The drawings and paintings on exhibition at The House of the She-Pine Tree  are almost exclusively produced by Olavo and have been collected over the last 40 years by his son Tomaz. Part of the works were gifts from his father in his lifetime, or from his mother, Emília, from the many she collected or was offered by Olavo during their 27 years together. Many have been bought at auctions or from private collectors and art dealers. A special effort has been made to acquire works from artists that were his closer friends, such as Paulo Ferreira (who was the illustrator of the first book he published as an author, Iratan e Iracema, in 1934, and for which he was awarded the literary prize Maria Amália Vaz de Carvalho), Ofélia Marques, Bernardo Marques, Diogo de Macedo, António Soares, Raquel Roque Gameiro, Abel Manta, Fred Kradolfer (like the wonderful portrait of Flávia d’Eça Leal in the dining room), José Tagarro, etc.. Or younger ones that he was fond of, like José Viana, Querubim Lapa, Vespeira, etc. And, inevitably, his sons Paulo-Guilherme (mostly in the first floor reading room and from whom Emília d’Eça Leal made a particularly interesting gift, an oil painting when he was only 14, which she bought at the Feira da Ladra), Tomaz and Flávia.

As Olavo had to sell his private collection of other contemporary artists soon after the ‘74 revolution to raise much needed cash, we are now in the process of negotiating the reacquisition of some of those works that we have been able to track down through different sources, to join the Museum Collection, namely drawings by António Soares (a particular miniature portrait of Soares’ wife that was used for the cover of a book by Olavo’s father, Thomaz d’Eça Leal, Os Amorosos, with illustrations by Olavo), Mário Eloy and, of course, Almada Negreiros, his close friend and mentor.

The works on exhibition cover most of his life and offer a quite wide view on the range of his styles and drawing techniques. From sharp, hard graphites to soft pencils, crayons, various types of inks, various types of pens and brushes, oils, pastels, gouaches, watercolours, etc., etc..

In the lounge one finds the earlier works from the 20′s and 30′s (which were largely acquired from auctions and the collection of his very close friend Abranches Ferrão) as well as the more unusual color works from the 50′s and 60′s. On the lower ground floor, downstairs, one finds mostly works from 70′s, his last and most productive phase. Around the first floor (and particularly the upstairs hallway), we can predominantly find his pencil works from the 50′s – mostly women’s busts and heads, his favorite topic.

Sort of scattered around the house, one can see his expressive experiences with flower gouaches and oils.

We hope you enjoy visiting it as much as we have enjoyed putting it together.