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33 New Bond Street London W1S 2RS Telephone: +44 (0)20 7499 4738 Fax: +44 (0)20 7495 3318 Email:

IVON HITCHENS Exhibition opens Wednesday 13th November 2013 Contact: Jonathan Green and Matthew Green 33 New Bond Street, London W1S 2RS Tel: +44 (0)20 7499 4738 Email: The paintings illustrated are available for purchase, subject to prior sale The price quoted is inclusive of Artist’s Resale Rights (ARR) Richard Green reserves the right to amend these prices in line with market values Paintings are sold subject to our Terms and Conditions of Sale

CONTENTS 1 2 3 4 5 6 7 8 9 10 11 12 13

Black Dog Felled Trees Algerian Woman No. 1 Firwood Ride No. 6, February Warnford Water (First Variation) Warnford Water (Central Pool) Marsh Water Land and Sky Spaces No. 2 Figure against Purple Figure on the Blue Cushion Gateway No. 4 February Landscape A Standing Jar of Flowers

Left: detail of cat. no. 3 Algerian Woman No. 1

FOREWORD We are delighted to present our first solo exhibition devoted to the art of Ivon Hitchens. Featuring thirteen glorious paintings, this exhibition spans the breadth of his illustrious career, from the jaunty Black Dog of 1932, depicted in his pre-War Hampstead flat and exhibited alongside his friends Ben Nicholson and Henry Moore at the 11th Exhibition of the 7 & 5 Society, to the exuberant Standing Jar of Flowers from 1975, painted four years before he died. This intimate display presents excellent examples of Hitchens’ still life and nude subjects, as well as unmistakable panoramic landscapes both of specific locations, including two works from the powerful Warnford Water series of 1959, and archetypal English scenes, such as Felled Trees and Marsh Water. We would like to express our gratitude to the writer and expert on the artist, Peter Khoroche, for his wonderful introductory essay, as skilful and vivid as the works themselves. We look forward to welcoming you to the exhibition.

Jonathan Green and Matthew Green

Left: Ivon Hitchens by John Somerset Murray resin print, 1933 NPG x68217 Š reserved; collection National Portrait Gallery, London

IVON HITCHENS—ROMANTIC MODERNIST by Peter Khoroche “The norm of life is joy—by which is meant not that joy is the standard state of man, but that joy is what man is born for: it is the sign that an individual, in the free exercise of his faculties, is completely alive; it is the necessary condition for a full community of life and love; and it is both the precondition and the end of the highest art.” – M.H.Abrams, Natural Supernaturalism (1971), p.431 An eye-catching group of landscapes with, here and there, a flower piece, a nude or a domestic interior—this was the formula for many of Ivon Hitchens’ solo exhibitions. It reflected the central importance to him of landscape painting but also made clear that he was not only a painter of landscape. In fact, he welcomed the challenge of painting flowers, would have painted many more nudes had circumstances allowed, and found in still life and interiors a stimulus for subtle design and the unusual viewpoint. In his early exhibitions, during the 1920s and ‘30s, flowers and figure subjects actually predominated. This was doubtless partly due to their being a dependable source of bread and butter for the struggling artist, but there was also the example of recent French painting—Braque, Matisse, Bonnard and Vuillard—to which he was strongly attracted. Black Dog 1932 (cat. no. 1), the earliest painting in this exhibition, was first shown at an exhibition of the Seven and Five Society, the liveliest group of painters and sculptors in Britain during the interwar years. The fresh colour, light-toned palette and lyrical handling in this painting were hallmarks of the Society at large, as was the innocuous subject matter. But the more one looks at Black Dog, the more abstract and sophisticated it reveals itself to be: even the jaunty dog acts as an essential foil to the still life in the foreground. The French influence on Hitchens’ painting is even more evident in Algerian Woman No. 1, 1948 (cat. no. 3). The slinky contours of the reclining body immediately recall a Matisse odalisque. But there the resemblance ends: Hitchens’ handling of paint is more sensuous and more varied than Matisse’s; his colour and, above all, his colour composition, are entirely his own (though it would be some years before he felt able to use such hot colours in his painting of landscape). Algerian Woman, the first of three versions, dates from 1948, when Hitchens had the rare advantage of having a professional model to stay in his Sussex retreat for several weeks. As a result his next solo exhibition, at the Leicester Galleries in 1950, was made up entirely of figure paintings. This, as intended, startled visitors into awareness that beneath the quiet English landscapist of such paintings as Felled Trees, 1942 (cat. no. 2) lay a rampant English Fauve. By the mid-1940s Hitchens’ reputation as a painter of landscape—principally of West Sussex, but also of Suffolk and the Welsh borders—rested on his sensitive evocation of the feel of place coupled with a virtuosic handling of paint and a seductive use of colour. Felled Trees, 1942 (the first and most naturalistic of four versions) encapsulates these qualities, conjuring up the immediately recognizable colours and damp woodland scents of an autumn day in England, while at the same time luring the eye on a cunningly circuitous trail over every part of the canvas. All nice and comfortable and not too challenging, one might think. But Hitchens was a fully committed modernist—as much so as his friends and close contemporaries Henry Moore and Ben Nicholson. Disconcerting to some, this fact has been obscured by his rejection of pure abstraction (i.e. painting that is not consciously based on anything directly seen) in favour of a mix of abstraction and figuration. To put it another way: for Hitchens the thing seen was always to remain paramount; yet, even as he painted what he saw, he strove to create an arrangement of shapes, lines and colours that would be independently valid in purely aesthetic terms. It is necessary to realize this dual aim if one is to understand how and why his painting developed.

