Four intaglio prints, c. 1923-29, each signed, titled and numbered in pencil, on wove papers, framed (4 prints)

In good condition. Indvidual imperfections are as follows: King Henry VII's Chapel with full margins, soiling at the upper sheet edge and at right remains of a hinge, soft handling creases at lower margin, soiling verso Impasse des Hautes with a few fox marks and soiling in the margins, the upper and lower edges trimmed with remains of adhesive Rue Malpalm the margins are unevenly trimmed and with soiling, with remains of adhesive left and lower edge, the verso discolored overall Manoir de Formeville the margins are unevenly trimmed and with a few areas of soiling and an occasional pale fox mark, the verso discolored overall
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

King Henry VII's Chapel, W꧂estminster Abbey,&🦋nbsp;numbered 35/40, inscribed 'del sculpt et imp'.

Impasse des Hautes Marriages, numbered 5/5.

Rue Malpalm, Rouen, numb💧ered 50/60,ꦓ inscribed 'del et imp'.

Manoir de Formeville, Lisieux, numbere📖d 'No. 30/40', inscribed 'del et imp'.

While at first glance these early etchings appear unrelated to Sybil Andrews lauded linoleum cuts, they actually betray the influence of Cyril E. Powers, Andrews important collaborator during the development of the Grosvenor School modern print aesthetic.  The two met in the early 1920s and joined the London school together in 1922 (Andrews as secretary, Powers as lecturer).  Trained as an architect, Powers exposed Andrews to the principles of composition and to architectural draftsmanship.  The twisting streets and traditional architecture of London and France inspired much of their early work.  (See for a comparable example Powers' early linoleum cut At Lavenham [CEP 2] in Coppel.)  After leaving the Grosvenor School in 1928, this training suppor🐭ted Andrews during the Depression when she sold her prints of popular architectural🐈 subjects. 

In 1992 the Christian Science Church received a bequest from Sybil Andrews of over 100 of her works.   Sꦕhe was a member of the church.  These works are part of that bequest.