95-531: The Norman Lindsay Gallery and Museum is the former residence and farmlet of Australian artist Norman Lindsay . Now an art gallery , tourist attraction and museum located at 14–20 Norman Lindsay Crescent in the Blue Mountains town of Faulconbridge in the City of Blue Mountains local government area of New South Wales , Australia, it was built from 1898 to 1913 by Francis Foy, Patrick Ryan, Lindsay, and
190-521: A background for his art. The Lindsay's garden at Springwood, and their artwork, are the product of the same creative mind. The garden can be seen as a three-dimensional idealisation of the Lindsay's two-dimensional artwork. The conjunction of the artist's immediate environment and his artwork has a great deal to say about Lindsay's subject matter as well as his creative process. In a way, his pictures grew out of his imagination, but also required an element of
285-501: A bathroom, verandah, and an open fireplace, known during the Lindsay era as "The Camp" was built as servants quarters. There was also a weatherboard structure to the west of "The Camp". although it is unclear whether this was built by the Foys or in the very early Lindsay years. This shed structure consisted of a stable, feed room, buggy shed, tool shed, milking bails and yards. The property was discovered by Norman Lindsay and Rose Soady in
380-496: A break, he worked on a model ship some days. He was highly inventive, melting down the lead casings of oil paint tubes to use for the figures on his model ships, made a large easel using a door, carved and decorated furniture, designed and built chairs, created garden planters, Roman columns and built his own additions to the Faulconbridge property. Lindsay also worked as an editorial cartoonist, notable for often illustrating
475-432: A classic work of Australian children's literature. Apart from his creative output, Lindsay was known for his larrikin attitudes and personal libertine philosophy, as well as his battles with what he termed " wowserism " (strict moral conservatism). One such battle is portrayed in the 1994 film Sirens , starring Sam Neill as Lindsay and filmed on location at Lindsay's home in the Blue Mountains , west of Sydney . It
570-757: A community gallery. The venue hosts different exhibitions each month, showcasing local and regional artists' works. Braemar House, where the gallery is situated in, is said to be beautiful and known to be historic. Springwood is the largest town in the lower Blue Mountains. According to the 2016 Census, there were 8,475 people living in Springwood including 3,938 males (46.4%) and 4,540 females (53.6%). 79.7% of people were born in Australia. The next most common countries of birth were England 6.9% and New Zealand 1.5%. 91.5% of people only spoke English at home. The Aboriginal and Torres Strait Islander population of Springwood
665-554: A dilapidated and overgrown state in 1912, and was subsequently purchased by Rose at the end of that year. Throughout 1913, many renovations were made to the building. Initially, new floorboards were laid to replace old ones, which had been eaten by termites. Then major constructions began, with the help of numerous locals including the Stattons. The bullnosed verandah and wooden posts were removed and replaced with an extended verandah covered with tiles imported from France to match those on
760-811: A fictionalised version of Lindsay in John Duigan 's Sirens , set and filmed primarily at Lindsay's Faulconbridge home. The film is also notable as the movie debut of Australian supermodel Elle Macpherson . In 1972 five novels were adapted for TV as part of the Australian Broadcasting Corporation 's Norman Lindsay festival. These were Halfway to Anywhere (adapted by Cliff Green ), Redheap (adapted by Eleanor Witcombe ), A Curate in Bohemia (adapted by Michael Boddy ), The Cousin from Fiji (adapted by Barbara Vernon ) and Dust or Polish (adapted by Peter Kenna ). Searches of
855-422: A gallery, she made some changes, starting with the bricking up of the small square window in the front, and having all of the exterior walls stuccoed. The original door was replaced with a reused historic cedar door, and the interior walls were lined with Hussein painted a bronze colour. A porch and picture rails were added, and the basin was removed to the back storeroom. This gallery idea never came to fruition, and
950-578: A holiday residence at Lawson . Designed in the Victorian Academic Gothic style, the church is the oldest Anglican church building in the Blue Mountains and is heritage-listed. The house originally built as a vicarage, but only used as a private residence known as Southall , is also heritage-listed. The Presbyterian Church building, a sandstone Gothic building located on Macquarie Road, was built in 1895. The Catholic community
1045-532: A local magazine with his older brother Lionel. His Melbourne experiences are described in Rooms and Houses . In 1901, he and Lionel joined the staff of the Sydney Bulletin , a weekly newspaper, magazine and review. His association there would last fifty years. Lindsay travelled to Europe in 1909, Rose followed later. In Naples he began 100 pen-and-ink illustrations for Petronius' Satyricon . Visits to
