Large quarto, eight volumes, each volume approximately 200 pages with numerous plates (many in colour).
Papered boards occasionally very slightly rubbed and bumped at the extremities; a fine set with the fine dustwrappers.
The complete series. The last volume is inscribed and signed by sculptor John Gardner (represented in the book); loosely inserted is the invitation (signed by Gardner) and price list for his exhibition at BMG in 1994.
Cloth extremities slightly sunned, bumped and rubbed; a few tiny marks; ten leaves slightly bumped at the top corner; a very good copy with the dustwrapper a little rubbed, slightly creased and with the laminate lifting slightly (chiefly to the spine... Read complete entry
Richmond, Richmond Hill Press and Collector Reproductions, 1979.
Folio (470 x 310 mm),  pages plus the signed certificate of limitation leaf and 45 full-page plates (approximately 9 in colour, the balance in monochrome); loosely inserted is a folder containing reproductions of 6 of the prints suitable for framing, as originally issued.
Quarter morocco and cloth; a fine copy with the fine slipcase.
Number 92 of 500 copies signed by the artist. 'Sir Russell Drysdale has created 45 original pen and wash drawings, line drawings and watercolours recollecting the people and places which have inspired his art through a lifetime'.
Drysdale 'cannot remember the actual water colour drawing but feel it belongs to the late 40's or about 1950 ... It could well be a drawing made for a composition as I made many [such] ... combining elements from a number of drawings. However it has all the elements of a working drawing ...'. A colour snapshot of the painting, a letter from the Art Gallery of South Australia about the painting, and a retained duplicate copy of the letter of enquiry are included. This letter is not without interest either; by way of establishing his bona fides, the writer explains that he has been 'living in Adelaide for the last 31 years, came from Vienna, Austria, where I attended the 'Kunstgewerbeschule' (the wellknown Artschool for Applied Arts). One of my teachers was Oskar Kokoschka'. His letter was written in late 1970, which means he left Austria in 1939 ...
Oblong folio, 143 pages with 76 plates (35 in colour).
Cloth; a very fine copy with the slipcase.
The deluxe edition; this is number 121 of only 200 copies signed by the artist. Loosely inserted, and as issued, is an original signed etching, numbered to match (paper size 330 x 255 mm; image size 200 x 165 mm).
Oblong folio, 143 pages with 76 plates (35 in colour).
Cloth a little sunned on the spine, with some loss to the white lettering; an excellent copy with the slipcase.
The deluxe edition; this is number 3 of only 200 copies signed by the artist. Loosely inserted, and as issued, is an original signed etching, numbered to match (paper size 330 x 255 mm; image size 200 x 165 mm). From the collection of the artist David Dridan, with his signature (dated October 1984).
Quarto, 137 pages with 64 tipped-in colour plates.
Cloth; foot of the spine slightly bumped; front endpapers with a few tiny spots; an excellent copy with the dustwrapper a little sunned and rubbed with slight surface loss to the top edge in the card slipcase a little browned about the opening.
Canberra, Australian Institute of Aboriginal Studies, 1979 [revised edition]/ 1974.
Quarto, [xii], 202 pages with 2 maps and 45 pages of plates (16 pages in colour).
Laminated pictorial card covers; a fine copy.
'The text of this book, except for the introduction and the omission of appendices, is identical to that published by the same author in 1974 ... This edition features more colour plates than the original, a revised introduction and has minor revisions to some picture captions'.
Quarto; cloth lightly mottled; extremities slightly bumped; top edge and endpapers very slightly marked; a very good copy with the dustwrapper a little sunned about the spine and slightly torn with very slight loss.
With the large armorial bookplate of notable New Zealand author, historian, collector and photographer Hardwicke Knight. One of the Oxford Studies in the History of Art and Architecture series.
New York, Dodd, Mead and Company, 1911 [first edition].
Folio, with numerous illustrations plus 16 tipped-in full-page colour plates by Fisher (with incidental decorations by Bertha Stuart).
