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A bi-coloured abstract form brooch; the textured, shaped rectangular panel with cut out centre and overlaid with linear, polished sections. Stamped '750. 5.3 cm length. 24.3 grams

A yellow precious metal bracelet, designed as satin finish abstract folded links, box and tongue fitting with safety catch, 16cms long, 3cms wide, 89.9 grams

Cornelis Vink - A multicoloured abstract oil on canvas. Signed by artist, dated 2013. H.100 W.100 cm.

ABSTRACT PRINT MONTGOMERY CASTLE SIGNED RA LUMSDEN 16 X 21

LARGE ABSTRACT PRINT ANGLESEY TWILIGHT SIGNED ALAN LUMSDEN 19 X 27

John O'Donoghue, Irish 21st Century "Blue and Grey Abstract," O.O.B., approx. 49cms x 61cms (19" x 24"), signed top right, unframed. (1)

Neville Johnson, Irish (1911 - 1999) "Abstract with Birds," pen and ink with wash on paper, mounted, signed and dated '1958' approx. 46cms x 33cms (18" x 13"), mounted and framed. (1)

Harry Clarke Studios- Richard King (1907-1974) "For a St. Francis of Assisi Window, c 1945," ink, watercolour and gouache on paper,  59" X 94" high (150 x 238cms). (1) In this large ink and watercolour study for a stained glass window, a decorative pattern of flowers and leaves, birds and animals, has been interwoven into a complex design that centres on the figure of St. Francis. A celebrated 12th century mendicant, famed for his penitential lifestyle and love of nature, St. Francis is shown standing, arms upraised, ready to receive the ?stigmata?, or wounds to his hands. At the base of the drawing, gathered close to the robes of the saint, are a wolf and a lamb, while swallows, kingfishers, thrushes and other birds cluster on the ground near St. Francis?s bare feet, or fly, wings outspread, in a spiral pattern around his figure. The background is heavily patterned, with curving branches of foliage and flowers forming stylised elements. The circle is divided into small panels, many of which have sunburst or abstract motifs. Beside the saint?s head hovers a dove, while on the lower right is a shield or crest bearing the image of a Cross, with crossed arms and hands. The whole design is framed with a decorative border composed of small squares, some tinted red and yellow.   The design is one of the most accomplished to have been produced by the Harry Clarke Studios, which continued to operate after the death of Harry Clarke.  Born in Dublin in 1889, Clarke came from a family of talented artists. Like the artisan family from Yorkshire who founded the Watson Studios in Youghal, Harry?s father Joshua Clark had migrated from England to Ireland in the latter half of the nineteenth century, to obtain work in church-building in Ireland; Harry?s mother was Brigid MacGonigal. Educated at Belvedere College, Harry then attended the Metropolitan School of Art in Dublin where, between the years 1911 and 1913, he won several prizes for stained glass designs. In 1915-17 he produced stained glass windows for the Honan Chapel at UCC and over the following two decades created brilliant stained glass for churches and private residences, as well as extraordinary watercolour and ink illustrations. In 1931, after Clarke?s death from TB in Switzerland, the workshop was taken over by his son Terence and his niece Ann. Initially the business prospered but with changes in fashion and decrees minimising church decoration, the studio finally closed in the early 1970?s. While inspired by the designs of Harry Clarke himself?many of which were in the workshop at the time of his death?the design for St. Francis of Assisi was produced by the artistic team that took over the studios after his death. Led by Charles B Simmonds, that team included Richard King, William Dowling and other artists. The St. Francis of Assisi design can be compared to work carried out in the churches such as St. Charles at Gosforth, St. John the Baptist at Knock, St. Thomas?s in Callow (a window made in 1943), and St. Patrick?s in Newport. Dr. Peter Murray, 2022

Norah Allison McGuinness, HRHA (1901-1980) "Lough Dan," coloured chalks, abstract lake scene, signed with initials, lower right, approx. 20cms x 29cms (8" x 11 1/2), mounted and framed. (1)