Opposite: detail of cat. no. 11 Gateway No. 4

Turning to Firwood Ride No. 6, February, 1958 (cat. no. 4), painted sixteen years after Felled Trees, one instantly registers a move to greater abstraction both in form and colour key. Hitchens has by now achieved his mature style, where the claims of subject matter and the claims of the two-dimensional picture surface are held in equilibrium. Over the remaining twenty years of his life his painting was to develop steadily towards an ever bolder statement of an ever more complex vision, without departing in essentials from his work of the late 1950s. Here we have a mosaic of colour shapes, many of them isolated by the white priming so as to make them stand out all the clearer and thereby make it easier for the eye to seek both similar and contrasting shapes elsewhere in the picture. The eye is assisted in this instinctive activity by the direction, speed and weight of the brushstrokes, these too made easier to read by their ragged edges highlighted against the white priming. Brush mark and colour shape together guide the eye over the picture surface and then, in a matter of seconds, into the picture’s depths. This is the moment when the viewer begins to see what the picture is of: a vista of trees, narrowing to a patch of pale green barred with white, which promises escape to daylight. This was a favourite subject with Hitchens (hardly surprising, since he lived surrounded by forest plantations) and harks back to the Winter Walk series, painted ten years earlier in a more naturalistic mode. To the layman a firwood ride might seem a humdrum subject for a painting. To Hitchens it provided a theme on which he painted sixteen variations between autumn 1957 and spring 1958. As he rather testily commented to Howard Bliss, his most supportive patron, in a letter of 18th March 1960: ‘The fact that I paint most “subjects” many times over might have been expected to suggest to anyone of moderate intelligence that it is not really the subject that truly interests me — but the many possible ways, and finally the only possible way, of expressing it. If that can combine with something worth looking at on canvas then I begin to feel happy inside.’ On a fishing-expedition to the River Meon in Hampshire Hitchens discovered a quiet, tree-fringed lake on a private estate. He soon returned to paint it. The interest, for him, lay in the competing claims of four entities: the lake, stretching away into the distance; a low waterfall in the foreground, tumbling into a trout pool; and a stream meandering away to the left from the pool, in the shadow of tall trees. The subject inspired a series of eight paintings in 1959 and a further eight the following year and it is a measure of the artist’s own estimation of them that he chose to show as many as five together at the retrospective exhibition of his work at the Tate in 1963. The two paintings in the present exhibition both belong to the first series. Warnford Water (First Variation), 1959 (cat. no. 5) is dominated by the light and shade of the overhanging trees, with the waterfall, pool and stream all in the near foreground, and the lake receding on the right. The canvas is divided into five vertical chords of colour that play against the strong horizontal movement from right to left. It was an inspired choice to reproduce part of this painting on the cover of Gerard Manley Hopkins in the Penguin Poets series: Hitchens matches Hopkins in his joyous rhythms and intense empathy with nature. But there is perhaps another parallel to be drawn. Hopkins maintained that the sound of a poem is part of its sense, that is, the sound of the words, as they are read aloud, makes the first impact on the listener, to some extent independently of the sense. Similarly, the design of colour, line and shape in Hitchens’ painting makes the first impact before the conscious desire to ‘make sense’, to discover the subject. In Warnford Water (Central Pool), 1959 (cat. no. 6) we stand back and get the wider view. The lake opens out on the right, the tall trees in front of us are less dominant and we look into the blue depths of the pool at our feet. Winter water, summer water, light reflected on water, foliage contrasted with water, rushing water, brackish water, lakes, streams and pools—all held a fascination for Hitchens, and his evocations of water in paint were something of a speciality. After the mirror surface of the lake and the tumbling outflow at Warnford comes the murky stillness of Marsh Water, 1960 (cat. no. 7), reflecting a white-grey sky—a stillness that is dramatically offset by the dynamic movement in the right-hand third of the picture, where a diving swoosh of paint breaks through the vertical barrier of black and carries one off to the far distance. It was to give himself the freedom to

