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GREENSLEEVES RECORDS - 12" COLLECTION. Tuff collection of 30 x original UK twelves on Greensleeves. Artists/cat. numbers are Eek-A-Mouse (GRED 74), Dr. Alimantado & The Rebels (GRED 17), Ranking Dread (GRED 57), Capital Letters (GRED 16), Johnny Osbourne (GRED 168), Michael Prophet (GRED 73, x2), The Meditations (GRED 117), Fathead (GRED 103), Lone Ranger (GRED 85), Mediations (GRED 113), Al Campbell (GRED 47), Yellowman (GRED 119), Wailing Souls (GRED 81), John Holt (GRED 99) then (GRED) 30, 47, 49, 53, 56 (x2), 71, 78 (x2), 100, 184 and 12 OINK 2 and 3. Condition is generally VG to Ex with all housed with og company sleeves.

Cigarette cards, North Africa, Egypt, Athanassacopoulo Bros, Photo Series, Beauties, Couples etc, unnumbered & hand coloured, 3 lines in capital letters in panel, 52 different cards (gd)

An 18th century or earlier carved stone ionic capital, 37cm wide, 37cm deep, 34cm high**Please note that some of the lots in this auction are held offsite and others may require specialist lifting equipment therefore please ensure collection arrangements are made prior to making any journey to the saleroom. Many thanks**

Ptah-Sokar-Osiris. Egypt, Ptolemaic Period, 3rd-1st century BC.Carved wood.Measurements: 33 cm (height without base).The fusion of three gods (in reality, three manifestations of a single god) into one, in Egyptology is called syncretism. The three forms of appearance are united, although without each of them losing their individuality. Ptah is the ancient god of the first capital of unified Egypt: Memphis. Patron of craftsmen, he was also a demiurge god (creator of the universe), according to Memphite doctrine. The importance of his influential clergy did not wane throughout the Pharaonic period. For his part, Sokar is a funerary god (an emanation of Osiris in the Memphite necropolis, specifically in the area of Sakkara). Finally, Osiris is the god of the dead par excellence, his main epithet being khentyamentyu, "he who presides over the westerners", i.e. the dead. These statues were placed in the burial chamber next to the sarcophagus, with a clear protective and regenerative intention. The piece in question is notable for the delicate carving of its face.

An unusual mahogany occasional table, the oval tray top with brass string inlay raised on a central column pillar with gilt capital shaped platform moulded rails and turned tapered legs with brass feet, 100 cm long x 66 cm wide x 72 cm high

Weathered composition stone garden statue in the form of a standing scantily clad maiden, raised on possibly later associated squat capital pedestal, 160cm high approx

A weathered carved natural stone architectural Doric capital, inscribed 'W Fisher' (51 cm wide x 25 cm high)

By and after Thomas Daniell R A (British 1749-1840) and William Daniell (British 1769-1837): 'A Minar at Gour' (Ancient Capital of Bengal), aquatint with hand-colouring, plate 23 from the fifth edition of 'Oriental Scenery' called 'Antiquities of India' pub. 1808, 59cm x 43cm Provenance: 3rd Earl of Feversham

Late C19th painted pine fluted column pilaster with stepped capital, W24cm H140cm

A late Victorian mahogany display cabinet, by Collinson & Lock, stamped and numbered 5109, in the manner of Bruce Talbert, dentil cornice above a marquetry capital and a pair of glazed doors enclosing a shelf, the lower half with a pair of geometrically moulded panel doors, reeded apron, open undertier, square legs, 173.5cm high, 67cm wide, 33.5cm deep, c.1890

An architectural oak statuary pedestal, Ionic capital, 68cm high, the top 30cm square

[HISTORY]. A group of 11 works, including:WRIGHT, Robert M. Dodge City the Cowboy Capital. [Wichita]: Wichita Eagle Press, 1913. Publisher 's green cloth. FIRST ISSUE with printer's imprint on recto of frontispiece. Graff 4756; Howes W705. -- COBBETT, William. Life of Andrew Jackson. London: Printed by Mills, Jowett, and Mills, 1834. Later half blue morocco.   -- [DELANY, Patrick.] Observations Upon Lord Orrery's Remarks on the Life and Writings of Dr. Jonathan Swift. London: W. Reeve, 1754. Contemporary calf gilt. -- PORTER, Jane. The Scottish Chiefs, a Romance. London: Longman et al., 1810. 5 volumes. Contemporary calf. -- And 7 others. Together, 11 works in 18 volumes, various 8vo and 12mo sizes, most FIRST EDITIONS, condition generally good.  Property from the Annette Perlman Trust

[LOWDEN, Frank Orren (1861-1943), his copies] -- [ILLINOIS HISTORY]. A set of uniformly bound works about Illinois, comprising:DAVIDSON & STUVE. A Complete History of Illinois from 1673 to 1884. Springfield, IL: J.W. Rokker, Publisher, 1884. Later edition. -- REYNOLDS. The Pioneer History of Illinois. Chicago: Fergus Printing Company, 1887. Second edition. -- MOSES. Illinois, Historical and Statistical. Chicago: Fergus Printing Company, 1889-1892. 2 volumes. -- PALMER. The Bench and the Bar of Illinois. Chicago: The Lewis Publishing Company, 1899. 2 volumes. -- BOGGESS. The Chicago Historical Society 's Collection--Vol. V. The Settlement of Illinois 1778-1830. Chicago: Chicago Historical Society, 1909.  Together, 5 works in 7 volumes, 8vo. Uniformly bound in 20th-century half green calf gilt, Lowden 's monogram gilt-stamped on front covers. Provenance: Frank Orren Lowden (1861-1943), 25th Governor of Illinois (bookplates, bindings). Lowden was the Governor of Illinois from 1917 until 1921 after serving as a U.S. Representative from Illinois ' 13th district in the United States House of Representatives from 1906 until 1911. During his gubernatorial term, Lowden was best known for reorganizing state government to reduce the rate of taxation, vetoing the bill to abolish capital punishment, as well as for his handling of the 1919 Chicago Race Riots.  

