Special collections gifts

Sardine - Drunk Sardine

Congratulations, you are the lucky owner of a drunk sardine. This item presents features that makes it one of the “must have” objects for contemporary men and women, offering an individual dose of national “bagaço” (similar to a Brandy with a high % of alcohol. Not included). A memorable and beautiful gift from Caldas da Rainha. Special edition numbered and limited to 99 examples.

Sardine Made by You

Integrated in the collection "Sardinha by Bordallo", we present the "Sardinha Made by You".
A set including a white sardine and 6 ceramic markers, allows you to personalize your sardine, and at the same time in a simplified form, lets you experience the process of creating ceramics, in your home.

Instructions for use are on the packaging: 1st Clean the sardine with rubbing alcohol (Ethyl Alcohol), 2nd Using the ceramic markers, decorate your sardine, 3rd Let dry for 15 minutes, 4th Bake the sardines for 25 minutes at 160°C.

Let your imagination your guide and create your unique sardine, or enjoy giving the gift a personalized piece to whomever you wish to most.

A Banca

O dinheiro é tão bonito, Tão bonito, o maganão! Tem tanta graça, o maldito, Tem tanto chiste, o ladrão! O falar, fala de um modo... Todo ele, aquele todo... E elas acham-no tão guapo! Velhinha ou moça que veja, Por mais esquiva que seja, Tlim! Papo. E a cegueira da justiça Como ele a tira num ai! Sem lhe tocar com a pinça; E só dizer-lhe: «Aí vai...» Operação melindrosa, Que não é lá qualquer coisa; Catarata, tome conta! Pois não faz mais do que isto, Diz-me um juiz que o tem visto: Tlim! Pronta. Nessas espécies de exames Que a gente faz em rapaz, São milagres aos enxames O que aquele demo faz! Sem saber nem patavina De gramática latina, Quer-se um rapaz dali fora? Vai ele com tais falinhas, Tais gaifonas, tais coisinhas... Tlim! Ora... Aquela fisionomia É lábia que o demo tem! Mas numa secretaria Aí é que é vê-lo bem! Quando ele de grande gala, Entra o ministro na sala, Aproveita a ocasião: «Conhece este amigo antigo?» — Oh, meu tão antigo amigo! (Tlim!) Pois não! “O dinheiro” João de Deus, in Campo de flores [“The Money”, a poem by João e Deus, in Campo de flores]


The opuntia ficus-indica cactus, such as the snail, already has quite a history. Were used in paintings, engravings, movies. And for years they are part of several Susanne Themlitz works. For the edition of 125 copies celebrating 125 years of the Fábrica Bordallo Pinheiro, the artist presents us with a cactus fragment with a snail in faience. This support for food (cheese, cold meat... and, why not? for snails) on a table results in a still life [natureza morta in Portuguese]. Something that seems to have been frozen or stopped in time, thanks to its matter. So perhaps the English term still life (= stop life, still life) better suits this idea.


The ambitious aesthetic program, created by Rafael Bordallo Pinheiro, in the factory he founded in Caldas da Rainha, established one of the boldest and unique artistic projects implemented in Portugal. We are fortunate of even today to maintain a significant core of this heritage entails an enormous responsibility to match the excellence of artistic production of Bordallo Pinheiro ceramic. Visabeira has nowadays the privilege of continuing a unique project in the world, whose good business performance will only be surely guaranteed by the deep knowledge and the proper recognition of the artistic value of Rafael Bordallo Pinheiro’s work. Dueto celebrates the 125th anniversary of the establishment of Fábrica de Faianças das Caldas da Rainha, with an exclusive piece, the work of two of the most important and influential Portuguese artists: Rafael Bordallo Pinheiro (1846-1905) and contemporary artist Joana Vasconcelos. An amazing choreography performed by ceramic swallows and fish (bream) creates Dueto, a centrepiece designed by Joana Vasconcelos from the original moulds designed by Bordallo Pinheiro. The exceptional and rigorous naturalistic trace of different elements - both leading character and structural support of the composition - collaborate in an unexpected dance, full of dynamics and chromatic sense where swallows and fish seem to celebrate the richness of the artistic legacy of the Fábrica de Faianças das Caldas da Rainha.


