Norman Lindsay - Odana Editions/Bloomfield Galleries

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LIMITED EDITION PAINTINGS
Some of Norman's most acclaimed pieces of work are his magnificent oil and watercolour paintings. Mastering various techniques and at times experimenting beyond tradition, his paintings reflect his artistic genius and his status as one of Australia's greatest artists in history. Norman's favourite painting theme was of human figures, in particular nudes. Countless of his most famous pieces were realistic, yet mythical portrayals of women, men, gods, ancient heroes and creatures of his own imagination. Norman's unique mix of nudity, eroticism, fantasy and art, while contributing greatly to his success now, made him a controversial figure in the early half of the 1900s. 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.
Oil Paintings for sale
LANGUOR $330 59.4 x 49.7 cm Published: 1997 Edition: 600 Original medium: Oil painting Reference: 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 $330 39.0 x 58.3 cm Published: 1997 Edition: 600 Original medium: Oil painting Reference: 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 for sale
CITY OF JOY $385 60.3 x 52.4 cm Published: 1999 Edition: 600 Original medium: Watercolour Reference: 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 $440 (there are less than 25 left of this edition until sold out) 52.2 x 41.0 cm Published: 1992 Edition: 600 Original medium: Watercolour Reference: 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 $440 53.7 x 35.7 cm Published: 2003 Edition: 600 Original medium: Watercolour Reference: 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
If there is a price listed next to the title of a work, then that work is for sale. It there is no price, the information is purely for reference.
WHERE WAR ENDS 57.2 x 54.0 cm Published: 1992 Edition: 600 Original medium: Watercolour Reference: 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 for sale
BENEVOLENCE $2,500 37.5 x 29.0 cm Published: 1934 Edition: 1,650 Original medium: Watercolour Reference: Norman Lindsay: Watercolours 1897–1969 (Odana Editions, 2003, p.202) The secrets 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 when they were discovered by workmen clearing rubbish from a suburban Sydney garage. The entire edition was then offered to Ibis Imprints who, after careful inspection, reduced the number to 1,650, thus ensuring that only prints in perfect condition were offered to the public.

THE DEAR THINGS $650 36.5 x 31.0 cm Published: 1934 Edition: 1,650 Original medium: Watercolour Reference: Norman Lindsay: Watercolours 1897–1969 (Odana Editions, 2003, p.150) The secrets 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 when they were discovered by workmen clearing rubbish from a suburban Sydney garage. The entire edition was then offered to Ibis Imprints who, after careful inspection, reduced the number to 1,650, thus ensuring that only prints in perfect condition were offered to the public.
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