| Limited
Edition Paintings |
The
Norman Lindsay Limited Edition Paintings 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.
The Curtain is reproduced in full colour on 250gsm
Parilux and Rita of the Eighties, City of Joy, Languor and Court
to Peacocks are reproduced in full colour on 300gsm
Parilux. The archival quality Parilux paper used for the
Limited Edition Paintings is totally acid, dioxin and chlorine
free. All original printing materials used for the Limited
Edition Paintings have been destroyed and the metal plates
used in the printing process have first been cancelled
and then destroyed.
Prices are for unframed works and are subject
to change as editions sell out. $20.00 freight, handling, packaging and
insurance is applicable for all orders within Australia. For overseas orders,
please contact us.
Limited Edition Paintings on this page
are for sale from Odana Editions. |
| OIL PAINTINGS |
| LANGUOR |
 |
Date Published
Original Medium
Size
Edition
Price
Reference |
1997
Oil painting
59.4
x 49.7 cm
600
$330
Norman Lindsay: Oil Paintings 1889–1969 (Odana Editions,
2006, p.78) |
Languor (alternatively
titled The Pink Drape) was one of the first oils Norman painted
at the Bridge Street studio in 1934 and is an outstanding example of
the technical mastery Norman achieved in the medium during the 1930s.
The languid pose of the model and the opulence of the couch covering
combine to convey the tenderness of mood and feeling conveyed by the
title Languor.
It is one of the paintings Norman chose for reproduction (in black and
white) in Paintings in Oil: Norman Lindsay (The Shepherd Press,
Sydney, 1945, plate 21). The Limited Edition Languor is the exact
size of the original painting, which has never been offered for sale. |
| |
| COURT TO PEACOCKS |
 |
Date Published
Original Medium
Size
Edition
Price
Reference |
1997
Oil painting
39.0
x 58.3 cm
600
$330
Norman Lindsay: Oil Paintings 1889–1969 (Odana Editions,
2006, p.66) |
Court to
Peacocks, one of the few oil paintings of the 1920s, is a beautiful
picture which was painted by Norman to hang in the living room at Springwood.
Rose posed for all four figures and the jardiniere is still in the garden at
Springwood. This painting encompasses an amazing range of colour. The opalescence
of the flesh tones contrasts with the rich peacock blue/green of the brocade
gown adjacent to the peacock.
Court to Peacocks, painted in 1927, was exhibited in The Legendary
Lindsays exhibition at the Art Gallery of New South Wales in 1995. |
| |
| watercolours |
| CITY OF JOY |
 |
Date
Published
Original Medium
Size
Edition
Price
Reference |
1999
Watercolour
60.3
x 52.4 cm
600
$385
Norman Lindsay: Watercolours 1897–1969 (Odana Editions,
2003, p.80) |
City of
Joy is testament to Lindsay's mastery of the luminous wash technique
which he had learnt from Blamire Young
when working in his lithographic
studio at the age of nineteen.
During the 1920s Norman Lindsay's watercolour technique and imaginary
vision in the medium reached its zenith. This was his finest period
for watercolour painting and City of Joy, painted in 1923, is
a masterpiece of the era. The ethereal quality of the painting is enhanced
by the subtle yet radiant flesh tones of the nudes contrasting with
the rich brocades and delicate gowns of the costumed figures. |
| |
THE CURTAIN
|
 |
Date
Published
Original Medium
Size
Edition
Price
Reference |
1992
Watercolour
52.2
x 41.0 cm
600
$440
Norman Lindsay: Watercolours 1897–1969 (Odana Editions,
2003, p.62) |
The Curtain,
painted in 1921, is an excellent demonstration of Norman Lindsay's fascination
with the intricacies of depicting skin textures against fabric. A simpler
composition than Where War Ends, its rich colour conveys a feeling,
as one writer put it, of 'sumptuous intimacy'.
