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38 The Sunshine Roof, c.1934 Linocut printed from four blocks in yellow, warm brown, viridian and Prussian blue on buff oriental laid tissue. Titled, signed and inscribed TP 2 (Trial Proof) in pencil before the edition of 60 26 x 33 cm (10 ΒΌ x 13 in) Exhibited: Cutting Edge: Modern British Print Making , Dulwich Picture Gallery, London, June - September 2019 Literature: Linocuts of the Machine Age , Stephen Coppel, published by Scolar Press, 1995, CEP 39, p.101 Cyril Power Linocuts: A Complete Catalogue , by Philip Vann, published by Osborne Samuel & Lund Humphries, 2008, illustrated in colour p, 97 The Sunshine Roof is a very successful composition of the interior of Green Line Bus. Green Line had its origin in the network of bus services established by the London General Omnibus Company (LGOC) in the 1920s and 1930s. After World War II, the network was part of London Transport Executive/London Transport Board, and from 1970 to 1986 was operated by London Country Bus Services and in 2020 celebrated its 90 th Anniversary and is currently owned by Arriva. The perspective of the composition is from the rear of the bus where the artist sat, the 'sunshine roof' above is open on a summer's day. The passengers are typically, fashionably hatted, male and female. Some stare out of the windows, other glance to the left. On either side and above, Power uses the curves and patterning to accentuate of speed as the bus tilts to the right and hurtles along. The driver is the artist's son, also named Cyril Power. He had gone to Australia to work and returned home during the depression of the 1930s for work. The only work he found was firstly as a bus conduc- tor then promoted to driver. Price on Application I Grosvenor School of Modern Art CYRIL POWER (1872-1951)