Post on 28-Feb-2019
AA PPaattrroonn’’Paintings from the Howard Hinton Collection
Norman Lindsay’s relation-
ship with Howard Hinton,
art collector and public
benefactor of the arts,
spanned over 30 years until
Hinton’s death in 1948. As
a connoisseur of Australian
art, in a broad sense Hinton
was Lindsay’s patron,
however this is not to
suggest that Lindsay was
either employed or
commissioned by him to
produce artworks. Hinton
sought to assemble a
representative collection
illustrating the development
of Australian art from 1880
essentially bought what he liked, and
Norman Lindsay he recognised one of the
great practitioners of his day,
one of his favourites.
Lindsay held Hinton in special regard
of his most valued friends but also
admired his stated project of collecting
preserving the best art of his generation in
this country: “I can recall him
in those [early] days coming to the counter of
the old Bulletin … buying examples of the
pen-work of Lambert, Mahony and others.
course he was one of the first patrons of our
Society of Artists’ exhibitions … my
friendship dates from that time.”
Hinton acquired artworks from exhibitions
and directly from the artist in
Norman Lindsay’s protégé Margaret Coen
remembered Lindsay taking great pleasure in
Howard Hinton’s annual visits to Springwood,
‘… not because of a possible sale, as buyers
were not encouraged, but for the interest that
Hinton had in the work, and the f
left behind that it was worth doing. He would
come on Saturday and spend till Sunday
1 Norman Lindsay, ‘The Mission’, Howard Hinton
Art, Sydney, 1951, p.13.
Norman Lindsay c.1931
’’ss FFaavvoouurriittee LLiinnPaintings from the Howard Hinton Collection
from 1880, but he
essentially bought what he liked, and if in
ed one of the
he also found
in special regard as one
s but also greatly
collecting and
preserving the best art of his generation in
“I can recall him [Hinton] often
in those [early] days coming to the counter of
… buying examples of the
ahony and others. Of
one of the first patrons of our
Society of Artists’ exhibitions … my
riendship dates from that time.” 1
Hinton acquired artworks from exhibitions
in his studio.
Margaret Coen
remembered Lindsay taking great pleasure in
n’s annual visits to Springwood,
not because of a possible sale, as buyers
were not encouraged, but for the interest that
Hinton had in the work, and the feeling he
left behind that it was worth doing. He would
come on Saturday and spend till Sunday
Howard Hinton, Patron of
afternoon looking at everything.
Then he would ask to be left
alone for an hour with the
pictures. When he asked
Norman to come in, he would
have his selected pi
and would enquire the price.
He always made Norman feel
that he was the privileged one
to be allowed to buy one or two.
One day when
picture at a hundred pounds,
Hinton at once wrote a cheque.
“I couldn’t take it for
he said, handing
cheque for
seventy-five pounds.’
2 Meg Stewart, Creative Friendspp.35-36.
HydrangeaHydrangeaHydrangeaHydrangea,,,, Norman Lindsay, 1934
NERAM, Bequest of Howard Hinton
nnddssaayyss Paintings from the Howard Hinton Collection
afternoon looking at everything.
Then he would ask to be left
alone for an hour with the
pictures. When he asked
Norman to come in, he would
have his selected pictures up
and would enquire the price.
He always made Norman feel
that he was the privileged one
to be allowed to buy one or two.
One day when Lindsay priced a
picture at a hundred pounds,
Hinton at once wrote a cheque.
I couldn’t take it for less”,
id, handing him his
cheque for a hundred and
five pounds.’ 2
Creative Friends, unpublished MS, 2010,
4, Watercolour,
of Howard Hinton, 1948.