make such bold gestures that Hitchens favoured a wide canvas. The sweeping brush marks and the elongated format, so distinctive of his work, are intimately connected. Through them he sought to introduce the element of time into his painting by a calculated control of the viewer’s eye over the picture surface. In Land and Sky Spaces No. 2, 1963 (cat. no. 8), the ratio of height to width is 1:3, giving scope for a fantastic variety of movement, depths and spaces. This is Hitchens at the top of his bent and I invite any reader of these words to name an English painter of the twentieth, or indeed of any other, century, who could equal such virtuosic handling of oil paint on canvas. I am not talking simply about manual dexterity, about the variety of brush mark and weight of pigment, the finely judged degrees of paint solution or the instinctive and utterly original colour relations, nor even about the complex composition, with its three main compartments constantly interacting and with every area of the canvas contributing to the overall design. What I am talking about is the orchestration of all these elements to convey an exhilarating experience of land- and sky-scape. This is a masterpiece of English modernism, whose outward romanticism should not blind us to its underlying intellectual rigour, nor its local subject matter to its radical originality. The two figure paintings of 1965 and 1968 (cat. nos. 9 & 10) represent a slightly different approach to painting the nude from that seen in Algerian Woman No. 1. The figure against purple so merges with her surroundings as to be of hardly more importance in the scheme of things than the other patches of colour that enclose her, while the more angular figure on the blue cushion, partly due to the more compressed format, imposes herself slightly more forcefully on the picture design. Both paintings are frankly decorative and, like Hitchens’ flower pieces, were painted for enjoyment—the artist’s and the viewer’s. Gateway No. 4, 1968 and February Landscape, 1973 (cat. nos. 11 & 12) are both, in fact, gateways, the first offering escape to the right, the second to the left. In both the architecture guides the eye to different depths in different sequences: every time one begins afresh to explore the apparently inexhaustible possibilities of the canvas/landscape. In Gateway No. 4 we get a taste of the complex colour vision of Hitchens’ last decade, where the colours of the English landscape are transposed into a brighter key with dramatic juxtapositions. The Gateway series, as a whole, is one of the most abstract and colouristically adventurous of his whole career. It is for the true Hitchens aficionado, who has faithfully followed him on the long journey onward from the woodland charms of such paintings as Felled Trees, and who positively enjoys the tension, almost to breaking point, between the experience of landscape and the exuberant colour symphony brushed with such urgency and daring onto the canvas. February Landscape, by contrast, returns to a quieter, calmer mood. But note the totally unexpected small square of yellow in the foreground and the little patch of white halfway up on the left—each of them crucially animating the otherwise too quiet, too calm picture. The exhibition concludes with A Standing Jar of Flowers, 1975. The jar, overflowing with unruly poppies, stands in the small courtyard of the artist’s one-storey home, with steps on the right leading to the flat roof. (A companion piece, painted the same year, is called Steps to the Sun.) Here the colours are at full saturation yet still react to each other within the picture design. At the age of eighty-two Hitchens was painting with uninhibited bravura, drawing on the hard-learnt experience of sixty years’ practice. This is a painting of joy (as defined in the quotation at the head of this essay) and as such typifies his life’s work.

