拍品專文
Discussing the work of 1914-15, Walter Michel (op. cit., pp.52-53) comments: 'Lewis used both representation and abstraction with complete freedom. Total abstractions were designed by the dozen in a Vorticist sketchbook of 1914-15, at the same time as the 'primitive' figures were revived in pen-and-ink exercises ... If there was anything programmatic in Lewis's stand at this period it was his conviction that a twentieth-century art must in some way make use of the associations provided by machinery ... It is true that machine elements do not occur explicitly in these works, but are transformed into cylinders, rectangles, wedges and ovoids: like the living flesh, they become depersonalized geometrics'.