Ivon Hitchens

Ivon Hitchens

jonathan clark fine art

1893–1979

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.’

Under the Greenwood

The clearest way into the Universe is through a forest wilderness.

John Muir, Journals, 1890

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 tin-roofed 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

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 un-tidied 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

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 God-made 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

2. Winter Hyacinths c.1932

oil on canvas 24 × 20 in / 61 × 51 cm

1. Boating Suffolk 1934

oil on canvas 23¾ × 21½ in / 60.5 × 54.5 cm

4. Autumn – Moatlands c.1932

oil on canvas 21 × 32 in / 53.5 × 81.5 cm

3. Summer – Moatlands c.1936

oil on canvas 22 × 32 in / 56 × 81.5 cm

6. Cottage Interior – Evening c.1938

oil on canvas 20½ × 41 in / 52 × 104 cm

5. Flowers – Adelaide Road c.1933

oil on canvas 28¾ × 40¼ in / 73 × 102 cm

8. Girl on a Pink Rug – Suffolk 1935

oil on canvas 22 × 26 in / 56 × 66 cm

7. Window View with Cyclamen c.1929

oil on canvas 24 × 21 in / 61 × 53.5 cm

10. Spring Mood II 1933

oil on canvas 28 × 40 in / 71 × 101.5 cm

9. Sunlight through Trees c.1938

oil on canvas 19¾ × 32½ in / 50 × 82.5 cm

12. The Garden Tap – Moatlands c.1936

oil on canvas 20 × 40½ in / 51 × 103 cm

11. Sleeping Figure with Book – Sizewell 1934

oil on canvas 20 × 24 in / 51 × 61 cm

14. Winter Walk III 1948

oil on canvas 17 × 43 in / 43 × 109 cm

13. The Gamekeeper’s Cottage c.1948

oil on canvas 16 × 29½ in / 40.5 × 75 cm

16. Blue Door – Greenleaves c.1943

oil on canvas 20½ × 41½ in / 52 × 105.5 cm

15. John by Jordan VII 1942

oil on canvas 21½ × 23¼ in / 54.5 × 59 cm

18. Studio with Open Doors 1942

oil on canvas 20½ × 41¼ in / 52 × 105 cm

17. Irises – Greenleaves c.1952

oil on canvas 16 × 41 in / 40.5 × 104 cm

20. House Spaces 1954

oil on canvas 16½ × 56½ in / 42 × 143.5 cm

19. Church Tower – Suffolk c.1939

oil on canvas 20 × 29¼ in / 51 × 74.5 cm

22. Bleak Spring II 1948

oil on canvas 18 × 36 in / 45.5 × 91.5 cm

21. A Work Day 1950

oil on canvas 79 × 98½ in / 200.5 × 250 cm

24. Patterns of Autumn & Sky 1966

oil on canvas 18½ × 56½ in / 47 × 143.5 cm

23. Mixed Poppies c.1960

oil on canvas 18¼ × 41½ in / 46.5 × 105.5 cm

26. Larchwood Path c.1948

oil on canvas 20 × 42 in / 51 × 106.5 cm

25. Monument in Forest 1973

oil on canvas 18½ × 56½ in / 47 × 143.5 cm

28. Resting Model c.1968

oil on canvas 18 × 41 in / 45.5 × 104 cm

27. Oval of Sky 1956

oil on canvas 28 × 56 in / 71 × 142 cm

12.

The Garden Tap – Moatlands c.1936

oil on canvas

signed lower right

20 × 40½ in / 51 × 103 cm

Provenance

The Artist’s Estate

13.

The Gamekeeper’s Cottage c.1948

oil on canvas

signed lower left

16 × 29½ in / 40.5 × 75 cm

Provenance

Rutland Gallery, London

14.

