(Australia 23 Jun 1891 – 19 Nov 1973)
32.8 x 44.4 cm blockmark; 36.5 x 51.3 cm sheet (irreg)
This image of the emerging structure of the Sydney Harbour Bridge is the largest of the artist's known linocuts. Perry combines rhythmic form and contrast between light and dark to great dramatic effect, exploiting the innate potential of a purely black and white image. It is one of a relatively small number of urban subjects created by Australian artists using the technique of linocutting.
Roger Arthur Butler, Printed images by Australian artists 1885-1955, 'The linocut and Sydney women artists', pg. 174-183, Canberra, 2007, 174 (colour illus.), 175. Collection of the National Gallery of Australia
Roger Arthur Butler, Sydney by design: wood and linoblock prints by Sydney women artists between the wars, Canberra, 1995, 22 (illus), 48. titled 'The Bridge, October 1929'; NOTE: this is not the AGNSW impression.
Roger Arthur Butler and Chris Deutscher, A survey of Australian relief prints 1900/1950, Armadale, 1978, (illus.). cat.no. 56; titled as 'Sydney Harbour'; NOTE: this is not the AGNSW impression.
Helen Campbell, Colour, rhythm, design: wood & lino cuts of the 20s & 30s, 'Introduction', pg. 2, Sydney, 2010, 8 (colour illus.).
Jane Hylton, Modern Australian women: paintings & prints 1925-1945, 'Coming home: the influences on Australian modernism', pg. 44-61, Adelaide, 2000, 47 (colour illus.), 67, 124. Collection of the Art Gallery of South Australia
Maria (Connie) Tornatore-Loong, Japan in Sydney: Professor Sadler & modernism, 1920-30s, 'The remarkable Professor Sadler: Japan, Sydney and Australian modernism', pg.7-49, Sydney, 2011, 26, 29 (colour illus.), 137. cat.no. 31
Australian Collection Focus: Colour, Rhythm, Design - wood & lino cuts of the 20s & 30s, Art Gallery of New South Wales, Sydney, 12 Mar 2010–11 Jul 2010
Professor Sadler, Japan and Australian modernism, University Art Gallery, University of Sydney, Camperdown, 03 Apr 2011–24 Jul 2011