Le Havre, Museum d'Histoire Naturelle du Havre, 2014.
Folio, 167,  (colophon) pages with numerous colour illustrations derived mainly from original artwork from Baudin's expedition (including large colour plates of 96 different species of jellyfish).
Quarter cloth and colour pictorial papered boards, in the cloth slipcase; a mint copy.
A bi-lingual publication. 'As naturalists on Nicolas Baudin's voyages, François Péron and illustrator Charles-Alexandre Lesueur collected thousands of species, but both men became fascinated with jellyfish. Their work brought the known number of jellyfish species to 120 - over four times as many as had been documented previously. Lesueur's shimmering illustrations created one of the first, and most important, depictions of jellyfish in the world' (publisher's agent's blurb). This book reproduces Lesueur's original artwork on vellum in the Le Havre Museum of Natural History.
Oblong octavo, 52 pages with 62 colour illustrations (many full-page).
Laminated colour pictorial card covers; a fine copy.
Together with a suite of over 50 original colour photographs (mainly 150 x 200 mm) of Lever's works offered in the sale. Richard Hayley Lever was born in Adelaide; he sailed for Europe in 1893, and lived in Paris and London before settling in St Ives, Cornwall, in 1902. He emigrated to America in 1912, where he became recognised as a significant artist. The auctioneer's note put this sale in perspective: 'Unbelievably, these paintings lay unstretched, collecting dust for approximatley eighty years, in a Cornish attic, until their recent discovery. It is most unusual to be able to offer some sixty unknown and unseen works by an artist of such international repute'.
Quarto, 27 pages with 13 tipped-in plates (12 in colour).
Plain boards with the attached overlapping wrappers; top and bottom edges slightly creased; head and foot of the spine slightly worn; front cover pulled away from the staples (but firm); first and last pages offset; essentially an excellent copy.
Oblong quarto, 56 pages with 6 black and white illustrations and 19 colour plates.
Laminated colour pictorial papered boards; an excellent copy.
The book was sponsored by Eli Lilly Australia; this copy is inscribed and signed by the sponsor's representative. The first (and long overdue) monograph on this Tasmanian-born artist (1884-1931), whose promising international career was cut short by schizophrenia - he was committed to an asylum in 1918.
London, Smith, Elder, 1838 [but a 1920s restrike from the original plate, with later colouring].
An original handcoloured aquatint (365 x 545 mm) after a painting by William Light, engraved by Robert Havell; now framed and glazed, and in superb condition.
We are reliably informed that item 6 in the 1928 Francis Edwards catalogue, 'Australasia Old and New', states that the original plate for this view had recently been found and that prints have been produced from it. There is little doubt that this is one of them; we have certainly priced it accordingly ...
Quarto (trimmed to 265 x 180 mm), unpaginated but comprising a frontispiece vignette ('Sicilian Cottage'), an engraved title page with a vignette ('Crater of Mount Etna'; verso blank), 60 full-page plates (versos blank), each with a leaf of descriptive text (English on one side, the French translation on the verso) and a tissue-guard, and 3 index pages.
Contemporary full black morocco extensively gilt- and blind-decorated, all edges gilt; leather a little rubbed at the extremities, with minor wear to the corners; minimal foxing and some offsetting (confined mainly to the tissue-guards); an excellent... Read complete entry
William Light (1786-1839), soldier and surveyor, was born in Malaya and spent his childhood in Penang. He served with distinction (and was unharmed) in the Peninsular war. He missed Waterloo, but was severely wounded in a minor Spanish revolution in 1823. In the years before (and after) this, he travelled widely in Europe, and mixed with artistic and literary circles; the material in this book stems from this period. He was appointed the first Surveyor-General of South Australia in February 1836; in December of that year he determined the site of Adelaide, and his plan gave the city its belt of parklands. He died from tuberculosis in October 1839. Edward Angas Johnson (1873-1951) was an Adelaide medical practitioner, prominent in public health circles; his grandmother was a daughter of George Fife Angas. 'His hobby was collecting curios and historical relics, especially those relating to South Australian history. This remarkable collection and his library were distributed to public institutions before his death' (all biographical details are from the Australian Dictionary of Biography).
