Norman Lindsay, Australian artist, original etchings

NORMAN LINDSAY
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ORIGINAL ETCHINGS
Norman Lindsay ranks with Rembrandt and Goya as a world master etcher. His extraordinary qualities of imagination combined with supreme technical skills produced the etchings which ensure him a place with the world’s greatest exponents of the art. Norman Lindsay’s etchings are unique in the history of Australian art. They are the result of an etching partnership with his wife Rose who is recognised as a master etching printmaker. This partnership spanned twenty years (1918–1938) and resulted in the 200 published etchings ranging from single female figures to massed imaginative groups. Norman also produced 175 unpublished etchings dating from 1897, of which twenty-nine were included in seven books containing original etchings published between 1919 and 1937. No edition exceeded fifty-five, and many never reached their intended number. When printing, Rose would estimate the number of prints a plate would produce and allocate this number to the edition. If a plate failed unexpectedly Rose stopped printing. This is shown in the Edition number eg. 50 (38) — 55 being the number intended and 38 being the actual number printed. This also worked in reverse where Rose was able to increase the anticipated number of some editions eg. 45 (55). Some editions which Rose printed out in the 1940s and 1950s never reached their allotted number, probably because the physical effort became too much. Editions numbers are the estimated number, with known variations marked in brackets. 'The Craft of Etching' is an essay written by Norman on his etching technique. Copyright on Norman Lindsay’s etchings is now held by Lin Bloomfield, Odana Editions. Please click on the thumbnails to view larger images. Original Etchings on this page are for sale from Bloomfield Galleries. To order, please click here.
Books containing Original Etchings
The Isle of San 1919 Poems by Leon Gellert; limited edition of 120 with five etchings. Creative Effort: An Essay in Affirmation 1920 Essay by Norman Lindsay; limited edition of 120 with one etching. Colombine 1920 Poems by Hugh McCrae; limited edition of 31 with one etching. Idyllia 1922 Poems by Hugh McCrae; limited edition of 133 with five etchings. The Etchings of Norman Lindsay 1927 Pictorial; limited edition of 31 with one etching. A Homage to Sappho 1928 Poems by Sappho translated by Jack Lindsay; limited edition of 70 with fifteen etchings. Our Earth 1937 Poem by Kenneth Mackenzie; limited edition of 225 with one etching.
Technical Notes on Etching
The term ‘etching’ usually refers to the action of corroding the art work into a metal plate by means of acid. The plate is then inked and a paper impression taken from the surface of the plate. There are, however a number of closely allied processes grouped under this general description. Aquatint The plate is first covered with a finely powdered substance such as rosin. This is fixed by heating and allowed to cool before the surface is worked upon and corroded with acid. This is repeated in a number of tonal stages before cleaning with solvents. The result has the gradations similar to a wash drawing from which the term is derived. Drypoint A technique of scratching or scoring the plate surface with a sharp pointed instrument. No acid is used. It requires exceptional manual skill and is considered a draughtsman’s technique involving a direct and spontaneous approach. Edition numbers are always lower compared to the acid etching plates. Engraving Term applied in its broadest sense to the various processes of cutting a design into a plate and prints taken from the plate. Some forms are crayon engraving, drypoint, line engraving, mezzotint, steel engraving, stipple engraving and wood engraving. Etching A process by which prints are taken from a metal plate after the drawing has been bitten into the plate with acid. Refer to The Craft of Etching by Norman Lindsay. Mezzotint The result is similar in appearance to aquatint but technically quite different. The plate is roughened with a serrated tool so that a uniform rich black impression results when inked. The plate is then scraped and burnished working from dark to light. Extremely demanding but allows particular advantages for shaded effects. Edition A limited set printed from the completed plate. Each work is individually and consecutively numbered from as few as one to a maximum of fifty-five. Rose Lindsay then cancelled the plate to prevent further printing. Etching Press Based on the principle of a sliding steel bed on which the plate lies. This is then passed by means of direct or geared drive between two heavy rollers.
ETCHINGS
ALOHA
Date Medium Size Edition Price Reference	1937 Drypoint and soft ground on paper 27.8 x 17.8 cm 15 $11,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.362)
The model for Aloha was a Tivoli showgirl and the rug to her left was made by Rose out of scraps of material cut into strips and pulled through a net. This type of material was called Milanese silk, a fine warp-knit fabric with interlocking stitches, made from silk or (now) rayon. Fancy pyjamas made out of this material during the 1930s were very popular. The original etching is extremely rare as the edition is only fifteen.

