Arthur Boyd
London, Thames and Hudson, 1967. The half-title is signed in black ink by Arthur Boyd. More
London, Thames and Hudson, 1967. The half-title is signed in black ink by Arthur Boyd. More
London, Thames and Hudson, 1972. With the contemporary ownership signature of Kym Bonython. More
London, Thames and Hudson, 1972. More
London, Secker & Warburg, 1973. More
Adelaide, Lidums Art Gallery, 1973. The edition comprised 1250 numbered copies with the artist's signature on an adhesive label (also stamped with the same number). This is copy number 1252, thus out-of-series, but loosely inserted in the book is one of the adhesive labels signed boldly in blue ink by..... More
London, Secker & Warburg, 1975. More
Rome, Collegio San Clemente, 1977 and 1978. The first volume is inscribed 'Finalmente! 23.xi.1977. San Clemente, Roma' by its sole author, scholar and palaeographer Leonard Eugene Boyle OP OC, later Prefect of the Vatican Library (1984-1997). More
Sydney, Collins (in association with the Royal Geographical Society), 1986. More
Richmond, Greenhouse Publications, 1988. More
Wellington, Oxford University Press, 1979. 'Conversations by James MacNeish, with commentary by David Simmons'. More
London, John Lane, The Bodley Head, 1919. Provenance: Will Ashton, with his Lionel Lindsay-designed bookplate on the front pastedown - a felicitous combination all round. English-born Sir John William (Will) Ashton (1881-1963) emigrated with his parents to Adelaide when he was a child; his father was the artist James Ashton..... More
Monte Carlo, André Sauret, 1963. A catalogue raisonné of the artist's lithographs, with all 147 items illustrated. Number 2944 of 4125 copies of the trade edition. More
Wellington, Oxford University Press, 1980. With the loosely inserted publisher's review slip. More
Sydney, Collins, 1982 (with a new preface)/ 1970, 1972 [and] 1975. More
Stuttgart, Fackelverlag, 1985 (facsimile edition). Text in German. Stuttgarter Faksimile Edition. More
Adelaide, The Workshop, 2000. Loosely inserted is a contemporary magazine review of the Workshop's current exhibition. More
Washington, National Gallery of Art [and others], 1988. 'Catalogue for the most comprehensive exhibition of Gauguin's art since the memorial show of 1906' (dustwrapper). The other authors are Francoise Cachin, Claire Freches-Thory, Charles F. Stuckey and Peter Zegers. More
Washington, National Gallery of Art/ The Art Institute of Chicago, 1988. Exhibition 'catalogue for the most comprehensive exhibition of Gauguin's art since the memorial show of 1906' (dustwrapper). The other authors are Francoise Cachin, Claire Freches-Thory, Charles F. Stuckey and Peter Zegers. More
Bondi Junction, ETT Imprint, 1998. Number 78 of only 100 copies signed by both the author and the artist, with an original signed etching (187 × 190 mm). Hand-bound by Robyn Tait, who has signed and inscribed the verso of the title in pencil 'For Alec'. This book of verse..... More
Canberra, Australian National University Press, 1968, 1973, 1976 and 1979. With the contemporary pencilled ownership signature of Alan Brissenden in Volumes III and IV. More
Henley Beach, Artlink, 2001. A special issue with numerous contributions, including two by Vivien Johnson, and one by Robyn Healy and Judith Ryan. More
Perth, Heytesbury Holdings, 1990. Written 'in association with Rodney Gooch, CAAMA Shop and the Utopia artists'; the numerous portrait photographs are by Nicholas Adler. More
Melbourne, National Gallery of Victoria, 1984. Exhibition catalogue. More
Albuquerque, University of New Mexico Press, 1991. A School of American Research Book. More
North Sydney, The Aboriginal Arts Board, Australia Council, 1987 (third printing)/ 1975. More