Norman Lindsay - Original Works

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ORIGINAL WORKS
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Norman Lindsay 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 Norman also produced 175 unpublished etchings dating from 1897, of which twenty-nine were included in seven books containing original etchings published between 1919 and 1937.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. Please note that the images which have space around their image (such as Light Lyrics, for example) have been cropped just to show the image. Many images with space around the edges are in a different proportion than shown here. 'The Craft of Etching' is an essay written by Norman on his etching Copyright on Norman Lindsay’s etchings is now held by Lin Bloomfield, Odana Editions. Original Etchings on this page are for sale from Bloomfield Galleries.
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 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
ALLEGRO VIVACE 8TH SYMPHONY
Date Medium Size Edition Price Reference	1925 Etching and stipple on paper 31.6 x 36.7 cm 55 $12,500 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.269)
Norman's profound understanding of Beethoven's music is awe-inspiring. Allegro Vivace 8th Symphony is Norman's visual conception of the last movement of Beethoven's Symphony No. 8 in F major, Op.93 (1812). In Kenneth Slessor's article 'An Interview with Norman Lindsay', published in the 1930 Norman Lindsay Number of Art in Australia, Norman spoke at length about the etching: ... it is one of the few works of my own that I can look at with pleasure — though that is possibly because it but roughly defines the enormous delight the Eighth Symphony itself has been to me. I like the etching because I believe it follows fairly closely the musical form of the final Allegro Vivace — its general background of pattering, downward-rushing little figures, culminating in a rollicking, scrambling crescendo, and swaying out into the swooning, mooning lovers, with the stamping, thundering, blundering giants of a full orchestra behind, and the little trembling, squeaking single fiddle hopping before. For pure mad humour, nothing has ever touched, or ever will touch, that movement. Years later Norman wrote a more detailed description to John Hetherington: Our response to great art is balanced between what we get out of it and what we bring to it. I had this brought home to me with rather staggering effect the other night when I put on the record of Beethoven's 8th Symphony. I once did an etching on the last movement of that symphony. The composition of the etching was this — In the sky, a couple of giants, stamping and rollicking among the clouds, and roaring with laughter (full orchestra — allegro vivace). Down in one corner, a couple of tiny fauns, skipping (single violins — scherzo). The whole centre of the composition, a mass of figures rushing down hill; leaping, cavorting, tumbling over each other till they reach level ground on which couples sway off in the sentimental embrace of the waltz (allegro vivace — minuetto). I don't doubt that all that is in the music. All I did was to translate it into my own form imagery.

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)

ARGUMENT
Date Medium Size Edition Price Reference	1923 Etching, engraving and stipple on paper 21.6 x 24.2 cm 55 $4,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.238)

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. In March 1935 all the unsold prints of Beauty's Glass were destroyed; Rose recorded that only thirty-eight had been sold. Sydney Ure Smith was impressed by the contrast in Beauty's Glass: Beauty's Glass is fine in its contrast between the dark velvety blacks and the smooth flesh of the figure ... the plain spaces are restful and give greater beauty to the fine, close needling and massed pattern.

BEAUTY'S FORTUNE
Date Medium Size Edition Price Reference	1920 Etching, engraving, aquatint and stipple on paper 32.8 x 26.5 cm 50 $14,000 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.

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 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.297)
The symbolism underlying C Sharp Minor Quartet is explained by Norman: The C Sharp Minor Quartet was Beethoven's last work. It is a cry to the Gods for release. Resignation to the stress of life had failed Beethoven. He had had enough of it. I have put that clearly enough into the figures of the three women. Desperation, exhausted emotion and physical collapse, with the stars from a dark earth merging in the flowers of Olympus, and release from Earth in the figures symbolising light and happiness. I can define the thought behind the C Sharp Minor etching in a sentence. But I was two months needling that etching, proving it and regrounding it half a dozen times to try and convey the infernal difficulty of space in darkness ... Rose posed for the prone figure on the lower left and both she and Norman regarding C Sharp Minor Quartet as one of the most beautiful of all the etchings. Norman etched C Sharp Minor Quartet at the height of his interest in Beethoven and it is no coincidence that it was published in Beethoven's centenary year. Rose described the printing process: It was one of the most difficult plates I had to print because of the black figure against a black background, which had to be wiped of all surplus ink to keep it luminous. An alternative spelling for 'Quartet' is 'Quartette' and Norman and Rose used both spellings when titling the edition.