An Edwardian silver oil lamp by the Goldsmiths and Silversmiths company, London 1907, in the Adams style with foliate tapered column with a Corinthian capital, surmounted by a cut glass reservoir, on a square stepped base with beaded borders and husk swags, base filled, total height 50 cm

Faience scarab with modelled carapace and legs folded to the side of the body; pierced for suspension. To the underside is the name of Amun Ra flanked by two signs for “Lord” denoting that the god is “Lord of the Two lands”. New Kingdon, 18th Dynasty, 1550 – 1292 BC, 20mm longAmun Ra was the chief deity of the Egyptian Empire and patron deity of the royal capital of Thebes. Through the benefaction of numerous pharaohs, his temple grew to be the largest in Egypt.For similar see The Art Institute Chicago, accession number 1894.1596Provenance: Purchased during the Second World War by Major G.A.D Gordon (Royal Army Medical Corps) from Sayad Molattam, a dealer in antiquities based at Luxor Hotel Street. Mr Gordon's personal war diaries, which are now held in the Museum of Military Medicine in Aldershot, date his stay in Luxor from the 21st of February to the 1st of March 1942.

Faience scarab with plain body, with the head area defined, the legs folded against the body; pierced for suspension. To the underside is a vertical band of hieroglyphs bearing the name of King Aamu, reading “Son of Ra, Aa-Mu, given life”. To the sides are geometric patterns. Hyksos, Second Intermediate Period 1630-1523 BC, 16mm long.This is a rare example with only thirty other examples known. the Hyksos comprised a small group of people from the Levant who ruled Northern Egypt from their capital at Avaris in the Nile Delta, during the Second Intermediate Period. Little is known about the rulers of the Hyksos, who were eventually expelled from Egypt through a series of battles waged by the Pharaohs of the south, based at Thebes.For a similar example see the Metropolitan Museum of Art, accession number 30.8.459.Purchased during the Second World War by Major G.A.D Gordon (Royal Army Medical Corps) from Sayad Molattam, a dealer in antiquities based at the Luxor Hotel. Mr Gordon's personal war diaries, which are now held in the Museum of Military Medicine in Aldershot, date his stay in Luxor from the 21st of February to the 1st of March 1942. Sold together with the original purchase leaflet.

A Victorian mahogany torchere stand, with laurel capital on a spiral-reeded and knopped stem, raised on four carved scroll feet, 148cm high (lacking top).

Utagawa Kunisada / Utagawa Toyokuni III (1786-1865) 'Routo Horie Geiko', Japanese woodblock print, unframed, 36cm x 24cm, 'Thirty-six views of Eastern Capital - Sumida River', Japanese woodblock print, unframed, 35cm x 22cm (2)Both with some creases and minor folds to edges and corners. Small holes, minor marks and small areas of foxing.

HEMINGWAY, Ernest (1899-1961). Winner Take Nothing. New York: Charles Scribner's Sons, 1933.8vo. Original black cloth, gold labels to upper cover and spine (slight abrasion to finish of covers); in unclipped dust jacket (some chipping, tears and creasing with a few old tape repairs verso).    FIRST EDITION, FIRST ISSUE, with the capital "A" on the copyright leaf, and with the dropped "t" in "two hundred twenty-five pounds" on p. 159. In the FIRST STATE dust jacket with Stallings' review on the rear panel. Hanneman A12a.  

HEMINGWAY, Ernest (1899-1961). To Have and Have Not. New York: Charles   Scribner's Sons, 1937.8vo. Original black cloth gilt, spine blocked in green and gilt; in unrestored unclipped dust jacket (some minor chipping or creasing, otherwise bright). Provenance: Florence Luntz (signature on pastedown).   FIRST EDITION, FIRST PRINTING with the Scribner's seal, and the capital "A" on the copyright page. Written between 1935 and 1937, Hemingway's work follows Harry Morgan, a fishing boat captain in Key West.   Hanneman A14a.  

PABLO RUIZ PICASSO (Malaga, 1881-Mougins, 1973); ANTONIO ORZAEZ (Madrid, 1933-2021)-Photograph of Paloma and Claude Picasso in Cannes, 1956.Provenance: Private Collection Antonio Orzaez (1933-2021).Presents stamp of Antonio Orzaez.Measurements: 30 x 24 cm.Photograph of Paloma and Claude Picasso, children of Françoise Gilot and Pablo Picasso, the snapshot was taken in Cannes, in 1956. This work belongs to the personal collection of Antoni Orzaez, the artists' photographer. His work at the Sala Gaspar led him to capture and get to know the lives of many creators who are essential to the history of art. In many cases his closeness with them turned into friendship, as for example with Picasso, who personally gave him many works, dedicating them to him with great affection.creator of cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "ElsQuatreGats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. The painting of these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange forms. Picasso is represented in the most important museums around the world, such as the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.

