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拍品 140 |AFTERNOON SESSION 2pm
MODERN BRITISH PRINTS
VARIOUS PROPERTIES
MODERN BRITISH PRINTS
VARIOUS PROPERTIES
Sybil Andrews (1898-1992)
The Winch (Coppel SA 6)
已結束2011年9月20日
成交價
GBP 21,250
更多資訊
Sybil Andrews (1898-1992)
The Winch (Coppel SA 6)
linocut in colours, 1930, on thin cream Japan wove paper, signed in pencil and numbered 14/50 in the image at upper left, with wide margins, unevenly cut below, in very good condition
B. 212 x 298 mm., S. 254 x 336 mm.
The Winch (Coppel SA 6)
linocut in colours, 1930, on thin cream Japan wove paper, signed in pencil and numbered 14/50 in the image at upper left, with wide margins, unevenly cut below, in very good condition
B. 212 x 298 mm., S. 254 x 336 mm.
Sybil Andrews (1898-1992)
The Winch (Coppel SA 6)
linocut in colours, 1930, on thin cream Japan wove paper, signed in pencil and numbered 14/50 in the image at upper left, with wide margins, unevenly cut below, in very good condition
B. 212 x 298 mm., S. 254 x 336 mm.
The Winch (Coppel SA 6)
linocut in colours, 1930, on thin cream Japan wove paper, signed in pencil and numbered 14/50 in the image at upper left, with wide margins, unevenly cut below, in very good condition
B. 212 x 298 mm., S. 254 x 336 mm.
The present linocut by Sybil Andrews (1898-1992), The Winch, illustrates one of the main preoccupations and principal themes of the Grosvenor School Group, the dynamism of the modern machine age.
In this composition, the repetitive rhythmic movement of the two human figures winching, is created through the distorted sinuous lines and shapes, as well as the deliberate use of colour.
At the age of 24, the young student Sybil Andrews met Cyril E. Power, a well-respected architect who lived with his wife and four children, in Bury St Edmunds in Suffolk. They instantly started working in collaboration, deciding to move together to London in order to pursue a joint career as artists. It was at the Grosvenor School where they met Claude Flight, who was to introduce them to the new technique of cutting and printing from linoleum.
Power and Andrews developed a very particular style of printing the blocks in order to bring out different effects in colours by manually pressing the block with a wooden spoon or sometimes with the fingertips for the most delicate areas. As a result, the impression was irregularly inked and would slightly vary in quality from one impression to another.
In the present example, the graded printing of the colours caused by varying the hand pressure on the block, gives a sense of speed and movement resulting in a magnificent and very realistic representation of action and movement of manual labour in the industrial age.
In this composition, the repetitive rhythmic movement of the two human figures winching, is created through the distorted sinuous lines and shapes, as well as the deliberate use of colour.
At the age of 24, the young student Sybil Andrews met Cyril E. Power, a well-respected architect who lived with his wife and four children, in Bury St Edmunds in Suffolk. They instantly started working in collaboration, deciding to move together to London in order to pursue a joint career as artists. It was at the Grosvenor School where they met Claude Flight, who was to introduce them to the new technique of cutting and printing from linoleum.
Power and Andrews developed a very particular style of printing the blocks in order to bring out different effects in colours by manually pressing the block with a wooden spoon or sometimes with the fingertips for the most delicate areas. As a result, the impression was irregularly inked and would slightly vary in quality from one impression to another.
In the present example, the graded printing of the colours caused by varying the hand pressure on the block, gives a sense of speed and movement resulting in a magnificent and very realistic representation of action and movement of manual labour in the industrial age.