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Click here to subscribeA vintage parasol with early 20th century Chinese export silver handle decorated with a sinuous high relief dragon and three Chinese characters on the rounded pommel, without makers mark, 21 cm fitted with bamboo shaft a black 'NYLFRANCE' black canopy to/w another curved parasol handle embossed with figures and landscape decoration on stippled ground, initialed 'CB' approx 20 cm o/a (2)
Edwardian silver cigarette case, Birmingham 1901, to/w a small toast rack, Birmingham 1915, a baluster pepperette and an engraved decanter label, 5.6oz total weight, to/w a surgeon's fleam with Sterling handle, penknife with silver blade and silver Yard-o-Led pencil; lot also includes cut glass scent bottle and three toilet jars with silver cover, another cover and a silver-backed hand-mirror
A large pair of weathered classical cast terracotta lidded urns, with twin loop handles and decorated with floral leaf swags, raised on socle bases to square plinths, 20th century, the urns 80 cm h 130 cm h o/all (2) very good overall, no obvious damage or repairs but a few light chips to the extremities
Richard Chater, London, a George III mahogany 8-day longcase clock, the enameled arched dial with sunsidiary strike/silent, seconds and date, striking the hours on a bell, the flame mahogany case with arched door flanked by canted fluted pilasters, raised on shaped bracket feet, 230 cm h o/all case good, colour even, dial faded and showing areas of distress, movement complete but untested, key present
John Gale, London, a brass inlaid mahogany table clock, the twin fusee five pillar hour movement striking on a bell, with engraved backplate and pendulum, the 23 cm dia. white convex dial with roman numerals, raised on brass ball feet, 63 cm h o/all (with case key and winding key) Some losses to dial/chapter ring, peeling veneer to small area on left hand side; replaced veneer on back top left corner, top of finial absent, minute hand loose, winds, but operational, functionality unknown
An Art Nouveau WMF Silver Plated candlestick with a decorative stylised floral design and pierced work. Marked WMF EP i/o OX to rim of base. Size: Approx. 30cm high and 21cm across.Condition: Broken part to the pierced work on the base (and re-glued at some time), dented, some parts misshapen, tarnished and slight surface scratching.
Early 16th century French School 'The Apostles drinking from the Fountain of Life’illuminated leaf watercolour and gold leaf on vellum, c.150021 x 11cm. Deus, in adjutorium meum intende.Domine, ad adjuvandum me festina.Gloria Patri et Filio [et Spiritui Sancto],sicut erat in principio et nunc et semperMemento, salutis Auctor,quod nostri quondam corporis,ex illibata Virginenascendo, formam sumpseris.Maria, mater gratiae,mater misericordiae,tu nos ab hoste protege,et hora mortis suscipe.Gloria tibi, Domine,qui natus es de Virgine,[cum Patre et Sancto Spirituin sempiterna saecula. Amen.]Antiphon: Missus estPsalmus**End of the prayer O sponsa Dei electa[O sponsa Dei electa,esto nobis via rectaad aeter]na gaudiaubi pax et gloria.Et nos semper aure piaDulcis exaudi Maria.O chosen spouse of God:be to us a straight path to eternal joy,where peace and glory are found.And you will always have a pious ear for us.So listen to us, sweet Mary.Verse: dignare me laudare Allow me to praisete virgo sacrata thee O sacred virginResponsio: Da mihi virtutemgive me strengthcontra hostes tuos against thy enemiesOratio: Gratiam tuam quesumusPour forth we beseech theeDomine mentibus nostris infunde;O Lord, thy grace into our hearts,ut qui, angelo nunciante, Cristi filii that we, who learnt of the incarnationtui incarnationem cognovimus,of Christ, thy son, by the message of an angel,per passionem eius et crucem, admay by his passion and cross be broughtresurrectionis gloriam perducamur.To the glory of his resurrectionPer eundem dominum nostrum IesumBy the same Jesus Christ our Lord,Cristum filium tuum, qui tecum vivit thy son, who lives and reignset regnat in unitate spiritus sancti deus, with thee in in the unity of the holy spirit, God,per omnia secula seculorum Amen. for ever and ever AmenBenedicamus domino Deo gratias.Let us praise the Lord. Thanks be to God.Ad primam At primeO Lord, make speed to save me:O Lord, make haste to help me.Glory be to the Father, and to the Son, [and to the Holy Ghost:]As it was in the beginning, is now and ever shall beRemember, O Creator Lord,that in the Virgin's sacred wombThou wast conceived, and of her fleshdidst our mortality assume.Mother of grace, O Mary blest,to thee, sweet fount of love, we fly;shield us through life, and take us henceto thy dear bosom when we die.O Jesu! born of Mary bright!Immortal glory be to Thee;praise to the Father infinite,and Holy Ghost eternally. Amen.Antiphon: It is finishedPsalm***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Australian naval interest - A Victorian engraved silver presentation snuff box, inscribed 'Presented to Capt. Samuel Smiley by the Passengers of the Ship Shaftesbury on the Termination of the Voyage from Liverpool to Melbourne, 4th November, 1857, together with a gold and two colour enamel signet ring, with carved shoulders engraved with a ship and inscribed 'Saml Smiley, 1857' and original documentation, including hand written thank you letter, snuff box maker Edward Smith, Birmingham, 1854, 81mm, ring size O, gross 10 grams, makers maker's only A&D.Literature - National Library of Australia, Samuel Smiley archive 1857-1858, Log tables and papers of the ship "Shaftesbury", (under the command of Captain Smiley), and 2 letters from Captain Smiley to his brother, Manuscript reference no. : MS 4731. o,***CONDITION REPORT***A few very minor nicks and scratches to the snuff box in places, commensurate with age and little use. Hallmarks clear.Some loss/damage to the enamel. Minor nicks and scratches to the shank and setting.Tears, wear and staining to the documents.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