Peter Khoroche

1 Black Dog Signed lower left: Ivon; signed and inscribed IVON HITCHENS/ 169 Adelaide Rd/ London NW3/ BLACK DOG. 25 on a label attached to the stretcher Oil on canvas: 24 × 20 in / 61 × 50.8 cm Frame size: 30 ½ × 26 ¼ in / 77.5 × 66.7 cm Painted in 1932 Provenance: Alex Reid & Lefevre, London [X1053] Mrs Curtis Brown, acquired from the above in April 1935 Jean Rowntree, Kent, then gifted to Private collection, early 1990s Exhibited: London, Leicester Galleries, 11th Exhibition of the 7 & 5 Society, February 1932, cat. no. 4 London, Alex Reid & Lefevre, New Paintings by Ivon Hitchens, October 1933, cat. no. 5


2 Felled Trees Signed and dated lower left: Ivon Hitchens 42; signed, dated and inscribed IVON HITCHENS/ Greenleaves Lavington Common/ Petworth/ Sussex/ “Felled Trees”/ lent by Alex Reid & Lefevre (1942 on a label attached to the stretcher. Signed and inscribed again with the artist’s address on a label attached to the stretcher Oil on canvas: 16 × 29 ½ in / 41 × 75 cm Frame size: 24 ½ × 38 in / 62.2 × 96.5 cm Provenance: Alex Reid & Lefevre, London Howard Bliss Private collection, then by descent Exhibited: Leeds, Temple Newsam, Ivon Hitchens, Henry Moore, 14th April – 3rd June 1945, cat. no. 22 London, Leicester Galleries, Paintings by Ivon Hitchens, March 1947, cat. no. 9 London, Leicester Galleries, “From Gainsborough to Hitchens” – A Selection of Paintings and Drawings from the Howard Bliss Collection, January 1950, cat. no. 98


3 Algerian Woman No. 1 Signed lower left: Hitchens; signed and inscribed Ivon Hitchens/ Greenleaves/ Lavington Common/ Petworth on a label attached to the stretcher Oil on canvas: 21 × 37 in / 53.3 × 94 cm Frame size: 29 ¼ × 45 ¼ in / 74.3 × 114.9 cm Painted in 1948 Provenance: Howard Bliss The New Art Centre [01940] Waddington Galleries, London Michael Ward Thomas, acquired from the above Mathon Gallery, Malvern Private collection, UK, acquired from the above 21st November 1983, then by descent


4 Firwood Ride No. 6, February Signed lower right: Hitchens; signed, dated and inscribed “Firwood Ride No. 6”/ 1958/ February/ Ivon Hitchens/ Greenleaves Petworth Sussex on a label attached to the reverse Oil on canvas: 17 ¼ × 43 ¼ in / 43.8 × 109.9 cm Frame size: 28 ½ × 54 ½ in / 72.4 × 138.4 cm Provenance: Howard Bliss Compassion in World Farming, 1970 Sale, Sotheby’s, 2nd November 1983 Dr John Birch (1929–2012), Chichester, then by descent Exhibited: London, Leicester Galleries, Ivon Hitchens, May 1959, cat. no. 22 [listed as no. 7 in error] London, Arts Council, Ivon Hitchens, A Retrospective Exhibition, 11th July – 20th October 1963, cat. no. 100


5 Warnford Water (First Variation) Signed lower left: Hitchens; signed and inscribed “Warnford Water,/ (First Variation)”/ by Ivon Hitchens/ Greenleaves/ Petworth Sussex on a label attached to the stretcher Oil on canvas: 18 × 43 in / 46 × 109.5 cm Frame size: 26 ¾ × 52 in / 67.9 × 132.1 cm Painted in 1959 Provenance: Waddington Galleries, London Mr J Rose, UK Exhibited: London, Waddington Galleries, Ivon Hitchens, The Warnford Water Series and Five Other Paintings, June 1960, cat. no. 6, illus. in colour Literature: W.H. Gardener (ed.), Gerard Manley Hopkins, Poems and prose, Penguin Books, 1971, cover detail


Detail of cat. no. 5 Warnford Water (First Variation)

