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NORMAN LINDSAY FACSIMILE ETCHINGS SOLD OUT EDITIONS
The following is a complete list of Sold Out Editions of Norman Lindsay Facsimile Etchings. We have two files on Norman Lindsay Facsimile Etchings now — Current Facsimile Etchings and Sold Out Facsimile Etchings. On this page, all Sold Out Editions are listed and if we have the work for sale, the price is shown next to the title. If there is no price listed, we do not have it for sale at this time. 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in the art market and unless we have the work for sale, we do not list values for any Facsimile Etchings as they become out of date too quickly.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 note that the images which have space around their image (such as Aloha and (Coquette), 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.
SOLD OUT EDITIONS – THOSE WITH PRICES ARE FOR SALE
A SENTIMENTAL INTERLUDE $1,150 20.1 x 26.1 cm Published: 1997 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.300)

A SUMMER DAY ANDANTE $1,600 34.0 x 38.4 cm Published: 1997 Reference: 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 tranquility 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 30.5 x 29.0 cm Published: 1989 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.237)

AFTERNOON OF A FAUN $430 unframed; $510 framed 9.7 x 8.1 cm Published: 2001 Reference: 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 $1,600 27.8 x 17.8 cm Published: 1997 Reference: 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) $650 10.3 x 11.9 cm Published: 2000 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.77) The original etching was never published.

ARABIANA $900 29.1 x 23.2 cm Published: 2002 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.361) Rose had sold only eighteen copies of Arabiana before taking the remainder of the edition to America where they were subsequently burnt in the fire. Consequently, the original print is extremely rare.

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

ARMOURED $1,300 35.6 x 27.8 cm Published: 1988 Reference: 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 12.8 x 11.7 cm Published: 1998 Reference: 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 book The Complete Etchings of Norman Lindsay.

ATLANTIS 31.7 x 25.2 cm Published: 2006 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.138) 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 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 $630 25.2 x 17.7 cm Published: 2007 Reference: 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 11.9 x 12.4 cm Published: 1974 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.230) Rose was the model.

THE BAUBLE $750 14.3 x 11.4 cm Published: 1974 Reference: 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 $2,000 32.8 x 26.5 cm Published: 1995 Reference: 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) $850 33.1 x 25.3 cm Published: 1999 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.129) The original etching was never published.

THE BLACK HAT $700 16.5 x 12.6 cm Published: 1997 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.256)

(BLONDE AND BRUNETTE) $750 15.7 x 18.0 cm Published: 1998 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.156) The original etching was never published.

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

C SHARP MINOR QUARTET 37.9 x 30.3 cm Published: 1974 Reference: 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 in a letter he wrote to John Hetherington: 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.

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

THE CLOAK $1,250 27.8 x 15.2 cm Published: 1999 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.306)

COLUMBINE 21.8 x 21.5 cm Published: 2005 Reference: 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) $930 24.9 x 9.7 cm Published: 2004 Reference: 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 $880 14.0 x 12.6 cm Published: 1995 Reference: 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 $630 22.8 x 21.9 cm Published: 1999 Reference: 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.

DEATH IN THE GARDEN $1,200 33.0 x 26.7 cm Published: 1998 Reference: 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 $600 framed 21.9 x 17.1 cm Published: 2000 Reference: 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 $1,200 33.0 x 24.0 cm Published: 1974 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.258) Rose was the model.

DELIGHT $1,050 26.5 x 18.7 cm Published: 1999 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.257) Rose was the model.

DESIRE 28.4 x 23.6 cm Published: 1994 Reference: 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) $980 20.2 x 25.4 cm Published: 1997 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.203) 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) $350 5.0 x 9.4 cm Published: 2001 Reference: 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 $630 13.6 x 12.3 cm Published: 1997 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.289) Rose was the model.

DRYAD $650 (fair condition) 12.6 x 10.0 cm Published: 1974 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.244)

THE EIGHTIES $950 30.5 x 25.3 cm Published: 2003 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.284)

ENTER THE DUKE $1,100 33.0 x 26.5 cm Published: 1987 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.259)

ENTER THE MAGICIANS 30.3 x 35.6 cm Published: 1974 Reference: 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 30.6 x 25.1 cm Published: 1978 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.294) Rose was the model for the central nude figure.