I have known for some years two elephants who live in the back of the Fábrica de Faianças Bordallo Pinheiro. They live together with snails, frogs, chickens, ducks, bees, many birds and other animals. I keep a good memory of the day we talked for the first time, we became friends. When I was asked to design a piece for the 125th anniversary of Bordallo Pinheiro, I ask them for help. They wandered in the factory museum, chose bowls, pots, vases and began to push them. I enjoyed what they did. They are the authors of the things I've done for this anniversary... I merely watched.


This is the city where I was born. Lisbon is mysterious and bright as no other. She is full of colours, corners and views we never get enough of. This tray id the city’s “floor” and the pyramids are its hills. The squares may be many people, houses, streets and gardens. But the river as well. It may be combined as desired and it may accommodate what is desired. Lisbon was also, before Caldas, the city where Bordallo lived and worked. He was far from imagining what I would do, more than two centuries after, with his pieces. I hope he doesn’t mind, especially because this is a tribute.

Menina Saxe

Menina Saxe discusses the concept of the plastic and visual imagery of Raphael Bordallo Pinheiro. The deconstruction of a jar, inspired by the Saxe ceramic, began an intimate narrative which led to the metamorphosis. A creative journey on the search of identity records towards the idealization of a tribute to the pottery itself and its powerful alchemy. Menina Saxe appears enigmatic, adorned with acanthus leaves and wearing the Bordallo’s sandblasted. I decided to crown it with Rafael Bordallo Pinheiro swallows, which seem to prepare another journey through time by the creative paths. The house gecko also whirls in ecstasy with this Bordallo’s idea. Menina Saxe evokes the beginnings of ceramics of Caldas in the image of the mythical Maria dos Cacos, the Portuguese blue tiles - with its acanthus leaves surroundings painted in cobalt blue - Queen Leonor, founder of the city of Caldas, and the multiplicity of styles in the excellent Bordallo’s ceramics.

A Última Lagosta

In this work I sought a language in dialogue with my work. A fantastic context, where big animals invert their scale with the lobster and attack it. The gigantic lobster becomes a main dish for the animal kingdom to enjoy this expensive and exquisite dish. With a dramatic shade of blood, it makes us think that we are the next to attack these edible animals that are there, on a platter, ready to be placed in the oven.

As Paredes Têm Ouvidos

I arrived in Lisbon on a Saturday morning and on that same afternoon I was already taking pictures of pieces by Bordallo in both museums of Caldas da Rainha. I was quickly taken by this letter rack. The fact that the piece was more subjective (a huge wall ear), absurd and somehow flirting with surrealism, immediately appealed to me; apart from the fact that it contains a popular saying, no less surreal, which is a feature that I normally use in some of my works. I learned that the mould would have to be restored, and that was an opportunity to bring back the work of a genius, which had already stopped being produced. I chose to keep the piece as it was and insert an interference here and there, creating an effect both in the shape and the message. I’ve always thought of this proverb as a small certified paranoia; surreal, mistaking people for walls, as if all that we talk about raised the interest of others. That's when it occurred to me that it could be distracted by other things, instead of us, and so I thought of the headset, an enlarged facsimile of the one by Apple, so widespread in the contemporary world. Bringing together two objects with drawings made at such different times, 100 years apart, I was given the opportunity to pay tribute to two geniuses, Bordallo Pinheiro and Steve Jobs, besides creating a new context, a new piece, with humour, also a Bordallo’s brand.


The project to create Assombrada began with caution. It entailed studying Bordallo Pinheiro and collecting information on the artist, up to the moment of ordering small frogs to carry out prior studies. But even when the subject is affinities, how can one couple poetics - mine and his - without either dissolving? How can one enter into a close conversation with the other - another artist like this one, with a strong, critical and overwhelming work – so that this coupling in fact results in a new quality? Because of all this I chose the faithful silhouette of my hand, as an autobiographical sign, a sort of tag and shadow of myself - to join Bordallo’s frogs, the unmistakable Bordallo’s frogs, his preferred brand. With them stacked on top of the hand, piled up, precariously and yet virtually covered by another black shadow, I tried to create with the frogs and the hand a sort of visual ideogram that would re-signify that strange union on the lid of the tureen. Inseparable, hand and frogs should tell the same story. However, in Assombrada it is purposely not clear whether it is the shadow of my hand grabbing and containing those little frogs, to express domain, or if it was the frogs that erupted and grew unexpectedly - black, like a ghost - over my dark hand to immobilize it over that tureen lid.