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#17327901353271140-551: A national context. The place provides potential to reveal the creative achievement of Norman and Rose Lindsay, and their family in integrating building, landscape and artwork. The landscaping of the grounds with fifteen fountains and statues, and the artworks and other contents of the house demonstrates the family artistic excellence. Norman Lindsay Gallery was listed on the New South Wales State Heritage Register on 1 March 2002 having satisfied
1235-452: A newly built skate park and fields for football (soccer). It is the home of Springwood United Football Club (formerly Springwood Soccer & Sports Club) and Springwood Netball Club. Summerhayes Park has diverse native flora and fauna and contains many threatened/endangered species and ecological communities. It is also a bushwalking area with many tracks, vistas and aboriginal archeological sites. Braemar Gallery opened in 1988. It serves as
1330-566: A particular community or cultural group in New South Wales for social, cultural or spiritual reasons. The Norman Lindsay house and grounds occupied an important place in the artistic, literary and moral history of early to mid-20th century Australia: and as such the place is significant within a national context. This significance is exemplified by the continuing visitation by the public to this place. The place has potential to yield information that will contribute to an understanding of
1425-627: A philosophical system outlined in his book Creative Effort . He also illustrated the cover for the seminal Henry Lawson book, While the Billy Boils . Lindsay's son, Jack Lindsay , emigrated to England, where he set up Fanfrolico Press , which issued works illustrated by Lindsay. Lindsay influenced numerous artists, notably the illustrators Roy Krenkel and Frank Frazetta ; he was also good friends with Ernest Moffitt . His frank and sumptuous nudes were highly controversial, and critics' evaluations vary considerably; in 1934 Basil Burdett called
1520-532: A predominant eucalyptus woodland area which encompass the Blue Mountains region. The town's annual celebration, Springwood Spring Festival, occurs on the first Saturday in September . Springwood is also the site of a notable Anzac Day Parade. The Blue Mountains Vietnam Veterans' Association conducts the largest annual parade and Memorial Service for Vietnam veterans in Australasia at Springwood, on
1615-437: Is a popular tourist attraction in the Blue Mountains, not only for the art work on display but also for the beautiful gardens and bushwalk. Also on the property is Lindsay's Cafe, attached to Norman Lindsay's old etching studio. The Norman Lindsay Gallery is a sandstone building with terra cotta tile roof and a verandah on three sides. A colonnaded pergola is located on the north eastern elevation. An enclosed courtyard on
1710-407: Is adorned with sculptures of nymphs, satyrs, sphinxes and female forms, fountains and urns. Formal hedges lead to particular statues and the extensive lawns are dotted with exotic specimen trees, mainly conifers and coral trees. As at 30 June 2000, Physical condition is good. The site is largely intact. As at 12 October 2000, The house, studios, grounds and bush walk which comprise what we know as
1805-734: Is also a recreational area which hosts an arboretum, play structures and the Springwood Pool. Further south from Springwood is the Sassafrass Gully Track, which is a loop track that follows Sassafrass Creek and Glenbrook Creek to the Perch Ponds. After that, the track follows Magdala Creek, back to Springwood. Summerhayes Park is a public reserve located in Winmalee, which is used for sport and recreational activities. Its facilities include tennis and netball courts,
1900-496: Is also serviced by five primary schools: Ellison Public School, Faulconbridge Public School, Winmalee Public School, Springwood Public School and St Thomas Aquinas Primary School . Springwood has a humid subtropical climate ( Cfa ). Unlike the upper Blue Mountains area, it generally has mild winters and warm summers, due in part to the foehn effect . Although Springwood's elevation is at 371 m (1,217 ft), its winter nights are warmer than those of Penrith and Richmond in
1995-628: Is buried in Springwood Cemetery in Springwood , close to Faulconbridge where he lived. A large body of his work is housed in his former home at Faulconbridge, New South Wales , now the Norman Lindsay Gallery and Museum , and many works reside in private and corporate collections. His art continues to climb in value today. In 2002, a record price was attained for his oil painting Spring's Innocence , which sold to
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#17327901353272090-471: Is listed on the (now defunct) Register of the National Estate as well as having a New South Wales heritage listing. In 1892, James Hunter Lawson built Braemar , a large, single-storey house situated on a sixty-acre property on Macquarie Road. Braemar started as a family residence, but later became a convalescent home, a boarding house, a private home again and a guesthouse. It was acquired by
2185-685: Is now known as the Norman Lindsay Gallery and Museum and is maintained by the National Trust of Australia . Lindsay was born in Creswick, Victoria , the son of Anglo-Irish surgeon Robert Charles William Alexander Lindsay (1843–1915) and Jane Elizabeth Lindsay (1848–1932), daughter of Rev. Thomas Williams, Wesleyen missionary, from Creswick. The fifth of ten children, he was the brother of Percy Lindsay (1870–1952), Lionel Lindsay (1874–1961), Ruby Lindsay (1885–1919), and Daryl Lindsay (1889–1976). In 1895, Lindsay moved to Melbourne to work on
