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Lot 16
A pair of Elizabeth II Irish silver candlesticks, with hexagonal knopped stem holding circular sconce, all upon stepped hexagonal bases, both with crowned unicorn crests, hallmarked by Royal Irish Silver Ltd, Dublin, 1967, each approx. 19.3cm high, weight approx. 1215.2 grams (39.06ozt) Further details: generally good; light scratches and tarnishing to both; marks clear.
Lot 174
A Meissen 20th century blanc de chine figure of 'Schneider Wibble', modelled by Alexander Struck, the Chinese tailor seated crossed legged on a square base, threading a needle with a pair of scissors laying on the base, circa 1980s, blue crossed swords mark to side of base, incised crossed swords, Weiss and R287 132r to underside of base, signed A Struck. Size approx. 13.5cm x 13.5cm diam, 20.5cm high. Condition: a few very minor scuffs otherwise good, no restoration visible under UV light.
Lot 119
A late Victorian silver mounted Macintyre (attributed) porcelain egg shaped scent bottle, with speckled egg shell design to light blue ground; registration no. 20772, silver screw top hallmarked by Cornelius Saunders & Frank Shepherd, Birmingham, 1885, approx. 3.7cm long. Further details: crazing and wear to egg; silver top with small dents, tarnish and general wear overall.
Lot 9
A late Edwardian silver tea pot, of shaped circular form with scrolled edging and curved ebonised handle and finial, on three cabriole style feet, hallmarked by Mappin & Webb, Sheffield, 1910, approx. 16cm high. Weight approx. 500 grams (16ozt) Further details: light scratches, general wear and slight tarnishing.
Lot 122
A late 19th century light blue and opaque cut glass scent bottle, of tapering tear shape, with overlaid and cut back flowers and foliage decoration, and hinged white metal probably silver (unmarked) screw top, profusely embossed and chased with floral design, with replacement stopper, overall approx. 10.5cm long. Further details: very minor fleabites / nicks to glass; minor scratching to body; slight marks and tarnish to top, overall general wear.
Lot 845
A contemporary late 20th century art deco style brass table lamp. The lamp featuring a scallop / clam shaped shade with an attached light fixture and an adjustable arm mounted on a circular stepped base. Sticker to the underside by 'Contrast Lighting'. Measuring approx. 45cm tall when fully extended.
Lot 883
A vintage 20th century Scandinavian style wooden & metal ceiling chandelier light of bucket form. The chandelier of tapering circular form with wooden inner circumference and metal bound outer wooden shade. Three armed light bulb holder to inside. Sold as untested.Measures approx. 47cm tall x 50cm in diamter.
Lot 273
FIGUEIREDO, Manuel de.- CHRONOGRAPHIA | REPORTO- | RIO DOS TEMPOS, NO | QVAL SE CONTEM VI. PAR- | TES, S. DOS TEMPOS: ESPHERA, | Cosmographia, & arte da nauegação, Astrologia rus- | tica, & dos tempos, & pronosticação dos eclipses, co- | metas, & samenteiras. O calendario Romano, cõ | oseclypses ate 630. E no fim o uso, & fabrica | da balhestilha, & quadrante gyome- | trico, com hum tratado dos | Relogios.- Lisboa: Iorge Rodriguez, 1603.- [10], 284 [i. e. 283], [1] f.: il.; 19 cm.- E., Multidisciplinary treatise authored by an illustrious Torrejano (1568-1630) who was Master of Mathematics, Cosmography and Navigation and Chief Cosmographer of the Kingdom. The edition, apparently the only one, was printed at the expense of Pero Ramires and presents very interesting typographic aspects, namely, dozens of xilograph engravings, representing, with some crudeness, astronomical and astrological themes. It is worth noting, however, a very curious mobile scheme that in some copies appears mounted on the engraving on the verso of folio P5 (with two pieces rotating on the engraving, around an axis, representing the model of an instrument to determine the birth of signs), and which is currently to be assembled, with the engravings of the two pieces printed on the front of the last folio of the work (folio Oo8r, with blank verso). According to the author himself: «As pessoas curiosas mandarão fazer este instrumento de metal que sairá mais certo do que em papel». The edition presents some layout errors, namely: p. 24 duplicated (fólios C8 and D1); jumping from p. 101 to p. 103 (folios O2 and O3); jumping from p. 221 to p. 223 (folios Ff5 and Ff6); some changed numbers. The copy, slightly cropped (carminated and waxed edges) with the preliminary pages poorly bound, retains the rare errata sheet (before the f. ¶¶) that is missing in most known copies. Title page a little dusty, with some minor restorations on the verso (lower outer corner reconstituted, with damage to the xilograph frame); small wormhole (poorly) repaired, on the lower margin of sheets Bb4 to Ee5 (25 f.); occasional light (tidal) stains. Otherwise, a complete, solid and generally clean copy. Ex-libris by Victor d’Avila Perez (lot nº 2892 from the auction held in 1940). Binding from the 19th century, fully flecked sheepskin, with the spine profusely gold tooling (small superficial damage to the label). Inocêncio V, p. 427 (copies are rare). Nepomuceno, 712. Ávila Perez, 2892. Auvermann, 155. Arouca, F 107 (does not mention the last unnumbered sheet, with the two pieces engraved).
