An "Olha" tureen with presentoir 833/1000 silver decoration en relief "Animals, flowers and leaves" Portuguese Lisbon assay mark (1694-1723), IL maker's mark, BIM-BIM PRADO ownership mark Dimensões (altura x comprimento x largura) - (terrina) 29 x 21,5 cm; (presentoir) 40,7 cm; Peso - 2.340 g. Notes: vd. ALMEIDA, Fernando Moitinho de; CARLOS, Rita - "Inventário de Marcas de Pratas Portuguesas e Brasileiras - Século XV a 1887". Lisbon: IN-CM, 2018, L-24 e L-364. This piece is represented in the catalogue of the exhibition "Ourivesaria Portuguesa & os seus Mestres". Porto: Soares dos Reis National Museum, 1997, p. 13, fig. 8.

According to expert Henrique Correia Braga, in addition to the one sold at Cabral Moncada Leilões in 2019 (Auction 203, lot 696 - https://www.cml.pt/leiloes/2019/203-leilao/2-sessao/696/ round tureen-with-high-centred sage) only three other examples of "eye" tureens are known, the first of which and the present one being the only ones with their own presentoir:

- a copy with the same assay mark and MF goldsmith's mark, which belonged to the Collection of King D. Fernando, having been photographed at the Palácio das Necessidades in c. 1866, by Charles Thurston Thompson, see: https://collections.vam.ac.uk/item/O1097291/silver-bowls-with-covers-palace-photograph-thompson-charles-thurston/, inherited by the daughter of D. Fernando, D. Antónia, and later sold by his descendants at Sotheby's "Treasures, Princely Taste" auction, in July 2012, see: https://www.sothebys.com/en/auctions/ecatalogue/2012/treasures -princely-taste-l12307/lot.1.html?locale=en;

- another example with a previous assay mark and FA goldsmith's mark, is represented in the catalog of the exhibition "Ourivesaria Portuguesa & its Masters". Porto: Museu Nacional Soares dos Reis, 1997, p. 10, fig. 5;

- and finally the one that belongs to the Collection of the Counts of Castro Guimarães, devoid of marks and with simple decoration, reproduced in D'OREY, Leonor - "The Jewelry Collection of the Museum of the Counts of Castro Guimarães", Cascais Municipal Council, 2005, p. 34.

João Frederico Ludovice (1670-1752) was an architect and goldsmith of German origin who, at the age of 27, moved to Rome, where he served the Society of Jesus. In this city, he collaborated on several works of decorative arts, including the altar of Saint Ignatius of Loyola in the Gesù church, which he created together with Italian and French artists. When he moved to Portugal, around 1700, he continued to work for the Jesuits, being in charge of creating the silver tabernacle in the church of Colégio de Santo Antão o Novo (currently Hospital de São José). This project will not be completed, with Ludovice starting to work for D. Pedro II and later for D. João V, who, using mainly his skills as an architect, draftsman and project designer, ends up taking his career as a goldsmith to second place. Throughout his career, he will be in charge of directing some of the most important architectural works in the kingdom, such as the Convent of Mafra, the Patriarchal church or the Chapel of São João Baptista in the church of São Roque.