| NORMAN LINDSAY ORIGINAL ETCHINGS |
Norman Lindsay ranks with
Rembrandt and Goya as a world master etcher. His extraordinary qualities
of imagination combined with supreme technical skills produced the etchings
which ensure him a place with the world’s greatest exponents of
the art.
Norman Lindsay’s etchings are unique in the history
of Australian art. They are the result of an etching partnership
with his wife Rose who is recognised as a master etching
printmaker. This partnership spanned twenty years (1918–1938)
and resulted in the 200 published etchings ranging from
single female figures to massed imaginative groups. Norman
also produced 175 unpublished etchings dating from 1897, of which twenty-nine
were included in seven books containing original etchings published between
1919 and 1937.
No edition exceeded fifty-five, and many never reached their
intended number. When printing, Rose would estimate the
number of prints a plate would produce and allocate this
number to the edition. If a plate failed unexpectedly Rose
stopped printing. This is shown in the Edition number eg.
50 (38) — 55 being the number intended and 38 being
the actual number printed. This also worked in reverse
where Rose was able to increase the anticipated number
of some editions eg. 45 (55). Some editions which Rose
printed out in the 1940s and 1950s never reached their
allotted number, probably because the physical effort became
too much. Editions numbers are the estimated number, with known variations
marked in brackets.
Please note that the images which have space around their image
(such as Light Lyrics, 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.
The Craft of Etching is an essay written by Norman on his etching
Copyright on Norman Lindsay’s etchings is now held
by Lin Bloomfield, Odana Editions.
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| Books
containing Original Etchings |
The Isle of San
1919 Poems by Leon Gellert; limited edition
of 120 with five etchings.
Creative Effort: An Essay in Affirmation
1920 Essay by Norman Lindsay; limited
edition of 120 with one etching.
Colombine
1920 Poems by Hugh McCrae; limited edition
of 31 with one etching.
Idyllia
1922 Poems by Hugh McCrae; limited edition
of 133 with five etchings.
The Etchings of Norman Lindsay
1927 Pictorial; limited edition of 31
with one etching.
A Homage to Sappho
1928 Poems by Sappho translated by Jack
Lindsay; limited edition of 70 with fifteen etchings.
Our Earth
1937 Poem by Kenneth Mackenzie; limited
edition of 225 with one etching. |
| Technical
Notes on Etching |
The term ‘etching’ usually
refers to the action of corroding the art work into a metal plate by means
of acid. The plate is then inked and a paper impression taken from the
surface of the plate. There are, however a number of closely allied processes
Aquatint
The plate is first covered with a finely powdered
substance such as rosin. This is fixed by heating and allowed
to cool before the surface is worked upon and corroded with
acid. This is repeated in a number of tonal stages before cleaning
with solvents. The result has the gradations similar to a wash
drawing from which the term is derived.
Drypoint
A technique of scratching or scoring the plate
surface with a sharp pointed instrument. No acid is used. It
requires exceptional manual skill and is considered a draughtsman’s
technique involving a direct and spontaneous approach. Edition
numbers are always lower compared to the acid etching plates.
Engraving
Term applied in its broadest sense to the various
processes of cutting a design into a plate and prints taken
from the plate. Some forms are crayon engraving, drypoint,
line engraving, mezzotint, steel engraving, stipple engraving
and wood engraving.
Etching
A process by which prints are taken from a
metal plate after the drawing has been bitten into the plate
with acid. Refer to The Craft
of Etching by Norman Lindsay.
Mezzotint
The result is similar in appearance to aquatint
but technically quite different. The plate is roughened with
a serrated tool so that a uniform rich black impression results
when inked. The plate is then scraped and burnished working
from dark to light. Extremely demanding but allows particular
advantages for shaded effects.
Edition
A limited set printed from the completed plate.
Each work is individually and consecutively numbered from as
few as one to a maximum of fifty-five. Rose Lindsay then cancelled
the plate to prevent further printing.
Etching Press
Based on the principle of a sliding steel bed
on which the plate lies. This is then passed by means of direct
or geared drive between two heavy rollers. |
| Etchings FOR SALE |
ALLEGRO VIVACE 8TH
SYMPHONY
1925
Etching and stipple on paper
31.6 x 36.7 cm
Edition: 55
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.269)
Norman's profound
understanding of Beethoven's music is awe-inspiring. Allegro Vivace
8th Symphony is Norman's visual conception of the last movement
of Beethoven's Symphony No. 8 in F major, Op.93 (1812).