Colin Midleton, RHA, RUA, (1910 - 1983) "Abstract Musical Bouquet," watercolour,    depicting surreal display of musical instruments, scores etc., approx. 26cms x 36cms (10" x 14"), signed lower right with typical motif, mounted and gilt frame. (1)

HANKINSON (REV. FREDERICK), PRISON & PRISONERSCollection of material relating to the Reverend Frederick Hankinson (1875-1960), Unitarian minister, suffragist and prison visitor, comprising:i) Autograph album with ownership inscription 'In happy remembrance of Prison visitations to some suffragette Prisoners who gave this album to me – Frederick Hankinson, 1912', containing signatures from nearly thirty suffragette prisoners held in H.M. Prison Holloway, the entries also detailing the place and length of incarceration, including Edmée Manning, Emmeline Pethick Lawrence, Frederick Pethick Lawrence (Brixton Gaol), Alice J. Stewart Ker ('I was in prison and thou visitedst me'), Mary Hilliard, Nelly Crocker, Alice Davies, Maud Nicholls ('Two months hard labour'), Kathleen Nicholson ('March on, march on!/ Face to the dawn/ The dawn of liberty!'), and others, red calf, worn, 4to (130 x 163mm.), 1908 to 1913; together with a typed carbon copy and Hankinson's autograph list of all suffragette prisoners visited by him between 1907 and 1913 ii) Ten visit request forms addressed to Rev. Hankinson, from the Governor of Holloway Prison, and one from the Governor of Maidstone ('...The above named Suffragist prisoner has expressed a desire to see you in your ministerial capacity...'), 1906-1913; other correspondence from the authorities regarding the release of prisoners including Elsie Howey who was refused visits due to misbehaviour, with article from The Suffragette on the matter, 17 January 1913; carbon copy of a report on prisoner Marie Neill ('...has refused to take her food in the ordinary way... but she takes it from a feeding cup...'), February 1913iii) Autograph letters of thanks from grateful suffragists, including Emmeline and Frederick Pethick Lawrence (two autograph, one typed '...It is simply splendid the way in which the spirit of women is breaking down the coercive policy of the Government...'); Maude Fitzherbert awaiting trial in Edinburgh ('...I will not fear what men can do unto me...'); Edmée Manning ('...your never-to-be-forgotten kindness... I hoped to have the pleasure of introducing you to my fellow criminals who are all very anxious to meet you...'); and Marie Neill ('...Those brutes seemed less brutal or their treatment tormented me less... never mind Mr H is coming today...'); with Hankinson's autograph notes on suffrage, beginning by listing women who were suffragists 'without knowing it' ('Mrs Gaskell/ Florence Nightingale/Harriet Martineau'), with other notes on how he became involved in the movement, 3 pages on lined paper, 4to, [dated in pencil 11/1935], c.30 pages, folio and smaller, 1912-1913iv) Group of papers with regards to accusations of misconduct, alleging Hankinson conducted a conversation with prisoners Violet Bland and Charlotte Marsh in whispers '...so it was impossible to hear whether any information was given to the prisoner or not...', his dismissal and the appointment of Rev. Henry Gow in his place, including official letters from the Prison Commission, Hankinson's notes and draft replies, c.50 pages, folio (326 x 216mm.) and smaller, 1912-1914 v) Printed matter including; handbill Abstract of the Regulations relating to the Treatment and Conduct of Convicted Prisoners; handbill To stop the torture of Forcible Feeding and to Repeal the 'Cat and Mouse Act'; and booklet Roll of Honour/ Suffragette Prisoners 1905-1914, presentation copy inscribed 'To Hankinson from Lady Pethick-Lawrence' in green ink on upper coverFootnotes:'I WAS IN PRISON AND THOU VISITEDST ME': THE PAPERS OF REV. FREDERICK HANKINSON.Reverend Hankinson came from a family dedicated to Unitarianism and belief in the equality of men and women, so was naturally drawn to the suffrage movement. He was a friend of Frederick Pethick Lawrence and his wife and joined the Men's League for Women's Suffrage in 1907, becoming a prison visitor in his capacity as a Unitarian minister in 1908. He visited suffragettes incarcerated in Holloway, Brixton and Aylesbury, reading them letters from home and bringing comfort from the outside world, as our letters of appreciation attest. Amongst those he visited were Edmée Manning, Emmeline Pethick Lawrence, Muriel Matters and Katherine Gatty but, although she requested to see him (at the request of Emmeline Pankhurst), a visit to the first hunger striker Marion Wallace-Dunlop was not to be (see a group of her letters in this collection below). In a letter now held in the Fawcett Library, Dr Alice Ker wrote to her daughter: '...[he] sees Unitarians... Theosophists and all the queer sects. As he is our spiritual advisor, the wardress sits outside the glass door during his visit. He is the brickiest of brick of anybody yet – gives any amount of time and trouble to us...' (Crawford, E., The Women's Suffrage Movement, A Reference Guide 1866-1928, 1999, p.268).A portion of these papers are concerned with his dispute with the Prison Commission, who removed him from his duties after accusations that he had broken prison regulations by whispering to two prisoners, Violet Bland and Charlotte Marsh. He strenuously denied he was passing on political information but, nonetheless, a Mr Gow was appointed in his place, and Hankinson never returned. As a memento of his visits he retained a list of all prisoners visited by him between 1907 and 1913 and the present autograph album. Hankinson joined the United Suffragists in 1914 and during the First World War worked in Hungary for the Society of Friends. In the 1920's he returned to Hungary as a delegate of the American Unitarian Women's League and was an active committee member until his death in 1960.These papers were bequeathed to Reginald Couzens, the grandfather of the present owners whom he had met through the Unitarian church.Provenance: The Rev. Frederick Hankinson (1875-1960); Reginald Andrew Couzens (b.1904); thence by descent to the present owner.For further information on this lot please visit Bonhams.com

