Stoke-on-Trent, The Lytlewode Press, 15 December 2007.
375 x 285 mm, [ii], 42, [5, three blank] pages with 7 tipped-in hand-coloured etchings (image size 125 x 150 mm on paper measuring 195 x 210 mm) individually signed in pencil by Pro Hart below the image; the original etching plates were produced in 1977.
Full black Australian goatskin lettered in gilt on the spine; leading edge uncut; a mint copy in the custom-made felt-lined clamshell box also lettered in gilt on the spine.
Number 14 of only 25 copies of this deluxe edition, signed by the publisher, Robert Littlewood, who has also contributed a 20-page essay. The etchings are intaglio impressions on rag paper, 'strikingly hand-coloured according to Pro Hart's direction' (publisher's online blurb).
Large octavo, 264 pages with numerous illustrations (several in colour) plus endpaper maps.
Blind-decorated blue cloth; top edge a little foxed; an excellent copy with the dustwrapper a little rubbed at the extremities.
Loosely inserted is an 18th century printing of the endpaper map, possibly removed from the 15th edition of Anson's 'A Voyage round the World', published in the 1780s (according to the pencilled note). The folding map (printed surface 227 x 404 mm) is in excellent condition.
Cloth; a fine copy with the fine dustwrapper lightly sunned on the spine.
On the front flyleaf is a gift inscription 'To Sir Alick ... many happy returns for your birthday' from Walter Wotzke and his family. The book was a present to Sir Alexander Russell Downer (1910-1981) on his seventieth birthday; he died less than a year later. Walter Wotzke (1917-1996) was a prominent local artist, responsible for the restoration of the Hahndorf Academy after saving it from demolition in the late 1960s.
Large quarto, 24 pages plus 83 plates (42 in colour).
Cloth; small mark to the leading edge; small tape-stain to the front flyleaf; an excellent copy with the very good dustwrapper sunned on the spine (as often) and front panel, with a short chipped tear near the foot of the front panel.
Carlton, Melbourne University Press, 1992 (first edition).
Octavo, xviii, 313 pages with 2 maps plus 31 plates.
Papered boards; a fine copy with the fine dustwrapper.
With the ownership label of Reverend Bill Edwards. Loosely inserted is a letter signed by the editor of St Mark's Review in response to Edwards' letter to them regarding their review of this book; the editor agrees that many errors were made in that review; two other reviews are also included. Pastor Albrecht was in charge of Hermannsburg Mission from 1926 to the early 1950s; he played a key role in the life and art of Albert Namatjira.
Quarto, 349 pages with 65 illustrations plus 336 pages of plates (16 in colour) and endpaper maps.
Pictorial cloth; a fine copy with the dustwrapper lightly rubbed, creased and torn with slight loss.
With a gift inscription to 'Professor Strehlow on your seventieth birthday ... 8 September 1978' from Diana and Harry Medlin (a colleague from the University of Adelaide). Professor T.G.H. Strehlow died exactly one month later.
It is the reply to a letter from Mr Williams seeking information about a 1933 painting recently purchased (a duplicate typescript of the query letter is supplied): 'I am now glad you were able to purchase a watercolour, which I can memorise very well, and can recommend. I painted several Willow Tree studies in the early 30s, but mainly of the basket Willow variety - they fascinated me in the early spring. I can well recall painting your study, at Charleston, near Woodside, and the beautiful afternoon, with the sunlight benetrating [sic] the spring Green of the Willows - with the Hillside with its Appletrees in full bloom, forming the background - it all brings back a lovely memory'. Offered together with a fine informal outdoor portrait photograph (205 x 140 mm) of Heysen, possibly in his sixties, looking relaxed in a treed garden setting, his jodphurs tucked into long woollen socks. The photograph is by Freeman of Sydney.
Square quarto, viii, 49 pages with 6 illustrations (including one by Lloyd Rees) plus 15 illustrations and 36 tipped-in colour plates.
Quarter cloth and pictorial papered boards a trifle flecked and marked; edges a little foxed; flyleaves offset; scattered light foxing; a very good copy with the dustwrapper rubbed, marked, sunned and slightly torn (chiefly to the head of the spine)... Read complete entry
A small relevant newspaper clipping is loosely inserted.
Oblong folio,  pages plus 16 large tipped-in colour plates.
Quarter contrasting cloth lightly rubbed; staples starting to rust and bleed a little through the inner margins of the endpaper gutters (presumably a problem common to all copies); an excellent copy with the slightly creased dustwrapper neatly... Read complete entry
235 x 330 mm,  (including text on the inside front cover) pages plus a monochrome illustration and 6 colour plates (serigraphs, printed rectos only) with tissue-guards (one plate contains artwork by two artists).
Decorated two-colour card covers slightly rubbed; a fine copy.
'Limited edition. Seven beautiful plates ready for framing' is printed on the front cover; catalogue records in Trove suggest the print run might be as low as 200 copies. The colour plate artists are identified.
Quarto, [iv, 138] pages extensively illustrated (mainly in black and white, occasionally in two colours).
Pictorial cloth slightly bumped at the top corners; an excellent copy with the slightly bumped dustwrapper.
