Lionel's Place - Lionel Lindsay from the Maitland Regional Art Gallery by Maitland Regional Art Gallery

(cover) Fig. 1.

Fig. 2.

Fig. 3.

from the Maitland Regional Art Gallery Collection

Fig. 4.

by Brigette Uren

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HIS is the story of Lionel’s Place – his prolific body of work on paper, the period in Australian art history in which he established himself and the characters with whom he associated. The artworks themselves, rich in visual texture, depict scenes from abroad or closer to home, and readily relate to the work of figurative artists today. Like his contemporaries, one finds Lionel’s place in that crevasse between the real and the imagined.

As the narrative

unfolds, you will however come to experience more than Lionel’s place; this is also a tale weaving vision, passion and perseverance, not just by the artist himself, but of two of his greatest collectors. Over the last few decades, Max and Nola Tegel have assiduously acquired an extensive portfolio of some of the finest of Lionel’s works on paper (reflective of the exquisite detailing in Lionel’s art itself) and generously bestowed this collection to a new place – indeed a new home - at Maitland Regional Art Gallery (MRAG). Together with the MRAG staff and volunteers, I am deeply appreciative to them for this stunning collection and in equal measure the spirit in which they have shared their knowledge and friendship.

MRAG’s long standing commitment to artist projects, introducing

young people to Australia’s leading artists and enthusiastically sharing the Gallery’s Collection will ensure that we honour the privilege of being Lionel’s work-on-paper steward. With the greatest admiration I acknowledge the contribution of MRAG’s Collection Management Curator Cheryl Farrell and curatorial support staff, and Joanna Mendelssohn who offered her scholarship, to bring this exhibition, catalogue and children’s book to you.

On behalf of the Gallery, I hope you will warmly welcome

this exceptionally significant collection into your life as you might a cherished book and join with us in celebrating a new place for Lionel to call home.

Fig. 6.

by Joanna Mendelssohn

N August 1974 the aging Sir Robert Menzies wrote the introduction to an exhibition at the Ballarat Fine Art Gallery celebrating the centenary of the birth of his friend, Sir Lionel Lindsay. Menzies wrote of his admiration for Lindsay’s draughtsmanship, his etchings, wood engravings, his scholarship, and his ‘divine and disordered conversation’. But most of all Menzies admired Lindsay’s ‘instinct, a capacity for friendship which one does not readily encounter’. Menzies’ mother came from Creswick, a town in the Victorian goldfields, where she had known the Lindsay boys who were the sons of the local doctor. It was this connection, almost a kinship, that first sparked the friendship.

In the mid-19th century the goldfields of Victoria provided

a rich melting pot of clashing cultures as tent cities turned into solidly constructed towns with their new hierarchies determined not only by the sudden wealth of gold but the solid worth of professional expertise. The ever optimistic Dr Robert Charles Fig. 7.

Lindsay had come from Derry in Ireland to find his fortune in a new country and had found Jane Williams, the eldest daughter of the dour Methodist Reverend Thomas Williams. In the Victorian goldfields of the mid-19th century, cultural differences were at first easily ignored. The creative mismatch of different cultural backgrounds and expectations has to be one factor in the lives of their ten children, five of whom became professional artists.

Williams took an especial interest in Lionel, the

third child and easily the most intellectually precocious. When the boy announced he wanted to be an astronomer his grandfather arranged for him to work in the Melbourne Observatory. This did not last, but he was introduced to the Melbourne Library where he saw engraved reproductions of great art which opened his eyes to different ways of seeing. In 1893 when he was supposed to be studying for matriculation, Lionel drew some actors who were visiting nearby Ballarat. The drawings were published in a Melbourne magazine, The Hawke, so he moved to Melbourne to live the ragged life of a freelance illustrator.

Fig. 8.

