Vendu pour : $23,750

PROVENANCE
Acquis directement auprès de l’Artiste
Par filiation à la collection privée actuelle, île de Vancouver

BIBLIOGRAPHIE
Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduit pages 42 et 57
Stephen Coppel, Linocuts of the Machine Age, 1995, reproduit page 115, catalogue #SA 30
Clifford S. Ackley, éditeur, Rhythms of Modern Life : British Prints 1914 - 1939, Museum of Fine Arts, Boston, 2008, reproduit page 172
Hana Leaper, Sybil Andrews Linocuts : A Complete Catalogue, Osborne Samuel Gallery, 2015, même image reproduite page 77

EXPOSITION
Glenbow Museum, Calgary, Sybil Andrews, 1982, même image, catalogue #30
Museum of Fine Arts, Boston, Rhythms of Modern Life : British Prints 1914 - 1939, 3 janvier - 1er juin 2008, voyage au Metropolitan Museum of Art, New York, même image, catalogue #100

The 1930s and the economic difficulties of the Depression brought about social awareness of the changes affecting industry and labour. In the mid-1930s, Sybil Andrews was depicting rural farm workers, whom she observed near her native Bury St. Edmunds in England. The roots of Andrews’s modernist approach were in the European movements of Cubism, Futurism and Vorticism. Dynamic movement in modern life was a part of Futurism, and Andrews embraced this dynamism in her highly stylized linocuts, as in Fall of the Leaf, with its sweeping swirls of ploughed land, the curving rise of the hill and the spreading, fan-like trees. Dramatically patterned and strongly coloured, Fall of the Leaf makes an indelible impact. There is a kind of nobility in the farmer toiling with his team of horses, and a finely tuned aesthetic in the perfectly furrowed fields. Andrews depicts a scene roiling with energy, yet pulls all the elements of her image into a harmonic whole.

Stephen Coppel notes: from an edition of 60 plus 7 TPs and 6 Eps. Early impressions on buff oriental laid tissue; later printings on thickish oriental laid paper. This is a fine impression on oriental laid paper.

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