Norman Lindsay, Australian artist, facsimile etchings, limited edition art prints

ODANA EDITIONS ALL FACSIMILE ETCHINGS PUBLISHED TO DATE
Facsimile Etchings For Sale \| Home \| Contact Us
EDITIONS IN ALPHABETICAL ORDER
All 104 Norman Lindsay Facsimile Etchings published from 1974 until today are listed here. The list is complete and lengthy. In time, we will endeavour to include a search facility but until then, here is your complete reference for Norman Lindsay Facsimile Etchings. The Norman Lindsay Facsimile Etchings are published in strict accordance with copyright conditions. Authenticity is guaranteed by an embossed seal in the lower right hand corner of the image and all works are accompanied by a Certificate of Authenticity. Each image is individually hand-numbered and once an edition has sold out, it is never re-released. Each Norman Lindsay Facsimile Etching is in an edition of 550 and size is image size only. We are now only listing prices for those Facsimile Etchings that we have available for sale. Prices vary greatly according to fluctuations in the art market and unless we have the work for sale, we do not list values for any Facsimile Etchings as they become out of date too quickly. Please click on the thumbnails to view larger images.
A SENTIMENTAL INTERLUDE
Size Date Published Reference	20.1 x 26.1 cm 1997 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.300)

A SUMMER DAY ANDANTE
Size Date Published Reference	34.0 x 38.4 cm 1997 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.270)
The inclusion of swans in A Summer Day Andante gives the etching an added air of tranquillity and contributes to the atmosphere which Norman so successfully conveys. He obviously considered which breed of dog would best suit the subject and used his numerous photographs of dogs for reference. Norman's choice of the Borzoi, the dog on the left in A Summer Day Andante, is a perfect complement to the elegant group assembled around the quartet; the Borzoi, also known as the Russian Wolfhound, was bred exclusively for the aristocracy of Czarist Russia. The other dog in this etching looks like a Welsh Springer Spaniel.

ADOLESCENCE
Size Date Published Reference	30.5 x 29.0 cm 1989 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.237)

AFTERNOON OF A FAUN
Size Date Published Reference	9.7 x 8.1 cm 2001 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.69)
This delightful etching was etched c.1920. Rose pulled roughly fifty prints from the plate but it was never published because of its erotic content. When Matisse illustrated the same subject (Mallarmé's poem L'Apres-midi d'un faune), he too resorted to neoclassical convention 'to remind us of the pagan simplicity and vitality of the designs on Greek vases and the erotic murals at Pompeii and Herculaneum'. Norman had visited Pompeii en route to London in 1909.

ALOHA
Size Date Published Reference	27.8 x 17.8 cm 1997 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.

(THE ANKLET)
Size Date Published Reference	10.3 x 11.9 cm 2000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.77)
The original etching was never published.

ARABIANA
Size Date Published Reference	29.1 x 23.2 cm 2002 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.361)

ARGUMENT
Size Date Published Reference	21.6 x 24.2 cm 1974 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.238)

ARMOURED
Size Date Published Reference	35.6 x 27.8 cm 1988 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.307)
Rose was the model for the central, standing figure.

THE ARTIST
Size Date Published Reference	12.8 x 11.7 cm 1998 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.87)
This facsimile etching was not released as a stand-alone facsimile etching but included with the De Luxe Limited Edition of The Complete Etchings of Norman Lindsay.

ATLANTIS
Size Date Published Reference	31.7 x 25.2 cm 2006 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.138)
The original etching was never published. For years Norman had been intrigued by the legendary sunken city of Atlantis. Of all the vanished civilisations it is arguably the most contentious; scholars from antiquity to the present have debated its existence. Plato wrote two treatises about the lost island and in one, Critias, he positioned it to the west of the Pillars of Hercules (Gibraltar) on the Atlantic coast near Cadiz. Latter-day German scholars as meticulous as Richard Henning and Adolf Schulten have insisted that Plato’s description of Atlantis is based on concrete facts. He even introduced his daughters Jane and Honey to the legend. In 1928 Rose added an amusing anecdote in a letter to Andrew Watt: Norman is this minute giving the kids their lessons … he is giving them from the time of Atlantis. I get much fun from hearing them telling the cook and the nurse all about how it was sunk and so forth. The cook said ‘I’ve never heard of the place’. Norman wrote a ‘thesis’ on Atlantis which he published in The Scribblings of an Idle Mind. In a postscript he mentioned an exchange of letters with Leonard Cottrell, amateur archaeologist and eminent author of books on ancient civilisations. Cottrell said that archaeologists had never discovered any factual evidence of the existence of Atlantis and, therefore, he had no belief in the myth. Norman etched Atlantis in 1925 and although it is mentioned in Rose’s record book, apparently the plate failed and it remained unpublished.