Winter Walk III 1948

oil on canvas

signed lower left

signed, titled & dated label verso

17 × 43 in / 43 × 109 cm

Provenance

The Artist’s Estate

Exhibited

Hanover Galleries, London, 1953, no. 24

Leicester Gallery, London, 1954, no. 4

Gimpel Fils, London, 1956, no. 2

Tate Gallery, London; Arts Council tour to

Bradford City Art Gallery and City Museum & Art Gallery,

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

Literature

Patrick Heron, Ivon Hitchens, Penguin, London, 1955,

illus. pl. 9

Alan Bowness (ed.) / T.G. Rosenthal (intro.), Ivon

Hitchens, Lund Humphries, London, 1973, illus. pl. 20

Peter Khoroche, Ivon Hitchens, Andre Deutsch,

London, 1990, p. 67, illus. p. 145, pl. 32

Peter Khoroche, Ivon Hitchens, Lund Humphries,

Farnham, 2007, p. 97, illus. p. 98, pl. 74

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

Tate Gallery, London; Arts Council tour to Bradford

City Art Gallery and City Museum & Art Gallery,

Birmingham, 1963, no. 32

16.

Blue Door – Greenleaves c.1943

oil on canvas

estate stamp verso

20½ × 41½ in / 52 × 105.5 cm

Provenance

The Artist’s Estate

17.

Irises – Greenleaves c.1952

oil on canvas

estate stamp verso

16 × 41 in / 40.5 × 104 cm

Provenance

The Artist’s Estate

18.

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

1.

Boating Suffolk – Betty Bedford 1934

oil on canvas

dated & inscribed on canvas turnover

estate stamp verso

23¾ × 21½ in / 60.5 × 54.5 cm

Provenance

The Artist’s Estate

2.

Winter Hyacinths c.1932

oil on canvassigned lower right 24 × 20 in / 61 × 51 cm

Provenance

The Artist’s Estate

3.

Summer – Moatlands c.1936

oil on canvas

estate stamp verso

22 × 32 in / 56 × 81.5 cm

Provenance

The Artist’s Estate

Private Collection, London

4.

Autumn – Moatlands c.1932

oil on canvas

estate stamp verso

21 × 32 in / 53.5 × 81.5 cm

Provenance

The Artist’s Estate

5.

Flowers – Adelaide Road c.1933

oil on canvas

estate stamp verso

28¾ × 40¼ in / 73 × 102 cm

Provenance

The Artist’s Estate

6.

Cottage Interior – Evening c.1938

oil on canvas

signed lower left

20½ × 41 in / 52 × 104 cm

Provenance

The Artist’s Estate

7.

Window View with Cyclamen c.1929

oil on canvas

signed lower left

24 × 21 in / 61 × 53.5 cm

Provenance

The Artist’s Estate

8.

Girl on a Pink Rug – Suffolk 1935

oil on canvas

signed lower left

22 × 26 in / 56 × 66 cm

Provenance

The Artist’s Estate

9.

Sunlight through Trees c.1938

oil on canvas

signed lower left

19¾ × 32½ in / 50 × 82.5 cm

Provenance

The Artist’s Estate

10.

Spring Mood II 1933

oil on canvas

signed, titled & dated label verso

estate stamp verso

28 × 40 in / 71 × 101.5 cm

Provenance

Waddington Galleries, London

A. Herbage

Elizabeth Creak

Exhibited

Waddington Galleries, London, 1982, illus.

& cover detail

Literature

Peter Khoroche, Ivon Hitchens, Lund Humphries,

2007, p. 53, illus. p. 54, pl. 38

11.

Sleeping Figure with Book – Sizewell 1934

oil on canvas

signed & dated lower right

20 × 24 in / 51 × 61 cm

Provenance

The Artist’s Estate

List of Works

20.

House Spaces 1954

oil on canvas

signed lower left

16½ × 56½ in / 42 × 143.5 cm

Provenance

The Artist’s Estate

Exhibited

British Council, Venice Biennale, 1956

21.

A Work Day 1950

oil on canvas

signed & dated lower right

79 × 98½ in / 200.5 × 250 cm

Provenance

The Artist’s Estate

Exhibited

Arts Council, London, 1950, no. 29

22.

Bleak Spring II 1948

oil on canvas

estate stamp verso

18 × 36 in / 45.5 × 91.5 cm

Provenance

The Artist’s Estate

Exhibited

Leicester Galleries, London, 1949, no. 5

23.

Mixed Poppies c.1960

oil on canvas

estate stamp verso

18¼ × 41½ in / 46.5 × 105.5 cm

Provenance

The Artist’s Estate

24.

Patterns of Autumn & Sky 1966

oil on canvas

signed lower left

titled & dated label verso

18½ × 56½ in / 47 × 143.5 cm

Provenance

The Artist’s Estate

Exhibited

Waddington Galleries, London, 1971, illus.

