CPE
1898 - 1992
Canadian
Sledgehammers
linocut in 3 colours, 1933
signed, titled and editioned 44/60
10 1/4 x 12 1/4 in, 26 x 31.1 cm
Estimate: $20,000 - $30,000 CAD
Sold for: $20,000
Preview at:
PROVENANCE
Acquired directly from the Artist, Campbell River
Private Collection, Campbell River
LITERATURE
Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduced page 50
Stephen Coppel, Linocuts of the Machine Age, 1995, page 113, reproduced plate 22 and page 113, catalogue #SA 26
Clifford S. Ackley, Rhythms of Modern Life, British Prints 1914 – 1939, Museum of Fine Arts, Boston, 2008, reproduced page 142
Hana Leaper, Sybil Andrews Linocuts: A Complete Catalogue Raisonné, 2015, reproduced page 73, catalogue #28
Janet Nicol, On the Curve: The Life and Art of Sybil Andrews, 2019, reproduced page 23
EXHIBITED
Redfern Gallery, London, Colour Prints, June 25 – July 18, 1936, same image, catalogue #33
National Gallery of Canada, Ottawa, Exhibition of Modern Colour Prints, 1935 – 1936, same image, catalogue #3
Baillieu Allard’s Gallery, Melbourne, Exhibition of Lino Cuts from the Redfern Gallery, London, September 7 – 18, 1937, same image, catalogue #47
Glenbow Museum, Calgary, Sybil Andrews, September 14 – October 22, 1982, same image, catalogue #2
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, September 23 – December 7, same image, catalogue #78
Sybil Andrews is renowned as a founding member of the London-based Grosvenor School of Modern Art (1925 – 1940), focused on avant-garde linocut printmaking. Using this accessible, “democratic” medium, members of the school captured the speed and movement of the machine age through their use of bold colour and dynamic rhythm, with subjects ranging from industry to sport to urban life.
In 1947, Andrews immigrated to Canada with her husband, Walter Morgan, a co-worker from the Hythe shipyard where they had worked during World War II. After moving to Campbell River, BC, Andrews built a studio on her rural property at Willow Point and continued to produce art. In 1960, she began to offer private art lessons at her home.
The consignor of this work was part of a group of aspiring lino printmakers mentored by Andrews in Campbell River from about 1980. She purchased this print directly from the artist.
Stephen Coppel writes: “Andrews later related that this print was a memory of seeing blacksmiths at work in Coventry in 1915, where she had been posted as an oxyacetylene welder as part of her war work.” This is a superb impression with vibrant colours.
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