6 Warnford Water (Central Pool) Signed lower left: Hitchens; signed and inscribed “Warnford Water,(Central Pool)”/ by Ivon Hitchens/ Greenleaves/ Petworth Sussex on label attached to the reverse Oil on canvas: 17 ½ × 43 in / 44.4 × 109.2 cm Frame size: 26 ½ × 52 in / 67.3 × 132.1 cm Painted in 1959 Provenance: Waddington Galleries, London Mr & Mrs Stephen Fein (Fein & Co.), purchased at the Waddington Galleries 1960 exhibition Exhibited: London, Waddington Galleries, Ivon Hitchens, The Warnford Water Series and Five Other Paintings, June 1960, cat. no. 9, illus. in colour


7 Marsh Water Signed lower left: Hitchens; signed, dated and inscribed “Marsh Water 1960”/ by Ivon Hitchens/ Greenleaves/ Petworth Sussex on a label attached to the reverse Oil on canvas: 17½ × 43 in / 44.4 × 109.2 cm Frame size: 26 ½ × 52 in / 67.3 × 132.1 cm Provenance: Sir Mortimer Wheeler, then by descent Private collection, UK Exhibited: London, Arts Council, Ivon Hitchens, A Retrospective Exhibition, 11th July – 20th October 1963, no. 132; the exhibition travelled to London, Tate, Bradford City Art Gallery and Birmingham, City Museum and Art Gallery


8 Land and Sky Spaces No. 2 Signed lower left: Hitchens; signed, dated and inscribed “Land and Sky Spaces” No 2 1963/ by IVON HITCHENS/ Greenleaves. Petworth Sussex on a label attached to the stretcher Oil on canvas: 18 ½ × 56 ½ in / 48.3 × 144 cm Frame size: 27 × 65 in / 68.6 × 165.1 cm Provenance: Waddington Galleries, London Museo Tamayo, Mexico Exhibited: London, Waddington Galleries, Ivon Hitchens, April – May 1964, no. 1 London, Waddington Galleries, Ivon Hitchens Retrospective Exhibition, May – June 1973, no. 13 Mexico, Centro Cultural Arte Contemporaneo Literature: Alan Bowness (ed.), Ivon Hitchens, Lund Humphries, London, 1973, no. 59, illustrated in colour


9 Figure against Purple Signed lower left: Hitchens; signed, dated and inscribed “Figure against purple”/ 1965/ by IVON HITCHENS/ Greenleaves, Petworth Sussex on a label attached to the reverse Oil on canvas: 16 × 29 1/8 in / 40.6 × 74 cm Frame size: 24 ½ × 37 ¼ in / 62.2 × 94.6 cm Provenance: Waddington Galleries, London Edith Dodo (1923–2009), Pietermaritzburg, South Africa, acquired from the above in 1966 Exhibited: London, Waddington Galleries, Ivon Hitchens, 24th May – 25th June 1966, cat. no. 7, illus. (incorrectly dated as 1966 in the catalogue and entitled Figure on Purple)


10 Figure on the Blue Cushion Signed lower right: Hitchens; signed, dated and inscribed “Figure on the Blue Cushion”/1968/ by IVON HITCHENS/ Greenleaves. Petworth. Sussex on a label attached to the reverse Oil on canvas: 20 × 24 in / 50.8 × 61 cm Frame size 29 ¾ × 33 ¾ in / 75.6 × 85.7 cm In its original frame Provenance: Waddington Galleries, London [B12745] Dr and Mrs N Hawkins, Sydney Exhibited: London, Waddington Galleries, Ivon Hitchens, Figure Theme, 28th May – 29th June 1968, cat. no. 19


11 Gateway No. 4 Signed and dated lower right: Hitchens ’68; signed, dated and inscribed “Gateway No 4” 1968/ by IVON HITCHENS/ Greenleaves Petworth Sussex on a label attached to the stretcher Oil on canvas: 23 × 52 ½ in / 58 × 131 cm Frame size: 29 ½ × 59 in / 74.9 × 149.9 cm Provenance: Waddington Galleries, London Private collection, UK Cork Street Gallery Ltd, London, 1973 Private collection, Europe Richard Green, London, 2006 Private collection, UK, 2007 Exhibited: London, Waddington Galleries, Ivon Hitchens: Recent paintings, 10th June – 5th July 1969, no. 7 Literature: A. Bowness, Ivon Hitchens, Lund Humphries, London, 1973, no. 93, illus.


