Ivon Hitchens
Ivon Hitchens 1893 –1979
jonathan clark fine art
Under the Greenwood The clearest way into the Universe is through a forest wilderness. John Muir, Journals, 1890
Once or twice in every generation there is an artist who stands out as being utterly fused with their own landscape, their work marinated in the place they inhabit. Monet is a perfect example. The garden he created at Giverny, that extravagant mixture of raw colour and Japanese aesthetic, was brought into being entirely to precipitate ideas for his paintings. It meant he was able to return day after day to the same place - to the same plants even - and discover in his re-visiting countless new ways of approaching his subject. England’s Monet is Ivon Hitchens: an artist who has become intimately linked with a small number of venerated locations, most significantly Greenleaves - Hitchens’ ‘Giverny’ - the woodland haven in West Sussex where he lived and worked for nearly four decades. Like his French counterpart, he was quite candid about the way he reused this highly personal landscape. As he wrote to his patron Howard Bliss in March 1960, ‘I paint most “subjects” many times over, however it is not really the subject that truly interests me - but the many possible ways, and finally the only possible way, of expressing it. If that can be made to combine with something worth looking at, then I begin to feel happy inside.’
Cézanne, an artist of great importance to Hitchens, told the same story. In one of his final letters to his son the great painter wrote: ‘Here on the edge of the river, the motifs are plentiful, the same subject seen from a different angle gives a subject for study of the highest interest and so varied that I think I could be occupied for months without changing my place, simply bending a little more to the right or left.’ Common to these artists is that much of their work was being made in the open air - there is a logical conviction that one cannot properly engage with nature in any other way. Turner would have agreed, shouting above the howling gale, lashed to the mast of his storm-tossed steamboat. What Hitchens seems to have found, having gained his Paradise at Greenleaves, was that even if the subject before his easel remained the same, the moment changed, and the perception was re-born. ‘A good painter’, Hitchens wrote to Alan Bowness, ‘is he who, like a magician, having taken thought, offers the magic words, and conjures up life from within the canvas.’
As for all the best magicians, the stage had to be set. When Hitchens first arrived at Greenleaves in 1939, there wasn’t a suitable site in the six acres of woodland to park the green and scarlet gypsy caravan in which he and his young family first made their home, and one of his first jobs was to clear a space amongst the bracken and birch trees. Later on he dug a series of shallow pools, designed to reflect the pattern of trees and sky. If this didn’t exactly leave nature untouched, it certainly wasn’t the organised horticulture of Giverny. The environment he was creating put in place an essential set of conditions in which art could be made - in which it could be, in his phrase, ‘conjured up’. Different artists have been driven to make different arrangements: whether Mondrian demanding a pristine white room, free from all distraction, or Hodgkin turning the finished paintings in his studio to face the walls, or the insistently untidied chaos of Bacon’s Reece Mews studio. In Hitchens’ case it was the woods and water of Greenleaves. From the 1940s onwards Hitchens worked in elemental isolation, an isolation that became an essential and characteristic ingredient of his creative activity. The artist’s working process - heading off into the landscape early each day, wheelbarrow laden with canvases and painting materials, whatever the weather whatever the light - was a solo task, a singularly personal communication with nature. It was a drastic change from his Hampstead studio days of the 1930s, when he had been blessed with neighbours as stimulating as Henry Moore, Barbara Hepworth and Ben Nicholson, and a host of refugee artists, architects and designers stopping off en route to America. Even then in the 1930s Hitchens was possessed by a need for independence. There is a well-known photograph, taken at
Happisburgh in Norfolk in 1931, showing a group of artists on a working holiday, fresh from London, disporting themselves on the beach. Moore and Nicholson are both stripped to the waist, Hepworth too shows a certain amount of flesh. Hitchens, conversely, stands at the edge of group, fully clothed, macintosh over arm, hovering between belonging and being the outsider par excellence. If Hitchens placed himself on the edge of social engagement, it was a rewarding trade-off for the profound interaction he achieved with nature. By decamping to Sussex, and disconnecting from his Hampstead companions and from the ideas of metropolitan modernism, he created an opportunity to focus more religiously on his subject matter. In the following years there were critics who read this disengagement not as an escape, but as a new belonging: Patrick Heron in his essay for the Penguin Modern Masters