Two 9ct white gold wedding bands, the first with linear decoration, the second with millegrain borders, and a white stone dress ring, with abstract wirework and beaded mount, 9ct gold mounted, maker's mark JRJ, ring sizes N, N½ and Q respectively (3)Condition report: Approximate gross weights only: first ring 3.3gm, second ring 4.1gm, third ring 7.2gm.

A collection of jewellery, comprising a 9ct gold pendant, of textured abstract design, on a trace-link chain with clasp stamped '9C', two 9ct gold fancy flattened-link chains, a 9ct gold fine box-link chain, (fitting deficient), a 9ct gold cased lady's bracelet watch, with gilt metal expanding bracelet, a blue and white stone cluster pendant, 9ct white gold mounted, on a trace-link chain stamped '925', together with assorted silver and white metal items, first pendant length 3.3cm (qty)Condition report: Approximate gross weights only: first pendant and chain 6.8gm, two flattened-link chains combined 11.9gm, fine box-link chain 3.1gm, lady's bracelet watch (case back only) 1.9gm, blue and white stone cluster pendant 1.6gm.

An aquamarine brooch/pendant by David Thomas, the cushion-shaped mixed-cut aquamarine enclosed by a tiered openwork surround of abstract linear design, 18ct two colour gold mounted, hallmarked for London 1975, maker's mark DAT, accompanied by maker's case, aquamarine dimensions approximately 25.5mm length x 20.5mm width x 12mm depth, length 5.1cmCondition report: Light surface wear to aquamarine, with occasional small nicks/scuffs. The mount has occasional small splits to the back, at junctions within the abstract linear surround, which can be seen under magnification. The mount has areas of solder at junctions to the back of the surround, which may be part of manufacture. Some of the outer linear sections are a little mis-shapen. The mount otherwise has light surface wear, nicks and scuffs throughout, commensurate for occasional use, with small areas of tarnishing. The brooch pin and safety catch are currently functioning. Gross weight approx. 38.3gm.