An antique yellow metal and collet set solitaire old cushion cut diamond ring, size N, gross weight 2.7 grams, the stone weighing approximately 0.57ct, with an estimated colour and clarity of O/P and SI1.***CONDITION REPORT***Wear to the collet setting and tarnishing to the shank. No visible damage to the stone.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
An early 20th century gold, sapphire and millegrain set rose cut diamond set oval cluster ring, size N/O, gross weight 2.9 grams.***CONDITION REPORT***Minor surface wear to the table facet edges of the sapphire. Wear to the settings in general.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A pair of 18ct white gold and solitaire diamond set ear studs, the total diamond weight approximately 1.30ct, gross weight 2.2 grams.***CONDITION REPORT***No visible damage to either of the stones. One stone colour and clarity approx. estimated as N/O and SI1. The other L/M and SI1.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A 14k gold, five stone graduated round cut diamond and twelve stone marquise cut amethyst set cluster dress ring, size O, gross weight 10 grams.***CONDITION REPORT***One of the amethysts has a chip to the table facet and tow others have minor chips.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A platinum (10%) and single stone pear cut Ceylon sapphire set ring, with tapered baguette cut diamond set shoulders, size N/O, gross weight 6.6 grams.***CONDITION REPORT***Surface reaching inclusion to the sapphire in the centre of the table. The stone measuring approx. 9.1mm by 7.9mm(at widest point), with a depth of 5.2mm.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A modern 18ct gold, emerald, sapphire, ruby and diamond set full eternity ring, size O, gross weight 4.5 grams.***CONDITION REPORT***The emeralds each have tiny chips or abrasions to the table facets and two of the sapphires each have a small chip to the table facet edge.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A modern 18ct white gold, peridot and diamond set hexagonal cluster set dress ring, with diamond set shoulders, size O/P, gross weight 4.8 grams.***CONDITION REPORT***Several tiny nibbles around the facet edges of the peridot, otherwise in good order.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A platinum? and square cut sapphire set full eternity ring, size O, gross weight 7.7 grams.***CONDITION REPORT***Minor surface scratches to the metal, otherwise in good order.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A series of three Japanese watercolours of Zen Buddhist scenes, Edo period, depicting Ken’eo and Datsueba, Jigoku Sai-no-kawara and Hyakkanichi Byodo-o /Kanzeon Bosatsu, inscribed upper right, each 35. 5 x 45 cm***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
LEÃO, Duarte Nunes de.- PRIMEIRA PARTE | DAS CHRONICAS DOS | REIS DE PORTVGAL, REFOR- | MADAS PELO LICENCIADO | DVARTE NVNEZ DO LIÃO, DESEM- | bargador da casa da Supplicação, per | mandado del Rei Dom Philip- | pe o primeiro de Portu- | gal, da gloriosa | memoria. | [gravura com as armas de Portugal].- Em Lisboa: Impresso por Pedro Crasbeeck, 1600.- [2], 239, [8] f.; 27 cm.- E., Edition published in the last year of the 16th century, comprising the chronicles of Count D. Henrique, D. Afonso Henriques, D. Sancho I, D. Afonso II, D. Sancho II, D. Afonso III, D. Dinis I, D. Afonso IV, D. Pedro I and D. Fernando I. The chronicle of King D. João I was only printed in 1643. Duarte Nunes (1530-1608), erudite historian, graduated in Law and judge of the Casa da Suplicação, after the death of Cardinal King D. Henrique, he warmly embraced the cause of Filipe I, whose right to succession he defended in writing against those who challenged him. Copy with library stamp (unidentified) poorly erased on the title page (with small loss of support), on page 1 (f. A1) and, probably, on page 239 (f. Ll4) with restoration. Small marginal wormhole (restored) on leaves 3, 4 and 5. Old handwritten ownership mark on the lower margin of the title page (Me. Fr. Mel. Pinto). White leaves added before leaves 82 and 135, 174. Otherwise, a copy slightly cropped and with slight browning, but generally clean. Recent binding, full rigid parchment, with laces and gold tooling on the spine and covers, which present, in the centre, the coat of arms of the Kingdom of Portugal, gold engraved. Anselmo, 523. Samodães, 2247. BN (16th century), 406. Library of King D. Manuel II of Portugal, 242.
