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uso."},"lotNumber":"149","title":{"pt":"duas aneleiras de prata portuguesa"},"url":"https://pt.bidspirit.com/ui/lotPage/leiloeirasantoeloy/source/catalog/auction/32788/lot/18945/view","tags":["ptDecorativeArts_Silverandsilverplateditems","ptDecorativeArts","ptDecorativeArts_all"],"directSalePrice":20,"soldPrice":35,"lastUpdate":"2026-07-28T17:06:30.341Z","textCase":"lower","currency":"EUR","id":18945,"category":{"pt":"Prata","en":"Silver"}},{"startPrice":10,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/leiloeirasantoeloy/cloned-images/18950/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/leiloeirasantoeloy/cloned-images/18950/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/leiloeirasantoeloy/cloned-images/18950/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/leiloeirasantoeloy/cloned-images/18950/004/004.jpg"],"soldDate":"2023-05-08","available":false,"description":{"pt":"argola de guardanapo de prata portuguesa (833/1000), decorada com um cesto e as palavras \"p&atilde;o, vinho e flores\". \n  \n marca da contrastaria do porto (1938-1984). marca do ourives n&atilde;o identificada. \n  \n sinais de uso."},"lotNumber":"150","title":{"pt":"argola de guardanapo de prata portuguesa"},"url":"https://pt.bidspirit.com/ui/lotPage/leiloeirasantoeloy/source/catalog/auction/32788/lot/18950/view","tags":["ptDecorativeArts_Silverandsilverplateditems","ptDecorativeArts","ptDecorativeArts_all"],"directSalePrice":10,"soldPrice":15,"lastUpdate":"2026-07-28T17:06:30.361Z","textCase":"lower","currency":"EUR","id":18950,"category":{"pt":"Prata","en":"Silver"}},{"startPrice":10,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/leiloeirasantoeloy/cloned-images/18947/002/002.jpg"],"soldDate":"2023-05-08","available":false,"description":{"pt":"colher de prata (833/1000) para crian&ccedil;a, decorada com \"c&atilde;o\". \n  \n \n  \n \n \n \n \n \n \n \n \n marca da contrastaria do porto (1938-1984). \n \n \n marca do ourives n&atilde;o identificada. \n \n \n  \n \n \n \n \n sinais de uso."},"lotNumber":"151","title":{"pt":"colher de prata para criança"},"url":"https://pt.bidspirit.com/ui/lotPage/leiloeirasantoeloy/source/catalog/auction/32788/lot/18947/view","tags":["ptDecorativeArts_Silverandsilverplateditems","ptDecorativeArts_Cutleryandservingutensils","ptDecorativeArts","ptDecorativeArts_all"],"directSalePrice":10,"soldPrice":15,"lastUpdate":"2026-07-28T17:06:28.104Z","textCase":"lower","currency":"EUR","id":18947,"category":{"pt":"Prata","en":"Silver"}},{"startPrice":10,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/leiloeirasantoeloy/cloned-images/18949/002/002.jpg"],"available":false,"description":{"pt":"tesoura com cabos de prata portuguesa (833/1000), finamente decorados. \n  \n marca da contrastaria do porto (1938-1984). \n marca do ourives ileg&iacute;vel. \n  \n faltas e defeitos. \n sinais de uso."},"lotNumber":"152","title":{"pt":"tesoura com cabos de 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casti&ccedil;ais de prata com a representa&ccedil;&atilde;o aleg&oacute;rica dos \"quatro continentes\". \n \n \n  \n \n \n marca do contraste da prata do porto do ensaiador alexandre pinto da cruz, citado de 1810 a 1820. \n \n \n  \n \n \n marca do mestre ourives do porto atribu&iacute;vel a francisco da costa campos. \n \n _ \n   \n pequena hist&oacute;ria da alegoria dos quatro continentes:  \n  \n  \n os artistas europeus do renascimento e em diante visualizavam o mundo conhecido atrav&eacute;s de figuras aleg&oacute;ricas derivadas das antigas personifica&ccedil;&otilde;es eg&iacute;pcias, gregas e romanas. essas figuras aleg&oacute;ricas muitas vezes tomavam a forma de corpos femininos e eram dispostas em s&eacute;ries de rios, oceanos, regi&otilde;es, continentes e