Vendu pour : $52,250

PROVENANCE
DeVooght Galleries Ltd., Vancouver
Acquis du susmentionné par la collection privée actuelle, Calgary

BIBLIOGRAPHIE
Peter White, Sybil Andrews, Glenbow Museum, 1982, couverture et page 57 reproduites
Lora S. Urbanelli, The Grosvenor School : British Linocuts Between the Wars, Museum of Art, Rhode Island School of Design, 1988, reproduit page 44
Stephen Coppel, Linocuts of the Machine Age, 1995, reproduit page 115, catalogue #SA 32
Clifford S. Ackley, éditeur, Rhythms of Modern Life : British Prints 1914 - 1939, Museum of Fine Arts, Boston, 2008, reproduit page 127
Gordon Samuel, The Cutting Edge of Modernity, Osborne Samuel, 2013, reproduit page 7
Hana Leaper, Sybil Andrews Linocuts : A Complete Catalogue, Osborne Samuel Gallery, 2015, reproduit page 79

EXPOSITION
Glenbow Museum, Calgary, Sybil Andrews, 1982, même image, catalogue #32

Sybil Andrews was born in Bury St. Edmunds, England, and in 1922, went to London to study art at the Heatherley School of Fine Art. Three years later, at the Grosvenor School of Modern Art, she met Claude Flight, who taught her to print using linoleum blocks. Andrews produced an extraordinary body of work, with themes that encompassed the dynamism of the modern age through her depiction of people, animals and machines in motion. Sport was a subject that fascinated Andrews and the Grosvenor School artists, and it was an ideal vehicle for Andrews to convey her modernist aesthetic. In this remarkable print, Andrews expressed the experience of speed that fascinated the modern world in the 1930s. Its importance is reflected in the fact that this work was chosen for the front cover of Peter White’s 1982 catalogue raisonné of her linocuts, produced by the Glenbow Museum. Andrews is recognized internationally for her linocuts, and Racing is one of her most sought-after prints. An impression of Racing is in the collection of the Museum of Modern Art, New York.

Stephen Coppel notes: from an edition 60 plus 4 early TPs titled The Race and 3 later TPs. Early impressions on buff oriental laid tissue; later printings on thickish oriental paper. This is a fine impression on thickish oriental paper.

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