Norman Lindsay (1879 - 1969)
Two Lovers, 1924
etching, engraving and stipple
edition: 10 of 55
18.8 x 13.9cm
Signed, titled and editioned in margin
Collections:
Other impressions of this print are in the collections of the National Gallery of Australia, Canberra, the Art Gallery of NSW,The Geelong Art Gallery, Museum of Art, University of Melbourne and the Mitchell Library.
Reference:
The Complete Etchings of Norman Lindsay by Lin Bloomfield, Odana Editions, 1998, p.264 (illustrated, another example).

Lin Bloomfield, the author of ‘The Complete Etchings of Norman Lindsay’, is quoted having said "Norman Lindsay is the most collected person in Australia". In his day and to this day, the popularity and controversy surrounding ‘Lindsayana’ is resounding.

On 29th July, 1924, Lindsay exhibited a collection of watercolours, pen drawings and etchings, including this exquisite 'Two Lovers', in Preece's Gallery, Adelaide. Sir Tom Bridges, the then Governor of South Australia, opened the exhibition and in his speech described the work as of rare imagination and perfect technique. Recounts of the exhibition tell of day after day a queue stretching down the stairs and out into the street. However opinion on the morality of Lindsay’s pictures greatly divided a conservative public, confronted by mythological scenes of nudity.

In the same year, prior to this controversial Adelaide exhibition, the journalist A.G. Stephens published an article titled 'The Rise and Fall of Norman Lindsay' in the Pacific weekly, 1st Feb 1924. Norman Lindsay, from his Springwood home, retorted weeks late in a personal letter to A.G. Stephens dated Feb 17, 1924:

"Dear Stephens, I hear from McCrae (otherwise I would not have known it) that you have been at your old lunes again of attacking me. ... It is at this point that I am forced to recollect that you still linger among the hosts of the unburied dead ..., I won't attack you, ... but I will write a little article about you, and publish it."

In 1924, the publication date of this fine etching ‘Two Lovers’ by Norman Lindsay was a time of conflict for the artist. Look closely at the Two Lovers and you can feel the hostility between the angry black capped antagonist and the surprised, but willing young challenger as they prepare to battle over the distressed female muse. As viewers, Lindsay has thrust us into a theatrical moment, as though it were a scene from a play. Who will win the prize female? Will the dark, evil character triumph over good?

In the twenty-first century, our social mores on nudity have changed since 1924. Lindsay continues to be admired by each new generation – surely a triumph for the artist.

Sidney Nolan (1917 - 1992)
The Light Horseman
circa 1960-64
monotype
16 x 11 cm
signed lower right

In 1956, after completing his first Kelly series, Sir Sidney Nolan's visit to Gallipoli consequently inspired his next major series - the Gallipoli series. Sidney Nolan once described Gallipoli as 'the great modern Australian legend, the nearest thing to a deeply felt common religious experience shared by Australians - even today'.

Nolan approached this major series by combining historic source material with his own highly expressive imagery. Rather than use a narrative sequence he chose to develop themes such as the head of a soldier. As a result, this rare monotype titled 'The Light Horseman', is an iconic example from the Gallipoli series.

In May 1977 Nolan donated his Gallipoli series of paintings and drawings to the nation through the Australian War Memorial. Consequently, this makes 'The Light Horseman' a very rare offering to the market indeed.

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Ricky Swallow (born 1974)
Skull with Bay Leaves, 2007
Oil on plywood skate deck
76 x 19 x 3.5 cm

Flick through current International Contemporary Art sales and you will find skate decks for sale. Yes, that's correct, skateboard art has hit the contemporary art scene. This phenomena is largely due to the New York based company Supreme Skate Decks recently commissioning Damien Hirst, Jeff Koons, Takashi Murakami and others, to design skate deck art.

I believe this confidently executed skate deck art by recently NGV surveyed Contemporary Australian artist Ricky Swallows, titled 'Skull with Bay Leaves', outshines the Supreme Skate Deck series. Firstly, this work is an original oil on plywood skate deck. Look closely and you can see the bristle brush marks that are built up to describe the skull’s form. This skull is a reference to both mainstream skate deck art and art history's Vanitas. There is a magic spell quality about those bay leaves tucked behind the skull's check bones. This fine work would sit beautifully within any contemporary art collection.

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John Olsen (born 1928)
Billabong 2001
hard ground line etching
edition: BT (bon a tirer)
14.5 x 19.5 cm
signed, dated and
editioned in margin

History places John Olsen in the genre of landscape painter. Without a doubt Olsen's unique perspectives of the Australian landscape dominates his life's work. Olsen also looks into the landscape and reveals wonderful creatures like this iconic frog in a Billabong. Olsen's characteristically quizzical line sends this frog in-flight above the billabong. The frog's short arms and small body contrast his elastic legs - creating a dynamic sense of movement through exaggerated proportion and line. His big eyes and energy greatly contribute to this little frog's appeal.

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