Quarter cloth and papered boards with a full-page colour plate (overprinted with the title in gilt) mounted on the front cover; top edge gilt; covers a little foxed, marked and rubbed; minor wear to the corners and the paper on the top and bottom... Read complete entry
Octavo,  pages plus 32 full-page colour plates (versos blank).
Quarter cloth and papered boards with a colour plate laid down on the front cover; covers very slightly rubbed at the extremities, with trifling wear to the corner tips; early ownership details; an excellent copy.
The front cover plate is not repeated in the book.
95x65mm, [viii], 546 pages plus 4 hand-coloured maps (2 double-page) and a plate.
Original blind-stamped full morocco, all edges gilt; slight surface cracks to the hinges, corners slightly rubbed; first and last few leaves offset or foxed; trifling signs of use; an excellent copy.
With contemporary ownership details and the Melbourne collector Rollo Hammett's name-label on the verso of the front flyleaf, plus the pencilled note: 'With Fore-Edge painting of Melbourne (Swanston Street) c. 1848' (and the pencilled price of twelve pounds ten). An attractive, albeit small, image sold on its own merits (but the provenance, the note and the image itself consolidate the Australian connection).
Octavo; coloured pictorial papered boards; extremities slightly rubbed; endpapers offset and slightly marked; a very good copy with the dustwrapper slightly rubbed, creased, marked and worn with slight loss.
Collected material connected with the Ministry of Information's 'Careless Talk Costs Lives' campaign. Includes the stamp. Contemporary ownership details. Fougasse is the pseudonym of Cyril Kenneth BIRD.
Octavo; laminated colour pictorial card covers with flaps; a fine copy.
Inscribed and signed by Ron Radford (then director of the Art Gallery of South Australia, now director of the National Gallery of Australia), who wrote the foreword and introduction, to Leslie Thompson, whose contribution to the organisation of this edition is acknowledged in the foreword .
Octavo, [ii], 36, 4 (information re the Institute) pages.
Original wrappers with title page details repeated on the front cover; spine sunned; covers a little dusty, with a small blemish to the rear bottom corner; later ownership details in ink on the verso of the front cover; an excellent copy.
Quarto, 184 pages with numerous illustrations plus 18 pages of plates (8 plates in colour).
Quarter-cloth and pictorial papered boards a little rubbed and spine-sunned; extremities a little bumped; rear cover creased at the lower corner; flyleaves slightly foxed; a very good copy with the dustwrapper sunned, foxed, creased, chipped and torn... Read complete entry
Elephant folio, [iv], 126 pages (a full-colour facsimile of Friend's richly illustrated manuscript).
Oversubscribed on publication and destined to be perennially rare, as the edition was limited to only 150 copies numbered and signed by Donald Friend. This copy is signed but not numbered. It is an unbound file copy housed in a slipcase; 'Proof sheets only. Not to be bound in any form' is written in ink in lieu of a copy number. A mint copy, ideally suited to a designer binding (it comes complete with the original endpapers) or for exhibition purposes - multiple pages can be displayed at one time.
Folio (390 x 290 mm), [viii], vi, 67 pages with numerous illustrations and 19 tipped-in plates (all but one in colour) and endpaper illustrations (all by Donald Friend).
Half black morocco and purple velvet; a fine copy in the slipcase (a little marked).
'Rochester's Lyrical, lewd & licentious poems were circulated only in manuscript during his lifetime. The earliest printed Editions appeared a year after his Death. But 'The Farce of Sodom' was never printed in England. For centuries its fame (or notoriety) depended on crude Continental imprints. Consequently, in England 'Sodom' was a sort of obscene literary rumour, like Sullivan's ( - or was it Gilbert's?) suppressed 'Sod's Opera', except to those who had privileged access to a few manuscript copies, only two of which are known to have survived until the present day. Thus this Edition is issued with a handwritten Text in keeping with the Manuscript tradition' (Editor's Note). The calligraphy is also by Donald Friend. The edition is limited to only 250 copies signed by the artist; this is number 26.
Quarto; cloth; top corners slightly bumped with trifling associated creasing to a few early leaves; edges and flyleaf slightly marked; an excellent copy with the excellent slightly bumped and yellowed dustwrapper.