2280-484: Is possible that the bath was a Foy installation and a result of the family's interest in hydrotherapy. It was not until 1915 that it was realised that the land on which the etching studio was constructed was not part of their property, so in 1916 the Lindsays rushed to Sydney to purchase the seven acres adjoining block, before the "actual" owners realised that there was a building on their property. This period also saw
2375-459: Is unlikely that any domestically recorded off-air copies exist either. Springwood, New South Wales Springwood is a town in the Blue Mountains , New South Wales , Australia . Springwood is located 72 kilometres west of the Sydney CBD in the local government area of the City of Blue Mountains . At the 2021 census , Springwood had a population 8,423 people. Springwood is near
2470-575: The Blue Mountains City Council in 1974, restored as a Bicentennial project and reopened in 1988. It serves as a community gallery and centre, staffed by volunteers. The local library is housed in a new building behind Braemar . Christ Church Anglican Church was built on the Great Western Highway from 1888 to 1889, with extensions in the 1960s and 1980s. It was designed by the architect Sir John Sulman , who had
2565-600: The Blue Mountains National Park and the Greater Blue Mountains Area World Heritage Site . It is 371 metres above sea level and, like most of the towns in the vicinity, is located on a narrow ridge between two gorges. Winmalee is to the north. Springwood railway station sits between Valley Heights and Faulconbridge on the Blue Mountains railway line . The Springwood area was first occupied by
2660-634: The Darug tribes of the north and the Gundungurra tribes to the south in the Blue Mountains area. In 1815, Governor Lachlan Macquarie and his wife stopped by what Macquarie called a spring. The place was later named Springwood: "Spring" from the springs in the area, and "wood" from the local Mountain Blue Gums (Eucalyptus deanei) of the area. As a town developed, the main street was named Macquarie Road, after Governor Macquarie. The first railway line
2755-568: The National Gallery of Victoria for A$ 333,900. The first major screen adaptation of Lindsay's literary works was the 1953 British film Our Girl Friday , based on his 1934 novel The Cautious Amorist . The 1969 Australian-British co-production Age of Consent , adapted from Lindsay's 1938 novel of the same name, was the last full-length feature film directed by Michael Powell , and starred James Mason and Helen Mirren in her first credited movie role. In 1994, Sam Neill played
2850-618: The ABC's TARA Online television database, and the collection database of the National Film & Sound Archive conducted in March 2009, failed to return any results for these programs. Regrettably, many videotaped ABC programs, series such as Certain Women and program segments from the late 1960s and early 1970s, were subsequently erased as part of an ill-considered economy drive. Although
2945-589: The Australian landscape with erotic pagan elements and were deemed by his critics to be "anti-Christian, anti-social and degenerate". A vocal nationalist , he became a regular artist for The Bulletin at the height of its cultural influence, and advanced staunchly anti- modernist views as a leading writer on Australian art . When friend and literary critic Bertram Stevens argued that children like to read about fairies rather than food, Lindsay wrote and illustrated The Magic Pudding (1918), now considered
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3040-414: The Great Western Highway and the railway line. The Springwood & District Chamber of Commerce represents retailers, businesses, services and not-for-profit organisations in Springwood and surrounding areas. The town is serviced by three high schools, Springwood High School , Winmalee High School and St. Columba's High School , as well as private and selective high schools in other suburbs. Springwood
3135-492: The Norman Lindsay Gallery Museum, etching studio and grounds, are intrinsically connected to Norman and Rose Lindsay, the Lindsay family generally, and the society of visitors and artists which the place attracted. The Norman Lindsay house and grounds occupied an important place in the artistic, literary and moral history of early to mid-20th century Australia: and as such the place is significant within
3230-475: The Oryang-Ora Aboriginal people belonging to the wider Darug Aboriginal tribe of the wider Sydney region. They settled the area about 40,000 years ago, with many rock carvings and art sites in the area. At the time of settlement the chief of the clan was Oryang Jack who was drawn by French artist Pellier. "Oryang-Ora" was also the reference to the area that marked the dividing ridge line between
3325-766: The Rodin house and museum in Paris. In 2015 the National Trust completed a new state-of-the-art air-conditioning system in the gallery that will ensure the nationally significant artworks are displayed in museum-standard climate-controlled conditions, reduce energy consumption and operational costs. The gallery, along with Everglades and Woodford Academy were all represented in the Blue Mountains Winter Magic street festival which attracted over 30,000 people. Currently, Norman Lindsay's house and property
