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JOSÉ DE AVELAR REBELO - c. 1600-1657
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JOSÉ DE AVELAR REBELO - c. 1600-1657, Adoration of the Magi, oil on canvas, relined, restoration, minor faults on the pictorial layer, signed and dated 1651. Notes: This panel of restricted dimensions by the royal painter José do Avelar Rebelo, which remained unknown to scholars, was completely unknown in the records of the History of Portuguese Art. It represents the Epiphany and is signed Avelar f. 1651. The artist, who was the royal painter of King D. João IV of Portugal and one of the most prominent names in the so-called Portuguese ''first proto-baroque generation'' (along with André Reinoso and Baltazar Gomes Figueira), shows in this painting all its design qualities and style personalism, in the path of a naturalistic language no longer reminiscent of the previous Mannerist tradition. For this small work, which has come down to us in an appreciable state of conservation, we can see the unanimous praise of his contemporaries and King D. João IV himself, «que folgava muito conversar com elle», as stated in the treatise by Félix da Costa Meesen. The king, who sometimes went to see him work and considered him «pintor de genio», wanted to honor him with the Habit of Knight of the Order of Saint Benedict of Avis, in 1655 for «ser o milhor pintor do seu tempo» and so that «outros à sua imitação o sigam». This last statement from the royal charter is very interesting, knowing how the good painters of the second half of the 17th century, especially Bento Coelho and also Marcos da Cruz, trained themselves in the study of Avelar's works, taking up his solutions and models. The theme represented, which shows a strong and unexpected Rubensian influence, was treated by Avelar in other works, one of them worthy of a laudatory poem by his friend Frei Tomás Aranha (Dominican orator and poet who in 1644 had written a sermon praising art painting). The poem, dedicated to a painting by Avelar with the same scene from the Magi, which King D. João IV had commissioned from him, says the following: «Soberano pinzel / tu te condenas / A não pintar jamais, pois que chegaste / Rei dos pinzeis, nos Reis, que nos mostraste / Onde chega o juizo humano apenas. / Das linhas de Protogenes ordenas / Grossos cordeis, nas linhas que lançaste / E em garrote d'invejas lhe trocaste / O sutil, em borrões, a gloria, em penas. / Tudo contemplo Trino em teus primores: / Painel de tres, Pintor, Rei, verdadeiro / Monarcha, em te occupar, contigo humano, / Elle imita tres Reis, tu tres pintores, / Elle Affonso, Manuel, & João Primeiro, / Tu, Miguel, Raphael, & Ticiano». It is difficult, in fact, to write a greater poetic praise for a painter and a painting, such as this one in which, with baroque but justifiable exaggeration, Avelar is compared to Raphael, Michelangelo and Titian! Another passionate poet from the academies of the Restoration period, António Leitão de Faria, also speaks of Avelar (and Reinoso) in a collection of poetry from 1706, in this encomiastic praise: «...Pare, pois, a Fama os voos e suspenda as vozes com que engrandece e louva por todas as partes do mundo, por todos os climas do universo, os quadros e as obras de Amplino, de Aristides, de Ardeas, de Asclopiodoro, de Persico, de Euricledes, de Niceas, de Timantes, de Ticiano, de Reinoso e de Avelar e, finalmente, cessem esses varões que a fama canta, que outro valor mais alto se levanta»... The composition, within the canons of proto-baroque Naturalism in which it is inserted (and which was the dominant taste in Portuguese painting in these years of crisis, due to the wars with Castile), attests to clear drawing merits, with a broad sense of the spaces of the composition , good relationship of plans and, above all, excellent figure modeling, with very expressive heads, poses and gestures. The composition must be inspired by an engraving by Lucas Vorstermann according to Rubens. In chromatic terms, however, the canvas lacks that fresh luminous tonality of Reinoso (see the zurbaranesque Adoration of the Magi of São Roque), with Avelar Rebelo's chromatic register being more marked by a tenebrism of Nordic roots, which is accentuated especially in this canvas given the influence of Rubens’ model. This is one of Avelar's best pieces in the field of sacred art (along with "O Menino entre os Doutores" in the church of