Cyril Edward Power (British, 1872-1951) The Eight The rare linocut printed in chrome orange, permanent blue, pale chrome and Chinese blue, 1930, on buff oriental laid tissue, signed, titled and inscribed 'E.P.' and  annotated 'sc. et imp.' after the signature in pencil, an experimental proof aside from the numbered edition of 50, one of very few impressions with pale chrome printed lightly on the backs of the rowers, additionally signed, titled and annotated '£2.2' in pencil in the lower margin, with margins, 323 x 234mm (12 3/4 x 9 1/4in)(B) unframed
Lot 55* AR
Cyril Edward Power
(British, 1872-1951)
The Eight unframed
Sold for £70,900 (US$ 110,735) inc. premium

Lot Details
Cyril Edward Power (British, 1872-1951) The Eight The rare linocut printed in chrome orange, permanent blue, pale chrome and Chinese blue, 1930, on buff oriental laid tissue, signed, titled and inscribed 'E.P.' and  annotated 'sc. et imp.' after the signature in pencil, an experimental proof aside from the numbered edition of 50, one of very few impressions with pale chrome printed lightly on the backs of the rowers, additionally signed, titled and annotated '£2.2' in pencil in the lower margin, with margins, 323 x 234mm (12 3/4 x 9 1/4in)(B) unframed Cyril Edward Power (British, 1872-1951) The Eight The rare linocut printed in chrome orange, permanent blue, pale chrome and Chinese blue, 1930, on buff oriental laid tissue, signed, titled and inscribed 'E.P.' and  annotated 'sc. et imp.' after the signature in pencil, an experimental proof aside from the numbered edition of 50, one of very few impressions with pale chrome printed lightly on the backs of the rowers, additionally signed, titled and annotated '£2.2' in pencil in the lower margin, with margins, 323 x 234mm (12 3/4 x 9 1/4in)(B) unframed
Cyril Edward Power (British, 1872-1951)
The Eight (Coppel CEP 18)
The rare linocut printed in chrome orange, permanent blue, pale chrome and Chinese blue, 1930, on buff oriental laid tissue, signed, titled and inscribed 'E.P.' and annotated 'sc. et imp.' after the signature in pencil, an experimental proof aside from the numbered edition of 50, one of very few impressions with pale chrome printed lightly on the backs of the rowers, additionally signed, titled and annotated '£2.2' in pencil in the lower margin, with margins, 323 x 234mm (12 3/4 x 9 1/4in)(B) (unframed)

Footnotes

  • The Eight is a study of a racing eight observed from Hammersmith Bridge during the trials for Head of the River Race on the Thames. While the majority of the published edition leaves the area on the back of the rowers as unprinted white, the impression offered in this lot is a rare example that displays pale chrome printed very lightly from the third block. 1

    The linocut is "a back view of the men apparently in the drive position, whereby the 'oar enters the water at the perfect angle, then the rower pushes backwards, toward the bow, flattening his legs with his arms fully outstretched and pulling the oar toward him'. The emphatic perspective of the scene from the bridge above [in preliminary pencil studies] has turned into a close-cut, quite aerial view, editing out the tips of the oars and the front of the craft, eliminating the figure of the coxswain. As the oars are seen to enter the river, a whole framework of lines and shapes are seen to irradiate across the transparent blue waters, describing the curving cone-shaped eddies stirred by the oars and the small wave patterns; like arching flares of lights- created as the craft thrusts forward. Power noted that the use of Chrome Orange should be 'heavy on men', the Permanent Blue applied at 'full pressure' and the Pale Chrome 'very light on the backs of the men'. The translucent, glowing yellow on the backs of the men helps evoke the aesthetically subtle nuances of their muscular torsos as they twist and strain forwards. The clipped, contoured opaque blue-black expanses describing their haircuts communicates something of the taut impersonal resolve and concentrated strength of the crew, its overall motion synchronised with balletic precision." 2




    1 Stephen Coppel, Linocuts of the Machine Age: Claude Flight and the Grosvenor School(London:Scolar Press, 1995), 95.
    2 Philip Vann, Cyril Power Linocuts (Farnham:Lund Humphries, 2008), 16-17.
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