An emerald fringe necklace and ear pendants suite by David Thomas, the necklace designed as a fringe of graduated pear-shaped pendant drops of abstract openwork design, each centred to the front with a pear-shaped cabochon emerald in collet setting, suspended from a series of tapered and articulated abstract openwork panels, 18ct gold mounted, the ear pendants of conforming design, 18ct gold mounted, with later replaced clip fittings stamped '14K', the suite signed D.A.T and hallmarked for London 1973, accompanied my maker's cases, necklace length approximately 48cm, ear pendants length 4.6cm (2)Condition report: Light surface wear, scuffs and nicks throughout the necklace and ear pendants, commensurate for occasional use. Some thinning to the edges of the settings. Some surface imperfections to the mounts, which are presumed to be part of the manufacture and abstract design. Hallmarks are clearly struck. The clip fittings to the ear pendants are not original and have been later replaced, both are currently functioning. The necklace clasp is also functioning. The necklace tapers in width from approx. 3.85cm at the front to 1.25cm at the back. The ear pendants measure approx. 2.3cm width at the widest point. Approximate gross weights: necklace 144gm, earrings 18gm.Emeralds have variable mid-green hues, some with whiteish cloudy areas giving a sub-translucent to opaque appearance. Many of the emeralds have surface-reaching fractures and all stones have typical fractures, fissures and minerals giving a heavily included appearance. Some stones have chips and pitting to the surface which may be original to the piece. Emeralds graduate from approximately 9.1mm length x 5.9mm width x 3.6mm depth to 6.5mm length x 4.7mm width x 2.8mm depth. Emeralds are untested for origin and use of treatments.Light wear to maker's boxes.

Three gem set dress rings, comprising a sapphire and diamond dress ring, of abstract geometric design, with a tiered spray of oval mixed-cut sapphires and single-cut diamonds, stamped '585' and numbered 2370, a similar ruby and diamond dress ring, stamped 585 and numbered 4-671, and a citrine single stone dress ring, yellow precious metal mounted, indistinctly stamped, ring sizes J½, K and N respectively (3)Condition report: Approximate gross weights only: first ring 4gm, second ring 3.8gm, third ring 6.8gm.

Four vintage brooches, a 9 carat yellow gold 40mm flower and leaf spray set with two amethyst and three cultured pearls, London 1973, gross weight 7.4g; a 9 carat yellow and white gold 50mm abstract open heart brooch set with three 3mm cultured pearls, Birmingham import mark for 1992, 4.8g; a Victorian style 33mm target brooch with a 14mm citrine coloured stone to centre, locket back; a 9 carat yellow gold 25mm floral garland brooch set with six 3mm cultured pearls, Birmingham 1983, 3.7g.

A yellow metal pendant set with an oval cabochon cut treated opal, the 32x22mm opal set in a yellow metal contemporary abstract fluid mount with a 6mm diameter brilliant cut synthetic clear stone, the mount marked 750 with a dragon, overall dimensions 75x50mm, gross weight 26.7g.This piece of jewellery was made by a jeweller in Perth Western Australia.

A modern abstract 9 carat yellow gold pendant and chain, polished and satin finish pear shaped pendant 60x25mm, London import mark, 1.8mm gauge rose metal belcher link chain 60cm long, 15.4g.

A large two tone jade dress ring marked 585, two carved jade pieces each 17x9mm and two small jade cabochons, claw set in a molten finish abstract mount, overall size of head 30x30mm, 4.5mm wide flat shank of good weight, ring size Q, gross weight 19g.

Terlak - Chariot horses in abstract, an oil on canvas 103cm x 75cm, signed lower right hand corner, in a modern gold painted frameLocation: RWF

Two colourful overpainted prints on canvas signed lower right hand corner, one depicting female musicians in comical form and the other an abstract of horsesLocation: BWR

Anne Gillie, mixed media abstract on board. 90 cm x 121 cm, framed, signed verso. CONDITION REPORT: This mixed media work is in a used condition and has ingrained dirt. By its nature it is rough and ready so the condition will always be unrefined. It is in its original frame.