3420-492: The artist's wife, Rose Lindsay (nee Soady). The property, owned by the National Trust of Australia (NSW) (Community Group), is also known as Maryville and Springwood . The site includes a stone cottage home on a 17-hectare (42-acre) and several smaller buildings, including two used by Lindsay as an oil painting studio and an etching studio. It was added to the New South Wales State Heritage Register on 1 March 2002. The 1994 film Sirens , based on Lindsay's work and life,
3515-423: The bedroom, using the courtyard for carpentry, cutting mounts in the sleepout and using the dining room for painting, writing and living. The spare bedroom he used for sleeping. In 1968 Norman installed his final statue, a fountain with the figure of a reclining woman. This statue was constructed in the courtyard and lifted by a crane to its current position. By this time, Norman had decided that he wished to bequest
3610-444: The beginning of Norman Lindsay's project of populating the bush landscape of Springwood with nude statues. The first statue, of a female nude standing upright in an urn, was constructed and installed before the major works on the verandah began. Soon after the completion of the verandah and the front steps, Norman constructed two standing female nudes, which were placed on either side of the steps. Between 1914 and 1916 construction of
3705-436: The bottom of the garden and the swimming pool. In 1946 the property was connected to the town water supply, leading to the construction of Norman's first fountain, the seahorse. This fountain had running water before the house was connected. In that same year the wall between the dining room and the nursery was removed and the ceiling was renovated, creating the dining room as it is now. It was in this year also that drawing room
3800-407: The building. Initially a kitchen and the bathroom were renovated and tiled in a style designed by Rose. The original hexagonal pattern now remains only within the pantry adjacent the kitchen currently used as a storeroom. At this time Rose also tiled all the doorsteps, the fireplace, front steps and outside toilet. Contemporaneously with these renovations a temporary corrugated galvanised iron structure
3895-641: The closure of ABC Sydney's Gore Hill studio, uncovered considerable quantities of film and video footage long thought to have been lost, such as the complete The Aunty Jack Show , the absence of any reference on the TARA or NFSA databases and the paucity of citations elsewhere, e.g. IMDb, suggest that the master recordings of the adaptations of the Norman Lindsay novels may no longer exist. The first broadcasts of these programs predated widespread domestic ownership of videocassette recorders in Australia, so it
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3990-468: The construction of a more permanent sandstone studio was under way to the west of the main building, and further down the hill. This studio was a one-room construction with a closed verandah. This first studio was to later become the Etching Studio. Further down the hill were steps leading to a rectangular Roman style bath, apparently a pre-Lindsay installation on the location of a natural spring. It
4085-416: The cultural or natural history of New South Wales. Norman Lindsay Norman Alfred William Lindsay (22 February 1879 – 21 November 1969) was an Australian artist, etcher, sculptor, writer, art critic, novelist, cartoonist and amateur boxer . One of the most prolific and popular Australian artists of his generation, Lindsay attracted both acclaim and controversy for his works, many of which infused
4180-454: The differing construction techniques. On the inside of the wall, in between the front gate and the driveway entrance, was a semi circular concrete bench under a gum tree. On one end was an iron urn and at the other was a circular stone with a hole in the middle. As it was not a very sound structure, it had been demolished by the 1930s. During this time the Foys owned the property, a number of outbuildings were constructed. A two bedroom cottage with
4275-490: The dining room to the kitchen was also built at this time, with a gauze doorway giving access to both the courtyard and the Isabella grapevine pergola on the other side. This pergola extended across from the edge of the kitchen roof to the edge of the nursery roof, and must have been installed and planted soon after the construction of a garage next to the existing shed. 1928 had under taken numerous other developments. Perhaps
4370-412: The following criteria. The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales. The house, studios, grounds and bush walk which comprise what we know as the Norman Lindsay Gallery Museum, etching studio and grounds, are intrinsically connected to Norman and Rose Lindsay, the Lindsay family generally, and the society of visitors and artists which