CAMÕES, Luís de.- OBRAS | DE | LVIS DE CAMOÊS | PRINCEPE DOS POETAS | PORTUGUESES. | COM OS ARGUMENTOS DO | Lecenceado João Franco Barreto; & por elle emê- | dadas em esta nova impressaõ, que comprehende | todas as Obras, que deste insigne Autor se achà- | raõ impressas, & manuscritas, com o Index | dos nomes proprios.- Lisboa: por Antonio Craesbeek d' Mello, 1669.- [8], 376, 78 p.; 18 cm.- E. Junto com:- ----.- RIMAS | DE | LVIS DE CAMÕES | PRINCEPE DOS POETAS | PORTVGVESES. | PRIMEIRA, SEGVNDA, E | TERCEIRA PARTE, | NESTA NOVA IMPRESSAM | emmendadas, & accrescentadas, | PELLO LECENCEADO | IOAM FRANCO BARRETO.- Lisboa: na Officina de Antonio Craesbeeck de Mello, 1666.- [4], 368 p.; 18 cm.- E. Junto com: -----.- RIMAS | DE | LVIS DE CAMÕES | PRINCIPE DOS POETAS | PORTVGVEZES. | Segunda Parte. | Emendadas, & acrescentadas | pello Lecenceado Ioão Franco | Barreto.- Lisboa: Por Antonio Craesbeeck de Mello, 1669.- [4], 207, [1 br.] p.: 18 cm. Junto com: -----.- TERCEIRA | PARTE | DAS RIMAS | DO PRINCIPE DOS POETAS | PORTVGVESES v LVIS DE CAMOENS, | TIRADAS DE VARIOS MANVSCRITOS | muitos da letra do mesmo Autor, | POR D. ANTONIO ALVAREZ | da Cunha...- Por Antonio Craesbeeck de Mello, 1668.- [8], 108, [22] p.; 18 cm.- E., Volume consisting of four parts, corresponding respectively to “Os Lusíadas” and to the three parts of “Rimas”. These works often go together and present difficulties in collation or some faults, but the set is complete, exactly matching the descriptions in the catalogue of the José do Canto collection (nºs 36, 33, 35 and 34). Copy slightly cropped, but clean and without noticeable defects. Entire leather contemporary bindings, slightly worn, retaining the original marbled paper endpapers. Arouca, C 63, 71, 82 and 83. King D. Manuel II of Portugal Library, 713.
SOUSA, Pe.- Francisco de, S.J.- Oriente conquistado a Jesu Christo pelos Padres da Companhia de Jesus da Provincia de Goa.- Lisboa: Na Officina de Valentim da Costa Deslandes, 1710.- 2 vols.: 4 gravuras; 29 cm.- E., The author was born on the island of Itaparica (Baía, Brazil) in 1649, leaving for Goa in 1665, where he died in 1712. The first volume (part one): «...contèm os primeyros vinte, & dous annos desta Prouincia». The Second (Part Two) “...contem o que se obrou desdo anno de 1564 atè o anno de 1585”. The third part was never published. The collation of each of the volumes is as follows: I - [36], 895, [1 br.] p.: 2 engravings; II - [28], 620 p.: 2 engravings. The two volumes retain the four (different) engravings, two allegorical at the beginning of each part and two representing the author offering his work. Cropped volumes, with tangential damage to the engravings in the first volume; the two engravings in the second part have folded edges (to avoid cropping). Small old ownership mark in the lower margin of both title pages: Ferrão(?). Recent bindings, full parchment, with ties and titles handwritten on the spines. Inocêncio, III, p. 68 (These two volumes must be accompanied by four engraved prints). Borba de Moraes, p. 820 (very rare). Sommervogel, VII, p. 1405. Reiss & Auvermann, 819. BNP, Cota R 6238/9 A. (with the same collation).
