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11 is possible to-day: the paid painters of princes are rapidly giving places to schools of artists who are conscious of their own relations with life. 9 These public transport and crowd scenes resonate with the artists' consciousness of their own relations with life, those of average people; they represent not 'princes', but a patchwork of humanity from every walk of life, all utilising the same geographical space, and having different, but communal experiences within it. The Grosvenor School artists Apart from Andrews and Power, a number of other students attending the Grosvenor School also proved to be talented linocutters. These included a small contingent of Australians, Dorrit Black (1891-1951), Eveline Winifred Syme (1888-1961), and Ethel Louise Spowers (1890-1947), and Swiss artist Lil Tschudi (1911-2004). Black was from Adelaide and enrolled at the Grosvenor School in September 1927, as part of a two-year travel and study trip to Europe, which also included a visit to pioneering lincoutter Franz Cizek in Austria. Syme and Spowers were long-standing friends from upper middle class Melbourne families. Both had studied art extensively at home and in Europe, and Spowers was already a well-received illustrator who worked with linocuts. They enrolled at the Grosvenor School for a term in 1929 after reading Flight's Lino-Cuts. Tschudi, still a teenager during her six months studying with Flight in 1929-30, was born in Schwanden, and began to study linocutting after discovering animal prints by Norbetine Bresslern-Roth (1891-1978). She arrived at the Grosvenor after seeing an advert in The Studio. Flight began to organise annual lino exhibitions featuring work by these pupils, together with his own prints, those of Edith Lawrence (1890-1973) – a textile designer and Flight's partner in both life and their design business – and works by a number of other print-making luminaries, including Andrews, Power, Grosvenor School principle Iain Macnab, William Kermode (1895-1959), William Greengrass (1896-1970), Eileen Mayo (1906-1994), and Leonard Beaumont (1891-1986). 'The First Exhibition of British Lino-Cuts' took place at the Redfern Gallery between 4-27 July 1929, and was a resounding success. Afterwards Flight wrote to Black: 'The Redfern show sold over 100 prints, the British Museum & V&A Museum buying 4 each'. 10 It proved so successful that Redfern Gallery owner Rex Nan Kivell sent the show to tour America with second editions of the best-selling prints, including Flight's Swing-Boats (1921) and Speed (c.1922). Kivell also arranged for it to 9. Claude Flight, Lino-Cuts, p.3. 10. Claude Flight to Dorrit Black, 17 th October 1929. Quoted in Coppel, Linocuts of the Machine Age, Claude Flight and the Grosvenor School (London: Scholar Press, 1995), p.24, footnote 82. Sledgehammers, 1933