EDUARDO ÚRCULO FERNÁNDEZ (Santurce, Vizcaya, 1938 - Madrid, 2003)."Characters with hats", 1995.Silkscreen, copy P.A. 4/5.Signed, dated, justified and dedicated by hand.Size: 46 x 61 cm; 50 x 66 cm (frame).Following his particular aesthetic, Úrculo composes his works through enigmatic objects and indeterminate, anonymous figures, which, remotely inspired by fashion illustrations and art deco posters, evoke a whole range of the contemporary popular imaginary.A painter and sculptor, one of the best exponents of pop art in Spain, Eduardo Úrculo began to paint as a child, without any artistic training, and in 1957 he published his first illustrated strips in the Oviedo newspaper "La Nueva España". Shortly afterwards he moved to Madrid and began to take classes at the Círculo de Bellas Artes. During these years he earned his living as an illustrator and set designer, and cultivated a style of painting marked by social expressionism. In 1959 he went to Paris, where he furthered his training at the Académie de la Grande Chaumière. In the French capital he worked as a graphic designer and met Eduardo Westerdahl, whose influence led his painting to evolve towards abstraction. Four years later, however, he returned to figuration and social criticism. In 1967 he made a trip to northern Europe, and it was then that he first came into contact with American pop art. From then on, Úrculo's work would be marked by a realism based on a very vivid colouring and, in the seventies, by erotic, satirical and critical themes. In the eighties he lived in New York, where he carried out important projects. In 1992 he returned to Paris. In the latter period he added to his repertoire the theme of the traveller confronted with the great modern city, an ironic variant of the figure of the romantic overwhelmed by the landscape. This formal evolution could be seen through the numerous individual exhibitions he held around the world since 1959, as well as in anthologies (Centro Cultural de la Villa de Madrid, 1997, and Museo del Grabado Español Contemporáneo de Marbella, 2000). Úrculo is currently present in numerous museums and collections of modern art, including the Museo Nacional Centro de Arte Reina Sofía, the Galleria Nazionale d'Arte Moderno in Rome, the Biblioteca Nacional de Madrid, the Museo de Arte Contemporáneo de Bogotá, the AENA, Testimoni and Fundesco collections, the Museo del Dibujo Castillo de Larrés, the Museo de Arte Contemporáneo de Vilafamés and others.

* TOM MACKENZIE (SCOTTISH 1947 - 2018), HOAN ISLAND coloured etching on paper, signed, titled and numbered 15/75 image size 30cm x 45cm, overall size 49cm x 62cm Mounted, framed and under glass. Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, MacKenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond. During 2021 we accepted a private collection of fifteen Tom MacKenzie etchings which were split between several auctions. New UK auction records were achieved with several individual etchings selling for in excess of £300 each and the highest price and current UK record price was achieved on 23rd January 2022 when lot 224 "Loch Hasco, Quirange" a 20 x 27.5cm etching sold for £410 (hammer).

Late 19th early 20th century mahogany torchere, the dish top raised on a foliate carved and reed support with palmette capital on three foliate carved legs, 170cm tall, together with a mahogany three division Canterbury with frieze drawer (2)

Charles Baudelaire. Poèmes. Mit 50 Illustrationen, teils blattgroß in Lithographie (43) und sieben in Holzstich (7) nach Charles Despiau. Paris, Gonin, 1933. 105 Seiten. 4°. Handgebundener dunkelblauer Ganzlederband mit 10-facher geometrischer Filetenvergoldung, roten Lederspiegeln mit goldgeprägter Aktdasrtellung, Steh- und Innenkantenvergoldung sowie Kopfgoldschnitt, sign.: W. Ewert. In Halbleder-Chemise in OPp.-Schuber mit Lederkanten (Einband Vorderkante mit kleiner Druckstelle, obereres Kapital mit kleinem Einriss, Chemise etwas berieben). Erste Ausgabe mit diesen Illustrationen. - Eins von fünf römisch nummerierten Künstlerexemplaren auf holländischem Bütten (Gesamtauflage 99 und 15 Künstlerexemplare, je auf drei unterschiedlichen Papieren). - Monod 1158. - Skira 92. - Rauch 175. - Garvey 83 "carefully balanced pages". - Im Druckvermerk vom Künstler signiert. Das Frontispiz mit eigenhändiger Widmung für den Berliner Verleger Erich Steinthal (1890-1963) "en toute sympathie". - Charles Despiau (1874-1946) zählt neben Auguste Rodin, Aristide Maillol und Antoine Bourdelle zu den wichtigsten französischen Bildhauern des frühen 20. Jahrhunderts. In den feinlinigen Aktzeichnungen, die hier Baudelaires Dichtungen illustrieren, wird besonders seine Nähe zu Maillol sichtbar. - Prächtiger Handeinband. With 50 illustrations, some folio-sized in lithograph (43) and seven in wood engraving (7) after Charles Despiau. 4°. Hand-bound dark blue full leather volume with 10-fold geometric fillet gilt, red leather boards with gold-stamped nude dessication, standing and inner edge gilt, and gilt head-edge, signed: W. Ewert. (Binding fore-edge with small pressure mark, upper capital with small tear, chemise somewhat rubbed). - One of five roman numbered artist's copies on Dutch handmade paper. - Precious hand-binding

Südamerika - Peru - - Pierre Bouguer. La Figure de la Terre, déterminée par les Observations de Messieurs Bouguer, & de La Condamine, de l'Académie Royale des Sciences, envoyés par ordre du Roi au Pérou, pour observer aux environs de l'Equateur. Mit 9 gestochenen und gefalteten Tafeln. Paris, Charles Antoine Jombert, 1749. 12 Bll., CX, 1 Bl., 394 S., 1 Bl. 4°. Geflecktes Kalbldr. d. Zt. mit reicher RVergoldung und RTitel, Rotschnitt, Marmorvosätze (etwas berieben und beschabt, Ecken bestoßen, oberes Kapital mit Läsuren, Rücken mit kl. Wurmlöchern). Erste Ausgabe. Sabin 6876. - Bouguer publiziert hier die Ergebnisse seiner Reise nach Peru, wohin er 1736 zusammen mit Godin und La Condamine gesandt wurde. Ziel der Expedition war die Bestätigung der Abplattung der Erde. Veranschauchlicht werden seine Berechnungen durch die Tafeln, welche die Kordilleren in Profil- und Panoramaansicht, ein Messinstrument, Messmethoden und eine Karte des Meridians von Quito zeigen. - Titel mit hs. Ann. und Rückständen eines Etiketts. Papierbedingt gebräunt und vereinzelt etwas braunfleckig. 1 Tafel lose. Insgesamt gutes Exemplar. South America - Peru - With 9 engraved and folded plates. Cont. mottled calf, gilt decorations on spine, red edges, marbled endpapers (somewhat rubbed and scuffed, corners bumped, upper capital with tears, spine with small wormholes). - First edition. - Bouguer publishes here the results of his journey to Peru, where he was sent in 1736 together with Godin and La Condamine. The aim of the expedition was to confirm the flattening of the earth. His calculations are illustrated by the plates showing the Cordillera in profile and panoramic view, a measuring instrument, measuring methods and a map of the meridian of Quito. - Title with handwritten ann. and remains of a label. Paper browned and sporadically somewhat brown-stained. 1 plate loose. Overall a good copy.

