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LOT 201

CPE
1898 - 1992
Canadien

Pas Seul (Sculls)
linogravure en 3 couleurs, 1930
signé et édition 6/50 et au verso titré Pas Seul sur l'étiquette Redfern Gallery
7 7/8 x 8 3/4 po, 19.9 x 22.1 cm

Estimation : 30 000 $ - 50 000 $ CAD

Exposition à :

PROVENANCE
Redfern Gallery, Londres, 28 juin 1930
Acquis auprès du susmentionné par A.K. Lee Esq. le 23 juillet 1930
Piano Nobile, Londres
Acquis auprès du susmentionné par une importante collection privée, Colombie-Britannique

BIBLIOGRAPHIE
Michael Parkin et Denise Hooker, Sybil Andrews, Parkin Gallery, 1980, inscrit, non paginé
Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduit page 52
Stephen Coppel, Linocuts of the Machine Age, 1995, reproduit page 109, catalogue #SA 12
Hana Leaper, Sybil Andrews Linocuts: A Complete Catalogue, 2015, page 59, reproduit page 59

EXPOSITION
Redfern Gallery, Londres, 1930, intitulée Pas Seul, catalogue #58
Parkin Gallery, Londres, Sybil Andrews, 25 octobre - 15 novembre 1980, même image, catalogue #27
Glenbow Museum, Calgary, Sybil Andrews, 14 septembre - 22 octobre 1982, même image, catalogue #12


Pas Seul (Sculls) is a very rare print, and is seldom offered through auction. In 1947, Sybil Andrews and her husband Walter immigrated to Canada from England, boarding the steamship the Royal Mail S.S. Loch Ryan on June 26. When they disembarked in Victoria on Vancouver Island, and Andrews opened up the case with the prints and linocut blocks she had brought with her, she discovered that her blocks for Theatre, Straphangers, Hyde Park and Pas Seul (Sculls) had melted in the heat in the ship’s hold. Stephen Coppel wrote that with this print, “only impressions numbered 1/50 to 20/50 were made before the blocks partially melted.” Thus this work is a very rare offering and a unique opportunity for the Sybil Andrews collector.

In her catalogue raisonné of Andrews’s work, Hana Leaper comments that “the slightly cryptic title ‘Sculls’ clearly refers to the sport of rowing, but ‘pas seul’ translates directly from French as ‘not alone.’ This print may have been inspired, along with Cyril Power’s The Eight (1930) by the motion of rowers Power and Andrews observed from Hammersmith Bridge. Andrews’ melding of shapes, suggestive of human forms and waves, conveys an impression of unity in teamwork.”

Andrews was part of the Grosvenor School of linocut printmakers in London, who were interested in the speed and movement of modern urban life. They were influenced by the Italian Futurists, who depicted a world in flux, created by the new machine age. Andrews's own dynamic style of design is further influenced by the London-based modernist movement of Vorticism from the early 20th century.

Coppel also notes that impressions were done on buff oriental laid tissue, and some are titled in the image either Pas Seul or Sculls.

Please note: this work is unframed.


Tous les prix affichés sont en dollars canadiens.


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