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12 travel around Britain for two years, and Coppel records it attracted 'over 12,000 visitors at Sunderland alone.' 11 The show travelled in the USA for long enough for Flight to remark on its 'continued success' in his foreword to British Linocuts, the second exhibition of linocuts he arranged at the Redfern Gallery between 23rd July and 23 rd August 1930. 12 This initial burst of success was followed by a three-day exhibition of selected highlights from the first and second shows in Shanghai, which 'resulted in a third of the prints being sold', and a 1932 exhibition in Peking in September 1932. 13 Group linocut shows in London continued until 1937 at the Redfern and Ward Galleries, and works by Flight's former pupils travelled internationally, appearing at exhibitions in Los Angeles, Austria, Romania and the former Czechoslovakia. After returning to Australia, Black, Spowers, and Syme, continued linocutting, and each promoted the medium intensively during the course of their careers. Black opened the Modern Art Centre in Sydney 1932-3, where linocutting classes were taught and exhibitions of linocuts held; Spowers acted as Flight's Australian agent in Melbourne; Syme gave linocutting demonstrations; and all continued to promote the practice through their membership of exhibiting societies and writings. A major exhibition was held in Melbourne, 1937, where the National Gallery of Australia bought prints by Spowers, Power, Andrews, Mayo and Greengrass. 14 Flight's galvanising teaching generated a wellspring of enthusiasm for the linocut medium that made the Grosvenor School known and respected worldwide, and his pupils carried this legacy onwards globally. Andrews continued to work and exhibit after her emigration to Canada in 1947, and through her teaching, ensured that the medium continued to evolve. 'To paint, you must love' It seems appropriate to give the final word of this introduction to Andrews' largest retrospective yet, to the artist. Artist's Kitchen reveals the core of Andrews' passion for her craft, delivered in her uniquely direct tone. To create work of lasting value, she leaves us with the injunction to utilise: All of yourself, All of your knowledge and intelligence and vision, All of your love. 15 The viewer recognises this passion and commitment, the essence of Andrews practice, invested in each of her linocuts. 11. Ibid., p.20. 12. Claude Flight, 'Foreword, British Linocuts (London: Redfern Gallery, 1930) 13. Stephen Coppel, Linocuts of the Machine Age, p.20. 14. Exhibition of Lino Cuts from the Redfern Gallery, Baillieu Allard's Gallery, Melbourne, 7-18 September 1937. 15. Sybil Andrews, Artist's Kitchen, p.206. Sybil Andrews hands, c.1990's Photograph: © Jurgen Vogt