Lot 123
  • 123

IVON HITCHENS | View to the South

Estimate
20,000 - 30,000 GBP
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Description

  • Ivon Hitchens
  • View to the South
  • signed; also signed, titled, dated 1971 and inscribed on a label attached to the stretcher bar
  • oil on canvas
  • 41 by 75cm.; 16 by 29½in.

Provenance

Waddington Galleries, London, where acquired by a Private Collection
Acquired from the above by the present owner

Condition

The canvas is original. The canvas undulates slightly but appears sound. There are some fine lines of cracking to the extreme right edge where the canvas has been stretched with some associated flecks of paint loss around the upper right corner, largely not visible in the present frame. There is minor reticulation towards the lower left corner. There are one or two minor instances of detritus and surface matter, and very light surface dirt. Inspection under ultraviolet light reveals no obvious signs of fluorescence or retouching. The work is held in a slip with a painted wooden frame. Please telephone the department on +44 (0) 207 293 6424 if you have any questions regarding the present work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

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 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 on canvas' (Ivon Hitchens, personal memorandum, circa 1954)