at&eacute; mesmo no cosmos como um todo. \n  \n  \n as primeiras alegorias dos continentes compreendiam apenas a europa, a &aacute;sia e a &aacute;frica, mas quando os europeus chegaram &agrave;s am&eacute;ricas em 1492, estas foram tamb&eacute;m incorporadas ao esquema existente. a austr&aacute;lia/oce&acirc;nia, que os holandeses exploraram pela primeira vez em 1606, nunca foi adicionada ao conjunto. \n  \n  \n os mecenas que encomendaram imagens dos quatro continentes e os artistas que as executaram faziam parte de uma sociedade mais ampla marcada pelo colonialismo, com&eacute;rcio, expans&atilde;o de aspira&ccedil;&otilde;es imperiais, tr&aacute;fico de escravos e ideologias raciais bem definidas. como express&atilde;o de dom&iacute;nio, culturas e povos considerados estrangeiros eram muitas vezes descritos de forma pejorativa em textos e imagens que usavam estere&oacute;tipos para transmitir a inferioridade daqueles considerados \u201cmenos civilizados\u201d. \n  \n  \n na p&aacute;gina de t&iacute;tulo do influente atlas mundial theatrum orbis terrarum ( o teatro do mundo, 1570) pelo estudioso e ge&oacute;grafo holand&ecirc;s abraham ortelius (1527-1598), a europa &eacute; vista reinando suprema sobre as outras figuras aleg&oacute;ricas. esta mostra-se frequentemente equipada com todos os apetrechos do poder mon&aacute;rquico europeu: uma coroa, um trono, um cetro e a orbe do mundo, encimado por uma cruz. pioneira, a ilustra&ccedil;&atilde;o de ortelius demonstra e refor&ccedil;a a ideia inerente a esta s&eacute;rie aleg&oacute;rica do \u201ceu e do outro\u201d, impregnada pelo eurocentrismo crist&atilde;o. \n  \n  \n a tradi&ccedil;&atilde;o de personificar os continentes como figuras aleg&oacute;ricas femininas pode ser vista em obras ef&eacute;meras feitas para inscri&ccedil;&otilde;es triunfais e concursos art&iacute;sticos, bem como em mapas, moedas, gravuras e na ourivesaria. os atributos das alegorias foram padronizados no sucesso de 1593: iconologia (muitas vezes traduzido como emblemas morais) pelo humanista italiano cesare ripa (c. 1555\u20131622) e complementado por relatos de viagens seus contempor&acirc;neos. \n  \n  \n estas figuras aleg&oacute;ricas mesclam uma \u201cjovem sexualizada\u201d (territ&oacute;rio virgem) com os s&iacute;mbolos e atributos que os seus criadores associaram a cada continente, sendo que em alguns eram casos mercadorias a serem comercializadas e/ou recursos a serem explorados. \n  \n  \n na primeira edi&ccedil;&atilde;o ilustrada de iconologia, publicada em roma em 1603:  \n \n a europa aparece vestida com um manto esvoa&ccedil;ante com uma coroa, sentada entre os chifres da abund&acirc;ncia e cercada por in&uacute;meros objetos que enfatizam a sua sofistica&ccedil;&atilde;o (maquete arquitet&oacute;nica ou cavalo), piedade (tiara papal ou mitra do bispo) e reivindica&ccedil;&otilde;es de poder (coroa, cetro, armas ou cornuc&oacute;pia). \n a &aacute;sia est&aacute; vestida com um vestido ricamente enfeitado, com joias e uma coroa floral. esta &eacute; representada com s&iacute;mbolos de com&eacute;rcio e transporte: os luxos da vida da corte persa (ouro e joias), a fertilidade dos seus campos (especiarias e incenso) e um camelo para representar a participa&ccedil;&atilde;o da &aacute;sia no com&eacute;rcio de especiarias \u2014 aspetos que nunca deixaram de impressionar os mercadores e embaixadores europeus que visitavam e negociavam com as na&ccedil;&otilde;es do oriente. \n a &aacute;frica &eacute; apresentada a usar um colar de p&eacute;rolas e corais e segurando um feixe de p&eacute;s-de-milho, representando as f&eacute;rteis terras africanas e o litoral, que eram uma importante fonte de alimentos b&aacute;sicos na dieta romana e, posteriormente, europeia. seguindo de perto as antigas personifica&ccedil;&otilde;es