volume on Hitchens in 1955 discussed his work using the same kind of progressive criteria and language that was being employed at that time to define Abstract Expressionism. Hitchens, in leaving London and burying himself in the country, had matched one modernism with another. The search for this rural idyll had been a long time in coming. From the mid-30s, Hitchens’ trips to the country became more frequent and more extended. The sculptor and fellow member of the Seven and Five Society, Richard Bedford, lent him his tinroofed cottage among the dunes at Sizewell in Suffolk, where he returned on honeymoon with his bride Mollie in 1935, Mollie playing the role of artist’s model. The previous year, he had stayed with the wood-engraver Blair Hughes-Stanton at Higham in the Stour valley, and in 1937 and ‘38 Ivon and Mollie were near there at Holbrook on the Shotley peninsula. Hitchens’
response to the bucolic landscape of East Suffolk, backed by vast East Anglian skies, is wholly distinctive in its economy and energy of quick gesture, and its fascination for the art of mark making. Although a visceral response to nature, the act of painting involved a process of measured planning before Hitchens took up his brushes. ‘Setting up 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.’ The culminating act of applying paint to canvas had behind it long-considered procedures, analysis and theory. This planning extended even to the individual brushstrokes themselves. The impression Hitchens frequently gives of having approached the canvas with complete spontaneity often resolving whole areas of a composition with a single, uncorrected brushstroke - is again the result of meticulous preparation, the bravura applications of paint being considered and plotted with the same absolute precision that is required when working in watercolour, a medium that cannot be corrected or second-guessed. It is a level of self-willed discipline that seems almost unique amongst artists of his time. Hitchens’ experimentation with mark making evolves throughout his career. Already by the 1930s there are complex variations of brushstrokes and shifts in the transfer of paint - from overloaded to virtually dry - and all the time using unpainted areas of white ground to contribute almost as powerfully as the paint itself in
the creation of space, light and structure. This inventive approach extends, famously, even to the shape of his canvases, their characteristic double and triple square format aiming to suggest a curving panorama, to make the onlooker experience what is in peripheral vision at the same time as seeing what lies in front. ‘I like my long shapes’ he wrote, ‘so that I can “move”, so that one half or part reacts against, while furthering the purpose of, the other.’ This consistently exploratory instinct is critical to Hitchens finding such an abundance of approaches when returning to the same subject, and is an important ingredient in the development of the artist’s ‘variations on a theme’ and series paintings – another parallel with Monet. For Monet’s haystacks and views of Rouen Cathedral, Hitchens had ‘Spring Mood’ and ‘Terrick Mill’. The development of these themes stimulated a rare intimacy with his subject matter. The intensity of his painting process, day after day, year after year in the same environment, gave him a knowledge and experience of his own place that parallels Constable and his square mile or so of Suffolk, working (in the words of Constable’s biographer C R Leslie) ‘within the narrowest limits in which, perhaps, the studies of an artist ever were confined’. Monet and Cézanne aside, there is something peculiarly English about this approach to landscape, where a devotion to nature, to the restriction of focusing on a particular place, can unfold into something more specifically spiritual - something ancient, poetic and pantheistic. Constable’s chosen subject was a Godmade place. Hitchens’ choice of a woodland home, and woods to work in, fosters a train of thought that instead leads to the unworldliness of a Forest of Arden, to an England sliding into myth, as much full of shadows as of light. This is the country of the Green Man.
To some extent it is a landscape of its age. Hitchens’ treatment of English places before the war, in the 1930s, has an insouciant picnic air, a world of naked sunbathing and punting in the reeds. Certainly, his vision of it after the war is a more lyrical, more distinctly challenging place. We have left behind Vaughan Williams, and found ourselves with Benjamin Britten. Hitchens’ lifelong romance with the English landscape, his sparring with the spirit of place, is one of the most dynamic and unceasing entanglements between artist and subject matter in modern British art. At his best he not only evokes what he has seen and felt, what he has observed about a particular moment in a particular place, he also draws us - the onlooker - into our own powerful experience of nature, and on into a forest of untethered spirits. Sandy Mallet April 2016
1.
Boating Suffolk 1934
2.
Winter Hyacinths c.1932
oil on canvas 23¾ × 21½ in / 60.5 × 54.5 cm
oil on canvas 24 × 20 in / 61 × 51 cm
3.
Summer – Moatlands c.1936
4.
