedict Nicolson, Caravaggism in Europe, Bd. III, Turin 1990, S. 164.Andrea Perego, Vittorio Sgarbi et. al., Caravaggio e l‘Europa. Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, Ausst.-Kat., Palazzo Reale, Mailand 15.10.2005-6.2.2006, Mailand 2005. (1381861) (11) (†)Theodor Rombouts,1597 – 1637CARD PLAYERS AT A TABLE WITH LAPWINGOil on canvas. Relined.145 x 200 cm.Accompanied by an expert’s report by Gianni Papi, Florence, 11 April 2022, in copy.Literature:Benedict Nicolson, Caravaggism in Europe, vol. III, Turin 1990, p. 164.Andrea Perego, Vittorio Sgarbi et. al., Caravaggio e l’Europa. Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, exhibiton cat., Palazzo Reale, Mailand 15 October 2005-6 February 2006, Milan 2005.

Venezianischer Meister des 17. JahrhundertsARCHE NOAHÖl auf Leinwand. Doubliert.105 x 156 cm.In teilebonisiertem Profilrahmen.Beigegeben ein Gutachten von Elena Chiesa, Mailand, 26. August 2021, in Kopie.In einer sanfthügeligen Landschaft ein nach links begrenzender Repoussoirbaum, neben dem sich eine Hügelkette mit Vegetation erstreckt. Unter dem Baum eine Vielzahl von paarweise dargestellten Tieren in lebendiger Weise, der Himmel von einer Menge unterschiedlicher Vögel bevölkert. Die Tiere und Menschen mit einem Ziel: Die rechts auf einer Erhebung ruhende Arche des Noah. Ähnliche Kompositionen aus Venezien sind etwa von Jacopo da Ponte Bassano (1510/15-1592) bekannt (Museo del Prado, Inv.Nr. P000022).Literatur:Vgl. Mina Gregori, Erich Schleier, La pittura in Italia.Il Seicento, Bd. 2, Mailand 1989, S. 149-209.Vgl. Livia Vinco da Sesso Alberton, I Del Ponte, Una dinastia di pittori, Bassano del Grappa 1992.Vgl. Mauro Lucco, La Pittura nel Veneto. Il Seicento, Mailand 2000.Vgl. Alessandro Ballarin, Giuliana Ericani, Jacopo Bassano e lo stupendo inganno dell‘Occhio, Mailand 2010. Vgl. Davide Dotti, Gli animali, nell‘Arte dal Rinascimento a Ceruti, Cinisello Balsamo 2019. (1390822) (13))

Schulz, Florian (1946 - 2019)Stehlampe EXE. Design-Klassiker, 1970er/80er Jahre. Stahl, verchromt. Höhenverstellbare Bogenlampe mit schwenkbarem Schirm. Dimmbar. Stand: D 27 cm, Höhe min 115 cm, Höhe max 160 cm, Schwenkarm ca 75 cm. Angelaufen, kein Leuchtmittel. Neben den sehr häufig auf dem Markt zu findenden Objekten aus Messing gab es kleinere Serien mit vernickelten oder verchromten Lampen. Diese sind besonders gesucht, da sie sich durch die dezentere Farbigkeit eleganter in verschiedene Raumkonzepte integrieren lassen. Funktionsfähigkeit geprüft: negativ. Reparaturbedürftig. Floorlamp EXE. Design classic, mid-century modern. Chrome-plated steel. Adjustable in height, dimable. Needs soft cleaning, no bulb. Rare edition in chrome. No function, needs repair.

Kleiner Läufer, Kaukasus/ Kasak, alt.Wolle. Ausbesserungen, Schäden an oberer und unterer Kante, da Abschlüsse fehlen. Ca. 95 x 56 cm. Small Caucasian runner, wool, condition lacks at short rims, ca. 95 x 56 cm.

Körnig, Hans (1905 Flöha - 1989 Niederwinkling)"Die alte Salzgasse in Dresden". Aquatintaradierung, 1953. Unterhalb der Darstellung in Blei signiert und datiert. Im Passepartout hinter Glas in älterer Rahmung. 15,5 x 20,5 cm (Pl), 32 x 38 cm (Ra). Minimal lichtrandig. WVZ Körnig 6. Winterlicher Altstadtblick, wie er heute nicht mehr existent ist, mit tief hängender Mondsichel und der Dresdner Frauenkirche im Hintergrund. Schon 1953 war diese Szene eine Erinnerung, da das gesamte Areal im Februar 1945 zerstört wurde. Old Dresden. Etching, 1953. Signed and dated in pencil below the motif. Framed behind glass. A bit tanned by the sunlight.

Schulz, Florian (1946 - 2019)Schreibtisch- / Tischlampe EXE. Design-Klassiker, 1970er/80er Jahre. Stahl, verchromt. Schwenkbare Bogenlampe mit drehbarem Schirm. Dimmbar. Stand: D 16 cm, Höhe 43 cm, Schwenkarm ca 53 cm. Angelaufen, kein Leuchtmittel. Neben den sehr häufig auf dem Markt zu findenden Objekten aus Messing gab es kleinere Serien mit vernickelten oder verchromten Lampen. Diese sind besonders gesucht, da sie sich durch die dezentere Farbigkeit eleganter in verschiedene Raumkonzepte integrieren lassen. Funktionsfähigkeit geprüft: positiv. Desk or table lamp EXE. Design classic, mid-century modern. Chrome-plated steel. Adjustable in direction, dimable. Needs soft cleaning, no bulb. Rare edition in chrome. Function okay.

