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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, a very good impression, on oriental laid paper, signed, titled and numbered 36/60 in pencil, framed Block 326 x 233mm (12 3/4 x 9 1/8in) Sheet 358 x 270mm (14 1/8 x 10 5/8in) image 1
Sybil Andrews CPE (British/Canadian, 1898-1992) Speedway Linocut printed in raw sienna, Venetian red, permanent blue and Chinese blue, 1934, a very good impression, on oriental laid paper, signed, titled and numbered 36/60 in pencil, framed Block 326 x 233mm (12 3/4 x 9 1/8in) Sheet 358 x 270mm (14 1/8 x 10 5/8in) image 2
Lot 4AR

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

10 December 2024, 14:00 GMT
London, New Bond Street

Sold for £31,616 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, a very good impression, on oriental laid paper, signed, titled and numbered 36/60 in pencil, framed

Block 326 x 233mm (12 3/4 x 9 1/8in)
Sheet 358 x 270mm (14 1/8 x 10 5/8in)

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 focuses 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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