Frederick Landseer Griggs is regarded as one of the most technically accomplished etchers of the 20th century. 'The Almonry' is considered the greatest of his small output of 57 plates.
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 waifs 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