For the "Beijo" work, I chose elements of Bordallo Pinheiro’s work that favoured the shape and its contours. The choice of vegetables – pepper, radish and asparagus - was an immediate approach, since I usually work with fruits and vegetables as a starting point. It was a challenge to choose among so many delicately carved shapes; there were also corn, pineapples, pumpkins... Then I went searching for the vases, a shape that I have been electing as essential to my work, as if all the artistic work could be discussed from the first impulses of clay work (or so I want to believe...). In this work, two vases meet and complement each other, their contours almost fitting each other: on one side the gourd vase offers its curves to contrast with its geometric pair - this one created from the spike tiles by Bordallo, remodelled in this case, forming an upright column. One of the "Beijo”’s element of remained useful (there is a surprise asparagus used as a stopper in the radish lid) while the geometric vase was already born sculpted and closed. This contradiction reflects aspects of coexistence between utilitarian objects and art objects.

Bizantino Com Fumaça

As the long-time admirer that I am of the Bordallo’s work, I wanted to take the opportunity of this project to meet more closely one of my favourite sculptures of Bordallo Pinheiro: the "Byzantine Cat". I simply started retracing with my finger the patterns of the surface, still damp, of the Cat fresh out of the mould, as a way to study the topography of the piece, and gradually added to it elements of the sculptural language that I explore in my own work. I emphasized these effects by using the wonderful drained glazes of the BP factory and - finally - I proposed the inversion of the original use of the piece, turning it from a spittoon into a censer, i.e. from a downward (liquid) movement to an upward (smoky) movement. It was a great pleasure to develop this sculpture based on a work I admire so much, and to be able to count on the support of the wonderful staff of the BP Factory in this work: thanks again, everyone!

Caldos da Rainha

The tureen, which had been forgotten for four centuries, now exuding only the generosity to the one whereby the city was named after, is used to shelter different types of creatures, still searching for that initial warm gesture.

Campino Sobreposto

The Campino Sobreposto piece is part of a series of works that use the composition by overlapping two similar images. The aim is to question the levels of representation of the shapes. As if by overlapping two images we get a more realistic picture rather than one single image. Another goal is to build forms with more complexity and difficulty; in the case of the Campino, creating it demanded great skill by the artists of Bordallo Pinheiro, mainly in putting the moulds and pieces together.


Delicatesse was asleep in a prototype since the college days of Caetano de Almeida (1986); it was Bordallo Pinheiro who woke it up with an invitation by the Bordallo Pinheiro Factory for the artist to participate in the project Bordallianos do Brasil. The beautiful and enchanted animals by Rafael Bordallo Pinheiro seduced the artist, who motivated by the challenge of three-dimensionality, travelled to Caldas da Rainha and, researching Rafael’s moulds, gave life to his Delicatesse. Caetano de Almeida adapted it with wings of a fighting cock and, selecting delicate flowers carefully crafted by the artisans of the factory, he decorated the world of this redheaded chicken. Delicatesse has now become a provocative, dramatic and contemporary chicken, updated to today's world, full of contradictions and setbacks. A very special chicken which lives in her colourful and flowery world, where her delicacy and balance games cause a constant tension on her fragile egg.


When I got to the Bordallo factory I went crazy with all those wonders... Everything was fantastic to curse someone, or to offer as a gift! I then decided to bring together what is most common when you think about this subject: I got the pig, which impressed me a lot, the fruits and the vegetables, and put everything on leaves thus turning all these elements into a single thing. Although they are separate pieces I wanted to give the impression that this was found in a rain forest along with lizards, flies and bees. I wanted it to be a real still-life!


“Enxame” is simultaneously a utilitarian and decorative piece of great delicacy that can be used with or without the lace overlay. A large plate, the flower known in Brazil as “glass of milk” (i.e. the calla lily) and the bees are models of the artistic and creative universe of Bordallo Pinheiro. The piece was developed from the moto that Martha Medeiros likes to defend: Believing that there is always a queen inside every woman and, as the bees work to serve the queen mother, so should every woman serves the Queen inside of her. This is also the goal of the designer - that every woman dressed by Martha Medeiros feels like a queen.