Stamps, St Vincent, Trinidad & Tobago, St Helena, Tristan Da Cunha, Turks & Caicos and Zanzibar duplicated collection mint and used housed in a quality 64 side stockbook from a retired dealer. Many 100s

Four model JCB diggers/trailer comprising one presentation model on plinth, one by NZG, another by DA and a trailer.

Begas, ReinholdBerlin 1831 - 1911 Berlin, deutscher Bildhauer. "Raub der Sabinerinnen", Bronze, patiniert, vollplastische Figurengruppe nach Giovanni da Bologna, auf einem Steinsockel montiert, bez., H: 40/49 cm. Sockel best..

VaseChina/Taiwan, 20. Jh., Porzellan, wohl Replik nach altem Vorbild, Vase in Meiping-Form mit polychromer Aufglasurmalerei, Darstellung von vier Finken zwischen blühenden Pflaumenbaumästen, rückseitig Gedicht in Schriftzeichen, bodenseitig unterglasurblaue "da qing qian long nian zhi"-Marke, H: 41 cm. Min. ber.

Liegende Dampfmaschineunbekannter Hersteller, liegender Kupferkessel, D: 8 cm, erhöhtes Brennerhaus m. Brenner, oval geformter oszillierender Zylinder mit 2 Schwungrädern, seperater Schlot in Maueroptik gesteckt, auf Grundplatte, diese mit Transmission und 5 Antriebsmodellen auf Holzplatte montiert, 67/42 cm, Altersspuren, ohne Funktion, da ein Kupferrohr lose anbei, Fehlstellen.

1 Sandspiel, 1 Brettspiel"Korbuly's Kugelbahn", Matador Verlag Austria, ca. 1940, 14 unterschiedlich lange Bahnstücke aus Holz, rot lackiert, 4 silbern glänzende Ton?- Kugeln, Aufbau-Anleitung, org. Verpackung; "Wer da", Otto Maier Verlag, Ravensburg, Nr. 5527, ca. 1940, Spielbrett, je 35 rote und 35 blaue, lithografierte Spielsteine aus Holz, Anleitung im Deckel verklebt, org. Verpackung: Part. leichte Altersspuren, wie 1 Deckelecke offen, 2 x genäht.

Piranesi, Giovanni BattistaVenedig 1720 - 1778 Rom, Kupferstecher und Architekt. "Veduta del piano superiore del serraglio delle fiere fabbricato da domiziano...", Ansicht des oberen Stockwerkes der Raubtierkäfige, unten in der Platte bez., Radierung/Papier, spätere Ausführung, HxB: ca 41/61 cm (Platte). Alters- und Knickspuren. Mit Passepartout hinter Glas gerahmt.

Spitzweg, Carl (Schule/Umkreis) (?)"Erinnerungen", Blick auf ein Waldesrand mit einem älteren Mann, neben einem Podest mit Buch stehend, in die Richtung der Lichtung blickend, da zwei Frauen die Rückreise beginnend, nicht sign., verso von fremder Hand mit Bleistift bez. "Carl Spitzweg; Erinnerung ...", Öl/Karton, HxB: 17/20 cm. Altersspuren. Mit Rahmen.

A mother of pearl carved abalone shell, early 20th century, the top section relief carved after Leonardo Da Vinci's 'Last Supper', above a floral filigree panel surrounding a tondo vignette of Christ at prayer, 16cm x 12.5cm CONDITION REPORT:The piece shows the odd small natural fault including the depression to the left of the hanging loop, but no obvious chips, cracks or other damage. 

