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The Barbican. 1920. Etching. Comstock 26.i/iii. 6 3/16 x 6 3/4 (sheet 9 5/8 x 8 3/4). Edition 30 in this state (total edition about 61). A fine impression on blue/green laid paper. Illustrated: Salaman, Modern Masters of Etching. Signed and dedicated 'To R.A. Walker' in pencil. $2,000.
The Ford. 1915-24. Etching. Comstock 9.iii/vi. 57/8 x 9 1/2 (sheet 7 5/8 x 12). Edition 60 in this state (total 127 proofs). Illustrated: Salaman, Modern Masters of Etching; Calloway, English Prints for the Collector, p. 184. A fine impression on sturdy cream laid paper. With the DHP (Dover House Press) stamp verso. Signed in pencil. Comstock wrote, "This is the best of these three states"(p. 68). The Ford. is the first of a series of imaginary scenes. Griggs described it as 'An imaginary English town before Reformation & the Renaissance had visible effect.'$2,250.
Linn Bridge. 1922. Etching. Comstock 29.iii/iv. 6 3/16 x 5 1/16 (sheet 10 7/16 x 17). Edition 40 in this state (total 61 proofs). Illustrated: Salaman, Modern Masters of Etching ; Print Collector's Quarterly 11 (1924): 107. A fine impression printed on antique cream laid paper. With the DHP (Dover House Press) stamp in ink, lower right. Signed in pencil. $1,500
Lone-End. 1930. Etching. Comstock 42.vi. 7 1/8 x 10 1/4 (sheet 10 x 14 7/16). Edition 90 in this state (total 96 proofs). Illustrated: Print Collector's Quarterly 26 (1939): 70. A fine impression on cream laid paper with wide margins. With the 'DHP (Dover House Press)stamp in ink, verso, and numbered '25' in pencil. Signed in pencil. $1,500.
Netherton Chapel. 1935. Etching. Comstock 53.v. 5 11/16 x 4 3/8 (sheet 8 15/16 x 6 1/2). Edition 85 in this state (total edition 88-89). Illustrated Fine Prints of the Year, 1936; Print Collector's Quarterly 26 (1939): 286. A fine impression on white laid paper with a partial crown watermark. Signed in pencil. Housed in a striking 11 1/2 x 10 7/8 wood and champagne gold frame. $1,500.
Potter's Bow. 1924. Etching. Comstock 33.vii. 9 7/8 x 7 1/8 (image and sheet). Edition 46 in this state (total 73 proofs). Illustrated: Salaman, Modern Masters of Etching ; Fine Prints of the Year, 1924. Printed on French 1740 antique cream laid paper. With the DHP (Dover House Press) stamp verso. Trimmed to the image, as is usual with this etching. Signed in pencil. $2,000.
St. Botolph's Bridge (No. 1). 1917. Etching. Comstock 19.iv. 5 3/4 x 4 1/2 (sheet 9 3/8 x 8 5/8). Edition 50 in this state (total 70 proofs in 4 states.) A rich impression with plate tone printed on 'KF' laid paper. Signed and annotated 'imp' in pencil, indicating a proof printed by the artist. Housed in an elegant 18 1/4 x 12 1/8-inch gold leaf frame. $1,850.
St. Wendred's, March. 1921. Etching. Comstock 27.ii. 9 1/4 x 5 1/4 (12 1/16 x 9) Edition 63 in this state (total 66 proofs). Illustrated: Print Collector's Quarterly 11 (1924): 121. A beautiful impression printed with plate tone on cream laid paper with full margins. With the DHP (Dover House Press) stamp recto. Signed in pencil. $2,000.
Griggs was born in Hitchin, Hertfordshire, in 1876. He studied at the Slade School of Art and worked for two years 1896-8 in the architectural office of C.E. Mallows, the architectural draughtsman. He worked in a visionary tradition deriving from William Blake, Samuel Palmer and Edward Calvert. Griggs created 57 prints in all, depicting idealized Gothic buildings and landscapes. He was Master of the Art-Workers' Guild, and one of first etchers to be elected to full membership of the Royal Academy.
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