Hazlitt Holland-Hibbert

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Hazlitt Holland-Hibbert Hazlitt Holland-Hibbert is a commercial gallery specialising in Modern & Contemporary British Art

On view at , London, Booth E9 Four works by Howard Hodgkin span five decades, from the 1960s to the 2010s. Moving from l...
16/10/2026

On view at , London, Booth E9

Four works by Howard Hodgkin
span five decades, from the 1960s to the 2010s. Moving from large canvases to smaller paintings on wood, they reveal an increasingly concentrated approach to colour, gesture and representation.

Painted early in Hodgkin’s career, ‘The Meeting’ (1963–65) reveals a bold and distinctive visual language for its time. Its dotted surface and loose, expressive brushwork create an abstracted scene that remains grounded in figuration, with a seated figure visible at the centre of the composition.

The later paintings retain an extraordinary urgency with just a few assured strokes carrying an emotional charge. ‘Red Sky’ (2004) transforms memory and sensation into vivid colour, while the neighbouring ‘Dry Martini’ (2015-16) has a pictorial presence that belies its modest scale.

Frieze Masters | E9
Wednesday 14 - Sunday 18 October
Regents Park
London
NW1 4LL

Image 1, Howard Hodgkin, ‘The Meeting’, 1963-65, oil on canvas, 102 x 112 cm

Image 2, Howard Hodgkin, ‘Dry Martini’, 2015-16, oil on wood, 25.1 x 28.9 cm; William Turnbull, ‘Metamorphic Venus 2, 1982, Bronze with a light brown patina, on a York stone base, 58.4 cm; Howard Hodgkin, ‘Red Sky’, 2004, oil on wood, 47.6 x 63.7 cm

On view , London, Booth E9 Rachel Whiteread, ‘Large Room Scale 1–10’ (1994)During Whiteread’s DAAD Scholarship in Berlin...
15/10/2026

On view , London, Booth E9

Rachel Whiteread, ‘Large Room Scale 1–10’ (1994)

During Whiteread’s DAAD Scholarship in Berlin (1992–93), the artist worked in a grand apartment in Charlottenburg, distinguished by its wooden parquet floors and large French doors connecting the rooms. The generous space afforded her both a sculpture studio and, for the first time, a dedicated drawing studio, marking an important development in her practice as drawing became an increasingly central part of her work.

Based on the floor plan of the Berlin apartment, ‘Large Room Scale 1–10’ reflects Whiteread’s fascination with the simple symmetry and geometry of its interior. The work speaks to her enduring interest in the relationship between architecture and the spaces we inhabit, particularly the concealed structures and unseen dimensions that lie beneath the surface.

Frieze Masters | E9
Wednesday 14 - Sunday 18 October
Regent’s Park
London
NW1 4LL

On view , London, Booth E9Rachel Whiteread, ‘Large Room Scale 1–10’ (1994)During Whiteread’s DAAD Scholarship in Berlin ...
15/10/2026

On view , London, Booth E9

Rachel Whiteread, ‘Large Room Scale 1–10’ (1994)

During Whiteread’s DAAD Scholarship in Berlin (1992–93), the artist worked in a grand apartment in Charlottenburg, distinguished by its wooden parquet floors and large french doors connecting the rooms. The generous space afforded her both a sculpture studio and, for the first time, a dedicated drawing studio, marking an important development in her practice as drawing became an increasingly central part of her work.

Based on the floor plan of the Berlin apartment, ‘Large Room Scale 1–10’ reflects Whiteread’s fascination with the simple symmetry and geometry of its interior. The work speaks to her enduring interest in the relationship between architecture and the spaces we inhabit, particularly the concealed structures and unseen dimensions that lie beneath the surface

Frieze Masters | E9
Wednesday 14 - Sunday 18 October
Regent’s Park
London
NW1 4LL

Open through to 27 November 2026, ‘Bridget Riley’ at Hazlitt Holland-Hibbert brings together works spanning three distin...
12/10/2026

Open through to 27 November 2026, ‘Bridget Riley’ at Hazlitt Holland-Hibbert brings together works spanning three distinct phases of Bridget Riley’s career, revealing the remarkable evolution of her exploration of visual perception. Over a career lasting more than sixty years, Riley has become renowned for her ability to produce images that both challenge and amuse the eye. Spanning the period from 1962 to 2015, the works are united by the artist’s abiding concern with conveying the experience of sight. Across a range of media and remarkably diverse scales, they create an arresting display of visual sensation.

Both powerful and serene, the works in this exhibition illustrate Riley’s enduring motivation to capture the wonder of the most basic human experience: sight. The root of Riley’s engagement with visual experience is nature and, in her compelling essay The Pleasure of Sight (1984), she describes the inspiration and joy she derived from looking at the landscape and observing the effects of light and weather during her childhood in Cornwall. Riley’s work, however, paradoxically withdraws from the depiction of the external world. Instead, the artist developed a unique visual language through the manipulation and combination of fundamental colours and forms, activating patterns within human perception and creating a wholly new mode of viewing.

BRIDGET RILEY

38 Bury Street
St James’s
SW1Y 6BB

Monday - Friday 10am – 6pm

Image 1, Bridget Riley with James Holland-Hibbert viewing the exhibition.

Image 2, ‘Cascando’, 2015, acrylic on APF polyester support, 2015, ‘Untitled (Study for Burn)’, gouache and pencil, 1964-65.

Image 3, ‘Painting with Two Verticals 3’, oil on linen, 2005, ‘28 July Bassacs ‘02 Study B’, gouache and pencil on paper, 2002.