Doreen Lowe (British 1932-2016), abstract oil on board, untitled. 91 cm x 62 cm, framed.

Two C20th bronze style figures, abstract "seated musicians",Celo – 26cm H x 13cm W x 17 cm DFrench Horn – 26cm H x 12.5cm W x 13.5cm D

Abstract framed and glazed picture in the Picasso style and an acrylic on canvas, still life scene

Triptych framed limited edition prints by Jane Wheeler, dated 1985. 94cmH x 65 each overall, and signed oil painting of a young girl indistinctly signed, un glazed, and an abstract chalk , glazed picture, print of 2 dogs, walnut style frame, Pastel life drawing in the Greek style of Gentlemen wrestlers, and other various pictures

Contemporary light framed and glazed abstract pictures, after Anita Ford (7 total, one missing glass)

Pamela Strain (British, Contemporary), Abstract Watercolour, signed in pencil lower right, framed and glazed. Image 34cm x 43 cm

Six pictures to include After Rachael Kantaris, a signed limited edition 4/10 abstract, framed and glazed; a gilt framed Victorian landscape river scene, unsigned; framed and glazed print, "every dog has its day"; and a framed and glazed Cecil Aldin hunting print (wear/foxing)

Contemporary framed and glazed abstract print, Lady playing a piano, and jazz performers, signed indistinctly, 18/275; and a Contemporary abstract, portrait, signed indistinctly lower left

Large contemporary dark framed abstract picture, portrait of a lady, with large red beaded necklace, unsigned, in modern frame 91 x91 cm

Contemporary Abstract Oil on canvas titled verso, Crossroads 122 x 152 cm, Contemporary abstract oil on board, Red, 122 x 100cm

Portugese, abstract painting of a donkey, framed glazed and mounted oil on board, indistinctly signed lower right.  See photos for condition

Silver items, including, Victorian locket with ivy leaf engraving, and star border in silver, hallmarked Birmingham 1880, an antique cuff bangle depicting three swallows and flowers, with rope detail borders, with a tongue and clip clasp and safety chain, in silver, a silver abstract pendant, a filigree butterfly brooch, and three other base metal items and a antique boxCondition Report: Silver gross weight 75 grams Victorian locket - Makers mark - M & Co.Locket is in very good condition, no obvious damage visible, mild scratching to the metal, locket and hinge open and close well. Silver bangle in good condition, hinge and clip work well, mild scratching to metalOther items are in worn conditionAntique box is worn

Pearl brooch with green stones in yellow gold stamped 9 ct, together with an abstract brooch in 9 ct yellow gold, and also a selection of costume jewellery, including some silver and paste set items, thimbles, a hospital anniversary coin and a hospital medalCondition Report: Gross weight of 9 ct brooches 14.9 gramsIn worn condition, some surface scratches

2 contemporary bronze sculptures, abstract group of figures, signed with initials CAN, height 13cm, and a garden bird (2)

An Italian abstract pottery vase with painted decoration, height 39cm, probably circa 1960sAll in very good condition, no chips or restoration

A ladies vintage 9ct gold wristwatch, circular dial with Arabic numerals, set to an octagonal 9ct gold case, marks for London 1943, 22mm wide, set to an associated 9ct gold expanding strap (at fault), together with a 9ct gold abstract brooch, import marks for Birmingham 1989, 54mm wide, a pair of gold coloured earrings, each stamped '375', each 7mm diameter, a 9ct gold picture pendant, 30mm diameter, and a gold coloured pin, 32mm wide (6) Your attention is drawn to our important notice regarding the Trevanion sale of watches found in our Terms & Conditions, please read this prior to bidding.