São Roque, the excellent Saint Jerome in the workroom of the Jerónimos monastery, the canvases on the ceiling of the high choir of the Madre de Deus monastery, and of the Conquest of Lisbon in the church of Pias, Ferreira do Zêzere), not forgetting that he was also a good court portraitist, fixing the image of some of the holders of the new power, like the portrait of the famous musician Rebelinho, and like the ones he made of his king (Vila Viçosa Palace and National Coach Museum). The origin of the painting is unknown. Due to its theme, dimensions and chronology, it is very possible that this painting was part of an altarpiece intended for a private oratory, with courtly clientele. Who knows if it was part of the same altar with a Marian theme that included a painting of a circunsisão do menino (which not only measures 55 x 35 cm but is also signed Avellar f. 1651): this painting, whose state of conservation shows greater wear and loss of value, it also has a lot of historical-artistic interest and was traded a few years ago on the antiques market (Oportunity Leilões, Cascais, lot 5147). Vítor Serrão Art Historian, Dim. - 55,5 x 35,5 cm
This panel of restricted dimensions by the royal painter José do Avelar Rebelo, which remained unknown to scholars, was completely unknown in the records of the History of Portuguese Art. It represents the Epiphany and is signed Avelar f. 1651. The artist, who was the royal painter of King D. João IV of Portugal and one of the most prominent names in the so-called Portuguese ''first proto-baroque generation'' (along with André Reinoso and Baltazar Gomes Figueira), shows in this painting all its design qualities and style personalism, in the path of a naturalistic language no longer reminiscent of the previous Mannerist tradition. For this small work, which has come down to us in an appreciable state of conservation, we can see the unanimous praise of his contemporaries and King D. João IV himself, «que folgava muito conversar com elle», as stated in the treatise by Félix da Costa Meesen. The king, who sometimes went to see him work and considered him «pintor de genio», wanted to honor him with the Habit of Knight of the Order of Saint Benedict of Avis, in 1655 for «ser o milhor pintor do seu tempo» and so that «outros à sua imitação o sigam». This last statement from the royal charter is very interesting, knowing how the good painters of the second half of the 17th century, especially Bento Coelho and also Marcos da Cruz, trained themselves in the study of Avelar's works, taking up his solutions and models. The theme represented, which shows a strong and unexpected Rubensian influence, was treated by Avelar in other works, one of them worthy of a laudatory poem by his friend Frei Tomás Aranha (Dominican orator and poet who in 1644 had written a sermon praising art painting). The poem, dedicated to a painting by Avelar with the same scene from the Magi, which King D. João IV had commissioned from him, says the following: «Soberano pinzel / tu te condenas / A não pintar jamais, pois que chegaste / Rei dos pinzeis, nos Reis, que nos mostraste / Onde chega o juizo humano apenas. / Das linhas de Protogenes ordenas / Grossos cordeis, nas linhas que lançaste / E em garrote d'invejas lhe trocaste / O sutil, em borrões, a gloria, em penas. / Tudo contemplo Trino em teus primores: / Painel de tres, Pintor, Rei, verdadeiro / Monarcha, em te occupar, contigo humano, / Elle imita tres Reis, tu tres pintores, / Elle Affonso, Manuel, & João Primeiro, / Tu, Miguel, Raphael, & Ticiano». It is difficult, in fact, to write a greater poetic praise for a painter and a painting, such as this one in which, with baroque but justifiable exaggeration, Avelar is compared to Raphael, Michelangelo and Titian! Another passionate poet from the academies of the Restoration period, António Leitão de Faria, also speaks of Avelar (and Reinoso) in a collection of poetry from 1706, in this encomiastic praise: «...Pare, pois, a Fama os voos e suspenda as vozes com que engrandece e louva por todas as partes do mundo, por todos os climas do universo, os quadros e as obras de Amplino, de Aristides, de Ardeas, de Asclopiodoro, de Persico, de Euricledes, de Niceas, de Timantes, de Ticiano, de Reinoso e de Avelar e, finalmente, cessem esses varões que a fama canta, que outro valor mais alto se levanta»... The composition, within the canons of proto-baroque Naturalism in which it is inserted (and which was the dominant taste in Portuguese painting in these years of crisis, due to the wars with Castile), attests to clear drawing merits, with a broad sense of the spaces of the composition , good relationship of plans and, above all, excellent figure modeling, with very expressive heads, poses and gestures. The composition must be inspired by an engraving by Lucas Vorstermann according to Rubens. In chromatic terms, however, the canvas lacks that fresh luminous tonality of Reinoso (see the zurbaranesque Adoration of the Magi of São Roque), with Avelar Rebelo's chromatic register being more marked by a tenebrism of Nordic roots, which is accentuated especially in this canvas given the influence of Rubens’ model. This is one of Avelar's best pieces in the field of sacred art (along with "O Menino entre os Doutores" in the church of São Roque, the excellent Saint Jerome in the workroom of the Jerónimos monastery, the canvases on the ceiling of the high choir of the Madre de Deus monastery, and of the Conquest of Lisbon in the church of Pias, Ferreira do Zêzere), not forgetting that he was also a good court portraitist, fixing the image of some of the holders of the new power, like the portrait of the famous musician Rebelinho, and like the ones he made of his king (Vila Viçosa Palace and National Coach Museum). The origin of the painting is unknown. Due to its theme, dimensions and chronology, it is very possible that this painting was part of an altarpiece intended for a private oratory, with courtly clientele. Who knows if it was part of the same altar with a Marian theme that included a painting of a circunsisão do menino (which not only measures 55 x 35 cm but is also signed Avellar f. 1651): this painting, whose state of conservation shows greater wear and loss of value, it also has a lot of historical-artistic interest and was traded a few years ago on the antiques market (Oportunity Leilões, Cascais, lot 5147). Vítor Serrão Art Historian
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JOSÉ DE AVELAR REBELO - c. 1600-1657, Adoration of the Magi, oil on canvas, relined, restoration, minor faults on the pictorial layer, signed and dated 1651. Notes: This panel of restricted dimensions by the royal painter José do Avelar Rebelo, which remained unknown to scholars, was completely unknown in the records of the History of Portuguese Art. It represents the Epiphany and is signed Avelar f. 1651. The artist, who was the royal painter of King D. João IV of Portugal and one of the most prominent names in the so-called Portuguese ''first proto-baroque generation'' (along with André Reinoso and Baltazar Gomes Figueira), shows in this painting all its design qualities and style personalism, in the path of a naturalistic language no longer reminiscent of the previous Mannerist tradition. For this small work, which has come down to us in an appreciable state of conservation, we can see the unanimous praise of his contemporaries and King D. João IV himself, «que folgava muito conversar com elle», as stated in the treatise by Félix da Costa Meesen. The king, who sometimes went to see him work and considered him «pintor de genio», wanted to honor him with the Habit of Knight of the Order of Saint Benedict of Avis, in 1655 for «ser o milhor pintor do seu tempo» and so that «outros à sua imitação o sigam». This last statement from the royal charter is very interesting, knowing how the good painters of the second half of the 17th century, especially Bento Coelho and also Marcos da Cruz, trained themselves in the study of Avelar's works, taking up his solutions and models. The theme represented, which shows a strong and unexpected Rubensian influence, was treated by Avelar in other works, one of them worthy of a laudatory poem by his friend Frei Tomás Aranha (Dominican orator and poet who in 1644 had written a sermon praising art painting). The poem, dedicated to a painting by Avelar with the same scene from the Magi, which King D. João IV had commissioned from him, says the following: «Soberano pinzel / tu te condenas / A não pintar jamais, pois que chegaste / Rei dos pinzeis, nos Reis, que nos mostraste / Onde chega o juizo humano apenas. / Das linhas de Protogenes ordenas / Grossos cordeis, nas linhas que lançaste / E em garrote d'invejas lhe trocaste / O sutil, em borrões, a gloria, em penas. / Tudo contemplo Trino em teus primores: / Painel de tres, Pintor, Rei, verdadeiro / Monarcha, em