A very large collection of mostly commercially purchased legal tender coins, collector coins and medallion sets from private mints and medallists including Danbury, Windsor/HMK and Westminster. Most are in their original capsules and display cases, boxes and folders, but some sets are dispersed and some items are still in unopened envelopes. The collection includes a US cased silver coin set (partial) which includes four Peace and Morgan dollars with a further silver eagle dollar and six half dollars, a US set of 56 State quarters gold-plated and cased, a US cased complete set of 11 uncirculated nickels 1942-1945 of different dates and mints being the 35% silver war-time issues, a US buffalo nickels complete set in an album by PCS, a US $1 1889 uncirculated and slabbed by PCS, a US 1 ounce silver eagle 2020 slabbed and graded MS69 by PCGS, a similar graded MS70, another silver eagle in a case for two such coins, four further US silver eagles 2018-2022 each slabbed, a cased set of twenty-five (25) circulated US Walking Liberty silver half dollars of different dates 1916-1947, a silver proof £2 coin 2009 (Darwin) cased with certificate, a silver proof £5 2011 (Royal wedding) cased with certificate, a silver proof £5 2007 with case and certificate, four Olympic 50 pence coins 2011 cased with certificates, a Jersey set of five gold-plated 50 pence pieces 2012, a Gibraltar silver sovereign 2019 (0.999 fine silver) cased with certificate and another 2021 lacking a certificate, seven (7) cased silver 1-ounce coins all 2012 comprising a New Zealand kiwi, two China 10-yuan pandas, two British £2 Britannias, an Australian koala and a US silver eagle, various Channel Island £5 coins some silver, silver- or gold-plated and mostly with cases and certificates, a Famous Artworks set from Togo of five gold foil 1500 franc coins each 1/200 oz of fine gold and a further similar-specification Niger set of four gold foil coins and a further similar-specification set of six gold foil coins of the Queens Jubilee and a further set of 6 gold foil coins illustrating famous coins each 1/100 oz of fine gold, two (2) Fabula Aurum gold Tristan da Cunha half crowns 2009, a Tristan da Cunha gold eighth (1/8) sovereign 2022, two (2) sterling silver Tristan da Cunha £1 coins 2015 each 10.0g, a set of six (6) miniature 14 ct gold coins each 0.5 g celebrating Queen Elizabeth II, several boxed or displayed collections of British 20th C halfpennies, pennies, sixpences and florins (the last being only a partial set in two cases), a 1 ounce silver round copying the pre-decimal penny and another of the Great Fire of London without certificate and 2 other similar uncertificated white metal rounds, a white metal copy of a US $1 coin 1840, a 2012 Royal Lifetime of Service coin cover collection of 16 crown-size Commonwealth coins, a set of twenty-five (25) Masterpieces of American Currency US legal tender bank notes in an album, a miniature 14 carat gold copy of a US double eagle coin weighing 0.5 g, a giant gold-plated copper copy of a US double eagle coin, two (2) identical Battle of Hastings medal sets each of 6 gold-plated medals with a copper medal and a Gibraltar 9 ct gold double crown 2016 weighing 10 g, a Chinese porcelain bowl from the 1822 wreck of the Tek Sing boxed with certificate, a 2018 football World Cup set of 32 medallions with a Russian silver coin and a 14 ct 0.5 g gold medallion, the Titanic centenary album of 3 coin covers and 5 stamp sheets, and boxed or cased medallion sets mostly complete including Captain Cook coloured 6-medallion set, Rule Britannia gold-plated 6-medallion set, Queen Elizabeth II history 6-medallion set, Queens Beasts gold- and silver-plated 10 medallion set, Famous Ships of the World gold-plated and coloured 24-medallion set and another Famous Ships of the World 24-medallion set with a 14 carat gold 0.5 g medallion of Columbus, Saint George set of 4 giant medallions each 376 g of copper gold-plated and coloured, HMS Victory set of 6 plated medallions with a separate 250th anniversary medal and a Tristan da Cunha crown 2015 showing HMS Victory, Railways 24-medallion set gold-plated, Seafarers and Explorers 24-medallion set gold-plated, Queen Elizabeth II 24-medallion set gold-plated, Ships of the Royal Navy 24-medallion set gold-plated, 50 Years of Decimalisation 9-medallion set gold-plated, Royal Family 4-medallion set gold-plated, Royal Wedding 2011 5-medallion set with a ½ oz silver £1 Britannia coin, three various Numisproof medallions and other items including further single and partial sets of medallions.6 boxes (four clear crates with blue lids and two cardboard boxes) of coins

Six bottles of Dow's Quinta da Senhora da Ribeira vintage port, 1999, in fitted case with corkscrew and booklet. (6)

A quantity of prints, comprising after Meindert Hobbema, woody landscape with water mill, 62cm x 83cm, after Leonardo da Vinci Ginevra de'Benci, 38cm x 36cm, after Jan Van Eyck, The Marriage of Giovanni Arnolfini and Giovanni Cenami, 65cm x 48cm, after Giovanni Belline, Madonna and child, 61cm x 47cm, after Joos van Cleve, Margaretha Boghe Wife of Joris W Vezeler, 58cm x 42cm, after Henry Connaught, Fishing Village, 45cm x 53cm, and after Cathelin, vase of flowers, 73cm x 44.5cm, each in white painted frame.

COLLECTIONS & MISCELLANEOUS- Mixed range of albums, books, binders (12 total) in red box, containing ranges of F.D.C envelopes in 2 folders, Coronation scrap books(2), Strand album(1), Stamford album(1) and various others making up the 12 total. FLN covers of 1940 censor mail & London 1950, London international stand exhibition with purpose PMK to match & few others of interest, but of varying conditions. Various pickings noted in other albums including, ADEN 1953 with vais to 1/- including some of the various colour glances (m) Ascension 1956 vais to 1/- (m), Falk DEP 1954 vais to 1/- (m), Hong Kong with some vais to $2 (m), Ireland with odd vais from provisional government 1922(m), 1948 air type set (m) and other Ireland (m), Tonga 1953 to 1/-(m) Tristan Da Cunba 1952 up to 1/- (m) and lots more mugs content BC, oddnoms of GB, and world also seen nice lots, viewing recommended. 

2022 Lagar da Condesa, 'O Fillo da Condesa' Albarino, Rias Baixas 12x75cl  Previously stored in a temperature controlled cellar in Hampshire.

1995 Churchill's, Quinta da Aqua Alta Vintage Port OWC (damaged) 12x75cl Damaged/stained labels 

Vintage art exhibition poster "Arte Maestra Da Monet a Picasso", 1981, featuring "Schloss Kammer on the Attersee I" by Klimt, framed and glazed, 67.5cm x 48cm 

A Chinese 'Da Lien' purse, 19th Century, with Peking knot stitch, 8cm wide

Miniature Volumes, a collection, to include: [various] Biblioteca poetica Italiana, scelta e publicata Da A Buttura, 28 vols, quarter calf and marbled boards; Joyce (J), Scientific Dialogues Intended for the Instruction and Entertainment of Young People in which the First Principles of Natural and Experimental Philosophy are Fully Explained, London: Baldwin, Cradock and Joy, 1825, vols 1-3, 5, 7, marbled boards; with a miniature part set of Shakespeare's worksNot collated. Clear condition issues to all volumes. Italian poets volumes bear rubbing, soiling and foxing. Joyce volumes bear extensive fading, rubbing and bumping to marbled boards as well as extensive foxing and spotting internally, in additional to loss to spines. Shakespeare volumes bears extensive shelf wear.