Circumcision of the Child Jesus, oil on wood, copy of a panel from the altarpiece of the Main Chapel of the Cathedral of Lamego by Vasco Fernandes (Grão Vasco) - c. 1475-1542, Portuguese school, 16th. (mid), restoration. Notes: this work copies one of the panels from the Polyptych of the Main Chapel of the Cathedral of Lamego, by Vasco Fernandes (Grão Vasco) - c. 1475-1542, datable to c. 1506 to 1511, which is currently part of the Collection of the Museum of Lamego. Cabral Moncada Leilões aknowledges and thanks Professor Vítor Serrão for his availability in identifying and framing this painting. “O tema Grão Vasco ultrapassa largamente, em complexidade e interesse, o quadro bibliográfico e a produção artística do pintor Vasco Fernandes, um dos maiores protagonistas da pintura portuguesa do Renascimento. A história lendária da sua vida que se adensa no mistério de elementos essenciais não documentados - a sua naturalidade, filiação e formação artística - e se reifica na exaltação do «grande Vasco» ao longo de séculos, traduz um fenómeno singular, em Portugal, de heroificação de um artista. E este processo de prodigiosa fama e glória reflecte também uma recepção e apropriação, a vários títulos excepcional, da sua obra, não apenas por artistas que o seguiram e o copiaram, mas também pela sua clientela e pelos seus destinatários, ainda em vida e muito além da sua morte (RODRIGUES, Dalila, 2001: 29-94)”. - vd. RODRIGUES, Dalila - "Grão Vasco: Fama, Fortuna, Memória" in (coord.) AGOSTINHO, Ribeiro - “Além de Grão Vasco, Do Douro ao Mondego: A Pintura entre o Renascimento e a Contrarreforma”. Viseu: Museu Nacional Grão Vasco; Lisboa: Museu Nacional de Arte Antiga, 2016, p. 31. Several names of contemporary painters of Grão Vasco, residing in Viseu, and with unknown artistic activity, appear in the contemporary documentation, and may, therefore, correspond to the author of this painting: Pero Afonso, Fernando de Trosilhos, Henrique Fernandes, Manuel Fernandes, Manuel Vaz, João Dinis, Jerónimo Tavares, Álvaro de Brunhosa, Diogo Vaz Gamboa, Diogo Vaz - vd. SANTOS, Luís Reis - "Vasco Fernandes e os Pintores de Viseu do Século XVI". Lisboa: L. R. Santos, 1946, pp. 31-34., Dim. - 117 x 63 cm this work copies one of the panels from the Polyptych of the Main Chapel of the Cathedral of Lamego, by Vasco Fernandes (Grão Vasco) - c. 1475-1542, datable to c. 1506 to 1511, which is currently part of the Collection of the Museum of Lamego. Cabral Moncada Leilões aknowledges and thanks Professor Vítor Serrão for his availability in identifying and framing this painting. “O tema Grão Vasco ultrapassa largamente, em complexidade e interesse, o quadro bibliográfico e a produção artística do pintor Vasco Fernandes, um dos maiores protagonistas da pintura portuguesa do Renascimento. A história lendária da sua vida que se adensa no mistério de elementos essenciais não documentados - a sua naturalidade, filiação e formação artística - e se reifica na exaltação do «grande Vasco» ao longo de séculos, traduz um fenómeno singular, em Portugal, de heroificação de um artista. E este processo de prodigiosa fama e glória reflecte também uma recepção e apropriação, a vários títulos excepcional, da sua obra, não apenas por artistas que o seguiram e o copiaram, mas também pela sua clientela e pelos seus destinatários, ainda em vida e muito além da sua morte (RODRIGUES, Dalila, 2001: 29-94)”. - vd. RODRIGUES, Dalila - "Grão Vasco: Fama, Fortuna, Memória" in (coord.) AGOSTINHO, Ribeiro - “Além de Grão Vasco, Do Douro ao Mondego: A Pintura entre o Renascimento e a Contrarreforma”. Viseu: Museu Nacional Grão Vasco; Lisboa: Museu Nacional de Arte Antiga, 2016, p. 31. Several names of contemporary painters of Grão Vasco, residing in Viseu, and with unknown artistic activity, appear in the contemporary documentation, and may, therefore, correspond to the author of this painting: Pero Afonso, Fernando de Trosilhos, Henrique Fernandes, Manuel Fernandes, Manuel Vaz, João Dinis, Jerónimo Tavares, Álvaro de Brunhosa, Diogo Vaz Gamboa, Diogo Vaz - vd. SANTOS, Luís Reis - "Vasco Fernandes e os Pintores de Viseu do Século XVI". Lisboa: L. R. Santos, 1946, pp. 31-34.
