Constable & Co, publishers of fine limited editions, were aware of Norman's etchings as early as 1922 when they were the London publishers for Art in Australia. In 1925 they had further evidence of the quality of the work when Norman held an exhibition at London's Leicester Galleries where the etchings were very popular. The Etchings of Norman Lindsay is a handsome volume with each plate presented full page, with a cover page indicating the plate number, title and date. Norman was delighted with the quality of the reproductions. In 1928 he wrote to Andrew Watt, one of Rose's private clients:
I'm glad you liked the Constable production of the etchings. It really is as facsimile perfect as reproduction can be.
Although Norman referred to the reproductions as 'facsimile perfect' he was comparing them with contemporary printing. They are not true facsimile reproductions. They are, however, far superior to the reproductions in the 1973 Angus & Robertson publication Norman Lindsay: Two Hundred Etchings.

For many years, books illustrated by Norman have been broken up for the illustrations, which has had the effect of making the original book even more rare. In 1938 Gill's Fine Art Society's Gallery in Melbourne held 'An Exhibition of Reproductions of Etchings by Norman Lindsay'. According to the catalogue:
This exhibition comprises a series of reproductions of Norman Lindsay's original etchings, comprising a number of his greatest creative works. The prints have been arranged and shown in chronological order, and the whole of the plates have been printed by the Collotype Process in the finest manner possible by the Cheswick Press, England.
Mounted individual plates from the book were sold for 21 shillings each, a handsome profit for the vendor. As this was not the only instance of the book being destroyed for sale, The Etchings of Norman Lindsay has become the rarest of any of Norman's books.

There are 45 reproductions of Norman's etchings in alphabetical order and the book contains a chronological list of the 84 published etchings from 1918 to early 1925. Several etchings published late in 1925 and some done during the 1918–1925 period were not put on the market until later and are therefore not listed.