Victorian gold propelling pencil of hexagonal form decorated with foliate engraving and stone set shield shaped capital terminal, with attached gold chain and fob seal (pencil tested to 7.4ct, fob seal attachment tested to 9.7ct and stamped 9ct, chain tested to 5ct)

A Victorian turned green variegated marble column with simple moulded capital and an octagonal base. Approx 28 cm wide at the base x 110 cm overall height.Private estateOld repair to the column

Graham Farish 370-430 N Gauge Train Pack, “Capital Connection”, Network South East 30th Anniversary Collectors Edition, complete with the original packaging

Ancient stone capital, sculpted with classical ornaments; weathered, on later iron base; 55cm total height; 35x35cm

Ancient stone capital, sculpted with classical ornaments; weathered, on later iron base; 55cm total height; 33x38cm

Pair of Corinthian columns, Baroque period. Late 17th century, early 18th century.Polychrome wood emulating marble, gilded base and capital. Marble pedestals, later period.Faults in the wood and gilding. Ancient xylophages.Measurements: 192 x 25 x 25 cm (columns); 12 x 30 x 30 x 30 cm (pedestals).Pair of columns of Corinthian order and Baroque period, with moulded base with bocel and Scotland; smooth shaft and composite Corinthian capital. The latter combines the volutes of the Ionic capital with the acanthus leaves of the Corinthian capital in a decorative and highly ornamental display. Polychrome marbled decoration in various colours. Later green veined marble bases.The creation of the Corinthian order is attributed to the Greek sculptor Callimachus in the 4th century BC. It is basically the same as the Ionic order, but differs from it in the shape and size of the capital. It is the most ornate of the three main classical orders, and although it is of Greek origin it was mainly used in Roman architecture. The composite order is a mixed classical order that does not belong to the group of Greek architectural orders (Doric, Ionic and Corinthian), but, together with the Tuscan, is one of the Roman contributions to the classical orders.

REPRODUCTION CORINTHIAN COLUMN TABLE LAMP,in simulated walnut with bronzed capital, 95cm high including shade

A PAIR OF REGENCY BLACK AND GILT-JAPANNED TORCHERES Early 19th century, each with a spirally-turned finial wrapped with three serpents, their upturned head sand jaws bearing a candle-socket, on a reeded column with foliage capital, on a waisted socle and spreading tripod legs joined by concave stretchers, on ball feet, redecorated, 165.5 cm. high

* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957),CAFE, PARIS oil on board, signed image size 25.5cm x 34cm, overall size 46.5cm x 54.5cm Framed and under glass. Label verso: Thomas Murray & Sons, Dundee.Provenance: Private collection, Edinburgh.Note: A rare Paris painting from between 1920 and 1922 when Milne lived in the French capital. Seeing Cezanne's work for the first time was a eureka moment for Milne who until then had painted much like his father in a sedate and traditional style. He discovered a completely new freedom and walked the streets and sights of Paris painting what he saw, en plein air and with rapid, bold brush strokes. Above all, he discovered ''colour''. This very distinct Paris period saw Milne producing some of his most spontaneous and desirable work and usually on smaller scale artist boards. By 1922/3 he had moved to the French village of Lavardin and by 1924 he was in Cassis with Peploe, Cadell and Duncan Grant. Milne is often referred to as ''the fifth Scottish Colourist'' and yet his quality is at least the equal of much of the output of the other four. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont, several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as being his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing-room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, de Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Even though Milne's paintings were widely exhibited in his lifetime at the very best venues to great success, it's probably because he never established a long term relationship with any one gallery or dealer that his paintings have been undervalued for many years. It took until 1987 before the first Milne painting reached the £20,000 mark at auction when ''Busy Paris Street Scene with Figures (1922)'' was sold by Christie's, Glasgow (lot 664, 28th April 1987 £20,000 hammer). The John Maclauchlan Milne Estate is now represented by Tom Hewlett's Portland Gallery (London) and unsurprisingly, his profile and values have been growing. A major exhibition ''Milne And The Colourist Connection'' was staged at Portland Gallery (London) 21st September -13th October 2017. On 30th August 2017 we sold "A Paris Scene (a 35cm x 26.5cm oil on panel) for £25,000 (hammer) and in The Scottish Pictures Auction of 24th September, 2021 lot 2005 (Green Pool, Iona) sold for £29,000 (hammer).

