Vendu pour : 32 175 $

PROVENANCE
DeVooght Gallery, Vancouver
Private Collection, Vancouver

BIBLIOGRAPHIE
Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduced page 50
Lora S. Urbanelli, The Grosvenor School: British Linocuts Between the Wars, Museum of Art, Rhode Island School of Design, 1988, reproduced page 20
Stephen Coppel, Linocuts of the Machine Age, 1995, reproduced page 107, catalogue #SA 3
Clifford S. Ackley, editor, Rhythms of Modern Life: British Prints 1914 - 1939, Museum of Fine Arts, Boston, 2008, reproduced page 141

EXPOSITION
Parkin Gallery, London, Sybil Andrews, October 22 - November 15, 1980, same image, catalogue #17
Glenbow Museum, Calgary, Sybil Andrews, 1982, same image, catalogue #3
Museum of Art, Rhode Island School of Design, The Grosvenor School: British Linocuts Between the Wars, January 22 - March 20, 1988, traveling in 1988 to the Cleveland Museum of Art and the Santa Barbara Museum of Art, same image, catalogue #5
Museum of Fine Arts, Boston, Rhythms of Modern Life: British Prints 1914 - 1939, January 30 - June 1, 2008, traveling in 2008 - 2010 to The Metropolitan Museum of Art, New York, and the Wolfsonian-Florida International University, Miami, same image, catalogue #77

The late 1920s through to the early 1930s was a time of tremendous social and economic change for working people in Britain. The Grosvenor School of linocut printmakers, which included Sybil Andrews, was interested in industry and labour, and brought a modernist style to their portrayal of workers which heightened the anonymity of the individual and emphasized movement. Andrews found working men a source of inspiration, and it was an important subject within her oeuvre. Repetition of the figures and the orange crates in a curving chain of movement creates a marching, vigorous rhythm, and the patterns of cast shadows show her awareness of natural light, suggesting the low rays of the morning sun. The colouration of this impression is particularly rich, with contrasts between the warmth of red and orange against cool blue, and together with the strength of her simplification of form, further reinforces the dynamism of this rare, early linocut from 1929 when she executed smaller editions of 50.

This is a fine impression with strong colours on thin oriental tissue.

Tous les prix affichés sont en dollars canadiens

Bien que nous ayons pris soin d’assurer l’exactitude de l’information publiée, des erreurs ou omissions peuvent se produire. Toute enchère est soumise à nos modalités et conditions de vente. Les enchérisseurs doivent s’assurer qu’ils sont satisfaits de la condition du lot avant d’enchérir. Les rapports de condition sont disponibles sur demande.