4465-445: The form of the men's toilets. The Studio also underwent changes with the addition of a small fibro-asbestos storeroom at the back. Within this storeroom was a darkroom, with red and green windowpanes which could be dropped into places as required during film processing. Two years later a small bedroom was added, extending towards the northwest with a shed behind it, thus replacing the first floor deck. In 1924 also bought major changes to
4560-439: The four rooms at the rear of the main building. The four rooms consisted of a nursery on the northeast end. In keeping with Norman's original design, the roof and four rooms maintained the slope of the main buildings roof leading to the problem of very low perimeter ceilings in these rooms. At this time the bathroom was also built next to the kitchen, and the sleepout was glazed. The laundry was also in existence, which remains now in
4655-409: The holiday retreat, The Hydro Majestic . The house, renamed Maryville , was a small four bedroom construction with a roof covering of French tiles and a corrugated galvanised iron bullnosed verandah painted with red and white stripes, wooden support posts and iron lace brackets. There was a bow window on the left of the front door and a double hung sash window on the other side of the door. Because of
4750-565: The home of the Reeds, at Heide near Heidelberg, includes a gallery for exhibitions and has a full-time curator. Daryl Lindsay's house at Mulberry Hill in Victoria is a National Trust property open for public visitation. Norman Lindsay is widely recognised within Australia and overseas, and most visitors to Springwood are familiar with his name, if not with everything he did. Perhaps the best comparison for an artist's house museum could be made with
4845-551: The influence that the English Romantic movement and notions of Arcadia had on Norman Lindsay's planning endeavors. Soon after the completion of the swimming pool in 1916, the statue of seated women was installed at its edge. At the same time the statue of the "Satyr Pursuing the Nymph" was constructed and positioned in its current location. The statue of the nude with her hands behind her head as also of this era, though it
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#17327901353274940-516: The installation of Fluorescent lights and the blocking off of the windows and the French doors. Lindsay remained living on the property until his death in 1969, aged 91. The oil painting studio has been preserved as it was at the time of his death with unfinished oils and materials. The property was purchased by the National Trust in December 1970 for A$ 50,000. In 1994 the property was used to film
5035-473: The lack of light resulting from the courtyard construction. Soon after, the Balinese dancer statue was installed as a centrepiece to the open grass area in the courtyard space, which was used from this time as the main entertaining area. Around this time in 1924, the statue of the women holding her breasts was constructed, and placed on a bench, which had first been constructed in the 1910s. The passageway from
5130-400: The laundry was no longer in use. In 1956 Rose moved to Hunters Hill with Jane and did not live at Springwood again. Late in the 1950s, when Norman was living alone; a bushfire came through and destroyed the shed complex. Soon after this, the painting studio began to leak so Norman moved into the house. From the late 1950s onwards he used the house as a virtual studio: keeping the model boats in
5225-503: The lower Sydney metropolitan area, which lie on the footsteps of the Blue Mountains. This is mainly because cool air from the mountains sinks to the Cumberland Plain , thus cooling these suburbs at night. Springwood has a higher annual rainfall amount than these nearby suburbs on the floodplain. Furthermore, Springwood can suffer bushfire damage during the spring and summer months due to it being located in, and surrounded by,
5320-429: The main roof. At the north eastern side, a two-foot wall was constructed on the outside edge of the verandah, approximately halfway along that side and green wooden venetian blinds were added to the front and side to make a sleep-out. Norman's design meant that the pitch of the roof was carried through to the verandah, and in conjunction with his interest in the classics, he cast many Grecian Ionic columns for supports. It
5415-443: The most appropriate interpretation of the place for the visiting public. The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. The landscape and statues of the Norman Lindsay property is highly significant because it represents an eclectic mix of Blue Mountains hill station gardenesque and interwar domestic styles with idiosyncratic overlays of
5510-425: The most important was the installation of the main colonnade pergola running south-east/north-west along the northeastern wall of the main building. The ionic columns making up the walkway were made by Norman in the tradition of his earlier renovations, and wisteria plants were added soon after. Using the same moulds, Norman also built the tank stand on the northwestern side of the studio. A second bedroom and bathroom
5605-399: The movie Sirens . During their period of residence at Springwood, the Lindsays created a body of work of national importance. Norman Lindsay was the artist and creator: Rose was the etching technician, nurturer and wellspring of Norman's artistic drive. Much of Norman's art was inspired by the physical form of their Springwood property; and his imagination peopled its landscape and provided
