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Facsimile Etchings, Books, Woodblocks & Colour Reproductions
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JOSEF LEBOVIC GALLERY |
Norman Lindsay - Original Woodblocks
Published by Josef Lebovic Gallery in conjunction with Odana Editions under Licence from the Lindsay family.Each individually numbered by hand in a limited edition of 125 (of which 100 are for sale), with an embossed seal below the image, and a Certificate of Authenticity from Odana Editions.
Norman Lindsay's first woodblocks were created c.1895. By 1899 he was engraving many of the woodblock illustrations for The Rambler newspaper, as well as being commissioned to produce posters. Several books containing his original wood engravings were issued up to and during the 1920s; however, the prints were never issued separately in an edition.
The number of woodblock prints produced by Norman Lindsay was very small, and consequently his ability in this medium is relatively unknown. The blocks themselves have been preserved by his family.
Printed from the original blocks on an 1890s Golding foot treadle printing press by Josef Lebovic, and signed by him.
Each print is also signed by Jane Lindsay, daughter of Norman Lindsay, or by Helen Glad, his granddaughter.
Each shrink-wrapped and unframed.
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137 Fallen Angel, 1922/1995 [Woodblock] Norman Lindsay, 8.4 x 5.7cm The woodblock Fallen Angel was printed as the heading on Norman Lindsay's essay "The Inevitable Future", published in Art in Australia, February 1922. Written only four years after the end of World War I, Norman's long essay was remarkably prescient in forecasting wars to come, with weapons undreamed of in 1922. The woodcut represents the angel as civilisation which is being overcome by a dark, evil force. Despite its size, Fallen Angel is a powerful and prophetic image. |
$450 |
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138 Joan of Arc, 1920/1996 [Woodblock] Norman Lindsay, 8.8 x 10.8cm In 1920 Hugh McCrae began writing his long poem about the French peasant maid who became Joan of Arc. Although McCrae never completed the poem, Art in Australia published the first three parts (Number Eleven, 1921). This wood engraving is a powerful representation of Joan's vision as described by McCrae, where she saw lightning "like flame-struck arrows" strike a tree; chained to the tree in a blaze of "pure white fire" was a phantom knight, maidenly and young "with honey-coloured ringlets hung". |
$400 |
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139 The Garland, 1923/1996 [Woodblock] Norman Lindsay, 8.8 x 5.6cm The Garland was one of the three original woodblock prints used to illustrate Fauns and Ladies by Jack Lindsay, published in 1923 in an edition of 210 copies. This image evokes the spirit of Spring, with her garland of blossoms heralding a season of gaiety before the onset of Summer. |
$560 |
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140 The Lovers, 1923/1995 [Woodblock] Norman Lindsay, 7.3 x 7.5cm The Lovers was one of three original woodblocks illustrating Fauns and Ladies by Jack Lindsay, published in 1923 in an edition of 210 copies. This important woodblock was also one of the three used to illustrate Kenneth Slessor's first book of poems Thief of the Moon, published in 1924 in an edition of 150. One of Norman's most delicate woodblocks, The Lovers has previously only been available to book collectors. |
$670 |
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141 The Peacock Head-Dress, c.1917/1999 [Woodblock] Norman Lindsay, 10.4 x 7.3cm The Peacock Head-Dress is a study in light and shade. It is similar in style to several unpublished etchings, most notably (Nude with Necklace) and (Before the Ball). In the series of 18 woodblocks, there are only four single figure nudes - The Garland, Lady and Parrot and The Peacock Head-Dress. |
$500 |
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142 Lady and Parrot, c.1917/1999 [Woodblock] Norman Lindsay, 11.9 x 10.6cm The subject matter of this woodblock is not only the same as Lindsay's famous etching Lady and Parrot, but the style is markedly similar. The intricate detail of the various fabrics and the parrot's feathers provides a sharp contrast to the purity of the nude. This is an exceptionally fine woodblock. |
$840 |