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Ivon Hitchens (British, 1893-1979) Caves of Green No.3 44 x 145.5 cm. (17 1/4 x 57 1/4 in.) image 1
Ivon Hitchens (British, 1893-1979) Caves of Green No.3 44 x 145.5 cm. (17 1/4 x 57 1/4 in.) image 2
Ivon Hitchens (British, 1893-1979) Caves of Green No.3 44 x 145.5 cm. (17 1/4 x 57 1/4 in.) image 3
Lot 52AR

Ivon Hitchens
(British, 1893-1979)
Caves of Green No.3 44 x 145.5 cm. (17 1/4 x 57 1/4 in.)

18 November 2020, 15:00 GMT
London, New Bond Street

Sold for £106,500 inc. premium

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Ivon Hitchens (British, 1893-1979)

Caves of Green No.3
signed 'Hitchens' (lower right); signed again, titled, inscribed and dated 'Caves of Green, No3.1961/by Ivon Hitchens/Greenleaves, Petworth Sussex' (on a label attached to the stretcher)
oil on canvas
44 x 145.5 cm. (17 1/4 x 57 1/4 in.)

Footnotes

Provenance
With Waddington Galleries, London
Mr E. Lysaght
Private Collection, U.K.

Exhibited
London, Waddington Galleries, Summer Water and Other Paintings, June 1962, cat.no.21 (ill.b&w)

Writing in 1964 to historian Sir Alan Bowness in preparation for a lecture Bowness was to give at Southampton University, Hitchens details the progression of the four paintings which form the Caves of Green series.

Hitchens introduces the subject as 'of 'all-over' atmosphere exploring the idea and the actual place' (in correspondence, February 1964, Tate Archive). Each of the four works share the same compositional make up of three arched 'cave' forms to the left, centre and right. Hitchens notes that each of these three 'caves' are 'clearly sorted out in three main tones, in alternating progression' (ibid). The left-hand 'cave' is formed of tonal bands, drawing the eye upwards and to the left. Similarly, the right-hand 'cave' with a tonally dark centre and lighter surround, is to draw the eye upward and to the right. Lastly the central 'cave', is again formed of tonal bands, but lighter at the centre, designed to lead the eye inwards.

Hitchens notes that all the works in the series follow the same design, each becoming more complex than the last. He concludes:

'I consider [the series] a successful exploitation of the intended convention and it works throughout the whole picture both in tone and colour... All my better pictures should be "read" for this deliberate progression of tone (or colour) – the corresponding balance – the white partitions of canvas are there to clarify & distinguish the notes & the movement' (ibid)

We are grateful to Peter Khoroche for his assistance in cataloguing this lot.

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