Literature

Alan Bowness (ed.) / T.G. Rosenthal (intro.),

Ivon Hitchens, Lund Humphries, London, 1973,

illus. pl. 81

Peter Khoroche, Ivon Hitchens, Andre Deutsch,

London, 1990, illus. p. 176, pl. 72

25.

Monument in Forest 1973

oil on canvas

signed & dated lower left

signed, titled & dated label verso

18½ × 56½ in / 47 × 143.5 cm

Provenance

The Artist’s Estate

26.

Larchwood Path c.1948

oil on canvas

signed lower left

20 × 42 in / 51 × 106.5 cm

Provenance

The Artist’s Estate

27.

Oval of Sky 1956

oil on canvas

signed lower right

signed, titled & dated label verso

28 × 56 in / 71 × 142 cm

Provenance

The Artist’s Estate

Exhibited

Auckland City Gallery, 1964, no. 2

28.

Resting Model c.1968

oil on canvas

estate stamp verso

18 × 41 in / 45.5 × 104 cm

Provenance

The Artist’s Estate

Cover:

Spring Moon c.1940 (detail)

oil on canvas

signed lower right

signed & titled label verso

21 × 52 in / 52 × 132 cm

Provenance

The Artist’s Estate

Selected Public Collections

Aberdeen Art Gallery

Barnsley: Cannon Hall Museum and Art Gallery

Bath Art Gallery

Bedford: Cecil Higgins Museum and Art Gallery

Belfast: Ulster Museum

Birmingham: City Museum and Art Gallery

Bradford City Art Gallery

Brighton Art Gallery

Bristol: City Museum and Art Gallery

Bury Art Gallery

Cambridge: Fitzwilliam Museum

Cardiff: National Museum of Wales

Chichester: Pallant House Gallery

Eastbourne: Towner Art Gallery

Edinburgh: Scottish National Gallery of Modern Art

Glasgow Art Gallery

Harrogate Art Gallery

Huddersfield Art Gallery

Kettering Art Gallery

Kingston-upon-Hull: Ferens Art Gallery

Leamington Spa: Warwick District Council Art Gallery

Leeds: City Art Galleries

Leicester: City Museum and Art Gallery

Liverpool: Walker Arts Gallery

London: Courtauld Institute Galleries, Royal Academy of Arts

Tate Gallery, Victoria and Albert Museum

Manchester: City Art Galleries, Whitworth Art Gallery

Middlesbrough Art Gallery

Newcastle-upon-Tyne: Laing Art Gallery

Norwich: Castle Museum

Nottingham: Castle Museum and Art Gallery

Oxford: Ashmolean Museum

Rochdale Art Gallery

Rugby Art Gallery

Salford Art Gallery

Sheffield: City of Art Galleries

Shrewsbury Art Gallery

Southampton Art Gallery

Swansea: Glynn Vivian Art Gallery

Swindon Museum and Art Gallery

Wakefield: City Museum and Art Gallery

Australia

Adelaide: Art Gallery of South Australia

Melbourne: National Gallery of Victoria

Perth: Art Gallery of Western Australia

Sydney: Art Gallery of New South Wales

Canada

Montreal: Museum of Fine Arts

Ottawa: National Gallery of Canada

Toronto: Art Gallery of Ontario

Vancouver: Art Gallery of Vancouver

France

Paris: Musée National d’Art Moderne

New Zealand

Nelson: Bishop Suter Art Gallery

Wellington: National Gallery of New Zealand

Norway

Oslo: Nasjonalgalleriet

South Africa

Natal: Tatham Art Gallery

Sweden

Gothenburg: Göteborgs Konstmuseum

USA

Buffalo: Albright-Knox Art Gallery

New Haven: Yale Center for British Art

Northampton: Smith Art Museum

Seattle Art Museum

Toledo Museum of Art

Biography

1893 Born in London on 3rd March, son of the painter Alfred Hitchens

Educated at Bedales School, St John’s Wood School of Art (1911) and the

Royal Academy Schools (1911-12, 1914-16 and 1918-19)

