Moorland Pool No. 6, After Rain

Details

IVON HITCHENS (1893-1979)
Moorland Pool No. 6, After Rain
signed 'Hitchens' (lower left)
oil on canvas
20 x 46 in. (50.8 x 116.9 cm.)
Painted in 1948.

Provenance

The Rt. Hon. G.R. Strauss, P.C., M.P.
His sale; Sotheby's, London, 11 May 1988, lot 139.
with Bernard Jacobson Gallery, London.
with Waddington Galleries, London.
Anonymous sale; Sotheby's, London, 23 June 1999, lot 63, where purchased by the present owner.

Literature

Exhibition catalogue, An Exhibition of Paintings from 1940-1952 by Ivon Hitchens, London, Leicester Galleries, 1952, n.p., no. 39, illustrated.
P. Khoroche, Ivon Hitchens, London, 1990, p. 267, pl. 28.
Exhibition catalogue, Ivon Hitchens: A Retrospective of Paintings, London, Waddington Galleries, 1993, n.p., no. 4, illustrated.
P. Khoroche, Ivon Hitchens, Aldershot, 2007, pp. 96, 202, no. 71, illustrated.

Exhibited

London, Leicester Galleries, Recent Paintings by Ivon Hitchens, March 1949, no. 4.
London, Leicester Galleries, An Exhibition of Paintings from 1940-1952 by Ivon Hitchens, June 1952, no. 39.
London, Waddington Galleries, Ivon Hitchens, 1990, catalogue not traced.
London, Waddington Galleries, Ivon Hitchens: A Retrospective of Paintings, March - April 1993, no. 4.

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.

Conditions of sale

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Alice Murray Head of Evening Sale

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Lot Essay

'Freshness of colour, harmony of tone and vitality of brush-stroke are what immediately delight the eye: the artist's control of our vision - the way he directs it inevitably over every part of the canvas - can be so subtle and so sure that we may remain unaware of it. Yet it was always in terms of structure that Hitchens discussed his painting, never in terms of colour, partly because in his practice colour creates structure (the two-dimensional pattern on the surface and, simultaneously, spatial recession), partly because colour was not something preconceived but instinctively built up in the act of painting, and so finally inseparable from the structure' (P. Khoroche, Ivon Hitchens, London, 1990, p. 87).

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