Ɵ KIPLING, Rudyard. (1865-1936). Collected Verse of Rudyard Kipling. 1912. first edition, 8vo, (250 x 180mm), quarter vellum blue cloth, top edge gilt, others untrimmed, half-title and title page printed in blue and black, first capital letters of verses printed in blue, 477pp; KIPLING, Rudyard. (1865 - 1936). and DE LA MARE, Walter. (1873 - 1956). St. Andrews Two Poems. (1926). first edition, 8vo, (225 x 158mm), original paper boards, half-title, 16 reproduction pencil drawings and etchings of St. Andrews by Malcolm Patterson, the two poems, 'A Rector's Memory' by Rudyard Kipling, Rector of the University, 1922-1925 and 'A Memory' by Walter de la Mare, LLD., St. Andrews, 1923, profits derived from the sale of the book devoted to the Student Welfare Scheme of the University of St. Andrews; KIPLING, Rudyard. A Choice of Songs from the Verse of Rudyard Kipling. 1925. first edition, 8vo. (175 x 110mm), original yellow wrappers, priced one shilling, edges untrimmed, 66pp: KIPLING, Rudyard. (1865 - 1936). GRAVES, Charles. (1856 - 1944). Q. Horati Flacci Carminum Librum Quintum. Edited by A.D. Godley. 1920. first edition, 8vo, (193 x 129mm), original brown paper boards, parallel Latin text and English translation, 34pp; Rudyard Kipling's Verse Inclusive Edition 1885-1918. 1919. three volumes, first edition, 8vo, (220 x 170mm), original maroon buckram with the author's initials within gilt vignettes to upper covers, foredges and lower edges untrimmed, half-titles, title pages printed in red and black, volume 1 - 318pp, volume 2 - 324pp, volume 3 - 292pp; CHANDLER, Lloyd. H. A Summary of the Work of Rudyard Kipling Including Items Ascribed to Him. The Grolier Club, 1930. Limited Edition, No. 313 of 325 copies, 4to, (250 x 170mm), half buckram grey paper boards with Grolier Club colophon in gilt to upper cover, printed paper label to spine, top edge gilt, others untrimmed, half-title, 465pp.  (Qty. 8) Condition Report: 1. Collected Verse of Rudyard Kipling - clean bright cloth, light marks to vellum spine, toning to edges and text pages, o/w. a clean copy. 2. St. Andrews Two Poems - boards clean with light marks toning to board edges and spine, clean tears (no loss) to spine at head/tail, toning and light foxing to e/ps. o/w. internally clean. 3. . A Choice of Songs - bright wrappers with creasing to lower edges, corner and tail of spine, spine faded, foxing to edges affecting leaf edges, and foxing to first 6 pages. 4. Q. Horati Flacci Carminum - boards warped, marked and darkened at edges, corners a little scuffed, spine darkened and lettering faded, foxing to edges, with further occasional foxing internally, heavier to top edges of pp.32-33.  5. 6. & 7. - Kipling's Verse Inclusive Edition 1885-1918 - clean bright boards with light marks, spines bumped heads/tails, foxing to e/ps., and leaf edges, o/w. all clean internally.      Condition Report Disclaimer

Joseph Beuys (German, 1921-1986)Free International University (Kunst = Kapital) (Art = Capital) Two offset lithographic posters printed in colours, 1982, on brown paper and light wove respectively, the first signed in felt-tip pen, each published for documenta 7, Kassel, the full sheets, 608 x 430mm (23 7/8 x 16 7/8in)(and similar)(SH)(2)(unframed)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Buck (Samuel and Nathaniel) THE SOUTH PROSPECT OF NOTTINGHAM FIRST EDITION [from Cities, Sea-ports, and Capital Towns.] framed and glazed, 78 x 32cm, London: engraved by S. & N. Buck, No. 1 Garden Court, Middle Temple, 1743

Mixed Northern Soul Lps; Capital Casino, Floor Shakers etc. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

CIRCLE OF GASPER VAN WITTEL, CALLED IL VANVITELLI (ROME, 1653-1736) View of Palermo Oil on canvas, 59 x 94cm Gaspar Van Wittel, known in Italian as Il Vanvitelli, was a Dutch painter and draughtsman who had a lengthy career in Rome. He played a pivotal role in developing the genre of Veduta, or topographical views, which became a painterly specialism in Italy in the 17th and 18th centuries. This work of the View of Palermo, showing the cultural and historical capital of the island of Sicily, reflects these highly detailed and large-scale compositions. In the painting we can see the monumental city gate, Porta Nuova, to the left-hand side, which represents the entrance to the Cassaro, the main thoroughfare and most ancient street in the city. It was built to commemorate Charles V's conquest of Tunis and his subsequent visit to the Sicilian capital. The gate is formed with a typical central triumphal arch flagged by four telamone sculptures of Moorish figures, referencing Charles V’s defeat over the Ottoman Empire. The buildings adjoining to this are the Royal Palace of Palermo, or Palazzo dei Normanni, originally constructed in the 9th century by its Islamic rulers, and then subsequently taken over by the Norman conquerors who established it as the main residence for future Kings. The foreground is dominated by the heavy castellated city walls projecting and receding along the boundaries of the capital and drawing our eye to the buildings in the background on either side. The cityscape is the main focus of the work, with the artist paying particular attention to the architectural features of the differing Norman and Italian styles of building. The vantage point chosen by the artist seems to be from a hill looking down towards the city, which is reflective of the position of the Palace at the highest point of the ancient centre of Palermo. The gate and the palace stood on the traditional western side of the city. The foreground is enlivened with the steady stream of horse drawn carriages coming to and from the main gate. The trees are in full bloom, with thick luscious green leaves while in the far distance there is a small glimpse of the blue sea and a view of what is probably the hill of Monte Pellegrino. There is a distinct mix of individuals represented by the artist, courtiers, ordinary citizens, workers and travellers, reflecting the diverse range of classes populating this 17th century port city.

Sir Robert Mark associated items: a presentation copy of "The Pictorial History of the Royal Canadian Mounted Police" by S.W. Horrall with inscription on fly leaf dated 27th August 1975, the cover of which bears an embroidered RCMP badge; USA: a Captain William A Fuller commemorative medallion in bronze; a gilt "key" inscribed Welcome to Tupelo, MS, Clyde Whitaker, Mayor; a "Patrolman Tupelo Police" badge (safety catch inoperative); a Department of the Air Force United States of America Security badge no.N2044; US International Police Association paperweight; ditto letter opener Presented by Richard Grace 1776-1976; a ditto US Section 6 gilt and enamelled star; A Sacremento 533 County Deputy Sheriff star; and 6 un-named wooden crests/plaques from Royal Armoured Corps; Convalescent Police Seaside Home; Australian Capital Territory Police; N.S.W. Police Forcer; Queensland Police Dept and Tasmania Police. GC (Sir Robert acted as advisor in the re-organisation of the police for the Australian government); and one other item. £60-80

A Victorian mahogany standard lamp, late 19th century and later fitted for electricity,: the fitment above a foliate carved capital and reeded tapering stem, to knopped and waisted mouldings, on three splayed legs to pad feet; 152cm high overall.