romanas do continente vistas em moedas, a figura da &aacute;frica &eacute; mostrada ao lado de um le&atilde;o, usando um cocar feito de cabe&ccedil;a e/ou tromba de elefante, segurando um escorpi&atilde;o, enquanto duas cobras de duas cabe&ccedil;as (agora entendidas como um motivo azteca ) a seus p&eacute;s. embora esses animais ferozes demonstrem os perigos ex&oacute;ticos da &aacute;frica, eles tamb&eacute;m foram enviados para a roma imperial como mercadorias para uso em espet&aacute;culos p&uacute;blicos. \n a am&eacute;rica &eacute; a &uacute;nica figura aleg&oacute;rica que ripa retratou com os seios &agrave; mostra e acenando, uma alus&atilde;o ao desejo da europa de explorar ainda mais o seu territ&oacute;rio. ela usa um cocar de penas e carrega arco e flechas, com uma aljava cheia. a seus p&eacute;s est&aacute; uma cabe&ccedil;a decepada perfurada por uma flecha, transmitindo o seu temperamento agressivo e a cren&ccedil;a comum de que os povos ind&iacute;genas eram agressivos na totalidade. a figura &eacute; tamb&eacute;m mostrada com um r&eacute;ptil tropical, associado ao clima da am&eacute;rica do sul e da costa da fl&oacute;rida que os exploradores europeus encontraram pela primeira vez. \n \n influente para poetas, escritores e artistas europeus, o texto de ripa e as suas figuras aleg&oacute;ricas foram baseados em exemplos cl&aacute;ssicos e abrangem personifica&ccedil;&otilde;es de virtudes e v&iacute;cios, elementos, emo&ccedil;&otilde;es, dogmas religiosos e at&eacute; mesmo regi&otilde;es da it&aacute;lia. \n  \n  \n o livro fonte de s&iacute;mbolos de ripa na iconologia foi t&atilde;o popular que foi publicado em nove edi&ccedil;&otilde;es somente na it&aacute;lia, juntamente com oito edi&ccedil;&otilde;es separadas em inglaterra, fran&ccedil;a, alemanha e pa&iacute;ses baixos. devido &agrave; popularidade do livro como refer&ecirc;ncia, a representa&ccedil;&atilde;o dos continentes, por ripa - e, mais importante, as suas associa&ccedil;&otilde;es &agrave;s vezes completamente imprecisas e fant&aacute;sticas \u2013 tornou-se fundamental para a maioria das imagens da europa, &aacute;sia, &aacute;frica e am&eacute;rica no s&eacute;culo xviii. numa s&eacute;rie gravada por volta de 1730 por johann justin preissler (1698\u20131771) a partir de edme bouchardon (1698\u20131762), por exemplo, os continentes seguem de perto o vocabul&aacute;rio de ripa. \n  \n  \n embora a simplicidade e a repeti&ccedil;&atilde;o das imagens de ripa tenham ajudado a lan&ccedil;ar as bases para alguns equ&iacute;vocos hist&oacute;ricos, tamb&eacute;m permitiu que os artistas fossem incrivelmente inventivos. na s&eacute;rie altamente ornamentada de quatro continentes gravada por philips galle (1537\u20131612) a partir de desenhos de marcus gheeraerts o jovem, a alegoria da america segue a tradi&ccedil;&atilde;o: a am&eacute;rica &eacute; retratada como uma mulher nua usando um cocar de penas e carregando um porrete; papagaios e outros p&aacute;ssaros tropicais, uma cabra e talvez uma civeta a a cercarem. a interpreta&ccedil;&atilde;o de gheeraerts afasta-se do padr&atilde;o num aspeto fundamental que combina habilmente a representa&ccedil;&atilde;o aleg&oacute;rica &agrave; etnogr&aacute;fica. nos cantos inferiores, &eacute; inclu&iacute;do um homem, uma mulher e uma crian&ccedil;a inuit que foram trazidos &agrave; for&ccedil;a para inglaterra em 1576 da regi&atilde;o de qikiqtaaluk de nunavut, canad&aacute;, pelo explorador martin frobisher (ca. 1535\u20131594). gheeraerts estava em londres quando os inuits foram exibidos como curiosidade e pode at&eacute; t&ecirc;-los visto pessoalmente; estes tamb&eacute;m aparecem em muitos desenhos e gravuras contempor&acirc;neas de artistas brit&acirc;nicos, holandeses e alem&atilde;es. \n  \n  \n os arqu&eacute;tipos de