Autumn – Moatlands c.1932
oil on canvas 22 × 32 in / 56 × 81.5 cm
oil on canvas 21 × 32 in / 53.5 × 81.5 cm
5. Flowers
– Adelaide Road c.1933
oil on canvas 28¾ × 40¼ in / 73 × 102 cm
6.
Cottage Interior – Evening c.1938
oil on canvas 20½ × 41 in / 52 × 104 cm
7.
Window View with Cyclamen c.1929
8.
Girl on a Pink Rug – Suffolk 1935
oil on canvas 24 × 21 in / 61 × 53.5 cm
oil on canvas 22 × 26 in / 56 × 66 cm
9.
Sunlight through Trees c.1938
10.
Spring Mood II 1933
oil on canvas 19¾ × 32½ in / 50 × 82.5 cm
oil on canvas 28 × 40 in / 71 × 101.5 cm
11. Sleeping
Figure with Book – Sizewell 1934
oil on canvas 20 × 24 in / 51 × 61 cm
12.
The Garden Tap – Moatlands c.1936
oil on canvas 20 × 40½ in / 51 × 103 cm
13. The
Gamekeeper’s Cottage c.1948
oil on canvas 16 × 29½ in / 40.5 × 75 cm
14. Winter
Walk III 1948
oil on canvas 17 × 43 in / 43 × 109 cm
15.
John by Jordan VII 1942
16.
Blue Door – Greenleaves c.1943
oil on canvas 21½ × 23¼ in / 54.5 × 59 cm
oil on canvas 20½ × 41½ in / 52 × 105.5 cm
17.
Irises – Greenleaves c.1952 oil on canvas 16 × 41 in / 40.5 × 104 cm
18.
Studio with Open Doors 1942 oil on canvas 20½ × 41¼ in / 52 × 105 cm
19.
Church Tower – Suffolk c.1939
20.
House Spaces 1954
oil on canvas 20 × 29¼ in / 51 × 74.5 cm
oil on canvas 16½ × 56½ in / 42 × 143.5 cm
21.
A Work Day 1950 oil on canvas 79 × 98½ in / 200.5 × 250 cm
22.
Bleak Spring II 1948 oil on canvas 18 × 36 in / 45.5 × 91.5 cm
23.
Mixed Poppies c.1960
24. Patterns
oil on canvas 18¼ × 41½ in / 46.5 × 105.5 cm
of Autumn & Sky 1966
oil on canvas 18½ × 56½ in / 47 × 143.5 cm
25. Monument
in Forest 1973
oil on canvas 18½ × 56½ in / 47 × 143.5 cm
26.
Larchwood Path c.1948
oil on canvas 20 × 42 in / 51 × 106.5 cm
27.
Oval of Sky 1956
28. Resting
oil on canvas 28 × 56 in / 71 × 142 cm
Model c.1968
oil on canvas 18 × 41 in / 45.5 × 104 cm
List of Works 1.
5.
9.
12.
Boating Suffolk – Betty Bedford 1934
Flowers – Adelaide Road c.1933
Sunlight through Trees c.1938
The Garden Tap – Moatlands c.1936
17. Literature Patrick Heron, Ivon Hitchens, Penguin, London, 1955,
Irises – Greenleaves c.1952
oil on canvas
oil on canvas
oil on canvas
oil on canvas
dated & inscribed on canvas turnover
estate stamp verso
signed lower left
signed lower right
estate stamp verso
28¾ × 40¼ in / 73 × 102 cm
19¾ × 32½ in / 50 × 82.5 cm
20 × 40½ in / 51 × 103 cm
Provenance
Provenance
Provenance
Peter Khoroche, Ivon Hitchens, Andre Deutsch,
Provenance
The Artist’s Estate
The Artist’s Estate
The Artist’s Estate
London, 1990, p. 67, illus. p. 145, pl. 32
The Artist’s Estate
23¾ × 21½ in / 60.5 × 54.5 cm
Provenance
illus. pl. 9 Alan Bowness (ed.) / T.G. Rosenthal (intro.), Ivon Hitchens, Lund Humphries, London, 1973, illus. pl. 20
oil on canvas estate stamp verso 16 × 41 in / 40.5 × 104 cm
Peter Khoroche, Ivon Hitchens, Lund Humphries,
The Artist’s Estate
Farnham, 2007, p. 97, illus. p. 98, pl. 74 2.
6.
10.
13.
