Send image Biography Enquire£650 
Presentation: Unmounted
SN: 679
Silkscreen,
Signed and titled, Blue Green, in blue crayon
14 x 19 1/4 in. (36 x 49 cm). (image size)
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, illustated p. 44
Issue in an edition of 10
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series. The silk screen prints are almost always most successful than the large oil paintings which preceeded them.
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Presentation: Framed
SN: 1790
Silkscreen and crayon
Signed and titled,Silk screen print by Kathleen Guthrie from a painting by Cecil Stephenson 1938, (same size). Original painting bought by Anthony D'Offay
11 13/16 x 9 7/8 in. (30 x 25 cm). (image size)
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, p. 43
Issued in an edition of 14
Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the 1960's she had mastered the art and become one of the most accomplished practioners of any generation. In collaboration with her husband (possibly resulting from the fact that after1960 Stephenson, who died in 1966, was incapacitated by a series of strokes) Kathleen reproduced, as silk screens, three of Stephensons iconic Abstracts from 1936, 1937 and 1938. Inspired by this experiment Guthrie embarked, in the late 1960's, on her Camelot prints, a series of bold hard edged abstract designs with pure fields of colour, often using daring combinations.
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forthcoming exhibition
Presentation: Framed
SN: 346
Oil on canvas,
titled in pencil to reverse
20 x 24 ins. (51 x 61 cm)
Provenance: Marjorie Guthrie
Literature: A Poet's Eye, The paintings of Kathleen Guthrie, Jonathan Eastaway
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Presentation: Unmounted
SN: 674
Silkscreen,
Signed and titled, Green Picture, in pencil
14 1/2 x 19 1/4 in. (37 x 49 cm). (image size)
Unique artist's proof
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, illustated p. 44
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series. The silk screen prints are almost always most successful than the large oil paintings which preceeded them.
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Presentation: Unmounted
SN: 675
Silkscreen,
Signed and titled, Camelot 2, in pencil
14 1/2 x 19 1/4 in. (37 x 49 cm). (image size)
Camelot 2, a variation of Camelot 1, with a darker orange and more vertical central colour field, was produced in an edition of 18
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathleen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, illustated p. 44
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series. The silk screen prints are almost always most successful than the large oil paintings which preceeded them.
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Presentation: Unmounted
SN: 677
Silkscreen,
Signed and titled, Red Square, in pencil
14 1/2 x 19 1/4 in. (37 x 49 cm). (image size)
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999
Originally issued in an edition of 8
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series. The silk screen prints are almost always most successful than the large oil paintings which preceeded them.
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Presentation: Unmounted
SN: 678
Silkscreen,
Signed and titled, Blue Green Upright, in blue crayon
21 1/4 x 11 7/16 in. (54 x 29 cm). (image size)
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, illustated p. 44
Issue in an edition of 12
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series. The silk screen prints are almost always most successful than the large oil paintings which preceeded them.
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Presentation: Unmounted
SN: 680
Silkscreen,
Signed and titled in pencil
22 x 30 in. (56 x 76 cm).
Unique artists proof
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, illustated p. 44
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series. The silk screen prints are almost always most successful than the large oil paintings which preceeded them.
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forthcoming exhibition
Presentation: Unmounted
SN: 681
Gouache
19 x 25 1/4 in. (48 x 64 cms).
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, illustated p. 44
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series. The silk screen prints are almost always most successful than the large oil paintings which preceeded them.
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Presentation: Unmounted
SN: 682
Silkscreen,
Signed and titled, Four Colours, Brown and Grey, in pencil
22 x 2 3/4 in. (56 x 7 cm).
Unique Artist's proof
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, illustated p. 44
Issue in an edition of 12
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series. The silk screen prints are almost always most successful than the large oil paintings which preceeded them.
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Presentation: Unmounted
SN: 683
Silkscreen,
Signed and titled, Magenta III, in pencil
14 1/2 x 21 1/4 in. (37 x 54 cm). (image size)
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, p. 43
Issue in an edition of 10
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series. The silk screen prints are almost always most successful than the large oil paintings which preceeded them.
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Presentation: Unmounted
SN: 685
Silkscreen,
Signed and titled, Magenta III, in pencil
14 x 19 in. (36 x 48 cm). (image size)
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, p. 43
Issue in an edition of 15 on a light blue ground and in an edition of 8 on a dark blue ground
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series. The silk screen prints are almost always most successful than the large oil paintings which preceeded them.
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Presentation: Unmounted
SN: 686
Silkscreen,
Signed and titled, From a tempera painting by John Cecil Stephenson 1937, screenprint by Kathleen Guthrie
16 3/4 x 16 3/4 in. (42.5 x 42.5 cm). (image size)
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, p. 43
Issue in an edition of 14
Guthrie was one of the most gifted silk screen print makers of her generation. In what might be seen as a posthumous collaboration, either shortly before or after the death of her husband Cecil Stephenson, she reproduced, as silk screens, three of Stephensons iconic Abstracts from 1936, 1937 and 1938. Inspired by this experiment Guthrie embarked, in the late 1960's, on her Camelot prints, a series of bold hard edged abstract designs with pure fields of colour, often using daring combinations.
