Miscellaneous < Back CARLA ACCARDI, mid-1990s CARLA ACCARDI (Italy, 1924 - 2014) Untitled Mid-1990s Marker on cardboard H 22 cm x W 32 cm Note: signed "C. Accardi" in the bottom right-hand corner. Work registered at the Accardi Sanfilippo Archive, Rome.

Tribal Art < Back Gun powder box North Africa, 19th century 31,5cm (H) x 16,5cm (W) x 11,0cm (D)

Present Exhibitions < Back Lisbon Art and Antiques Fair 2024 Cordoaria Nacional, Lisboa OPENING 12 de abr. de 2024 CLOSING 21 de abr. de 2024 Previous Next

Tribal Art < Back New Caledonian War Club A New Caledonian, Melanesian, Carved Hardwood ‘Mushroom or Phallic’ War Club ‘Buat’ With notched engraving to the mushroom shaped head, linen fabric and plaited coir sinnet bound around the shaft Late 19th Century New Caledonian (French:Nouvelle-Caledonie) is a dependent overseas territory of France lying in the western Pacific Ocean, in the Coral Sea, to the east of Australia and west of Vuanatu. The territory consists of the main island of Grand Terre, the archipelago of the Loyalty Islands (Iles Loyauté), and numerous small, sparsely populated islands and atolls. 77cm (H)

Miscellaneous < Back LINA BO BARDI STOOLS, 1979-1982 Stools Model: Sesc Pompeia, cultural center in São Paulo, Brazil Designer: Lina Bo Bardi (Italy, 1914 – Brazil, 1992) 1979-1982 Pine wood H 68,3 cm x W 38,4 cm x D 72 cm x SH 46 cm Note: in 2020 the original model was acquired by the Vitra Design Museum and became part of its collection.

Exhibitions Archive < Back APA AUTUMN FAIR 2018 Lisboa OPENING 14 de nov. de 2018 CLOSING 18 de nov. de 2018 In this edition, we presented for the first time in Portugal a set of original pieces, drawn and produced between 1958 and 1965 by Le Corbusier and Pierre Jeanneret for the city of Chandigarh in India. In 1950, Pandit Neru, India’s new prime minister, invited Le Corbusier (1887–1965) to be the architect responsible for the future capital of Punjab, with the objective of making it thr symbol for the “new” India. This new city, a true manifesto of the modern movement, was the only project of large magnitude undertaken by Le Corbusier, transforming itself into a true laboratory for architecture and urbanism projecting this new country into the future. Responsible for the design of a large part of the furniture for the new state buildings (and some private residences), Pierre Jeanneret had to consider several technical limitations dictated by the circumstances, whilst at the same time making use of the experienced craftsmen and abundance of raw materials existent in the region. Through simple yet more functional ways, Jeanneret created a variety of furniture that responded thoroughly to the needs of each space. Additionally, important Portuguese design pieces were on display including the works of José Espinho, Miguel Jacobetty and José Pereira alongside those of other prominent designers such German Gerry Rietveld and Italians Franco Campo and Carlo Graffi. Previous Next

Exhibitions Archive < Back NUCA Fernando Roussado OPENING 4 de set. de 2019 CLOSING 27 de set. de 2019 Nuca is the term used to designate the area of the neck where the connection between the first cervical vertebra and the skull is found. The name of this first vertebra - Atlas - is also the name of a Titan from Greek mythology who was coerced by Zeus to carry the sky. Anatomy terminologists have developed an analogy between the titan and this bone - both support the weight: of ideas, of the mind. There is a series of connections in the word Nuca that lead us to the sense of what is only known for its effect, which belongs to the order of the invisible or which is removed from our sight. Nuca is a place usually forgotten: it concerns the back and not the front; it is in direct opposition to the eyes. It has a burglar's grave. The shot in the back of the head is an inexorable shot. Exposed, the back of our neck belongs to the other, it is collective, as well as individual. The works presented here gave rise to the title of this exhibition - Nuca. These are works developed alongside my PhD research on the importance of the cut in thought. Fernando Roussado Brochure (pt download) Previous Next

Decorative Arts < Back O fio de Ariadne #13, 2022 Work #13 of series O fio de Ariadne , 2022 Teresa Segurado Pavão (Lisboa, 1957) Stamped "tp" and numbered 13 Iron, brass, hemp, linen and raffia H 31 x W 23 x D 6 cm 1/3

Tribal Art < Back Calabash Palm Wine Pitcher Calabash Palm Wine Pitcher Early 20th Century Origin: Cameroon H60 x W30 cm

Lisboa, 1768 – Rome, 1837 < Back DOMINGOS DE SEQUEIRA Lisboa, 1768 – Rome, 1837 António Domingos de Sequeira Lisbon, 10 March 1768 – Rome, 8 March 1837 This drawing has on its verse the inscription: “This drawing of Sequeira was offered to me by the Archt. Teixeira Lopes, 1918” (Archt. José Teixeira Lopes, Porto , 1872 – 1919 ) On the front of the drawing we can read: “Drawing made by Domingos de Sequeira made in the village of S. Jerónimo a Real (Braga) when he was doing a painting for the Bom Jesus”. In 1807, Domingos de Sequeira spent a period of time at the home of his friend and protector Pedro José da Silva in the village of S. Jerónimo a Real where he prepared works for the Confraria do Bom Jesus (Braga). António Domingos de Sequeira was born in Belém, Lisbon, into a modest family. He later changed his family name from Espírito Santo to the more aristocratic Sequeira. He studied art first at the academy of Lisbon, before moving to Rome, where he was Antonio Cavallucci`s pupil. By the age of thirteen, he had evinced such marked talent that F. de Setubal employed him as an assistant in his work for the João Ferreiras Palace. Sequeira resided in Rome from 1788 to 1794, when he was made honorary member of the Academy of St Luke. After another two years and further study in Italy, he returned to his native country with such a great reputation that important commissions for churches and palaces were immediately entrusted to him: scriptural subjects, large historical compositions and cabinet pictures. In 1802, he was appointed first court painter and, in this role, executed many works for the prince regent, for Dona Maria Teresa, and for members of the court. He designed the valuable silver service which was presented by the Portuguese nation to Wellington, and a monument that was erected in 1820 in the Rossio square at Lisbon. In 1823, he visited Paris where he is known to have tried his skill in lithography and etching. In 1825, he painted the "Death of Camões", which was considered by many to be the first proto-romantic or romantic Portuguese painting. The last years of his life he spent in Rome, devoting himself chiefly to devotional subjects and to his duties as head of the Portuguese Academy. He saw a Turner exposition in the late 1820s, that served as inspiration for some of his best paintings, like the "Adoração dos Magos" (1828). He died in Rome in 1837. António Domingos Sequeira (1768-1837) Drawing in closer detail, 1807 20,0cm x 14,2cm António Domingos Sequeira (1768-1837) Drawing, 1807 20,0cm x 14,2cm António Domingos Sequeira (1768-1837) Drawing in closer detail, 1807 20,0cm x 14,2cm 1/2