ETERNITY'S AVATAR 35.4 x 30.3 cm Published: 1983 Reference: 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.

THE GLADE $780 15.1 x 12.0 cm Published: 2004 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.334)

GOSSIP $950 25.3 x 30.4 cm Published: 1979 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.338)

HAVE FAITH $2,000 27.9 x 25.2 cm Published: 1978 Reference: 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) $680 19.6 x 15.8 cm Published: 2005 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.39) The original etching was never published.

THE INNOCENTS $2,000 35.2 x 30.2 cm Published: 1974 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.271)

JEALOUSY 13.9 x 13.0 cm Published: 1978 Reference: 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.

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

JULIA'S MONKEY 17.9 x 23.0 cm Published: 1991 Reference: 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 $830 30.5 x 22.9 cm Published: 1999 Reference: 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 11.2 x 11.1 cm Published: 1986 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.180) Rose was the model.

LEDA 30.4 x 25.1 cm Published: 1995 Reference: 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 $600 13.4 x 16.3 cm Published: 2002 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.218)

LIFE IN THE TEMPLE $1,200 (fair condition); $1,650 (good condition) 30.4 x 35.5 cm Published: 1974 Reference: 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.

THE LITTLE MERMAID $500 17.4 x 12.8 cm Published: 2002 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.336)

LITTLE SCANDALS $730 26.5 x 33.1 cm Published: 1999 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.249) There are eleven etchings which include dogs, of which Little Scandals is one. Norman carefully considered which breed would best suit the subject and used his numerous photographs of dogs for reference.The gossiping dogs in Little Scandals are, from the left, a Fox Terrier cross, Boston Terrier, Poodle cross and Cavalier King Charles Spaniel.

LOVE ON EARTH $2,600 35.5 x 29.5 cm Published: 1980 Reference: 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) $580 24.7 x 18.4 cm Published: 1999 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.40) The original etching was never published.

MERCHANDISE $900 21.9 x 25.2 cm Published: 1986 Reference: 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 12.1 x 9.9 cm Published: 1993 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.206) The Mirror is the smallest published etching.

THE MYSTERIES $800 28.9 x 30.4 cm Published: 1999 Reference: 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 30.2 x 25.2 cm Published: 2004 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.310)

NO – YES $1,950 27.6 x 20.3 cm Published: 2008 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.324)

PEACOCKS $750 27.9 x 21.2 cm Published: 1995 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.191)

(THE PEARL HEAD-DRESS) $830 11.4 x 9.8 cm Published: 2000 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.130) The original etching was never published.

PEGASUS $850 30.5 x 25.4 cm Published: 1996 Reference: 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) $680 17.9 x 15.0 cm Published: 1999 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.78) The original etching was never published.

THE POOL (1924) $1,400 25.0 x 18.0 cm Published: 1978 Reference: 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) $980 15.2 x 13.1 cm Published: 2000 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.337)

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

PROMISE $1,100 25.7 x 15.1 cm Published: 1998 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.199) Rose was the model.

THE RAGGED POET $1,250 35.4 x 27.9 cm Published: 1987 Reference: 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 13.4 x 11.8 cm Published: 1995 Reference: 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 $620 15.1 x 11.5 cm Published: 1998 Reference: 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.

SEA MAGIC $980 30.4 x 25.2 cm Published: 1996 Reference: 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 35.4 x 30.4 cm Published: 1974 Reference: 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 16.2 x 18.8 cm Published: 1990 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.205)

(SISTERS) $680 11.2 x 12.5 cm Published: 2000 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.102) The original etching was never published.

SORTIE $800 22.2 x 19.9 cm Published: 1993 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.235)

SPRING SONG $600 12.5 x 13.8 cm Published: 2001 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.233) Spring Song was inspired by the music of Adolph G Beutler, a Swiss-born composer who had a shop in Castlereagh Street, Sydney, specialising in selling and restoring second-hand pianos. Norman etched Spring Song to a melody of Beutlers': As an instance of spontaneous return to imagery I put the emotion of Beutler's Spring Song onto a little plate but you will see there is no similitude save in spirit.