te occupar, contigo humano, / Elle imita tres Reis, tu tres pintores, / Elle Affonso, Manuel, & João Primeiro, / Tu, Miguel, Raphael, & Ticiano». It is difficult, in fact, to write a greater poetic praise for a painter and a painting, such as this one in which, with baroque but justifiable exaggeration, Avelar is compared to Raphael, Michelangelo and Titian! Another passionate poet from the academies of the Restoration period, António Leitão de Faria, also speaks of Avelar (and Reinoso) in a collection of poetry from 1706, in this encomiastic praise: «...Pare, pois, a Fama os voos e suspenda as vozes com que engrandece e louva por todas as partes do mundo, por todos os climas do universo, os quadros e as obras de Amplino, de Aristides, de Ardeas, de Asclopiodoro, de Persico, de Euricledes, de Niceas, de Timantes, de Ticiano, de Reinoso e de Avelar e, finalmente, cessem esses varões que a fama canta, que outro valor mais alto se levanta»... The composition, within the canons of proto-baroque Naturalism in which it is inserted (and which was the dominant taste in Portuguese painting in these years of crisis, due to the wars with Castile), attests to clear drawing merits, with a broad sense of the spaces of the composition , good relationship of plans and, above all, excellent figure modeling, with very expressive heads, poses and gestures. The composition must be inspired by an engraving by Lucas Vorstermann according to Rubens. In chromatic terms, however, the canvas lacks that fresh luminous tonality of Reinoso (see the zurbaranesque Adoration of the Magi of São Roque), with Avelar Rebelo's chromatic register being more marked by a tenebrism of Nordic roots, which is accentuated especially in this canvas given the influence of Rubens’ model. This is one of Avelar's best pieces in the field of sacred art (along with "O Menino entre os Doutores" in the church of São Roque, the excellent Saint Jerome in the workroom of the Jerónimos monastery, the canvases on the ceiling of the high choir of the Madre de Deus monastery, and of the Conquest of Lisbon in the church of Pias, Ferreira do Zêzere), not forgetting that he was also a good court portraitist, fixing the image of some of the holders of the new power, like the portrait of the famous musician Rebelinho, and like the ones he made of his king (Vila Viçosa Palace and National Coach Museum). The origin of the painting is unknown. Due to its theme, dimensions and chronology, it is very possible that this painting was part of an altarpiece intended for a private oratory, with courtly clientele. Who knows if it was part of the same altar with a Marian theme that included a painting of a circunsisão do menino (which not only measures 55 x 35 cm but is also signed Avellar f. 1651): this painting, whose state of conservation shows greater wear and loss of value, it also has a lot of historical-artistic interest and was traded a few years ago on the antiques market (Oportunity Leilões, Cascais, lot 5147). Vítor Serrão Art Historian, Dim. - 55,5 x 35,5 cm
This panel of restricted dimensions by the royal painter José do Avelar Rebelo, which remained unknown to scholars, was completely unknown in the records of the History of Portuguese Art. It represents the Epiphany and is signed Avelar f. 1651. The artist, who was the royal painter of King D. João IV of Portugal and one of the most prominent names in the so-called Portuguese ''first proto-baroque generation'' (along with André Reinoso and Baltazar Gomes Figueira), shows in this painting all its design qualities and style personalism, in the path of a naturalistic language no longer reminiscent of the previous Mannerist tradition. For this small work, which has come down to us in an appreciable state of conservation, we can see the unanimous praise of his contemporaries and King D. João IV himself, «que folgava muito conversar com elle», as stated in the treatise by Félix da Costa Meesen. The king, who sometimes went to see him work and considered him «pintor de genio», wanted to honor him with the Habit of Knight of the Order of Saint Benedict of Avis, in 1655 for «ser o milhor pintor do seu tempo» and so that «outros à sua imitação o sigam». This last statement from the royal charter is very interesting, knowing how the good painters of the second half of the 17th century, especially Bento Coelho and also Marcos da Cruz, trained themselves in the study of Avelar's works, taking up his solutions