Sybil Andrews | Towards Modernity
4th session

November 02 - November 30, 2023


This session is closed for bidding.
Current bid: $42,500 CAD
Bidding History
Paddle # Date Amount

822957 26-Nov-2023 06:02:53 PM $42,500 AutoBid

5507 26-Nov-2023 06:02:53 PM $40,000

822957 25-Nov-2023 01:30:03 PM $37,500 AutoBid

5507 05-Nov-2023 08:15:38 AM $35,000

The bidding history list updated on: Monday, July 22, 2024 04:29:10

LOT 506

1898 - 1992

linocut in 4 colours
signed, titled and editioned 41/60 and on verso dated 1934 on the gallery label
10 1/4 x 13 1/2 in, 26 x 34.3 cm

Estimate: $40,000 - $60,000 CAD

Sold for: $52,250

Preview at: Heffel Calgary – 888 4th Ave SW, Suite 609

DeVooght Galleries Ltd., Vancouver
Acquired from the above by the present Private Collection, Calgary

Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduced front cover and page 57
Lora S. Urbanelli, The Grosvenor School: British Linocuts Between the Wars, Museum of Art, Rhode Island School of Design, 1988, reproduced page 44
Stephen Coppel, Linocuts of the Machine Age, 1995, reproduced page 115, catalogue #SA 32
Clifford S. Ackley, editor, Rhythms of Modern Life: British Prints 1914 - 1939, Museum of Fine Arts, Boston, 2008, reproduced page 127
Gordon Samuel, The Cutting Edge of Modernity, Osborne Samuel, 2013, reproduced page 7
Hana Leaper, Sybil Andrews Linocuts: A Complete Catalogue, Osborne Samuel Gallery, 2015, reproduced page 79

Glenbow Museum, Calgary, Sybil Andrews, 1982, same image, catalogue #32

Sybil Andrews was born in Bury St. Edmunds, England, and in 1922, went to London to study art at the Heatherley School of Fine Art. Three years later, at the Grosvenor School of Modern Art, she met Claude Flight, who taught her to print using linoleum blocks. Andrews produced an extraordinary body of work, with themes that encompassed the dynamism of the modern age through her depiction of people, animals and machines in motion. Sport was a subject that fascinated Andrews and the Grosvenor School artists, and it was an ideal vehicle for Andrews to convey her modernist aesthetic. In this remarkable print, Andrews expressed the experience of speed that fascinated the modern world in the 1930s. Its importance is reflected in the fact that this work was chosen for the front cover of Peter White’s 1982 catalogue raisonné of her linocuts, produced by the Glenbow Museum. Andrews is recognized internationally for her linocuts, and Racing is one of her most sought-after prints. An impression of Racing is in the collection of the Museum of Modern Art, New York.

Stephen Coppel notes: from an edition 60 plus 4 early TPs titled The Race and 3 later TPs. Early impressions on buff oriental laid tissue; later printings on thickish oriental paper. This is a fine impression on thickish oriental paper.

All prices are in Canadian Dollars

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