BALTAZAR GOMES FIGUEIRA (1604-1674) E JOSEFA DE ÓBIDOS (OU DE AYALA) (1630-1684), "Mês de Abril" (c. 1668), oil on canvas, handwritten inscription "Pascoa de flores Abril/[...]/quando Alleluya amanhece/[...]; Obidos", restoration, signed "Obidos". Notes: It was part of the exhibitions: "Exposição das pinturas de Josefa de Óbidos", National Museum of Ancient Art, Lisbon, 1949, nº 14; "Pintura Portuguesa do séc. XVII. Histórias, lendas, narrativas", National Museum of Ancient Art, Lisbon, 2004, reproduced in the respective catalogue, pp. 124-125, no. 39; "Josefa de Óbidos e a Invenção do Barroco Português", National Museum of Ancient Art, 2015, reproduced in the respective catalogue, p. 103, nº 29. Although not included in the following two exhibitions, this work is also represented in the cataloueg of the Exhibition “Josefa de Óbidos e o tempo Barroco”, held at the King D. Luís I Painting Gallery, Ajuda National Palace, in 1991. Lisbon:Instituto Português do Património Cultural/TLP, p. 156, where the title “Mês de Agosto” is wrongly attributed, since the inscriptions had not yet been discovered, according to the text that accompanies the work in the catalogue of the exhibition "Pintura Portuguesa do séc. XVII. Histórias, lendas, narrativas", held at the National Museum of Ancient Art, Lisbon, 2004, being represented in the respective catalogue, pp. 124-125, no. 39; and in the exhibition catalogue “Josepha na Ogiva”. Óbidos: Galeria Ogiva, 1972, s.p, s.n, under the title “Doces e Flores”; and in CAETANO, Joaquim de Oliveira, "Reading the Fate of the Christ Child - New Masterpiece by Josefa de Ayala (1630-1684). Montevideo: Jaime Eguiguren Art & Antiques, pp. 54-55, fig. 16, where it is mentioned that in the "Páscoa e flores",literature of the time, which inspired the painting "A leitura da sina do Menino Jesus" (1667), figures refer to Jesus as "Páscoa e flores", the same expression that is in the caption. It is also identifiable in a photograph of the interiors of the Palace of the Counts of Sabugosa, an archive of images of Mário Novais, currently in the Art Library of the Calouste Gulbenkian Foundation and in https://acasasenhorial.org/acs/index.php/pt/fontes-documentais/fotografia/277-palacio-dos-condes-de-sabugosa, accessed on November 9, 2022 at 2:55 pm.", Dim. - 111,5 x 176 cm It was part of the exhibitions: "Exposição das pinturas de Josefa de Óbidos", National Museum of Ancient Art, Lisbon, 1949, nº 14; "Pintura Portuguesa do séc. XVII. Histórias, lendas, narrativas", National Museum of Ancient Art, Lisbon, 2004, reproduced in the respective catalogue, pp. 124-125, no. 39; "Josefa de Óbidos e a Invenção do Barroco Português", National Museum of Ancient Art, 2015, reproduced in the respective catalogue, p. 103, nº 29. Although not included in the following two exhibitions, this work is also represented in the cataloueg of the Exhibition “Josefa de Óbidos e o tempo Barroco”, held at the King D. Luís I Painting Gallery, Ajuda National Palace, in 1991. Lisbon:Instituto Português do Património Cultural/TLP, p. 156, where the title “Mês de Agosto” is wrongly attributed, since the inscriptions had not yet been discovered, according to the text that accompanies the work in the catalogue of the exhibition "Pintura Portuguesa do séc. XVII. Histórias, lendas, narrativas", held at the National Museum of Ancient Art, Lisbon, 2004, being represented in the respective catalogue, pp. 124-125, no. 39; and in the exhibition catalogue “Josepha na Ogiva”. Óbidos: Galeria Ogiva, 1972, s.p, s.n, under the title “Doces e Flores”; and in CAETANO, Joaquim de Oliveira, "Reading the Fate of the Christ Child - New Masterpiece by Josefa de Ayala (1630-1684). Montevideo: Jaime Eguiguren Art & Antiques, pp. 54-55, fig. 16, where it is mentioned that in the "Páscoa e flores",literature of the time, which inspired the painting "A leitura da sina do Menino Jesus" (1667), figures refer to Jesus as "Páscoa e flores", the same expression that is in the caption. It is also identifiable in a photograph of the interiors of the Palace of the Counts of Sabugosa, an archive of images of Mário Novais, currently in the Art Library of the Calouste Gulbenkian Foundation and in https://acasasenhorial.org/acs/index.php/pt/fontes-documentais/fotografia/277-palacio-dos-condes-de-sabugosa, accessed on November 9, 2022 at 2:55 pm."