In Kenneth Slessor's article 'An Interview with Norman Lindsay', published
in the 1930 Norman Lindsay Number of Art in Australia, Norman
spoke at length about the etching: ... it is one of the few works of
my own that I can look at with pleasure —
though that is possibly because it but roughly defines the enormous delight
the Eighth Symphony itself has been to me. I like the etching because
I believe it follows fairly closely the musical form of the final Allegro
Vivace — its general background of pattering, downward-rushing
little figures, culminating in a rollicking, scrambling crescendo, and
swaying out into the swooning, mooning lovers, with the stamping, thundering,
blundering giants of a full orchestra behind, and the little trembling,
squeaking single fiddle hopping before. For pure mad humour, nothing
has ever touched, or ever will touch, that movement.
Years later Norman wrote a more detailed description to John Hetherington: Our
response to great art is balanced between what we get out of it and what
we bring to it. I had this brought home to me with rather staggering effect
the other night when I put on the record of Beethoven's 8th Symphony. I
once did an etching on the last movement of that symphony. The composition
of the etching was this — In the sky, a couple of giants, stamping
and rollicking among the clouds, and roaring with laughter (full orchestra — allegro
vivace). Down in one corner, a couple of tiny fauns, skipping (single violins — scherzo).
The whole centre of the composition, a mass of figures rushing down hill;
leaping, cavorting, tumbling over each other till they reach level ground
on which couples sway off in the sentimental embrace of the waltz (allegro
vivace — minuetto). I don't doubt that all that is in the music.
All I did was to translate it into my own form imagery. |
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AMBUSH 1927
Aquatint and etching on paper
27.9 x 20.3 cm
Edition: 55 (?)
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.285) |
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ARGUMENT
1923
Etching, engraving and stipple on paper
21.6 x 24.2 cm
Edition: 55
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.238) |
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BEETHOVEN 1921
Etching, engraving and stipple on paper
33.0 x 28.8 cm
Edition: 50
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.223) |
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BELINDA'S REVERIE
1927
Etching, aquatint and stipple on paper
30.4 x 25.4 cm
Edition: 55
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.287) |
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BOOTY 1937
Etching, engraving and stipple on paper
25.3 x 20.5 cm
Edition: 40
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.349) |
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CAPRICCIO 1932
Etching and stipple on paper
30.4 x 25.1 cm
Edition: 55
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.322) |
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CASTLE FANFROLICO
1927
Etching, soft ground and stipple on paper
25.2 x 40.6 cm
Edition: 29 (40)
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.298) |
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CREATIVE EFFORT
1920
Etching, engraving and stipple on paper
15.2 x 9.3 cm
Edition: 120
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.68)
The etching Creative Effort was included in the de luxe edition Creative Effort: An Essay in Affirmation by Norman Lindsay (Art in Australia, 1920). Norman did three rejected etchings before deciding that this etching was the one he was satisfied to include in the edition. There were 120 printed of which 100 were for sale. The etchings were numbered but not the books. |
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DEATH OF PIERROT
1919
Drypoint, engraving, etching, soft ground and roulette on paper
25.8 x 28.9 cm
Edition: 40
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.200) |
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DESERT ISLAND 1933
Etching, engraving and stipple on paper
25.4 x 20.2 cm
Edition: 55 (36?)
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.331)
Desert
Island probably had its genesis in Norman's early reading. Coral
Island, one of the first books which Norman had read, expanded
These first books colour all our after life. I feel a stirring
of the heart now, when I recall their glories ... If I could
get rid of the curse of an artistic conscience, acquired by
years of striving after the visible aspects of life, I believe
I would prefer to write dream books like Coral Island,
if I were found worthy ...
The original etching
of Desert Island is extremely rare and unusual.