12 February Landscape Signed lower right: Hitchens; signed, dated and inscribed February Landscape 1973/ by Ivon Hitchens Greenleaves/ Petworth Sussex on a label attached to the reverse Oil on canvas: 17 × 43 in / 43.2 × 109.2 cm Frame size: 27 ¼ × 53 ¼ in / 69.2 × 135.9 cm Provenance: Waddington Galleries, London, by whom donated to The Courtauld Institute of Art Fund Sale, Sotheby’s, London, 23rd March 1987, lot 18 Paisnal Gallery, London Private collection, UK Exhibited: London, Waddington Galleries, Ivon Hitchens, Retrospective Exhibition, 16th May – 9th June 1973, cat. no. 45 London, New Grafton Gallery, Hitchens & Heron, 26th February – 4th April 1986, cat. no. 10 Newtown & Welshpool, Oriel 31, Ivon Hitchens Retrospective Exhibition, 22nd August – 26th September 1987, cat. no. 38


13 A Standing Jar of Flowers Signed and dated lower right: Hitchens 75; signed, dated and inscribed A Standing Jar of Flowers, 1975/ Ivon Hitchens/ Greenleaves. Petworth. Sussex on a label attached to the reverse Oil on canvas: 25 ½ × 34 ¾ in / 64.8 × 88.3 cm Frame size: 35 ¾ × 45 ¼ in / 90.8 × 114.9 cm Provenance: Peter Khoroche, from the artist’s studio, 1979 Jonathan Clark, London, 2005 Private collection, Cap d’Antibes Exhibited: London, Robert Sandelson, Ivon Hitchens, 5th February – 22nd March 2003, cat. no. 1



Detail of cat. no. 7 Marsh Water


London 1893 – 1979 Petworth Ivon Sydney Hitchens was the only child of landscape painter Alfred Hitchens and Ethel Margaret Seth-Smith, a talented amateur artist. Following his early education at Conamur School, Sandgate, Kent, Hitchens attended Bedales School, Hampshire from 1903 until acute appendicitis cut short his school days and sent him on a recuperative voyage to New Zealand. Hitchens’ art education began at St John’s Wood School of Art, London from 1911 and continued at the Royal Academy Schools from 1912–16. He returned to the RA Schools between 1918–19, following two years’ service in hospital supply during the First World War. Still not fully recovered from his youthful illness, Hitchens was declared unfit for active service in 1914. After graduating from the RA Schools, Hitchens moved into a studio at 169 Adelaide Road, Hampstead in 1919 and became part of a circle of avant-garde British artists including Barbara Hepworth, Henry Moore, Paul Nash and Ben Nicholson. In 1921 he exhibited for the first time with the Seven & Five Society, and was elected a member the following year. In 1925 he held his first one-man show at The Mayor Gallery, London. Hitchens was elected a member of the London Artists’ Association in 1929 and a member of the London Group in 1931. In 1937, he became an elected member of the Society of Mural Painters. The artist exhibited with the Leicester Galleries from 1940 until 1960, when he moved to the Waddington Galleries. Hitchens married Mary Cranford Coates on 27th June 1935. He and his wife left London in 1940 with their only child, John, for a caravan at Greenleaves, Lavington Common near Petworth, Sussex, after a bomb landed next door to his Hampstead studio. 1940 also marked the first of ten one-man exhibitions for the artist at the Leicester Galleries. For the next forty years, Hitchens’ six acres of woodland near Midhurst became his home, place of study and constant source of inspiration. In 1951 the artist won a purchase prize at the Festival of Britain exhibition, 60 paintings for ‘51. Hitchens completed a mural at Cecil Sharp House, Regent’s Park Road in 1954, and installed another mural at the University of Sussex in 1962. In 1956 The British Council arranged a retrospective exhibition of his work for the Venice Biennale. In 1957 Hitchens was created CBE. A major retrospective of Hitchens’ work was arranged by the Arts Council at the Tate Gallery, London in 1963. In 1979 a third retrospective exhibition was held at the RA Diploma Galleries.