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Presentation: Framed
SN: 688
Gouache
23 5/8 x 27 1/2 in. (60 x 70 cm).
Unique Artist's proof
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, illustated p. 44
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series. The silk screen prints are almost always most successful than the large oil paintings which preceeded them.
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Presentation: Unmounted
SN: 690
Silkscreen,
Signed and "Landscape"in blue crayon
19 3/4 x 23 5/8 in. (50 x 60 cms).
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999
Produced in an edition of 12
Flowers were a subject which pre-occupied Guthrie from the mid 1930's to the late 1960's. During the 1960's she produced a series of "Flowerscapes" in a Neo Romantic vien.
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work.
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forthcoming exhibition
Presentation: Passe-partout
SN: 692
Gouache
9 x 11 13/16 in. (23 x 30 cm).
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, illustated p. 44
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. This is the original design for Camelot 2, a print which she produced in an edition of 18. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series.
Provenance: The Artist's Family
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Presentation: Passe-partout
SN: 694
Signed in pencil
inscribed Poppies on reverse, 35 gns,
Kathleen Guthrie 6 Mall Studios Tasker Road NW3
Pen and ink and watercolour
32.7 x 22.5 cm (42 x 31.5 cm framed)
Flowers were a subject which pre-occupied Guthrie from the mid 1930's to the late 1960's.
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Presentation: Framed
SN: 695
Gouache
15 x 7 7/8 in. (38 x 20 cm).
Provenance: The Artist's Family
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Presentation: Passe-partout
SN: 696
Gouache and collage
9 1/2 x 14 3/8 in. (24 x 36.5 cm).
Provenance: The Artist's Family
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Presentation: Mounted
SN: 698
Gouache
19 1/2 x 9 1/2 in. (49.5 x 24 cm).
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Presentation: Framed
SN: 707
Gouache
10 x 8 in. (25 x 20 cm)
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Presentation: Unmounted
SN: 712
Watercolour, gouache and collage
7 1/4 x 8 3/4 in. (18.5 x 22 cm.)
Provenance: the artist’s estate.
Flowers were a subject which pre-occupied Guthrie from the mid 1930's to the late 1960's. During the 1960's she produced a series of "Flowerscapes" in a Neo Romantic vien.
Framed in a hand coloured glazed mount.
Trained at the Slade School of Art under Myles Tonks, and married to fellow painter Robin Guthrie, Kathleen Guthrie’s pre-war work is firmly figurative. Her abstract painting dates to the post-war period, after she had divorced Guthrie and married the painter Cecil Stephenson in 1941. Although clearly influenced by Stephenson, she retained a distinctive luminous, soft palette, and her brushwork remained very consistent, avoiding the hard edges and sometimes vigorous impasto of his work. A solo exhibition of her work was held at the Drian Gallery in London in 1966, in which these works are likely to have been included.We are grateful to Marjorie Guthrie for her assistance.
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Presentation: Unmounted
SN: 1789
Silkscreen,
Signed and titled, From a tempera painting by John Cecil Stephenson 1936, screenprint by Kathleen Guthrie. Painting bought by Anthony D'Offay
18 1/2 x 14 3/16 in. (47 x 36 cm). (image size)
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, p. 43
Issue in an edition of 14
Guthrie was one of the most gifted silk screen print makers of her generation. In what might be seen as a posthumous collaboration, either shortly before or after the death of her husband Cecil Stephenson, she reproduced, as silk screens, three of Stephensons iconic Abstracts from 1936, 1937 and 1938. Inspired by this experiment Guthrie embarked, in the late 1960's, on her Camelot prints, a series of bold hard edged abstract designs with pure fields of colour, often using daring combinations.
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Presentation: Unmounted
SN: 1952
Silkscreen,
Signed and titled in pencil
22 x 30 in. (56 x 76 cm).
Printed in an edition of 10
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, illustated p. 44
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceeded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin - by the early 1970's she had mastered the art and become one of the most accomplished practioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylized decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series. The silk screen prints are almost always most successful than the large oil paintings which preceeded them.
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Presentation: Framed
SN: 3170
Gouache on paper, 7 x 9 1/4 in. (18 x 23.5cm.)
(10 1/4 x 12 3/8 in. (26 x 31.5cm.) framed)
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Presentation: Passe-partout
SN: 3590
Gouache
10 x 17 1/2 . (25 x 44 cm)
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Presentation: Framed
SN: 1338
Oil on board
20 1/4 x 24 1/4 ins (51.5 x 61.5cm.)
Provenance: The Artists Estate
Mousehole (pronounced "Mowzel") is one of Cornwall's most picturesque hamlets; a stunning collection of yellow-lichened houses, built from the local finely grained Lamorna granite, huddled together around the inner edge of the harbour - protected from the force of the sea coming across Mounts Bay by two sturdy breakwaters.
Thumbnail panels:
