Norman Lindsay Gallery

Item details


Name of item:	Norman Lindsay Gallery
Other name/s:	Maryville, Springwood
Type of item:	Landscape
Group/Collection:	Landscape - Cultural
Category:	Historic Landscape
Location:	Lat: -33.6793422271 Long: 150.5611748860
Primary address:	14-20 Norman Lindsay Crescent, Faulconbridge, NSW 2776
Local govt. area:	Blue Mountains
Local Aboriginal Land Council:	Deerubbin

Property description

Lot/Volume Code	Lot/Volume Number	Section Number	Plan/Folio Code	Plan/Folio Number
LOT	1		DP	530317
LOT	2		DP	530317

All addresses

Street Address	Suburb/town	LGA	Parish	County	Type
14-20 Norman Lindsay Crescent	Faulconbridge	Blue Mountains			Primary Address

Owner/s

Organisation Name	Owner Category	Date Ownership Updated
National Trust of Australia (NSW)	Community Group

Statement of significance:


	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 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 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. (Peter Freeman Pty Ltd, 1999).
	Date significance updated: 12 Oct 00
	Note: The State Heritage Inventory provides information about heritage items listed by local and State government agencies. The State Heritage Inventory is continually being updated by local and State agencies as new information becomes available. Read the Department of Premier and Cabinet copyright and disclaimer.

Description


Builder/Maker:	Francis Foy; Patrick Ryan; Norman Lindsay; Rose Soady
Construction years:	1898-1913
Physical description:	Garden and Grounds: 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 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. A colonnaded pergola is located on the north eastern elevation. An enclosed courtyard on the western elevation is adjacent to a kitchen and former bathroom which are separately connected to the house by enclosed breezeways. Homestead, now the Norman Lindsay Gallery: The Norman Lindsay Gallery is a sandstone building with terra cotta tile roof and a verandah on three sides. .
Physical condition and/or Archaeological potential:	Physical condition is good.
	Date condition updated:30 Jun 00
Modifications and dates:	2008: documentation and re-storage of NL ephemera collection completed. Federal funding secured to allow installation of water tank. (National Trust, 2008, 11-12). National Trust Magazine (NSW) November 2008-January 2009: Funding was successfully sought from the commonwelth government, and from donors, to allow for the installation of a water tank, with work to be completed in the 2008-2009 year. National Trust Magazine (NSW) November 2008-January 2009: A significant project completed during the year was the documentation and re-storage of the Norman Lindsay ephemera collection.


Current use:	Gallery, Museum, tourist attraction
Former use:	Aboriginal land, farmlet and residence, gallery

History

Historical notes:

Aboriginal Occupation
Prior to European settlement the Blue Mountains was the home of many autonomous Aboriginal groups who lived and moved around the region. There are six distinct tribal groups who have traditional rights and custodial responsibilities for the indigenous heritage of the region that are: the Darug, the Gandangurra, the Wanaruah, the Wiradjuri, the Darkinjung and the Tharawal.

Evidence of Aboriginal occupation and custodianship of the country within Blue Mountains National Park dates back to possibly 22,000 years B.P ((Stockton and Holland 1974; Williams et. al. 2012). The Blue Mountains contain a large number of significant sites which capture the relationship that Aboriginal people have had with country for thousands of generations.

The rich and varied evidence of traditional occupation of the reserves include archaeological deposits in open sites and rock shelters, stone implements, factory sites for tool production, axe grinding grooves and extensive art-work, including drawn, painted and stencilled images. Tracks and figurative motifs dominate the art sites (NPWS 1998). Motifs include anthropomorphic figures, animals, hand stencils and tracks of birds and kangaroos (NPWS 1998).

Colonial exploration and settlement:
Until 1813 the Blue Mountains proved a restriction to the expansion of settlement in Australia. In that year Gregory Blaxland, William Charles Wentworth and William Lawson made the first successful crossing and opened the vast interior of the country to settlement.

The construction of a road soon followed and in 1863 a railway was built as far as Penrith and extended as far as Mount Victoria by 1868. By the 1870s it had become fashionable for elite families to acquire mountain retreats with magnificent views where in summer the air was considerably cooler than Sydney. Villages such as Leura developed to serve these retreats which over time developed large European gardens.

Erin-go-Braugh, later Maryville, later Springwood:
The 42-acre (16.99 ha) property was originally owned by Patrick Ryan, a local stone mason. 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 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 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 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 wads 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 a bathroom, verandah, and an open fire place, 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 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 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 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, 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 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 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 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 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 was perhaps originally placed in another location and moved in the late 1930s

In 1918, the present paining 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 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 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 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 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 the form of the men's toilets. The Studio also under went 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 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 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 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 the lack of light resulting from the courtyard construction.

Soon after, the Balinese dancer statue was installed as a centerpiece 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 herbreasts was constructed, and placed on a bench, which had first been constructed in the 1910s.

The passageway from 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 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 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 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 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 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 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 mid1920s.

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 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 the studio reverted back 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 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 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 was redecorated, with the paining 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 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 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 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 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 the installation of Fluorescent lights and the blocking off of the windows and the French doors.

In 1962 Samuel Henry Ervin (1881-1977) art collector gave his collection of paintings (then valued at about 200,000 pounds) to the Commonwealth of Australia to encourage the government to erect a national art gallery. He donated $50,000 to the National Trust of Australia (NSW) in 1971 to purchase Norman Lindsay's home at Springwood (Watters, 2018, 6).

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 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 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 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 Bundanon is now operated to include working artists. In Melbourne 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 the Rodin house and museum in Paris. (Peter Freeman Pty Ltd, 1999).

The Norman Lindsay Gallery and grounds is one of the most-visited of National Trust (NSW)'s properties, with some 30,000 visitors a year. A challenge for the Trust's head gardener is to minimise the impact of visitors and the risk of bushfires. Since starting in 2004, the head gardener has developed the workshop into a productive and efficient work and teaching space for organic gardening and environmental sustainability. WIth the help of tradesmen and a dedicated team of volunteers the first step was renovating the workshop to improve structural integrirty and compliance with OH&S requirements. Volunteers help with many aspects, as well as large and small events. From 2008 the head gardener has taught organic gardening to the public while looking for opportunities to involve the site in training young people taking courses in environmental sustainability, horticulture and/or land management. A relationship with Max Employment in Springwood was fostered, leading to senior volunteers. The federal-government funded Green Corp program hosted at the site in conjunction with Max Employment started in April 2010. This led to groups of young people working on the property, gaining skills often leading to paid employement elsewhere. Some have stayed involved. An aerobic composting system and processing area has been set up, including a 60,000 litre rainwater tank underground. All lawn clippings, leaves and prunings are composted (Smith, 2011, 7).

In 2012-13 Painting Studio repairs and garden feature conservation works were undertaken on the property (NTA (NSW), 2013, v).

In 2015 the Trust completed a new state-of-the-art air-conditioning system in the gallery that will ensure the nationally-significant artworks are displayed in musuem 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 (NTA, 2015, 4).

In 2016 the Trust successfully gained three grants: one to acquire archival storage materials, one to hold a series of workshops on disaster management and collection handling, and the last to have a statement of significance prepared for the NLG collection. Staff completed the Museums and Galleries Australia standards program and the Gallery's collection storeroom was refurbished and fitted with a new climate-control system (Silink, 2017, 9).

In 2018 Norman Lindsay's book, 'The Magic Pudding' turns 100 - this children's book has never been out of print in that century in Australia and has been published in nine languages. Over the years the story has been serialised in school magazines and adapted for radio and marionette theatre productions. An animated film released in 2000 was voiced by John Cleese, Geoffrey Rush and Sam Neill - who also played Lindsay himself in the film 'Sirens', which featured Lindsay's Faulconbridge home) - and an opera, even receiving a mention in the Australian parliament - when former Prime Minister Paul Keating called John Howard 'a puddin' thief'. To celebrate the National Trust (NSW) is holding a birthday celebration, giving prizes on 14/10/2018 for the best magic pudding costumes. The day includes bush ballads, crafts, bush walks, a sausage sizzle and a pudding hunt (National Trust (NSW) magazine, 10/2018, 17).

Bushfires over late 2019-2020 meant an emergency evacuation of the artwork collection for safe keeping. Luckily the fires did not reach or damage the property. A Norman Lindsay Gallery appeal run by the National Trust through 2019-20 has meant work can commence on documenting necessary property and building repairs, internal repainting of key rooms, external painting and repairs (to commence in spring 2020), repairs to the external columns and timber work (Richard Silink, webinar, 6/2020). This appeal raised $106,000 which funded repairing the front verandah, painting external facade and replacing the cafe roof. The Trust took the opportunity to paint the interior of the gallery after the threat of fire had passed and the site remained closed to the public (NTA (NSW) Annual Report, 2020, 6). In 2020 the Trust acquired items with a strong association with Norman Lindsay: a sketch of a vase by him and the Shay Lewis bequest of four works, including 'Summer Idyll' (oil, 97 x 121cm, c1938)(ibid, 2020, 7).

In 2021-2022 the National Trust appeal fundraising to rescusitate the gardens of Tomago House, Vienna Cottage in Hunters Hill and Norman Lindsay Gallery garden has raised over $104k for these three gardens. This will allow the trust to remove dead trees, replant new ones, revive garden beds, install irrigation, create new paths and enhance these spaces (NTA (NSW) magazine, 3-4/2022, 4).

Historic themes

Australian theme (abbrev)	New South Wales theme	Local theme
1. Environment-Tracing the evolution of a continent's special environments	Environment - naturally evolved-Activities associated with the physical surroundings that support human life and influence or shape human cultures.	Gardens-
1. Environment-Tracing the evolution of a continent's special environments	Environment - naturally evolved-Activities associated with the physical surroundings that support human life and influence or shape human cultures.	Other open space-
1. Environment-Tracing the evolution of a continent's special environments	Environment - naturally evolved-Activities associated with the physical surroundings that support human life and influence or shape human cultures.	Changing the environment-
1. Environment-Tracing the evolution of a continent's special environments	Environment - naturally evolved-Activities associated with the physical surroundings that support human life and influence or shape human cultures.	Cultural: Conserving and protecting natural features-
1. Environment-Tracing the evolution of a continent's special environments	Environment - naturally evolved-Activities associated with the physical surroundings that support human life and influence or shape human cultures.	Modification of terrain-
1. Environment-Tracing the evolution of a continent's special environments	Environment - naturally evolved-Activities associated with the physical surroundings that support human life and influence or shape human cultures.	Cultural: Mountains and peaks providing landmarks for humans-
3. Economy-Developing local, regional and national economies	Environment - cultural landscape-Activities associated with the interactions between humans, human societies and the shaping of their physical surroundings	Sydney and Australian Landmark-
3. Economy-Developing local, regional and national economies	Environment - cultural landscape-Activities associated with the interactions between humans, human societies and the shaping of their physical surroundings	Tourism-
3. Economy-Developing local, regional and national economies	Environment - cultural landscape-Activities associated with the interactions between humans, human societies and the shaping of their physical surroundings	Gardens demonstrating the travels and sojurns of a gardener-
3. Economy-Developing local, regional and national economies	Environment - cultural landscape-Activities associated with the interactions between humans, human societies and the shaping of their physical surroundings	Landscapes of passive recreation-
3. Economy-Developing local, regional and national economies	Environment - cultural landscape-Activities associated with the interactions between humans, human societies and the shaping of their physical surroundings	Landscapes of cultural and natural interaction-
3. Economy-Developing local, regional and national economies	Environment - cultural landscape-Activities associated with the interactions between humans, human societies and the shaping of their physical surroundings	Landscapes and gardens of domestic accommodation-
3. Economy-Developing local, regional and national economies	Environment - cultural landscape-Activities associated with the interactions between humans, human societies and the shaping of their physical surroundings	Landscapes used for self reliant recreation-
3. Economy-Developing local, regional and national economies	Environment - cultural landscape-Activities associated with the interactions between humans, human societies and the shaping of their physical surroundings	Landscapes and parklands of distinctive styles-
4. Settlement-Building settlements, towns and cities	Accommodation-Activities associated with the provision of accommodation, and particular types of accommodation – does not include architectural styles – use the theme of Creative Endeavour for such activities.	Country Homes-
4. Settlement-Building settlements, towns and cities	Accommodation-Activities associated with the provision of accommodation, and particular types of accommodation – does not include architectural styles – use the theme of Creative Endeavour for such activities.	Federation era residence-
4. Settlement-Building settlements, towns and cities	Accommodation-Activities associated with the provision of accommodation, and particular types of accommodation – does not include architectural styles – use the theme of Creative Endeavour for such activities.	inter-war residence-
4. Settlement-Building settlements, towns and cities	Accommodation-Activities associated with the provision of accommodation, and particular types of accommodation – does not include architectural styles – use the theme of Creative Endeavour for such activities.	Bungalows-
4. Settlement-Building settlements, towns and cities	Accommodation-Activities associated with the provision of accommodation, and particular types of accommodation – does not include architectural styles – use the theme of Creative Endeavour for such activities.	Eccentric residence-
4. Settlement-Building settlements, towns and cities	Accommodation-Activities associated with the provision of accommodation, and particular types of accommodation – does not include architectural styles – use the theme of Creative Endeavour for such activities.	Adapted heritage building or structure-
4. Settlement-Building settlements, towns and cities	Accommodation-Activities associated with the provision of accommodation, and particular types of accommodation – does not include architectural styles – use the theme of Creative Endeavour for such activities.	Housing famous families-
4. Settlement-Building settlements, towns and cities	Land tenure-Activities and processes for identifying forms of ownership and occupancy of land and water, both Aboriginal and non-Aboriginal	Changing land uses - from rural to suburban-
4. Settlement-Building settlements, towns and cities	Land tenure-Activities and processes for identifying forms of ownership and occupancy of land and water, both Aboriginal and non-Aboriginal	Resuming private lands for public purposes-
4. Settlement-Building settlements, towns and cities	Land tenure-Activities and processes for identifying forms of ownership and occupancy of land and water, both Aboriginal and non-Aboriginal	Sub-division of large estates-
4. Settlement-Building settlements, towns and cities	Land tenure-Activities and processes for identifying forms of ownership and occupancy of land and water, both Aboriginal and non-Aboriginal	Naming places (toponymy)-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	Subdivision of rural estates-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	20th century Suburban Developments-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	Developing the social life of a rural community-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	Impacts of railways on urban form-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	Evolution of railway towns-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	Impact of railways on suburban development-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	Rural Estates-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	Artists settlement and networks-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	Artists settlement and networks-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	Country Villa-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	Cultural Social and religious life-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	living in the suburbs-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	living in the country-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	Beautifying towns and villages-
4. Settlement-Building settlements, towns and cities	Towns, suburbs and villages-Activities associated with creating, planning and managing urban functions, landscapes and lifestyles in towns, suburbs and villages	Creating landmark structures and places in regional settings-
5. Working-Working	Labour-Activities associated with work practises and organised and unorganised labour	Working independently on the land-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	(none)-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Making and acting in films-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Performing in artistic and creative ways-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Creating works of art-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Vernacular structures and building techniques-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Architectural styles and periods - Federation Arts and Crafts-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Patronising artistic endeavours-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Artists, bohemians and intellectuals squat or gathering point-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Landscaping - 20th century interwar-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Architectural styles and periods - Interwar Mediterranean-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Applying architectural design to utlilitarian structures-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Interior design styles and periods - Edwardian-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Designing, Making and using fountains-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Designing gardens-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Landscaping - artists gardens-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Architectural styles and periods - 20th century colonial revival-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Capturing iconic landscapes in art-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	Interior design styles and periods - 20th century Inter War-
8. Culture-Developing cultural institutions and ways of life	Domestic life-Activities associated with creating, maintaining, living in and working around houses and institutions.	Ways of life 1900-1950-
8. Culture-Developing cultural institutions and ways of life	Domestic life-Activities associated with creating, maintaining, living in and working around houses and institutions.	Ways of life 1950-2000-
8. Culture-Developing cultural institutions and ways of life	Domestic life-Activities associated with creating, maintaining, living in and working around houses and institutions.	Living in a bushland setting-
8. Culture-Developing cultural institutions and ways of life	Domestic life-Activities associated with creating, maintaining, living in and working around houses and institutions.	Holidaying in hill stations and mountain retreats-
8. Culture-Developing cultural institutions and ways of life	Domestic life-Activities associated with creating, maintaining, living in and working around houses and institutions.	Ornamental Garden-
8. Culture-Developing cultural institutions and ways of life	Domestic life-Activities associated with creating, maintaining, living in and working around houses and institutions.	Valuing women's contributions-
8. Culture-Developing cultural institutions and ways of life	Domestic life-Activities associated with creating, maintaining, living in and working around houses and institutions.	Physical evidence of creating, maintaining, living in and working around houses, through domestic artefacts scatters, ar-
8. Culture-Developing cultural institutions and ways of life	Domestic life-Activities associated with creating, maintaining, living in and working around houses and institutions.	Living and working at home-
8. Culture-Developing cultural institutions and ways of life	Domestic life-Activities associated with creating, maintaining, living in and working around houses and institutions.	Living in, adapting and renovating homes for changing conditions-
8. Culture-Developing cultural institutions and ways of life	Leisure-Activities associated with recreation and relaxation	musical gatherings-
8. Culture-Developing cultural institutions and ways of life	Leisure-Activities associated with recreation and relaxation	Outdoor relief-
8. Culture-Developing cultural institutions and ways of life	Leisure-Activities associated with recreation and relaxation	Outdoor concerts and performances-
8. Culture-Developing cultural institutions and ways of life	Leisure-Activities associated with recreation and relaxation	Visiting heritage places-
8. Culture-Developing cultural institutions and ways of life	Leisure-Activities associated with recreation and relaxation	Going to a museum-
8. Culture-Developing cultural institutions and ways of life	Leisure-Activities associated with recreation and relaxation	Gardening-
8. Culture-Developing cultural institutions and ways of life	Leisure-Activities associated with recreation and relaxation	Activities associated with relaxation and recreation-
8. Culture-Developing cultural institutions and ways of life	Leisure-Activities associated with recreation and relaxation	Gathering at landmark places to socialise-
8. Culture-Developing cultural institutions and ways of life	Social institutions-Activities and organisational arrangements for the provision of social activities	Places of informal community gatherings-
8. Culture-Developing cultural institutions and ways of life	Social institutions-Activities and organisational arrangements for the provision of social activities	Developing and maintaining a local museum-
8. Culture-Developing cultural institutions and ways of life	Social institutions-Activities and organisational arrangements for the provision of social activities	Developing and maintaining a local art gallery-
9. Phases of Life-Marking the phases of life	Persons-Activities of, and associations with, identifiable individuals, families and communal groups	Associations with Patrick Ryan, stone mason-
9. Phases of Life-Marking the phases of life	Persons-Activities of, and associations with, identifiable individuals, families and communal groups	Associations with Francis Foy, entrepreneur and merchant-
9. Phases of Life-Marking the phases of life	Persons-Activities of, and associations with, identifiable individuals, families and communal groups	Associations with Samuel Henry (S.H.) Ervin, conservationist, philanthropist, art collector-
9. Phases of Life-Marking the phases of life	Persons-Activities of, and associations with, identifiable individuals, families and communal groups	Associations with Norman Lindsay, artist and satirist-
9. Phases of Life-Marking the phases of life	Persons-Activities of, and associations with, identifiable individuals, families and communal groups	Associations with Rose Soady, artist's muse-

Assessment of significance


SHR Criteria a) [Historical significance]	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 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 the most appropriate interpretation of the place for the visiting public. (Peter Freeman Pty Ltd, 1999)
SHR Criteria c) [Aesthetic significance]	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 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. (Peter Freeman Pty Ltd, 1999)
SHR Criteria d) [Social significance]	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. (Peter Freeman Pty Ltd, 1999)
SHR Criteria e) [Research potential]	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. (Peter Freeman Pty Ltd, 1999)
SHR Criteria f) [Rarity]	The property is rare in that it provides evidence of a former cultural phenomenon: and provides evidence of Norman and Rose Lindsay's artistic and social skills. (Peter Freeman Pty Ltd, 1999)
Integrity/Intactness:	The site is largely intact.
Assessment criteria:	Items are assessed against the State Heritage Register (SHR) Criteria to determine the level of significance. Refer to the Listings below for the level of statutory protection.

Recommended management:

Recommendations

Management Category	Description	Date Updated
Recommended Management	Review a Conservation Management Plan (CMP)
Recommended Management	Prepare a maintenance schedule or guidelines
Recommended Management	Carry out interpretation, promotion and/or education

Procedures /Exemptions

Section of act	Description	Title	Comments	Action date
57(2)	Exemption to allow work	Standard Exemptions	ORDER UNDER SECTION 57(2) OF THE HERITAGE ACT 1977 Standard exemptions for engaging in or carrying out activities / works otherwise prohibited by section 57(1) of the Heritage Act 1977. I, the Hon James Griffin MP, Minister for Environment and Heritage, pursuant to subsection 57(2) of the Heritage Act 1977, on the recommendation of the Heritage Council of New South Wales do by this Order, effective at the time of publication in the New South Wales Government Gazette: 1. revoke the order made on 9 November 2020 and published in the Government Gazette Number 318 of 13 November 2020; and 2. grant the exemptions from subsection 57(1) of the Heritage Act 1977 that are described in the attached Schedule. The Hon James Griffin MP Minister for Environment and Heritage Signed this 2nd day of June 2022. To view the standard exemptions for engaging in or carrying out activities / works otherwise prohibited by section 57(1) of the Heritage Act 1977 click on the link below.	Jun 17 2022

Standard exemptions for engaging in or carrying out activities / works otherwise prohibited by section 57(1) of the Heritage Act 1977

Listings

Heritage Listing	Listing Number	Gazette Date	Gazette Number	Gazette Page
Heritage Act - State Heritage Register	01503	01 Mar 02	54	1451
National Trust of Australia register	4949
Register of the National Estate	18645	22 Jun 93

References, internet links & images

Type	Author	Year	Title	Internet Links
Tourism	Attraction Homepage	2007	Norman Lindsay Gallery	View detail
Written	Australian Council of National Trusts (ACNT)	1988	'An Artistic Outlook', in The Historic Houses of Australia
Written	Crabb, Nicole	2019	Please help us restore this magical place	View detail
Written	McKenna, Gaye & Trevillion, Amanda	2014	'Norman Lindsay Gallery Evacuated'
Tourism	National Trust of Australia (NSW)		Norman Lindsay Gallery	View detail
Written	National Trust of Australia (NSW)	2021	"In Review: Conserving Heritage" (p6); "Collections" (p7); "Individual Giving"	View detail
Written	National Trust of Australia (NSW)	2015	'Properties and Collection Highlights', in Annual Report 2015
Written	National Trust of Australia (NSW)	2008	2008 Annual Report
Written	National Trust of Australia (NSW)	2000	State Heritage Inventory form
Written	Nationatl Trust of Australia (NSW)	2013	Museums, Galleries and Collections
Written	Peter Freeman Pty Ltd	1999	The Norman Lindsay Gallery & Etching Studio Precinct-Springwood Conservation Management Plan Vol 1-4
Written	Silink, Richard	2017	Properties and Collections
Written	Silink, Richard & Hayes, Gerry	2014	'Norman Lindsay Gallery, Faulconbridge'
Written	Smith, William	2011	'Environmental Sustainability at Norman Lindsay Gallery'
Written	Stevenson, Ian	2002	'Springwood' (entry)	View detail
Tourism	Tourism NSW	2007	Norman Lindsay Gallery	View detail
Written	Watters, Jane	2018	'S.H.Ervin Gallery 40 years on'

Note: internet links may be to web pages, documents or images.

(Click on thumbnail for full size image and image details)

Data source


The information for this entry comes from the following source:
Name:	Heritage NSW
Database number:	5051264
File number:	H00/00218

Every effort has been made to ensure that information contained in the State Heritage Inventory is correct. If you find any errors or omissions please send your comments to the Database Manager.

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