1898 - 1992
linocut in 3 colours
signed, titled and editioned 31/50
7 1/2 x 11 po, 19.1 x 27.9 cm
Estimation : $20,000 - $30,000
Vendu pour : $18,750
Exposition à : Heffel Toronto – 13 avenue Hazelton
Private Collection, Toronto
Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduced page 51
Stephen Coppel, Linocuts of the Machine Age, 1995, reproduced page 107, catalogue #SA 6
Gordon Samuel and Nicola Penny, The Cutting Edge of Modernity: Linocuts of the Grosvenor School, 2002, reproduced page 46
Clifford S. Ackley, editor, Rhythms of Modern Life: British Prints 1914 - 1939, Museum of Fine Arts, Boston, 2008, reproduced page 143
Hana Leaper, Sybil Andrews Linocuts: A Complete Catalogue Raisonné, 2015, reproduced page 53
Glenbow Museum, Calgary, Sybil Andrews, September 14 - October 22, 1982, same image, catalogue #6
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 #79
This striking linocut reflects the sweeping social and economic changes of the 1920s and 1930s. World War I introduced dramatic shifts in the job market, followed by the stock market crash of 1929, which resulted in unemployment and economic difficulties. In the Grosvenor School of linocut artists in England that Sybil Andrews was a part of, the worker was idealized and represented as energetic and productive. The machine age was in full swing, inspiring Andrews's depictions of men in industrialized activities. The Winch is an outstanding example of this subject, portrayed with a modernism derived from Cubism and Futurism. Streamlined and stylized, her figures, stripped of their individual features, are anonymous and strong, and with their curved and abstracted arms, they meld with the machine they are manipulating. A whorl of green-tipped orange spears behind the men further emphasizes the impression of intense energy in this refined and powerful print.
The catalogue raisonné lists the edition as 50, with 6 trial proofs and 5 experimental proofs. Early impressions are on buff oriental laid tissue; later impressions are on thin cream oriental paper.
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