and models. The theme represented, which shows a strong and unexpected Rubensian influence, was treated by Avelar in other works, one of them worthy of a laudatory poem by his friend Frei Tomás Aranha (Dominican orator and poet who in 1644 had written a sermon praising art painting). The poem, dedicated to a painting by Avelar with the same scene from the Magi, which King D. João IV had commissioned from him, says the following: «Soberano pinzel / tu te condenas / A não pintar jamais, pois que chegaste / Rei dos pinzeis, nos Reis, que nos mostraste / Onde chega o juizo humano apenas. / Das linhas de Protogenes ordenas / Grossos cordeis, nas linhas que lançaste / E em garrote d'invejas lhe trocaste / O sutil, em borrões, a gloria, em penas. / Tudo contemplo Trino em teus primores: / Painel de tres, Pintor, Rei, verdadeiro / Monarcha, em te occupar, contigo humano, / Elle imita tres Reis, tu tres pintores, / Elle Affonso, Manuel, & João Primeiro, / Tu, Miguel, Raphael, & Ticiano». It is difficult, in fact, to write a greater poetic praise for a painter and a painting, such as this one in which, with baroque but justifiable exaggeration, Avelar is compared to Raphael, Michelangelo and Titian! Another passionate poet from the academies of the Restoration period, António Leitão de Faria, also speaks of Avelar (and Reinoso) in a collection of poetry from 1706, in this encomiastic praise: «...Pare, pois, a Fama os voos e suspenda as vozes com que engrandece e louva por todas as partes do mundo, por todos os climas do universo, os quadros e as obras de Amplino, de Aristides, de Ardeas, de Asclopiodoro, de Persico, de Euricledes, de Niceas, de Timantes, de Ticiano, de Reinoso e de Avelar e, finalmente, cessem esses varões que a fama canta, que outro valor mais alto se levanta»... The composition, within the canons of proto-baroque Naturalism in which it is inserted (and which was the dominant taste in Portuguese painting in these years of crisis, due to the wars with Castile), attests to clear drawing merits, with a broad sense of the spaces of the composition , good relationship of plans and, above all, excellent figure modeling, with very expressive heads, poses and gestures. The composition must be inspired by an engraving by Lucas Vorstermann according to Rubens. In chromatic terms, however, the canvas lacks that fresh luminous tonality of Reinoso (see the zurbaranesque Adoration of the Magi of São Roque), with Avelar Rebelo's chromatic register being more marked by a tenebrism of Nordic roots, which is accentuated especially in this canvas given the influence of Rubens’ model. This is one of Avelar's best pieces in the field of sacred art (along with "O Menino entre os Doutores" in the church of São Roque, the excellent Saint Jerome in the workroom of the Jerónimos monastery, the canvases on the ceiling of the high choir of the Madre de Deus monastery, and of the Conquest of Lisbon in the church of Pias, Ferreira do Zêzere), not forgetting that he was also a good court portraitist, fixing the image of some of the holders of the new power, like the portrait of the famous musician Rebelinho, and like the ones he made of his king (Vila Viçosa Palace and National Coach Museum). The origin of the painting is unknown. Due to its theme, dimensions and chronology, it is very possible that this painting was part of an altarpiece intended for a private oratory, with courtly clientele. Who knows if it was part of the same altar with a Marian theme that included a painting of a circunsisão do menino (which not only measures 55 x 35 cm but is also signed Avellar f. 1651): this painting, whose state of conservation shows greater wear and loss of value, it also has a lot of historical-artistic interest and was traded a few years ago on the antiques market (Oportunity Leilões, Cascais, lot 5147). Vítor Serrão Art Historian
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Regardless of the nationality of the buyer (his full identification will be required), payment can be made through:
- Debit card;
- Bank transfer (indicating sale number; lot number; customer bid number);
- Certified cheque (payable to Sociedade Comercial de Leilões “O Pregão”, Lda.; the respective
charges shall be beared by the buyer) - Cash up to € 3.000 (higher values have to be paid directly to the bank by the buyer; cash will not be accepted to purchase lots of online auctions);
LIVE AND ONLINE AUCTIONS
Bank: Banco BPI, S.A.
