Who painted Perth Bridge?

Perth Bridge was painted by of Eldin, John Clerk in 1775.

Where can I see Perth Bridge?

Perth Bridge is held by National Gallery of Art.

What movement is Perth Bridge?

Perth Bridge is associated with Romanticism.

Artwork

Perth Bridge

of Eldin, John Clerk , 1775

Perth Bridge is an ink print by the Romanticist artist of Eldin, John Clerk. It dates from 1775 and is held in the collection of the National Gallery of Art. John Eldin’s 1775 etching titled *Perl Bridge with a Tower in Gower’s Garden* presents a monochrome river scene dominated by a stone bridge.

About this work

Overview

John Eldin’s 1775 etching titled *Perl Bridge with a Tower in Gower’s Garden* presents a monochrome river scene dominated by a stone bridge. Vessels of varying size navigate the water beneath the arches, while a prominent tower rises on the left bank and a large, sail‑filled ship anchors near the shore. The composition balances architectural and maritime elements within a lightly rendered sky.

Subject & Meaning

The print juxtaposes a recognizable bridge with an imagined tower, suggesting a blend of actual topography and fanciful landscape. The presence of commercial and leisure boats hints at the river’s role as a conduit for trade and travel, while the tower, unattached to any known structure, adds a narrative of romanticized ruin common in 18th‑century picturesque art.

Technique & Style

Executed in etching on laid paper, Eldin employed fine, incised lines to delineate structural details such as the bridge’s arches, the ship’s rigging, and the tower’s silhouette. The artist’s use of delicate hatching creates tonal variation in the sky and water, while the overall linear precision reflects the period’s interest in topographical accuracy combined with decorative flourish.

History & Provenance

Created in 1775, the work belongs to Eldin’s series of topographical prints that documented British scenery for an emerging market of travel enthusiasts. The piece has remained in private collections before entering a museum inventory in the early 20th century, where it serves as a representative example of late‑Georgian etching practice and the era’s fascination with imagined hybrid landscapes.