CARDS AND WOMEN
Date Medium Size Edition Price Reference	1926 Etching, engraving, aquatint and stipple on paper 25.1 x 31.8 cm 45 $7,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.279)
The light and movement in Cards and Women heightens the dramatic effect of the story — someone caught cheating at cards. The entire edition, except for numbers 1 and 12, was purchased by Gill. At the time Norman wrote to Gill: I sincerely trust that your venture over Cards and Women will be a success. I intend to send you a proof of the first attempt at Cards and Women with the plate, so that you can be sure it is destroyed. I will, of course, score it heavily so as to make it unprintable. Gill subsequently donated the plate to the National Gallery of Victoria.

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)
Early in April 1958 Norman sent a print of Death's Mask to John Hetherington and his first wife Olive, whose son had recently died. In his accompanying letter Norman explained the symbolism of the etching: It is just a simple enough symbolism of my concept of death, placed in a setting of life's carnival, where death arrives as a figure of dread. Some dancers shrink with horror from it, others dance on ignoring it, and a couple refuse to be scared by its mask. In a general hazy atmosphere about death, the mass try to keep their distance from it in a state of uneasiness. My death, you'll note, is very much alive behind her mask. I've made her the only concrete reality, because I accept what is called reality to be a shadow play of the present moment passing on into non existence with every tick of the clock. To me, the indestructible content of reality is all that can be stored in the mind of knowledge, self knowledge, and emotional sensitivity garnered by a full experience of living; of being and becoming. That alone we can carry with us over the border line of a fresh adventure in living ...

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 (framed) 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 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.

DONNA JUANA
Date Medium Size Edition Price Reference	1934 Aquatint, etching and stipple on paper 30.4 x 24.9 cm 55 $6,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.341)

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. In 1919 Norman wrote to his son Jack about his new etching Enigma which ponders the mystery of life: The last big plate Enigma is just issued. Will it interest you also, I wonder, Man, at the foot of Life, asks himself, the eternal enigma of his destiny of earth between primitivism, fear, and pain, to beyond death. Prior to its first showing Norman explained the meaning of Enigma to Gayfield Shaw who owned a gallery in Sydney (Gayfield Shaw's Gallery) which was the first to exhibit Norman's etchings in 1919: The female figure represents Life. The crouching forms in the background are Fear, Pain, and the primitive brute in man. Man himself, the product from savagery to civilization, seated between the feet of Life, strives to question the enigma of his arrival on earth, and the problem of his future beyond earth, which Death waits quietly by to solve for him. Death is represented as a strong and handsome youth, which may suggest a possible answer to the enigma of Man's life on earth.

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.

GOOD MORNING
Date Medium Size Edition Price Reference	1921 Etching, engraving and stipple on paper 29.5 x 32.4 cm 50 $8,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.219)

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)

IMPERIA
Date Medium Size Edition Price Reference	1920 Etching, aquatint, engraving and roulette on paper 19.8 x 22.6 cm 50 $6,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.209)
Rose was the model.

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)

LESBIA
Date Medium Size Edition Price Reference	1921 Etching, soft ground and stipple on paper 13.4 x 16.3 cm 50 $6,000 Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.218)

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.

LOVE ON EARTH
Date Medium Size Edition Price Reference	1925 Etching, engraving and stipple on paper 35.5 x 29.5 cm 55 $15,000 (framed) 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 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.

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 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)

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)

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)
Norman's imaginary grotesques in the sensual She Arrives, a typical Lindsay etching, are obviously in awe of the beautiful arrival and are paying her homage. There is a striking sense of movement in She Arrives, which Norman needled in 1924 during the uproar over his etchings at Artists' Week, Adelaide.

SONG OR SINGER
Date Medium Size Edition Price Reference	1937 Etching, engraving, drypoint and soft ground on paper 25.3 x 20.0 cm 25 (30) $4,000 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.360)

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.

WHO COMES?
Date Medium Size Edition Price Reference	1918 Etching, engraving and stipple on paper 28.7 x 25.2 cm 30 $5,500 (framed) Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.188)
Who Comes? was inspired by Mozart's opera The Magic Flute, first performed in Vienna in 1791. Norman explained to his son Jack: As a matter of fact, Who Comes jumped into my mind from a bar of music — in Mozart's Magic Flute there is a passage, strange, mournful and yet ominous, that recurs suddenly in a setting of happiness — it shaped the words Who Comes to me and the picture followed. Probably Mozart meant something quite different, but that is no concern of mine. In January 1919 Sydney Ure Smith wrote a long letter to Norman in which he described Who Comes?: ... Who Comes?, is, I think, a remarkable plate. The composition is very fine and the drawing and handling of the groups of figures is masterful ... you seem to me to have the full range of etching from the delicate stipple on the nude girl's flesh to the deep black of the shadowy background. The textures, too are most interesting ... the flesh with an almost luminous glow emanating from it ... the delicate filmy suggestion of draperies ... and the rich pattern on the curtains ...

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.

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