Account name: Sociedade Comercial de Leilões “O Pregão”, Lda. IBAN: PT 50 0010 0000 5034 1370 0014 2
SWIFT Code: BBPIPTPL
May I buy an auction unsold lot?
Items withdrawn from an auction because they were not bid may be sold later by the estimate value plus the commission and tax due, pursuant to art. 9 of the business Conditions and conditions concerning the buyers. Such items are not negotiable under any circumstances.
Should the online buyer fail to withdraw the paid item within a period of ten (10) days from the purchase in matter he will be liable for storage and removal expenses and/or insurance that may occur, according to the correspondent price list:
STORAGE COSTS FOR PURCHASED LOTS – all auctions, live and online
|
Mobiliário / Objectos grandes |
Objectos pequenos |
||
|
Até 30 dias |
Após o 30º dia |
Até 30 dias |
Após o 30º dia |
|
Gratuito |
30 € + 2 € por dia |
Gratuito |
30 € + 1 € por dia |
ONLINE AUCTIONS - ASSIGNMENT TO A THIRD PARTY IN CASE OF DELAYED PAYMENT
After the said ten (10) day period without the payment due having been made, CABRAL MONCADA LEILÕES reserves the right to sell the item to a third party at its auction price or to put it up for sale in an online auction, without that the purchasing customer may object or claim any compensation.
IMPORTANT NOTICE
MONEY LAUNDERING AND TERRORISM FINANCING PREVENTION AND COMBAT
Law no. 58/2020, of August 31st, operated the second amendment to Law no. 83/2017, of August 18th, transposing into the Portuguese legal order the European Parliament Directive (EU) 2018/843 and of the Council, of May 30th 2018 (Directive), commonly referred to as the “Fifth AML Directive” and Regulation No. 314/2018 of May 25th, subject CABRAL MONCADA LEILÕES to comply with the general duties of PCML/TF. The duty of identification and diligence (article nr. 23 et seq. of the Law and article 5th of the Regulation) is required when are established business relations or are carried out occasional transactions of an amount equal to or higher than € 15,000 (fifteen thousand euros), regardless of the way of payment and either the transaction was performed through a single operation or by several operations apparently linked in some way.
GENERAL DATA PROTECTION REGULATION
According to the GDPR and to its own Privacy Policy, available on the website www.cml.pt, CABRAL MONCADA LEILÕES will promise to process collected personal data in a lawful manner, respecting the principles of good-faith and in the strictest confidentiality and assures furthermore that collected personal data are adequate, relevant and not excessive concerning the purposes for which they were collected and processed.
CITES - INTERNATIONAL TRADE CONVENTION ON ENDANGERED SPECIES OF WILD FAUNA AND FLORA
Legal obligations that fall on Owners
In accordance with current legislation, namely Decreto-Lei no. 121/2017, of 20 September – which ensures the implementation of the International Trade Convention on Endangered Species of Wild Fauna and Flora – CITES, adapting it to the changes to Regulations (EC) Nos. 338/97 and 865/2006 – the possession of items that incorporate materials from protected wild fauna and flora species and, consequently, their transportation requires their owner to have their respective certification through the ICNF – Institute for Nature and Forest Conservation.