Book of Hours: Officium Beatae Mariae Virginis PII V Pont. Max iussu editum cum Kalendrio Gregoriano, a Sixto PP. V. Clemente VIII. & S. D. N. Paulo V. P. M. aliquot Sanctorum ..., Antwerp: Ex Officina Plantiniana apud Viduam & Filios Ioannis Moreti, 1615, bound in red velvet with gilt tooling and gilt-stamped oval crucifixion to front cover and Mary and infant Jesus to back cover, all edges gilt with stippled floral decoration, foredge stippled with the crowned initials AB above the crucifixion and the date 1615, 16mo (15cm x 9.5cm x 5cm), frontispiece in red and black with an engraving of the Virgin Mary and the infant Christ, 17 plates, 545pp., index, letters, publisher's endpaper dated 1615, followed by Vesperae pro Dominica ..., 46pp, publisher's endpaper dated 1612 followed by multiple blank pagesSpetchley Park, WorcestershireThe 'Office of the Madonna' or the Officium Beatae Mariae Yirginis were more usually referred to as simply libri di donna or libriccini da donna. Usually anonymous, they consisted of a simplified copy of the Divine Office of theBreviary by offering eight short offices (incorporating that of the Virgin Mary) intended to be recited during the eight canonical hours of the day. The books were often very decorative, as in this example, and intended as much as a personal devotional as a methodology of advertising wealth via conspicuous consumption.All over in good condition. The velvet cover rubbed and exposing fabric foundation in part. Scattered holes to back cover and corners worn and a little frayed exposing wooden boards. Covers bowed / warped. Gilt page edges a little dull but clean. Interior predomintaly clean and crisp with light toning. Plates on page 204 and 312 have imprinted a little onto the facing page. Very few scattered and neat marginal notes in pencil. Last two pages of Vespers with slight loss to centre outside page, pastedowns wrinkled from warping of cover. The front pastedown with '24' in ink, one blank notepage with notes: 'an anne, anne, bonne, bon' in ink

A Chinese 'Da Lien' purse, circa 1880, embroidered with butterflies, flowers and locust in Peking knot stitch, fine knotted tassels, 16.5cm

A pair of Chinese Ming style octagonal jars and covers with lion finials and lion mask ringed handles, painted in underglaze blue with dragons and phoenix within shaped reserves and stylised clouds and flames, 'Da Ming Xuande Nian Zhi' marks but not of the period, 38 cm high (2)  Five handles have broken off/missing, one cover showing firing crack to underside

An early 19th Century sword with 82cm fullered blade, stirrup guard with reeded ivory 9cm grip and gilt metal pommel, engraved plate to grip inscribed 'Ex dono 2" da Cohortae PV T. Richmond Surgeon 1804', 96cm long overall, to/w a Georgian Naval boarding cutlass with 63cm single-edge blade, steel 'figure of eight' guard and ribbed cast iron grip, 76cm long overall (2 - neither with scabbard) Ivory Submission Reference Number UDVU86QDPurchasers must be over 18 years old - Photo ID required

A bottle of Dows 1970 vintage port, to/w a Martinez MG & Co 1985 vintage port and a Warre's 1986 Quinta da Cavadinha vintage port (3)

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, agricultural engineer and veterinary doctor, was born in Margão (Salcete, Goa); He was a Member of Parliament, director of Companhia das Lezírias and member of the Academy of Sciences. Monumental work, commissioned to be executed and published by the Grand Commission of Lisbon, chaired by Ressano Garcia, organizer of the Portuguese representation at the Universal Exhibition in Paris, 1900. Particularly appreciated are the 10 chromolithographs representing bunches of grapes from different national varieties, signed by Roque Gameiro. Copy without booklet covers, generally clean, with just a few light browning stains, limited to the cellophane dividers. Recent full sheepskin binding, with ornamental gold borders on the covers.

A large three-footed salver, D. Maria I, Queen of Portugal (1777-1816), 833/1000 silver, Portuguese, small bruises, Porto assay mark (1810-1839), maker's mark attributable to António Pereira Soares (1797-1825), remarked with Lisbon recognition mark (1887). Notes: vd. ALMEIDA, Fernando Moitinho de; CARLOS, Rita - "Inventário de Marcas de Pratas Portuguesas e Brasileiras - Século XV a 1887". Lisbon: IN-CM, 2018, P-28.0 e P-166.0; and SOUSA, Gonçalo de Vasconcelos e - "Dicionário de ourives e lavrantes da prata do Porto, 1750-1825". Porto: Civilização Editora, 2005, pp. 509 and 510., Dim. - 41 cm; Peso - 1.678 g.

MENESES, D. Luís de (Conde da Ericeira).- HISTORIA | DE | PORTUGAL | RESTAURADO...- Lisboa: Na Officina de Antonio Pedrozo Galraõ, 1698-1710.- 2 vols.; 33 cm.- E., D. Luís de Meneses (1632-1690), 3rd Count of Ericeira, military and politician, born in Lisbon, was one of the most notable historians of the Restoration of Independence; he would commit suicide on May 26, 1690. First edition, the most appreciated and in the largest format, of this important title in Portuguese historiography, which reports on the political-military events that took place in Portugal between 1640 and 1668. The collation of the two volumes is the following: volume I - [12], 908, [31, 1 br.] p.: 1 engraved frontispiece, 1 portrait; volume II - [20], 975, [1 br.] p. The first volume is from the second edition, as it is dated 1710 (the first is dated 1679), and preserves not only the engraved frontispiece, but also the portrait of the author (signed Fred. Bouttats) which is missing in most of the copies. The second volume, dated 1698, was printed by Miguel Deslandes. Ex-libris of Emílio Monteiro. Carminated edges. Non-contemporary bindings, painted full sheepskin. Provenance: Emílio Monteiro Library (Auction nº 19, May 1990, Silva's/Pedro de Azevedo, lot nº 943); Important Private Library: part IV (Auction nº 34, Dec. 1999, Silva's/Pedro de Azevedo, lot nº 606). Inocêncio, V, p. 307. Arouca, M 302.