[RODRIGO DO PORTO, Frei, O.F.M.].- COMPENDIO | E SVMMARIO DE | CONFESSORES, TIRADO de | toda a substancia do Manual: copilado, & | abreuiado por hum Religioso, frade | Menor da orde[m] de S. Francisco | da Provincia da Piedade. | Acresce[n]tara[m]selhe em os lugares cõuenientes as cousas | mais comu[n]as q[ue] se ordenarão em o S. Cõcilio Tri- | de[n]tino. Cõ as excomunhões da bulla da Cea. | [pequena gravura xilográfica] | Impresso na dita cidade [de Braga]: por Gõçalo Fernãdez Impressor de sua S.R., 1579.- [16], 658, [59, 1 br.] p.; 15 cm.- E., Work published without the name of the author (according to the bibliography), Friar Minor of the Province of Piedade. Barbosa Machado considers it “the first sum of Moral that came out in vulgar language in this Kingdom”. The “Compendio”, originally published as “Manual de confessors” in 1549, would have at least six more editions during the 16th century. The present edition includes the guidelines of D. Friar Bartolomeu dos Mártires, after his participation in the third session of the Council of Trent: ¶ Foy visto, & emendado de muitos erros que nas impressões passadas auia, por mandado do Reuere[n]diss. S. Archbishop of Braga. The approval is given by D. Friar Amador Arrais. The copy, a little cropped with slight handling and slight browning lacks two blank sheets at the beginning and one at the end. Title page with antique ownership mark. Full of flexible parchment binding (from the period?), with new tie and endpapers. Anselmo, 542. BN (16th century), 816. King D. Manuel II of Portugal library does not mention.
FRANCISCO JOSÉ DE RESENDE - 1825-1893, "Camponeza dos arrabaldes de Barcellos", oil on wood, restoration, cracked support and with hole, front signed with the initial R and dated Oporto - 1861, back signed, dated and with the inscription "A montanha que se vê no fundo he onde existia o antigo Castello de Faria; vendido ao Exmo. Sr. Bazilio Castello Branco", Dim. - 41 x 32,5 cm
AZPILCUETA NAVARRO, Frei Martin de, C.R.S.A.- Cõmento, re | peticion del capitulo: Quando | de consecratione. distin. I. | Cõpuesto y de nueuo reuisto | y eme[n]dado porel doctor Mar | tin de Azpilcueta Nauarro: ca | [...] | Enel qual de rays se trata de la oracion | horas canonicas, y otros officios diui- | nos, y quando, como, y porque se hã de | dezir en el choro o fuera del...- En la vniuersidade de Coimbra: Por Iuan de Barrera, y Iuan Aluares, impressores del Rey M. D.L. [1550].- [51, 1 br.], 476, [2] p.; 16 cm.- E., One of the numerous editions published in Portugal in the 16th century (at least 25), by the famous Spanish humanist (1492-1586) who taught in Coimbra between 1538 and 1554, the “Manual de confessores” being the one that achieved greater popularity. The title page (slightly cropped, with a loss of two letters on the penultimate line), framed by two stripes and two woodcut embellishments, has the following inscription on the lower margin: Vendese en los palacios del Rey en casa de los m[is]mos printers a cie[n]t marauedis, the vn teston. Edition almost entirely printed in Gothic characters. Cropped but clean copy signed by Friar Simão Cabral on the last preliminary sheet (approval). Binding from the 19th century, with parchment spine (with two labels). Anselmo, 270. National Library (16th century), 49. King D. Manuel II of Portugal Library, no reference.
PINTO, Fernão Mendes.- Wunderliche und Merkwürdige | Reisen FERDINAND MENDEZ PINTO, | Welche er innerhalb ein und zwanzig, Jahren | durch Europa, Asia, unf Africa, und deren König- | reiche und Länder; als Abyssina, China, Japon, Tartarey, Siam, | Calaminham, Pegu, Martabane, Bengale, Brama, Ormus, | Batas, Queda, Aru, Pan, Ainan, Calempluy, Cau- | chenchina, und andere Oerterverrichtet...- Amsterdam: bey Heinrich und Dietrich Boom, 1671.- [8], 392 [i.e. 390], [1, 1 br.] p.: il.; 20 cm.- E., First German edition of the famous travel book by Fernão Mendes Pinto (1510/14-1583), a famous traveler and adventurer, born in Montemor-o-Velho. Fernão Mendes left for India in 1537, having remained in the East for about 21 years. The “Pilgrimage”, a fantastic account of his troubled adventures, was originally published on the initiative of Friar Belchior Faria, 31 years after his death (1614), from the original manuscript bequeathed by the author to Casa Pia dos Penitentes. Illustrated edition with an allegorical frontispiece (integrated in the first booklet) and 11 copperplate engravings, printed separately, correctly placed, according to the respective pagination. Of these, seven were imported from the Dutch edition of 1652 and four were expressly engraved for the present edition. The 1652 edition also does not include the chapters referring to Saint Francis Xavier, which were not well accepted in the Netherlands, at the time predominantly Calvinist. Paging error from p. 73 (wrongly 75) to the end. Minor marginal restorations on the first six leaves and on leaves Z2, Aa2 and Zz1. Otherwise a slightly cropped but very clean copy. Bound from the 20th century, full of tobacco shagreen with blind tooling decoration on the covers. Cordier, BJ, 463. Cordier, BS, 111. Reiss & Auvermann, 675. Leite de Faria, XXXXX.