The previous year the National Gallery of Victoria had purchased sixty-four original etchings and engravings from the collection of Sir Francis Seymour Haden. These included works by Albrecht Dürer, Anthony Van Dyck and Rembrandt, as well as etchings by 19th century artists – Charles Meryon, James McNeil Whistler and Haden himself. Lindsay was entranced by the etchings, especially the way that acid biting into metal could make fine and deep lines. He made his first etching press out of a knife-polishing machine, but after a few early efforts did not, at first, persist. Lionel was soon joined in Melbourne by his brother Percy, who thoroughly enjoyed the bohemian life, and then by the much younger Norman. Melbourne in the late 1890s was in a major economic recession, but it also had places of great beauty. Lionel especially came to love the old Fitzroy Gardens with its copies of classical statues and European sensibility. He revisited this later in life in some of his wood engravings, seen particularly in The Romantic Garden, (Fig. 8.) but the sense of a slightly decaying classical beauty is present in many of his works.

His work as an illustrator led Lionel Lindsay to be given

tickets to the theatre, which he loved. In late 1900 the Musgrave Grand Opera came to Melbourne with a number of productions, including that very modern opera, Carmen. The best way to describe this artist’s impetuous and passionate nature is to describe his actions after seeing the performance. Within weeks he found a local Spanish speaker and learnt the language before embarking on a cargo ship to Spain. He wanted to make his own drawings for a new edition of Mérimée’s novella Carmen, on which the opera is based. He saw this as a way of making both fame and fortune in London, the city at the heart of the British Empire. Lionel Lindsay’s first journey to Spain, in 1902, by cargo ship, via Marseilles, gave him a lifelong love of the country and its people. Long after he returned to Australia, Spain continued to colour Lionel Lindsay’s imagination.

The illustrated book never came to pass, but when he was in London he saw some of Charles Meryon’s etchings of the old Paris, the city that was destroyed after the 1871 Commune. In an old bookshop Lindsay discovered early photographs of Paris, which enabled him to see how Meryon, who had been responsible 14

for reviving interest in etching in the 19th century, had altered details of buildings to heighten the dramatic impact in his etchings of the medieval city. Meryon’s etchings reminded him of Sydney, which Lindsay had visited on his way to Europe – especially the picturesque narrow streets and aged buildings that were almost calling out to become subjects of the bitten line.

After some weeks in London Lionel Lindsay left England to visit friends in Italy. In a garden in Florence he saw Jean, the sister of his friend and fellow artist Will Dyson1 and ‘tumbled into love’. They married a year later. Images of Jean made throughout their long life together give a sense of their domestic tranquility.

I have used “Will” here as it is common usage, but the family always called him “Bill”.

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Lionel’s brother Norman, who was now the very popular cartoonist for the Bulletin magazine, had moved to Sydney so it was an easy decision to also move there when Banjo Paterson, editor of the Evening News, appointed him as a cartoonist. For the next twenty-three years Lionel Lindsay drew three cartoons a week as well as illustrating Steele Rudd’s On Our Selection. But he continued to develop his passion for etching, spending considerable time in 17

the State Library reading all he could find on the technical side of printmaking and books on those artists devoted to what he called ‘the black art’. Lionel had inherited his father’s gift of easy conversation, which led him to befriend the corpulent man who sat cataloguing new books for the library. This was the symbolist poet Christopher Brennan,

(Fig. 11.)

recently returned from Germany. He introduced

Lindsay to a new world of literature and ideas, constantly challenging many of his presuppositions, providing him with an effective but informal education. Lionel made both drawings and etchings of Brennan, capturing his sensual love of food, wine and tobacco. Another subject for his portraiture was bush poet, Henry Lawson. (Fig. 10.) He later said that the reason Lawson was drawn with such an intense stare was that his deafness meant he observed acutely but was able to stay still as he was never distracted by sound.

Fig. 11.

At this time Lionel Lindsay’s primary reputation was as an illustrator. Perhaps it was in part a way of straddling both forms of art, as well as an ongoing interest in European influenced symbolism, that led him to make a series of etchings to illustrate James Griffyth Fairfax’s book The Troubled Pool. The Pool, 1910,

(Fig. 12.)

the earliest etching in the Tegel collection, wa s originally one of these. The combination of etching with softground is an unusual one, but it shows an artist beginning to master his medium. Images of nymphs in sylvan groves proved less enticing than drawing the Fig. 12.

fabric of buildings with their layers of history. The birthplace of David Scott Mitchell, Cumberland Street, Sydney (Fig. 13.) captures different aspects of his concerns. It shows the house where the man who so valued Australia as a subject for scholarship was born. The building is half-hidden by a gnarled stone wall, which gives it a sense of mystery. Scale comes from the figures of three people – a man leaning against the wall and two street urchins. The insertion of humanity into landscape in order to give scale is a standard compositional technique. In this case the male figure is almost certainly a professional model, while the little boys are probably based on drawings of Lionel Lindsay’s children.

