(England 30 Oct 1876–1938)
24.3 x 16.7cm platemark; 26.5 x 18.5cm sheet
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.
Peter Raissis (Australia) (Author), Whistler to Freud: Etchings in Great Britain, Domain, 2001, (illus.). cat.no. 36
Jerrold Northrop Moore (United States of America) (Author), F.L. Griggs: The Architecture of Dreams, Oxford, 1999, cover (illus.), 170-172, 173 (illus.), 174-175, 178-179. figure 100
Francis Adams Comstock (Author), A Gothic vision: F. L. Griggs and his work, Boston, 1966, 23, 154-157, 158 (illus.). no. 34
'The later etched work of F.L. Griggs, R.A.' by Campbell Dodgson, The print collectors' quarterly, 20 1933, 1933, 326-328, 329 (illus.).
'Introduction' pg.1-10, Modern masters of etching: F.L. Griggs, A.R.A., R.E. 1926, 1926, 6, 10, (illus.). plate XII
Whistler to Freud: etching in Great Britain, Art Gallery of New South Wales, 24 Aug 2001–11 Nov 2001.