ANDRADE, Manuel Carlos de.- Luz da liberal e nobre arte de cavallaria.- Lisboa: Na Regia Officina Typografica, 1790.- XXVI, 454, [1, 1 br.] p.: 93 gravuras, 1 retrato; 35 cm.- E., Good copy, very clean and complete (retains the final errata page, with the blank verso), of one of the most beautiful books printed in Portugal in the 18th century and, certainly, one of the most sought after. Inocêncio states that some intended to attribute the work to the 4th Marquis of Marialva, chief equerry, but this has not yet been confirmed. The 93 engravings, of which 22 are foldable (all well folded and placed), represent mainly attitudes of the horse in teaching and are opened on copper plate by several engravers, mainly Luís Fróis, but also Manuel Alegre, Luís Fernandez Piedra and others, according to originals by Joaquim Carneiro da Silva (Ernesto Soares, História, 1076). Print 76 (p. 390) presents a curious inscription: Silva del. — H. Queverdo aqua forti et terminé par J. J. Droüet 1792 (engravers not mentioned by E. Soares). The prince regent, future king D. João VI, is represented in engravings 21, 29, 53 and 59 (E. Soares and Ferreira Lima, Dictionary of Iconography, 1549 B). Allusive vignettes at the beginning of books I and VI. Portrait of the Prince Regent with a slight stain on the lower margin, a smaller stain on the lower edge of approximately 30 pages in the middle of the volume and a small tear on the fold of the last engraving, without lack of support. 19th century binding, fully sheepskin, with painted patina, preserving the original marbled paper endpapers. Inocêncio, V, 386. Ameal, 108. Torrecilla, 25 ([Edición] digna de las magníficas ediciones ilustradas del caballero Pluvinel y del duque de Newcastle).

ZUZARTE - atc. 1787, View of both Ribeira Palace and Alto de São Francisco, Indian ink on paper, drawing made with a nib and brush wash; square / boundary lines and various details - some figures, letters and the royal coat of arms that decorate the lower part - made with iron gall ink, trespass, oxidation and stains of the iron gall ink, particularly in the frame / boundary lines and in the details mentioned above; cracks and tears on the four margins of the drawing, but the support has recently been consolidated according to the note below, signed and dated 1787. Notes: 1- The present drawing was part of the exhibition "Lisboa e o Marquês de Pombal", Lisbon: Museu da Cidade, Câmara Municipal de Lisboa, 1982, and is represented in its catalogue, fig. 16. Vd. also: https://comjeitoearte.blogspot.com/2011/11/terramoto-de-1755-lisboa-pombalina.html (consulted on February 9th at 11:44 am); 2- In 2023 it was the subject of specialized intervention by Atelier SALVARTE, with the objective of cleaning and physically consolidating the support; the same atelier made its oak frame, with an acid-free passe-partout; 3- Three drawings of Lisbon attributed to this author are known: one of Rossio, signed, which was also part of the aforementioned exhibition; and two of Terreiro do Paço, one of which signed - the present drawing; and the other, belonging to the City Museum collection, unsigned and with a completed caption - vd. https://www.dgaep.gov.pt/upload/newsletter/News_10/historia/S0102.htm - consultado a 12-2-2024 às 17:47; 4- The existence of letters on several façades and the absence of a caption on the lower part allow us to deduce that the present drawing was left uncompleted in that part and that it was executed with a view to the subsequent execution of an engraving; in this sense, the abbreviation of the word Fecit is also indicated next to the signature, which is common in engravings; 5 - There is no knowledge that these engravings were ever made; 6 - The circumstance of this drawing representing Terreiro do Paço before the earthquake of 1755 and being dated of 1787 - in iron gall ink, unlike the drawing itself, made in Indian ink - allows us to consider the possibility that the drawing may have been in fact made before the earthquake and signed afterwards; should that possibility be confirmed in the future, the drawing's documental value will be significantly greater., Dim. - 55 x 84,5 cm

A pair of cups and saucers with wavy edges, Chinese export porcelain, polychrome and gilt decoration with coat of arms of Joaquim Inácio da Cruz Sobral (1725-1781) - 2nd service (imbricates), Qianlong period (1736-1795), one of the saucers with small hairlines, wear to the gilt. Notes: vd. CASTRO, Nuno de - "A Porcelana Chinesa ao Tempo do Império - Portugal/Brasil". Lisbon: ACD Editores, 2007, p. 169; e SANTOS, A. Varela - "Portugal na Porcelana da China - 500 Anos de Comércio" - vol. IV. Lisbon: Artemágica, 2009, p. 1097; and DIAS, Pedro - "Heráldica Portuguesa na Porcelana da China Qing". Lisbon: Macau Foundation, 2014, pp. 192-205., Dim. - (chávena) 5 x 7,3 cm; (pires) 12 cm

A pair of plates, Chinese export porcelain, polychrome and gilt decoration with the coat of arms of Manuel Paes de Sande e Castro (17??-1841), Jiaqing period (1796-1820), wear to the gilt. Notes: vd. CASTRO, Nuno de - "A Porcelana Chinesa ao Tempo do Império - Portugal/Brasil". Lisbon: ACD Editores, 2007, p. 218; and DIAS, Pedro - "Heráldica Portuguesa na Porcelana da China Qing". Lisbon: Macau Foundation, 2014, pp. 288-289., Dim. - 24,4 cm

