Folio,  leaves (printed rectos only) plus 108 plates (80 collotypes from photographs and 28 tipped-in coloured wood-engravings) interleaved with letterpress descriptions in Japanese and English.
Cord-bound brocade cloth; all edges gilt; covers a little worn at the extremities; scattered light foxing (confined mainly to the interleaves); bottom corner of the entire book block bumped; a very good copy (with the colour plates in fine condition... Read complete entry
The plates are reproductions of masterpieces of Japanese and Chinese art (78 and 30 plates respectively). Other copies on the market at present invariably call for only 100 plates (65 Japanese and 35 Chinese), and some of them have a variant title page (printed without the date, which also appears in our copy as June 1908 at the end of the preface). The preface makes interesting reading; not only does it spell out the precise numbers and types of plates, it draws attention to the 'unusually large number of coloured wood-engravings, twenty-eight in all, a number rather exceptional in a work of this size. We desire to add that all these coloured prints are of that unequalled workmanship which is to be expected from the hands of artizans in the exclusive employment of the Kokka Company'.
Sydney, The Editors (Number 1), Angus and Robertson (Numbers 2-4 and 6-8), and Art in Australia (Numbers 5 and 9-11), 1916 to 1921.
Quarto, eleven issues, with approximately 70-80 pages (with tipped-in plates, many in colour) in each volume.
Original overlapping wrappers attached to plain card covers; a few trifling chips to the extremities; some foxing to six issues (Numbers 1, 2, 4, 5, 6 and 8); dare we say it, about as fine a run as one could expect to find ...
The complete first series, with the first three numbers limited to 1000, 1250 and 2000 copies respectively. The first nine numbers were edited by Sydney Ure Smith, Bertram Stevens and C. L[loyd] Jones; the last two by Ure Smith and Stevens.
Octavo (240 x 150 mm), four volumes, containing in all [iv], 505-693 pages plus 187 hand-coloured engraved plates (plus a title leaf and index leaf in each volume).
Contemporary speckled calf later rebacked, with contrasting leather title-labels; old leather shows minor signs of age and wear, but attractive withal; the contents, especially the plates, are in fine condition.
Quarto, five volumes; quarter leather and pictorial papered boards; one corner slightly bumped; essentially a fine set with the very good slipcase a little bumped, creased and marked.
Includes definitive translations and notes of Aristotle: Ethics; Cicero: On the Good Life; Lucretius: On the Nature of Things; Plato: Republic (and) Seneca: Letters from a Stoic. Prefaces by A.C. Grayling and frontispiece engraving (and corresponding front cover illustration) by Simon Brett.
Oblong octavo, 52 pages with 62 full-colour illustrations (many full-page).
Laminated colour pictorial card wrappers; a fine copy.
Significant Adelaide-born American painter, principally known for his maritime scenes. Influenced in the early 1900s by Van Gogh (at Paris' Acadamie Julian), 1912 found Lever in America where he became recognised as a significant artist, by 1933 becoming full Academician at New York's National Academy.
Oblong octavo, 52 pages with 62 full-colour illustrations (many full-page).
Laminated colour pictorial card wrappers; a fine copy.
This copy is offered together with a suite of over 50 original colour photographs (most measuring 150x200mm, although several are slightly smaller) of Lever's works offered in the sale. Each photograph is in fine condition, with a titling label and Lane & Son's label on the verso. Lever was a significant Adelaide-born American painter, principally known for his maritime scenes. Influenced in the early 1900s by Van Gogh (at Paris' Acadamie Julian), 1912 found Lever in America where he became recognised as a significant artist, by 1933 becoming full Academician at New York's National Academy.
London, Christie, Manson and Woods, 1984 [and] 1987.
Quarto; gilt-decorated and lettered cloth, bumped; a very good copy with the creased dustwrapper [and] quarto; gilt-decorated and lettered cloth very slightly bumped; an excellent copy with the lightly scuffed and creased dustwrapper.
Both volumes come with a (different) personalised Christie's compliments slip, and tidy (if not unobtrusive) Art Gallery of South Australia stamps.
Moonta, Centenary Committee to Commemorate the Centenary of the Corporation of Moonta, 1872-1972, 1972.
Quarto,  pages with numerous plates and 2 maps.
Pictorial card covers slightly marked and rubbed; an excellent copy.
Commemorating the Centenary of the Corporation of Moonta, SA (cover title). Loosely inserted is a mimeographed single sheet (folded once) Centenary of the Corporation of the Town of Moonta programme of events, and a small print of a Bruce Swann sketch: Miner's Cottage, North Yelta.
Folio (343 x 262 mm),  pages of facsimile manuscript calligraphy plus 12 full-page colour plates of pages of illuminated manuscript.
Heavily gilt-pictorial full vellum (featuring a large and elaborately-figured peacock), with a gilt-lettered leather title-label on the spine; top edge gilt, others uncut; vellum a little marked; front board a little bowed; front flyleaf lightly... Read complete entry
Number 115 of 550 copies signed by both Francis Sangorski and George Sutcliffe. The pair are better known as the founders of the eponymous firm of bookbinders established in London in 1901, considered to be one of the most important bookbinding companies of the twentieth century. Francis Sangorski (1875-1912) died prematurely in a drowning accident. This copy is inscribed on the initial blank 'C.H. & L.E. Angas from Bob & Beryl'; the Angas family armorial bookplate is mounted below the inscription. The book was a gift to Charles Howard Angas (1861-1928; a grandson of George Fife Angas) and his wife, from their daughter and son-in-law, Major Hon. Robert Nathaniel Dudley Ryder (1882-1917). Ryder, a Boer War veteran, was killed in action on 30 November 1917 at Villers-Faucon, near Peronne on the Western Front.
Quarto, [xii, chiefly advertisements], 308, [ii, blank], [x, advertisements, one in colour] pages (including the original card covers) with hundreds of illustrations.
Original cloth with a large monochrome plate mounted on the front cover; covers a little marked and flecked; top corners bumped, impacting a little on the text block; flyleaves offset; a very good copy.
Quarto, [xiv], 336 pages with numerous illustrations plus 30 colour plates.
Gilt-decorated cloth a little rubbed; spine slightly bumped and sunned; a very good copy.
Not least, the (first?) list of British Artists serving with The Forces, several articles on Art and War, and Some Notes on the National Gallery of New South Wales by William Moore, and a superb portrait, 'A Maker of Modelling Tools' by C.S. Jagger.
Quarto, 162 pages plus nine plates and twelve colour illustrations.
Quarter-cloth and decorated papered boards slightly rubbed, flecked and marked; an excellent copy.
The loosely inserted Dutch Treat Club contact card states, 'This Dutch Treat Club Year-Book is larger in size and contains double the number of pages in our past Annuals'. Only 1,000 copies numbered copies were issued, this copy is out of series. The club had as its members prominent artists, writers and ... booksellers; a complete list of current members is included.
Thin oblong octavo, 24 hand-coloured lithographs on a strip of card folded for publication.
Gilt-lettered cloth a little rubbed, sllightly bumped, marked, flecked and very slightly worn with very slight loss; first, last, and recto of the last illustration lightly foxed; rear inner hinge split; rear endpaper offset and marked; a good copy.... Read complete entry
Contemporary ownership inscription; 'Versailles, 28/29 October '73'.
Elephant folio, [iv] (title leaf and a leaf of biographical details of the artists and printer), and the five coloured lithographs (all printed rectos only).
A limited edition portfolio (number 52 of only 60 published), with each lithograph - 'Printed on Magnani paper, 310 gsm' - signed and numbered by the respective artist. Titles are (in order of artist) 'Parklands, North Adelaide', 'Adelaide', 'Springtime in the Botanic Gardens', 'Street Stall', and Untitled. These portfolios were not made available for sale, and in the intervening 25 years, only a few examples of just two of the prints have made it into the sales records. Trove indicates that the portfolio is held only by the National Library of Australia and the State Library of SA (and the short print run is not noted in their catalogue entries).