THE AUDIENCE
Size Date Published Reference	25.2 x 17.7 cm 2007 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.268)
Norman's use of aquatint in the original etching The Audience reveals moonlight more subtly than would be possible in any other medium. The dramatic effect of filtered moonlight in The Audience is enhanced by the use of aquatint. Other etchings featuring moonlight and the use of aquatint are Moonlight's Piper, Moonstruck and From the Moon. Howard Hinter was a keen buyer of Norman's etchings and purchased two copies of The Audience. In a letter to Norman, Hinton told him that he wanted them 'to cheer me up after the long day's work in town'.

BARGAINS
Size Date Published Reference	11.9 x 12.4 cm 1974 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.230)
Rose was the model.

THE BAUBLE
Size Date Published Reference	14.3 x 11.4 cm 1974 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.260)
This etching shows the artist represented at the end of the staff which the model is holding.

BEAUTY'S FORTUNE
Size Date Published Reference	32.8 x 26.5 cm 1995 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.213)
Fate is the theme of Beauty's Fortune. Norman was pleased with this etching. He wrote to son Jack: I have just pulled a first proof of the new plate, and if the next etch goes as I hope it will be something of what I want. It's called Beauty's Fortune and I think the women have charm.

(BEAUTY'S HONOUR)
Size Date Published Reference	33.1 x 25.3 cm 1999 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.129)
The original etching was never published.

THE BLACK HAT
Size Date Published Reference	16.5 x 12.6 cm 1997 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.256)

(BLONDE AND BRUNETTE)
Size Date Published Reference	15.7 x 18.0 cm 1998 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.156)
The original etching was never published.

(THE BOUDOIR)
Size Date Published Reference	15.2 x 12.5 cm 2005 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.33)
The original etching was never published.

THE BUTTERFLY
Size Date Published Reference	15.1 x 12.3 cm 1974 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.232)
Rose was the model.

C SHARP MINOR QUARTET
Size Date Published Reference	37.9 x 30.3 cm 1974 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.297)

CATS
Size Date Published Reference	13.4 x 12.0 cm 1986 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.190)
Rose was the model.

CHARLES
Size Price Date Published Reference	26.5 x 31.8 cm $396 2008 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.283)
Rose modelled for the back of the main figure. Seventeen original etchings are pure drypoint and included in this list are Light Lyrics, The Eighties, Delight, Decoy, Juno, The Pool (1924) and Summer. The original drypoint was etched in 1926 in an edition of 38.

THE CLOAK
Size Date Published Reference	27.8 x 15.2 cm 1999 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.306)

