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Sybil Andrews'Le Petit Bay, St. Malo' — 1920s British Impressionismc. 1925
c. 1925
$3,200
£2,397.81
€2,810.93
CA$4,481.58
A$5,023.08
CHF 2,629.65
MX$61,981.81
NOK 33,033.33
SEK 31,094.86
DKK 20,969.74
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About the Item
Sybil Andrews, 'Le Petit Bay, St. Malo', color monotype, c. 1925; edition 3, print 2. Signed 'Sybil Andrews pinx et imp' annotated 'No 2' and titled in pencil. A superb, luminous impression, with undiminished, ethereal colors, on heavy cream wove paper; the full sheet with margins (1 to 1 1/2 inches). The palest of light toning within the original mat opening, otherwise in excellent condition. Printed by the artist. Matted to museum standards, unframed.
Image size 7 15/16 x 11 7/8 inches; sheet size 10 1/2 x 14 1/2 inches.
ABOUT THIS WORK
In addition to her almost 80 celebrated modernist color linocuts, Sybil Andrews also worked in the monotype technique. She typically produced two or three impressions (or pulls) from each hand-painted plate. In 1933, Sybil Andrews and Cyril Power had an exhibition of their color monotypes and linocuts at the Redfern Gallery. Most of Andrews' monotypes were destroyed by a fire in an Ottawa gallery in 1959, and they now rarely come to the market.
ABOUT THE IMAGE
The historic island city of Saint-Malo, in the Brittany region of northwestern France was named for Maclou, or Malo, a Welsh monk who fled to Brittany, making his headquarters on the island, in the 6th century. The island was not substantially inhabited until the 8th century when the population of the surrounding district sought refuge there from the Normans. In the 17th and 18th centuries, Saint-Malo supported navigators, traders, and privateers, becoming wealthy from local extortion and overseas adventures. In 1944, the Allies heavily bombed Saint-Malo, destroying three-fourths of the city, which was subsequently rebuilt. Following the war, the city became a popular tourist center, with a ferry terminal serving the Channel Islands of Jersey and Guernsey, as well as the Southern English settlements of Portsmouth, Hampshire, and Poole, Dorset.
Andrews created many of her impressionist-inspired monoprints while vacationing in the picturesque towns and countryside of Brittany.
- Creator:Sybil Andrews (1898 - 1992, British)
- Creation Year:c. 1925
- Dimensions:Height: 7.94 in (20.17 cm)Width: 11.88 in (30.18 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Myrtle Beach, SC
- Reference Number:Seller: 1023301stDibs: LU53235931992
Sybil Andrews
Sybil Andrews was an English-Canadian artist who specialized in printmaking and is best known for her reductionist linocuts. Born in 1898 in Bury St Edmunds, Andrews was unable to go straight to art school after her high school, as her family could not afford the tuition fees. Given the shortage of young men during the First World War, in 1916 she was apprenticed as a welder, working in the Bristol Welding Company’s airplane factory, helping in the development of the first all-metal airplane. During this period, she took an art correspondence course. After the war, Andrews returned to Bury St Edmunds, where she was employed as an art teacher at Portland House School. Between 1922–24, she attended the Heatherley School of Fine Art in London. Andrews continued to practice the art and met the architect Cyril Power, who became a mentor figure, and then her working partner until 1938. Between 1930–38, Andrews and Power shared a studio in Hammersmith. In 1933, Andrews and Cyril Power had an exhibition of their color monotypes and linocuts at the Redfern Gallery. Most of her monotypes were destroyed by a fire in an Ottawa gallery, in 1959 and they are therefore now seldom seen.
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ABOUT THIS WORK
In addition to her almost 80 celebrated modernist color linocuts, Sybil Andrews also worked in the monotype technique. She typically produced two or three impressions (or pulls) from each hand-painted plate, each proof unique in its qualities of color values and vibrancy.
In 1933, Sybil Andrews and Cyril Power had an exhibition of their color monotypes and linocuts at the Redfern Gallery. Most of Andrews' monotypes were destroyed by a fire in an Ottawa gallery in 1959, and they now rarely come to the market.
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