Large octavo; decorated red cloth a little flecked and marked; spine a little darkened; edges a little foxed; endpapers browned; charming contemporary gift inscription; scattered light foxing; a very good copy.
Plus over 80 plates, mostly in colour, from paintings by Allingham.
Melbourne, George Robertson and Company (Printed in Scotland), .
Large quarto (347 x 298 mm), [viii], 20 (mainly music for the five songs),  (last two blank) pages with line illustrations (large pictorial titles to all five songs, and tail-pieces to four of them) plus 5 full-page colour plates.
Original full dark blue morocco lettered ornately in gilt on the front cover; leather a little scuffed and rubbed, and lightly worn at the extremities; endpapers offset; one plate very slightly chipped along the bottom edge; trifling signs of handling... Read complete entry
The cover title is 'Some Childrens' [sic] Songs by Marion Alsop. Words by Dorothy McCrae. Designed by Edith Alsop'. Dorothy Frances McCrae (1879-1937) was a daughter of George Gordon McCrae, 'poet and man of letters', and sister of the poet Hugh McCrae. 'The sisters Edith and Marion Alsop collaborated with Dorothy McCrae to produce pictures, music and verse for five original children's songs: 'Paddling Days', 'The Jackass' (the laughing jackass, or kookaburra), 'Bubbles', 'The Song of the Water Babies' and 'The Rebel'. These were published by George Robertson in 1910 as a folio-size children's song-book titled 'Some Children's [sic] Songs'; Marion wrote the music, Dorothy the words, and Edith 'designed' the book. Her designs consisted of five full-page colour illustrations introducing each song on the left-hand page and five black-and-white vignettes above the title of each song opposite. Edith and Marion's artistic alliance mirrored that of their contemporaries, the better known Rentoul sisters, Ida (Outhwaite) and Annie, who collaborated on illustrated fairy stories for over 20 years. The first of the Rentouls' three children's song-books, 'Australian Songs for Young and Old', had appeared in 1907 'in connection with' the opening of the Women's Work Exhibition. Edith - who had unsuccessfully submitted a design for the poster competition and won a prize for her design for a frieze - could not have failed to be aware of Ida's highly admired exhibits, Annie's ode performed at the opening ceremony and the praise for the 'twin gifts' that had produced their song-book. The Alsops' book was published in 1910, the same year that the Rentouls' second song-book ('Bush Songs of Australia') appeared. There seems to have been no sense of competition between the two sets of sisters; indeed, both books were produced by the same publisher and the families were friendly, even to the point of Rodney Alsop (Edith and Marion's brother) acting as groomsman at Ida's marriage to Grenbry Outhwaite in 1909. Yet comparisons are (and were) inevitable. The Rentoul/Outhwaite book was very popular and was reprinted several times (until 1924). Although less popular, the Alsop book seems the more visually attractive, being double the size and with text and image well integrated, as shown in Edith's title vignette 'The Rebel'. 'The Rebel', imprisoned in her cot and desperately fighting against the narcotic effects of the decorative poppies that surround her, howls her refusal to sleep from the yawning black O of her mouth' (Anita Callaway, perhaps reading a little too much into the frieze, but spot-on with the rest of her lengthy contribution to 'Design & Art Australia Online' - an invaluable resource. By the way, 'The Rebel' is still one hell of a lullaby, even by today's standards ...). Muir 159 (most uncharacteristically including two mistakes! - 'Francis' for 'Frances' in the first line, and automatically correcting the incorrect 'Childrens'' in the title). Marcie Muir also states 'Published in variant bindings (paper, clo., & leather) see advt. in the 'Argus' 12/11/1909'. We cannot locate this reference in Trove, but we did find a George Robertson and Company advertisement in the issue for Saturday 3 September 1910, stating that this book was 'Ready today ... Paper Style, 3/6; Cloth, 6/-; Leather, 10/6'. This edition in full morocco is undoubtedly rare, but it was apparently still available for sale in 1919 - this copy carries a prize plate from Fintona (then a Presbyterian Girls' Grammar School in Camberwell) dated December 1919 on the flyleaf (with the small school crest embossed in gilt on the front cover).
