Vendu pour : $15,000

PROVENANCE
Collection privée, Vancouver

BIBLIOGRAPHIE
Peter White, Sybil Andrews, Glenbow Museum, 1982, même image reproduite page 61
Associated American Artists, Modernist Canadian Prints, New York, 1986, même image, listée page 12, catalogue #46
Maria Tippett, By a Lady: Celebrating Three Centuries of Art by Canadian Women, 1992, même image reproduite page 142.
Stephen Coppel, Linocuts of the Machine Age, 1995, même image reproduite page 120, catalogue #SA 50
Hana Leaper, Sybil Andrews Linocuts: A Complete Catalogue, Osborne Samuel Gallery, 2015, même image reproduite page 104
Janet Nicol, On The Curve: The Life and Art of Sybil Andrews, 2019, même image reproduite page 84

EXPOSITION
Musée Glenbow de Calgary, Sybil Andrews, 1982, catalogue #47, même image
Art Gallery de Hamilton, Industrial Images, du 28 mai au 26 juillet 1987, même image

Sybil Andrews was born in Bury St. Edmunds, England. During World War I she worked making airplane parts in Coventry, and after the war she returned to Bury St. Edmunds where she met architect Cyril Power. In 1922, at the age of 24, Andrews left Bury St. Edmunds with Cyril Power to study art at the Heatherley School of Fine Art in London. Three years later Power and Andrews were appointed by Ian Macnab to staff his newly established Grosvenor School of Modern Art, with Andrews becoming the school secretary.

In 1926 while at the Grosvenor School, Andrews and Power met Claude Flight, who taught them how to cut and print from linoleum blocks (a new art form at the time). From 1930 to July 1938 Andrews and Power shared a small studio at 2 Brook Green in Hammersmith, and developed a common aesthetic in their work. This informal working partnership produced an extraordinary body of work – some of the finest prints of the 1930s. Andrews’s themes were of the dynamism of the modern machine age and the movement of the human figure at work or sport, usually executed using only four linoleum blocks. Her work, as with all the Grosvenor School, was influenced by Futurism, Cubism and Vorticism. Andrews’s linocuts are acclaimed to have surpassed her teacher Claude Flight, and in fact many consider Andrews to be the most gifted of the Grosvenor School artists.

During World War II Andrews worked in the Southampton shipyard, where she met her future husband Walter Morgan. After the war Andrews and Morgan immigrated to Canada, settling in Campbell River, which at that time was a remote logging town on Vancouver Island. In 1951 Andrews built a simple studio and resumed her printmaking, and also taught art and music classes. Hauling was produced soon after in 1952 and depicts the commercial logging activity of the area; expressing the vitality of industry while addressing issues of labour and natural resource extraction. Writing of her inspiration for the piece, Sybil recounted the incident on the narrow road known as General Hill “We met the great load coming up toward us, up the steep hill into Campbell River. We got out of the way in our little Mini until it was safely past before we went down the hill.”

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