Super royal octavo, 328 pages plus a frontispiece and numerous illustrations (several full-page).
Blue gilt-decorated cloth; extremities very slightly bumped an excellent copy.
With the pictorial bookplate, designed by Katharine Stafford, of G.A.Stafford. The illustrations include reduced facsimiles of the title pages of the 46 books published by the Press, which was notable for the literary output of its proprietor, Jack Lindsay. Several of the books published contain illustrations by Jack's father Norman. Other illustrators include Edward Bawden, Hal Collins and Lionel Ellis. This edition is limited to 850 copies.
Octavo, (iv), 236 pages with numerous illustrations by the author.
Papered boards; head and foot of the spine slightly bumped; bottom edge slightly marked; endpapers offset; contemporary gift inscription; a very good copy with the dustwrapper slightly rubbed, chipped and torn with slight loss.
[Sydney], Angus and Robertson, 1977 [first edition].
Quarto, [xxii], 100 plates (on the rectos only, with titles on the opposite versos).
Pictorial papered boards very slightly rubbed at the extremities; an excellent copy with the dustwrapper very slightly rubbed at the extremities with an insignificant closed tear to the foot of the front hinge.
Sydney, Angus and Robertson, 1968 [first edition].
Quarto, [x], 60 plates.
Cloth; a fine copy with the fine dustwrapper very lightly scuffed on the rear cover near the spine.
Fifty of the sixty reproductions 'have never been published before. The unpublished work comprises fourteen drawings made in 1967-68, with other major works done between 1930 and the 1960s'. The American edition published by Bonanza Books in the same year is no substitute.
Folio, two volumes, 164 pages with numerous illustrations (Part A) and 164 pages with illustrations of all the etchings - in excess of 600 (Part B).
Cloth; a fine set with the cloth-covered slipcase.
Published in a limited edition of only 300 numbered sets signed by the publisher, John McCullagh. Part B, a very detailed and fully illustrated chronological catalogue of all of Lionel Lindsay's etchings, is an indispensible reference work for the collector. (Volume 1, devoted to Lionel Lindsay's woodcuts, was published in 1982).
Quarto, 88 pages with numerous plates (many in colour).
Quarto; laminated colour pictorial card covers; a fine copy.
Signed by the artist on the half-title. Loosely inserted is a 12-page illustrated (and hand-corrected) RSASA Exhibition Catalogue, 'The Art of John Dowie' from 2006, and a newspaper article on the artist (folded and slightly torn); Dowie, a Rat of Tobruk responsible for many of Adelaide's most definitive public sculptures, died on 18 March 2008.
Quarto, 334 pages with around 232 plates (28 in colour).
Quarter cloth and marbled boards; front cover slightly scratched; foot of the spine a little sunned; leading edge slightly marked; a very good copy with the very good dustwrapper a little rubbed, chipped and torn with a little loss.
and signed by Longstreet, with a doodle, on the title page.
Folio, 286 pages with a map, 31 illustrations, 162 pages of plates (many in colour, including a four-panel panorama) and a tipped-in colour frontispiece plus maps on the rear endpaper and the recto of the rear flyleaf.
Gilt-decorated cloth; endpapers and adjacent leaves foxed, with offsetting to the flyleaves; an excellent copy with the fine glassine dustwrapper in the pictorial slipcase (a little bumped and rubbed, with slight surface loss on the verso where two... Read complete entry
Attractive colour-pictorial and blind-stamped cloth, all edges gilt; extremities and front cover very slightly rubbed; rear inner hinge cracked but firm; minimal foxing to a few leaves; an excellent copy.
Folio; laminated papered boardslightly rubbed at the corners; endpapers and copyright page lightly marked; an excellent copy with the duswrapper lightly rubbed with a 4cm tear and associated crease to the front panel.
Texts by Yves St. Laurent, Bob Colacello, Sonia Rykiel, Fran Lebowitz, Karl Lagerfeld, et al.
Octavo, 60 pages with numerous caricatures by Kerwin Maegraith.