TORGA, Miguel.- Rampa: poemas / de Adolpho Rocha.- Coimbra: Edições Presença, 1930.- 76, [2] p.; 22 cm.- B., First edition of the author's second book and one of the rarest, still published under his real name. Miguel Torga (1902-1995) published his first four books under his real name: Ansiedade; (1928), Rampa; (1930), Pão ázimo; (1931) and Abismo; (1931). From his fifth book, O outro livro de Job (1936), he began to sign his works with the pseudonym that made him famous. Very clean copy, retaining both brochure covers with the original narrow flaps (with slight imperfections on the periphery).
[ORDENAÇÕES MANUELINAS] O PRIMEIRO [ao quinto] LI | uro das ordenações.- Lisboa: por Manoel Joam, 1565.- 5 livros em 1 vol.; 28 cm.- E., An important 16th-century Portuguese bibliographic species still shrouded in some uncertainty regarding the different prints and variants, the printer and place or places of printing. In terms of content, the “Manoeline Ordinances”, which were first printed in Lisbon by Valentim Fernandes (1512-1513), replaced the so-called “Afonsine Ordinances”. Its second printing is also from Lisbon, by João Pedro Bonhomini, 1514. In 1521 a new compilation was carried out, which resulted in the printing of Juan Cromberger, a printer of German origin, settled in Seville, followed by several reprints (four?) individualized from each (or some?) of the five books, until 1539. Finally, in 1565, Manuel João's edition was published. The “Manoeline Ordinances” were only replaced in 1603 by the Philippine Ordinances, since before this date no code was enacted to revoke them. The collation of each of the books is as follows. Book one: [3], xcvj f.; Second book: [2], lxix, [1] f.; Third book: [3], xcvi; Fourth book: [3], LXVI f.; Fifth book: [4], xcviij f. Titled copies were only printed in the first and third books. At the end of the last book, the signature of the licensee Mateus Esteves, from Desembargo do Paço. Complete copy, but with some imperfections, namely: first book cover very cropped and with restoration in the lower outer corner; the first three pages of the first book may have been added from another copy; xcv sheet (m6) of the first book, shorter, from another copy; last two sheets with strong and extensive restorations (margins reconstructed) affecting the text on the last sheet; slight browning and occasional marginal stains; numerous marginal annotations of the time. Recent binding, full parchment, with handwritten title on the spine, in the old-fashioned way. National Library (16th century), 745. Library of King D. Manuel II of Portugal, 421.
REGIMENTO dos Contos do Reyno, e Casa, nesta nova impressam acrescentado com hum alphabeto para nelle se achar com muita facilidade o que contem todos os capitulos [gravura com as armas de Portugal].- Em Lisboa: Na Officina de Valentim da Costa Deslandes, Impressor de Sua Magestade, 1708.- [16], 177, [1 br.]; 29 cm.- E., The Casa dos Contos, as the first organ for ordering and supervising State revenue and expenditure, can be considered the predecessor of the current Court of Auditors. The edition includes a large copperplate vignette on the title page, with the coat of arms of the Kingdom of Portugal and several chapters referring to the island territories, as well as Brazil, Africa and India. Slightly cropped copy (gilt edges), with some handling, covered in a remarkable contemporary binding, full “vieux rouge” shegreen, slightly worn, with multiple ornamental borders and central gold rectangle on both covers, with the coat of arms of Portugal gold engraved in the central reserve (new endpapers). Not mentioned in the consulted bibliographies.
PIMENTEL, Manuel.- Arte de navegar, em que se ensinão as regras praticas, e os modos de cartear, pela Carta plana, e reduzida, o modo de graduar a Balestilha por via de numeros, & muitos problemas uteis á Navegação; & roteiro das viagens, e costas maritimas de Guinè, Angola, Brasil, Indias, & Ilhas Occidentaes, e Orientaes.- Agora novamente emendado, & accrescentadas muitas derrotas novas.- Lisboa: Na Officina Real Deslandesiana,1712.- [12], 575, [1] p.: il.; 29 cm.- E., Second edition, the first illustrated, with additions and corrections, of two works by Manuel Pimentel's father, Luís Serrão Pimentel, published respectively in 1675 and 1681 and, both together, in 1699. Both authors held the position of Chief Cosmographer of the Realm. In addition to what is indicated on the title page, it also includes a description of «das sondas que se achão assim no canal de Inglaterra», a tour of the coast of Spain and another of the Mediterranean Sea, from Cadiz to Malta. The edition is illustrated with several figures in the text (among which a beautiful compass rose), three numbered engravings (one leaflet) and 18 separate engravings, numbered 1 to 18, representing 35 plants of harbours and shores, the majority with two illustrations per page (incorrectly numbered: Apparently, engraving 5 is missing, but there are two with the number 3, which occurs in all copies). Small restored wormhole, on the lower margin of the nine leaves after the title page. Large crossed-out but legible ownership on the inside endpaper: Antonio de Mello Callado. Very clean copy with good margins. Contemporary binding, full sheepskin, slightly worn, with new label. Inocêncio, VI, p. 82. Edition not mentioned in the main consulted catalogues, including Samodães, Ameal, Palha, etc., except Auvermann (161).
