Paul Drury (1903-1987) was one of the major printmakers to graduate from Goldsmiths College in the 1920s. He was part a group of students which included Graham Sutherland, Edward Bouverie-Hoyton, Alexander Walker and William Larkins whose work for a time fell under the spell of the Romantic artist, Samuel Palmer. In Autumn 1824 Larkins came upon a small copy of Palmer’s 1850 etching, The Herdsman’s Cottage and purchased it. The group became later known as The Goldsmiths School or The New Pastoralists. Palmer was not the only influence on the group. Initially Durer, Whistler, Meryon, Millet, Haden and Rembrandt were cited as influences. The group were also aware of the work of F.L.M Griggs from his images for Highways and By-ways, rural English travel guides as well as his etchings which revealed the grand visions of historic English sites. Drury and Sutherland even visited Grigg’s studio to learn about his printing techniques.
At that time at the college to almost
completely cover the plate with etched lines, as in the Palmers etching, was almost unheard of. In the
Herdsman’s Cottage, even the lines in the sky are filled with linear marks that run
horizontally across the top right side of the plate. As early as 1924 both Paul
Drury and Graham Sutherland, like Palmer, produced etchings which in most cases
covered the plates with a series of intricate lines which were etched in a
number of successive stages. This enabled rich black areas to be built up through
the overlay of etched lines.
|Head of an old man , etching 1924|
|September, etching 1928|
|Evening, wood engraving 1924|
|First Italian head 1928|
Drury, Jolyon (2006) Revelation to Revolution: The Lecagy of Samuel Palmer, Author publication, Ashford, Kent