Floreiro Archeiro

The "Floreiro Archeiro" piece, whose starting point is the "Archeiro" vase, is the result of a collage of elements from several other pieces which together make up a new piece. All the details of the "Floreiro Archeiro" are original creations of Bordallo Pinheiro, or from those who followed him. However, the painting colours were changed, turning the Portuguese goldfinch into a canary from Brazil. The archer’s uniform lost the original colours, and received the uniform colours of Empire Brazil. This is a piece that, although perfectly inserted in my work poetics, where I usually counter stereotypical elements of strength and masculinity with elements traditionally seen as feminine, I believe it is still a piece that is very faithful to Bordallo Pinheiro. This is a distinctly decorative piece, but at the same time utilitarian; it has a use, a function. Moreover, the piece will only be ready when its owner completes it by using it as a flower box. So, each copy of the piece will be different from the others, depending on the flowers and use that the owner prefers to give it.

Furnarius Rufus

Furnarius Rufus is the scientific name of a bird popularly known as Ovenbird. This bird builds its nest using straw and dung with moist clay. The shape of the nest resembles an oven, hence the relationship between the bird and the oven. This project manufactured in the Bordallo Pinheiro ceramic factory uses a shape similar to the common icon of a house, which may be used as a bird house or not. The sculpture has ornaments that were drawn from a panel by the master Rafael Bordallo Pinheiro, containing drawings of birds in the region and cut fragments of blue tiles in relief. By adding the icon-shape of the house, the work brings together the nest, the house, the art of Bordallo, and the sculpture’s walls in the same colour tones of the original panel, however de-characterizing the original tile. The sculpture is suspended by cables and can be placed indoors or outdoors.

Galo Bordallo

Elsa Rebelo invited me to the Bordallianos of Brazil, and insisted on it. I, ignorant of the work of Bordallo, claimed a full calendar (which was true). Finally she sent me pictures of his work. This convinced me immediately, for the work of Bordallo Pinheiro matches my artistic mentality so much that seeing it was like finding a close relative unknown until then. I should use the factory’s moulds, but as I am not much of a "ready-made" person so I suggested that I would do something in the Bordallo style. I went to my studio in Bourgogne and, among a thousand sketches and studies I found an extravagant and autarchic rooster proudly holding a feather, ready to write something. At this point I realized that this was the portrait of Bordallo, Galo Bordallo, Borgalo! I increasingly believe in the influence of the future on the past. I'm sure my future contact with the work of Rafael Bordallo was already producing a retroactive effect, a secret inspiration so that, without knowing why, over a year before I‘d make the philosophical portrait of Rafael Bordallo. The rooster was made at the factory in Caldas da Rainha, not with a feather but with the famous Bordallo mechanical pencil, the one that is seen in his self-portraits, in caricatures that he drew.

O Colador de Cacos

Earthenware is a deeply symbolic material of the continuity of values within a family throughout generations, both for its fragility and for its heredity. I remember perfectly the sorrow my mother felt every time some old crockery would break at home. These objects carried memories of weddings, funerals, christenings, Christmas dinners and Sunday lunches, the remaining and traces of all the ancestors who had used such dinnerware, alas, it was as if an entire genetic strain had disintegrated. I still see her, sad, trying to glue the pieces back together, as if repairing the past the best way she could. O colador de cacos [the pieces’ fixer] is a kind of memory elf. Assuming all its imperfections, he carves the impossible shape of the legacy of family conventions and traditions. It is an entity that appears in the night to fix the artificial and confusing manner in which we set our memories.

Plátano Bordallo

The piece which I named Plátano Bordallo was developed when I realized that among Bordallo’s repertoire of images there are many representations of insects. Also recurring in my work are images of Butterflies and Moths. Strolling in a park in Caldas da Rainha, I picked up a small branch of Plátano [Maple], which was shaped in the modelling workshops of the Fábrica de Faianças Artísticas Bordallo Pinheiro. In the same piece, I placed side by side the moths moulded by me, with Bordallo’s fly, beetle and bees. I looked for points of contact between my work and Bordallo’s. The result is a dialogue, a negotiation and hybridization of different poetics and times, thus emphasizing the innovative and timeless character in the work of Bordallo Pinheiro.