ripa, no entanto, n&atilde;o tentam diferenciar a estrutura facial ou a cor da pele das quatro mulheres que representam os continentes. essa uniformidade f&iacute;sica &eacute; provavelmente derivada da no&ccedil;&atilde;o de um ideal ocidental cl&aacute;ssico, no qual uma mulher branca fetichizada, muitas vezes mostrada em estado de nudez, poderia ser usada para representar qualquer assunto que estivesse a ser alegorizado. \n  \n  \n a homogeneidade das figuras sugere que, ao contr&aacute;rio das v&aacute;rias mercadorias e recursos naturais que as cercam, os corpos das mulheres e suas v&aacute;rias caracter&iacute;sticas identificadoras ainda n&atilde;o foram totalmente simbolizados e assimilados na linguagem do colonialismo e do com&eacute;rcio. ao longo dos s&eacute;culos xvi e xvii, mesmo com a acelera&ccedil;&atilde;o do com&eacute;rcio transatl&acirc;ntico de escravos , a cor da pele desempenhou um papel inconsistente nas alegorias dos continentes. \n  \n  \n em cerca de 1590, o gravador de antu&eacute;rpia adriaen collaert (c. 1560\u20131618) criou os quatro continentes, uma s&eacute;rie de gravuras baseadas em desenhos de maerten de vos (1532\u20131603). antu&eacute;rpia estava no centro do com&eacute;rcio internacional e do com&eacute;rcio no in&iacute;cio do s&eacute;culo xvi, lucrando muito com as planta&ccedil;&otilde;es de a&ccedil;&uacute;car em ambos os lados do atl&acirc;ntico que usavam africanos escravizados como m&atilde;o de obra. (antu&eacute;rpia foi, no entanto, abandonada por mercadores portugueses e espanh&oacute;is na d&eacute;cada de 1540, perdeu sua proemin&ecirc;ncia e n&atilde;o se tornou um porto central para o com&eacute;rcio de escravos.) \n  \n  \n na alegoria da &aacute;frica de de vos, a figura quase nua da &aacute;frica aparece no centro da estampa, perna esquerda montada nas costas de um jacar&eacute;. embora a sua pele ainda possa ser descrita como branca, os seus tra&ccedil;os faciais e cabelos divergem dos de outros continentes aleg&oacute;ricos da s&eacute;rie. seus cachos apertados s&atilde;o contidos em um lindo cocar enrolado que emoldura as suas fei&ccedil;&otilde;es, que s&atilde;o mostradas de perfil estrito: nariz curto e arrebitado, olhos fundos e l&aacute;bios carnudos. \n  \n  \n compartilhando estes tra&ccedil;os estereotipados, mas refletindo ideias em constante mudan&ccedil;a de como representar diferen&ccedil;as f&iacute;sicas e &eacute;tnicas, a s&eacute;rie quase contempor&acirc;nea de abraham bosse (1602/04-1676) dos quatro continentes retrata as figuras aleg&oacute;ricas com v&aacute;rios tons de cor de pele usando diferentes concentra&ccedil;&otilde;es de tinta. conhecida como um artista engajada no coment&aacute;rio social, bosse mostra claramente o continente africano como uma mulher negra protegendo-se do \"calor indom&aacute;vel\" de seus desertos, como observa a inscri&ccedil;&atilde;o. \n  \n  \n os tra&ccedil;os caracter&iacute;sticos que aparecem nas gravuras de de vos e bosse persistiram at&eacute; o final dos s&eacute;culos xvii e xviii. podem ser encontrados nas alegorias de porcelana da &aacute;sia e da &aacute;frica da manufatura de vincennes ( 2012.507), fabricado em fran&ccedil;a no auge do com&eacute;rcio transatl&acirc;ntico de escravos. \n  \n  \n quando a porcelana de vincennes foi feita, por volta de 1750, os europeus j&aacute; haviam come&ccedil;ado a construir a fic&ccedil;&atilde;o de que as pessoas em todo o mundo pertenciam a categorias raciais distintas que podiam ser discernidas pela apar&ecirc;ncia. os historiadores geralmente tra&ccedil;am esse entendimento moderno da palavra \u201cra&ccedil;a\u201d a um ensaio de 1684 do m&eacute;dico e viajante franc&ecirc;s fran&ccedil;ois bernier (1620\u20131688), intitulado \u201cuma nova divis&atilde;o da terra por diferentes esp&eacute;cies ou ra&ccedil;as de homens\u201d. bernier delineou o que entendia como quatro ou cinco categorias diferentes de humanos, cada uma definida por caracter&iacute;sticas f&iacute;sicas &uacute;nicas, como cor da pele e estrutura facial. embora o argumento de bernier seja muitas vezes incoerente. \n  \n  \n bibliografia:  \n  \n  \n \n spira, freyda. \u201callegories of the four continents.