Bookplates by Adrian Feint. With an Introduction by the Honourable John Lane Mullins MA MLC
Sydney, Palmtree Press, June 1928.
Octavo (263 x 173 mm),  pages (the first five and the last three are blank, and the blank leaf between the limitation page and the title page is tipped in) with decorations and 21 orginal woodcut bookplates by Adrian Feint tipped in on blank leaves (rectos only).
Quarter cloth and green papered boards, with paper title-labels on the spine and front cover; all edges uncut; green paper on the boards heavily mottled (presumably as ever); light wear to the paper along the bottom edges and corners of the covers; front top corner a little bumped; an excellent copy.
Number 100 of 125 copies numbered and signed by Adrian Feint and published under his private imprint; the typography is by Percy Green. 'The Plates in the Book were printed direct from the Original Woodcut Blocks on Jap Hand-wove or Van Gelder Papers. The Title Page and the decorations are printed direct from Woodcut Originals' (colophon). Eight of the plates are in colour: two are monochrome, four are in two colours, and two are extensively hand-coloured. The checklist records 68 bookplates from 1922 to 1927. Among the original plates in the book are examples for Dorothea MacKellar, William and Margaret Preston, John Lane Mullins, Sydney Ure Smith, Thea Proctor, Walter Taylor, and Kenneth Macqueen. This copy comes from the collection of Edward Edgar Pescott (1872-1954), horticulturist, naturalist, author, bibliographer and bookplate enthusiast, with his pencilled ownership signature and two-colour bookplate (by G.D. Perrottet, 1942). The Australian Dictionary of Biography entry on Adrian George Feint (1894-1971) makes it clear that the inclusion of bookplates for the above-mentioned individuals is no accident. After he was discharged from the army in 1919, 'Feint returned to the Sydney Art School which was noted for its teaching in 'black and white'. He worked extensively for Sydney Ure Smith's advertising agency, Smith & Julius, and provided decorations and cover designs for his magazines, 'Art in Australia' (1928-40) and the 'Home'. Regarded as having impeccable taste, Feint (with Walter Taylor) directed Grosvenor Galleries between 1924 and 1928.... He showed his first wood-engravings in 1927 while studying design with Thea Proctor'. Later, 'he virtually gave up commercial art in 1938 to concentrate on oil-painting - receiving technical advice from Margaret Preston'.