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 late1950s 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. 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. Acquisition by the National Trust of Australia The property was purchased by the National Trust in December 1970 for A$50,000. In 1994 the property was used to film 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 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