COLUMBINE
Size Date Published Reference	21.8 x 21.5 cm 2005 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.58)
Columbine and Your Fate were released in a special celebratory Odana Editions' 30th Birthday folio and are not sold separately. The folio contains, as well as the two Facsimile Etchings, a brochure with details of the two books — Colombine and The Etchings of Norman Lindsay in which the original etchings of Columbine and Your Fate are included and also the essay 'The Craft of Etching' by Norman Lindsay. The poetry of Hugh Raymond McCrae (1876–1958), although written sporadically, was influential in the development of Australian literature from the bush ballad to more sophisticated verse. Norman was eighteen when he first met McCrae and they remained firm friends for all their lives. Norman’s enthusiasm for McCrae’s poetry never wavered and he always remained convinced that it was McCrae who had ushered in the renaissance of Australian poetry. In 1953 McCrae was awarded the OBE for services to Australian literature. It was a chance meeting in George Street, Sydney, that brought about the publication of Colombine. Norman was enchanted with McCrae’s verses and thought them some of the most delicate and beautiful written in Australia. He took the verses immediately to George Robertson of Angus & Robertson. Norman viewed McCrae as a genuine poet, with a rare mind. Colombine was McCrae’s second volume of poetry. His first was Satyrs and Sunlight: Silvarum Libri, first published in 1909, with illustrations by Norman, with a second edition in 1911. A further edition, with the simple title Satyrs and Sunlight, was published by The Fanfrolico Press, London in 1928. That edition contains all Norman’s illustrations to Satyrs and Sunlight, Colombine and Idyllia. The original manuscript of Colombine is in the Mitchell Library. It is dedicated in McCrae’s hand: To Norman Lindsay, Friend of my bosom, thou more than a brother. The original etching Columbine (1918, 21.8 x 21.5 cm) was published in 1920 in the low-edition Colombine, a book of poems by Hugh McCrae. His poem ‘Colombine’ is a small lyrical masterpiece which ends with an echo of a mysterious melody of McCrae’s imaginary cello, a melody captured in no small measure by the ethereal quality of Norman’s etching. In a letter to George Robertson about the etchings and the plate, Rose wrote: I will send you the destroyed plate to show buyers if you wish as they always like to know that a plate is destroyed. We are very careful never to print an etching over the number, to destroy plates ... I am boss of the etching department here and take great care that all etchings are strictly numbered and bad prints destroyed. There was some question as to whether the title of the book was to be Columbine or Colombine? It was originally spelt Columbine but Robertson disagreed. He eventually wrote to Christopher Brennan at the University of Sydney asking for his opinion. Brennan replied: Columbine, I suppose, is English, like Columbus, etc — but my own preference is for Colombine with o. After all, as far as art and poetry are concerned, she’s exotic: no more to be Anglicized than Pierrot (imagine him as Peterkin). The ‘o’ spelling was finally adopted even though the etching had previously been titled Columbine by Norman.

(COQUETTE)
Size Date Published Reference	24.9 x 9.7 cm 2004 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.162)
This beautiful image was etched approximately two years after Who Follows?, which was modelled by Rose.

COURTESAN
Size Date Published Reference	14.0 x 12.6 cm 1995 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.208)
Rose was the model. She made beautiful costumes and head-dresses to wear to the annual artists' balls and Norman used one of these head-dresses for Courtesan.

DANCE
Size Date Published Reference	22.8 x 21.9 cm 1999 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.241)
Dance was inspired by Beethoven's Symphony No. 7 in A major, Op.92 (1812). In 1923 Norman wrote to Jack Lindsay (his son): I am working again on the Dance plate. The musicians come out playing with tremendous gusto, oblivious to every shape, but the background danced into such thin outline that it disappeared and is now in process of reappearing. Later that same year Norman wrote again to Jack: I have been thinking of the key of that drawing phase in the 7th symphony, where all restraint, even the restraint of a dance measure, is thrown to the devil; and all hearts and feet leap with ecstasy. But how to get it in a picture. The 7th is not only the dance but all that the dance means. I am trying to express not only the mad whirl of figures dancing into an infinity of light, but that inevitable interlacing of couples that leads them out of the dance room.

DANCE, PUPPET, DANCE
Size Price Date Published Reference	14.4 x 11.6 cm $297 2008 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.329)
Dance, Puppet, Dance was etched in 1933 and the puppet is a caricature of Norman. The original etching was published in an edition of 10 and is exceptionally rare.

DEATH IN THE GARDEN
Size Date Published Reference	33.0 x 26.7 cm 1998 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.243)
Ever since Norman's extreme grief at the death of his brother Reg in 1917 in World War I, Norman had been determined to counter his fear of death by adopting an attitude of rejection and determined optimism. Death in the Garden is one of his most beautiful etchings. Several of the female figures were etched from sketches of Rose and the central model also appears in Unknown Seas and Life in the Temple. The urn is in the garden at Springwood. Norman had done a pen and ink drawing of Death in the Garden (presumed burnt in America), prior to the etching. Norman wrote to son Jack: I shall take your suggestion as a title of the pen and ink The Comedy Ends. That other one Death in the Garden I am putting down on copper.

DEBUT
Size Date Published Reference	21.9 x 17.1 cm 2000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.208)
Hugh McCrae described his daughter's reaction when Norman sent him a print of Debut and went on to describe the emotion it aroused in him: Smee's delight on my unwrapping Debut ... was so spontaneous on her part as to leave no doubt as to the genuine happiness you had given her ... it is a jolly conception ... the senorita in her absolute beauty, the last of her petals flung open, everything fresh, sweet and resilient ... the headdress as downy as smoke ... the bouquet of blossoms is twice its own weight on account of the dew in the stamens and it mixes its sweetness with the musky odour which distinguishes a satyr even at a distance of fifty yards or more.

