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All notebooks have 128 blank pages, they have illustrated boards, are hardover and sewn. The page size is 21.1 x 15.2 cm.
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Throughout his life,
Norman Lindsay was a keen observer of cats. During his last three decades
at Springwood, in the Blue Mountains of New South Wales, it could be said
that he collected cats of all descriptions; many roamed in the sheds, stables,
garden and bushland, with a selected few in the house. There was always
one very special cat, however, and this was his Studio Cat.
Cats appeared as simple sketches, were included in major paintings
or were finished drawings and paintings in their own right.
Lindsay's cats were portrayed as real cats or in comic situations
where they replicated the best and worst of human attributes.
He wrote letters about his cats and painted his cats with love
and affection. In all senses of the word, Norman Lindsay was
a true cat lover.
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NORMAN LINDSAY: ARTFUL CATS
2001 1st Edition
5,000 copies printed
Meg Stewart (Introduction)
144 pages
27.4 x 20.9 cm page size
From
the far-off days of his boyhood at Creswick until his death in 1969,
Norman Lindsay was a keen observer and lover of cats. During his last
three decades at Springwood it could be said that he collected cats of
all descriptions; many roamed in the sheds, stables, garden and bushland,
with a few in the house. Only one was specially chosen to be the Studio
Cat.
Norman Lindsay: Artful Cats contains picture which
have never before been published and rare family photographs
from the Lindsay and Stewart estates. There are drawings
and paintings of cats in all guises, with particular emphasis
on Studio Cat Fuzz Buzz, Cat Stories and the wonderful
Whimsical Cats, all of which display the full range of
Norman's wit and imagination. The chapter of letters from
Norman to Margaret Coen and Met Stewart provides a rare
insight into Norman's empathy with his cat family.
Liberally illustrated in both colour and black and
white, Artful Cats is
the definitive book on Norman Lindsay's cats and a must for every cat lover.
Meg Stewart, filmmaker turned journalist, author and cat person, is the
daughter of artist Margaret Coen and poet Douglas Stewart. For the first
six years of her life, she lived in what had earlier been the painting
studio of Norman Lindsay at 12 Bridge Street, Sydney. During her childhood
and teenage years, she was a frequent visitor to the Springwood retreat
of the Lindsays and had a personal acquaintance with, at least, some of
it fabled tribe of cats.
Meg Stewart's own literary output includes the biography
of Margaret Coen, Autobiography
of My Mother and the art book Margaret Coen: A Passion for Painting,
as well as fiction writing. Her first novel was Modern Men Don't Shift
Fridges, published in 1999 and her most recent, The Dream Life of
Harry Moon, was published in 2001. |
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ARTFUL
CATS
10 cards per pack
2 blank cards of five images with envelopes |
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| Fuzz
Buzz looking affectionately at toast |
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NORMAN
LINDSAY ETCHINGS
10 cards per pack
1 blank cards of ten images with envelopes
Norman Lindsay is
Australia's most documented artist. His etchings, amongst the world's finest,
exemplify his philosophy, imagination and mastery of the technique, Throughout
his life, Norman Lindsay's images challenged the established view of his
day and created worldwide controversy.
Norman Lindsay Etchings Greeting Cards feature ten of the most popular
Norman Lindsay etchings. They range from the romantic A Summer Day
Andante, Night's Frolic and C Sharp Minor Quartet, the elegant Juno,
period pieces Leda and The Eighties, the delicate Siesta and Who
Follows? to the saucy Jealousy and Spring Song. All
cards are blank. |
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BUCK
;
1995
2,000 printed of each poster
45.2 x 32.5 cm (image size only)
52.8 x 32.5 cm (image size including typewritten copy)
Original medium: Pencil drawing
Bayard was a champion hack
during the 1940s, trained and ridden by Norman's daughter Jane. A favourite
of the family, he was affectionately nicknamed Buck as he was a big bay
gelding with an exuberant nature. Norman's insight into personality is
evident in his animal drawings. He could depict with equal force the aristocratic
arrogance of a thoroughbred and the resigned melancholy of a workhorse. |
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SYDNEY
FRESH FOOD AND ICE HORSE
;
1995
2,000 printed of each poster
30.5 x 32.5 cm (image size only)
43.5 x 32.5 cm (image size including typewritten copy)
Original medium: Pencil drawing
The Sydney Fresh Food and Ice
Company, based in Ultimo, housed the horses who pulled carts delivering
ice, milk and perishables to central Sydney. On many occasions Norman accompanied
the delivery boy to sketch the horses in the stables and the long suffering
lad would patiently hold up a horse's head so that Norman could perfect
an eye or a nostril. Norman's insight into personality is evident in his
animal drawings. He could depict with equal force the aristocratic arrogance
of a thoroughbred and the resigned melancholy of a workhorse. |
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DEFENCE TACTICSPublished by the Norman Lindsay Gallery and Museum
Original medium: Pen and ink |
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Page updated:
21 September, 2011
2001-2011 Odana Editions Pty Ltd. |