Pictorial wrappers; a fine copy.
Loosely inserted is an original pencil caricature by Maegraith (dated 1950); on the verso are twelve autographs of WA cricketers (plus the manager, Bryant) dated November 1949. A fund-raiser for charity.
Quarto, clvi, 423 pages with numerous illustrations plus 24 full page colour plates.
Cloth with a titling label laid down on the front cover; a fine copy with the excellent dustwrapper (lightly rubbed and sunned) and with the transparent dustwrapper slightly creased and torn at the corners.
Essential reference to French and Belgian poster art with brief biographies of the artists. Text in French and German. The colour card dustwrapper can be unfolded into a poster..
London, Oxford University Press, 1971/ 1969 [first thus].
Octavo; cloth lightly rubbed; ownership signature; an excellent copy with the dustwrapper a little rubbed, sunned and very slightly torn with the residue of the original attached glassine cover on the verso.
Square quarto, [xii], 33 pages plus 60 plates (including 32 tipped-in colour plates) and a tipped-in facsimile letter to his 'old shipmate', Charles Darwin.
Quarter cloth and decorated papered boards; front flyleaf creased; a very fine copy in the original presentation box with a colour plate mounted on the front panel (the box only a little worn and marked).
A review copy, with 'The Editor, The Register' on the flyleaf and Sir Will Sowden's signature, dated 4 November 1920 (all in pencil), on the title page.
Quarto, xviii, 206 pages with 12 illustrations and 12 pages of hood patterns plus 9 plates (4 in colour).
Papered boards very slightly bumped and marked; light vertical crease to the flyleaf; an excellent copy with the dustwrapper slightly sunned, rubbed, chipped and clipped with a little loss (chiefly the foot of the front fold-down), and with a few tape... Read complete entry
The invaluable (but far from perfect) 'Dictionary of Australian Artists. Painters, Sketchers, Photographers and Engravers to 1870', edited by Joan Kerr, has only this to say: 'MAY, E.C., lithographer, signed nine lithographs celebrating life in the bush and on the goldfields (c.1855-60, ML). He may have been the May who was in partnership with George (?) Walker (q.v.) at Melbourne in the early 1870s'. At least he appears on their radar ... Our ongoing research has established the following facts. Edgar Charles May was born at North Adelaide on 27 May 1867; we have yet to ascertain his date of death, but by 1923 his name had disappeared from the local Sands and McDougall's directories (where he had been listed as an artist). One published example of his work, not noted at all by Kerr and not attributed to May by Ferguson, was offered as item 63 in our catalogue 106A, as 'GILL, S.T. and others: 14 Views of Old Adelaide from Sketches in 1840-1849 by S.T. Gill, F.R. Nixon, S. Calvert and O. Korn. [Adelaide], E.S. Wigg, . Oblong quarto,  leaves, all rectos blank, comprising the gilt-pictorial title page (signed in the image by E.C. May), 14 full-page tinted lithographic views with tissue-guards, the 3-page list of 181 subscribers and the key to plate 5 (between plates 4 and 5)'. This is Ferguson 9924e, which is essentially the same item as Ferguson 9807, apart from the different publishers. We have inspected numerous copies of 9924e (the Wigg version), and the odd Galbraith one, and it is clear that the original Galbraith imprint is masked by the gold blocking carrying the later Wigg imprint. The nature of the contents (reworked material from well-known earlier artists), the medium (tinted lithographs printed in brown) and the style of the work leave us in no doubt that May is responsible for all the material in '14 Views of Old Adelaide'. We also suggest that the 10 lithographs offered here were prepared by him with the intention of putting out a companion volume to '14 Views of Old Adelaide'. The change of publisher after that book was printed leads us to suggest that Galbraith (or May, or both) lost money on the venture, and, who knows, perhaps the Wigg issue was not a commercial success either. In any event, one could see how enthusiasm for a sequel might be considerably diminished. All of these plates are rare; complete sets of them are exceptionally rare on the open market. Until now, they have been poorly documented in the literature; fortunately, some of them have survived to tell their own worthy tale.