A pair of Edward VII silver miniature Corinthian column candlesticks or tapersticks, maker Matthew John Jessop, London, 1902: with beaded nozzles, foliate capital and reeded column, on a square stepped and weighted base, 7.5cm high.

One volume, ' The Environs of London ', an historical account of the towns, villages and hamlets within twelve miles of the capital, by Daniel Lysons, Volume I, Second Edition, London 1810, leather bound

GORHAM. United States, ca. 1900.Perfumer.Moulded glass. Silver.Provenance: Private Spanish collection, formed between 1970 and 1995.Measurements: 11 cm (height); 6 cm (largest diameter).Art Nouveau Gorham perfume box, in translucent glass decorated in relief with sterling silver with floral motifs. Initial M engraved on the front.The Gorham Corporation, based in Providence, Rhode Island, was the most prolific and influential silver company in the United States between 1850 and 1940, at the height of the industry. Founded in 1831 as "Gorham & Webster" by master craftsmen Jabez Gorham and Henry Webster. Gorham's son John took over the firm when his father retired in 1847 and modernised the factory, introducing machine production and expanding the inventory to include, in the 1860s, novel electroplated items (with nickel silver as the base metal). In 1865, "Gorham & Co." officially became "Gorham Manufacturing Co." and in 1884 the enlarged firm opened a shop in New York City's Ladies' Mile shopping district. Gorham's silver was nationally recognisable by its distinctive trademark: a lion, an anchor and a capital G. Gorham employed numerous talented designers specialising in domestic and ecclesiastical items, including Erik Magnussen, Thomas J. Pairpoint and William C. Codman. During the 20th century, Gorham reinvented itself several times in other silver companies: Whiting, Durgin and Kerr in 1906-07, Mt. Vernon Co. Silversmiths, Inc. in 1913, Alvin Silver Co. in 1928, Black Starr and Frost in 1929, McChesney Co. in 1931, Quaker Silver Co. in 1959, Friedman Co. in 1960 and Graff, Washbourne & Dunn in 1961. In 1967 the Gorham Corporation was sold to Textron Inc.

Set of thirteen original vintage art exhibition advertising posters. 1. Capital Painting Pictures from Corporate Collections in the City of London held at the Barbican Art Gallery 19 April to 10 June 1984, featuring an artwork titled Old Waterloo Bridge (1921) by a British landscape and urban subject painter Charles Isaac Ginner (1878-1952), depicting cargo and busses full of people crossing the bridge with a ship below, a lantern in the foreground and city in the background. Designed by Trilokesh Mukherjee. Printed by Staples Printers St. Albans. Good condition, creasing, pinholes, folds, small tears on edges. Country of issue: UK, designer: Trilokesh Mukherjee, size (cm): 76x51, year of printing: 1984.; 2. The Medieval Treasury European Art and Design 400-1400AD at the Victoria & Albert Museum featuring a photograph of a colourful French (probably from the Collegiate Church of Saint-Étienne, Troyes) stained glass window depicting religious motif. Good condition, folds, creasing. Country of issue: UK, designer: Unknown, size (cm): 76x51, year of printing: 1980s.; 3. Elizabeth Blackadder (b. 1931) A Scottish Arts Council Exhibition in The Royal Academy of Arts, Piccadilly London W1, 17th July to 22nd August 1982. Open daily 10am - 6pm including weekends. Admission £1.20 (Concessionary rate 80p). The poster features an abstract painting by Blackadder from 1981. Elizabeth Blackadder was a Scottish painter and printmaker. Good condition, creasing, folds, pinholes, minor staining. Country of issue: UK, size (cm): 60x42, year of printing: 1982.; 4. Karakuri Ningyo Antique Festival Robots from Japan 28 November 1985 to 26 Januart 1986 at the Concourse Gallery Barbican Centre, featuring an illustration of a smiling traditional Japanese mechanised puppet with a maple tree in the foreground, yellow Japanese writing, red and white lettering. Designed by Trilokesh Mukherjee. Printed by Expression Printers Ltd, London. Very good condition, light creasing, minor creasing. Country of issue: UK, designer: Trilokesh Mukherjee, size (cm): 76x51, year of printing: 1985.; 5. The Eastern Carpet in the Western World exhibition held at the Hayward Gallery South Bank, London 20 May - 10 July 1983, featuring a photograph of a red, blue, white, and brown Turkish 15th-16th century Bellini prayer rug detail from Museum fur Islamische Kunst, Berlin. Printed by Jolly & Barber Limited, Rugby. Good condition, folds, minor creasing, pinholes. Country of issue: UK, size (cm): 76x51, year of printing: 1983.; 6. Karakuri Ningyo Antique Festival Robots from Japan 28 November 1985 to 26 Januart 1986 at the Concourse Gallery Barbican Centre, featuring an illustration of a smiling traditional Japanese mechanised puppet with a maple tree in the foreground, yellow Japanese writing, red and white lettering. Designed by Trilokesh Mukherjee. Printed by Expression Printers Ltd, London. Good condition, folds, creasing. Country of issue: UK, designer: Trilokesh Mukherjee, size (cm): 76x51, year of printing: 1985.; 7. Richard Wilson artwork exhibition at the Tate Gallery 3 November 1982 - 2 January 1983, featuring Richard Wilson's (1714-1782) View on Hounslow Heath c. 1765, depicting a lady in red clothing and yellow hat seated on a hill with a picnic basket next to her and lush green trees and shrubbery around her. Designed by Sue Fowler. Published by the Tate Gallery Publications. Good condition, folds, creasing, pinholes. Country of issue: UK, size (cm): 76x51, year of printing: 1983. 8. David Cox Oil paintings and watercolours exhibition 9 November 1983 until 3 January 1984 at the Victoria & Albert Museum, featuring a detail from David Cox (1783-1859) Crossing the Sands painting, depicting men and women on horses walking on sand with dark skies behind them. Good condition, folds, creasing, pinholes, small paper loss in bottom left corner. Country of issue: UK, designer: David Cox, size (cm): 76x51, year of printing: 1983.; 9. William Crozier Paintings and Drawings exhibition at the Richard Demarco Gallery 5-22 May 1983, featuring a colourful abstract artwork by an Irish-Scots still-life and landscape artist William Crozier (1930-2011) in bright red, blue, pink and green colours. Design Forth Studios Edinburgh. Good condition, folds, staining, double sided. Country of issue: UK, size (cm): 42x30, year of printing: 1983.; 10. The Orientalists Delacroix to Matisse European Painters in North Africa and the Near East exhibition at the Royal Academy of Arts 24 March - 27 May 1984, featuring a painting by Renoir 'A Girl with a Falcon' 1880. Good condition, folds, creasing, pinholes. Country of issue: UK, size (cm): 76x51, year of printing: 1984.; 11. Take the Slow Boat to China. Chinese Export Art Gallery at Victoria & Albert Museum as part of Season of Special Events organised by Festival of Chinese Arts, featuring a clockwork marvel of model boat making in intricate ivory. Good condition, folds, creasing, pinholes, small tears on corners. Country of issue: UK, size (cm): 76x51, year of printing: 1980s.; 12. The Work of Alison Britton exhibition 14 November 1979 - 12 January 1980 at the Crafts Council Gallery, featuring photographs of colourful ceramic vases and jugs. Alison Britton (b.1948) is a British ceramic artist. Good condition, creasing, small tears, pinholes, discolouration. Country of issue: UK, size (cm): 76x51, year of printing: 1980.; 13.Original vintage advertising poster for Coal. British Mining in Art 1680-1980, an exhibition organised by the Arts Council of Great Britain with the National Coal Board, that took place 8 January - 6 February 1983 at the Science Museum, featuring an artwork depicting a miner sat on his knees mining coal with a pickaxe in a coal mine lighted by a single light. Good condition, fold, minor creasing. Country of issue: UK, designer: , size (cm): 42x30, year of printing: 1983.