AA PPaattrroonn’’Paintings from the Howard Hinton Collection
Lindsay recalled his lasting personal debt to
Hinton as ‘… not one that can be paid. It is
not concerned with the encouragement from
his buying examples of my work over the
years, though I record gratitude for the
stimulus of his appreciation …. My debt goes
to a certain emanation of the spirit from him
that I can define only by the bedraggled label
of Faith. Even in the blackest and most
depressed years, that emanation assured one
that the job was worth doing.’ 3
Between 1914 and 1948 Hinton
pictures to the National Gallery of New South
Wales, including works by E. Phillips Fox,
George Lambert, Elioth Gruner,
and Arthur Streeton. However, when
his donations were refused he
idea of endowing a regional centr
art collection the equal of anything to be
found in the city. For this purpose Hinton
chose the Armidale Teachers’ College, making
his first donation in 1929. By 1948 Hinton’s
bequest totalled over 1000 artworks
art library of some 700 volumes.
3 Norman Lindsay, ‘The Mission’, Howard HintonArt, Sydney, 1951, p.14.
GuardedGuardedGuardedGuarded,,,, Norman Lindsay, 1933, Watercolour,
NERAM, Gift of Howard Hinton, 1939.
’’ss FFaavvoouurriittee LLiinnPaintings from the Howard Hinton Collection
Lindsay recalled his lasting personal debt to
‘… not one that can be paid. It is
not concerned with the encouragement from
his buying examples of my work over the
years, though I record gratitude for the
stimulus of his appreciation …. My debt goes
to a certain emanation of the spirit from him
can define only by the bedraggled label
of Faith. Even in the blackest and most
emanation assured one
Between 1914 and 1948 Hinton gave 122
pictures to the National Gallery of New South
Wales, including works by E. Phillips Fox,
Gruner, Tom Roberts
However, when some of
conceived the
centre with an
art collection the equal of anything to be
For this purpose Hinton
chose the Armidale Teachers’ College, making
in 1929. By 1948 Hinton’s
works, and an
lumes.
Howard Hinton, Patron of
Norman Lindsay described
endowment as the only complete collection of
Australian art in the country,
should be acknowledged that as
no patience with Modern art
works are largely unrepresented in the
collection.
Howard Hinton’s original bequest to Armidale
included 13 Norman Lindsay watercolours
of his etchings and 6 pen drawings.
The works chosen for
represent Norman Lindsay’s various
preoccupations, ranging from lusty pirates
and images of sail to mythological fantasies
centred on voluptuous nudes and marvellous
creatures, as well as carousing scenes set in
sunlit Arcadian landscapes.
Happiness, Belshazzarnumbered among Hinton’s
favourites and hung in his bedroom until his
death in 1948.
, Watercolour,
Howard HintonHoward HintonHoward HintonHoward Hinton,,,, George W Lambert, Oil, 1928, AGNSW
nnddssaayyss Paintings from the Howard Hinton Collection
orman Lindsay described Hinton’s
as the only complete collection of
Australian art in the country, although it
should be acknowledged that as Hinton had
odern art styles such
unrepresented in the
original bequest to Armidale
Norman Lindsay watercolours, 5
etchings and 6 pen drawings.
chosen for this exhibition
represent Norman Lindsay’s various
ranging from lusty pirates
and images of sail to mythological fantasies
centred on voluptuous nudes and marvellous
carousing scenes set in
sunlit Arcadian landscapes. Of these,
Happiness, Belshazzar and Guarded among Hinton’s personal
his bedroom until his
W Lambert, Oil, 1928, AGNSW
AA PPaattrroonn’’ss FFaavvoouurriittee LLiinnddssaayyss Paintings from the Howard Hinton Collection
These are some of Lindsay’s best regarded
watercolours. Odysseus, painted in 1928, is
one of the largest works Lindsay attempted,
the size governed by the available
watercolour paper. Lindsay depicts Ulysses,
returning from the Trojan War, his plunging
galley harried by winged sirens.
Featured in this exhibition are three of
Lindsay’s loveliest watercolours. All date from
the early 1930s. A young Margaret Coen
served as the model for Happiness. The
impact of the hauntingly beautiful Guarded derives as much from the intense colour
palette as from intriguing relationship
between the sphinx, her lady and the serpent
who guards them. Hydrangea offers a moody vision when contrasted with the sunlit garden
of Happiness.
