Graham Sutherland OM

Pecken Wood


Not on display

Graham Sutherland OM 1903–1980
Etching on paper
Image: 137 × 184 mm
Presented by the artist 1970

Display caption

Sutherland saw an etching by Samuel Palmer when he was studying printmaking in the early 1920s. He later recalled 'I was amazed at its completeness... [It was] quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity. It seemed to me wonderful that a strong emotion, such as was Palmer's, could change and transform the appearance of things.' Like Palmer and 'The Ancients', Sutherland was looking back to a purer, earlier age of art. His religious intensity is highlighted by the cross put after the date in the top right hand corner.

Gallery label, August 2004

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Catalogue entry

Graham Sutherland OM 1903-1980

P02066 Pecken Wood 1925

Inscribed on the plate ‘GRAHAM SUTHERLAND MCMXXV +’ t.r. and in the margins ‘Final State’ b.l. and ‘Graham Sutherland’ b.r. Etching, 51/16 x 73/16 (13.5 x 18.3) on paper 7½ x 10¼ (19 x 26).
Presented by the artist 1970.
Lit: David Ogg, ‘Etchings of Graham Sutherland and Paul Drury’ and R.A. Walker, ‘ Chronological List of Etchings and Drypoints of Graham Sutherland and Paul Drury’ in Print Collectors Quarterly, XIV, No.1, January 1929, pp. 76–96, repr. p. 80; Douglas Cooper, The Work of Graham Sutherland, 1961, p.69, repr. pl. 3a; Raymond Lister, Samuel Palmer and his Etchings, 1969; Felix H. Man, Graham Sutherland: das graphische Werk 1922–1970, 1970, No. 24, repr.

This etching exists in five states: there was one impression of the first state, two of the second and a total of eighty-five of the third, fourth and fifth. P02066, which has the signature added on the plate, is of the final state. The etching was published by the Twenty-One Gallery and the plate destroyed by 1928.

Like ‘Cray Fields’ (P02067) it dates from the period when Sutherland’s etchings were strongly influenced by the work of Samuel Palmer. His subjects were taken at this time from a small area of the countryside in Kent and Sussex.

Published in The Tate Gallery Report 1970–1972, London 1972.

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