Original vintage travel advertising poster promoting the city of Bruges: Besucht Brugge Kunstadt. Great image of a model of the town inside a pin box. Bruges, the capital of West Flanders in northwest Belgium, is distinguished by its canals, cobbled streets and medieval buildings. Its port, Zeebrugge, is an important center for fishing and European trade. In the city center Burg square, the 14th-century Stadhuis (City Hall) has an ornate carved ceiling. Nearby, Markt square features a 13th-century belfry with a 47-bell carillon and 83m tower with panoramic views. Designed by Siegelfrei and Setola. Good condition. Fold lines. Belgium,1930s. Designer: Siegelfrei and Setola. Size (cm):80x50

Original vintage Soviet anti religious propaganda poster - Imperialism and Religion. The way for capital and imperialist oppression in the colony is being paved by missionary priests with the help of the poisonous intoxication of religion. - featuring an illustration of a corpulent pope with a large golden cross around his neck and a gas mask spraying the people from two canisters on his back captioned 'asphyxiating gas' and 'religious intoxicant' with an outline of a rich 'Western' capitalist in a top hat and a ring on his finger pushing the priest and indigenous people below them in chains being whipped as they try to protect themselves and run. Horizontal. Poor condition, tears, creasing, staining, paper losses, backed on old linen. Country of issue: Russia, designer: M. Cheremnykh, size (cm): 51x72, year of printing: 1930.

Original vintage World War Two propaganda poster issued by the Vichy government World War II - Laissez-nous tranquilles! (Leave us in peace!). Image of a French family planting a tree with four black beasts (three dogs and a three-headed snake) symbolizing the enemies (indicated in writing: de Gaulle, Freemasonry, the Lie, the Jew ), ready to attack the land of France and its inhabitants. Vichy France (French: Régime de Vichy) is the common name of the French State (État français) headed by Marshal Philippe Pétain during World War II. It represented the unoccupied "Free Zone" (zone libre) in the southern part of metropolitan France and the French colonial empire. From 1940 to 1942, while the Vichy regime was the nominal government of all of France except Alsace-Lorraine, the German militarily occupied northern France. While Paris remained the de jure capital of France, the government chose to relocate to the town of Vichy, 360 km (220 mi) to the south in the zone libre, which thus became the de facto capital of the French State. Following the Allied landings in French North Africa in November 1942, southern France was also militarily occupied by Germany and Italy. Petain's regime remained in Vichy as the nominal government of France, albeit one that clearly operated as a de facto client state of Nazi Germany from November 1942 onward. The Vichy government nominally remained in existence on paper until the end of the war, although it lost its all remaining de facto authority in late 1944 when the Allies liberated the whole of France. Good condition, folds, tears in margins, small paper losses, creasing, staining, foxing. Country of issue: France, designer: Te, size (cm): 112x75, year of printing: 1941.