The original of number 10 is marked as an edition
of 55 but it is thought that the plate failed at
36. The central alluring female figure is Polynesian
and as well as a pirate, a reptilian humanoid and
harpie are included. |
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DON JUAN IN HELL 1918
Etching, drypoint and engraving on paper
27.9 x 24.4 cm
Edition: 15
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.183)
Rose was the
model for the central, standing figure. |
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DONNA JUANA
1934
Aquatint, etching and stipple on paper
30.4 x 24.9 cm
Edition: 55
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.341) |
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ENIGMA 1919
Engraving, etching, stipple and roulette on paper
30.2 x 24.9 cm
Edition: 40
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.193)
Rose
was the model.
In 1919 Norman wrote to his son Jack about his new etching Enigma which
ponders the mystery of life:
The last big plate Enigma is
just issued. Will it interest you also, I wonder, Man, at the foot
of Life, asks himself, the eternal enigma of his destiny of earth between
primitivism, fear, and pain, to beyond death.
Prior to its first showing Norman explained the meaning of Enigma to
Gayfield Shaw who owned a gallery in Sydney (Gayfield Shaw's Gallery)
which was the first to exhibit Norman's etchings in 1919:
The female figure represents Life. The crouching forms in the
background are Fear, Pain, and the primitive brute in man. Man
himself, the product from savagery to civilization, seated between
the feet of Life, strives to question the enigma of his arrival
on earth, and the problem of his future beyond earth, which Death
waits quietly by to solve for him.
Death is represented as a strong and handsome youth, which may
suggest a possible answer to the enigma of Man's life on earth. |
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ENTER THE DUKE
1924
Etching, drypoint and engraving on paper
33.0 x 26.5 cm
Edition: 28
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.259) |
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THE FESTIVAL
1923
Etching, engraving and stipple on paper
20.5 x 22.9 cm
Edition: 55
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.240)
The Royal
South Australian Society of Arts organised an Artists' Week in July 1924
which was managed by Frederick Preece and his son John. Artists from all
over Australia participated, including Norman who sent etchings, pen drawings
and watercolours. A week before the opening, news broke that the seven-member
committee of the Royal South Australian Society of Arts had banned three
of Norman's etchings - The Festival was one of them. They also
refused permission for Preece to hang them. The committee rejected the
etchings on the grounds that they would 'debase rather than uplift art'.
They Sydney artists threatened to withdraw their works in support of Norman.
Norman decided to withdraw all his pictures from the exhibition but arranged
with Preece to hold a solo exhibition at Preece's Gallery during Artist's
Week. The exhibition comprised of 17 etchings (including the three banned
ones), 6 pen drawings and 10 watercolours. People were encouraged to go
to both exhibitions defying the taste of the selection committee. Crowds
flocked to both exhibitions, but more came to Norman's than the official
one. |
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THE FUNERAL
MARCH OF DON JUAN 1924
Etching, engraving and stipple on paper
24.0 x 30.4 cm
Edition: 55
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.254)
The Royal
South Australian Society of Arts organised an Artists' Week in July 1924
which was managed by Frederick Preece and his son John. Artists from all
over Australia participated, including Norman who sent etchings, pen drawings
and watercolours. A week before the opening, news broke that the seven-member
committee of the Royal South Australian Society of Arts had banned three
of Norman's etchings - The Funeral March of Don Juan was one
of them. They also refused permission for Preece to hang them. The committee
rejected the etchings on the grounds that they would 'debase rather than
uplift art'. They Sydney artists threatened to withdraw their works in
support of Norman. Norman decided to withdraw all his pictures from the
exhibition but arranged with Preece to hold a solo exhibition at Preece's
Gallery during Artist's Week. The exhibition comprised of 17 etchings (including
the three banned ones), 6 pen drawings and 10 watercolours. People were
encouraged to go to both exhibitions defying the taste of the selection
committee. Crowds flocked to both exhibitions, but more came to Norman's
than the official one. |
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GALLEON'S END
1937
Aquatint and etching on paper
31.7 x 25.2 cm
Edition: 25
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.352) |
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GOOD
MORNING
1921
Etching, engraving and stipple on paper
29.5 x 32.4 cm
Edition: 50
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.219) |
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THE HIDDEN
FAUN 1928
Aquatint and etching on paper
30.5 x 24.9 cm
Edition: 55
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.304) |
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IMPERIA
1920
Etching, aquatint, engraving and roulette on paper
19.8 x 22.6 cm
Edition: 50
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.209)
Rose was the model. |
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THE INNOCENTS
1925
Etching, engraving and stipple on paper
35.2 x 30.2 cm
Edition: 55
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.271) |
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LAND OF THE
SYLPHS
1926
Drypoint on paper
25.2 x 30.6 cm
Edition: 30
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.280) |
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LESBIA
1921
Etching, soft ground and stipple on paper
13.4 x 16.3 cm
Edition: 50
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.218) |
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LIFE IN THE
TEMPLE
1937
Etching, engraving and stipple on paper
30.4 x 35.5 cm
Edition: 35
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.