PACHECO, Francisco Pinto.- TRATADO | DA | CAVALARIA | DA GINETA, | COM A DOCTRINA DOS MELHORES | Authores.- Lisboa: Na officina de Ioam da Costa, 1670.- [16], 210, [1, 1 br.] p.: 1 retrato equestre, il.; 20 cm.- E., Original edition of a rare chivalric treatise illustrated in the text with seven full-page woodcuts. The author († 1668) was a knight of the Order of Christ and captain-in-chief of the city of Tangier, where he was born. From page 181 onwards, a chapter entitled “Art and dexterity of tovrear” is included. Cropped copy, with light handling, but clean, preserving the very rare equestrian portrait of the author, engraved on copperplate, at the beginning (signed A.P.), which is missing in most known copies. Alfred Barmore MacLay's bookplate, dated 1927, representing a snaffle bit. Binding from the 19th/20th century, full fleeced sheepskin. Fernando Palha’s catalogue gives the following indication: «Livre rare. Manque le portrait qu'on trouve dans quelques exemplaires». Inocêncio, III, p. 37 (the work rarely appears on the market). Arouca, P 6.

SIMÃO DA VEIGA - 1879-1963, Horse cart with peasants, oil on canvas, wrinkled and weakened canvas, defects on the canvas, signed, Dim. - 60,5 x 70 cm

A tureen, Rococo, faience from Fábrica de Louças de Santo António do Vale da Piedade - Gaia, blue, orange and yellow decoration "Net", polychrome reserves "Landscapes with house", Portuguese, 18th C. (2nd half), hairlines on the body and cover, minor faults on the glaze, marked RG, marked RG, Dim. - 20,5 x 39,5 x 24 cm

A snuff box, 800/1000 gold, engraved decoration en guilloche "Flowers", Portuguese, 19th C., signs of use, Porto assay mark, IARAI maker's mark (1843-1877). Notes: vd. Manuel Gonçalves Vidal and Fernando Moitinho de Almeida in "Marcas de Contrastes e Ourives Portugueses (1887-1993), Imprensa Nacional - Casa da Moeda, 1996, Volume I, nº104; ALMEIDA, Fernando Moitinho de; CARLOS, Rita - "Inventário de Marcas de Pratas Portuguesas e Brasileiras - Século XV a 1887". Lisbon: IN-CM, 2018, P-313.0., Dim. - 1,5 x 8 x 4 cm; Peso - 128 g.

SANTA MARIA, Frei Agostinho de, O.A.D. (1642-1728).- Santuario Mariano, e historia das images milagrosas de Nossa Senhora, e das milagrosamente apparecidas, em graça dos prègadores, & dos devotos da mesma Senhora.- Lisboa: Na Officina de Antonio Pedrozo Galraõ, 1707-1723.- 10 vols.; 20 cm.- E., A work of great erudition by the friar Discalced Augustinian (1642-1729), born in Estremoz, whose secular name was Manuel Gomes Freire and was chronicler and vicar general of his Order. It includes news about the images of the Virgin spread throughout the national territory and the Portuguese expansion, with important references to topography, history, missions and local life. The first seven volumes are dedicated to Portugal, the eighth refers to Japan, China, Macau, Goa, Daman, Diu, Bassein (today Vasai), Chaul, Southwest Asia, Philippines, Mozambique, Angola, Morocco, etc. and the last two are almost entirely dedicated to Brazil, also including references to the Azores, Madeira, São Tomé and Príncipe and the Canary Islands. Set with some imperfections, namely: volumes III and VI with missing title pages; volume I with strong browning; all volumes with handwritten ownerships and stamps from the Discalced Augustinians of Mount Olivete bookstore (scratched in volumes V and VII); some small imperfections that are difficult to discriminate. Contemporary, full sheepskin bindings, identical, with occasional damage, particularly on the turns. Inocêncio, I, p. 18. J. C. Rodrigues, 2187. Borba de Moraes, p. 766-767.

A cup with saucer, Chinese export porcelain, polychrome and gilt decoration with coat of arms of Francisco António da Silva Mendes da Fonseca (1792-1831) - 1st service, Jiaqing period (1796-1820), wear to the gilt. Notes: vd. CASTRO, Nuno de - "A Porcelana Chinesa ao Tempo do Império - Portugal/Brasil". Lisbon: ACD Editores, 2007, p. 130 - 1º serviço; SANTOS, A. Varela - "Portugal na Porcelana da China - 500 Anos de Comércio", volume III, Artemágica, Lisbon, 2009, pp. 877-881; and DIAS, Pedro - "Heráldica Portuguesa na Porcelana da China Qing". Lisbon: Macau Foundation, 2014, pp. 116-119., Dim. - (chávena) 7 x 6,4 cm; (pires) 13,3 cm