AMBUSH
Date Medium Size Edition Price Reference	1927 Aquatint and etching on paper 27.9 x 20.3 cm 55 (?) $4,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.285)

BEAUTY'S GLASS
Date Medium Size Edition Price Reference	1921 Etching, aquatint, engraving and stipple on paper 23.0 x 16.0 cm 50 (38) $5,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.217)
Rose was the model.

BEETHOVEN
Date Medium Size Edition Price Reference	1921 Etching, engraving and stipple on paper 33.0 x 28.8 cm 50 $10,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.223)

BELINDA'S REVERIE
Date Medium Size Edition Price Reference	1927 Etching, aquatint and stipple on paper 30.4 x 25.4 cm 55 $7,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.287)

BOOTY
Date Medium Size Edition Price Reference	1937 Etching, engraving and stipple on paper 25.3 x 20.5 cm 40 $7,500 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.349)

c sharp minor quartette
Date Medium Size Edition Price Reference	1927 Etching, engraving and stipple on paper 37.9 x 30.5 cm 55 $20,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.297)
Alternative spellings were used for this etching. Many are titled C Sharp Minor Quartet and others C Sharp Minor Quartette.

CASTLE FANFROLICO
Date Medium Size Edition Price Reference	1927 Etching, soft ground and stipple on paper 25.2 x 40.6 cm 29 (40) $15,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.298)

DEATH OF PIERROT
Date Medium Size Edition Price Reference	1919 Drypoint, engraving, etching, soft ground and roulette on paper 25.8 x 28.9 cm 40 $5,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.200)

DEATH'S MASK
Date Medium Size Edition Price Reference	1937 Aquatint, etching and stipple on paper 33.9 x 28.0 cm 35 $9,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.359)

desert island
Date Medium Size Edition Price Reference	1933 Etching, engraving and stipple on paper 25.4 x 20.2 cm 55 (36?) $10,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.331)
Desert Island probably had its genesis in Norman's early reading. Coral Island, one of the first books which Norman had read, expanded his interest in far-off lands. He wrote to Leon Gellert in 1917: These first books colour all our after life. I feel a stirring of the heart now, when I recall their glories ... If I could get rid of the curse of an artistic conscience, acquired by years of striving after the visible aspects of life, I believe I would prefer to write dream books like Coral Island, if I were found worthy ... The original etching of Desert Island is extremely rare and unusual. The original of number 10 is marked as an edition of 55 but it is thought that the plate failed at 36. The central alluring female figure is Polynesian and as well as a pirate, a reptilian humanoid and harpie are included.

DON JUAN IN HELL (2nd Edition)
Date Medium Size Edition Price Reference	1918 Etching, drypoint and engraving on paper 27.9 x 24.4 cm 15 $9,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.183)
Rose was the model for the central, standing figure.

ENIGMA
Date Medium Size Edition Price Reference	1919 Engraving, etching, stipple and roulette on paper 30.2 x 24.9 cm 40 $9,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.193)
Rose was the model.

ENTER THE DUKE
Date Medium Size Edition Price Reference	1924 Etching, drypoint and engraving on paper 33.0 x 26.5 cm 28 $7,500 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.259)