A 1960's 9ct gold cultured pearl set brooch, of abstract form with textured detail, four round graduated pearls set to centre, hinged pin and safety loop fastening to reverse, import marks for London 1966, 64mm wide, weight 6.9gms

A continental enamel dress ring, the abstract design ring decorated in red, blue and green enamels with textured detail to shoulders and plain polished shank, stamped '18K', ring size L, weight 7.4gms

A 1960?s 9ct gold abstract brooch, import marks for London 1969, designed as a cluster of textured squares, interspersed by plain polished cuboids, pin and safety loop fastening to reverse, 35mm wide, together with a pair of matched earrings (unmarked, assessed and valued as 9ct gold), with post and butterfly pierced ear fittings, each 20mm wide, gross weight 11.7gms (3)CR; Brooch: Good order, no splitting, thinning, repair or losses. General scratching and wear commensurate with age only. Some light misshaping to the pin, but pin and loop are in working order.Earrings: Good order, no splitting, thinning, repair or losses. General scratching and wear commensurate with age. Post fittings show bending and misshaping (see pictures.) 

ROBERT CLATWORTHY R.A. [1928-2015]. Green Abstract, 1997. acrylic on card. signed with initials [as usual]. 38 x 28 cm - frame size 46 x 35 cm. Provenance: the artist; private collection, UK. See lot 36 for cv. [very good condition]. Buyers premium of 20% + vat is payable.

ROBERT CLATWORTHY R.A [1928-2015]. Blurred Abstract, 1996. acrylic on card; signed with initials [as usual]. 38 x 28 cm - frame size 46 x 35 cm. Provenance: the artist; private collection, UK. See lot 36 for cv. [very good condition]. Buyers premium 20% + VAT.

ROBERT CLATWORTHY R.A. [1928-2015]. Yellow and Brown Abstract, 1996. acrylic on card; signed with initials [as usual]. 38 x 28 cm - frame size 46 x 35 cm. Provenance: the artist; private collection, UK. See lot 36 for cv. [very good condition]. Buyers premium of 20% + vat is payable.

RAY BARRY [1931 -]. Blue Abstract. acrylic on card, signed. 15 x 10 cm - overall including frame 35 x 27 cm. Provenance: the artist; private collection, UK. St Ives artist. [very good condition - card laid down and corners lifting very slightly - unexamined out of frame]. Buyers premium of 20% + vat is payable.

DOUGLAS PORTWAY [1922-93]. Abstract, 1974. oil on paper. signed. 66 x 50 cm - overall including frame 88 x 70 cm. Provenance: the artist; private collection, UK. Illustrated in book: 'Douglas Portway', Styca Publishing, 2014, plate 20. An artist associated with the St Ives group who was very popular during his lifetime. [very good condition - unexamined out of frame]. Buyers premium of 20% + vat is payable.

DOUGLAS PORTWAY [1922-93]. Abstract Composition, c. 1970. oil on paper; signed. 36 x 54 cm - overall including frame 59 x 75 cm. Provenance: artist's wife; private collection, UK. Illustrated in book: 'Douglas Portway', Styca Publishing, 2014, plate 19. Portway was associated with the St Ives group and was very popular during his lifetime. [very good condition - unexamined out of frame - frame is a bit scruffy in places]. Buyers premium of 20% + vat is payable.

FIONA RAE R.A. [1963 - ]. Abstract, 1990. oil and acrylic on board. 10 x 10 cm - overall including frame 36 x 33 cm. Provenance: The artist; Witte de With Gallery, Germany, one-man exhibition, 1990, no. 344 [gallery label on the reverse with the number 344 - now not visible due to framing]; private collection, UK.  Bonhams, 19 Sept. 2019, lot 318; private collection, UK;  Perhaps the best of the YBAs ? [very good condition]. Buyers premium of 20% + vat is payable.

CERI RICHARDS R.A. [1903-71]. Abstract Study, c.1970. pastel collage on paper laid on board. 29 x 38 cm [overall including frame 50 x 59 cm]. br>Provenance: the artist's wife; private collection, UK. It is thought to be a study for a proposed mural at Cardiff University. [good condition - some small stains at the right edge of the lower right panel - unexamined out of frame]. Buyers premium 20% + vat payable.