Sermão aos Peixes

The idea of the work was to change the religious content of the original piece, making it a little more "abstract" - something like a wave sculpture that references a sea landscape, quite characteristic of Brazil and Portugal; to bring out a unique piece of the collection, or little known by the public who knows the Bordallo production, besides tracing a relationship with the works of my personal artistic production.

Terrina Noé

Under Barrão’s poetic continuity of objects’ ownership, disconnecting them from their original contexts and uses, giving them a new sense, is presented Terrina Noé. A naturalistic composition, using Rafael Bordallo Pinheiro’s ceramic universe as a starting point but, this time, Barrão did not limited himself to the reuse of the remains already produced and finished during the productive procedure, but rather intervenes in the ceramic process. The game of fitting and accumulation starts right away in the contact with the plastic materials and ceramic moulds, also using Bordallo’s colour palette.



Vai e Vem

Developed from the letterings produced by Bordallo Pinheiro to signal the streets of Caldas de Rainha, the Vai e Vem piece intends to combine the formal geometric poetics of the artist Estela Sokol with the universal ironic style of cartoons created by Bordallo alongside his naturalist search. Vai e Vem invites the viewer to transgress the common use of letterings using a game between colours and words.


The observation of the moulds’ textures of the pineapple and banana leaves inspired me to use them as a "second skin". "Xina" (from the Portuguese “abacaxi” - pineapple - and “banana”), are symbiotic plates: a contemporary interpretation of tropical fruits and leaves, a constant presence in the history of Bordallo Pinheiro.

Pack 2 Sardines Cats

Sardine - Pack 2 Sardines Fado

Sardinha - Mail

How long has it been since you last mailed a letter? This Sardine evokes the nostalgia of a gesture that we’re losing nowadays, while highlighting the importance of perpetuating our traditions.

Sardine - Amparo

Owner of the famous Fado house “Mas que grande lata a tua!”, the Amparo Sardine is a Fado singer, heart and soul. With a distinctive voice, she puts Fado in her life, her loves and her hatreds. Especially her loves... Amparo is known to have married 7 and a half times, always with significantly younger fish.

Sardine - Espichel's Count

Being a bigwig of the Lisbon nobility of the 18th century, he has exquisite taste and language ticks, like “Oh la la!” or “Et, voilá!”, which he is always applying. He organizes the “Salon Musical et Littéraire”, receiving guests while reclined on a bed from the previous century, at the Chambre Bleu of his palace in Belém.

Sardine - Constellation

The Constellation sardine
Has the soul of an artist
Has the guts
Optimistic Salero;
Boasting cheerful bright colours
Wandering across Lisbon
In love with such beautiful light
That echoes throughout the city

Sardine - Bottom of the Sea

At the bottom of the sea there are white terrors,
Where plants are animals
And animals are flowers.
Sophia de Mello Breyner Andresen

Sardine - Emigrant

This Sardine was born from predominant topics in the news, such as the economic crisis and emigration. An analogy with airmail envelopes and messages that emigrants use to send to their families. The image on the back is from the transport network of Bordeaux, where I hoped that had the chance to stay and pursue my career.

Sardine - Lighthouse

Inspired by the numerous existing lighthouses along the Portuguese coast, this Sardine refers to the idea of travelling to a distant world, whether real or imaginary, as well as the eternal return home after its discovery.

Sardine - Heroes of the Air

The Sardine belongs to the PEOPLE.... As do the memories of our History. In 2012, the Sardine aged and told a story about a feat accomplished with the sails of the Cross of Christ, the Heroes of the Air. Sacadura Cabral and Gago Coutinho greatly contributed to the History of aviation when crossing the South Atlantic by air in 1922.

Sardine - Maria, a Nobody

Today, a sardine came to my window sill and asked me to tell a story about her ... and I did so. One of the magic things about image is that it allows us interpretative freedom. To discover various stories, inside someone’s story. This was my story, what’s yours?!

Sardine - Bride

A sassy Sardine Bride that celebrates and honours the Brides of Saint Anthony, the “Matchmaker Saint” of Lisbon popular tradition.

Sardine - My Love

Inspired by the love verses that the girls of the Minho region embroidered on handkerchiefs for their boyfriends, this sardine represents the promise of endless love. The Sweetheart Handkerchiefs are recognised by their strong colours, love symbols and spelling errors. It was a romantic allurement ritual where the sewing needles were the keyboard at that time.