DECOY
Size Date Published Reference	33.0 x 24.0 cm 1974 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.258)
Rose was the model.

DELIGHT
Size Date Published Reference	26.5 x 18.7 cm 1999 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.257)
Rose was the model.

DESERT ISLAND
Size Date Published Reference	25.4 x 20.2 cm 2007 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.

DESIRE
Size Date Published Reference	28.4 x 23.6 cm 1994 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.198)
In 1920 Norman sent Hugh McCrae the etching Desire. It so affected McCrae that he wrote a new version of the poem 'Pantera', (the one which was ultimately published in Idyllia), dedicated to Rose.

THE DREAM MERCHANT (2nd Edition)
Size Date Published Reference	20.2 x 25.4 cm 1997 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.107)
There were two very similar etchings produced of this image by Norman Lindsay. The 1st Edition has a nude female on the far left but after Rose pulled six original etchings, Norman felt that the eye was not drawn towards the centre of the image. In the 2nd Edition he etched out the figure and replaced her with a curtain.

(DREAMING)
Size Date Published Reference	5.0 x 9.4 cm 2001 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.74)
Rose was the model. The original etching was never published.

DREAMS
Size Date Published Reference	13.6 x 12.3 cm 1997 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.289)
Rose was the model.

DRYAD
Size Date Published Reference	12.6 x 10.0 cm 1974 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.244)

THE EIGHTIES
Size Date Published Reference	30.5 x 25.3 cm 2003 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.284)

ENTER THE DUKE
Size Date Published Reference	33.0 x 26.5 cm 1987 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.259)

ENTER THE MAGICIANS
Size Date Published Reference	30.3 x 35.6 cm 1974 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 ...

ESCAPADE
Size Date Published Reference	30.6 x 25.1 cm 1978 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.294)

ETERNITY'S AVATAR
Size Date Published Reference	35.4 x 30.3 cm 1983 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.295)
An avatar, as imaginatively portrayed in Eternity's Avatar, covered with light filtering softly from above, is the descent of a god to earth in incarnate form.

FORTUNE'S FOOLS
Size Date Published Reference	25.1 x 25.4 cm 2001 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.340)

(FROLIC)
Size Date Published Reference	12.5 x 10.0 cm 2007 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.104)
The original etching was never published.

THE GLADE
Size Date Published Reference	15.1 x 12.0 cm 2004 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.334)

GOSSIP
Size Date Published Reference	25.3 x 30.4 cm 1979 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.338)

HAVE FAITH
Size Date Published Reference	27.9 x 25.2 cm 1978 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.320)
Have Faith was etched after Norman and Rose returned from Europe and America in late 1932, and is an avowal to Rose that he would remain faithful.

(IN THE GARDEN)
Size Date Published Reference	19.6 x 15.8 cm 2005 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.39)
The original etching was never published.

THE INNOCENTS
Size Date Published Reference	35.2 x 30.2 cm 1974 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.271)

JEALOUSY
Size Date Published Reference	13.9 x 13.0 cm 1978 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.267)
Sometimes, after Rose had pulled a proof, Norman would decide to cut the plate down to strengthen the image. An example of this is Jealousy.The first proof of Jealousy shows a nude to the left of the group and the elimination of this additional figure was obviously essential to the successful composition of the etching.

JOURNALISM AND ART
Size Date Published Reference	15.6 x 13.9 cm 1999 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.167)
The original etching was never published.

JULIA
Size Date Published Reference	16.4 x 11.9 cm 1990 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.245)
Rose was the model.

JULIA'S MONKEY
Size Date Published Reference	17.9 x 23.0 cm 1991 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.204)
The composition of Julia's Monkey is remarkably similar to The Nightmare, engraved in stipple by Thomas Burke after Henry Fuseli's painting of the same name.

JUNO
Size Date Published Reference	30.5 x 22.9 cm 1999 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.308)
Many original etching editions never reached their intended number. If a plate failed unexpectedly Rose stopped printing. The edition of Juno is marked '40' but the plate failed at 34.

LADY AND PARROT
Size Date Published Reference	11.2 x 11.1 cm 1986 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.180)
Rose was the model.