Lot 86
"Le Voyageur", bronze sculpture, French, signed E MEISSONIER - probably Jean Louis Ernest Meissonnier (1815-1891), casting mark SIOT-PARIS, numbered 36., Dim. - 47 x 61 x 20 cmNotes:Ernest Meissonnier (1815-1891) was a prominent French painter who was part of the so-called Academic Movement, having achieved his reputation with paintings of military themes and genre scenes. His attention to detail and pursuit of realism allowed him to gain recognition from his peers during his lifetime, and in 1890 he was elected president of the re-founded Société Nationale des Beaux-Arts de France.Meissonnier's sculptor skills were only recognised after his death, since his sculptural work was produced as a preparatory element to support his paintings, in which the artist modelled the position of the figures he intended to paint, thus rehearsing the interplay of light and shadow that the volumes and shapes produced. For this reason, the works left by Meissonnier consisted essentially of wax models, which were only cast in bronze after his death.The sculpture “Le Voyageur” is one of Meissonnier’s most celebrated bronzes, where the absent protagonist of the composition is the wind, which forces the knight and his mount to lean forward to face the weather, without losing their determination to continue on their way. The identity of the knight wearing the cape and bicornuate remains uncertain, but it could be Marshal Ney or Napoleon himself.The present sculpture, signed E Meissonnier, must have been cast around 1895 based on a wax, fabric and leather model created by Meissonnier, currently kept at the Musée d’Orsay in Paris https://www.musee-orsay.fr/fr/oeuvres/le-voyageur-15446 consulted on 27-11-2024 at 16:39.As mentioned in https://www.galerienicolasbourriaud.com/produit/le-voyageur-dit-aussi-voyageur-dans-le-vent-marechal-ney-ou-encore-officier-dans-la-tourmente/ an edition of 50 copies was planned, of which probably only 45 would be cast, with the present copy being number 36.
Lot 248
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 veterinarian, was born in Margão (Salcete, Goa, India); He was a member of parliament, director of the Lezírias Company and member of the Academy of Sciences. Monumental work, commissioned and published by the Grand Commission of Lisbon, chaired 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. Copy with restoration (and slight stain) on the first page (from the front page in Portuguese), but generally clean, with only a few light browning, limited to the cellophane separators. Half black morocco binding, with imperfections and some wear, with the booklet covers remaining without flaps.
Lot 158
A pair of A three-armed candelabra with seven-light each, 950/1000 silver, decoration en relief "Urns and imaginary animals", friezes en relief "Acanthus leaves", arms en relief "Lion's fauces and plant elements", cartouches with monogram, French, signs of use, restoration of the fitting system for the arms of one of the candelabra and minor faults, warranty mark, Edmond Tétard maker's mark (1860-1901), without Portuguese marks, pursuant to Decreto-Lei nº 120/2017, of 15 September - art. 2nd, no. 2, paragraph c). Notes: Founded in 1880 by Edmond Tétard, the House of Tétard was known as suppliers of the French Aristrocacy. Recognized for its elegance and quality of his productions, it stood out for producing cutlery and tableware in the style of Louis XV. Edmond Tétard received recognition at the Universal Exhibition in 1889, with several medals., Dim. - 59 cm; Peso - 11.240 g.
