Biography
Enquire about this picture£1,800
Presentation: Framed
Oil on board.
12 5/8 x 24 13/16 in. (32 x 63 cm.)
Biography
Enquire about this picture£1,800
Presentation: Framed
Signed on the reverse
Oil on canvas
10 x 20 in. (25 x 51 cm.)
Provenance: The Artist's Family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, illustated p. 46
In a reeded gilded hollow frame
Biography
Enquire about this picture£2,000
Presentation: Framed
oil on canvas
48 x 32 in. (122 x 81 cm)
Exhibited: Drian Gallery, 1966 - possibly "Dark Form" (29)
Provenance: the artist’s estate
Framed in an original simple wooden baton attached to the edge of the canvas
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 this work was included.
We are grateful to Marjorie Guthrie for her assistance.
Biography
Enquire about this picture£3,000
Presentation: Framed
Oil on canvas
Titled on reverse
36 5/8 x 48 3/8 in. (93 x 123 cm).
Exhibited: Drian Gallery, 1966, "Light No 2" (36)
Provenance: the artist’s estate
Framed in an original simple wooden baton attached to the edge of the canvas
Biography
Enquire about this picturePrice on request
Presentation: Framed
Signed, titled on reserve
Oil on canvas
40.5 x 48 in. (103 x 122 cm).
Exhibited: Drian Gallery, 1966, possibly "Light No 1", (34)
Provenance: the artist’s estate
Framed in an original simple wooden baton attached to the edge of the canvas
Biography
Enquire about this picture£1,800
Presentation: Framed
Inscribed with title on reverse: ‘6 Mall Studios,Tasker Road’
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 (see cat. 44) 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.
Oil on canvas, 10 × 14 in. (25.5 × 35.5 cm.)
Provenance: the artist’s estateWe are grateful to Marjorie Guthrie for her assistance.
Biography
Enquire about this picture£1,800
Presentation: Framed
Inscribed with title on reverse;
oil on canvas, 10 × 14 in. (25.4 cm. × 35.5 cm.)
Provenance: the artist’s estate
Biography
Enquire about this picture£300
Presentation: Unmounted
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.
Biography
Enquire about this picture£300
Presentation: Unmounted
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 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.
Biography
Enquire about this picture£1,800
Presentation: Framed
Gouache
14 1/2 x 19 1/4 in. (37 x 49 cm)
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, illustated p. 44
Camelot was produced in an edition of 5.
Camelot 2, a variation with a darker orange and more vertical central colour field, was produced in an edition of 18
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.
Biography
Enquire about this picture£300
Presentation: Unmounted
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.
Biography
Enquire about this picture£300
Presentation: Unmounted
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.
Biography
Enquire about this picture£300
Presentation: Unmounted
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.
Biography
Enquire about this picture£300
Presentation: Unmounted
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.
Biography
Enquire about this picture£600
Presentation: Framed
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.
Biography
Enquire about this picture£300
Presentation: Unmounted
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.
Biography
Enquire about this picture£300
Presentation: Unmounted
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.
Biography
Enquire about this picture£300
Presentation: Unmounted
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.
Biography
Enquire about this picture£500
Presentation: Unmounted
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.
Biography
Enquire about this picture£300
Presentation: Unmounted
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.
Biography
Enquire about this picture£1,800
Presentation: Passe-partout
Gouache and collage
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 FamilyGouache and collage
23 x 30 cm
Provenance: The Artist's Family
Biography
Enquire about this picture£650
Presentation: Passe-partout
Signed in pencil
inscribed Poppies on reverse, 35 gns,
Kathleen Guthrie 6 Mall Studios Tasker Road NW3
Pen and ink and watercolour
13 x 8 7/8 in. (33 x 22.5 cm).
Flowers were a subject which pre-occupied Guthrie from the mid 1930's to the late 1960's.
Biography
Enquire about this picture£1,400
Presentation: Passe-partout
Gouache
15 x 7 7/8 in. (38 x 20 cm).
Provenance: The Artist's Family
Biography
Enquire about this picture£1,500
Presentation: Passe-partout
Gouache and collage
9 1/2 x 14 3/8 in. (24 x 36.5 cm).
Provenance: The Artist's Family
Biography
Enquire about this picture£300
Presentation: Mounted
Gouache
19 1/2 x 9 1/2 in. (49.5 x 24 cm).
Biography
Enquire about this picture£3,000
Presentation: Framed
Paper collage and paint
9 1/2 x 13 in. (24 x 33 cm).
It is likely that this collage dates to the late 1930's when Kathleen Guthrie met Cecil Stephenson, (who she married in 1941). The influence of the Circle group whose activities centered on the Mall Studio's, where Stephenson lived, were still potent. Although, Ben Nicholson and Barbara Hepworth moved to Cornwall in 1939 Henry Moore replaced them as Cecil and Kathleen's immediate neighbour, taking over the lease at no. 7 Malls Studios and Piet Mondrian became a regular visitor, living during most of the year in Parkhill Road. Alexander Calder had also been a regular visitor to Cecil's studio for five months in 1938/9 and one of his mobiles, acquired by Cecil, remained hanging in the studio.
Biography
Enquire about this picture£2,800
Presentation: Framed
Paper collage and paint on a grey ground
9 1/2 x 13 in. (24 x 33 cm).
It is likely that this collage dates to the late 1930's when Kathleen Guthrie met Cecil Stephenson, (who she married in 1941). The influence of the Circle group whose activities centered on the Mall Studio's, where Stephenson lived, were still potent. Although, Ben Nicholson and Barbara Hepworth moved to Cornwall in 1939 Henry Moore replaced them as Cecil and Kathleen's immediate neighbour, taking over the lease at no. 7 Malls Studios and Piet Mondrian became a regular visitor, living during most of the year in Parkhill Road. Alexander Calder had also been a regular visitor to Cecil's studio for five months in 1938/9 and one of his mobiles, acquired by Cecil, remained hanging in the studio.
Biography
Enquire about this picture£300
Presentation: Mounted
Gouache
13 3/4 x 10 in. (35 x 25.4 cm).
Biography
Enquire about this picture£700
Presentation: Passe-partout
Gouache
6 3/4 x 8 11/16 in. (17 x 22 cm).
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.
Biography
Enquire about this picture£700
Presentation: Framed
Gouache
6 3/4 x 8 11/16 in. (17 x 22 cm).
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.
Biography
Enquire about this picturePrice on request
Presentation: Framed
inscirbed with title on reverse
Oil on board 20 x 24 in. (51 x 61 cm).
Provenance: The Artists Estate
The influence of Winifred Nicholson, who she was acquainted with via her second husband Cecil Stephenson, is strongly apparant in this work. Flowers were a subject which pre-occupied Guthrie from the mid 1930's to the late 1960's.
Biography
Enquire about this picture£500
Presentation: Unmounted
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.
Biography
Enquire about this picture£300
Presentation: Unmounted
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.
Biography
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Presentation: Framed
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)
Biography
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Presentation: Framed
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
Biography
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Presentation: Framed
Oil on canvas.
11 13/16 x 30 5/16 in. (30 x 77 cm.)
Provenance: the Artist's family
Literature: A Poet's Eye, The Paintings of Kathlenen Guthrie, Jonathan Eastaway,Cartmel Press, 1999, illustated p. 42
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. During the 1960's her work was characterised by a textured, soft edged and gently radiating palette; 18 such paintings were included in her London show at the Drian Gallery of 1966.
Biography
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Presentation: Framed
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.
Biography
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Presentation: Passe-partout
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
Biography
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Presentation: Unmounted
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: Framed
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.
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