Books by João Júlio Rumsey Teixeira
Catálogo do Museu do Tesouro Real do Palácio Nacional da Ajuda, 2023
Apresentação do comissariado científico do Museu do Tesouro Real.
Apresenta-se a coleção, a sua ... more Apresentação do comissariado científico do Museu do Tesouro Real.
Apresenta-se a coleção, a sua história e contexto, bem ainda como os critérios que presidiram à escolha das peças que integram a exposição.
Catálogo do Museu do Tesouro Real do Palácio Nacional da Ajuda, 2023
Resumo da história do fundo diamantífero da Coroa portuguesa desde a sua criação, por D. José I, ... more Resumo da história do fundo diamantífero da Coroa portuguesa desde a sua criação, por D. José I, em 1760.
Foi finalmente possível esclarecer a origem e o destino dos milhares de quilates de diamantes da Coroa que chegaram ao século XIX.
Conta-se a história da alienação de grande parte dos diamantes deste acervo ao longo da segunda metade de oitocentos, bem como do destino daqueles que permaneceram nos escrínios da Coroa e ao serviço dos monarcas.
Catálogo do Museu do Tesouro Real do Palácio Nacional da Ajuda, 2023
História da coleção de joalharia do PNA, agora exposta no Museu do Tesouro Real.
Catálogo do Museu do Tesouro Real do Palácio Nacional da Ajuda, 2023
História de uma das mais extraordinárias joias das coleções reais portuguesas e o mais opulento h... more História de uma das mais extraordinárias joias das coleções reais portuguesas e o mais opulento hábito do Tosão de Ouro que chegou aos nossos dias, em todo o mundo.
Catálogo do Museu do Tesouro Real do Palácio Nacional da Ajuda, 2023
História e contexto das três joias das Três Ordens Militares encomendadas por D. Maria I. Formam ... more História e contexto das três joias das Três Ordens Militares encomendadas por D. Maria I. Formam o mais opulento conjunto de joalharia da antiga coroa portuguesa.
Catálogo do Museu do Tesouro Real do Palácio Nacional da Ajuda, 2023
Entrada de catálogo desenvolvida sobre as duas mais importantes presilhas da coleção do Palácio N... more Entrada de catálogo desenvolvida sobre as duas mais importantes presilhas da coleção do Palácio Nacional da Ajuda.
Catálogo do Museu do Tesouro Real do Palácio Nacional da Ajuda, 2023
Entrada de catálogo desenvolvida sobre o espadim de corte de D. João VI com diamantes e o sabre d... more Entrada de catálogo desenvolvida sobre o espadim de corte de D. João VI com diamantes e o sabre de aparato de D. Miguel.
Catálogo do Museu do Tesouro Real do Palácio Nacional da Ajuda, 2023
Entrada de catálogo desenvolvida sobre os três pingentes de safiras e diamantes da Coroa.
Uma tiara com 4000 diamantes - História e paradeiro da tiara de D. Estefânia, reconvertida por D. Maria Pia e vendida após a implantação da República. 1858-1912, 2020
Part of the investigation taking place within the scope of the opening of the Royal Treasury Muse... more Part of the investigation taking place within the scope of the opening of the Royal Treasury Museum of the National Palace of Ajuda, João Júlio Rumsey Teixeira presents his first conclusions about the observation and research of the fragments of dismantled jewels from the palace’s collection, which until today remained disconnected and physically separated.
The deduction that several of this fragments were once part of a large mid-19th century tiara was the starting point of a technic and historical analysis that, supported by unprecedented original documents, allowed to reconstruct the history of one of the most famous, albeit mysterious, Portuguese jewels of the 19th century.
Conference Presentations by João Júlio Rumsey Teixeira
Coleções de Arte em Portugal e Brasil nos Séculos XIX e XX - Coleções Reais e Coleções Oficiais, 2020
Parte da investigação em curso com vista à abertura do novo museu do Tesouro Real do Palácio Naci... more Parte da investigação em curso com vista à abertura do novo museu do Tesouro Real do Palácio Nacional da Ajuda (PNA) apresentamos conclusões inéditas sobre o estudo das descravações das joias da coroa e, igualmente, sobre o conjunto de peças descravadas da coleção deste palácio, com especial enfoque para um pequeno grupo de joias pessoais de D. Maria Pia e uma soberba guarnição de corpete executada, em 1781, para D. Maria I.
Os Leilões e o Mercado da Arte em Portugal - Estrutura, História, Tendências, 2012
Comunicação no colóquio " Os Leilões e o Mercado de Arte em Portugal - Estrutura, História, Tendê... more Comunicação no colóquio " Os Leilões e o Mercado de Arte em Portugal - Estrutura, História, Tendências", organizado no âmbito do projecto de investigação "O mercado leiloeiro de arte antiga e contemporânea de Lisboa (200-2011)", um parceria FLUL / ISCTE-IUL e financiado pela FCT.
Papers by João Júlio Rumsey Teixeira
Revista Portuguesa de História Militar , 2024
The diamond and gold sabre known as “D. Miguel's" was a gift from the queen D. Carlota Joaquina t... more The diamond and gold sabre known as “D. Miguel's" was a gift from the queen D. Carlota Joaquina to her son, then still “infante", in April 1828. Simultaneously commemorating his return to Portugal after nearly four years in exile, the bestowal of an honorary sabre by the queen mother on the eve of D. Miguel taking the decisive step that triggered the civil war also carries warlike symbolism. If the context of this commission remains forgotten in historiography, the same applies to its creator, master of the Royal Arsenal of the Army. It is the aim of this article to shed light on this oversight.
Conservar Património (Associação Profissional de Conservadores-restauradores de Portugal), 2024
As it happened with architectural monuments, profound restoration was carried out on the crown je... more As it happened with architectural monuments, profound restoration was carried out on the crown jewelry collection during the Estado Novo period. However, unlike the architectural heritage, in the case of the jewels, the first historical and artistic narrative was written while the restorations were taking place. Based on the methodological justifications presented for the intervention, as well as the history disclosed about these jewels when the works were finalized, this article aims to open the discussion about the intentions and consequences of this restoration campaign, which placed the ancient royal jewels in service of the narrative of national greatness and its constant pursuit of "distinctive and Portuguese character". In this regard, the choices made do not fail to appear contradictory, even under the nationalistic ideological bias that influenced them, in the relentless pursuit of valorizing the eras perceived by the regime as the nation's greatest moments of glory.
Libros de la Corte (Universidad Autónoma de Madrid), 2023
The queen of Spain Maria Bárbara of Bragança was sister of two Portuguese kings, José and Pedro I... more The queen of Spain Maria Bárbara of Bragança was sister of two Portuguese kings, José and Pedro III. From the Spanish throne she witnessed the devastation of the Lisbon earthquake of 1755, which would have worried her about the future of her family of origin. Five months after the catastrophe she drew up her will, making very generous jewellery bequests to the younger generation of the Portuguese royal family and, above all, to the younger brother who became her universal heir. In this way, infante Pedro, future consort king of Portugal, Pedro III, inherited a remarkable collection of jewellery. Equally exceptional is the fact that four magnificent jewels once part of the inheritance of Maria Bárbara were preserved at the Portuguese crown jewels and reached our days. They are now on display at the Royal Treasure Museum in Lisbon.
Revista de História (Universidade de São Paulo), 2023
THE CONSOLIDATION OF THE BRAZILIAN DIAMOND MONOPOLY AS THE CORNERSTONE OF THE PORTUGUESE ROYAL JE... more THE CONSOLIDATION OF THE BRAZILIAN DIAMOND MONOPOLY AS THE CORNERSTONE OF THE PORTUGUESE ROYAL JEWELLERY UNDER D. MARIA I: 1730-1790.
The discovery of diamonds in Brazil during the early 18th century revolutionized their market in Europe and, consequently, transformed the art of jewellery. At first concerned with the abundance of these diamonds, seen as rivals of the Asian ones, European de- alers sought to boycott the reputation of the Brazilian stones, whose circuit they didn’t control. In 1760, after several attempts, a game-changing resolution was implemented and solved this problem, securing the monopoly of Brazilian diamonds by the Portugue- se crown for the next half century. The creation of the “Secret Reserve” gathered 241,405 carats, valued at more than 2,200 contos, now in the Portuguese crown’s possession. Once the problem was mastered, the Portuguese sovereigns of the last third of the 18th century weren’t afraid of the epithet of “Lords of diamonds” which, naturally, was reflec- ted in the production of jewellery.
Ler História (ISCTE-Instituto Universitário de Lisboa), 2023
EN
FROM PINTO & SOUSA TO SOUSA & ARELLANO: THE ROYAL JEWELLERS OF LIBERALISM AND THE DIAMOND STA... more EN
FROM PINTO & SOUSA TO SOUSA & ARELLANO: THE ROYAL JEWELLERS OF LIBERALISM AND THE DIAMOND STARS OF THE PORTUGUESE CROWN.