\u201d in heilbrunn timeline of art history. new york: the metropolitan museum of art, 2000\u2013. https://www.metmuseum.org/toah/hd/alfc/hd_alfc.htm (march 2021)  \n arizzoli, louise. \u201cjames hazen hyde and the allegory of the four continents: a research collection for an amateur art historian.\u201d journal of the history of collections 25, no. 2 (2013): 277\u201386.  \n davies, surekha. renaissance ethnography and the invention of the human: new worlds, maps, and monsters. cambridge social and cultural histories 24. cambridge: cambridge university press, 2016.  \n \u201cthe four continents\u201d from the collection of james hazen hyde. new york: cooper union museum, 1961._  \n horowitz, maryanne cline, and louise arizzoli, eds. bodies and maps: early modern personifications of the continents. intersections, vol. 73. leiden: brill, 2021.  \n   \n hyde, james hazen. l\u2019iconographie des quatre parties du monde dans les tapisseries. paris: gazette des beaux-arts, 1924.  \n le corbeiller, clare. \u201cmiss america and her sisters: personifications of the four parts of the world.\u201d   \n metropolitan museum of art bulletin, n.s., 19, no. 8 (april 1961): 209\u201323.  \n leitch, stephanie. mapping ethnography in early modern germany: new worlds in print culture. basingstoke and new york: palgrave macmillan, 2010.  \n lewis, m. w., and k. e. wigen. the myth of continents: a critique of metageography. berkeley and los angeles: university of california press, 1997.  \n lowe, lisa. the intimacies of the four continents. durham, nc: duke university press, 2015.   \n romberg, marion. \u201ccontinent allegories in the baroque age\u2014a database.\u201d journal 18, no. 5 (spring 2018).  \n traub, valerie. \u201cfiguring (out) ethnography: rethinking race on early modern maps.\u201d paper presented at the annual meeting of the renaissance society of america conference, toronto, march 2019.","en":"silver. \n \n \n \n brands: \n \n \n porto silver contrast mark by the assayer alexandre pinto da cruz, cited from 1810 to 1820; \n \n \n mark of the porto master goldsmith attributable to francisco da costa campos. \n \n \n _ \n \n \n short history of the allegory of the four continents: \n \n \n  \n \n \n \n \n european artists from the renaissance and onwards visualized the known world through allegorical figures derived from ancient egyptian, greek, and roman personifications. these allegorical figures often took the form of female bodies and were arranged in series of rivers, oceans, regions, continents and even the cosmos at large. \n \n \n  \n \n \n \n \n the first allegories of continents comprised only europe, asia and africa, but when europeans arrived in the americas in 1492, these too were incorporated into the existing scheme. australia/oceania, which the dutch first explored in 1606, was never added to the set. \n \n \n  \n \n \n \n \n the patrons who commissioned images from four continents and the artists who executed them were part of a wider society marked by colonialism, trade, expanding imperial aspirations, the slave trade, and well-defined racial ideologies. as an expression of dominance, cultures and peoples considered foreign were often pejoratively described in texts and images that used stereotypes to convey the inferiority of those considered \u201cless civilized\u201d. \n \n \n  \n \n \n \n \n on the title page of the influential world atlas theatrum