- Alternative title
- Castlereagh Street
- Media category
- Materials used
- etching, printed in black ink with plate tone on cream wove paper
- 15.1 x 22.6 cm platemark; 21.8 x 28.8 cm sheet
- Signature & date
Signed l.l., pencil "Lionel Lindsay".
Signed within plate to print l.l., "LIONEL LINDSAY". Not dated.
- Anonymous gift 1973
- Not on display
- Accession number
- © Estate of Lionel Lindsay
- Artist information
Works in the collection
Lionel Lindsay was born at Creswick, Victoria. His first lessons in art were from Walter Withers at Creswick. He later studied at the National Gallery School, Melbourne and contributed black and white illustrations to various newspapers and magazines, including the 'Bulletin'. He was an inveterate traveller; his first visit to what became his beloved Spain, was in 1902. He and his artist brothers and sister - Percy, Norman, Daryl and Ruby - made up one of the most influential families of Australian artists. Lionel and Norman Lindsay are the best known of the Lindsay children and most diverse in their interests and talents. Both produced oeuvres of exceptional prints. Lionel was a brilliant etcher and wood-engraver, but also a fine draughtsman, watercolourist, collector of and writer about art. His books on Ernest Moffit, Charles Keene, Conrad Martens and his brother Norman reflected his interests and 'Addled Art' (1943) the most extreme of his prejudices. Through his friendships, enthusiasms, writings and as a trustee of the AGNSW, he exerted a considerable influence over art in Australia. His friendship with Harold Wright, a director of the distinguished art dealers, Colnaghi in London, led to important exhibitions of his work in England, the first in 1927.
Lionel credited John Shirlow with generating his interest in prints. Shirlow's etchings and the collection of prints bought by Hubert Herkomer for the National Gallery of Victoria were formative influences. He named his Sydney home 'Meryon' in honour of the etcher who most fired his imagination. In turn, Lionel introduced his younger brother Norman Lindsay and a number of other artists, such as Sydney Ure Smith and Hans Heysen, to etching. He was elected the first President of the Australian Society of Painter-Etchers in 1921.
Bowden's corner was the intersection of Castlereagh and Hunter Streets in Sydney.
Hendrik Kolenberg and Anne Ryan, Australian prints in the Gallery's collection, AGNSW, 1998
Shown in 2 exhibitions
Everyday Life, prints, drawings and watercolours from the collections of Australian and European Art:
Australian prints from the Gallery's collection (1998-1999), Art Gallery of New South Wales, Sydney, 06 Nov 1998–07 Feb 1999
Referenced in 4 publications
Hendrik Kolenberg and Anne Ryan, Australian prints from the Gallery's collection, Sydney, 1998, 39 (illus.). cat.no. 23
Hendrik Kolenberg, Everyday life: prints drawings and watercolours from the collections of Australian and European art, Sydney, 1994. cat.no. 56
Anne Ryan, Australian etchings and engravings 1880s–1930s from the Gallery's collection, Sydney, 2007, 23 (colour illus.). cat.no. 29
John Slater, Through artists' eyes: Australian suburbs and their cities 1919-1945, 'The end of certainty: the uneasy city', pg. 125-136, Melbourne, 2004, xiii, 127 (illus.). illus.no. 107
Other works by Lionel Lindsay
See more works