Details & Cataloguing

The Fine Art Society: 142 Years on New Bond Street


Ivon Hitchens
signed I Hitchens (lower right); also signed Ivon Hitchens, titled Trees and Bushes and inscribed on an Artist’s label on the stretcher bar
oil on canvas
52 by 106cm., 20½ by 41¾in.
Executed in 1952.
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Howard Bliss 
The World Wildlife Fund, London, 1970
Christie's, London, 11 May 1973, lot 186
JMC Engineering Consultants Ltd 
Waddington Galleries, London, 1980, where acquired by José and Muriel Campus


London, Leicester Galleries, Ivon Hitchens Paintings 1940-52, June 1952, no.32
Venice, XXVIII Venice Biennale, 1 June - 30 September 1956, no.11
London, Tate, Retrospective Exhibition, 11 July - 18 August 1963, no.81, with tour to City Museum and Art Gallery, Birmingham
Eastbourne, Towner Art Gallery, Ivon Hitchens: Retrospective Exhibition, 1978, no.8, with tour to Mappin Art Gallery, Sheffield; Museum and Art Gallery, Reading and City Museum and Art Gallery, Portsmouth


Patrick Heron, Ivon Hitchens, London, 1955, illustrated pl.25
Alan Bowness (ed.), Ivon Hitchens, London, 1973, no.33
Peter Khoroche, Ivon Hitchens, London, 1990, pp.86, 115, no.38, illustrated

Catalogue Note

‘It is not the subject that truly interests me, but the many possible ways, and finally, the only possible way of expressing it. Setting up my canvas and box in all weathers, I seek first to unravel the essential meaning of my subject, which is synonymous with its structure, and to understand my own psychological reactions to it. Next I must decide how best it can be rendered in paint, not by a literal copying of objects but by combinations and juxtapositions of lines, forms, planes, tones, colours etc., such as will have an aesthetic meaning when put down on canvas. My method usually is to paint a quick “sketch”, then to work out a careful, well-knit design, then to destroy this and start again, painting freely, regardless of the literal proportions of forms because of the way colour reactions of space and form tend to destroy or cut across the actual edges of forms. All the while there should be a dialogue between artist and canvas, so that the picture grows from both ends, like stalactite and stalagmite.’ (Ivon Hitchens, letter to Howard Bliss, quoted in Peter Khoroche, Ivon Hitchens, London 1990, p.52).

The Fine Art Society: 142 Years on New Bond Street