orbis terrarum (the theater of the world, 1570) by the dutch scholar and geographer abraham ortelius (1527-1598), europe is seen as reigning supreme over other allegorical figures. this is often shown equipped with all the accoutrements of european monarchical power: a crown, a throne, a scepter and the orb of the world, surmounted by a cross. pioneering, ortelius's illustration demonstrates and reinforces the idea inherent in this allegorical series of the \u201cself and the other\u201d, impregnated by christian eurocentrism. \n \n \n  \n \n \n \n \n the tradition of personifying the continents as female allegorical figures can be seen in ephemeral works made for triumphal inscriptions and artistic competitions, as well as in maps, coins, engravings and in jewellery. the attributes of the allegories were standardized in the 1593 success: iconologia (often translated moral emblems) by the italian humanist cesare ripa (c. 1555\u20131622) and supplemented by his contemporaries' travel accounts. \n \n \n  \n \n \n \n \n these allegorical figures mix a \u201csexualized young woman\u201d (virgin territory) with the symbols and attributes that their creators associated with each continent, and in some cases they were goods to be traded and/or resources to be exploited. \n \n \n  \n \n \n \n \n in the first illustrated edition of iconologia, published in rome in 1603: \n \n \n europe appears dressed in a flowing robe with a crown, sitting among the horns of plenty and surrounded by countless objects that emphasize her sophistication (architectural model or horse), piety (papal tiara or bishop's miter) and claims to power (crown). , scepter, weapons or cornucopia). \n \n \n  \n \n \n \n \n asia is dressed in a richly trimmed gown, with jewels and a floral crown. this is represented with symbols of commerce and transport: the luxuries of persian court life (gold and jewels), the fertility of its fields (spices and incense), and a camel to represent asia's share in the spice trade\u2014features that have never been seen before. failed to impress the european merchants and ambassadors who visited and traded with the nations of the east. \n \n \n  \n \n \n \n \n africa is shown wearing a pearl and coral necklace and holding a bundle of corn stalks, representing the fertile african lands and coastline, which were an important staple food source in the roman and later european diet. closely following the ancient roman personifications of the continent seen on coins, the figure of africa is shown beside a lion, wearing a headdress made of an elephant's head and/or trunk, holding a scorpion, while two double-headed snakes (now understood as an aztec motif) at her feet. while these ferocious animals demonstrate the exotic dangers of africa, they were also shipped to imperial rome as commodities for use in public shows. \n \n \n  \n \n \n \n \n america is the only allegorical figure that ripa portrayed with her breasts bared and waving, an allusion to europe's desire to further explore her territory. she wears a feathered headdress and carries a bow and arrows, with a full quiver. at her feet is a severed head pierced by an arrow, conveying her aggressive temper and the common belief that indigenous peoples were aggressive in their entirety. the figure is also shown with a tropical reptile, associated with the climate of south america and the florida coast that european explorers first encountered. \n \n \n  \n \n \n influential for european poets, writers and artists, ripa's text and its allegorical figures were based on classical examples and encompass personifications of virtues and vices, elements, emotions, religious dogmas and even regions of italy. \n \n \n  \n \n \n ripa's sourcebook of symbols in iconology was so popular that it was published in nine editions in