• Alan Queale, Brisbane. Bequeathed to the National Gallery of Australia by Alan Queale, Brisbane, 1982. Alan Queale Bequest accepted by the National Gallery of Australia, 1983.

‘Among the work that will especially attract is the “Pastoral (Softground),” a fine drawing, in which the rich darks and delightful touch make a fine picture’ (Register, Adelaide, 23 June 1927). An image of tall trees on a river’s edge at the end of day, Pastoral softground is an example of Long’s poetic response to nature. It may also be Long’s response to Lionel Lindsay’s interpretation of his work in Pastoral 1918 (cat 114). It is, however, a much more subtle and refined image than Lindsay’s. There is a similar arch between the trees but, in this case, it seems more natural than in Lindsay’s print. Likewise the vertical composition in Long’s image, in contrast to the horizontal one of Lindsay’s, gives the composition greater elegance. Long’s working of the lines and inking of the plate are more subtle than are Lindsay’s.

In an undated letter (of about 1918) Long wrote to Adolph Albers: ‘I am going strong at etching and have already done several plates, so will soon pack you out some proofs … I am dong some stylish things of landscapes etc. Of course I won’t be able to send many until I get a printing press of my own but I will be able to send you proofs very shortly and perhaps you could book orders for them.’ Later he told Albers he was sending him two more proofs of Pastoral softground (Long, 23 April 1920).

This is one of Long’s earliest exhibited prints. A copy was shown in 1920 at the Royal Academy, London (1136), and in the ‘Society of Artists Spring exhibition’, Sydney, 8 September (247). Dorothy Ellsmore Paul dated this print 1918. This date, suggesting that the print was made while Long was a student, is supported by the fact that William P. Robins, who taught at the Central School of Arts and Crafts, owned a copy.

There is another copy of the print held by the National Gallery of Australia. Two copies are held by the Art Gallery of New South Wales, one copy by the National Gallery of Victoria, one by the Tasmanian Museum and Art Gallery and one by the Art Gallery of Ballarat. A copy, in black ink, was presented to the Victoria & Albert Museum, London, in 1921 by William P. Robins, and another copy in black ink was given by Long to the British Museum, London, in 1924.

‘Among the work that will especially attract is the “Pastoral (Softground),” a fine drawing, in which the rich darks and delightful touch make a fine picture’ (Register, Adelaide, 23 June 1927). An image of tall trees on a river’s edge at the end of day, Pastoral softground is an example of Long’s poetic response to nature. It may also be Long’s response to Lionel Lindsay’s interpretation of his work in Pastoral 1918 (cat 114). It is, however, a much more subtle and refined image than Lindsay’s. There is a similar arch between the trees but, in this case, it seems more natural than in Lindsay’s print. Likewise the vertical composition in Long’s image, in contrast to the horizontal one of Lindsay’s, gives the composition greater elegance. Long’s working of the lines and inking of the plate are more subtle than are Lindsay’s.

In an undated letter (of about 1918) Long wrote to Adolph Albers: ‘I am going strong at etching and have already done several plates, so will soon pack you out some proofs … I am dong some stylish things of landscapes etc. Of course I won’t be able to send many until I get a printing press of my own but I will be able to send you proofs very shortly and perhaps you could book orders for them.’ Later he told Albers he was sending him two more proofs of Pastoral softground (Long, 23 April 1920).

This is one of Long’s earliest exhibited prints. A copy was shown in 1920 at the Royal Academy, London (1136), and in the ‘Society of Artists Spring exhibition’, Sydney, 8 September (247). Dorothy Ellsmore Paul dated this print 1918. This date, suggesting that the print was made while Long was a student, is supported by the fact that William P. Robins, who taught at the Central School of Arts and Crafts, owned a copy.

There is another copy of the print held by the National Gallery of Australia. Two copies are held by the Art Gallery of New South Wales, one copy by the National Gallery of Victoria, one by the Tasmanian Museum and Art Gallery and one by the Art Gallery of Ballarat. A copy, in black ink, was presented to the Victoria & Albert Museum, London, in 1921 by William P. Robins, and another copy in black ink was given by Long to the British Museum, London, in 1924.