Commissioned by Queen Maria Pia (1847-1911) between 1864 and 1866, the star parure is one of the most famous pieces of jewellery of the Portuguese crown. The original commission did not include a tiara, which has led to misinterpretation by some historians, mainly because the most famous piece of jewellery in the parure is currently a tiara. To clarify this apparent contradiction, this article traces the path of this set, which has known different arrangements for decades. Equally contradictory is the notoriety enjoyed by its author, Estêvão de Sousa, although almost nothing is known about his history. In the search for answers to the history of the parure and its creator, this article uncovers a commercial and familial network that is paradigmatic of the commercial practices of liberalism, in which hereditary privilege and technical-artistic mastery were the variables of an equation in which the royal house’s choices were decisive.
Jornal Público, 2023
Museu do Tesouro Real: um ano depois É clara a necessidade de melhorar o que dificulta a própria ... more Museu do Tesouro Real: um ano depois É clara a necessidade de melhorar o que dificulta a própria função do museu, e não é para nós uma surpresa que o visitante se confronte com uma "desafiante tarefa de perceber o que é dado a ver".
Jewellery Studies (The Society of Jewellery Historians - The British Museum), 2022
Articles cover all aspects of jewellery from antiquity to the present day, and include related ma... more Articles cover all aspects of jewellery from antiquity to the present day, and include related material from archives, technical data, gemmology and new discoveries on collections and designers. All papers published in Jewellery Studies are subject to peer review.
Jewellery History Today (The Society of Jewellery Historians - The British Museum), 2021
Uma visão histórica e material sobre a que considero ser a joia mais relevante do acervo novo mus... more Uma visão histórica e material sobre a que considero ser a joia mais relevante do acervo novo museu do Tesouro Real: o conjunto de insígnias das Três Ordens Militares, encomendado por D. Maria I em 1789.
L+arte, 2010
Artigo publicado na revista L+arte, n.75, Setembro de 2010.
Neste artigo foi pela primeira vez l... more Artigo publicado na revista L+arte, n.75, Setembro de 2010.
Neste artigo foi pela primeira vez levantada a possibilidade, hoje confirmada, das safiras do Tesouro Real Português (PNA, inv. 4782) terem pertencido à Infanta D. Maria Francisca Benedita (1746-1829) e não à sua irmã e sogra, a rainha D. Maria I (1734-1816), como até aí se acreditava.
A compra destas jóias pela sua sobrinha-neta, a Infanta D. Isabel Maria (1801-1876) em 1830, aqui explicada, acabou por se revelar fundamental para a subsequente investigação, uma vez que é aos herdeiros desta última infanta que, em 1879, o rei D. Luís I (1838-1889) adquire, para os Bens da Coroa, estas três peças.
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Books by João Júlio Rumsey Teixeira
Apresenta-se a coleção, a sua história e contexto, bem ainda como os critérios que presidiram à escolha das peças que integram a exposição.
Foi finalmente possível esclarecer a origem e o destino dos milhares de quilates de diamantes da Coroa que chegaram ao século XIX.
Conta-se a história da alienação de grande parte dos diamantes deste acervo ao longo da segunda metade de oitocentos, bem como do destino daqueles que permaneceram nos escrínios da Coroa e ao serviço dos monarcas.
The deduction that several of this fragments were once part of a large mid-19th century tiara was the starting point of a technic and historical analysis that, supported by unprecedented original documents, allowed to reconstruct the history of one of the most famous, albeit mysterious, Portuguese jewels of the 19th century.
Conference Presentations by João Júlio Rumsey Teixeira
Papers by João Júlio Rumsey Teixeira
The discovery of diamonds in Brazil during the early 18th century revolutionized their market in Europe and, consequently, transformed the art of jewellery. At first concerned with the abundance of these diamonds, seen as rivals of the Asian ones, European de- alers sought to boycott the reputation of the Brazilian stones, whose circuit they didn’t control. In 1760, after several attempts, a game-changing resolution was implemented and solved this problem, securing the monopoly of Brazilian diamonds by the Portugue- se crown for the next half century. The creation of the “Secret Reserve” gathered 241,405 carats, valued at more than 2,200 contos, now in the Portuguese crown’s possession. Once the problem was mastered, the Portuguese sovereigns of the last third of the 18th century weren’t afraid of the epithet of “Lords of diamonds” which, naturally, was reflec- ted in the production of jewellery.
FROM PINTO & SOUSA TO SOUSA & ARELLANO: THE ROYAL JEWELLERS OF LIBERALISM AND THE DIAMOND STARS OF THE PORTUGUESE CROWN.