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Etchings of old Sydney and its surrounding townships, were mingled with etchings based on his memories of Spain. In both The Canon’s Niece Seville

(Fig. 17)

(Fig. 16)

and Mardi Gras,

he used the more intimate technique of drypoint, working the scribe

directly onto the plate to get a slightly fuzzy line which seems to give an air of nostalgia. Drypoint enabled the precise drawing of his brother Norman,

(Fig. 15)

in a remarkably

restrained portrait of 1918, made as the frontispiece for the deluxe edition of The Pen Drawings of Norman Lindsay, which was a special issue of Art in Australia. Lionel drew his brother’s head in profile, emphasising his sharp features, giving him a sense of dignity which indicated that the subject was a major artist. Yet this portrait was made just after the brothers began the quarrel that was to last the rest of their lives, and meant that for the rest of their lives there was little or no contact between the two.

One consequence of

ending his relationship with Norman was that Lionel Lindsay started to investigate a new printing technique, wood engraving. He had first made woodcuts many years before, cutting along the grain of the wood, but he had soon abandoned it as he could not get the fine lines he so admired. In about 1920 Lionel made some experimental woodcuts in the Japanese style, including Dancer and guitarist, (Fig. 14) a work that combined his appreciation of the Japanese colour printing technique with his love of Spain and things Spanish.

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One of the artists whose work he had come to admire was the late 18th century Englishman Thomas Bewick, who had originally trained as an engraver of metal, but who turned to using his metal engravers to cut into the cross-grain of dense boxwood. This approach enabled the most delicate of white lines to be incised into the wood. In 1922 Lionel Lindsay published A Book of Woodcuts. This was followed by Twenty One Woodcuts of 1924, but for the most part his wood engravings were published separately from any book.

Fig. 18.

The wood engravings are, on the whole more intimate, directed towards elements and objects of domestic tranquility than his etchings. In Climbers, the trellis, (Fig. 18) Jean reaches up to collect flowers from the hanging plants, while Morning Tea

(Fig. 9)

shows the couple still in their night clothes enjoying the leisure of their back verandah. Their house was on a large block of land, near some market gardens. Lionel and Jean Lindsay were both keen gardeners and grew most of their fruit and vegetables. These too became the subject for wood engravings, as were several studies of the family cats. His longterm friendship with the South Australian artist Hans Heysen is seen in the magnificent Heysen’s Birds,

(Fig. 20)

a study of his friend’s turkeys. Lionel enjoyed making wood

engravings of exotic birds and it was his 1923 work, The Pelican,

(Fig. 23)

that first

prompted Harold Wright from the London dealer Colnaghi to look closely at his art. Wright wrote to him suggesting an exhibition.

The year was 1925. Lionel

Lindsay had been a staff cartoonist on a newspaper for twenty-two years. It was time to travel again, this time with his wife and daughter.2 In London he spent some time working with Colnaghi’s master printmakers. Armed with a stock of large copper plates and a small travelling press for making artist’s proofs, he set out for Spain. For three months he travelled – by train from Paris to San Sebastian then Burgos (Fig. 21) with its great cathedral, and on to Avila, Segovia (Fig. 26)

Toledo over to Jerez de Los Caballeros then down to Andalusia and Seville.

2 Lionel Lindsay was now in a happier financial position as the collector and philanthropist, William Dixson, had come to an arrangement whereby he purchased one of each state of every one of his prints. This has led to the Dixson Collection in the State Library of NSW having the most substantial holding of Lionel Lindsay works.

Fig. 19.

The resulting etchings and drypoints were exhibited in April 1927, and later in the year the exhibition travelled to Glasgow. It was both a critical and commercial success. The sales from this and later exhibitions in the 1920s led to financial security. One of his responses to his new found affluence was to buy art – etchings by Rembrandt and engravings by Dürer. Later excursions on this long European journey included travelling to Germany with Harold Wright to see where Dürer had lived, and to Tunisia relished in both the exotic life and the food.

