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)

December 64

Details
ROGER HILTON (1911-1975)
December 64
signed and dated 'HILTON/DEC, 64' (on the reverse)
oil on canvas
25 x 30 in. (63.5 x 76.2 cm.)
Painted in December 1964.
Provenance
with Waddington Galleries, London.
Anonymous sale; Sotheby's, London, 1 July 1991, lot 43.
Anonymous sale; Sotheby's, London, 5 April, 2000, lot 195.
Acquired from Beaux Arts, London in February 2007.
Literature
A. Lambirth, Roger Hilton: The Figured Language of Thought, London, 2007, p. 202, illustrated.
Exhibited
London, Arts Council of Great Britain, Serpentine Gallery, Roger Hilton: Paintings and Drawings 1931-1973, March 1974, no. 82.
London, Beaux Arts, Artists of fame and promise: 1997, June - September 1997, ex. cat.
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


St Ives abstraction, with which Roger Hilton was allied rather than assimilated, was always said to be about landscape. One of the ways in which Hilton differed from St Ives artists was in the degree to which he espoused the figure in preference to landscape. However, Hilton in his maturity was not a representational painter, and although his imagery is frequently figurative, the references are often allusive or elusive. Here the main form alludes to a protruding female rump, and the star-like groupings of lines to the associated openings and clefts of the human body. (Similarly, Picasso was fond of employing the shorthand of an asterisk.) The image is sexualised rather than actively erotic, but it has a smouldering sensuality to it, witnessed by the flicking touch of the brush and the long tails to some of the brushstrokes, with attendant soft smudges. Hilton was a highly sophisticated painter, but his best work retained a compelling freshness, as here. Norbert Lynton wrote in Studio International in November 1971: ‘He paints as though he alone had use of canvas and pigments and as though he had started yesterday.’ His imagery is enduringly new-minted.

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

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