Commissioned by Queen Maria Pia (1847-1911) between 1864 and 1866, the star parure is one of the most famous pieces of jewellery of the Portuguese crown. The original commission did not include a tiara, which has led to misinterpretation by some historians, mainly because the most famous piece of jewellery in the parure is currently a tiara. To clarify this apparent contradiction, this article traces the path of this set, which has known different arrangements for decades. Equally contradictory is the notoriety enjoyed by its author, Estêvão de Sousa, although almost nothing is known about his history. In the search for answers to the history of the parure and its creator, this article uncovers a commercial and familial network that is paradigmatic of the commercial practices of liberalism, in which hereditary privilege and technical-artistic mastery were the variables of an equation in which the royal house’s choices were decisive.
Neste artigo foi pela primeira vez levantada a possibilidade, hoje confirmada, das safiras do Tesouro Real Português (PNA, inv. 4782) terem pertencido à Infanta D. Maria Francisca Benedita (1746-1829) e não à sua irmã e sogra, a rainha D. Maria I (1734-1816), como até aí se acreditava.
A compra destas jóias pela sua sobrinha-neta, a Infanta D. Isabel Maria (1801-1876) em 1830, aqui explicada, acabou por se revelar fundamental para a subsequente investigação, uma vez que é aos herdeiros desta última infanta que, em 1879, o rei D. Luís I (1838-1889) adquire, para os Bens da Coroa, estas três peças.
Apresenta-se a coleção, a sua história e contexto, bem ainda como os critérios que presidiram à escolha das peças que integram a exposição.
Foi finalmente possível esclarecer a origem e o destino dos milhares de quilates de diamantes da Coroa que chegaram ao século XIX.
Conta-se a história da alienação de grande parte dos diamantes deste acervo ao longo da segunda metade de oitocentos, bem como do destino daqueles que permaneceram nos escrínios da Coroa e ao serviço dos monarcas.
The deduction that several of this fragments were once part of a large mid-19th century tiara was the starting point of a technic and historical analysis that, supported by unprecedented original documents, allowed to reconstruct the history of one of the most famous, albeit mysterious, Portuguese jewels of the 19th century.
The discovery of diamonds in Brazil during the early 18th century revolutionized their market in Europe and, consequently, transformed the art of jewellery. At first concerned with the abundance of these diamonds, seen as rivals of the Asian ones, European de- alers sought to boycott the reputation of the Brazilian stones, whose circuit they didn’t control. In 1760, after several attempts, a game-changing resolution was implemented and solved this problem, securing the monopoly of Brazilian diamonds by the Portugue- se crown for the next half century. The creation of the “Secret Reserve” gathered 241,405 carats, valued at more than 2,200 contos, now in the Portuguese crown’s possession. Once the problem was mastered, the Portuguese sovereigns of the last third of the 18th century weren’t afraid of the epithet of “Lords of diamonds” which, naturally, was reflec- ted in the production of jewellery.
FROM PINTO & SOUSA TO SOUSA & ARELLANO: THE ROYAL JEWELLERS OF LIBERALISM AND THE DIAMOND STARS OF THE PORTUGUESE CROWN.
Commissioned by Queen Maria Pia (1847-1911) between 1864 and 1866, the star parure is one of the most famous pieces of jewellery of the Portuguese crown. The original commission did not include a tiara, which has led to misinterpretation by some historians, mainly because the most famous piece of jewellery in the parure is currently a tiara. To clarify this apparent contradiction, this article traces the path of this set, which has known different arrangements for decades. Equally contradictory is the notoriety enjoyed by its author, Estêvão de Sousa, although almost nothing is known about his history. In the search for answers to the history of the parure and its creator, this article uncovers a commercial and familial network that is paradigmatic of the commercial practices of liberalism, in which hereditary privilege and technical-artistic mastery were the variables of an equation in which the royal house’s choices were decisive.
Neste artigo foi pela primeira vez levantada a possibilidade, hoje confirmada, das safiras do Tesouro Real Português (PNA, inv. 4782) terem pertencido à Infanta D. Maria Francisca Benedita (1746-1829) e não à sua irmã e sogra, a rainha D. Maria I (1734-1816), como até aí se acreditava.
A compra destas jóias pela sua sobrinha-neta, a Infanta D. Isabel Maria (1801-1876) em 1830, aqui explicada, acabou por se revelar fundamental para a subsequente investigação, uma vez que é aos herdeiros desta última infanta que, em 1879, o rei D. Luís I (1838-1889) adquire, para os Bens da Coroa, estas três peças.