ROGER HILTON (1911-1975)
ROGER HILTON (1911-1975)
ROGER HILTON (1911-1975)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more
ROGER HILTON (1911-1975)

January 69

Details
ROGER HILTON (1911-1975)
January 69
signed and dated 'Hilton Jan. 69' (on the reverse)
charcoal and oil on canvas
30 x 30 in. (76.2 x 76.2 cm.)
Painted in Janurary 1969.
Provenance
with Anne Berthoud Gallery, London.
Anonymous sale; Christie's, London, 8 March 1991, lot 143.
Acquired from Waddington Galleries, London in September 1994.
Literature
A. Lambirth, Roger Hilton: the Figured Language of Thought, London, 2007, p. 215, illustrated.
Exhibition catalogue, Roger Hilton: Swinging out into the Void, Cambridge, Kettle's Yard, 2008, pp. 30, 68, no. 46, illustrated.
Exhibited
Cambridge, Kettle's Yard, Roger Hilton: Swinging out into the Void, August - September 2008, no. 46.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

Brought to you by

Amelia Walker
Amelia Walker Director, Specialist Head of Private Collections

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Lot Essay


This optimistic image, with its unmistakable emblem of spring in the yellow ochre flower, is typical of Hilton’s unquenchable spirit. Rose Hilton, his second wife, told a story of having to prevent Roger from going out into the freezing garden in the last weeks of his life in order to see the new spring flowers breaking through. The rest of the image is built around a pair of active pointed forms, a little like prongs or legs, which had been part of Hilton’s lexicon of shapes at least since Flying Tamarisk of 1959, and probably find their origin among the sharpened wedges of the early 1950s. The painting’s dynamic is essentially organic, relating to growth and movement, earthy but liberated. Geometric shapes, such as oval and rectangle, are modified and re-directed into a dialogue of containment and openness, very like the unstoppable drive of nature. As Hilton wrote: ‘Abstraction in itself is nothing. It is only a step towards a new sort of figuration … one which is more true.’

We are very grateful to Andrew Lambirth for preparing this catalogue entry.

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