LEDA
Size Date Published Reference	30.4 x 25.1 cm 1995 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.309)
Norman translated his passion for Greek myths into numerous pictures. The legend of Leda and the Swan has been the subject of art and literature since the time of Homer. Zeus, the king of the gods of Olympus, transformed himself into a swan so that he could seduce Leda, the wife of King Tyndareus of Sparta. Helen of Troy was one of the children of this union. In Norman's sensitive etching Leda, the seduction is shown by the statue in the background. This latter-day Leda, in serenely contemplating the swans, is creating her own myth.

LESBIA
Size Date Published Reference	13.4 x 16.3 cm 2002 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.218)

LIFE IN THE TEMPLE
Size Date Published Reference	30.4 x 35.5 cm 1974 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.

LIGHT LYRICS
Size Date Published Reference	30.5 x 25.3 cm 2007 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.278)
Seventeen of Norman's published etchings (from a total of 200) are pure drypoint, that is, not used in conjunction with any other method. The original Light Lyrics is one of these etchings.

THE LITTLE MERMAID
Size Date Published Reference	17.4 x 12.8 cm 2002 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.336)

LITTLE SCANDALS
Size Date Published Reference	26.5 x 33.1 cm 1999 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.249)

LOVE ON EARTH
Size Date Published Reference	35.5 x 29.5 cm 1980 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.273)
While Norman was writing his stories about Micomicon, he was busy with pen drawings, watercolours and etchings. Love on Earth was etched at this time, as Norman described in a letter to son Jack: I have covered the plate of Love on Earth with its finest needling. Very slowly and carefully done, and very trying to the eyes, fingers and nerves. The slowness of this technique is a devilish test of endurance. To relieve its monotony, I have been writing some Micomicon stories.

(MEMORIES)
Size Date Published Reference	24.7 x 18.4 cm 1999 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.40)
The original etching was never published.

MERCHANDISE
Size Date Published Reference	21.9 x 25.2 cm 1986 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.

THE MIRROR
Size Date Published Reference	12.1 x 9.9 cm 1993 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.206)
The Mirror is the smallest published etching.

THE MYSTERIES
Size Date Published Reference	28.9 x 30.4 cm 1999 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.311)
A number of original prints of The Mysteries were taken to America and burnt in the fire. It is not known how many were burnt but the original print is extremely rare as it was also not printed out in full.

NIGHT'S FROLIC
Size Date Published Reference	30.2 x 25.2 cm 2004 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.310)

(NUDE WITH MANTILLA)
Size Date Published Reference	13.6 x 10.9 cm 2001 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.18)
Rose was the model. The original etching was never published.

PEACOCKS
Size Date Published Reference	27.9 x 21.2 cm 1995 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.191)

(THE PEARL HEAD-DRESS)
Size Date Published Reference	11.4 x 9.8 cm 2000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.130)
The original etching was never published.

PEGASUS
Size Date Published Reference	30.5 x 25.4 cm 1996 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.290)
Norman translated his passion for Greek myths into numerous pictures. In Pegasus Norman etched a group of Grecian figures dominated by two winged horses. The original Pegasus, a son of Poseidon, sprang fully formed from the body of the monster Medusa, after she was slain by the hero Perseus. Athena tamed Pegasus with her golden bridle and gave him to Bellerophon. The fabulous winged horse has become a symbol for freedom and unlikely liberation for writers from Shakespeare to Longfellow. Pegasus was an image made for Norman's imagination. Rose posed for the figure in the helmet which Norman had made out of papier mache. She is wearing the same footwear as in Phyllida. In October 1939 Rose presented a print of Pegasus to the Art Gallery of New south Wales for exhibition in their newly opened Print Room.

(PENSIVE)
Size Date Published Reference	17.9 x 15.0 cm 1999 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.78)
The original etching was never published.

(PIRATES' CAPTIVES)
Size Date Published Reference	13.8 x 13.1 cm 2000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.1)
Norman's first experiment with etching was in 1897, twenty years before he became seriously involved with the medium. (Pirates' Captives) was the result and depicts a robust pirate scene (rather reminiscent of a woodcut in style). It is annotated: This little etchings was done in the year 1897. My brother Lionel started etching at that time so I experiment with example of the Black Art. This annotation appears below the image on the facsimile etching. The original etching was never published and the only original of this work is on view at the Norman Lindsay Gallery and Museum, Faulconbridge.

