Sydney
LONG
Australia
1871
–
London
1955
England, Europe 1910-21; Australia 1921- 22; England 1922-25; Australia 1925-52; England from 1952
19.9 (h) x 29.0 (w) cm
2/30 , published state , edition of 30 , watermark indecipherable
Signed lower right below plate-mark in black pencil, 'Sydney Long'. Not dated. Inscribed with edition details lower left below plate-mark in black pencil, '2/30'.
Reference: Mendelssohn (1979), 35; Paul (1928), 2 National Gallery of Australia, Canberra NGA 1965.132 The Oscar Paul Collection, Gift of Henriette von Dallwitz and of Richard Paul in honour of his father 1965. Reproduced with the kind permission of the Ophthalmic Research Institute of Australia
- The Oscar Paul Collection.
- Bequest to the Commonwealth Art Advisory Board (C.A.A.B.), from Mrs Henriette von Dallwitz legatee of Richard Paul after reinbursement to estate, to fulfill Richard Paul's intentions to honour his father, May 1965.
Soon after Long arrived in England he wrote that he ‘had a look at London from the embankment from Westminster Bridge in the evening yesterday afternoon ... I had a good scoot around, it is a lovely old place and is teeming with interesting stuff for pictures. At night it is simply gorgeous’ (Long, 26 October 1910).
The view of the Thames and the Waterloo Bridge area was popular with artists such as J.M.W. Turner in the 1830s and James McNeill Whistler in the 1890s. Long depicted the scene looking east toward Blackfriars Bridge, with the City of London and St Paul’s Cathedral in the far distance, and shipping activity and factories in the foreground.
This example of pure line etching is the first of a number of etchings in which Long reflected his admiration for both the approach and the subject of Whistler’s prints. The strong but subtle contrast of light and dark etched lines creates a perfectly balanced work.
Originally to be called the Strand Bridge, Waterloo Bridge was renamed to honour the British victory at Waterloo. The Italian sculptor Canova described it as ‘the noblest bridge in the world, worth a visit from the remotest corners of the earth’. The present bridge dates from 1937–42, after Long made this print.
Also known as ‘The river from Waterloo Bridge’, a copy of this print was first exhibited in 1921 in The water-colours and etchings of Sydney Long, ARE, Decoration Galleries, Melbourne, 15–26 August (23, as ‘Thames from Bridge’). It was reproduced in Art in Australia on 11 December 1921.
The National Gallery of Australia holds another copy of the print, in black ink. There is a copy in the Tasmanian Museum and Art Gallery and two copies, one in brown ink and one in black brown ink, are held by the Art Gallery of New South Wales. A copy was presented to the Victoria & Albert Museum, London, in 1921 by William P. Robins.
Soon after Long arrived in England he wrote that he ‘had a look at London from the embankment from Westminster Bridge in the evening yesterday afternoon ... I had a good scoot around, it is a lovely old place and is teeming with interesting stuff for pictures. At night it is simply gorgeous’ (Long, 26 October 1910).
The view of the Thames and the Waterloo Bridge area was popular with artists such as J.M.W. Turner in the 1830s and James McNeill Whistler in the 1890s. Long depicted the scene looking east toward Blackfriars Bridge, with the City of London and St Paul’s Cathedral in the far distance, and shipping activity and factories in the foreground.
This example of pure line etching is the first of a number of etchings in which Long reflected his admiration for both the approach and the subject of Whistler’s prints. The strong but subtle contrast of light and dark etched lines creates a perfectly balanced work.
Originally to be called the Strand Bridge, Waterloo Bridge was renamed to honour the British victory at Waterloo. The Italian sculptor Canova described it as ‘the noblest bridge in the world, worth a visit from the remotest corners of the earth’. The present bridge dates from 1937–42, after Long made this print.
Also known as ‘The river from Waterloo Bridge’, a copy of this print was first exhibited in 1921 in The water-colours and etchings of Sydney Long, ARE, Decoration Galleries, Melbourne, 15–26 August (23, as ‘Thames from Bridge’). It was reproduced in Art in Australia on 11 December 1921.
The National Gallery of Australia holds another copy of the print, in black ink. There is a copy in the Tasmanian Museum and Art Gallery and two copies, one in brown ink and one in black brown ink, are held by the Art Gallery of New South Wales. A copy was presented to the Victoria & Albert Museum, London, in 1921 by William P. Robins.
Soon after Long arrived in England he wrote that he ‘had a look at London from the embankment from Westminster Bridge in the evening yesterday afternoon ... I had a good scoot around, it is a lovely old place and is teeming with interesting stuff for pictures. At night it is simply gorgeous’ (Long, 26 October 1910).
The view of the Thames and the Waterloo Bridge area was popular with artists such as J.M.W. Turner in the 1830s and James McNeill Whistler in the 1890s. Long depicted the scene looking east toward Blackfriars Bridge, with the City of London and St Paul’s Cathedral in the far distance, and shipping activity and factories in the foreground.
This example of pure line etching is the first of a number of etchings in which Long reflected his admiration for both the approach and the subject of Whistler’s prints. The strong but subtle contrast of light and dark etched lines creates a perfectly balanced work.
Originally to be called the Strand Bridge, Waterloo Bridge was renamed to honour the British victory at Waterloo. The Italian sculptor Canova described it as ‘the noblest bridge in the world, worth a visit from the remotest corners of the earth’. The present bridge dates from 1937–42, after Long made this print.
Also known as ‘The river from Waterloo Bridge’, a copy of this print was first exhibited in 1921 in The water-colours and etchings of Sydney Long, ARE, Decoration Galleries, Melbourne, 15–26 August (23, as ‘Thames from Bridge’). It was reproduced in Art in Australia on 11 December 1921.
The National Gallery of Australia holds another copy of the print, in black ink. There is a copy in the Tasmanian Museum and Art Gallery and two copies, one in brown ink and one in black brown ink, are held by the Art Gallery of New South Wales. A copy was presented to the Victoria & Albert Museum, London, in 1921 by William P. Robins.