ROY KITCHIN [1926-97]. PM, 1981. wood construction; unique [maquette for large steel sculpture]. 27 cm long. Provenance: the artist's wife; private collection, UK. Kitchin was a very interesting abstract sculptor, producing many large steel sculptures which are now exhibited in sculpture parks and museums throughout the country - have a look at his page in wikipedia for full details. [very good condition]. Buyers premium of 20% + VAT is payable.

JUSTIN KNOWLES [1935-2004]. Forms. steel with slate base; unique ? [marked JK under base]. 10 cm high [12 cm overall including base]. Provenance: the artist's daughter; private collection, UK. Knowles was a hard-edge abstract painter and sculptor who showed at the Waddington Galleries in the 1960s - he later held one-man exhibitions at Austin Desmond Fine Art - currently very underrated This sculpture was sold at our auction last year for £600 [hammer price] but the buyer failed to pay, so it is being re-offered. [good condition - a tiny nick at one edge and a small chip in the corner of the slate base]. Buyers premium of 20% + VAT is payable.

JUSTIN KNOWLES [1935-2004]. Cube Form. steel; unique. 35 cm high. Provenance: the artist's daughter; private collection UK. Justin Knowles was exhibited by the Waddington Galleries in the 1960s and later held one-man exhibitions at Austin Desmond Fine Art. He is a hard-edge abstract painter and sculptor - currently very underrated. This is one of his classic forms. [good condition - smudges from fingermarks, slightly tarnishing the surface - it could benefit from a polish - some light scratches underneath the 'base']. Buyers premium of 20% + VAT is payable.

ROBERT CLATWORTHY R.A. [1928-2015]. Head 11, 2004. bronze, edition of 9, 1/9. signed RC. 32 cm high [including the base - 10 cm]. Provenance: the artist; private collection, UK. Literature: 'Robert Clatworthy', Sansom, 2012, p. 152, pl. RC158 [this cast illustrated]. Clatworthy must be the greatest sculptor of abstract Heads - he has been called: 'the Francis Bacon of bronze'. See lot 36 for a cv. [very good condition]. Buyers premium of 20% + VAT is payable. ARR 4%.

MATTHEW HILTON [1948 - ]. Abstract [Jugs] 1, 1994. screenprint, edition of 30, 16/30; signed in pencil with initials. 28 x 27 cm - unframed. Provenance: Private collection, UK. Hilton is a St Ives artist and the son of Roger Hilton - perhaps the only sibling of the famous St Ives artists with an individual style. [very good condition]. Buyers premium of 20% + VAT is payable.

MATTHEW HILTON [1948 - ]. Abstract [Jugs] 11, 1994. screenprint, edition of 30, 16/30; signed in pencil with initials. 28 x 27 cm unframed. Provenance: private collection, UK. See lot 62 for cv. [very good condition]. Buyers premium of 20% + VAT is payable.

MATTHEW HILTON [1948 - ]. Abstract [Jugs] 111, 1994. screenprint, edition of 30, 16/30; signed in pencil with initials. Provenance: private collection, UK. See lot 62 for cv. 28 x 27 cm - unframed. [very good condition]. Buyers premium of 20% + VAT is payable.

MATTHEW HILTON [1948 - ]. Abstract [Jugs] 1V, 1994. screenprint, edition of 30, 16/30; signed in pencil with initials. 28 x 27 cm - unframed. Provenance: private collection, UK. See lot 62 for cv. [very good condition]. Buyers premium of 20% + VAT is payable.

DENIS BOWEN [1921-2006]. Blue Sea, 1997. oil and spray paint on board; signed. 41 x 29 cm - overall including frame 49 x 32 cm. Provenance: the artist; private collection, UK. Bowen studied at the Royal College of Art and was one of the first UK abstract expressionists. A very underrated artist. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable.

ROY TURNER DURRANT [1925-98]. Abstract, 1955. watercolour. signed. 20 x 12 cm [overall including frame 37 x 30 cm]. Provenance: the artist; Belgrave Gallery, London; private collection, UK. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable.