The Erin Pearson Collection

A private collection · Brisbane

The Camp in the Forest
The Camp in the Forest
The Camp in the Forest
The Camp in the Forest
The Camp in the Forest

The Camp in the Forest

Sydney Long

The Work

This etching resonates with me because it represents a bridge to Australia's artistic heritage — Sydney Long's work is iconic, celebrated for vision and technique. The subject, a landscape with an old hut, carries a quiet timelessness; its scale and delicacy invite contemplation. It aligns with my love of historical work, careful craftsmanship, and the idea that beauty endures.

Year
1920
Medium
Etching on paper
Edition
39 of 60, signed in pencil by the artist
Image size
270 mm x 330 mm
Framed size
555 mm x 635 mm
Catalogue
0048

Provenance

I found this etching on Facebook Marketplace — original, numbered 39/60, and signed by Sydney Long. Once I had it, I commissioned the framing through Rich & Davis in Melbourne.

Another impression of this exact print, The camp in the forest (1920), is held in the collection of the Art Gallery of NSW (accession no. 9861).

Ask about the price, make an offer, or simply ask a question — payment is arranged directly (bank transfer, PayID, or cash).

← Back to the collection

Framing

Framed in a Rich & Davis closed-corner frame custom-made in Melbourne, complete with an eight-ply rag mount and museum glass. The style of the frame has a decorative feel that nods to the Art Deco period, enhancing the elegance of the presentation while protecting the etching.

About Sydney Long

Sydney Long (1871–1955) was one of Australia's foremost early twentieth-century artists, originally associated with the Heidelberg School before developing his own distinctive Symbolist, Art Nouveau-influenced approach to the Australian landscape. In 1910 he moved to London to study etching under Malcolm Osborne, and in 1920 — the same year this piece was made — he was elected an Associate of the Royal Society of Painter-Etchers and Engravers. Etching became a significant and celebrated part of his practice through this London period. He returned to Sydney in 1925 to become a leading figure in Australian printmaking, going on to win the Wynne Prize twice, in 1938 and 1940.