SELECT BIBLIOGRAPHY Patrick Heron, Ivon Hitchens, The Penguin Modern Painters, Penguin Books, Middlesex, 1955 Alan Bowness (ed.) with an introduction by TG Rosenthal, Ivon Hitchens, Lund Humphries, London, 1973 Peter Khoroche, Ivon Hitchens, Andre Deutsch, London, 1990

Opposite: Ivon Hitchens, 1972, Lewinski, Jorge (1921–2008) / Private Collection / © The Lewinski Archive at Chatsworth / The Bridgeman Art Library

IVON HITCHENS IN PUBLIC COLLECTIONS Aberdeen Art Gallery & Museums Maclaurin Art Gallery, The Maclaurin Trust, Ayr Cannon Hall Museum, Barnsley Museum and Heritage Service Basildon Arts Trust Bath Spa University Ulster Museum, National Museums of Northern Ireland, Belfast Birmingham Museums Trust Bolton Library & Museum Services, Bolton Council The Bournemouth & Poole College Collection Bradford Museums and Galleries Brighton and Hove Museums and Art Galleries Bristol Museum and Art Gallery British Council Collection The Fitzwilliam Museum, Cambridge Homerton College, University of Cambridge Newnham College, University of Cambridge National Museum of Wales - Amgueddfa Cymru, Cardiff Otter Gallery, University of Chichester Pallant House Gallery, Chichester Dublin City Gallery, The Hugh Lane, Dublin Towner, Eastbourne Scottish National Gallery of Modern Art, National Galleries of Scotland, Edinburgh Glasgow Museums Resource Centre, Glasgow Museums Government Art Collection The Mercer Art Gallery, Harrogate Jerwood Gallery, Hastings, East Sussex Kirklees Museums and Galleries, Huddersfield Ferens Art Gallery, Hull Abbott Hall Art Gallery, Lakeland Arts Trust, Kendal Alfred East Art Gallery, Kettering Lancaster City Museums Leamington Spa Art Gallery & Museum Leeds Art Gallery, Leeds Museums and Galleries The Stanley & Audrey Burton Gallery, University of Leeds New Walk Museum & Art Gallery, Leicester Arts and Museums Service County Hall, Leicestershire County Council Usher Gallery, The Collection: Art & Archaeology in Lincolnshire Walker Art Gallery, National Museums Liverpool Arts Council Collection, Southbank Centre, London English Folk Dance and Song Society, Cecil Sharp House, London The Courtauld Gallery, London St George’s, University of London Tate Britain, London UCL Art Museum, London

Manchester Art Gallery, Manchester City Galleries Whitworth Art Gallery, University of Manchester MIMA (Middlesbrough Institute of Modern Art), Middlesborough Council Laing Art Gallery, Newcastle Norwich Castle Museum & Art Gallery, Norfolk Museums & Archaeology Service Nottingham Castle Museum and Art Gallery, Nottingham City Museums and Galleries The Ashmolean Museum of Art and Archaeology, Oxford New College, University of Oxford Nuffield College, University of Oxford Somerville College, University of Oxford Trinity College, University of Oxford Portsmouth Museums and Records Service Harris Museum and Art Gallery, Preston Touchstones, Rochdale Arts & Heritage Service Rye Art Gallery Salford Museum & Art Gallery Scarborough Art Gallery, Scarborough Museums and Gallery Museums Sheffield Southampton City Art Gallery The Potteries Museum & Art Gallery, City of Stoke on Trent University of Sussex Glynn Vivian Art Gallery - Oriel Gelf, Swansea Swindon Art Gallery Williamson Art Gallery & Museum, Wirral The Hepworth Wakefield Worthing Museum and Art Gallery

National Gallery of Victoria, Melbourne, Australia Art Gallery of New South Wales, Sydney, Australia National Gallery of Canada, Ottawa, Canada Vancover Art Gallery, Canada Musée National d’Art Moderne, Paris, France Museum of New Zealand – Te Papa Tongarewa, Wellington, New Zealand Albright-Knox Art Gallery, Buffalo, New York, USA Smith College Museum of Art, Northampton, Massachusetts, USA Seattle Art Museum, Washington, USA Toledo Museum of Art, Ohio, USA Yale Center for British Art, Paul Mellon Collection, New Haven, Connecticut, USA


