From Album:  Hitchens Ivon John By Jordan no2 1942 KEYWORDS:   Sold John by Jordan no 2 1942 Signed lower right Signed dated & inscribed on stretcher label Oil on canvas 29 1/4 x 16 1/4 in : 74 x 41 cm Exhibited Leicester Galleries August 1944 no 132 Tate Gallery Retrospective 1963 no 29 In August 1940 Hitchens’ studio at 169 Adelaide Road, Hampstead was damaged by a bomb. He and his wife, together with John, their four-month-old son, moved permanently to Lavington Common, near Petworth in West Sussex, where at first they lived in a caravan which they had bought the year before. ‘Jordan’ was the name of a tin bath, stowed under the caravan when not in use, and the group of John by Jordan paintings are intimate portraits of mother and baby son. The life they depict is one of peace and primal innocence in a sunlit forest glade. Both the subject and its treatment – rich colour and bold brushmarks – express a joyful affirmation in the completest contrast to the anxiety and deprivation of wartime.
		From Album:  Armitage, Kenneth Playing group, 1963 KEYWORDS:   sold Kenneth Armitage Playing group, 1963 Gouache & charcoal on paper, Initialled & dated Size: 15 x 20 in / 38 x 51 cm
		From Album:  Armitage, Kenneth Studies for Standing group, 1952 KEYWORDS:   sold Kenneth Armitage Studies for Standing group, 1952 Pencil & wash on paper, Initialled & dated Size: 16 3/4 x 22 in
		From Album:  Hitchens, Ivon 1893-1979 Spring Mood no.3 KEYWORDS:   Ivon Hitchens sold 1 Spring Mood no 3 1933 Estate stamp verso Oil on canvas 28 x 40 in : 71 x 102 cm Almost every painting in this exhibition is one of several versions or variations on a theme, whether it be still life or landscape. Hitchens’ interest was not so much in the subject itself as in the pictorial opportunities it offered. It was therefore natural that he should want to explore the different aspects of the subject in a series of paintings. The subject of Spring Mood no 3 is a group of plants and flowers in pots and vases placed on a table in the artist’s Hampstead studio, with a view out of the window to distant rooftops. This is one of at least three treatments of the theme. (There are, in addition, two exquisite miniature versions, each measuring 6 x 7 ins, painted in the following year, 1934.) In Spring Mood nos 1 & 3 Hitchens is concerned with the bare bones of the composition: rhythm, line and colour-shape, while in no 2 he exploits contrasts of pattern and detail.
		From Album:  Hitchens, Ivon 1893-1979 Girl In Boat no.2 KEYWORDS:   Girl In Boat no.2 sold 1938 Signed lower right Estate stamp verso Oil on canvas 22 x 24 in : 56 x 61 cm Hitchens made regular visits to Suffolk throughout the 1930s and the paintings he made there form a distinctive group within his work as a whole. This lyrical piece was painted while he and his wife were staying at Holbrook on the Shotley Peninsula, not far from Ipswich. It is one of at least three versions of the subject, made in the intervals between work on the more ambitious Holbrook Pools in the double-square horizontal format that he had adopted two years earlier.
		From Album:  Wells, John Matching descriptions: 8. Painting 1945 Oil on board Signed, dated, studio stamped & inscribed verso 13 3/4 x 6 ins 35 x 15.5 cms Exhibited:Crypt group, St. Ives, 1946, no. 51 Towards the end of the war and in the immediate period after establishing a studio in Newlyn in 1945, Wells produced a number of exquisite works in which he developed ideas and concepts that he had experienced during the previous five years, on a larger, more ambitious scale. This work is a classic example of this aspect of his career, combining references to hull and rudder shapes with a supremely graceful curve which pushes up through the space above the horizon line, punctuating the background. The sense of balance and implied movement across the picture makes this one of Wells’ strongest essays in pure constructivism.
		From Album:  Wells, John Matching descriptions: 12 Pageant 1947-8 Oil on board Signed, numbered 85/ 8 & inscribed verso 9 x 11 3/4 ins 23 x 30 cms Exhibited: Lefevre Gallery, London, 1946, no. 41 Crypt group, St Ives, 1946, no. 47 Newlyn Orion Gallery, Penzance, 1985 This painting is a reworking of the earlier painting, Nuclear Dance dated 1945. From the backboard it would appear that Nuclear Dance was originally the other way up so that the composition read with a straight horizon line towards the lower quarter of the board. Typical keel like forms and thrusting chevrons topped with balancing triangles, when read in this way, are suggestive of a musical notation almost gently rocking across the composition. Pageant, created over the top of Nuclear Dance three years later, inverts the image and stacks the forms on a series of points topped with acute angled shapes akin to flags or pennants, that create a more staccato rhythm.
		From Album:  Wells, John Matching descriptions: 16 Chalice 1948 Oil on card Studio stamp verso 7 3/4 x 10 ins 19.75 x 25.5 cms Whilst working alongside Peter Lanyon, Sven Berlin, Bryan Wynter and later Wilhelmina Barns Graham, Patrick Heron and others around the three Crypt group exhibitions in 1946-8, Wells began to accommodate more explicit figurative references within his work. During this time he tackled a number of still life themes and in line with the overtly romantic aspirations for the group as a whole, he also at times adopted a more expressive manner. The current painting is a clear example of this tendency, in its presentation of antiquated still life forms set within an undefined almost subterranean light. The use of strong local colours make the shapes emerge jewel like from this dusk creating an interplay of floating forms across the picture plane.
		From Album:  Lanyon, Peter 1918-1964 Peter Lanyon 1918-1964 KEYWORDS:   sold Peter Lanyon 1918 - 1964 Construction in Green 1947 Signed and dated lower right Signed, dated and inscribed,verso 11 3/4 x 16 ins - 30 x 40 1/2 cm Provenance: Sheila Lanyon Exhibited: Crypt group St. Ives, 1948, no. 47; Lefevre Gallery, 1949, no. 44; Arts Council of Great Britain, 1968, no. 13 Literature: A. Causey, Peter Lanyon, Aidan Ellis, p. 44, no. 13, pl. 6; A. Lanyon, Peter Lanyon, 1990, p. 80, illus Matching descriptions: Construction in Green 1947 Signed and dated lower right Signed, dated and inscribed,verso 11 3/4 x 16 ins - 30 x 40 1/2 cm Provenance: Sheila Lanyon Exhibited: Crypt group St. Ives, 1948, no. 47; Lefevre Gallery, 1949, no. 44; Arts Council of Great Britain, 1968, no. 13 Literature: A. Causey, Peter Lanyon, Aidan Ellis, p. 44, no. 13, pl. 6; A. Lanyon, Peter Lanyon, 1990, p. 80, illus

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