SUMMER $680 16.7 x 15.2 cm Published: 1997 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.187) Summer evokes the heat of summer in Australia. Many original etching editions never reached their intended number. If a plate failed unexpectedly Rose stopped printing. The edition of Summer was intended for thirty-five but the plate failed after twenty-four prints had been pulled.

(THE TEMPTRESS) $530 11.3 x 7.2 cm Published: 2001 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.136) Rose was the model. The original etching was never published.

THIS SHRINE 21.7 x 21.6 cm Published: 1979 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.194)

THREE DRESSES $1,400 25.3 x 22.8 cm Published: 2000 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.316)

TOILET (1920) $680 16.1 x 13.7 cm Published: 1991 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.211)

TOILET (1932) 15.9 x 14. 2 cm Published: 1978 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.326) Although many of Norman's models during the 1930s were of foreign origin, Toilet (1932) is one of only two etchings in which he portrayed dark-skinned girls. The composition of Toilet (1932), with the contrast between the two attendants and the figure attending to her toilet, gives this etching a particular Art Deco feel.

TREASURE $730 13.9 x 13.4 cm Published: 1996 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.266)

TRIO 17.6 x 12.9 cm Published: 1978 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.242)

UNDER THE STARS $1,100 25.2 x 20.2 cm Published: 1999 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.366) Many original etching editions never reached their intended number. If a plate failed unexpectedly Rose stopped printing. The edition of Under the Stars was intended for thirty but the plate failed after fifteen prints had been pulled.

UNDINE $950 22.7 x 21.3 cm Published: 1999 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.355) A small number of Norman's etchings are direct interpretations of poems whereas others reflect a mood or thought associated with the genre. Although Undine has little to do with Kenneth Slessor's poem of the same name, the figures do reflect Slessor's description of Undine from Thief of the Moon: ... the water-maid, caved in milk.

UNKNOWN SEAS 36.5 x 28.9 cm Published: 1981 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.236) Norman translated his passion for Greek myths into numerous pictures. Unknown Seas also relates to the legend of Odysseus, where the ship had to pass the coast and waiting sirens, who lured sailors to their death by singing seductive songs. According to Homer, Odysseus filled his seamen's ears with wax so that they could not hear, and had himself bound to the ship's mast so, in spite of the spellbinding music across the water, the ship could safely pass. In the etching the ship is seen coming toward the sirens waiting on their rock with harpies swirling above and below them. In February 1923 Norman wrote to Sydney art collector Dr Oscar Paul (who then owned the watercolour Unknown Seas) with a personal statement about his concept: The conception underlying Unknown Seas is, roughly speaking, the eternal adventure of sex. Between youth and manhood, for all normal males, the unknown future of life must greatly concern the adventure of love. For youth, woman is the unknown. He must discover her, and discover also all she may mean to him. Adolescent dreams are for ever questing this unknown sea. I have made the effect one of dawn, which may symbolize the youthful adventure sailing out of it in their galley, to arrive at the high, inaccessible peak rising from the sea on which the mysterious women are pinnacled. To the women, also, the adventure of love sails from an unknown sea. If they are strange and mysterious and isolated to the adventuring youths, the youths are equally strange and mysterious to them. They wait for the adventure of love that is arriving out of the dawn of youth, and since love is more truly the intention of women, whose function it is to bear life, my ladies on the mountain-top are all aquiver at the expectation of dreams at last to be realized. The Sirens are, of course, the Greek symbol for the sea song that allures the mariner into dangerous sea-ways. They represent perhaps that element of danger which is half the charm of the unknown adventure of love ... Sydney Ure Smith was impressed by the etching: Rose showed me Unknown Seas when she was down. It is a magnificent etching and I was very impressed with it. The gradation of tone in those light greys is astounding and it is a remarkably fine conception ...

VENUS IN ARCADY 31.7 x 25.3 cm Published: 1979 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.367) A number of original prints of Venus in Arcady 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.