ENTER THE MAGICIANS
Date Medium Size Edition Price Reference	1927 Etching, engraving, aquatint, soft ground and stipple on paper 30.3 x 35.6 cm 55 $22,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.299)
Norman's most celebrated veiled woman is the figure representing life in Enter the Magicians. This central figure was modelled by Rose. The transparent veil indicates life's eternal enigma and the magicians represent artists, both creative and destructive, revealing all the complexities of human passion. The surrounding figures are the vast panorama of life from which art derives its material. In a letter to publisher Charles Shepherd, Norman wrote in detail about the symbolism in Enter the Magicians and outlined why he was reluctant to explain his work: The Magicians of course, are the artists - the creators, whose function is to create human consciousness by revealing life in all its complexities of human passion to mankind. The figure of Life is still veiled, but the veil is transparent - already art has made its revelation and Life, since Homer made its first analysis, is revealed to us. We know the passions which motivate man, but Life will always be an enigma, and therefore the transparent veil remains. The dignified figure of the magician represents Creative Art - the malicious small Magician represents the destructive element in Art, of which we have plenty of examples with us today. The whirling image of the five pointed star represents fire, the dripping figures emerging from below represent Water, the Salamander and the Naiad - the elemental symbols of the creation of biological life. The strong figure clasping the boy and girl represent the bi-sexual construction of the human entity - half man, half woman. Surrounding all these are just a series of images, suggesting the spectacle of life from which Art draws its material - the Bull with the primitive male figure symbolising the fecundity of life. I don't mind giving you this rough interpretation of the symbolism of the etching, though it is against my principle to explain my works. Firstly, the explanation destroys the intellectual exercise of divining the picture's motive, and secondly, it does not matter what intellectual concept the picture arouses as long as it is emotionally and aesthetically responded to. If a picture arouses interest, emotion, and gives an aesthetic pleasure it has been understood, even if this understanding does not take the precise intellectual form as above. I may add, that I don't work out my pictures on an intellectual formula. I let the picture evolve as an image in my mind and put it into pictorial form, and then find out afterwards what it means. Which is merely to say, that, as an artist, I think, in forms, which later I translate into words ... Technically this etching is a masterpiece. In a long letter to Harry Chaplin about the technicalities of his etchings Norman said: ... One's instrument is the most delicate that ingenuity can devise; the point of a needle. One's material, copper, offers a surface which can record the most delicate of tones in markings finer than hairs, while it can go to the other extreme in the deepest blacks a pigment may convey. With such a gamut it is impossible not to dream of achieving a technical perfection. ... I will go so far as to say that there are two etchings which remain in my mind as having achieved something of what I sought, as against the intensely difficult technical problems they presented. Enter the Magicians is one, and C Sharp Minor Quartette the other ...

THE FESTIVAL
Date Medium Size Edition Price Reference	1923 Etching, engraving and stipple on paper 20.5 x 22.9 cm 55 $7,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.240)
The Royal South Australian Society of Arts organised an Artists' Week in July 1924 which was managed by Frederick Preece and his son John. Artists from all over Australia participated, including Norman who sent etchings, pen drawings and watercolours. A week before the opening, news broke that the seven-member committee of the Royal South Australian Society of Arts had banned three of Norman's etchings - The Festival was one of them. They also refused permission for Preece to hang them. The committee rejected the etchings on the grounds that they would 'debase rather than uplift art'. They Sydney artists threatened to withdraw their works in support of Norman. Norman decided to withdraw all his pictures from the exhibition but arranged with Preece to hold a solo exhibition at Preece's Gallery during Artist's Week. The exhibition comprised of 17 etchings (including the three banned ones), 6 pen drawings and 10 watercolours. People were encouraged to go to both exhibitions defying the taste of the selection committee. Crowds flocked to both exhibitions, but more came to Norman's than the official one.

FLIGHT
Date Medium Size Edition Price Reference	1933 Etching on paper 28.0 x 25.2 cm 55 $4,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.332)

THE FUNERAL MARCH OF DON JUAN
Date Medium Size Edition Price Reference	1924 Etching, engraving and stipple on paper 24.0 x 30.4 cm 55 $9,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.254)
The Royal South Australian Society of Arts organised an Artists' Week in July 1924 which was managed by Frederick Preece and his son John. Artists from all over Australia participated, including Norman who sent etchings, pen drawings and watercolours. A week before the opening, news broke that the seven-member committee of the Royal South Australian Society of Arts had banned three of Norman's etchings - The Funeral March of Don Juan was one of them. They also refused permission for Preece to hang them. The committee rejected the etchings on the grounds that they would 'debase rather than uplift art'. They Sydney artists threatened to withdraw their works in support of Norman. Norman decided to withdraw all his pictures from the exhibition but arranged with Preece to hold a solo exhibition at Preece's Gallery during Artist's Week. The exhibition comprised of 17 etchings (including the three banned ones), 6 pen drawings and 10 watercolours. People were encouraged to go to both exhibitions defying the taste of the selection committee. Crowds flocked to both exhibitions, but more came to Norman's than the official one.