Cottage Interior – Evening c.1938
Spring Mood II 1933
The Gamekeeper’s Cottage c.1948
Winter Hyacinths c.1932
oil on canvas
oil on canvas
oil on canvas
oil on canvas
signed lower left
signed, titled & dated label verso
signed lower left
signed lower right
20½ × 41 in / 52 × 104 cm
estate stamp verso
16 × 29½ in / 40.5 × 75 cm
24 × 20 in / 61 × 51 cm
Provenance
Provenance The Artist’s Estate
The Artist’s Estate
Window View with Cyclamen c.1929
Summer – Moatlands c.1936
oil on canvas
oil on canvas
signed lower left
estate stamp verso
24 × 21 in / 61 × 53.5 cm
22 × 32 in / 56 × 81.5 cm
Provenance
Provenance A. Herbage Elizabeth Creak Exhibited
4.
Autumn – Moatlands c.1932 oil on canvas estate stamp verso 21 × 32 in / 53.5 × 81.5 cm
Provenance The Artist’s Estate
Rutland Gallery, London
14.
Winter Walk III 1948
15.
John by Jordan VII 1942 oil on canvas signed lower left signed, titled & dated label verso 21½ × 23¼ in / 54.5 × 59 cm
Provenance The Artist’s Estate Exhibited
Waddington Galleries, London, 1982, illus.
oil on canvas
Tate Gallery, London; Arts Council tour to Bradford
& cover detail
signed lower left
City Art Gallery and City Museum & Art Gallery,
signed, titled & dated label verso
Birmingham, 1963, no. 32
Literature
Provenance
Peter Khoroche, Ivon Hitchens, Lund Humphries,
The Artist’s Estate
2007, p. 53, illus. p. 54, pl. 38
The Artist’s Estate Private Collection, London
Provenance
Waddington Galleries, London 7.
3.
28 × 40 in / 71 × 101.5 cm
18.
17 × 43 in / 43 × 109 cm
Provenance
16.
The Artist’s Estate
Blue Door – Greenleaves c.1943
Exhibited
oil on canvas
Hanover Galleries, London, 1953, no. 24
estate stamp verso
8.
11.
Girl on a Pink Rug – Suffolk 1935
Sleeping Figure with Book – Sizewell 1934
oil on canvas
oil on canvas
Gimpel Fils, London, 1956, no. 2
signed lower left
signed & dated lower right
Tate Gallery, London; Arts Council tour to
Provenance
22 × 26 in / 56 × 66 cm
20 × 24 in / 51 × 61 cm
Bradford City Art Gallery and City Museum & Art Gallery,
The Artist’s Estate
Provenance
Provenance
The Artist’s Estate
The Artist’s Estate
Leicester Gallery, London, 1954, no. 4
Birmingham, 1963, no. 53, illus. (Retrospective) Southampton City Art Gallery, 1964, no. 8 Worthing Museum and Art Gallery, 1966, no. 20 Waddington Galleries, 1993, no. 21
20½ × 41½ in / 52 × 105.5 cm
Studio with Open Doors 1942 oil on canvas estate stamp verso 20½ × 41¼ in / 52 × 105 cm
Provenance The Artist’s Estate Exhibited Waddington Galleries, London, 1993, no. 2, illus. Literature Peter Khoroche, Ivon Hitchens, Andre Deutsch, London, 1990, illus. p. 133, pl. 15
Peter Khoroche, Ivon Hitchens, Lund Humphries, Farnham, 2007, illus. p. 73, pl. 56
19.
Church Tower – Suffolk c.1939 oil on canvas estate stamp verso 20 × 29¼ in / 51 × 74.5 cm
Provenance The Artist’s Estate
20.
23.
26.
House Spaces 1954
Mixed Poppies c.1960
Larchwood Path c.1948
oil on canvas
oil on canvas
oil on canvas
signed lower left
estate stamp verso
signed lower left
16½ × 56½ in / 42 × 143.5 cm
18¼ × 41½ in / 46.5 × 105.5 cm
20 × 42 in / 51 × 106.5 cm
Provenance
Provenance
Provenance
The Artist’s Estate
The Artist’s Estate
The Artist’s Estate
24.
27.