Rose also modelled the central figure in this work which she refused to
sell. During the many years she lived at Springwood it hung in the living
room (always to the left of the French doors). |
| |
| RITA OF THE
EIGHTIES |
 |
Date
Published
Original Medium
Size
Edition
Price
Reference |
2003
Watercolour
53.7
x 35.7 cm
600
$440
Norman Lindsay: Watercolours 1897–1969 (Odana Editions,
2003, p.232) |
| Rita
Lee was Norman's favourite model after Rose and Rita of the Eighties is
the only known watercolour portrait he painted of her. The amethyst purple
and pink tones combine to convey the aura of serenity which Rita possessed
and the touches of white on the feathered hat, lace trim and glove add
to the delicacy of the picture. It is without doubt one of Norman's most
beautiful watercolour portraits. |
| |
| SOLD OUT
EDITIONS |
| WHERE WAR ENDS |
 |
Date
Published
Original Medium
Size
Edition
Price
Reference |
1992
Watercolour
57.2
x 54.0 cm
600
Norman Lindsay: Watercolours 1897–1969 (Odana Editions,
2003, p.100)
|
Where
War Ends, painted in 1924, is an outstanding example of the artist's
control of the medium of watercolour. The central figures glow like
porcelain in a composition of great warmth of colour and vivacity which
is enhanced by clever use of his 'stippling' technique.
Rose modelled for both the central and kneeling figures.
The painting was purchased during the 1920s by the proprietors of the Bulletin and
hung in their office for many years. At the first opportunity Rose, who
had always regretted selling it, bought it back. |
| |
| WILLIAM
HACKETT REPRODUCTIONS |
| BENEVOLENCE |
 |
Date
Published
Original Medium
Size
Edition
Price
Reference |
1934
Watercolour
37.5
x 29.0 cm
1,650
$2,500
Norman Lindsay: Watercolours 1897–1969 (Odana Editions, 2003, p.202) |
The secretets
of the technique employed to produce this edition in 1934 were lost on
the death of their oginator, Mr William Hackett of Sydney. No less than
eighteen hand-drawn lithographic plates — the result of hundreds
of painstaking hours of work — were used to capture the glowing
shades and subtleties of colour of the original watercolour. Mr Hackett's
superb craftsmanship was highly regarded by Norman Lindsay who described
his lithographs of an earlier Lindsay painting as:
... the best prints I have
ever seen.
Little is known, even by art historians, of the edition's early history,
except that a handful of copies were sold privately in those hard, post-depression
times, and a few others were offered for sale by a Sydney department
store gallery. What is certain is that the bulk of the edition — some
1,900 prints — were eventually sold as one lot, then lost and their
whereabouts shrouded in mystery until 1969 whyen they were discovered
by workmen clearing rubbish from a suburban Sydney garage. The entire
edition was then offered to Ibis Imprints who, after careful inspectiction,
reduced the number to 1,650, thus ensuring that only prints in perfect
condition were offered to the public. |
| |
| THE
DEAR THINGS |
 |
Date
Published
Original Medium
Size
Edition
Price
Reference |
1934
Watercolour
36.5
x 31.0 cm
1,650
$650
Norman Lindsay: Watercolours 1897–1969 (Odana Editions,
2003, p.150) |
The secretets of the
technique employed to produce this edition in 1934 were lost on the death
of their oginator, Mr William Hackett of Sydney. No less than eighteen
hand-drawn lithographic plates — the result of hundreds of painstaking
hours of work — were used to capture the glowing shades and subtleties
of colour of the original watercolour.
Little is known, even by art historians, of the edition's early history,
except that a handful of copies were sold privately in those hard, post-depression
times, and a few others were offered for sale by a Sydney department store
gallery. What is certain is that the bulk of the edition — some 1,900
prints — were eventually sold as one lot, then lost and their whereabouts
shrouded in mystery until 1969 whyen they were discovered by workmen clearing
rubbish from a suburban Sydney garage. The entire edition was then offered
to Ibis Imprints who, after careful inspectiction, reduced the number to
1,650, thus ensuring that only prints in perfect condition were offered
to the public. |
| |
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Page updated:
15 June, 2010
2001-2010 Odana Editions Pty Ltd |