1920 Elected member of Seven and Five Society

1925 First solo exhibition at the Mayor Gallery, London

1929 Elected member of the London Artists’ Association

1931 Elected member of the London Group

1934 Participated in Objective Abstractions exhibition at the

Zwemmer Gallery

1935 Married Mary Cranford Coates

1937 Elected member of the Society of Mural Painters

1940 Studio in London bombed, moved to West Sussex, son John born

First of ten solo exhibitions at the Leicester Galleries

1945 First retrospective exhibition at Temple Newsam House, Leeds

1951 Awarded purchase prize in the Arts Council Festival of Britain exhibition, 60

Paintings for ‘51

1954 Completed the mural in the hall of Cecil Sharp House in Regent’s Park Road,

London

1955 Publication of the first monograph on his work by Patrick Heron

in the ‘Penguin Modern Painters’ series

1956 Represented Britain at the XXVIII Venice Biennale

1958 Created C.B.E.

1959 Completed Late Summer Parkland with a Lake for Nuffield College, Oxford

Special mention at XI Premio Lissone, Italy

1960 First solo exhibition at Waddington Galleries, London

1962 Installation of mural painting Day’s Rest, Day’s Work at University of Sussex,

Brighton

1963 Major retrospective exhibition arranged by the Arts Council at the Tate

Gallery, London

1973 Publication of a monograph (with 120 colour plates) edited by

Alan Bowness, Lund Humphries

1979 Third retrospective exhibition at the Royal Academy

Died 29th August

1990 Publication of a monograph by Peter Khoroche, Lund Humphries

(updated and expanded edition published in 2007)

Selected Solo Exhibitions

1925 Mayor Gallery, London

1928 Arthur Tooth & Sons, London

1929 London Artists’ Association, Cooling Galleries, London

1930 Heal’s Mansard Gallery, London

1933 Alex Reid & Lefevre, London (also 1935 and 37)

1940 Leicester Galleries, London (also in 1942, 44, 47, 49, 50, 52, 54, 57 and 59)

1945 Temple Newsam House, Leeds (retrospective)

1948 Graves Art Gallery, Sheffield (retrospective)

1953 Metropolitan Art Gallery, Tokyo, Second International Art Exhibition

1956 Gimpel Fils, London

XXVIII Venice Biennale, British Pavilion

1958 Laing Art Galleries, Toronto

1960 Waddington Galleries, London (also in 1962, 64, 66, 68, 69, 71,

73, 76, 82, 85, 90, 93 and 96)

1963 Tate Gallery, London (retrospective)

1964 Civic Art Gallery, Southampton, University of Southampton Arts Festival

1966 Tib Lane Gallery, Manchester; Poindexter Gallery, New York; Worthing Art Gallery

1967 Stone Gallery, Newcastle

1971 Basil Jacobs Fine Art, London

1972 Rutland Gallery, London, Landscape into Abstract

1978 Burstow Gallery, Brighton College

Towner Art Gallery, Eastbourne (retrospective)

1979 Royal Academy of Arts, London (retrospective)

1980 Bohun Gallery, Henley-on-Thames

1982 New Art Centre, London

1987 Oriel 31, Welshpool and Newtown, Powys

1989 Serpentine Gallery, London (retrospective)

1991 Cleveland Bridge Gallery, Bath

1993 Bernard Jacobson Gallery, London; Pallant House Gallery,

Chichester; Abbot Hall Art Gallery, Kendal

2000 Jonathan Clark Fine Art, London, A Visual Sound

2003 Jonathan Clark Fine Art, London, Landscapes

2005 Towner Art Gallery, Eastbourne; Jonathan Clark Fine Art, London, Nudes

2007 Pallant House Gallery, Chichester

Jonathan Clark Fine Art, London, The Flower Paintings

2009 Jonathan Clark Fine Art, London, Unseen Paintings from the 1930s

2012 Jonathan Clark Fine Art, London, The Poet of Exactitudes

jonathan clark fine art18 park walk SW10 0AQ

london + 44 (0) 20 7351 3555

info@jcfa.co.uk www.jcfa.co.uk

With very many thanks to John Hitchens for his generous help in preparing this catalogue.

Photography: Justin Piperger & Douglas AtfieldPhotographs of Greenleaves © Anne PurkissText © Sandy Mallet Designed by Graham ReesPrinted by Deckers Snoeck

Catalogue © Jonathan Clark Fine ArtPublished 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.