Exhibited British Council, Venice Biennale, 1956
Patterns of Autumn & Sky 1966
Oval of Sky 1956
21.
oil on canvas
oil on canvas
A Work Day 1950
signed lower left
signed lower right
oil on canvas
titled & dated label verso
signed, titled & dated label verso
18½ × 56½ in / 47 × 143.5 cm
28 × 56 in / 71 × 142 cm
Provenance
Provenance
The Artist’s Estate
The Artist’s Estate
Exhibited
Exhibited
Waddington Galleries, London, 1971, illus.
Auckland City Gallery, 1964, no. 2
signed & dated lower right 79 × 98½ in / 200.5 × 250 cm
Provenance The Artist’s Estate Exhibited Arts Council, London, 1950, no. 29
Literature Alan Bowness (ed.) / T.G. Rosenthal (intro.),
22.
Ivon Hitchens, Lund Humphries, London, 1973, illus. pl. 81
28.
Resting Model c.1968
Bleak Spring II 1948
Peter Khoroche, Ivon Hitchens, Andre Deutsch,
oil on canvas
oil on canvas
London, 1990, illus. p. 176, pl. 72
estate stamp verso 18 × 41 in / 45.5 × 104 cm
estate stamp verso 18 × 36 in / 45.5 × 91.5 cm
25.
Provenance
Monument in Forest 1973
The Artist’s Estate
Provenance The Artist’s Estate
oil on canvas
Exhibited
signed & dated lower left
Cover:
Leicester Galleries, London, 1949, no. 5
signed, titled & dated label verso
Spring Moon c.1940 (detail)
18½ × 56½ in / 47 × 143.5 cm
oil on canvas
Provenance
signed lower right
The Artist’s Estate
signed & titled label verso 21 × 52 in / 52 × 132 cm
Provenance The Artist’s Estate
Biography
Selected Solo Exhibitions
Selected Public Collections
1893
Born in London on 3rd March, son of the painter Alfred Hitchens
1925
Mayor Gallery, London
Aberdeen Art Gallery
Southampton Art Gallery
Educated at Bedales School, St John’s Wood School of Art (1911) and the
1928
Arthur Tooth & Sons, London
Barnsley: Cannon Hall Museum and Art Gallery
Swansea: Glynn Vivian Art Gallery
Royal Academy Schools (1911-12, 1914-16 and 1918-19)
1929
London Artists’ Association, Cooling Galleries, London
Bath Art Gallery
Swindon Museum and Art Gallery
1920
Elected member of Seven and Five Society
1930
Heal’s Mansard Gallery, London
Bedford: Cecil Higgins Museum and Art Gallery
Wakefield: City Museum and Art Gallery
1925
First solo exhibition at the Mayor Gallery, London
1933
Alex Reid & Lefevre, London (also 1935 and 37)
Belfast: Ulster Museum
1929
Elected member of the London Artists’ Association
1940
Leicester Galleries, London (also in 1942, 44, 47, 49, 50, 52, 54, 57 and 59)
Birmingham: City Museum and Art Gallery
Australia
1931
Elected member of the London Group
1945
Temple Newsam House, Leeds (retrospective)
Bradford City Art Gallery
Adelaide: Art Gallery of South Australia
1934
Participated in Objective Abstractions exhibition at the
1948
Graves Art Gallery, Sheffield (retrospective)
Brighton Art Gallery
Melbourne: National Gallery of Victoria
Zwemmer Gallery
1953
Metropolitan Art Gallery, Tokyo, Second International Art Exhibition
Bristol: City Museum and Art Gallery
Perth: Art Gallery of Western Australia
1935
Married Mary Cranford Coates
1956
Gimpel Fils, London
Bury Art Gallery
Sydney: Art Gallery of New South Wales
1937
Elected member of the Society of Mural Painters
XXVIII Venice Biennale, British Pavilion
Cambridge: Fitzwilliam Museum
1940
Studio in London bombed, moved to West Sussex, son John born
1958
Laing Art Galleries, Toronto
Cardiff: National Museum of Wales
First of ten solo exhibitions at the Leicester Galleries
1960
Waddington Galleries, London (also in 1962, 64, 66, 68, 69, 71,
Chichester: Pallant House Gallery
1945
First retrospective exhibition at Temple Newsam House, Leeds
73, 76, 82, 85, 90, 93 and 96)
Eastbourne: Towner Art Gallery
1951
Awarded purchase prize in the Arts Council Festival of Britain exhibition, 60
1963
Tate Gallery, London (retrospective)
Edinburgh: Scottish National Gallery of Modern Art
Paintings for ‘51
1964
Civic Art Gallery, Southampton, University of Southampton Arts Festival
Glasgow Art Gallery
Completed the mural in the hall of Cecil Sharp House in Regent’s Park Road,
1966
Tib Lane Gallery, Manchester; Poindexter Gallery, New York; Worthing Art Gallery
Harrogate Art Gallery
London
France
1967
Stone Gallery, Newcastle
Huddersfield Art Gallery
Publication of the first monograph on his work by Patrick Heron
Paris: Musée National d’Art Moderne
1971
Basil Jacobs Fine Art, London
Kettering Art Gallery
1954 1955
Canada Montreal: Museum of Fine Arts Ottawa: National Gallery of Canada Toronto: Art Gallery of Ontario Vancouver: Art Gallery of Vancouver
in the ‘Penguin Modern Painters’ series
1972
Rutland Gallery, London, Landscape into Abstract
Kingston-upon-Hull: Ferens Art Gallery
New Zealand
1956
Represented Britain at the XXVIII Venice Biennale
1978
Burstow Gallery, Brighton College
Leamington Spa: Warwick District Council Art Gallery
Nelson: Bishop Suter Art Gallery
1958
Created C.B.E.
