| NORMAN LINDSAY ORIGINAL DRAWINGS |
During
Norman Lindsay's long creative life he produced works in many media but
it is his drawings that most reflect his versatility. He worked in pencil,
pen and ink, pen and ink and pencil and wash. Norman did small drawings
that often were the preliminaries of major paintings, he did finished
pen and ink works that are part of Australia's history (such as the Bulletin cartoons),
he did many drawings just for fun like his animal works and he filled
numerous sketchbooks with small, quick sketches just because he couldn't
stop drawing. His wash drawings are often major works in themselves and
It is often said that drawing best demonstrates the strength
of an artist. If this is true, Norman Lindsay had a strength
beyond many.
All drawings sold by Bloomfield Galleries come with a Certificate
of Authenticity. If you require any further information
on these works, please don't hesitate to contact us. |
| PENCIL DRAWINGS FOR SALE |
COSTUME
DESIGN (BACK) c.1932
Pencil on paper
18.0 x 14.9 cm
Unsigned |
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OFFICER'S
DRESS
c.1932
Pencil on paper
24.0 x 16.0 cm
Unsigned |
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BUCCANEER
SWORD HILTS c.1932
Pencil on paper
21.5 x 17.5 cm
Unsigned |
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DECORATION c.1953
Pencil on paper
11.0 x 20.0 cm
Unsigned |
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HOMAGE
TO BALZAC - STUDY FOR THE OIL PAINTING
1941
Pencil on paper
21.9 x 14.9 cm
Unsigned
Reproduced: Norman Lindsay: Oil Paintings 1889-1969 (Odana
Editions, 2006, p.152). |
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| The original oil painting is in the University of Melbourne Art Collection. Reproduced: Norman Lindsay: Oil Paintings 1889-1969 (Odana
Editions, 2006, p.151). |

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BOARDED – PRELIMINARY STUDY FOR THE WATERCOLOUR
1954
Pencil on paper
17.9 x 13.8 cm
Unsigned |
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| The original watercolour was presented to the Royal North Shore Hospital by Rose Lindsay and is currently on loan to the Norman Lindsay Gallery and Museum. Reproduced: Norman Lindsay: Watercolours 1889-1969 (Odana
Editions, 2006, p.273). |

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CRESWICK
GOLDFIELDS c.1895
Pencil on paper
16.5 x 26.5 cm
Unsigned
This drawing is one of a number Norman did when he roamed through the Creswick goldfields. Many have been destroyed over the years and only a few remain. |
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FILIBUSTERS' HEAVEN – PRELIMINARY STUDY FOR THE WATERCOLOUR
1939
Pencil on paper
21.8 x 15.9 cm
Unsigned |
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| The original watercolour is in a private collection. Reproduced: Norman Lindsay: Watercolours 1889-1969 (Odana
Editions, 2006, p.229). |

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STUDY
- KNEELING MODEL c.1932
Pencil on paper
24.8 x 33.8 cm
Initialled lower right |
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THE
BEADED BELT
c.1939
Pencil on paper
24.0 x 29.0 cm
Unsigned |
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UNDER THE STARS – STUDY FOR THE ETCHING
1938
Pencil on paper
41.5 x 32.6 cm
Unsigned |
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| Reproduced: Norman Lindsay Etchings: Catalogue Raisonne (Odana
Editions and Josef Lebovic Gallery, 2006, cat.366). |

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SUMMERTIMEc.1928
Pencil on paper
26.0 x 19.7 cm
Unsigned
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MEDITATION c.1940
Pencil on paper
19.6 x 15.5 cm
Unsigned
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THE RETURN c.1946
Pencil on paper
32.0 x 22.8 cm
Unsigned |
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BETWEEN
TWO WORLDS c.1925
Pencil on paper
43.8 x 55.8 cm
Unsigned
Between
Two Worlds is a major pencil drawing of great importance. It is
related to the watercolour Unknown Seas in
the Norman Lindsay Gallery and Museum, Springwood. Unknown
Seas is one watercolour which Rose took to America in 1940 and
was fortunately not burnt. Luckily Rose had not taken this drawing to
the US as well. Note the similarities of the horses, the rider and the
faces on the models. |
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THE
WELCOME
c.1936
Pencil on paper
41.0 x 32.0 cm
Unsigned
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NUDE
STUDY
c.1938
Pencil on paper
54.0 x 33.0 cm
Unsigned |
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YVONNE c.1938
Pencil on paper
33.8 x 13.8 cm
Initialled lower right |
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COURTING
- STUDY FOR THE WATERCOLOUR 1930
Pencil on paper
51.0 x 37.0 cm
Unsigned
This drawing has
a cigarette burn (probably Norman's!!) to the lower left hand side of the
drawing. |
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| The original watercolour is in private hands. |
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ENCOUNTER c.1934
Pencil on paper
22.8 x 18.9 cm
Signed lower right
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FLIRTATION
- STUDY FOR THE WATERCOLOUR 1930
Pencil on paper
34.8 x 43.8 cm
Unsigned
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| The original watercolour is in private hands. |
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NUDE
c.1936
Pencil on paper
60.0 x 27.0 cm
Unsigned |
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OLYMPUS
- STUDY FOR THE WATERCOLOUR 1934
Pencil on paper
46.0 x 42.3 cm
Unsigned
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| The original watercolour is in the collection of the Art Gallery of New South Wales. Reproduced: Norman Lindsay: Watercolours 1889-1969 (Odana
Editions, 2006, p.193). |
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STUDY FOR AN OIL PAINTING c.1932
Pencil on paper
26.8 x 31.0 cm
Unsigned |
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THE
ART OF DRESS -
STUDY FOR THE WASH DRAWING c.1943
Pencil and pen and ink on paper
34.0 x 35.5 cm
Unsigned
Reference: Norman Lindsay: Oil Paintings 1889-1969 (Odana Editions, 2006, p.188).
As you can see, Norman drew grid marks on this drawing intending them to assist when scaling the wash drawing.
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Arm Studies (verso)
c.1943
Pencil on paper
32.0 x 29.0 cm
Unsigned |

