Contemporary Art < Back ANA JOTTA Lisbon, 1946 Born in Lisbon in 1946, where she works and lives. After studying at Lisbon’s Fine Arts School and Brussels’ Ecole d’Arts Visuels de l’Abbaye de la Cambre, she made a career as an actress (1969–1980). From the 1980’s onwards, she focused her activity on the visual arts and since the early nineties has been a regular presence at major art fairs and biennales (ARCO, Brussels, Johannesburg, Barcelona, etc). In 2005, she had a retrospective exhibition at the Museu de Serralves. Ana Jotta has build her work in a sequence of breakthroughs that embody some sort of erasement: of her own previous footsteps; of modernist ideology and post-modern mythologies; and of the notion of authorship – either by deconstructing it or rebuilding it, she has attempted to dismantle the idea of a coherent or univocal style. Through a bare economy of means, her works shows a great sense of intelligence and wit. With Ana Jotta, you can always expect the unexpected. Fazer Tijolo Ana Jota à conversa com Luísa Soares de Oliveira Intervention on Nordic sideboard, 2014 A unique piece Acrylic paint on wood 73cm (H) x 240cm (W) x 42cm (D) Intervention on Nordic sideboard, 2014 A unique piece Acrylic paint on wood 73cm (H) x 240cm (W) x 42cm (D) A coragem de Lassie, 1987/1988 [front] Oil on canvas 35,2cm (W) x 20cm (H) A coragem de Lassie, 1987/1988 [detail] Oil on canvas 35,2cm (W) x 20cm (H) Firmeza, 1989 [front] Plaster 58,8cm (W) x 12,0cm (H) x 4,0cm (D) Signed and dated on the back Firmeza, 1989 [back] Plaster 58,8cm (W) x 12,0cm (H) x 4,0cm (D) Signed and dated on the back Hora-d’oeuvre, 1988 [front] Oil on canvas 27,1cm (W) X 22,0cm (H) Signed and dated on the back Hora-d’oeuvre, 1988 [back] Oil on canvas 27,1cm (W) X 22,0cm (H) Signed and dated on the back Untitled (Frangas), 1980 Historical work of the artist 134cm (H) x 96cm (W) Acrylic paint on board Signed and dated on the back

Miscellaneous < Back IKEBANA BASKET, 1950s Bamboo flower ikebana basket Japan ca. 1950s (early Showa) Handmade Condition: good H 38,5 cm x W 12,8 cm x D 11,2 cm

Decorative Arts < Back Renaissance Chest Portugal, Açores Second half of 16th century Minor defects and restaurations 58cm (H) x 160cm (W) x 56 cm (D) Renaissance Chest Decorated with engravings of fantastic animals and vegetal motifs Cedar or juniper wood Portugal, Açores Second half of 16th century Minor defects and restaurations 58cm (H) x 160cm (W) x 56 cm (D) Renaissance Chest Decorated with engravings of fantastic animals and vegetal motifs Cedar or juniper wood Portugal, Açores Second half of 16th century Minor defects and restaurations 58cm (H) x 160cm (W) x 56 cm (D) 1/1

Miscellaneous < Back CESARE BERLINGERI, 2004 CESARE BERLINGERI (Italy, 1948) Una piega rossa 2004 Oil and pigment on folded canvas H 48 cm x W 62,5 cm x D 8 cm Note: signature, title and date on the back; dedication to "Omar and Mariella"

Contemporary Art < Back SUZANA QUEIROGA Rio de Janeiro, 1961 Suzana Queiroga's work first appeared in Rio de Janeiro's art scene in the 1980s when the exhibition "Como vai você geração 80?" introduced the work of 100 young artists in 1984, causing significant impact on the future of Brazilian art. Queiroga is one of the most noted members of this group of artists who, along with Daniel Senise, Leda Catunda, Beatriz Milhazes, Delson Uchoa, Nuno Ramos, Cristina Canale among others, gained national and international expression . Paintings, sculptures, installations, inflatables, and urban interventions are some of the various forms of expression chosen by Suzana Queiroga. A restless artist and researcher, her work stands out for its intelligent play, employing improbable and radical operations that break with tradition and forge a wide-ranging field of possibilities and infinite configurations. Unfolding in true network fashion, her art connects various media that intersect and intercross, creating a poetic and contemporary whole. In the complex and plural universe of contemporary art, Suzana Queiroga invites us to follow her own path as a thinker. Queiroga's interest in different fields of knowledge, and her scientific and philosophical research leads her to interconnect diverse elements and cultural domains at the same time. It is not the aim of Queiroga's work to merely lead the audience to contemplation, she would like spectators to immerse themselves in a profound sensory field, to reach the mental space in which the work of art relates to being and time, and reverberates them. Relating to space and time, her work is also associated with the seminal thought of Brazilian artists Hélio Oiticica and Ligia Clark, renowned for making fundamental contributions to bring fine arts closer to reality by adding sensory experience to artistic expression. From the series "O mundo segue indiferente a nós" 6, 2020 Incision on cardboard 29,7cm (H) x 21,0cm (W) From the series "O mundo segue indiferente a nós" 7, 2020 Incision on cardboard 29,7cm (H) x 21,0cm (W) From the series "O mundo segue indiferente a nós" 8, 2020 Incision on cardboard 29,7cm (H) x 21,0cm (W) From the series "O mundo segue indiferente a nós" 9, 2020 Incision on cardboard 29,7cm (H) x 21,0cm (W) From the series "O mundo segue indiferente a nós" 10, 2020 Incision on cardboard 29,7cm (H) x 21,0cm (W) From the series "O mundo segue indiferente a nós" 11, 2020 Incision on cardboard 29,7cm (H) x 21,0cm (W) From the series "O mundo segue indiferente a nós" 12, 2020 Incision on cardboard 29,7cm (H) x 21,0cm (W) From the series "O mundo segue indiferente a nós" 13, 2020 Incision on cardboard 29,7cm (H) x 21,0cm (W)

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

Tribal Art < Back Lega Stool Lega stool (Congo) Late 19 th / early 20 th century 30cm (H) x 24cm (D)

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

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