Towner Art Gallery, Eastbourne (retrospective)
Leeds: City Art Galleries
Wellington: National Gallery of New Zealand
1979
Royal Academy of Arts, London (retrospective)
Leicester: City Museum and Art Gallery
1959 Completed Late Summer Parkland with a Lake for Nuffield College, Oxford Special mention at XI Premio Lissone, Italy
1980
Bohun Gallery, Henley-on-Thames
Liverpool: Walker Arts Gallery
Norway
1960
First solo exhibition at Waddington Galleries, London
1982
New Art Centre, London
London: Courtauld Institute Galleries, Royal Academy of Arts
Oslo: Nasjonalgalleriet
1962
Installation of mural painting Day’s Rest, Day’s Work at University of Sussex,
1987
Oriel 31, Welshpool and Newtown, Powys
Tate Gallery, Victoria and Albert Museum
Brighton
1989
Serpentine Gallery, London (retrospective)
Manchester: City Art Galleries, Whitworth Art Gallery
Major retrospective exhibition arranged by the Arts Council at the Tate
1991
Cleveland Bridge Gallery, Bath
Middlesbrough Art Gallery
Gallery, London
1993
Bernard Jacobson Gallery, London; Pallant House Gallery,
Newcastle-upon-Tyne: Laing Art Gallery
Publication of a monograph (with 120 colour plates) edited by
Sweden
Chichester; Abbot Hall Art Gallery, Kendal
Norwich: Castle Museum
Alan Bowness, Lund Humphries
Gothenburg: Göteborgs Konstmuseum
2000
Jonathan Clark Fine Art, London, A Visual Sound
Nottingham: Castle Museum and Art Gallery
1963 1973
South Africa Natal: Tatham Art Gallery
1979
Third retrospective exhibition at the Royal Academy
2003
Jonathan Clark Fine Art, London, Landscapes
Oxford: Ashmolean Museum
USA
Died 29th August
2005
Towner Art Gallery, Eastbourne; Jonathan Clark Fine Art, London, Nudes
Rochdale Art Gallery
Buffalo: Albright-Knox Art Gallery
1990
Publication of a monograph by Peter Khoroche, Lund Humphries
2007
Pallant House Gallery, Chichester
Rugby Art Gallery
New Haven: Yale Center for British Art
(updated and expanded edition published in 2007)
Jonathan Clark Fine Art, London, The Flower Paintings
Salford Art Gallery
Northampton: Smith Art Museum
2009
Jonathan Clark Fine Art, London, Unseen Paintings from the 1930s
Sheffield: City of Art Galleries
Seattle Art Museum
2012
Jonathan Clark Fine Art, London, The Poet of Exactitudes
Shrewsbury Art Gallery
Toledo Museum of Art
With very many thanks to John Hitchens for his generous help in preparing this catalogue. Photography: Justin Piperger & Douglas Atfield Photographs of Greenleaves © Anne Purkiss Text © Sandy Mallet Designed by Graham Rees Printed by Deckers Snoeck Catalogue © Jonathan Clark Fine Art Published by Jonathan Clark Fine Art, London 2016
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any other information storage or retrieval system without prior permission in writing from the gallery.
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