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LOT DETAILS
Current bid: $45,000 CAD
Bidding History
Paddle # Date Amount

24141 30-Jul-2020 02:22:06 PM $45,000

29808 30-Jul-2020 02:07:37 PM $42,500 AutoBid

24141 30-Jul-2020 02:04:06 PM $40,000

29808 30-Jul-2020 02:02:39 PM $37,500 AutoBid

24141 30-Jul-2020 02:02:39 PM $35,000

29808 30-Jul-2020 01:55:04 PM $32,500 AutoBid

24141 30-Jul-2020 01:35:15 PM $30,000

29808 30-Jul-2020 12:55:41 PM $27,500 AutoBid

16568 30-Jul-2020 12:55:41 PM $25,000

29808 29-Jul-2020 02:39:01 AM $22,500

16568 29-Jul-2020 02:38:27 AM $20,000 AutoBid

29808 29-Jul-2020 02:38:27 AM $19,000

16568 29-Jul-2020 02:38:03 AM $18,000 AutoBid

29808 29-Jul-2020 02:38:03 AM $17,000

16568 28-Jul-2020 08:22:32 PM $16,000 AutoBid

5507 22-Jul-2020 08:46:28 PM $15,000

LOT 110

Sybil Andrews
CPE
1898 - 1992
Canadian

Fall of the Leaf
linocut in 5 colours, 1934
signed, titled and editioned 26/60
14 1/4 x 10 1/8 in, 36.2 x 25.7 cm

Estimate: $20,000 - $30,000

Sold for: $55,250

Preview at: Heffel Toronto – 13 Hazelton Ave

PROVENANCE
Private Collection, Toronto

LITERATURE
Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduced pages 42 and 57
Stephen Coppel, Linocuts of the Machine Age, 1995, reproduced page 115, catalogue #SA 30
Clifford S. Ackley, editor, Rhythms of Modern Life: British Prints 1914 - 1939, Museum of Fine Arts, Boston, 2008, reproduced page 172
Hana Leaper, Sybil Andrews Linocuts: A Complete Catalogue, 2015, reproduced page 77

EXHIBITED
Glenbow Museum, Calgary, Sybil Andrews, September 14 - October 22, 1982, same image, catalogue #30
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 #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 that early impressions are on buff oriental laid tissue, and later printings are on thickish oriental laid paper.


All prices are in Canadian Dollars


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