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Reproduced: Norman Lindsay: Oil Paintings 1889-1969 (Odana
Editions, 2006, p.188). The original wash drawing is in private hands.
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SUMMER REVERIE
- STUDY FOR THE OIL PAINTING1938
Pencil on paper
36.0 x 26.0 cm
Unsigned
Reference: Norman Lindsay: Oil Paintings 1889-1969 (Odana Editions, 2006, p.96).
Norman drew many studies for his watercolour and oil paintings but few remain. This drawing is for the figure on the right, holding the apple.
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| Reproduced: Norman Lindsay: Oil Paintings 1889-1969 (Odana
Editions, 2006, p.96). The original oil painting in private hands. |
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MAJOR STUDY
FOR A PAINTING c.1930
Pencil on paper
50.0 x 49.0 cm
Unsigned |
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THE
SINKING GALLEON - STUDY FOR THE WATERCOLOUR
c.1925
Pencil on paper
61.0 x 43.0 cm
Unsigned
Norman painted only a few underwater scenes and this drawing, depicting a
galleon descending into the depth of the ocean, shows a group of curious
sirens trying to rescue a drowned sailor while others rise to explore the
galleon. |
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| The major pencil
drawing The Sinking Galleon is an important study for both an oil and watercolour
of the same subject and title. The whereabouts of the oil painting is unknown
but the 1925 watercolour is in private hands. |
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ESTELLE c.1942
Pencil on paper
75.0 x 39.0 cm
Initialled lower right |
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CRETE
- MAJOR STUDY OF RITA FOR THE OIL PAINTING 1940
Pencil on paper
60.0 x 37.0 cm
Unsigned
Inspired
by reading a book on Crete, Norman worked out a composition for an oil
painting and decided to have Rita pose for the central figure. She stayed
at Springwood as a house guest while it was painted. Amber Kraljevich is
the blonde girl next to the bull and Pearl Schweig the brunette next to
her. Harry Lee, Rita's twelve-year-old brother, is the young boy next to
the central figure of Rita. Jane Lindsay posed for the back view figure
and Norman used his own face in a mirror for the dark haired male. Rita
posed for a number of other women in Crete as
well as the central figure.
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| Crete is referenced and reproduced in Norman
Lindsay: Oil Paintings 1889–1969 (Odana
Editions, 2005, p.138). The original oil painting is in the University of Melbourne Art Collection. |
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PIRACY
- MAJOR STUDY FOR THE WATERCOLOUR
1927
Pencil on paper
52.0 x 45.0 cm
Unsigned
Norman Lindsay: Watercolours 1897-1969 (Odana Editions, 2003,
p.126)
The pencil drawing
is reproduced in the Norman Lindsay: 80 Years of Pencil Drawing (Odana
Editions, 2008, p.265) and Norman Lindsay: Watercolours 1897-1969 (Odana
Editions, 2003, p.126). |
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| The original watercolour's whereabouts is unknown. |
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NEPTUNE'S
DAUGHTER -
MAJOR STUDY FOR THE OIL PAINTING
c.1945
Pencil on paper
62.5 x 49.0 cm
Signed lower left
The
pencil study Neptune's Daughter is a major drawing
by Norman. It is fully finished and fully signed which is always an indication
that Norman himself considered the work to be important. The oil painting
of the same subject and title was sold by us in the 1970s and both the
drawing and oil painting reflect Norman's superior technique in each medium.
Lin's personal preference is for the pencil drawing as she feels it is
an excellent example of Norman's skill.
The original oil painting is in private hands. |
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| Pen and Ink Drawings for sale |
THE CITY
MAN AND THE BOOKMAKER
Unknown
Pen and ink on paper
27.0 x 8.7 cm
Signed lower right
The
upper drawing has the inscription:
The City Man, who only goes for the
fun of the thing, but manages to loose a bit just the same.
The lower drawing has the inscription:
The Bookmaker, who goes out to let the public
win his money, of course.
This drawing has been restored. On the lower right
hand side, the paper has been cut away but it has been laid down on archival
paper under restoration. |
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LIVERY STABLEMAN AND SARDONIC PATRON
Date unknown
Pen and ink on paper
29.5 x 25.8 cm
Signed lower centre
Norman worked
at the Bulletin for a period of fifty years and for most
of that time he produced a cartoon for publication in each week's
edition. This is an original pen and ink of a Bulletin cartoon
and the handwritten caption reads:
Livery Stableman
Well, I must say, you 'ave been driving the 'orse a treat. You've regular knocked 'im up.
Sardonic Patron
Well, you see, I drove to my Aunt's funeral, and I had to keep up with the hearse, for decency's sake.
This inscription is hand written in pen and ink below the image and can be seen in the mount. |
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THE BALLAD
OF CIRCULAR QUAY - MAJOR STUDY FOR THE WATERCOLOUR
1948
Pen and ink and pencil on paper
47.0 x 46.0 cm
Unsigned
Norman
spent a lot of time at Circular Quay when he was based at his Bridge Street
studio and was fascinated by the people who frequented the area. The pencil
drawing is reproduced in Norman Lindsay: Watercolours 1897-1969 (Odana
Editions, 2003, p.264). |
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| The original watercolour is in private hands. |
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Page updated:
22 July, 2011
2001-2011 Odana Editions Pty Ltd |