Sydney
LONG
Australia
1871
–
London
1955
England, Europe 1910-21; Australia 1921- 22; England 1922-25; Australia 1925-52; England from 1952
27.8 (h) x 41.5 (w) cm
2/30 , published state , edition of 30 , no manufacturer's mark
Signed lower right below plate-mark in black pencil, 'Sydney Long.' Titled lower left corner of sheet in black pencil, 'PAN'. Inscribed with edition details lower left below plate-mark in black pencil, '2/30'. Inscribed lower left corner of sheet in black pencil, 'aquatint [underlined]'.
Reference: Mendelssohn (1979), 10; Paul (1928), 12 National Gallery of Australia, Canberra NGA 1965.136 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.
‘Long has translated his picture admirably into the sympathetic medium of aquatint. He has not slavishly followed touch and tone, but has rendered it freely – keeping his original verve and making the new medium speak with its proper voice’ (Lindsay, 1921).
In returning to the subject of Pan and converting it into a print, Long simplified the forms and adjusted his tones to compensate for the loss of legibility resulting from the absence of colour. He removed the small cluster of trees from the central gap between the two groups of trees.
After sending Adolph Albers prints of The Spirit of the plains (cat 73) and The old mill (cat 71), Long wrote that he was 'just finishing a large plate of the Pan picture’. He noted that ‘The Pan is a zinc & as zinc is very soft won’t yield more than 30 at the most so don’t sell these proofs too cheap for when you take into account the proofs spoilt in printing etc. there is not very much in it. I shall do another one of Pan presently on copper & have it steel faced’ (Long, 28 November 1919). He sent a parcel of these prints to Albers on 1 April 1920.
A copy of Pan was first shown in the 1920 ‘Society of Artists Spring exhibition’, Sydney, 8 September (244). The print was dated 1918 by Dorothy Ellsmore Paul, but this date is now known to be incorrect as the letters quoted above indicate that Long did not send these prints to Australia until towards the end of 1919.
Other copies of this print are are held by the National Gallery of Australia, the Art Gallery of New South Wales, the Tasmanian Museum and Art Gallery and by the Art Gallery of Ballarat. A copy in blue ink is held by the Art Gallery of South Australia. A copy was presented to the Victoria & Albert Museum, London, in 1921 by William P. Robins.
‘Long has translated his picture admirably into the sympathetic medium of aquatint. He has not slavishly followed touch and tone, but has rendered it freely – keeping his original verve and making the new medium speak with its proper voice’ (Lindsay, 1921).
In returning to the subject of Pan and converting it into a print, Long simplified the forms and adjusted his tones to compensate for the loss of legibility resulting from the absence of colour. He removed the small cluster of trees from the central gap between the two groups of trees.
After sending Adolph Albers prints of The Spirit of the plains (cat 73) and The old mill (cat 71), Long wrote that he was 'just finishing a large plate of the Pan picture’. He noted that ‘The Pan is a zinc & as zinc is very soft won’t yield more than 30 at the most so don’t sell these proofs too cheap for when you take into account the proofs spoilt in printing etc. there is not very much in it. I shall do another one of Pan presently on copper & have it steel faced’ (Long, 28 November 1919). He sent a parcel of these prints to Albers on 1 April 1920.
A copy of Pan was first shown in the 1920 ‘Society of Artists Spring exhibition’, Sydney, 8 September (244). The print was dated 1918 by Dorothy Ellsmore Paul, but this date is now known to be incorrect as the letters quoted above indicate that Long did not send these prints to Australia until towards the end of 1919.
Other copies of this print are are held by the National Gallery of Australia, the Art Gallery of New South Wales, the Tasmanian Museum and Art Gallery and by the Art Gallery of Ballarat. A copy in blue ink is held by the Art Gallery of South Australia. A copy was presented to the Victoria & Albert Museum, London, in 1921 by William P. Robins.
‘Long has translated his picture admirably into the sympathetic medium of aquatint. He has not slavishly followed touch and tone, but has rendered it freely – keeping his original verve and making the new medium speak with its proper voice’ (Lindsay, 1921).
In returning to the subject of Pan and converting it into a print, Long simplified the forms and adjusted his tones to compensate for the loss of legibility resulting from the absence of colour. He removed the small cluster of trees from the central gap between the two groups of trees.
After sending Adolph Albers prints of The Spirit of the plains (cat 73) and The old mill (cat 71), Long wrote that he was 'just finishing a large plate of the Pan picture’. He noted that ‘The Pan is a zinc & as zinc is very soft won’t yield more than 30 at the most so don’t sell these proofs too cheap for when you take into account the proofs spoilt in printing etc. there is not very much in it. I shall do another one of Pan presently on copper & have it steel faced’ (Long, 28 November 1919). He sent a parcel of these prints to Albers on 1 April 1920.
A copy of Pan was first shown in the 1920 ‘Society of Artists Spring exhibition’, Sydney, 8 September (244). The print was dated 1918 by Dorothy Ellsmore Paul, but this date is now known to be incorrect as the letters quoted above indicate that Long did not send these prints to Australia until towards the end of 1919.
Other copies of this print are are held by the National Gallery of Australia, the Art Gallery of New South Wales, the Tasmanian Museum and Art Gallery and by the Art Gallery of Ballarat. A copy in blue ink is held by the Art Gallery of South Australia. A copy was presented to the Victoria & Albert Museum, London, in 1921 by William P. Robins.