(Fig. 22)

where he

The friendship with Harold Wright lasted all their lives, as they died within weeks of each other. Although they did not meet after Lionel’s return to Australia, they wrote to each other almost every week. Their correspondence is in the Mitchell Library and is a major source of information on Lindsay. On his death his widow gave Harold Wright’s collection of Lionel Lindsay prints to the National Gallery of Art, Wellington, NZ and also established the Harold Wright scholarship to enable a young curator to spend a year in the print room of the British Museum.

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The booming market in etchings ended with the Great Depression, although Lionel continued to make etchings long after his 1932 return to Australia. He turned again to wood engravings, enjoying carving the delicate tracery of peacock feathers in The White Fan, (Fig. 24) a print he made in 1935 when he was in Melbourne as art critic for The Herald. In Spain he had bought a souvenir of decorative cast iron lace cooking implements. These, placed with other souvenirs of Spain became the subject of Spanish Still Life (Fig. 25) of

1936, a nostalgic woodcut for a place he would never revisit. Spain was in the

middle of a bloody civil war and the country would never be the same again.

Fig. 25.

The Great Depression and World War II which came in its aftermath combined to destroy the market for artists’ prints. Nevertheless Lionel Lindsay continued to make both etchings and wood engravings for almost the rest of his life. His last dated etching was his Christmas Card for 1958, printed on his home press at Wahroonga. The following year he published a book of his poetry, Discobolus and other verse, which was illustrated by twenty wood engravings, printed on Japanese paper. Although he was physically frail, Lionel Lindsay had printed the edition himself with the assistance of his son, Peter. In these last works he returned again to his first love of Classical Greece and Rome. In his later years Lionel often wrote about the nature of mortality and ways of dying. One result of this was the wood engraving, Lethe Wharf

(Fig. 27)

of 1938. The composition is very much a homage to the Swiss artist Arnold Böcklin’s Isle of the Dead, a painting he would have known in reproduction. The dominating cypresses are based on drawings he made at Hadrian’s Villa near Rome. The boat is so placed that it seems it will sail between their brooding presence into an afterlife of peaceful sleep. In many of his later letters to friends Lionel referred to Charon, the Ferryman who takes the souls of the dead to Hades. On his 86th birthday he wrote:

Now at the age of eighty-six The time has come to cross the Styx, Charon, I have my obol4 ready So make the crossing swift and steady

An obol is the ancient Greek coin placed in the mouth of the dead, to pay the Ferryman. Shortly after writing this, one of Lionel Lindsay’s friends gave him an obol.

Fig. 26.

At the time of his death in May 1961, Sir Lionel Lindsay was honoured for his art, but as popular taste admired Norman Lindsay’s work he was not so well known. In the years after his death a new generation of curators and collectors came to admire his etchings, and especially his wood engravings. The 1974 exhibition at Ballarat was followed by later exhibitions in the National Library, the State Library of NSW and in Queensland. In part these exhibitions were made possible by the generous gifts of Lionel Lindsay’s art by his brother Sir Daryl Lindsay, his sister Mary, his son Peter, and many private collectors.