As previously mentioned, each and every item incorporating materials from protected wild fauna and flora species, put up for sale by CABRAL MONCADA LEILÕES, was previously certified in accordance with the provisions of CITES. Pursuant to applicable legislation, the respective purchaser must request new registration in his/her name with the competent authority.
Import and export restrictions
The import of items that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle is currently prohibited by several countries.
In Portugal, in accordance with the planned transposition into national legislation of the most recent EU guidelines relating to the ivory trade, the issuance of re-export certificates to countries that are not part of the EU is suspended. In this context, potential buyers are advised to inform themselves in advance about their country's legislation and applicable international restrictions.
Certification procedure
Whenever required and deemed viable – it is specified that, among other items, the following will not be accepted for auction: unscrafted ivory; crafted African ivory from the 2nd half of the 20th century or later; rhinoceros horn) - CABRAL MONCADA LEILÕES is available to provide the necessary services to prepare the process to be presented to the ICNF for the purposes of certifying one or more pieces:
1. If the item is contracted for auction or has been subject to a previous expert opinion and evaluation by CABRAL MONCADA LEILÕES, the provision of this service costs € 30 + VAT per item - plus the cost of the CITES/ICNF certificate (currently € 34,40 – VAT - exempt value) which amounts to a total cost of € 71.30 per item.
2. As the item is not contracted for auction, nor has it been the subject of a previous expert opinion and evaluation by CABRAL MONCADA LEILÕES, the provision of this service implies its prior expert opinion (cost: see fee table for the formal evaluation of items in this Customer Guide; minimum € 100 + VAT per item) + presentation of the certification request by CABRAL MONCADA LEILÕES (cost € 100 + VAT per item - plus the cost of the CITES / ICNF certificate (currently € 34.40 - VAT exempt); (minimum) cost for certification of pieces that will not be put up for auction: € 280,40.
Note: Certification can be requested directly by an individual from the INCF; However, this requires that, in addition to the full identification of the applicant and photographs of the item, a declaration, duly signed, on letterhead or stamped, from the individual or collective entity, public or private, certifying the antiquity of the piece (Association of antique dealers, auctioneers, recognized experts, among others).
LEGAL FRAMEWORK REGARDING JEWELLERY AND MARKING – LAW 98/2015
As prescribed in the Law nr. 98/2015, of August 18th, and Law nr. 44/2016, of August 17th, each and every one of the lots made of precious metals, put up on auction by CABRAL MONCADA LEILÕES, is in compliance with the referred to Law and its respective regulation, being also duly marked, according to the law.
INFORMATION PROVIDED UNDER LAW NO. 144/2015 (ALTERNATIVE CONSUMER DISPUTES RESOLUTION ENTITIES)
In the event of a dispute, the consumer may resort to an Alternative Dispute Resolution Entity, under the Conditions of Law No. 144/2015 of 8 September:
Lisbon Consumer Dispute Arbitration Centre
https://www.centroarbitragemlisboa.pt/
Vale do Ave Consumer Dispute Arbitration Centre/Court of Arbitration
https://www.triave.pt/
CIAB – Consumer Information, Mediation and Arbitration Centre (Consumer Arbitration Court)
https://www.ciab.pt/pt/
CNIACC – National Center for Information and Arbitration of Consumer Disputes
https://www.cniacc.pt/pt/
Coimbra District Consumer Dispute Arbitration Centre
https://www.centrodearbitragemdecoimbra.com
Algarve Consumer Dispute Information, Mediation and Arbitration Center
https://www.consumoalgarve.pt
Porto Consumer Information and Arbitration Centre:
https://www.cicap.pt;
More information at Consumer Protection General Directorate
(https://www.consumidor.gov.pt/).
This abstract has been provided as an information guide. It is not a substitute nor does it excuse from the consultation of the current Business Conditions published in every CABRAL MONCADA LEILÕES catalogues and available on the website www.cml.pt.
In case of any discrepancy between the Portuguese version and the English version of the Business Conditions, the Portuguese version shall always prevail.