One of 1500 copies of the first edition of this 'colourful account in words and drawings of a journey made by the artist in a dug-out canoe from Pagui to the coast of the Sepik in 1977'. Offered together with a fine copy of the 1984 Reid Books edition - one of 2500 copies of a far superior full-colour version, possibly produced for an international audience that seems not to have cared.
Adelaide, printed by David Gall [for the Author], 1866.
Duodecimo, [iv], 51 pages plus 6 tinted lithographs (by Colonel Biggs, from sketches by the author).
Original blind-stamped heavily textured purple cloth a little sunned, mottled and marked; trifling blemishes to the leading edges of the front pastedown (caused by an excess of glue during production); fingermarks (mainly marginal) to four pages and... Read complete entry
Ferguson 10181 (omitting the preliminaries and noting only green cloth).
Ringwood, Penguin, 1966 [the first edition, suppressed before publication].
Octavo, [viii], 313 pages with 137 illustrations plus 8 colour plates.
Colour pictorial card covers; a fine copy.
This title, and the author, went on to better and greater things. When Robert Hughes died in August 2012, aged 74, 'The Guardian' in its obituary described him as 'simply the greatest art critic of our time'.
Quarto; cloth a little bumped and flecked; slight wear at the bottom of the flyleaf; a very good copy with the dustwrapper slightly rubbed, bumped and marked with several short tears and one 8 cm tear.
With the ownership signature of Sir Walter Crocker in pencil on the flyleaf.
470 x 370 mm, 144 pages with 40 full-page colour plates.
Full vellum (by Zaehnsdorf), all edges gilt; a fine copy in the fine slipcase.
Number 471 of 600 copies signed by the author and artist (respectively, the former curator of the Herbarium at Kew Gardens, and the official botanical artist at Kew Gardens). The name of the original subscriber, David W.G. Kennett, has been calligraphically inscribed on the same page (as issued).
Octavo, viii, 239 pages with several illustrations plus pictorial endpapers by Frank Norton.
Silver-decorated papered boards; very slight mark to the flyleaf; pencilled ownership signature; essentially a fine copy with the excellent dustwrapper with very slight wear and trifling loss to the extremities (and a tiny mark to the front flap).
An etching (image size 265 x 202 mm, paper size 417 x 327 mm) with the title 'HMS Roebuck 1699' and the artist's name in the plate, and the alternative title, signature and edition number (33/50) in ink in the wide margin below the image. Undated (but 1936). Minor discolouration or offsetting visible in the margins; in excellent condition, unmounted as issued.
Quarto; laminated colour pictorial papered boards; a fine copy with the fine dustwrapper.
The story of the 'Scottish geologist who made a significant contribution to Queensland's mining and agricultural industries at the end of the nineteenth century. Among his accomplishments were expeditions to Cape York Peninsular...'.
[New York], Rizzoli International/ Art and Peace Inc., 1997.
Oblong quarto, 192 pages with over 70 full-page colour illustrations.
Cloth; a fine copy with the lightly rubbed dustwrapper.
Jamali, the Indian-American painter and sculptor Faiz Aqdas Hussain Khanjamali Yousafzai, was born in Peshawar in 1944; he emigrated to the USA in 1973. His art 'brings together mysticism and quantum mechanics in a beautiful chthonic art'.
There is a rare complete set of the six issues of the periodical 'Venture', with all copies signed by Rex Ingamells: Volume 1, Number 1, July 1937 (the only number in the first series) plus Volume 1, Number 1, April 1939 to the unnumbered fifth issue of May 1940. Other authors represented are Gina Ballantyne (two books); Flexmore Hudson (four books, all signed - one inscribed, one with manuscript corrections); Gifford (one book, signed); William Hart-Smith (two books); 'Ricketty Kate' (one book); Ian Mudie (three books) and Colin Thiele (two books); John Ingamells is represented as editor of 'Cultural Cross-Section' (1941). There is an unbroken run of the Jindyworobak Anthology from the first issue in 1938 to 1950 (two are signed by Rex Ingamells, one is signed by Gifford), as well as a copy of Jindyworobak Review 1938-1948 (but the last three annuals to 1953 are not present). Apart from insignificant chipping to the overlapping edges of a few wrappers, the condition is uniformly fine (although of the seven cloth-bound volumes in the collection, only 'Gumtops' retains its dustwrapper). Fine copies of two essential reference works have been added to the collection; these are 'The Jindyworobaks' by Brian Elliott and 'Australian Little Magazines, 1923-1954' by John Tregenza. With this collection as a foundation, there is the very real possibility of gathering the complete published works of the seminal Jindyworobak movement. To quote Brian Elliott (who was personally involved with the early stages of the movement) in his reappraisal of the real value and effect of the Jindyworobak poetical institutions: 'My conclusion is not that they were a product of exceptional genius, but that the movement was spontaneous, natural and inevitable, and that it had an effect upon the nation - upon the national literature, but also upon the nation itself - that went beyond what was obvious in the poetry. In Judith Wright's words, the Jindyworobaks have taught us all to know ourselves a little better'.