Griggs worked on the copper plate of 'The Almonry' for many months before it was ready to print, resulting in his most elaborate composition. The aerial perspective - the illusion of a wintry atmosphere, through which we can see the pinnacles and buttresses of the church in the distance - is a marvel of technical achievement. This scene of Gothic buildings, peopled with waits and poor travellers, under freshly fallen snow, is Griggs' most magical evocation of Medieval England.
v of 7 states
24.3 x 16.7 cm platemark; 26.5 x 18.5 cm sheet
Signature & date
Signed l.r. sheet, pencil "F.L. Griggs" and l.r., [incised plate] "FLG". Not dated.
Not on display
Shown in 1 exhibition
Whistler to Freud: etching in Great Britain, Art Gallery of New South Wales, Sydney, 24 Aug 2001–11 Nov 2001
Referenced in 5 publications
Francis Adams Comstock, A Gothic vision: F. L. Griggs and his work, IV 'Triumphs 1924-1928', pg. 23-26, Boston, 1966, 23, 154-157, 158 (illus.). no. 34
Campbell Dodgson, The print collector’s quarterly, 'The later etched work of F.L. Griggs, R.A.', London, 1933, 326-328, 329 (illus.).
Jerrold Northrop Moore, F.L. Griggs: The Architecture of Dreams, 'The once and future perfect', pg. 144-183, Oxford, 1999, cover (illus.), 170-172, 173 (illus.), 174-175, 178-179. figure 100
Peter Raissis, Whistler to Freud: Etchings in Great Britain, Sydney, 2001, (illus.). cat.no. 36
Malcolm C Salaman, Modern masters of etching: F.L. Griggs, A.R.A., R.E., 'Introduction', pg.1-10, London, 1926, 6, 10, (illus.). plate XII