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Fig. 1. Pheasant & Magnolia (detail), 1925, wood engraving, printed in black ink on paper, 19.1 x 14.5cm. Fig. 2. Ginger (detail), 1939, wood engraving, printed in black ink on paper, 14.7 x 11.4cm. Fig. 3. Invitation to exhibition to be held at Decoration Galleries Monday July 18th 1921, 1921, etching and aquatint, printed in black ink on paper, 10 x 6cm. Fig. 4. Spring (detail), 1936, wood engraving, printed in black ink on paper, 15.1 x 21.6cm. Fig. 5. Repose (detail), 1938, wood engraving, printed in black ink on paper, 22.7 x 15cm. Fig. 6. Silver Pheasant (detail), 1936, wood engraving, printed in black ink on paper, 20.4 x 14.5cm. Fig. 7. The house on the wall, Cordova (detail), 1923, spirit aquatint, in black on paper, 18.5 x 15.7cm. Fig. 8. The Romantic Garden, 1922, wood engraving, printed in black ink on paper, 21.4 x 15cm. Fig. 9. Morning Tea, 1924, wood engraving, printed in black ink on paper, 7.3 x 9.7cm. Fig. 10. Henry Lawson, 1922, wood engraving, printed in black ink on paper, 23.9 x 15.4cm. Fig. 11. Christopher Brennan, 1932, wood engraving, printed in black ink on paper, 11.6 x 10.1cm. Fig. 12. The Pool, 1910, etching and softground, printed in black ink on paper, 12 x 8cm. Fig. 13. The Birthplace of David Scott Mitchell, Cumberland Street, Sydney (Mitchell’s House), 1913, etching, printed in black ink on paper, 13.3 x 9.7cm. Fig. 14. Dancer and Guitarist, c.1920, colour woodcut on paper, Japanese technique, 17 x 13.4cm. Fig. 15. Norman Lindsay, 1918, drypoint etching, printed in black ink on paper, 20.5 x 14.5cm. Fig. 16. The Canon’s Niece, Spain, 1919, drypoint etching, printed in black ink on paper, 24.8 x 18.3cm. Fig. 17. Mardi Gras, Seville, Spain (Spanish ladies), 1919, drypoint etching, printed in black ink on paper, 31.3 x 20.4cm. Fig. 18. Climbers (The Trellis), c.1921, wood engraving, printed in black ink on paper, 9.7 x 8.3cm. Fig. 19. The Ivy Jar, 1923, wood engraving, printed in black ink on paper, 15 x 14.2cm. Fig. 20. Heysen’s Birds (Turkeys), c.1923, wood engraving, printed in black ink on paper, 14.5 x 15.2cm. Fig. 21. The Great Doorway, Burgos, 1931, etching, printed in black ink on paper, 30 x 21.3cm. Fig. 22. A Caravanserai, Kairouan, Tunisia (detail), 1929, drypoint etching, printed in black ink on paper, 16.5 x 27.6cm. Fig. 23. The Pelican, 1923, wood engraving, printed in black ink on paper., 12.3 x 10.8cm. Fig. 24. The White Fan, 1935, wood engraving, printed in black ink on paper, 16.6 x 22.3cm. Fig. 25. Spanish Still Life, 1936, wood engraving, printed in black ink on paper, 31.4 x 19.9cm. Fig. 26. The Alacazar, Segovia, 1926, drypoint etching on paper, 19.6 x 29.8cm. Fig. 27. Lethe Wharf, 1938, wood engraving, printed in black ink on paper, 32.4 x 17.3cm. Fig. 28. The Crab (detail), 1931, wood engraving, printed in black ink on paper, 14.4 x 21.6cm. Fig. 29. Old Spain (Spain) (detail), c.1950, drypoint etching, printed in black ink on paper, 31.4 x 23.4cm. Fig. 30. A Church in Seville, 1928, drypoint etching, printed in black ink on paper, 25.2 x 15cm. Fig. 31. A little square, Segovia, 1927, drypoint etching, printed in black ink on paper, 22.6 x 20cm. Fig. 32. The Constables Chapel, Burgos, 1944, etching, printed in black ink on paper, 25.2 x 17.6cm. Fig. 33. The Little Balcony, 1921, etching, in black ink on paper, 10.4 x 5.9cm. Fig. 34. A Courtyard, Segovia, 1929, etching, printed in black ink on paper, 25.2 x 17.6cm. Fig. 35. Santa Cruz, Toledo, 1945, etching, printed in black ink on paper, 25.2 x 17.6cm. Fig. 36. Old Antequera, Andalusia, Spain (detail), 1929, drypoint etching, printed in black ink on paper, 22.5 x 30cm. Fig. 37. Bassra Guard, 1929, drypoint etching, printed in black ink on paper, 19.2 x 30.2cm. Fig. 38. The Barber of Bou-Saada, 1929, etching, printed in black ink on paper, 17.5 x 27.4cm. Fig. 39. Lantern Hill, Ilfracombe, 1929, etching, printed in black ink on paper, 12.6 x 17.6cm. Fig. 40. The Burning Ghat, Benares, 1930, drypoint etching, printed in black ink on paper, 21.4 x 30.1cm. Fig. 41. Syrian Goat & Rhododendrons, 1933, wood engraving, printed in black ink on paper, 17 x 15.3cm. Fig. 42. Morning Glory, 1932, wood engraving, printed in black ink on paper, 25.4 x 14.6cm. Fig. 43. Autumn (The Peacock), 1924, wood engraving, printed in black ink on paper, 15.4 x 14.6cm.