5700-400: The place attracted. The Norman Lindsay Gallery Museum and grounds are historically significant because of the influence and activities of the National Trust of Australia (NSW), who have owned and managed the property since 1969–1970. The trust's custodianship and management of the Springwood property over the last thirty years has been informed by an evolving understanding of the property: and of
5795-506: The plants did remain. During this time there was also a bush pole and chicken wire screen planted with banana passionfruit, which ran from the corner of the laundry to the tank stand next to the studio. After Norman and Rose left, "The Camp" was abandoned as the servants quarters when the Gassons, the staff of that time, moved into the house to take care of Jane and Honey Lindsay. Soon after, the building became infested with termites, until it
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#17327901353275890-417: The potential fire risk, the kitchen was a separate building. The kitchen was constructed from a different stone to that of the main building and was located on the highest point of the property. This siting suggests that perhaps the kitchen was the first building constructed, even when Ryan owed the property. The front of the verandah was enclosed by a dry stone wall, which was later added to, as illustrated by
5985-423: The property to the National Trust of Australia, and consequently began making changes to the building, which continued, into 1969. These changes were the initial stages of the property's conversion to a gallery and museum. With the help of Harry McPhee, the "Sleep-out" was extended to the front wall and totally enclosed, with the addition of a counter for the use of a shop. The drawing room underwent major changes with
6080-490: The racist and right-wing political leanings that dominated The Bulletin at that time; the " Red Menace " and " Yellow Peril " were popular themes in his cartoons. These attitudes occasionally spilled over into his other work, and modern editions of The Magic Pudding often omit one couplet in which "you unmitigated Jew" is used as an insult. Lindsay was associated with a number of poets, such as Kenneth Slessor , Francis Webb and Hugh McCrae , influencing them in part through
6175-464: The rest of the facade. These were salvaged from the rubbish tip years later by the Lindayana collector Keith Wingrove, who repaired them and later donated them to the National Trust (NSW) when the bequest eventuated. The statues were replaced with two urns, which Rose purchased. The winged siren statue and the bench were installed in 1928 on the site of the roundhouse. It is not known when this building
6270-464: The studio reverted to its former use upon Norman's and Janis return in 1940. Following Norman's and Jane's return from Sydney in 1940 and following Rose's return from the United States of America in 1942, there was a further period of change for the property. In 1941, the statue of the woman bending to dry her hair was moved from its position at the front of the studio to its current location at
6365-439: The swimming pool and the landscaping of the surrounding bush was in progress. The back wall of the pool was laid on bedrock, under which water seeped. There were also two cracks due to the formwork being taken away too soon. The filtration system consisted of fine wire netting through which the water flowed. The water was run off the property. There were also numerous terraces placed within the surrounding hillside, perhaps reflecting
6460-459: The tangible; hence the use of models photographs and research files of magazine clippings in developing a work. In a similar way, Norman Lindsay's determined manipulation of the Springwood buildings, gardens and landscape consciously provided tangible forms, which informed his artwork, and provided imagery for them. Thus the house and garden have the rare ability to illustrate Norman Lindsay's creative process. The Lindsay's Springwood property is, and
6555-454: The then South Kensington Museum where he made sketches of model ships in the museum's collection stimulated a lifelong interest in ship models. The Lindsays returned to Australia in 1911. Lindsay wrote the children's classic The Magic Pudding which was published in 1918. Many of his novels have a frankness and vitality that matches his art. In 1930 he created a scandal when his novel Redheap , supposedly based on his hometown, Creswick,
6650-668: The third Sunday of August, to coincide with the anniversary of the Battle of Long Tan . Springwood has some parklands with bushwalks often leading into wilderness areas. Fairy Dell is located immediately south of the township and has some tracks leading into the Blue Mountains World Heritage area . The Deanei Reserve is another bushland area which is located east of the township and hosts the threatened and endangered Blue Mountains Shalecap Forest. There are also bushland walks in this bushland Reserve. Buttenshaw Park
6745-403: The top of the stairs leading to the swimming pool, on the understanding that the move would be temporary until Norman could find another base. This rearrangement was to make way for Norman's latest creation, the three-figure statue of a female nude and two satyrs. It was around 1943 that the two statues of the satyr and the sphinx were constructed and installed in their positions marking the path to