![ORPHEU: revista trimestral de literatura / direcção: Portugal - Luiz de Montalvôr; Brazil - Ronald de Carvalho [nº 1]; direct](https://cdn.globalauctionplatform.com/d5bf24db-2fb5-4dda-abec-b23500ec9818/2cb0a3ae-96ae-40ec-bb37-b23600da6b54/468x382.jpg)
Lot 295
ORPHEU: revista trimestral de literatura / direcção: Portugal - Luiz de Montalvôr; Brazil - Ronald de Carvalho [nº 1]; directores Fernando Pessôa e Mario de Sá-Carneiro [nº 2]; propriedade Orpheu, Lda.- Nº 1 e nº2, ano I (Janeiro, Fevereiro e Março a Abril, Maio e Junho de 1915).- Lisboa: Editor António Ferro, 1915.- 2 vols.: il.; 24 cm.- E., Two only published issues, at the time, of an avant-garde literary magazine that, giving its name to a generation of poets and artists, identified with the modernist movement itself. The publication of the third issue would be canceled due to financial difficulties, only seeing the light of day in 1984, directed and compiled by Arnaldo Saraiva. From the collaboration, in addition to Fernando Pessoa and Mário de Sá Carneiro, we highlight the names of Almada Negreiros, Alfredo Pedro Guisado, Armando Cortes Rodrigues, Álvaro de Campos, Raúl Leal, Luís de Montalvor, Santa-Rita painter, Ronald de Carvalho, etc. The collation of the two numbers, with consecutive pagination, is as follows: nº 1 - [4 (missing)], 83, [1 br.] p.; nº 2 - [4], p. [85] to 164. First issue, missing the leaflet with the summary (4 p.), signed on the half-title (in pencil) by the poet Carlos Queiroz (1907-1949), nephew of Ofélia Queiroz. The second number preserves the leaflet with some underlining in ink; occasional very light browning stains; At the end, a sheet was added (with browning), containing part of the poem “Manucure”, by Mário de Sá-Carneiro, handwritten in blue ink (not signed). Both issues preserve the cropped, flapless, and restored paperback covers. Recent bindings, fully morocco (tobacco and black), signed Invicta Livro, reproducing in the covers the graphics of the two issues of the magazine.
Lot 244
AMELIA, D. (Rainha de Portugal).- Mes dessins: mes endroits préférés = Os meus desenhos: os meus logares predilectos.- Paris: Le Goupy, 1927.- [7], 119, [12,1 br.] f.: il.; 41 cm.- B., First volume of one of the mythical books of the first half of the 20th century, entirely lithographed and calligraphed, the drawings presenting a very special charm. The second volume, with the subtitle “Art et archéologie” and a print run of 375 copies, was published the following year. Their product was destined for National Assistance for Tuberculosis Patients. The edition was directed by the Count of Sabugosa, a great and erudite bibliophile, who never saw the work completed. Copy nº 83, nominative “à la presse” (Exemplaire imprimé pour Prof. Azevedo Neves), from a limited edition of 250. The set, as usual, in loose sheets, with parchment portfolio, specific to the edition, preserving only the leather straps, but not the small ivory ball clasps. Leaves with some browning and occasional irregular edges; Portfolio with light wear and a little dusty.
Lot 180
Rolex Daytona 6241 Cherry Logo, 60sStainless steel round case, n.1767492, black acrylic bezel, round pushers.Argenté dial, black counters, "Cherry" Daytona logo, applied indexes. Hand-winding movement, cal.722.Stainless steel "Made in England" Oyster bracelet with riveted elastic links.Size: 37 mm.Accompanied by Rolex warranty stamped "Michael Lewis & Son", and Rolex vintage box.Reference 6241 was introduced to the market in 1966, as an alternative model featuring an acrylic bezel to the metal bezel reference 6239; approximately 3000 specimens were produced during the short four-year production run. The present watch displays the rare "Cherry Logo" dial -referring to the light red "Daytona" inscription-, becoming the very first model to showcase this particular detail until the "Big Red" variants of the 6263 and 6265 (excluding of course Newman dials). The presence of its original warranty stamped by English retailer "Michael Lewis & Son", as well as the rarely seen before "Made in England" Oyster bracelet, add another layer of collectibility to the piece.A similar specimen, featuring the case serial number only 6 digits apart from this specific watch, but without the original set of accessories, has been sold in 2019 at Phillips "Game Changers" auction for more than USD 105,000.
Lot 192
Rolex Day-Date 1802 Stella dial, 70s18k gold round case, n.3781663, 18k gold smooth bezel.Burgundy "Stella" dial, applied indexes.Automatic movement, cal.1556.18k gold President bracelet.Size: 36 mm. Beginning from the 70s, Rolex adorned very few of their Day-Dates with refined lacquer "Stella" dials, regarded by collectors as some of the most sought-after versions of the model. Rolex offered a wide range of dial colors, from yellow to green, from light blue to burgundy -also referred to as "oxblood", such as the present watch, that features a rare smooth bezel too, adding another layer of collectibility.
Lot 1094
A brooch PlatinumSet with 193 8/8 cut diamonds totalling approximately 5,80 ct., 3 brilliant cut diamonds totalling approximately 0,60 ct., and 1 brilliant cut diamond of light yellow hue and pure, weighing approximately 0,85 ct.Mid-20th centuryUnmarked(disassembles into two pieces) 7,5x5,5 cm 24,7 g
Lot 524
A Canton embroidered coverlet Ivory-coloured silk, embroidered with coloured and white silk threads, depicting a variety of exotic birds, including peacocks, herons, and other birds in flight, perched, or among flowering branches and bambooWith decorative knotted fringes and a pink silk lining on the reverseChina, circa 1900(in good condition, with light signs of use and minor stains) 240x186 cm
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534297 item(s)/page