Blind-decorated brown cloth lettered in gilt on the spine and front cover; cloth lightly marked, scuffed and bumped, with minor wear to the extremities; contemporary ownership signature on the front flyleaf; light marginal pencil marks to three pages... Read complete entry
This copy is extra-illustrated with an accomplished and engaging original watercolour (98 x 178 mm) showing two stockmen on horseback in pursuit of a dingo. It has been mounted on the verso of the half-title and presented within a black ink border as a frontispiece. It is signed and dated in the image 'Chas H. Angas / 80', with a caption in ink below the border in the artist's hand: '' --- we ran the dingo down that gave us such a chase' ... Page 14, 'The Sick Stockrider''. There is a little discolouration of the glue, but this has minimal impact on the painting itself. Charles Howard Angas (1861-1928) was a grandson of George Fife Angas. His father was John Howard Angas; George French Angas was his uncle. We have handled a number of his watercolours, including coursing scenes in a similar style. Of course, the book on its own is significant too, not least for the part it plays in the short and ultimately tragic life of Adam Lindsay Gordon (1833-1870). 'On 23 June 1870 his 'Bush Ballads and Galloping Rhymes' was published and Henry Kendall showed him a proof copy of the enthusiastic review he had written. At dawn the next morning Gordon went to the beach at Brighton and shot himself' (Australian Dictionary of Biography).
(A scan will be emailed on request.) The Australian Dictionary of Biography (Volume 1) has this to say about Angas: 'although his prominence in the foundation of South Australia has been somewhat exaggerated ... he deserves full credit for the capital and settlers that he introduced into the new colony'.
Super royal octavo (265 x 180 mm), viii, 168,  (list of subscribers) pages with 2 in-text woodcut illustrations, plus an additional ornate colour-pictorial title leaf, lithographed dedication leaf, and 12 tinted lithographs with tissue-guards (all versos blank). There is a pagination irregularity - there is no leaf numbered 161-2, but the book is complete.
Original blind-decorated blue ribbed cloth with a view of Mount Etna blocked in gilt at the centre of both covers, and the spine lettered and decorated in gilt, all edges gilt; cloth sunned on the spine, and a little marked, rubbed and flecked; blank... Read complete entry
A pleasing association copy of Angas's first illustrated book, with the name of his father, George Fife Angas, in pencil on the front endpaper in a later secretarial hand, indicating (in our experience) that the book came originally from his personal library. Also present on the inside surfaces of the front and rear flyleaves (written upside down, and now with an erasure, on the latter) are the ownership details of 'Mr Joseph Angas, Authors [sic] Hill, Newcastle, 1842' (the author's uncle). Both George Fife Angas and 'Josh. Angas' (presumably Joseph) appear in the list of subscribers; there are 179 names accounting for 197 copies. Joseph predeceased his younger brother George (who, in 1857 in South Australia 'was elected to the first Legislative Council under responsible government. Soon afterwards his brother Joseph's fatal illness took him to England. He returned in September 1859' [Australian Dictionary of Biography]). This book may well have returned with him.
Sydney, A.H. and A.W. Reed, 1967 (facsimile edition)/ 1847.
Imperial folio, 10 pages plus an additional colour pictorial title page, 60 colour plates each with (at least) one leaf of descriptive text, and facsimile covers of the original ten parts. Loosely inserted (as issued) are the publisher's signed quality-control certificate and 'Notes on the production' (which details minor typographical inconsistencies in the original which have not been corrected in the facsimile). Also present in this copy is the full-size four-page colour prospectus; the book was pub
Half gilt-decorated morocco and marbled papered boards, top edge gilt; a fine copy.
One of 1000 copies of this high-quality facsimile. The illustrations comprise views of the fledgling city of Adelaide and outlying settlements, the topography, flora and fauna, and the Indigenous people and their lives. Some 22 of the 60 plates (and the accompanying leaves of text) are devoted exclusively to the region's Aborigines; there are numerous portraits (usually four or more to a page), plus groups of artefacts and scenes of daily life from different areas. Aborigines are depicted incidentally on the pictorial title page and in a further five plates.