6840-404: The trellis which ran behind this statue group and in front of the studio. This trellis also hid the outhouse. 1920 brought the marriage of Norman and Rose and within two weeks the birth of their first child, Jane. This led to major changes to the house and grounds, and is perhaps this year that was one of the most important in terms the site's development. The principal change was the addition of
6935-626: The war. Unfortunately, they were discovered when the train they were on caught fire and were impounded and subsequently burned as pornography by American officials. The artist's older brother Lionel remembered Lindsay's reaction: "Don't worry, I'll do more." Lindsay married Catherine (Kate) Agatha Parkinson, in Melbourne on 23 May 1900. Their son Jack was born in Melbourne on 20 October 1900, followed by Raymond in 1903 and Philip in 1906. They divorced in 1918. He later married Rose Soady who
7030-408: The western elevation is adjacent to a kitchen and former bathroom which are separately connected to the house by enclosed breezeways. The grounds are an eclectic mix of Blue Mountasins hill station gardenesque and interwar domestic styles with idiosyncratic overlay of the work of the artist Norman Lindsay and members of his family in a park like setting surrounded by remnant native bushland. The garden
7125-408: The woman bending to dry her hair which was originally positioned directly in front of the new studio. It would have been soon after this that a bust was added to a head that was given to Norman by Francis Crossle, and which was subsequently installed to the left of NTA No 673. Later another bust was produced to match this one and was placed on the right hand side of NTA No 637, in front of the opening in
7220-507: The women "fleshy strumpets"; English writer Hesketh Hubbard condemned a Lindsay exhibition in London in 1923 as "salacious"; Australian art critic Alan McCulloch at the time of Lindsay's death, called Lindsay's figures "galumphing"; To gain an instant local response (and perhaps an audience overseas?) he exaggerated grossly the erotic and sensational elements. The people he drew were always in shocking taste whether nude or clothed and his humor
7315-420: The work of the artist Norman Lindsay and members of his family in a park-like setting surrounded by remnant native Bushland. The garden is adorned with sculptures of nymphs, satyrs, sphinxes and female forms, fountains and urns. Formal hedges lead to particular statues and the extensive lawns are dotted with exotic specimen trees, mainly conifers and coral trees. The place has a strong or special association with
7410-464: Was added to the studio, which housed Jane in 1940s and the domestic staff at various other times, and a small square window was knocked out of the front wall to compensate for the limited light provided by the skylight. The shed was also extended to allow for Rose's second car. Numerous changes to the garden had also eventuated by 1928. The two figures flanking the sides of the front steps were removed by Rose, as she believed them to be disproportionate to
7505-413: Was also at this time that the wall between the two southwestern rooms was removed, thus creating the drawing room. The original bow window was also replaced with a pair of lead light French doors. Recesses were also made within the walls to accommodate Normans art works. At the same time temporary wooden studio was built under a Moreton Bay Fig, where the courtyard is today. Whilst Lindsay used this studio,
7600-411: Was also his business manager, a most recognisable model, and the printer for most of his etchings. They had two daughters: Jane Lindsay, born in 1920, and Helen Lindsay, born in 1921. Philip died in 1958 and Raymond in 1960. In the Lindsay tradition, Jack became a prolific publisher, writer, translator and activist. Philip became a writer of historical novels, and worked for the film industry. Lindsay
7695-603: Was banned due to censorship laws. In 1938, Lindsay published Age of Consent , which described the experience of a middle-aged painter on a trip to a rural area, who meets an adolescent girl who serves as his model, and then lover. The book, published in Britain, was banned in Australia until 1962. Lindsay is widely regarded as one of Australia's greatest artists, producing a vast body of work in different media, including pen drawing , etching , watercolour , oil and sculptures in concrete and bronze . Lindsay's creative output
7790-418: Was constructed from locally quarried sandstone, and it was completed in 1950, as well as flagged paths and terraces. Jane Lindsay lived there, on and off until about 1956 when she and her husband Bruce moved to Hunters Hill . At this time a septic system was installed at Jane's new house, and later at the main house. By this time the washing machine at the main house was located in the bathroom, indicating that
7885-429: Was constructed, though it was probably in the middle to late 1910s. The only remaining fabric is the concrete slab, upon which the bench and statue were placed. Just before Norman and Rose left for the United States of America and England in 1930, one last addition was completed. The passageway between the ding room and the bathroom was constructed, resulting in the dismantling of the grape vine pergola, though remnants of