THE HIDDEN FAUN
Date Medium Size Edition Price Reference	1928 Aquatint and etching on paper 30.5 x 24.9 cm 55 $4,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.304)

HYPERBOREA
Date Medium Size Edition Price Reference	1923 Etching, engraving and stipple on paper 34.3 x 29.6 cm 45 (55) $12,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.247)
Norman translated his passion for Greek myths into numerous pictures. The ancient Greeks believed that their country was in the centre of an earth which was flat and circular, in the middle of which was Mount Olympus, home of the gods, or Delphi, with its oracle. The northern section of this earth was inhabited by a race of people called Hyperboreans. They were blissfully content, living in a state of perpetual happiness in a year-long season of Spring. They did not age, suffer from disease, or wage war. Norman wrote two essays about Hyperborea, the first published in Vision, No. 2, August 1923, a month after his etching Hyperborea was first exhibited in Sydney. The essays were later published as Hyperborea: Two Fantastic Travel Essays by Fanfrolico Press in 1928. In the first essay Norman said that to describe Hyperborea a picture or a poem is essential. Norman described the idyllic Hyperborean landscape and the composition of his etching: One of the charms of Hyperborea is that the landscape disposes itself about the people ... Paths are designed only in places where it is essential to have people walking on them, and where it is felt desirable to centralise the prospect there is always a fountain or pergola about which to group your figures. Whenever it is necessary to break a line, or fill a space ... an urn or statue sprouts in the spot instantly ... there were girls everywhere in the landscape, some vanishing into light, and some discreetly settling into the dark tones, but most of them well in the foreground and taking up all the central positions. He concentrated on the foreground: I prefer to sit well in the foreground of a Hyperborean landscape, for not only are the most important ladies grouped there, but the attitudes are recumbent, and the tone is pleasantly shaded, in order to get rid of the corners ... For all curves here, you will understand, gravitate about a special centre, selected for the occasion, where the landscape is lightest and the activity greatest. Hyperborea required painstaking needling to achieve the softly stippled effects, and took several months to etch. It was a difficult etching to print, and at first Rose though she would not be able to pull more than forty-five prints from the plate but in the end she was able to extend the edition to fifty-five. Hyperborea is reminiscent of the work of Gustav Dore with its mastery in the handling of massed groups of figures and sense of limitless space. With its Grecian columns, shrine of Apollo and serene people in beautiful gardens, the etching is faithful to the land of Hyperborea described in legend, song and Norman's imagination.

THE INNOCENTS
Date Medium Size Edition Price Reference	1925 Etching, engraving and stipple on paper 35.2 x 30.2 cm 55 $11,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.271)

LAND OF THE SYLPHS
Date Medium Size Edition Price Reference	1926 Drypoint on paper 25.2 x 30.6 cm 30 $6,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.280)

THE LAST ASSIGNATION
Date Medium Size Edition Price Reference	1938 Etching, aquatint and stipple on paper 33.3 x 25.0 cm 30 (?) $4,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.368)

LIFE IN THE TEMPLE
Date Medium Size Edition Price Reference	1937 Etching, engraving and stipple on paper 30.4 x 35.5 cm 35 $14,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.363)
The composition of Life in the Temple is similar to Rembrandt's etching The Hundred Guilder Print.

THE LITTLE WITCh
Date Medium Size Edition Price Reference	1937 Etching, engraving and stipple on paper 27.2 x 23.5 cm 40 $6,500 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.353)
This is only one of three etchings where Norman depicted cats. The other two are Cats where Rose was the model and Siesta featuring one cat in each etching.

MERCHANDISE
Date Medium Size Edition Price Reference	1934 Etching, engraving and stipple on paper 21.9 x 25.2 cm 55 $6,500 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.342)
Sometimes, after Rose had pulled a proof, Norman would decide to cut the plate down to strengthen the image. An example of this is Merchandise. The first proof of Merchandise had nudes at the lower right and left of the plate and the elimination of these additional figures was obviously essential to the successful composition of the etching. Merchandise was possibly inspired by Don Juan's travels in Turkey. It has the energetic air of an oriental bazaar, where everything from slaves to camels is for sale.

PANAMA
Date Medium Size Edition Price Reference	1926 Drypoint on paper 25.3 x 31.7 cm 30 $6,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.277)

THE PILGRIMS
Date Medium Size Edition Price Reference	1921 Etching, engraving, stipple and roulette on paper 31.4 x 28.1 cm 25 (?) $8,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.90)
This etching was never published.

