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Sybil Andrews

Sybil Andrews
L'automne 2015 - 2e séance Vente en salle

Lot # 103

Sybil Andrews
CPE 1898 - 1992 Canadian

Rush Hour
linocut in 3 colours 1930
signed, titled, editioned 30/50 and inscribed SA-46 in the margin
8 x 9 3/4 pouces  20.3 x 24.8cm

Mary Ryan Gallery, New York
Private Collection, New York

Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduced page 52, catalogue #9
Stephen Coppel, Linocuts of the Machine Age, 1995, page 108, reproduced page 109, catalogue #SA 9
Clifford S. Ackley, Rhythms of Modern Life: British Prints 1914 - 1939, Museum of Fine Arts, Boston, 2008, page 77, reproduced inside front and inside back cover and reproduced page 88, catalogue #38

Glenbow Museum, Calgary, Sybil Andrews, 1982, same image, catalogue #9
Museum of Fine Arts, Boston, Rhythms of Modern Life: British Prints 1914 - 1939, January 3 to June 1, 2008, traveling to The Metropolitan Museum of Art, New York, September 23 - December 7, 2008, same image, catalogue #38

The Grosvenor School of printmakers, to which Sybil Andrews belonged, was strongly influenced by Futurism. Futurist artist F.T. Marinetti stated, "We declare that the world's splendour has been enriched by a new beauty; the beauty of speed." Whether manifested in the movement of machines or the fast pace of urban life, this speed became an important theme in Andrews's linocut prints. She depicted racing motorcycles in Speedway and urban dynamism in Rush Hour. Stephen Coppel writes: “Inspired by the Futurists’ challenge to depict the modern machine age, Andrews, like Power, presents the London Underground as the obvious symbol of modernity. The marching feet of commuters on the escalators are treated as a series of abstracted arcs and curves, suggestive of hurried movement." Coppel records that Andrews originally called this print Escalator, but changed it to Rush Hour to avoid confusion with Cyril E. Power’s The Escalator. This dynamic linocut was featured on the front and back inside cover of the catalogue for the excellent 2008 show on modernist British prints at Boston’s Museum of Fine Arts.
This is a fine impression is on thin cream oriental laid paper.

Estimation: 30,000 $ ~ 50,000 $ CAN

S'est vendu pour: 35,400.00 $ CAN (prime d'achat incluse)

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