Now on display Art Basel Booth F9, Hall 2.0 Bridget Riley’s Cascando, an expansive horizontal painting from 2015, epito...
19/06/2026

Now on display Art Basel
Booth F9, Hall 2.0

Bridget Riley’s Cascando, an expansive horizontal painting from 2015, epitomises the artist’s enduring interest in the architectonic potential of the picture plane. Belonging to a group of three works featuring horizontal rows of triangles arranged along a grid, many of whose units are inflected by curves, the painting revisits an investigation of the triangle that Riley had first begun more than five decades earlier in Tremor (1962), now in the Museum für Gegenwartskunst Siegen, Germany. In that earlier work, Riley introduced a strikingly novel approach to painting, experimenting with compositional devices that subtly destabilise the picture’s structure. In Cascando, these concerns are revisited with renewed force and brought to full expression.

Open through to Sunday 21 June

Two works by Howard Hodgkin, ‘Red Sky’ (2004) and ‘Brigid Segrave’ (1961–62), are on view Art Basel Stand F9, open throu...
18/06/2026

Two works by Howard Hodgkin, ‘Red Sky’ (2004) and ‘Brigid Segrave’ (1961–62), are on view Art Basel Stand F9, open through Sunday 21 June.

Painted in 2004, ‘Red Sky’ exemplifies the directness and assurance that characterise Hodgkin’s late career. Painted in India - a location of profound and sustained inspiration for the artist - the effect of the painting’s colour is physically felt.

Incandescent bands of vermilion are held in tension against dense sweeping frames of deep blue and electric green, demonstrating Hodgkin’s remarkable ability to distil a memory into a handful of assured gestures capable of conveying immense emotional and atmospheric force.

Image: Red Sky, 2004, oil on wood, 47.6 x 63.7

Two works by Howard Hodgkin, ‘Red Sky’ (2004) and ‘Brigid Segrave’ (1961–62), are on view Art Basel Stand F9, open throu...
18/06/2026

Two works by Howard Hodgkin, ‘Red Sky’ (2004) and ‘Brigid Segrave’ (1961–62), are on view Art Basel Stand F9, open through Sunday 21 June.

Painted in 2004, ‘Red Sky’ exemplifies the directness and assurance that characterise Hodgkin’s late career. Painted in India - a location of profound and sustained inspiration for the artist - the effect of the painting’s colour is physically felt.

Incandescent bands of vermilion are held in tension against dense sweeping frames of deep blue and electric green, demonstrating Hodgkin’s remarkable ability to distil a memory into a handful of assured gestures capable of conveying immense emotional and atmospheric force.

Image: Red Sky, 2004, oil on wood, 47.6 x 63.7 cm

On view at Art Basel, Paula Rego’s Snow White Playing with her Father’s Trophies (1995) revisits Disney’s fairy tale to ...
17/06/2026

On view at Art Basel, Paula Rego’s Snow White Playing with her Father’s Trophies (1995) revisits Disney’s fairy tale to reveal the darker psychological tensions beneath it.

At the forefront of the composition, Snow White sits with her legs apart, holding the severed head of a young buck between her knees - her father’s hunting trophy. Her white dress carries the conventional symbolism of innocence and virginity, yet her posture and expression undermine any passivity those associations might imply.

Created in 1995, at a pivotal moment in Regos career, the work marks her transition from oil paint to the vigorously applied, fleshly medium of pastel. Drawing on childhood memories of cinema and a lifelong fascination with folklore, Rego imbues the scene with immediacy and physical presence, consolidating her command of a new medium.

ART BASEL 2026
Booth F9, Hall 2.0

Open through Sunday 21 June

Art Basel
Booth F9, Hall 2.0
Messe Basel, Messeplatz 10

On view at Art Basel, Paula Rego’s ‘Snow White Playing with her Father’s Trophies’ (1995) revisits Disney’s fairy tale t...
17/06/2026

On view at Art Basel, Paula Rego’s ‘Snow White Playing with her Father’s Trophies’ (1995) revisits Disney’s fairy tale to reveal the darker psychological tensions beneath it.

At the forefront of the composition, Snow White sits with her legs apart, holding the severed head of a young buck between her knees - her father’s hunting trophy. Her white dress carries the conventional symbolism of innocence and virginity, yet her posture and expression undermine any passivity those associations might imply.

Created in 1995, at a pivotal moment in Rego’s career, the work marks her transition from oil paint to the vigorously applied, fleshly medium of pastel. Drawing on childhood memories of cinema and a lifelong fascination with folklore, Rego imbues the scene with immediacy and physical presence, consolidating her command of a new medium.

ART BASEL 2026
Booth F9, Hall 2.0

Open through Sunday 21 June

Art Basel
Booth F9, Hall 2.0
Messe Basel, Messeplatz 10

ART BASEL 2026Booth F9 Hall 2.0BEN NICHOLSON | BARBARA HEPWORTH | BRIDGET RILEY | HOWARD HODGKINOpen today through to Su...
16/06/2026

ART BASEL 2026
Booth F9 Hall 2.0

BEN NICHOLSON | BARBARA HEPWORTH | BRIDGET RILEY | HOWARD HODGKIN

Open today through to Sunday 21 June

Art Basel
Booth F9 Hall 2.0
Messe Basel, Messeplatz 10
4058 Basel, Switzerland

Image detail: Ben Nicholson, 1932-37 (still life - Punch and Judy show), 1932-37, oil on canvas

Address

38 Bury Street
London
SW1Y6BB

Opening Hours

Monday 10am - 6pm
Tuesday 10am - 6pm
Wednesday 10am - 6pm
Thursday 10am - 6pm
Friday 10am - 6pm
Saturday 11am - 5pm

Telephone

+442078397600

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