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Provenance: Private Collection
In a gilded shadow box frame.
During the Second World War Stephenson hovered between figurative and abstract art often combining pure colour fields with strong lines defining the edge of the composition. Sometimes, as in this example, the colours were applied as collage, a technique shown to Stephenson by his friend Ben Nicholson. Stylistically this work can be compared with Blue and Yellow Figure (circa 1946) (see Guthrie, John Cecil Stephenson, 1997, p. 139).
We are grateful to Conor Mullan for assistance.
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Ink over pencil
8 x 12 cm (17 x 21 cm framed)





Oil on paper,
16 x 13cm (23 x 20cm framed)
In a white gesso box frame
These abstracts form part of a series of small sketches made during
World War II as preparation for larger works (materials being in short
supply), which Stephenson then executed in the 1950s. They were
stimulated by the devastation resulting from the bombing of London
(also recorded figuratively by Stephenson during this period).
Stephenson made his first abstract paintings around 1932. In 1934 he
exhibited with the 7 & 5 Society, along with Ben and Winifred
Nicholson, Ivon Hitchens, Henry Moore, Barbara Hepworth and John Piper.
Though not today as well known as many of his contemporaries he was one
of the key figures in the development of abstract art in Britain in the
mid twentieth century.
Inscribed with 6
Crayon on paper
12 x 9 in.
Gouache
12.5 x 10 cm
Gouache and pen and ink with studio stamp to reverse
10.5 x 8.5 cm
Gouache and pen and ink with studio stamp to reverse
10.5 x 8.5 cm
Gouache and pen and ink with studio stamp to reverse
10.5 x 8.5 cm
Gouache and pen and ink with studio stamp to reverse
10 x 8.5 cm
Egg tempera
30 x 27 ins. (76 x 68.5 cm)
Exhibited: London, Drian Gallery, 1966; Camden Arts Centre, 1975
Literature: Simon Guthrie, John Cecil Stephenson, 1997