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THE
LITTLE WITCH
1937
Etching, engraving and stipple on paper
27.2 x 23.5 cm
Edition: 40
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and
Josef Lebovic Gallery, 2006, cat.353)
This is only one of three etchings
where Norman depicted cats. The other two are Cats where Rose
was the model and Siesta featuring one cat in each etching. |
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LOVE ON EARTH
1925
Etching, engraving and stipple on paper
35.5 x 29.5 cm
Edition: 55
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
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. |
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MERCHANDISE 1934
Etching, engraving and stipple on paper
21.9 x 25.2 cm
Edition: 55
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
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. |
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MICOMICON
1921
Etching, engraving and stipple on paper
33.1 x 26.4 cm
Edition: 50
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.220)
The emotional
concept of Micomicon (which took two months to needle) is emphasised by
a rhythmic profusion of detail. Its underlying strength is enhanced by
the gradations of tone which bring the scene to life. The Duke of Fanfrolico's
castle with its turrets and towers forms the background to Micomicon. |
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PANAMA
1926
Drypoint on paper
25.3 x 31.7 cm
Edition: 30
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and
Josef Lebovic Gallery, 2006, cat.277) |
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POWERS OF EARTH 1927
Drypoint and etching on paper
35.5 x 30.3 cm
Edition: 30
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.293) |
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SHE ARRIVES
1924
Etching, engraving and stipple on paper
24.0 x 22.8 cm
55
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.261)
Norman's
imaginary grotesques in the sensual She Arrives, a typical Lindsay etching,
are obviously in awe of the beautiful arrival and are paying her homage.
There is a striking sense of movement in She Arrives, which Norman needled
in 1924 during the uproar over his etchings at Artists' Week, Adelaide. |
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THAT SECRET
1937
Etching, engraving and stipple on paper
25.1 x 30.3 cm
Edition: 55
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.357) |
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THIEVES' KITCHEN 1929
Etching, engraving and soft ground on paper
25.3 x 30.4 cm
Edition: 55
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.312) |
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WHERE LIFE
ASCENDS 1924
Etching, engraving and stipple on paper
35.3 x 29.8 cm
Edition: 45
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.250)
A
number of prints of Where Life Ascends were taken to America and
burnt in the fire. It is not known how many were burnt but this etching
is extremely rare. |
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WHO COMES? 1918
Etching, engraving and stipple on paper
28.7 x 25.2 cm
Edition: 30
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.188)
Who
Comes? was inspired by Mozart's opera The
Magic Flute, first performed
in Vienna in 1791. Norman explained to his son Jack:
As a matter of fact, Who Comes jumped into my mind from
a bar of music — in Mozart's Magic Flute there is a passage,
strange, mournful and yet ominous, that recurs suddenly in a setting
of happiness — it shaped the words Who Comes to me and
the picture followed. Probably Mozart meant something quite different,
but that is no concern of mine.
In January 1919
Sydney Ure Smith wrote a long letter to Norman in which he described Who
Comes?:
... Who Comes?, is, I think, a remarkable plate. The composition
is very fine and the drawing and handling of the groups of figures is masterful
... you seem to me to have the full range of etching from the delicate
stipple on the nude girl's flesh to the deep black of the shadowy background.
The textures, too are most interesting ... the flesh with an almost luminous
glow emanating from it ... the delicate filmy suggestion of draperies ...
and the rich pattern on the curtains ... |
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WISDOM'S DEVILS
1932
Etching, engraving, stipple and foul biting on paper
12.6 x 10.1 cm
Edition: 30 (17)
Reference: Norman Lindsay Etchings: Catalogue Raisonné (Odana Editions
and Josef Lebovic Gallery, 2006, cat.327)
Rose
was the model. |
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1 December, 2011
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