Sydney
LONG
Australia
1871
–
London
1955
England, Europe 1910-21; Australia 1921- 22; England 1922-25; Australia 1925-52; England from 1952
25.2 (h) x 25.2 (w) cm , watermark indecipherable
Signed lower right below plate-mark in black pencil, 'Sydney Long'. Not titled. Not dated. Inscribed lower left corner of sheet in black pencil, 'quiet water'.
Reference: Mendelssohn (1979), 49; Paul (1928), 44 National Gallery of Australia, Canberra NGA 1986.1284 Gift of T.S. Paul in memory of Dorothy Ellsmore Paul 1986 Reproduced with the kind permission of the Ophthalmic Research Institute of Australia
- Collection of the artist and cataloguer of Sydney Long's etchings, Dorothy Ellsmore Paul. Gift of her nephew T S Paul to the NGA, 1986.
‘The River Wandle, deviating from the foot path, takes a circuitous direction behind Beddington Church and House, and passes down the Park, which is famed for its walnut-trees and noble timber ... Such as are desirous of a short walk to Mitcham, from this place, can follow the road or path, through Beddington Park to Beddington Corner; it is a very pleasant stroll … the stream traverses the right side of the road for a short distance … Hence the river passes to Mr. Shipley’s oil mills … to Mr. Reynolds’s bleaching grounds. Here there is an iron bridge thrown over the river … From Mr. Reynolds’s grounds, the Wandle leaves Beddington Corner … then progressively passes the grounds of Mr. Reynolds, flour-miller, to Mr. Bailey’s, another calico printer; hence to the skin and leather-dressing mill of Mr. Savignac; now to Forster mill … again to another flour-mill … and from there to Mr. Glover’s snuff-mill’ (John Hassell, Picturesque rides and walks with excursions by water, thirty miles round the British metropolis 1817, pp 97, 113).
In his print Beddington Corner, Long depicted the tree-lined River Wandle, with a bridge leading to an old building. Perhaps it is the iron bridge leading to Mr Reynolds’s bleaching grounds.
Long was an admirer of the English landscape painter John Constable and, while this print was based on very different topography, it may be a homage to Constable’s several views of Flatford Mill – which have a similar compositional structure.
A copy of this print was exhibited in 1922 at the ‘Second Annual Exhibition of the Australian Painter–Etchers’ Society’, Sydney, 3–24 June (111, as ‘Biddington Corner’).
A copy in blue ink is held by the Art Gallery of New South Wales, a copy is held by the Tasmanian Museum and Art Gallery, and a copy in dark blue ink was given by Long to the British Museum, London, in 1924.
‘The River Wandle, deviating from the foot path, takes a circuitous direction behind Beddington Church and House, and passes down the Park, which is famed for its walnut-trees and noble timber ... Such as are desirous of a short walk to Mitcham, from this place, can follow the road or path, through Beddington Park to Beddington Corner; it is a very pleasant stroll … the stream traverses the right side of the road for a short distance … Hence the river passes to Mr. Shipley’s oil mills … to Mr. Reynolds’s bleaching grounds. Here there is an iron bridge thrown over the river … From Mr. Reynolds’s grounds, the Wandle leaves Beddington Corner … then progressively passes the grounds of Mr. Reynolds, flour-miller, to Mr. Bailey’s, another calico printer; hence to the skin and leather-dressing mill of Mr. Savignac; now to Forster mill … again to another flour-mill … and from there to Mr. Glover’s snuff-mill’ (John Hassell, Picturesque rides and walks with excursions by water, thirty miles round the British metropolis 1817, pp 97, 113).
In his print Beddington Corner, Long depicted the tree-lined River Wandle, with a bridge leading to an old building. Perhaps it is the iron bridge leading to Mr Reynolds’s bleaching grounds.
Long was an admirer of the English landscape painter John Constable and, while this print was based on very different topography, it may be a homage to Constable’s several views of Flatford Mill – which have a similar compositional structure.
A copy of this print was exhibited in 1922 at the ‘Second Annual Exhibition of the Australian Painter–Etchers’ Society’, Sydney, 3–24 June (111, as ‘Biddington Corner’).
A copy in blue ink is held by the Art Gallery of New South Wales, a copy is held by the Tasmanian Museum and Art Gallery, and a copy in dark blue ink was given by Long to the British Museum, London, in 1924.
‘The River Wandle, deviating from the foot path, takes a circuitous direction behind Beddington Church and House, and passes down the Park, which is famed for its walnut-trees and noble timber ... Such as are desirous of a short walk to Mitcham, from this place, can follow the road or path, through Beddington Park to Beddington Corner; it is a very pleasant stroll … the stream traverses the right side of the road for a short distance … Hence the river passes to Mr. Shipley’s oil mills … to Mr. Reynolds’s bleaching grounds. Here there is an iron bridge thrown over the river … From Mr. Reynolds’s grounds, the Wandle leaves Beddington Corner … then progressively passes the grounds of Mr. Reynolds, flour-miller, to Mr. Bailey’s, another calico printer; hence to the skin and leather-dressing mill of Mr. Savignac; now to Forster mill … again to another flour-mill … and from there to Mr. Glover’s snuff-mill’ (John Hassell, Picturesque rides and walks with excursions by water, thirty miles round the British metropolis 1817, pp 97, 113).
In his print Beddington Corner, Long depicted the tree-lined River Wandle, with a bridge leading to an old building. Perhaps it is the iron bridge leading to Mr Reynolds’s bleaching grounds.
Long was an admirer of the English landscape painter John Constable and, while this print was based on very different topography, it may be a homage to Constable’s several views of Flatford Mill – which have a similar compositional structure.
A copy of this print was exhibited in 1922 at the ‘Second Annual Exhibition of the Australian Painter–Etchers’ Society’, Sydney, 3–24 June (111, as ‘Biddington Corner’).
A copy in blue ink is held by the Art Gallery of New South Wales, a copy is held by the Tasmanian Museum and Art Gallery, and a copy in dark blue ink was given by Long to the British Museum, London, in 1924.