italy alone, along with eight separate editions in england, france, germany, and the netherlands. due to the book's popularity as a reference, ripa's depiction of the continents - and, more importantly, their sometimes completely inaccurate and fantastical associations - became central to most images of europe, asia, africa and america in the 20th century. xviii. in a series recorded around 1730 by johann justin preissler (1698\u20131771) from edme bouchardon (1698\u20131762), for example, continents closely follow ripa's vocabulary. \n \n \n  \n \n \n while the simplicity and repetition of ripa's imagery helped lay the groundwork for some historical misconceptions, it also allowed the artists to be incredibly inventive. in the highly ornate series of four continents engraved by philips galle (1537\u20131612) from drawings by marcus gheeraerts the younger, the allegory of america follows tradition: america is depicted as a nude woman wearing a feathered headdress and carrying a club; parrots and other tropical birds, a goat and perhaps a civet surround her. gheeraerts' interpretation departs from the norm in one key respect, deftly blending allegorical and ethnographic representation. enclosed in the lower corners is an inuit man, woman, and child who were forcibly brought to england in 1576 from the qikiqtaaluk region of nunavut, canada, by explorer martin frobisher (ca. 1535\u20131594). gheeraerts was in london when the inuit were exhibited as a curiosity and may even have seen them in person; these also appear in many contemporary drawings and prints by british, dutch and german artists. \n \n \n  \n \n \n ripa's archetypes, however, do not try to differentiate the facial structure or skin color of the four women who represent the continents. this physical uniformity is likely derived from the notion of a classical western ideal, in which a fetishized white woman, often shown in a state of undress, could be used to represent whatever subject was being allegorized. \n \n \n  \n \n \n the homogeneity of the figures suggests that, unlike the various commodities and natural resources that surround them, women's bodies and their various identifying characteristics have not yet been fully symbolized and assimilated into the language of colonialism and commerce. throughout the 16th and 17th centuries, even as the transatlantic slave trade accelerated, skin color played an inconsistent role in allegories of continents. \n \n \n  \n \n \n in about 1590, the antwerp engraver adriaen collaert (c. 1560\u20131618) created the four continents, a series of prints based on designs by maerten de vos (1532\u20131603). antwerp was at the center of international trade and commerce in the early 16th century, profiting greatly from sugar plantations on both sides of the atlantic that used enslaved africans as labor. (antwerp was, however, abandoned by portuguese and spanish merchants in the 1540s, lost its prominence, and failed to become a central port for the slave trade.) \n \n \n  \n \n \n in de vos's allegory of africa, the nearly nude figure of africa appears in the center of the print, left leg straddling the back of an alligator. although her skin can still be described as white, her facial features and hair differ from other allegorical continents in the series. her tight curls are contained in a beautiful curled headdress that frames her features, which are shown in strict profile: short, upturned nose, sunken eyes and full lips. \n \n \n  \n \n \n sharing these stereotyped traits, but reflecting ever-changing ideas of how to represent physical and ethnic differences, abraham bosse's (1602/04-1676) near-contemporary series of the four continents depicts the allegorical figures with various shades of skin color using different concentrations. of ink. known as an artist