Vendu pour : 11 700 $

PROVENANCE
Redfern Gallery, London
John E. Culley Esq., 1930
Private Collection, Arizona
Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 28, 2013, lot 103
Private Collection, Toronto

BIBLIOGRAPHIE
Michael Parkin and Denise Hooker, Sybil Andrews: Paintings and Graphic Work, Michael Parkin Fine Art Ltd., 1980, reproduced, unpaginated
Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduced page 52
Stephen Coppel, Linocuts of the Machine Age, 1995, reproduced page 109, catalogue #SA 10
Gordon Samuel and Nicola Penny, The Cutting Edge of Modernity: Linocuts of the Grosvenor School, 2002, reproduced page 42
Clifford S. Ackley, editor, Rhythms of Modern Life: British Prints 1914 – 1939, Museum of Fine Arts, Boston, 2008, essay by Thomas E. Rassieur, page 115
Hana Leaper, Sybil Andrews Linocuts: A Complete Catalogue Raisonné, 2015, reproduced page 57

EXPOSITION
Michael Parkin Fine Art Ltd., London, England, Sybil Andrews: Paintings and Graphic Work, October 22 - November 15, 1980, same image, catalogue #25
Glenbow Museum, Calgary, Sybil Andrews, September 17 - October 22, 1982, same image, catalogue #10

Around 1930, Sybil Andrews, then a member of the modernist Grosvenor School of printmakers in England, produced several images of hunts on horseback and jumping competitions, such as Water Jump, In Full Cry and Steeplechasing. As Thomas Rassieur notes, “Movement – coordinated, directed, and energetic – made sport an ideal arena for exercising the modernist impulse of the Grosvenor School linocutters.” After the First World War and the influenza epidemic, public interest in physical fitness was on the rise, and there was admiration for the attainment of the ideal body through athleticism. In images such as Steeplechasing, uniformity of dress and the elimination of details of features placed all the emphasis on the pattern of movement. Sleek, streamlined and stylized, Steeplechasing fully evinces the dynamism of horses and riders hurtling through space.

This fine, richly coloured impression, on buff oriental laid tissue, is from the original edition of 50. A second edition of 60 for the USA was begun in 1932, and one of 60 for Australia was planned, but then canceled.

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