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Sybil Andrews CPE (British/Canadian, 1898-1992) Speedway Linocut printed in raw sienna, venetian red, permanent blue and Chinese blue, 1934, on cream oriental laid paper, signed, titled and numbered 34/60 in pencil, a fine, richly inked impression of this important subject, the colours strong and vibrant, with margins, in very good conditionBlock 326 x 233mm. (12 7/8 x 9 1/4in.); Sheet 371 x 266mm. (14 5/8 x 10 1/2in.) image 1
Sybil Andrews CPE (British/Canadian, 1898-1992) Speedway Linocut printed in raw sienna, venetian red, permanent blue and Chinese blue, 1934, on cream oriental laid paper, signed, titled and numbered 34/60 in pencil, a fine, richly inked impression of this important subject, the colours strong and vibrant, with margins, in very good conditionBlock 326 x 233mm. (12 7/8 x 9 1/4in.); Sheet 371 x 266mm. (14 5/8 x 10 1/2in.) image 2
Lot 98*,AR

Sybil Andrews CPE
(British/Canadian, 1898-1992)
Speedway

13 June 2019, 14:00 BST
London, New Bond Street

Sold for £60,062.50 inc. premium

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Sybil Andrews CPE (British/Canadian, 1898-1992)

Speedway (Coppel SA 29)
Linocut printed in raw sienna, venetian red, permanent blue and Chinese blue, 1934, on cream oriental laid paper, signed, titled and numbered 34/60 in pencil, a fine, richly inked impression of this important subject, the colours strong and vibrant, with margins, in very good condition

Block 326 x 233mm. (12 7/8 x 9 1/4in.); Sheet 371 x 266mm. (14 5/8 x 10 1/2in.)

Footnotes

Motorcycle racing was a popular sport in 1930s England, combining glamour and an appetite for the speed of the modern machine age. In one of her most iconic images, Andrews presents man and motorcycle as a single unit in three repeating forms moving in diagonal format across the page. The tight cropping of the image focusses the viewer's attention on the forward motion and the use of diagonals conveys the sense of speed and exhilaration, both for the riders and spectators alike.
Andrews carved four blocks, one for each colour and built up the image by overlaying successive blocks, resulting in overlapping patterns and tonal variety, which brings the subject to life. For this image she used a type of linoleum with a small pattern of dots on the surface which helped to blend the colours and to provide texture.
The image was originally conceived as a poster for the London Passenger Transport Board which was never realized, but it was doubtless a source of inspiration for the subsequent transport posters produced in collaboration with Cyril Power.

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