Vendu pour : $22,500

PROVENANCE
Masters Gallery Ltd., Calgary
Private Collection, Calgary

BIBLIOGRAPHIE
Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduced page 52
Stephen Coppel, Linocuts of the Machine Age, 1995, page 108, reproduced page 109, catalogue #SA 9
Clifford S. Ackley, editor, Rhythms of Modern Life: British Prints 1914 - 1939, Museum of Fine Arts, Boston, 2008, reproduced inside front and inside back cover and reproduced page 88
Gordon Samuel, The Cutting Edge of Modernity, Osborne Samuel, 2013, reproduced page 29
Hana Leaper, Sybil Andrews Linocuts: A Complete Catalogue Raisonné, 2015, reproduced page 56

EXPOSITION
Glenbow Museum, Calgary, Sybil Andrews, September 14 - October 22, 1982, same image, catalogue #9
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, same image, catalogue #38
Osborne Samuel, The Cutting Edge of Modernity, April 11 - May 11, 2013, same image

Stephen Coppel writes: “Inspired by the Futurists’ challenge to depict the modern machine age, Andrews, like [Cyril] Power, presents the London Underground as the obvious symbol of modernity. The marching feet of commuters on the escalators are treated as a series of abstracted arcs and curves, suggestive of hurried movement.” The Futurists saw the world as something in constant flux, in ceaseless motion, a state created by the new machine age with its automobiles, trains and airplanes. To the Grosvenor School of printmakers, of which Sybil Andrews was a part, speed and movement as a part of modern urban life was a fascinating subject. Andrews’s compelling linocuts all encapsulate this motion to some degree, and in Rush Hour, it manifests through the commuters and their forward-moving sense of purpose. Strong, stylized shapes and the anonymity of the people put all the emphasis on the message of dynamic motion, resulting in an impactful image charged with energy.

Early impressions on buff oriental laid tissue; later printings usually on thin cream oriental laid paper. This is a fine impression on thin cream oriental laid paper.

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