Sold for: $31,250

PROVENANCE
Private Collection, Calgary

LITERATURE
Sybil Andrews, Notebook: 1st Linocut Print Book, 1929 -1933, Collection of the Glenbow Museum Archives, this print listed as sold at the Vancouver Art Gallery Exhibition in 1948
Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduced page 53
Stephen Coppel, Linocuts of the Machine Age, 1995, reproduced page 109, catalogue #SA 13
Clifford S. Ackley, Rhythms of Modern Life, British Prints 1914 - 1939, Museum of Fine Arts, Boston, 2008, reproduced page 126
Gordon Samuel, The Cutting Edge of Modernity, Osborne Samuel, 2013, reproduced page 6
Hana Leaper, Sybil Andrews Linocuts: A Complete Catalogue, Osborne Samuel Gallery, 2015, same image reproduced page 60

EXHIBITED
Vancouver Art Gallery, Sybil Andrews Solo Exhibition, 1948, catalogue #22
Glenbow Museum, Calgary, Sybil Andrews, 1982, same image, catalogue #13
Museum of Fine Arts, Boston, Rhythms of Modern Life, British Prints 1914 - 1939, January 3 - June 1, 2008, traveling to The Metropolitan Museum of Art, New York, 2008, same image, catalogue #68
Osborne Samuel, The Cutting Edge of Modernity, April 11 - May 11, 2013, same image

In the 1920s and early 1930s, sporting events became increasingly popular amongst the general population. Sporting thus became a main theme for Sybil Andrews and her fellow members of the Grosvenor School, and they used images of sport to convey repetition of form, synchronized movement and speed. Sport is the subject of a number of Andrews’s most famous linocuts of the 1930s, including Steeplechasing, Water Jump, Racing, Speedway, Football and this superb work.

Andrews immigrated to Canada in 1947 with her husband. During the voyage, some of her linoleum blocks and a number of prints were destroyed in the hold of the ship. As listed in Andrews’s notebook in the archives of the Glenbow Museum, edition 35/50 was the last number of the edition printed in London to survive the voyage to Canada. Subsequent prints editioned 36/50 and 37/50 were listed as destroyed enroute. Andrews finished the edition while in Canada; she reprinted 36 and 37 and extended the edition to 60 prints. Thus, those copies printed in Canada are numbered out of 60, and those printed in London are numbered out of 50.

This print is a superb early London printing with very strong colours on buff oriental laid tissue.

All prices are in Canadian Dollars

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