FIGUEIREDO, Pe. José Anastácio de (1766-1805).- Nova historia da Militar Ordem de Malta, e dos Senhores Grão-Priores della, em Portugal: fundada sobre os documentos, que só pódem supprir, confirmar, ou emendar o pouco, incerto, ou falso, que della se acha impresso; servindo incidentemente a outros muitos Assumptos, com geral utilidade.- Lisboa: na Officina de Simão Thaddeo Ferreira, 1800.- 3 vols.: 1 estampa desdobr.; 29 cm.- E., José Anastácio de Figueiredo (1766-1805), canon of the Collegiate Church of Our Lady of the Oliveira of Guimarães and corresponding member of the Royal Academy of Sciences. Second edition amended and added to "copious additions". The third volume ends, as in most cases, on p. 504 of the index, as explained by Inocêncio (IV, p. 233) "when printing reached this point, the author was forced to give up the task, in which he had committed himself with all his small possessions, and only after a long time did he decide to have the last complementary sheets of the index printed; the print run of these sheets was, however, so limited that it was only enough to complete a small number of copies, leaving almost the entire edition without them". The collation of the three volumes is as follows: 1 - [4], X, [1, 1 br.], 522 p.; II - [4], 396 p.: 1 unfolded engraving; III - 504 p. In volume I, p. 17 to 24 are bound after preliminary page VIII. Volume II includes a fold-out plate with a lapidary inscription. Very clean copy, with carmine edges. Full sheepskin bindings, recent, with ornamental borders on the covers, patina and gold tooling decoration on the spines, according to the taste of the period.
MANUSCRITO.- [ÉVORA, Convento do Monte Calvário de].- Obituário das freiras clarissas.- Séculos XVI a XIX.- 160 f.; 21 cm. E., Obituary of the Poor Clares of the Convent of Saint Helena of Mount Calvary, in Évora. The Convent of Calvary, as it is known today, was founded in 1570 by the Infanta D. Maria of Portugal, the youngest daughter of King D. Manuel I of Portugal and belongs to the cloistered Order of Saint Clare. Manuscript of several hands, containing: a calligraphed title page of the 16th century: “Este liuro he da comunidade deste conuento do Caluario”; several introductory texts follow (historical note, “a culpa das noviças e madres”, graças e perdões, “os sanctos em que se pode levantar o interdito”, “da entrada do Rei neste convto. do calvario”, “palavras escritas no principio da regra”, “as festas em que se fazem procissões”, ceremonies, etc.). Following is a list with the “Numero das riligiozas que tem faliçido neste Convto. Do Calvº.” (nearly a hundred). On folio 34, a curious draft of a death certificate, dated 14 Dec. from 1706. From folios 38 and 149, there are records of deaths, dated between 1707 and 1889, the date on which the last nun died and closed the convent. The document includes more than fifty plate seals, all of which are well preserved, authenticating numerous visitor visas. Volume slightly disjointed and with occasional browning, caused by the ink. Antique binding (17th century?), full sheepskin, with blind decoration on the covers and spine, preserving one of the two metal clasps.
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![[RODRIGO DO PORTO, Frei, O.F.M.].- COMPENDIO | E SVMMARIO DE | CONFESSORES, TIRADO de | toda a substancia do Manual: copilado](https://cdn.globalauctionplatform.com/192d8e06-40e6-40ad-aeac-af5c00e0a0af/bba0a7ab-2ca7-4ce6-9108-af5c00fa5244/468x382.jpg)
![TORGA, Miguel.- Rampa: poemas / de Adolpho Rocha.- Coimbra: Edições Presença, 1930.- 76, [2] p.; 22 cm.- B., First edition of](https://cdn.globalauctionplatform.com/192d8e06-40e6-40ad-aeac-af5c00e0a0af/bd86b249-6d47-4e10-9852-af5c00f9c27b/468x382.jpg)
![[ORDENAÇÕES MANUELINAS] O PRIMEIRO [ao quinto] LI | uro das ordenações.- Lisboa: por Manoel Joam, 1565.- 5 livros em 1 vol.;](https://cdn.globalauctionplatform.com/192d8e06-40e6-40ad-aeac-af5c00e0a0af/358a4c0c-28cf-4a78-b15e-af5c00fa3657/468x382.jpg)
![MANUSCRITO.- [ÉVORA, Convento do Monte Calvário de].- Obituário das freiras clarissas.- Séculos XVI a XIX.- 160 f.; 21 cm. E.](https://cdn.globalauctionplatform.com/192d8e06-40e6-40ad-aeac-af5c00e0a0af/61ca89c4-7267-40ef-8641-af5c00fa8a2b/468x382.jpg)