1972 Kawasaki 748cc H2ARegistration no. FHH 942KFrame no. H2F 27063Engine no. H2E 25228•Iconic 1970s wild machine•Stunning restoration•Restoration costs in excess of £10,000Few would disagree that Kawasaki's 750cc two stroke triple was, by some distance, the wildest motorcycle of the early 1970s. Fifty years on, it is more desirable than ever, and this example is one of the very best.The vendor, a past BMCRC production class champion and ex Stan Stephens motorcycle mechanic, raced a KH400, and either owns, or has owned, examples of all the Kawasaki triples apart from the S2. He knows how to put a Kawasaki two stroke triple together.This H2A was purchased from Govnors Bridge Motorcycles in 2012, who had imported it from the USA earlier that year. It is a 1973 model which left the factory in July 1972, and was the subject of a no expense spared restoration carried out between 2012 & 2015. New original stock (NOS) parts were used whenever possible, new pattern parts being used only when NOS or high quality second-hand parts were not available. If there was the slightest doubt about any component it was replaced. The Kawasaki has been converted to UK specification by the fitting of UK NOS spark plug caps and the almost impossibly rare long rear UK mudguard complete with red reflector. The tank, side panels and tail section were painted with the correct H2A gold paint by Chris Daniels of the Motorcycle Restoration Company. The engine was completely stripped and checked, and a broken gear drum was replaced. The crankshaft was fully reconditioned and balanced by Chris Applebee Engineering. Barrels were rebored, and new Wiseco pistons and rings fitted. All engine covers were restored and polished by Aquablast UK. The forks were hard chromed and overhauled. The original wheels were rebuilt and re-spoked by Central Wheel Components. The instruments were restored by Peter Bond at London Instruments. A rare original and mint Riders Handbook is included, along with a toolkit and NOS toolbag. Also supplied are a V5C, separate keys for the ignition/steering lock & seat lock/tank cap, and the vendor's history file showing restoration expenditure of over £10,000. He tells us that some invoices are supplied, but much was bought online and internationally, and that some payments are recorded in the file without supporting invoices.The motorcycle was started in 2016 on premix and ridden a short distance. It will require re-commissioning before taking to the highway, with attention to the fuel and lubrication systems, timing, and carburettor settings. It will also need to be fully run in. The vendor is confident that the finish is now of higher quality than when the bike left the factory. It is offered for sale only because he requires capital for a new business venture. Prospective bidders should satisfy themselves as to the motorcycle's completeness and mechanical condition prior to bidding.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to biddingFor further information on this lot please visit Bonhams.com

Outagawa Kunishada and Hiroshize - Tamaya Restaurant from the series 'Famous Restaurants of the Eastern Capital' colour wood block print, 37x24.5cm

the base square and with ribbon-tied swag and beaded borders, the fluted stem terminates in Corinthian capital, below the cut-glass font, with part-etched glass dome and plain shade73.5cm highMarked on base with maker's mark HE&Co, each in individual punch and EPNS. There are some surface scratches and wear, consistent with age and use. The mechanism seems to function properly. There are some minor scratches to the frosted globular shade. The tapering shade is probably modern.

each on stepped square base with gadrooned border, the fluted stem terminates in a Corinthian capital-form socket, with detachable gadrooned nozzle, filled25.5cm high Condition report: Each fully marked on base and part marked on nozzle. There is some wear to the marks on some. There is some overall surface scratching and wear, consistent with age and use. There are a number of bruises and dings to each, mostly on the bases. There is evidence of a flooded inscription on the base of two.

An Annamese Porcelain Jar, 15th/16th century, of baluster form, painted in underglaze blue with a stylised flowersprays within lattice and scale panels, 16cm highProvenance: With Capital Antique of Bangkok

A rare Victorian oil lamp, with a painted column base, with Doric capital, stamped Palmer & Co. Patent, with a clear glass shade, 92cm high overall

A collection of assorted Corgi ' Aviation Archive ' and Oxford Diecast 1/144 scale model aeroplanes, largely of commercial interest. Examples to include; Lockheed L-049 Constellation ' The Flying Dutchman ', Vickers Viscount 700 Series ' Capital Airlines ', Avro York British Overseas Airways Corporation and others. Unboxed models generally appearing VG+ but some may be lacking smaller details.

Central Asia.- Turkey.- Farley (J. Lewis) The Resources of Turkey... Profitable Investment of Capital in the Ottoman Empire, first edition, light uniform browning throughout, a few instances of spotting and soiling, very small amount of worm holes, affecting text but no major loss, later cloth backed boards, detached, [Atabey 416], 1862; and an album on Pompei, 8vo and folio (2) ⁂ Recognised as an "authoritative source book on the economics of the Ottoman Empire" (Atabey, p.221), it includes statistics on production and populations, and reports from local consuls, covering among elsewhere Crete, Cyprus, Rhodes, the islands of the eastern Aegean, as well as Smyrna, Bursa, Trebizond, Samsoun, Salonica and Volos. Not in Blackmer.

A CARVED STONE STAND OR A SECTION FROM A CAPITAL POSSIBLY 13TH OR 14TH CENTURY Of waisted and knopped form 21cm high

A pair of veined pink marble lamp bases,c.1900, each in the form of a classical column with a gilt-bronze Corinthian capital, on a stepped square base,40cm high (2)Each with a brass screw thread fitting to the top.Minor chips.  See images of bases.

Carlos Botelho (1899-1982)"Lisboa - Composição IV"Oil on canvasSigned front and back and dated 61Exhibitions:"II Exposição de Artes Plásticas", Org. Fundação Calouste Gulbenkian, FIL, Lisboa, 1961 (1º Prémio de Pintura), Cat. img. 87; "Artistas Premiados na I e II Exposições de Artes Plásticas da Fundação Calouste Gulbenkian", Centro de Arte Moderna (CAM), Lisboa, 1986, Cat.; "Botelho", Centro de Arte Moderna da Fundação Calouste Gulbenkian, Lisboa, 1989, Cat. img. 150; "Botelho. Os anos diferentes", Palácio Galveias, Lisboa, Cat. p. 129, img. 158 (no contexto "Lisboa 94 Capital Europeia da Cultura".Literature:"Uma pequena retrospectiva na obra de Carlos Botelho", in Colóquio, nº49, Jun. 1968, p. 20; Raquel Henriques da Silva e Manuel Botelho, "Carlos Botelho", Editorial Presença, 1995, p. 277 (texto) e 293, img. 288.Provenance:Acquired at "II Exposição de Artes Plásticas" and kept in the family ever since.97x162 cm