Lill Tschudi (Swiss, 1911-2001) Fixing the Wires (LT 26) Linocut printed in black, greyish beige and light blue, 1932, a richly inked impression, on thin off-white oriental laid,  signed and numbered 3/50 and inscribed 'USA' in pencil, from the USA edition printed in 1937, with margins, 302 x 202mm (12 x 8in) (B)
Lot 52
Lill Tschudi (Swiss, 1911-2001) Fixing the Wires (Coppel LT 26) Linocut printed in black, greyish beige and light blue, 1932, a richly inked impression, on thin off-white oriental laid, signed and numbered 3/50 and inscribed 'USA' in pencil, from the USA edition printed in 1937, with margins, 302 x 202mm (12 x 8in)(B)
Sold for £27,500 (US$ 46,270) inc. premium
Auction Details
Lot Details
Lill Tschudi (Swiss, 1911-2001)
Fixing the Wires (Coppel LT 26)
Linocut printed in black, greyish beige and light blue, 1932, a richly inked impression, on thin off-white oriental laid, signed and numbered 3/50 and inscribed 'USA' in pencil, from the USA edition printed in 1937, with margins, 302 x 202mm (12 x 8in)(B)

Footnotes

  • Tschudi had not yet turned 21 when she made this mature colour linocut in March 1932. Her astonishing technical abilities in linocut clearly impressed her former teacher, Claude Flight. Colour proofs (now in the Australian National Gallery) from each block were reproduced in Flight's manual "The Art and Craft of Lino Cutting and Printing" (London: B.T. Batsford Ltd., 1934) to demonstrate the build-up of the final image from several blocks of roughly equal value.

    The linemen in "Fixing the Wires" are surrounded by both taut wires and loose ones in the process of being strung. It is curious to observe the iconographical affinities of Tschudi's linocut with C.R.W. Nevinson's earlier drypoint of 1918, "Nerves of an Army". Tschudi's linear depiction of the wires by engraving fine lines into the surface of her linoleum block, a traditional means avoided by her fellow Grosvenor school linocutters, is yet another link to Nevinson's conception. In comparing the two compositions, an interesting reversal becomes apparent. While Nevinson's drypoint needle creates velvety, deep black lines, Tschudi's wires are manifest in the lack of pigment against the white of the paper.

    Stephen Coppel, Linocuts of the Machine Age: Claude Flight and the Grosvenor School (Aldershot: Scolar Press, 1995), 134.
    Thomas E. Rassieur, "Industry and Labour", in British Prints from the Machine Age: Rhythms of Modern Life, 1914-1939, ed.Clifford S. Ackley (London: Thames & Hudson, 2008), 135.
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