Sardine - Pack 2 Sardines Couple

Sardine - Pack 2 Sardines Sea

Sardine - Pedro Cabrita Reis

“THIS SARDINE ISN’T BORDALLO’S ANYMORE, NOW IT’S PEDRO CABRITA REIS”. Special edition numbered and limited to 75 examples.

Sardine - Pessoana

Because it is of the Portuguese, father of broad seas, to want, to be able to simply:be nothing. And be someone in a sea of people. Be a person. Flood. Dry out. Cry. Float. Come up and dive in again. Be fished. Be gutted and survive: the whole sea, or the empty destroyed waterfront – The whole, or its nothing (In D. João Infante de Portugal, Message, Fernando Pessoa).

Sardine - High Tide

The High Tide Sardine is an allusion to deep sea fishing, symbolizing both the lull and the storm that diminishes us. The whole of the sea inside of a sardine.

Sardine - Santa Justa

It was just an anonymous and pale Sardine. It sought colour and participated in the “Festas de Lisboa” (Lisbon Festivities). As the event’s icon, it deserved a monumental illustration. So, I tried to create a symbiosis between the sardine and the Santa Justa Elevator. The Santa Justa Sardine, once anonymous and pale, now parades in colour and tradition.

Sardine - Sardine Natural

The sardine, with its silvery blue and black hues, darker on the back and lighter on the sides and belly, is found in the northeast Atlantic and the Mediterranean Sea, where it dwells on coastal areas, between 25 and 100 meters deep. It undertakes migrations in large shoals that protect fish from predators during the day, in deeper waters, and move at night-time to shallower waters to feed on algae and small crustaceans. It reproduces from October to April, a time when sardines are leaner and not so tasty. The sardine is the most popular fish in summer festivals and fairs in Portugal, as well as the main species used in the Portuguese canning industry.

Sardine - Tagus

The Tagus Sardine has the best view of Lisbon. From the river she sees the people, the roofs and the Castle; she sees the bridge and the boats, and the departures and returns that make the city live. She is a lucky Sardine – and, as Amália used to say, She has water, she knows how to swim / I wish I were a sardine.

Sardine - Tenório

The Tenório Sardine is a true portent of the Portuguese guitar. Known in the most exclusive world of Fado for being a bon vivant, irresistibly seductive and a confessed lover of the nightlife and “escabeche” (pickle), Tenório oozes charm through all of his scales. And no gilt-head bream, mullet or ray can resist his charms.

Sardine - Tóni

Tóni is a Sardine prone to gallantry, born as a tribute to the Lisbon hustler. A raunchy pushy sort, with a loud mouth and fire in his belly, Tón i makes a living out of odd jobs. Up one street, down an alleyway, he walks nimble, with a watchful thirsty eye, while distributing flirts to the girls that pass by – “Eh carapau” “hey mackerel!”

Sardine - Skinny Bones

In Festas de Lisboa, there is food and drink without limits, there are encounters around full tables, there is laughter and toasting, but by the end of the night, there is only silence, empty glasses and crack-bones on the floor. The sidewalk is adorned with remnants of the most beautiful night of Lisbon.

Sardine- Cat

This is a cat that truly loves Lisbon sardines. He ate so many sardines that, inevitably, he became one of them.

Sardine- Miami

Inspired by the Miami sunset on South beach, Hawaiian shirt fabrics worn by gangsters and the Art Deco buildings on Colins Avenue in there clashing colours. Let’s not forget the Surf and the Surfboard designs . Pink Flamingos, neon signs and the Pink Cadillac show Miami’s kitsch glamour that one loves so much.

Sardine - New York

Inspired by New York graffiti, Liberty, the urban life of the big apple, jeans, the theaters on Broadway , baseball, Wall St. and the dollar. The vibrant lights and « bigger than life! » funk of the city give this sardine it’s flashy colors to stand out from the rest. This sardine is street, gritty, fashion, fast, fun and ready to party with all the colors and essence of a real New Yorker!

Sardine - Purring

This sardine tells a story of love and greed among animals. The sardine usually ends up in the cat’s mouth, who in the end licks his paws in the sun. In this version, the cat seems to have been swallowed by the sardine, an inversion of the natural order of things. But when one looks more closely, one sees the natural order of things restored, one just has to pay attention to their expression.