TÁVORA, Álvaro Pires de.- HISTORIA | DE VAROENS | ILLVSTRES DO APPELLIDO | TAVORA. | CONTINVADA EM OS SENHORES | DA CAZA E MORGADO | DE CAPARICA. | COM A RELLACAM DE TODOS OS SVCCESSOS | publicos deste Reyno e suas Conquistas desde o tempo do Senhor Rey D. IOAM TERCEIRO aesta parte...- Impresso em Paris: Por Sebastiam Cramoisy e Gabriel Cramoisy, 1648.- [4], 365, [1 br.] p.; 34 cm.- E., Work published posthumously on the initiative of Rui Lourenço de Távora, son of the author (†1640), nobleman from Trás-os-Montes, but born in Lisbon, lord of Mogadouro, mayor of Miranda do Douro, Mirandela and Alfândega da Fé and chief chamberlain of D. João I, D. Duarte I and D. Afonso V. D. Álvaro fought in the battle of Alfarrobeira and served in the stronghold of Ceuta and in the armada that went to the rescue of Bahia, taken by the Dutch in 1624. Title page with two ownerships (or just one?) heavily scratched, next to the imprint. Otherwise, a slightly cropped, but clean copy, with slight deformation, preserving good margins. Ex-libris with the coat of arms of Count of Sucena (registration label at the end) and Eduardo José de Vasconcelos de Araújo Miranda. Contemporary binding, full flexible parchment, with ink inscription (late) on the spine. Inocêncio, I, p. 48. Samodães, 3717. Ávila Perez, 5959.

A cup with saucer, Chinese export porcelain, polychrome and gilt decoration with coat of arms of José Correia de Melo e Brito de Alvim, Qianlong period (1736-1795), cup with hairlines, saucer with restoration and hairlines, wear to the gilt. Notes: vd. CASTRO, Nuno de - "A Porcelana Chinesa ao Tempo do Império - Portugal/Brasil", ACD Editores, 2007, p. 165; SANTOS, A. Varela - "Portugal na Porcelana da China - 500 Anos de Comércio", Volume III, Artemágica, Lisbon, 2009, pp. 917-921; and DIAS, Pedro - "Heráldica Portuguesa na Porcelana da China Qing". Lisbon: Macau Foundation, 2014, pp. 148-149., Dim. - (taça) 5 x 8,7 cm; (pires) 3 x 13,8 cm

A Commode, D. João V, King of Portugal (1706-1750)/D. José I, King of Portugal (1750-1777), Brazilian rosewood, skirts and feet with carvings, gilt bronze mounts in relief, Portuguese, restoration, minor faults and defects, detached front panel of the top. Notes: vd. similar copy in "Mobiliário nas colecção particulares de Arouca". Arouca: Associação para a Defesa da Cultura Arouquense/Museu de Aveiro, 1986, p. 36, nº 28., Dim. - 101,5 x 123 x 62 cm

A soup plate, Chinese export porcelain, polychrome and gilt decoration with the coat of arms of Vital de Bettencourt de Vasconcelos e Lemos (1751-1847), Jiaqing period (1796-1820). Notes: vd. CASTRO, Nuno - "A Porcelana Chinesa ao Tempo do Império - Portugal / Brasil". Lisbon: ACD Editores, 2007, p. 206; and DIAS, Pedro - "Heráldica Portuguesa na Porcelana da China Qing". Lisbon: Fundação Macau, 2014, pp. 264-267., Dim. - 24,5 cm

An alms dish, Nuremberg, brass en relief "Adam and Eve in paradise", stripe with inscriptions in gothic characters, German, 16th/17th C., signs of use. Notes: vd. "Os Pratos de Nuremberga da Casa-Museu de Guerra Junqueiro". Porto: Porto City Hall, 1965, s.p., nº inv. 372., Dim. - 48 cm

A gallery oval tray, D. Maria I, Queen of Portugal (1777-1816), 833/1000 silver, engraved decoration "Garlands and flowers", Portuguese, signs of use, Porto assay mark, maker's mark attributable to António Pereira Soares (1797-1825). Notes: vd. ALMEIDA, Fernando Moitinho de; CARLOS, Rita - "Inventário de Marcas de Pratas Portuguesas e Brasileiras - Século XV a 1887". Lisbon: IN-CM, 2018, P-19.0 e P-166.0; and SOUSA, Gonçalo de Vasconcelos e - "Dicionário de ourives e lavrantes da prata do Porto, 1750-1825". Porto: Civilização Editora, 2005, pp. 509 and 510., Dim. - 4 x 73 x 54 cm; Peso - 5.488,8 g.

SIMÃO DA VEIGA - 1879-1963, Peasant women harvesting olives, oil on canvas, blistered canvas, faults on the pictorial layer, signed, Dim. - 70 x 60,5 cm

PRESENÇA: Fôlha de Arte e Crítica: quinzenário / directores e editores Branquinho da Fonseca, João Gaspar Simões, José Régio.- Nº 1 a nº 2 (2ª série), ano XII (10 de Março de 1927 a Fevereiro de 1940).- Coimbra: Atlântida, 1927-1940.- 56 números em 3 vols.: il.; 37 e 24 cm.- E., Complete collection of one of the most sought after magazines of the 20th century, vehicle of literary and artistic modernism and continuation of the Orpheu generation. The list of his collaborators includes the most notable names in Portuguese literature from that literary current, such as Fernando Pessoa, José Régio, Almada Negreiros, Júlio, Gaspar Simões, Carlos Queiroz, Branquinho da Fonseca, Raúl Leal, Mário Saa, and many others. Bound set in three volumes, each containing the following numbers: vol. I - 27 issues: nº 1 to nº 27 (from March 10, 1927 to June/July 1930); vol. II/III - 27 issues: nº 28 to nº 53/54 (from August/October 1930 to November 1938); the last two issues, unique from series II (November 1939 and February 1940), of smaller format, bound together in linen canvas. Numbers 14/15, 31/32, 41/42 and 53/54 are doubles. Volumes I and II include, at the end, the respective indexes. The first three volumes bound in two, on printed canvas (from the publisher?).

