Vendu pour : $31,250

PROVENANCE
Collection privée, Calgary

BIBLIOGRAPHIE
Sybil Andrews, Notebook : 1st Linocut Print Book, 1929 -1933, Collection of the Glenbow Museum Archives, cette estampe répertoriée comme vendue à l’exposition de la Vancouver Art Gallery en 1948
Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduit page 53
Stephen Coppel, Linocuts of the Machine Age, 1995, reproduit page 109, catalogue #SA 13
Clifford S. Ackley, Rhythms of Modern Life, estampes britanniques 1914 - 1939, Museum of Fine Arts, Boston, 2008, reproduit page 126
Gordon Samuel, The Cutting Edge of Modernity, Osborne Samuel, 2013, reproduit page 6
Hana Leaper, Sybil Andrews Linocuts : A Complete Catalogue, Osborne Samuel Gallery, 2015, même image reproduite page 60

EXPOSITION
Vancouver Art Gallery, Sybil Andrews Solo Exhibition, 1948, catalogue #22
Glenbow Museum, Calgary, Sybil Andrews, 1982, même image, catalogue #13
Museum of Fine Arts, Boston, Rhythms of Modern Life, British Prints 1914 - 1939, 3 janvier - 1er juin 2008, en tournée au Metropolitan Museum of Art, New York, 2008, même image, catalogue #68
Osborne Samuel, The Cutting Edge of Modernity, 11 avril - 11 mai 2013, même 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.

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