Lot 49
  • 49

John Hoyland, R.A.

50,000 - 80,000 GBP
62,500 GBP
bidding is closed


  • John Hoyland, R.A.
  • 21.2.70
  • signed and titled twice on the canvas overlap
  • acrylic on canvas


Waddington Galleries, London
Private Collection
Sale, Sotheby's London, 12th July 2013, lot 217
Alan Wheatley Art, London, where acquired by the present owner

Catalogue Note

The Hoyland Estate are currently preparing the forthcoming catalogue raisonné of the Artist’s work and would like to hear from owners of any work by the Artist so that these can be included in this comprehensive catalogue. Please write to The Hoyland Estate, c/o Sotheby’s Modern & Post-War British Art, London, W1A 2AA or email modbrit@sothebys.com

'Paintings are there to be experienced, they are events. They are also to be meditated on and to be enjoyed by the senses; to be felt through the eye.'

(John Hoyland, John Hoyland: Paintings 1967 - 1979 (exh. cat.), Serpentine Gallery, London, 1979)

By 1969, Hoyland’s reputation had reached the extent that he was able to commit himself full time to his own painting and resign from his post at the Chelsea School of Art. Throughout the next decade he would secure international recognition with representation at the Waddington Galleries in London and with André Emmerich in New York. In 1979, ten years after he had represented Britain at the São Paolo Biennale with Anthony Caro (where the two formed a close and longstanding friendship), a full-scale retrospective of Hoyland’s work was held at the Serpentine Gallery.

21.2.70 is therefore one of the first works from one of the most successful periods of Hoyland’s career. These works have a greater sense of action and automatism, with the paint applied in layers of freer, looser splashes, drips and flicks. These dense and weighty surfaces have a greater chromatic range and intensity than his earlier works, perhaps a result of his exposure to the techniques of the New York painters such as Robert Motherwell, Helen Frankenthaler and Larry Poons, whom he was in close contact at this time. The paintings and theories of Hans Hofmann also exerted a strong influence on Hoyland in the 1970s, encouraging him to imbue his paintings with greater personal and emotional expression.