7980-424: Was erected west of original kitchen to house the old small fuel stove. The most important development of this period was the construction of the courtyard behind the spare room and sewing room, and west of the kitchen. A high wall was constructed on the southwest end, which was blind except for small square windows on either side of the storeroom. The building of this storeroom which still serves its original function
8075-406: Was filmed at the home and studio. The 17-hectare (42-acre) property was originally owned by Patrick Ryan, a local stonemason. In 1898 he sold the land, then called "Erin-go-Braugh" to Francis Foy, brother of Mark Foy , a Sydney entrepreneur. Soon after Foy commissioned Ryan to build a sandstone cottage, which his family used as a halfway house between Sydney and Medlow Bath , where Mark Foy owned
8170-400: Was finally demolished around 1933. This period also spelt the end of the children's playhouse under the remaining Moreton Bay Fig. The playhouse had been built in the mid-1920s. Upon Norman's and Rose's return from overseas and Norman's departure to 12 Bridge Street Sydney in 1934, a number of alterations came about, primarily instigated by Rose. With the intention of converting the studio to
8265-459: Was gained by a ladder through a trapdoor in the ceiling of the building still remaining. The deck had rigging of screens and an umbrella, but it was abandoned due to the lack of protection from the elements. It was at this time also that previous studio was dedicated solely to the production of etchings, reflecting the changing direction in Norman's art. A statue installation of this time was that of
8360-695: Was originally part of the Penrith parish, but were given their own building in 1892: St Thomas Aquinas Church . The church has since relocated to St Columba's grounds, Winmalee. Springwood has a number of heritage-listed sites, including: A small part of Springwood, along with larger parts of the adjacent town of Winmalee and nearby village of Yellow Rock were badly affected by bushfires in October 2013 . 193 residential properties were destroyed, and 109 damaged in those localities. Springwood's commercial area centres around Macquarie Road which runs parallel to
8455-402: Was perhaps originally placed in another location and moved in the late 1930s. In 1918, the present painting studio was built by Norman Lindsay and Percy Louden, a local man who worked on the property. In its original state, the studio was a one-room building, assembled from concrete and coke breeze bricks made by Lindsay. There was also a first level deck on the northeastern side, to which access
8550-480: Was put through the Blue Mountains in 1867, and the Springwood station was built in 1868. This station was replaced by a more substantial building in the Victorian Gothic style, constructed in 1884 under the direction of John Whitton , Chief Engineer of NSW Railways; a porter's cottage was constructed just west of the station. Springwood Station is the second-oldest surviving station in the Blue Mountains. It
8645-431: Was redecorated, with the painting recesses and gold wallpaper being removed, and the lounge suites recovered. By 1949, the etching studio was no longer in use, due to the change in direction Norman had taken with his art, and so the seven-acre block and the studio were transferred to Jane's name. She consequently designed extensions to the studio for a house and commissioned Clarrie and Mick Stratton to build it. The cottage
8740-451: Was the 'sick' humor of the Roman forum. Poet A.D. Hope in a book of Lindsay pencil drawings wrote that: These are faithful and loving studies of the model in which the breasts and thighs are as individual and eloquent as the faces, and every part of the body thinks, feels and speaks. In 1940, Lindsay took sixteen crates of paintings, drawings and etchings to the U.S. to protect them from
8835-406: Was undertaken during a period which was one of the most productive times for Norman and his art. Verandahs were constructed on the opposing northwest and southeast facing walls. The verandah supports are wooden posts with concrete bases, and when the courtyard was completed, awnings were added to the northwest facing verandah roof. It was at this time that a skylight was added to the sewing room due to
8930-490: Was unique in Australia. The artist lived and worked there for most of his life. There are several other properties in Australia, which have connections with artists. At Hahndorf, in South Australia the house and studio of Hans Heyson has been maintained, but it has much more of a domestic sense than the Springwood property. The Arthur Boyd property at Bundanoon is now operated to include working artists. In Melbourne
9025-412: Was vast, his energy enormous. Several eyewitness accounts tell of his working practices in the 1920s. He woke early and produced a watercolour before breakfast. By mid-morning, he would be in his etching studio where he worked until late afternoon. In the afternoon, he worked on a concrete sculpture in the garden. In the evening, he'd write a new chapter for whatever novel he was working on at the time. As
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