Belshazzar, painted in 1932, is an opulent rendering of the biblical story centring on the
king surrounded by wives and concubines.
Both Hot Blood and Careening Cove pursue a pirating theme. Lindsay regarded James Robb,
the model for the central figure in Hot Blood as having the perfect pirate scowl. While
Careening Cove is an actual Sydney harbour
cove this composition is entirely imaginary.
In 1942 there was some correspondence
between Lindsay and Hinton about the
accuracy of the way Lindsay had set his
vessel’s sails. Hinton was nonplussed
however, remarking that ‘personally from the
first time I saw it, I have not wanted any
alteration in the painting, the more I see it the
more I like it, and I am sure the teachers
college…. will welcome it with open arms.’4
Acknowledgments: New England Regional Art Museum, (NERAM) Armidale NSW
Curated by: Amanda Trevillion and Gaye McKenna Special thanks to: Caroline Downer, Helen Glad, Deborah Carmichael, Angela Finocchiaro, Meg Stewart, Selena Siefert, Odana Editions, Ken Francis, Jeff Watson & John Street Norman Lindsay Artworks © H, C and A Glad
NORMAN LINDSAY GALLERY 14 Norman Lindsay Cres, Faulconbridge NSW Tel: (02) 4751 1067 Email: info@normanlindsay.com.au www.normanlindsay.com.au
4 Lin Bloomfield, Norman Lindsay Watercolours 1897-1969, Odana Editions, 2003.
Odysseus, Odysseus, Odysseus, Odysseus, Norman Lindsay, 1928, Watercolour, NERAM,
Gift of Howard Hinton, 1934
BelshazzarBelshazzarBelshazzarBelshazzar , Norman Lindsay, 1934,Watercolour, NERAM, Bequest of Howard Hinton, 1948
AA PPaattrroonn’’ss FFaavvoouurriittee LLiinnddssaayyss Paintings from the Howard Hinton Collection
CATALOGUE –
Sunny DaysSunny DaysSunny DaysSunny Days 1916 Watercolour 28.7 x 25.5 cm NERAM Gift of Howard Hinton, 1947
OdysseusOdysseusOdysseusOdysseus 1928 Watercolour 125 x 100 cm NERAM Gift of Howard Hinton, 1934
HappinessHappinessHappinessHappiness 1933 Watercolour 50.1 x 38 cm NERAM Bequest of Howard Hinton, 1948
GuardedGuardedGuardedGuarded 1933 Watercolour 47.7 x 36.9 cm NERAM Bequest of Howard Hinton, 1948
BelshazzarBelshazzarBelshazzarBelshazzar 1934 Watercolour 46.6 x 40.2 cm NERAM Bequest of Howard Hinton, 1948
HydrangeaHydrangeaHydrangeaHydrangea 1934 Watercolour 37.2 x 27.9cm NERAM Bequest of Howard Hinton, 1948
Hot BloodHot BloodHot BloodHot Blood 1936 Watercolour 37.5 x 43.2 cm NERAM Gift of Howard Hinton, 1938
Careening Cove Careening Cove Careening Cove Careening Cove 1942 Watercolour 57.4 x 44.9 cm NERAM Gift of Howard Hinton, 1942
Study for Happiness Study for Happiness Study for Happiness Study for Happiness 1933 Pencil on Paper 62 x 52 cm NERAM Purchased by Packsaddle Fundraisers 1999
Study for Guarded Study for Guarded Study for Guarded Study for Guarded 1933 Pencil on Paper 58 x 43 cm NERAM Gift of the Packsaddle Fundraisers, 1999
NORMAN LINDSAY GALLERY 14 Norman Lindsay Cres, Faulconbridge NSW 2776
Tel: (02) 4751 1067 Email: info@normanlindsay.com.au
www.normanlindsay.com.au