The Spirit of Impressionism 147 New Bond Street, London W1S 2TS Exhibition opens 13th November 2013


MIAMI ART AND DESIGN (MA+D) 14th–18th February 2014

TEFAF Maastricht 14th–23rd March 2014

RICHARD GREEN Richard Green has assisted in the formation and development of numerous private and public collections including the following:




Aberdeen: City Art Gallery Altrincham: Dunham Massey (NT) Barnard Castle: Bowes Museum Bedford: Cecil Higgins Museum Canterbury: Royal Museum and Art Gallery Cheltenham: Art Gallery and Museum Chester: The Grosvenor Museum Coventry: City Museum Dedham: Sir Alfred Munnings Art Museum Hampshire: County Museums Service Hull: Ferens Art Gallery Ipswich: Borough Council Museums and Galleries Leeds: Leeds City Art Gallery Lincoln: Usher Gallery Liskeard: Thorburn Museum London: Chiswick House (English Heritage) Department of the Environment The Iveagh Bequest, Kenwood The Museum of London National Maritime Museum National Portrait Gallery National Postal Museum Tate Britain The Wimbledon Lawn Tennis Museum Lydiard Tregoze: Lydiard House Norwich: Castle Museum Plymouth: City Museum and Art Gallery Richmond: London Borough of Richmond upon Thames and Orleans House Gallery St Helier: States of Jersey (Office) Southsea: Royal Marine Museum Stirling: Stirling Smith Art Gallery and Museum York: York City Art Gallery

Fredericton: Beaverbrook Art Gallery Ottawa: The National Gallery of Canada

Dublin: National Gallery of Ireland FRANCE


Boston, MA: Museum of Fine Arts Cincinnati, OH: Art Museum Gainesville, FL: Harn Museum of Art Houston, TX: Sarah Campbell Blaffer Foundation Los Angeles, CA: J Paul Getty Museum New Haven, CT: Yale Center for British Art New York, NY: Dahesh Museum Ocala, FL: The Appleton Museum of Art Omaha, NE: Joslyn Art Museum Pasadena, CA: Norton Simon Museum Rochester, NY: Genessee County Museum San Marino, CA: The Huntington Library St Louis, MO: Missouri Historical Society Sharon, MA: Kendall Whaling Museum Toledo, OH: Toledo Museum of Art Ventura County, CA: Maritime Museum Washington, DC: The National Gallery The White House Williamstown, MA: Sterling and Francine Clark Art Institute Winona, MN: Minnesota Marine Art Museum Worcester, MA: Worcester Art Museum

Compiègne: Musée National du Château GERMANY

Berlin: Staatliche Kunsthalle Darmstadt: Hessisches Landesmuseum Hannover: Niedersachsisches Landesmuseum Karlsruhe: Staatliche Kunsthalle Speyer am Rhein: Historisches Museum der Pfalz HOLLAND

Amsterdam: Joods Historisch Museum Rijksmuseum Utrecht: Centraal Museum SOUTH AFRICA

Durban: Art Museum S PA I N

Madrid: Real Academia de Bellas Artes de Sun Fernando Museo Thyssen-Bornemisza Museo Nacional del Prado



Antwerp: Maisons Rockox Courtrai: City Art Gallery

Zurich: Schweizerisches Landesmuseum THAILAND


Bangkok: Museum of Contemporary Art

Tröense: Maritime Museum

Published by Richard Green. © 2013 All rights reserved. Catalogue by Rachel Boyd. Photography by Sophie Drury Beth Saunders. Graphic Design by Chris Rees. Printed in England by Hampton Printing (Bristol) Ltd. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated (without the publisher’s prior consent), in any form of binding or other cover than in which it is published, and without similar condition being imposed on another purchaser. All material contained in this catalogue is subject to the new laws of copyright, December 1989. Every effort has been made to contact copyright holders; any omissions are inadvertent, and will be corrected in future editions if notification is given to the publisher in writing. “Richard Green” is a registered trade mark of Richard Green Old Master Paintings Ltd in the EU, the USA and other countries.

147 New Bond Street London W1S 2TS Telephone: +44 (0)20 7493 3939 Fax: +44 (0)20 7499 3278 Email:

Ivon Hitchens Romantic Modernist  

Exhibition opens Wednesday 13th November 2013