PROVENANCE
Acquis directement de l’artiste par la collection privée actuelle, Colombie-Britannique

BIBLIOGRAPHIE
Peter White, Sybil Andrews, Glenbow Museum, 1982, page 26, reproduit page 40 et page 56 pleine page couleur
Stephen Coppel, Linocuts of the Machine Age, 1995, reproduit page 114, #SA 28 du catalogue
Hana Leaper, Sybil Andrews Linocuts : A Complete Catalogue, Osborne Samuel Gallery, 2015, reproduit page 75
Janet Nicol, On the Curve: The Life and Art of Sybil Andrews, 2019, reproduit page 51

EXPOSITION
Glenbow Museum, Calgary, Sybil Andrews, 14 septembre - 22 octobre, 1982, même image, catalogue #28

In Flower Girls, Sybil Andrews creates a sense of dynamic movement with the repeated angular shapes of the women ascending the steps. The figures have great vitality, and their rich colouration against the background adds to this impression. Coppel writes, "The repeated angular shapes and colour patterns give dynamic energy to this study of movement." Andrews’s bold colour palette was directly influenced by the strong colours in Russian icons that she saw in an exhibition in 1929 at the Victoria and Albert Museum. She went back numerous times to study them, and Peter White states, “This influence is apparent in the combination of deep reds and golden yellow anchored by black that recurs in her linocuts.” Here, Andrews contrasts the yellow and red tones of the lush bunches of flowers and woven baskets against the dark-toned, powerful figures. Andrews often depicted working people in her linocuts, and in this superb print, she imbues the flower sellers with strength, dignity and a sense of determination as they go about their daily activities.

Early impressions of this print are on buff oriental laid paper and late impressions are on thicker oriental paper. This is an excellent impression on oriental paper. This work is recorded in the Sybil Andrews print notebook, in the collection of the Glenbow Museum.

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