POWERS OF EARTH
Date Medium Size Edition Price Reference	1927 Drypoint and etching on paper 35.5 x 30.3 cm 30 $9,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.293)

SERAPHINA ENTERTAINS
Date Medium Size Edition Price Reference	1927 Etching, aquatint and stipple on paper 25.4 x 27.9 cm 55 (14) $8,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.291)

SHE ARRIVES
Date Medium Size Edition Price Reference	1924 Etching, engraving and stipple on paper 24.0 x 22.8 cm 55 $8,500 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.261)

THAT SECRET (1937)
Date Medium Size Edition Price Reference	1937 Etching, engraving and stipple on paper 25.1 x 30.3 cm 55 $13,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.357)

THIEVES' KITCHEN
Date Medium Size Edition Price Reference	1929 Etching, engraving and soft ground on paper 25.3 x 30.4 cm 55 $6,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.312)

WHERE LIFE ASCENDS
Date Medium Size Edition Price Reference	1924 Etching, engraving and stipple on paper 35.3 x 29.8 cm 45 $15,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.250)
A number of prints of Where Life Ascends were taken to America and burnt in the fire. It is not known how many were burnt but this etching is extremely rare.

WISDOM'S DEVILS
Date Medium Size Edition Price Reference	1932 Etching, engraving, stipple and foul biting on paper 12.6 x 10.1 cm 30 (17) $5,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.327)
Rose was the model.

SELECTED ETCHINGS SOLD
THE APEX OF LIFE sold
Date Medium Size Edition Reference	1923 Etching, engraving, stipple and roulette on paper 37.8 x 30.1 cm 55 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.239)
The Royal South Australian Society of Arts organised an Artists' Week in July 1924 which was managed by Frederick Preece and his son John. Artists from all over Australia participated, including Norman who sent etchings, pen drawings and watercolours. A week before the opening, news broke that the seven-member committee of the Royal South Australian Society of Arts had banned three of Norman's etchings - The Apex of Life was one of them. They also refused permission for Preece to hang them. The committee rejected the etchings on the grounds that they would 'debase rather than uplift art'. They Sydney artists threatened to withdraw their works in support of Norman. Norman decided to withdraw all his pictures from the exhibition but arranged with Preece to hold a solo exhibition at Preece's Gallery during Artist's Week. The exhibition comprised of 17 etchings (including the three banned ones), 6 pen drawings and 10 watercolours. People were encouraged to go to both exhibitions defying the taste of the selection committee. Crowds flocked to both exhibitions, but more came to Norman's than the official one.

FROM THE MOON sold
Date Medium Size Edition Reference	1920 Etching, aquatint and stipple on paper 25.8 x 31.6 cm 40 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.210)

HAPPINESS sold
Date Medium Size Edition Reference	1938 Etching, soft ground, stipple and roulette on paper 23.0 x 21.2 cm 15 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.371)

JULIA FRISK AND MR BRISK sold
Date Medium Size Edition Reference	1928 Etching on paper 25.5 x 22.5 cm 55 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.305)

LIGHT LYRICS sold
Date Medium Size Edition Reference	1926 Drypoint on paper 30.5 x 25.3 cm 45 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.278)

MOONLIGHT'S PIPER sold
Date Medium Size Edition Reference	1925 Aquatint and etching on paper 25.5 x 33.1 cm 55 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.272)

STRANGE LANDS sold
Date Medium Size Edition Reference	1932 Etching and stipple on paper 25.5 x 20.3 cm 40 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.323)

TOM O'BEDLAM sold
Date Medium Size Edition Reference	1918 Etching and engraving on paper 31.3 x 26.7 cm 30 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.189)

TRYST IN ARCADY sold
Date Medium Size Edition Reference	1930 Etching and stipple on paper 33.5 x 27.8 cm 55 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.314)

VENUS IN ARCADY sold
Date Medium Size Edition Reference	1938 Etching, engraving and stipple on paper 31.7 x 25.3 cm 30 (?) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.367)
A number of prints of Venus in Arcady were taken to America and burnt in the fire. It is not known how many were burnt but this etching is extremely rare as it was also not printed out in full.

VIRTUE sold
Date Medium Size Edition Reference	1921 Etching 32.3 x 26.5 cm 30 (55) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.227)
Hugh McCrae was a great friend of Norman's and his poetry was influential in the development of Australian literature from the bush ballad to more sophisticated verse, . McCrae associated Virtue with Keats: Virtue, without any doubt, is the most wonderfully beautiful picture I have ever seen. Essentially a poet's vision; I cannot imagine any dream-translation approaching so closely the actual adventure of the mind. The nearest earthly achievement would perhaps be allowed to John Keats whose spirit I think must have rejoiced at the begetting and birth of his loveliest creation. It is of our other world. "Immortal subject for immortal eyes. The spade-fingered mechanics of art will be so blinded by its heavenly fire as that they shall not even dare to utter their accustomed blasphemies. Virtue is one of only six of Norman's etchings which is pure etching.

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