Spanish Still Life
1936. Wood engraving, signed in block lower centre, signed, titled and annotated “100” in pencil in lower margin, 31.6 x 19.7cm. Cockling, small tears to margins, old mount burn. Ref: Mendelssohn #55. More
1936. Wood engraving, signed in block lower centre, signed, titled and annotated “100” in pencil in lower margin, 31.6 x 19.7cm. Cockling, small tears to margins, old mount burn. Ref: Mendelssohn #55. More
1913. Etching and aquatint, signed and annotated “no. 21” in pencil on plate mark below image, 21.9 x 29.5cm. Repaired tears to margins. Ref: Mendelssohn #98. More
1935. Wood engraving, signed in block lower left, signed, titled and annotated “100” in pencil in lower margin, 16.4 x 22.2cm. Holes and repaired tears to margins. Ref: Mendelssohn #82. Held in Art Gallery of NSW. Considered to be Lionel Lindsay’s best and most important wood engraving. More
1925. Wood engraving, signed, titled and annotated “100” in pencil in lower margin, 15.5 x 15cm. Tape, minor foxing and paper loss to margins. Ref: Mendelssohn, p153. More
1936. Wood engraving, signed in block lower right, signed, titled and annotated “[an edition of] 100” in pencil in lower margin, 12.7 x 16.8cm. Minor tears, crinkles and slight soiling to margins. Image held in the National Gallery of Australia, with the title Globe Artichokes. Graphic artist, writer and art..... More
1937. Wood engraving, signed in block lower left and in pencil in lower margin, 10.2 x 14.6cm. Minor paper loss and crinkles to margins. Ref: Mendelssohn #78. Image held in the National Gallery of Victoria. Graphic artist, writer, and art critic Sir Lionel Lindsay “shared with his siblings an early..... More
1927. Drypoint, signed in plate lower left, signed, inscribed “to Harold Wright”, annotated “100, final state (107 proofs)”, titled and dated in pencil in lower margin, 17.6 x 31.4cm. Crinkles to lower right corner of image, stains and creases to lower margin. Ref: Mendelssohn #412, with title “The convent of..... More
1908–1909. Etching, monogrammed in plate lower left, 10.5 x 13.5cm. Slight foxing. Ref: Mendelssohn #24, listing alternative title “Los Capucins Monastery.” Held in NLA; NGA. More
1910. Etching and aquatint in green ink, signed in plate lower centre and in pencil in lower margin, 15.7 x 9.9cm. Repaired creases and tears to margins. Ref: Mendelssohn #41. More
1927. Etching, signed in plate lower right, signed, titled and annotated “mat on Japanese vellum, [proposed edition of] 100” in pencil in lower margin, 26.2 x 20cm. Repaired perforation to left edge and margin, slight foxing to lower centre, old mount burn. Ref: Mendelssohn #423. Held in NLA; Te Papa..... More
1929. Drypoint, signed in plate lower right, signed by Lindsay and titled in another hand in pencil in lower margin, 13.7 x 17.5cm. Old mount burn. Ref: Mendelssohn #472. More
1921. Etching, signed, titled and editioned 19/50 in pencil in lower margin, 13 x 10.3cm. Slight stains to image lower left, old mount burn. Ref: Mendelssohn #250. More
1910. Etching with aquatint, signed in plate lower left and in pencil below image, 16.2 x 11.7cm. Repaired tears to lower margin and platemark. Ref: Mendelssohn #43. More
1912. Etching, signed, annotated “first state” and editioned 8/50 in pencil in lower margin, 20.7 x 15.7cm. Minor crinkles. Ref: Mendelssohn #69. Held in NGA, NLA, NGV. The Sailor’s Return was a pub on Essex Lane, The Rocks, an area which was considered to be “a notorious address with many..... More
1921. Aquatint, signed, titled and editioned 12/50 in pencil in lower margin, 12.5 x 24.2cm. Minor insect damage to upper edge of image, slight stains to margins. Ref: Mendelssohn #253. Held in NGA, NLA, NGV. More
1924. Wood engraving, signed in block lower right, signed and annotated “[an edition of] 100” in pencil in lower margin, 10.1 x 12.5cm. Image held in the National Gallery of Art. Graphic artist, writer and art critic Sir Lionel Lindsay “shared with his siblings an early obsession with drawing and..... More
1937. Drypoint, signed “Lionel Lindsay, Malaga” and titled in plate lower right and below image, signed and annotated “100” in pencil in lower margin, 27.7 x 30.2cm. Laid down on acid-free paper. Title continues “Burnt during revolution.” Ref: Mendelssohn #545. Held in NGA, NLA, NGV. Many of Malaga’s historical buildings..... More
1917. Etching, signed in plate lower left, signed, titled and annotated “no. 24” in pencil in lower margin, 13.8 x 17.5cm. Minor stain to image centre. Ref: Mendelssohn #137, with alternative title “Ashmore House, Old Kent Street, Sydney, demolished 1912.” Held in NGA, NLA, NGV. More
1932. Wood engraving, signed in block lower centre, signed, titled (twice) and annotated “100” in pencil in lower margin, 13.8 x 13.9cm. Slight perforations to image centre left, minor crinkles. Laid down on acid-free tissue. Ref: Mendelssohn #79. Held in NGV, AGNSW and NGA with “1931” date. More
c1930s. Linocut, initialled in block lower right, 14.2 x 16.2cm. Paper loss to image centre left, old creases to image upper right, slight stains to margins, old mount burn. More
1889. Etching, signed and dated in plate lower right, 12 x 16.2cm. Minor soiling and old mount burn to margins. Held in NGA. Livingston York Yourtee “Hop” Hopkins was an American illustrator who became a major Australian cartoonist, working for The Bulletin during the time of the Federation of Australia..... More
1891. Etching and drypoint, signed and dated in plate lower right, 11.9 x 15.9cm. Slight foxing overall, minor cockling to image, chips and small creases to edges of margins. More
1894. Drypoint, signed “Hop” and dated in plate lower right, 15 x 9.5cm. Faint smudge in image upper and lower left, old mount burn. Held in NGV; NPG. Livingston York Yourtee “Hop” Hopkins was an American illustrator who became a major Australian cartoonist, working for The Bulletin during the time..... More
1898. Etching, titled, inscribed, signed and dated in pencil on image in lower portion, 29.8 x 20.7cm. Slight foxing and old mount burn, glue remnants and paper loss to edges of margins. Inscription reads “[To] E. Hamilton Esq. with kind regards of L. Hopkins, 1898.” Image held in the National..... More