Farmers from Minho Province, a pair of polychrome terracotta sculptures from Devezas Factory, Portuguese, 19th/20th C., minor faults on polychrome, missing a finger and the end of the male figure's coat. Notes: The female figure is referenced and represented in the "Catalogo da Fabrica Ceramica e de Fundição das Devezas António Almeida da Costa & Cª. - Villa Nova de Gaya - Portugal". Gaya-Porto: Real Typ. Lith. Lusitana, 1910, pp. 24-25, nº 185., Dim. - (esculturas) 74,5 cm; (total) 158 cm

A sauceboat, Chinese export porcelain, polychrome and gilt decoration "Flowers" with arms of José Pamplona Carneiro Rangel Baldaia de Tovar (c. 1750-1815) - 2nd service (mistakenly with royal crown), Qianlong period (1736-1795), handle with minor faults on the glaze and hairlines, wear to the gilt. Notes: vd. CASTRO, Nuno de - "A Porcelana Chinesa ao Tempo do Império - Portugal/Brasil". Lisbon: ACD Editores, 2007, p. 173; SANTOS, A. Varela - "Portugal na Porcelana da China: 500 Anos de Comércio". Lisbon: Artemágica - vol. IV, 2010, pp. 1202-1211; e DIAS, Pedro - "Heráldica Portuguesa na Porcelana da China Qing". Lisbon: Macau Foundation, 2014, pp. 168-173., Dim. - 5,4 x 18,8 x 10,3 cm

An Ewer and basin, D. João V, King of Portugal (1706-1750), 833/1000 silver, engraved decoration en relief with coat of arms - per pale: I Guard (?); II cut of Mendonça and Monteiro; Alfaro crest, sculped handle "Caryatid", Portuguese, signs of use, Porto assay mark (1750-1760), maker's mark attributable to José Ferreira Barros (1734-1790). Notes: vd. similar copy in SANTOS, Reynaldo dos; QUILHÓ, Irene - "Ourivesaria Portuguesa nas Colecções Particulares". Lisbon: Author Edition, 1974, p. 128, fig. 154; ALMEIDA, Fernando Moitinho de; CARLOS, Rita - "Inventário de Marcas de Pratas Portuguesas e Brasileiras - Século XV a 1887". Lisbon: IN-CM, 2018, P-13.0 e P-326.0 and SOUSA, Gonçalo de Vasconcelos e - "Dicionário de ourives e lavrantes da prata do Porto, 1750-1825", Civilização Editora, 2005, pp. 55 a 58., Dim. - (lavanda) 4 x 51 x 38 cm; (gomil) 29,5 cm; Peso - 2.727 g.

CAMÕES, Luís de.- Os Lusíadas.- Edição critica-commemorativa do terceiro centenário da morte do grande poeta.- Porto; Leipzig: Emilio Biel, 1880.- LVI, 375, [1 br.], XXXIII, XCII p.: il.; 39 cm.- E., Monumental edition, with great graphics, illustrated with steel engravings, printed in Leipzig and a chromolithograph at the beginning of each canto, in addition to other decorative motifs. Includes in-depth studies by José Gomes Monteiro and Mendes Leal. Copy nº 21, nominative «à la presse» (property of Manoel Lopes Martins), from the special edition of 100, printed on heavier weight paper, signed by the printer and the publisher. Copy with very slight foxing, but generally clean, preserving the original binding, entirely in green morocco (with minor wear) with blocking press stamped engraving on the front cover and impeccable gilt edges; The original endpapers are preserved in gold-decorated paper. José do Canto, 117.

A creampot, Chinese export porcelain, polychrome and gilt decoration with coat of arms of Bartolomeu Barreto (1784-1845), Jiaqing period (1796-1820), missing cover, wear to the gilt. Notes: vd. CASTRO, Nuno de - "A Porcelana Chinesa ao Tempo do Império - Portugal/Brasil". Lisbon: ACD Editores, 2007, p. 210; and DIAS, Pedro - "Heráldica Portuguesa na Porcelana da China Qing". Lisboa: Macau Foundation, 2014, pp. 286-287., Dim. - 5,5 x 6,2 x 8,4 cm

A scalloped sauceboat, Chinese export porcelain, polychrome and gilt decoration with coat of arms of António Joaquim da Costa Corte-Real, Qianlong period (1736-1795), restored hairlines, handle with restored chips, minor wear on decoration. Notes: vd. CASTRO, Nuno de - "A Porcelana Chinesa ao Tempo do Império - Portugal/Brasil", ACD Editores, 2007, p. 185; SANTOS, A. Varela - "Portugal na Porcelana da China - 500 Anos de Comércio", Volume III, Artemágica, Lisbon, 2009, pp. 894-895; and DIAS, Pedro - "Heráldica Portuguesa na Porcelana da China Qing". Lisbon: Macau Foundation, 2014, pp. 140-141. Etiqueta comercial de JORGE WELSH, Dim. - 6,5 x 19,5 x 11 cm

A cup with saucer, Chinese export porcelain, polychrome and gilt decoration with coat of arms of Luís Pereira Velho de Moscoso Pé-de-Ferro - Brejoeira Palace, Monção, Qianlong period (1736-1795), cup with broken and glued handle, cup and saucer with restored hairline, wear to the gilt. Notes: vd. SANTOS, A. Varela - "Portugal na Porcelana da China: 500 Anos de Comércio", Lisbon: Artemágica, 2010, vol. IV, pp. 1270-1273; and DIAS, Pedro - "Heráldica Portuguesa na Porcelana da China Qing". Lisbon: Macau Foundation, 2014, pp. 292-295., Dim. - (chávena) 6,7 x 6,5 cm; (pires) 3 x 14,1 cm