All artworks and woodblocks by Lionel Lindsay. Donated to the Maitland Regional Art Gallery Collection under the Australian Government’s Cultural Gifts Program by Max and Nola Tegel in 2016. © the Estate of Lionel Lindsay. By permission of the National Library of Australia.

Fig. 44. The Crane (The Heron), 1925, wood engraving, printed in black ink on paper, 11.9 x 12cm. Fig. 45. Fuchsias, 1936, wood engraving, printed in black ink on paper, 19.9 x 12.1cm. Fig. 46. Hornbill, 1932, wood engraving, printed in black ink on paper, 14 x 14cm. Fig. 47. The Night Heron, 1935, wood engraving, printed in black ink on paper, 13.4 x 13.4cm. Fig. 48. Crested Crane, 1936, wood engraving, printed in black ink on paper, 20.1 x 9.2cm. Fig. 49. Pheasant and Wisteria, 1934, wood engraving, printed in black ink on paper, 22.5 x 13cm. Fig. 50. The White Horse, 1923, wood engraving, printed in black ink on paper, 20.1 x 20.3cm. Fig. 51. White Goats, 1925, wood engraving, printed in black ink on paper, 15.4 x 15cm. Fig. 52. The Emperor (The White Cock), 1922, wood engraving, printed in black ink on paper, 16.1 x 13.4cm. Fig. 53. The Siding, 1923, wood engraving, printed in black ink on paper, 7.3 x 7.5cm. Fig. 54. The Broken Fence, 1923, wood engraving, printed in black ink on paper, 15.8 x 11.5cm. Fig. 55. Orchard Kurrajong, 1925, wood engraving, printed in black ink on paper, 7.1 x 7.6cm. Fig. 56. The Fountain, c.1922, wood engraving, printed in black ink on paper, 10.2 x 11.3cm. Fig. 57. The Macaw, 1924, wood engraving, printed in black ink on paper, 14.3 x 9.8cm. Fig. 58. The Black Cat, 1922, wood engraving, printed in black ink on paper, 18.1 x 15.2cm. Fig. 59. The Witch, 1924, wood engraving, printed in black ink on paper, 13.2 x 11.2cm. Fig. 60. The Cat (Cat and Mouse), 1922, wood engraving, printed in black ink on paper, 4.6 x 8cm. Fig. 61. The Demon, 1925, wood engraving, printed in black ink on paper, 12.9 x 15.7cm. Fig. 62. Pan and Syrinx, 1921, wood engraving, printed in black ink on paper, 13.4 x 9.3cm. Fig. 63. The Jester, 1923, wood engraving, printed in black ink on paper, 14.5 x 9.6cm. Fig. 64. The Wee Piper, 1925, wood engraving, printed in black ink on paper, 12.8 x 8.3cm. Fig. 65. Hawkesbury Willows, 1921, wood engraving, printed in black ink on paper, 9.9 x 7.9cm. Fig. 66. The Black Mantilla, N.D. wood engraving, printed in black ink on paper, 21.5 x 15cm. Fig. 67. Chinese kettle, 1925, wood engraving, printed in black ink on paper, 7.4 x 7.3cm. Fig. 68. Dahlias, 1925, wood engraving, printed in black ink on paper, 14.2 x 15.3cm. Fig. 69. Bacchanal, 1925, wood engraving, printed in black ink on paper, 14.1 x 15.3cm. Fig. 70. Fish, 1924, wood engraving, printed in black ink on paper, 7.4 x 11.2cm. Fig. 71. The Chinese Basket, 1924, wood engraving, printed in black ink on paper, 9.6 x 13.4cm. Fig. 72. Basket of Fruit (Fruit Piece, The Fruit Basket), 1936, wood engraving, printed in black ink on paper, 10.4 x 12.9cm. Fig. 73. Red Cactus, 1939, wood engraving, printed in black ink on paper, 14.3 x 15cm. Fig. 74. Untitled (Flower & Tankard), N.D. wood engraving, printed in black ink on paper, 7.4 x 7.3cm. Fig. 75. Pears & Grapes, 1925, wood engraving, printed in black ink on paper, 10.1 x 14.5cm. Fig. 76. Camellias, 1931, wood engraving, printed in black ink on paper, 10.8 x 14.6cm. Fig. 77. Zinnias, 1924, wood engraving, printed in black ink on paper, 10.2 x 12.5cm. Fig. 78. Asters, c.1936, wood engraving, printed in black ink on paper, 10.3 x 14.6cm. Fig. 79. St. Mary’s, 1922, wood engraving, printed in black ink on paper, 7.2 x 5.3cm. Fig. 80. Loquats, 1923, wood engraving, printed in black ink on paper, 7.5 x 7.1cm. Fig. 81. Goat and Banksia (Banksia Tree), 1924, wood engraving, printed in black ink on paper, 8.6 x 10cm. Fig. 82. St. Mary’s, 1922, wood block, 7.2 x 5.2 x 2.3cm. Fig. 83. Goat and Banksia (Banksia Tree), 1924, wood block, 8.5 x 9.9 x 2cm. Fig. 84. Loquats, 1923, wood block, 7.5 x 7.0 x 2.2cm. Fig. 85. Varanasi India, c.1930 (detail), watercolour on paper, 27.5 x 38.5cm. Fig. 86. Spanish Hillside, N.D. watercolour on paper, 24.3 x 36.5cm. Fig. 87. Thistles, 1918, watercolour on paper, 24 x 34cm. Fig. 88. Varanasi India, c.1930, watercolour on paper, 27.5 x 38.5cm. Fig. 89. Huelgas, c.1927, watercolour on paper, 18.5 x 32.5cm. Fig. 90. Curassow & Oleander, 1932, wood engraving, printed in black ink on paper, 17.8 x 12.7cm. Fig. 91. Philosophy, 1925, wood engraving, printed in black ink on paper, 17.1 x 15.4cm. Fig. 92. Magnolias, 1924, wood engraving, printed in black ink on paper, 7.4 x 7.2cm.