VIRGINITY $880 39.2 x 29.6 cm Published: 2001 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.221)

VIRTUE 32.3 x 26.5 cm Published: 1984 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.227) Hugh McCrae associated Virtue with Keats: Virtue, without any doubt, is the most wonderfully beautiful picture I have ever seen. Essentially a poet's vision; I cannot imagine any dream-translation approaching so closely the actual adventure of the mind. The nearest earthly achievement would perhaps be allowed to John Keats whose spirit I think must have rejoiced at the begetting and birth of his loveliest creation. It is of our other world. "Immortal subject for immortal eyes." The spade-fingered mechanics of art will be so blinded by its heavenly fire as that they shall not even dare to utter their accustomed blasphemies. Somewhere I read the other day: Sous leurs heureuses main le cuivre devient or; Under their happy hands copper became gold. And gold, through you, shall grow to fire and flesh and air! Where did you find this teasing devil's provocative mouth, the eye which spells abstinence, yet has for its meaning double-lust ... body-pleasure fanned to a flame by "Thou shalt not" ...? The hanging flowers and flowers ascendant, symbols of the fortune of love, are full of mysterious intention; and the Venus-birds, revolving pearls of light under their wings, fill the woods with echoes of amorous happiness.

VISITORS TO HELL 32.8 x 45.3 cm Published: 2004 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.375) The original etching was the largest plate Norman etched and is his last published etching.

WHISPERS $630 12.5 x 12.0 cm Published: 1993 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.226)

WHO FOLLOWS? $3,000 28.3 x 20.1 cm Published: 2000 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.292) Rose was the model.

YOUR FATE 14.4 x 11.7 cm Published: 2005 Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions and Josef Lebovic Gallery, 2006, cat.139) 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 Etchings of Norman Lindsay, published in London, remains one of the most tantalising collections of Norman’s work. Constable & Co., publishers of fine limited edition books, were aware of Norman’s etchings as early as 1922 when they were the London publishers for Art in Australia. In 1925 they had further evidence of the quality of the work when Norman held an exhibition at London’s Leicester Galleries. Although the exhibition was not a critical success, the etchings were popular. The Etchings of Norman Lindsay is a handsome volume with each plate presented full page, with a cover page indicating the plate number, title and date. As well as the forty-five reproductions, both editions contain a chronological list of the eighty-four published etchings from 1918 to early 1925. Several etchings published late in 1925, and some done during the 1918–1925 period which were not put on the market until later, are therefore not listed. The reproductions, in alphabetical order, are as follows: Adventure, The Apex of Life, Argument, Ballet Entrance, Bargains, Beauty's Fortune, The Black Hat, The Blind Man's Wife, Courtesan, Dance, Death in the Garden, Death of Pierrot, Debut, Delight, Desire, The Dream Merchant (2nd Edition), Enter the Duke, Femininity, From the Moon, The Funeral March of Don Juan, Good Morning, Goodnight, The Happy Barge, Hyperborea, Julia's Monkey, Lands of Afternoon, Little Scandals, Madam Mystery, Micomicon, The Mirror, The Ragged Poet, The Ring, Scherzo, She Arrives, The Showman, Siesta, Song of the Faun, Sortie, Spring Song, The Terrace, Toilet (1920), Two Lovers, Unknown Seas, The Windmill and Who Comes?. Norman was delighted with the quality of the reproductions. For many years, books illustrated by Norman have been broken up for the illustrations, which has had the effect of making the original book even more rare. In 1938 The Fine Art Society’s Gallery in Melbourne held ‘An Exhibition of Reproductions of Etchings by Norman Lindsay’. The reproductions were taken from The Etchings of Norman Lindsay. The original Your Fate (1926, 14.4 x 11.7 cm) was published in the low-edition volume The Etchings of Norman Lindsay in 1927. The etching is a perfect example of Norman’s control of the etching needle in the clear lines of the body and intricate details of the delicate pearl head-dress contrasting with the deep black of the cushioned seat on which the beautiful personification of Fate rests.
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