THE POOL (1924)
Size Date Published Reference	25.0 x 18.0 cm 1978 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.253)
The Pool (1924) evokes the heat of summer in Australia.

THE POOL (1934)
Size Date Published Reference	15.2 x 13.1 cm 2000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.337)

PRIESTESS TO THE MAGI
Size Date Published Reference	22.9 x 27.8 cm 1986 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.344)

PROMISE
Size Date Published Reference	25.7 x 15.1 cm 1998 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.199)
Rose was the model.

THE RAGGED POET
Size Date Published Reference	35.4 x 27.9 cm 1987 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.255)
The Ragged Poet is an exquisite etching. The central figure of the poet is the focus of attention as the audience is mesmerised by his song. The needling of the veil on the nude figure and the complicated fabric of the curtain, carpet and gowns display a mastery of etching technique.

THE RING
Size Date Published Reference	13.4 x 11.8 cm 1995 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.207)
Hugh McCrae wrote of The Ring: The body of the woman in The Ring is adorable, and I admire how the dependant pearls divide and show the depth of the breast ... her drooping black-lidded eye promises a bountiful return for the long-shaped ring upon her finger.

RITA
Size Date Published Reference	15.1 x 11.5 cm 1998 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.174)
The model is Rita Lee who posed for Norman for six years from 1936 to 1942. This image is identical to the 1942 oil painting The Black Hat. Rita was Norman's favourite model after Rose. The original etching was never published.

ROSE LINDSAY BOOKPLATE
Size Date Published Reference	17.6 x 13.0 cm 2001 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.59)
Rose was the model. The original etching was especially etched for Rose for her private library. The original etching was never published.

SEA MAGIC
Size Date Published Reference	30.4 x 25.2 cm 1996 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.348)
Rose had sold only twelve copies of Sea Magic before taking the remainder of the edition to America where they were subsequently burnt in the fire. Consequently, the original print is extremely rare.

SELF PORTRAIT
Size Date Published Reference	35.4 x 30.4 cm 1974 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.317)
Self Portrait is the graphic depiction of an artist in torment. A hunched Norman, clutching his etching needle, is presented, manacled, between the male nude satyr and female nude. This central group forms the picture around which are massed the creatures of his imagination: demons, satyrs, nudes and the ominous figure of the sword-wielding dwarf. Self Portrait is the most revealing of all Norman's etchings and needling the plate was a lengthy process. In a letter to John Hetherington, Norman discussed the ease with which he wrote compared to the consummate difficulty in etching and specifically referred to Self Portrait: ... I have tried both mediums, and can speak authoritatively on their time factors. I could write the major portion of a novel like Cousin from Fiji in the time it takes me to produce an etching like Self Portrait. It was an etching that continued to preoccupy him years after it was published. In a letter to sister Mary, written in his old age, Norman wrote: ... Self Portrait was done during the period you stayed with us at Springwood. It reflects the state of my mind during those years, which I'll swear I kept well under cover from detection by others. You, who probably know me better than others, could affirm that, I think. Anyway, it is definitely autobiographical ... Norman had turned fifty in 1929 and the capacity to create had abandoned him. His distress during this phase (which lasted for several years) is portrayed in Self Portrait. It was this etching that brought the criticism of Norman's work, which had been steadily growing over the years, to a head. It is difficult now for us to comprehend just how much controversy was engendered by Norman and to what extent he was affected by it. At first he simply shrugged it off, but as the attacks on his work gathered momentum he became disheartened and, in the end, fearful. He had been a target for puritanical-minded officialdom since 1899 when he was first involved in police action. This was the result of a poster he had designed for a company marketing a contraceptive called 'Solvit'. Public outcry caused a progressive Venereal Diseases Bill, which was about to pass through the Victorian Parliament, to be abandoned.

SIESTA
Size Date Published Reference	16.2 x 18.8 cm 1990 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.205)

(SISTERS)
Size Date Published Reference	11.2 x 12.5 cm 2000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.102)
The original etching was never published.

SORTIE
Size Date Published Reference	22.2 x 19.9 cm 1993 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.235)

SPRING SONG
Size Date Published Reference	12.5 x 13.8 cm 2001 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.233)

SUMMER
Size Date Published Reference	16.7 x 15.2 cm