Fig. 91.

by Cheryl Farrell HIS catalogue is illustrated with a selection of images from the 184 Lionel Lindsay artworks donated to the Maitland Regional Art Gallery (MRAG) Collection in 2016 by Max and Nola Tegel. This extensive collection of Lionel Lindsay works on paper would not have found its place at Maitland Regional Art Gallery so comfortably without the immeasurable assistance and support of many.

Thank you to all the MRAG

staff, MRAG volunteers (in particular Linden Pomare and Ron Royes) and interns who have worked with the ‘Lindsays’ over the past fifteen months and who came to know these works so well while organising, accessioning, photographing, and preparing the works for the publications and exhibition.

Thank you to Joanna Mendelssohn

for her essay, Clare Hodgins for this beautifully designed catalogue and WHO Printing for in-kind support of the catalogue’s production.

Many thanks to Sue Hewitt,

for her continuing support and advocacy of MRAG, and with Sally Hardy, for her work on the initial cataloguing of this extensive donation.

Most of all I wish to

extend my deepest gratitude to Max and Nola Tegel for entrusting their loved collection to MRAG, so that we can share and care for these beautiful artworks in the Gallery now and into the future.

is proud to partner

the Maitland Regional Art Gallery in producing this extraordinary catalogue of illustrated masterpieces by Lionel Lindsay.

Let’s talk print 02 4915 3050

who@whoprinting.com.au whoprinting.com.au

First published in 2017 by Maitland Regional Art Gallery (MRAG) PO Box 220, Maitland NSW 2320 | mrag.org.au Published by Maitland Regional Art Gallery to accompany the exhibition Lionel’s Place | Lionel Lindsay from the Maitland Regional Art Gallery Collection Exhibition dates: 8 April 2017 - 8 April 2018 © Maitland Regional Art Gallery All images © Estate of Lionel Lindsay By permission of the National Library of Australia Proudly printed in Australia MRAG Cultural Director Brigette Uren

Foreword Brigette Uren Essay Joanna Mendelssohn

Editing Cheryl Farrell Anne McLaughlin Brigette Uren

Curator Cheryl Farrell

ISBN 978-0-9942530-8-8

Design & Photography Clare Hodgins Printing WHO Printing

Maitland Regional Art Gallery is supported by the NSW Government through Arts NSW

Fig. 92.