engaged in social commentary, bosse clearly depicts the african continent as a black woman sheltering from the \"untamed heat\" of its deserts, as the inscription notes. \n \n \n  \n \n \n the characteristic features that appear in engravings by de vos and bosse persisted until the end of the 17th and 18th centuries. they can be found on the porcelain allegories of asia and africa from the manufacture de vincennes (2012.507), made in france at the height of the transatlantic slave trade. \n \n \n  \n \n \n \n \n when vincennes porcelain was made around 1750, europeans had already begun to construct the fiction that people all over the world belonged to distinct racial categories that could be discerned by appearance. historians generally trace this modern understanding of the word \"race\" to a 1684 essay by the french physician and traveler fran&ccedil;ois bernier (1620\u20131688) entitled \"a new division of the earth into different species or races of men.\" bernier outlined what he understood to be four or five different categories of humans, each defined by unique physical characteristics such as skin color and facial structure. although bernier's argument is often incoherent. \n \n \n  \n \n \n \n \n bibliography: \n \n \n spira, freyda. \u201callegories of the four continents.\u201d in heilbrunn timeline of art history. new york: the metropolitan museum of art, 2000\u2013. https://www.metmuseum.org/toah/hd/alfc/hd_alfc.htm (march 2021) \n \n \n arizzoli, louise. \u201cjames hazen hyde and the allegory of the four continents: a research collection for an amateur art historian.\u201d journal of the history of collections 25, no. 2 (2013): 277\u201386. \n \n \n davies, surekha. renaissance ethnography and the invention of the human: new worlds, maps, and monsters. cambridge social and cultural histories 24. cambridge: cambridge university press, 2016. \n \n \n \u201cthe four continents\u201d from the collection of james hazen hyde. new york: cooper union museum, 1961._ \n \n \n horowitz, maryanne cline, and louise arizzoli, eds. bodies and maps: early modern personifications of the continents. intersections, vol. 73. leiden: brill, 2021. \n \n \n hyde, james hazen. l\u2019iconographie des quatre parties du monde dans les tapisseries. paris: gazette des beaux-arts, 1924. \n \n \n lecorbeiller, clare. \u201cmiss america and her sisters: personifications of the four parts of the world.\u201d \n \n \n metropolitan museum of art bulletin, n.s., 19, no. 8 (april 1961): 209\u201323. \n \n \n leitch, stephanie. mapping ethnography in early modern germany: new worlds in print culture. basingstoke and new york: palgrave macmillan, 2010. \n \n \n lewis, m.w., and k.e. wigen. the myth of continents: a critique of metageography. berkeley and los angeles: university of california press, 1997. \n \n \n lowe, lisa. the intimacies of the four continents. durham, nc: duke university press, 2015. \n \n \n romberg, marion. \u201ccontinent allegories in the baroque age\u2014a database.\u201d journal 18, no. 5 (spring 2018). \n \n \n traub, valerie. \u201cfiguring (out) ethnography: rethinking race on early modern maps.\u201d paper presented at the annual meeting of the renaissance society of america conference, toronto, march 2019."},"estimateMax":7500,"lotNumber":"153","title":{"pt":"quatro castiçais de prata com a representação alegórica dos \"quatro continentes\""},"url":"https://pt.bidspirit.com/ui/lotPage/leiloeirasantoeloy/source/catalog/auction/32788/lot/19048/view","tags":["ptDecorativeArts_Silverandsilverplateditems","ptDecorativeArts_Statuettes","ptDecorativeArts","ptDecorativeArts_all"],"directSalePrice":2500,"soldPrice":3000,"lastUpdate":"2026-07-28T17:06:28.117Z","textCase":"lower","estimate":"\u20ac2,500 - 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