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
However, although 'The Diaries of Donald Friend', Volume 4 (2006), covering the period 1966 to 1988, refers to 'Bumbooziana' many times, there is no mention of errant leaves, no hint of variant drafts. The various (and unsuccessful) attempts to sell the manuscript as published are described in detail in the diaries. On 15 October 1982, Friend records he was offered $25,000 for it; 'It was a shock. I want $45,000 and regard it cheap at that'. On 20 May 1983, he records that the several manuscripts, including that of 'Bumbooziana', 'would all go to the library [the National Library of Australia] on loan and be gifted one manuscript per annum, valued for tax deduction purposes by the library'.
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.
Cambridge, Cambridge University Press, 1946 [first edition].
Octavo, x, 97 pages with numerous illustrations plus a frontispiece.
Cloth slightly bowed and sunned; a very good copy.
With the ownership signature (dated 25 October 1946) of [Sir] Herbert Mayo (sometime judge of the Supreme Court of South Australia). Laid down on the flyleaf is a handwritten letter signed by Herbert Mayo's son, George. The book's description, neatly clipped from the dustwrapper, is laid down on the front pastedown. Illustrated by John Hookham.
Quarto, 191 pages with numerous illustrations and 168 plates.
Cloth; an excellent copy.
'Art in its Context. Studies in Ethno-Aesthetics ... Field Reports: Volume 3.' The result of eight months' research in the village of Amanamkai on the Southwest coast of the former Dutch half of New Guinea.
Roseville, NSW, Craftsman House, 1990 [revised edition]/ 1979 [as Artists and Galleries of Australia and New Zealand].
Quarto, two volumes, (xii), 420; (vi), 421-832 pages plus 90 colour plates.
Papered boards; extremities slightly bumped; an excellent set with the slightly rubbed and torn dustwrapper.
'This third updated and enlarged edition provides biographical information about 4600 painters, sculptors, printmakers, craftspeople and arts administrators including 250 aboriginal artists, as well as useful facts about 730 of the leading public and commercial art galleries'.
Octavo, 85 pages ('practically unabridged from the 5/- editions, with four full-page plates and numerous other illustrations').
Pictorial wrappers; staples a little rusty, with the centrefold neatly detached; contemporary inscription (curiously, dated June 1928); trifling signs of use; a very good copy.
Offered together with a companion volume, in similar condition, by May GIBBS: Snugglepot and Cuddlepie. Their Adventures Wonderful (Muir 2753 and 2745; these are scarce editions in the Gumnut Readers series).
Small quarto, [viii], 88 (last colophon) pages with numerous illustrations plus a colour frontispiece and 22 full-page sepia plates.
Brown-pictorial cream papered boards lightly marked and bumped, with trifling surface blemishes; occasional mild foxing and slight signs of handling; a very good copy with the colour pictorial dustwrapper expertly conserved (with infill making light... Read complete entry
Not in Muir (but see 2747 for similar editions from 1934 and 1939, omitting in error the preliminaries and not calling for a dustwrapper).
London, Dent (printed by Hague and Gill, High Wycombe), 1937.
Octavo, [vi], 141 pages with 12 illustrations by Teg (Denis Tegetmeier).
Buckram; head of the spine slightly sunned; contemporary ownership details on the flyleaf; an excellent copy with the dustwrapper slightly sunned, marked, rubbed and chipped, with minor loss to the head of the spine and trifling surface loss to the... Read complete entry
The watercolour is on paper (140 x 225 mm), laid down on an old mount, once framed but now removed, with traces of an overmount visible on the margins of the artwork. The painting is in excellent condition, and it would be an ideal candidate for reframing. Harry Pelling Gill (1855-1916), art curator and teacher, was born in England; he trained and taught at the Royal College of Art from 1877-82. He was then appointed master of the school of design in Adelaide. 'He arrived in Adelaide in September and organized elementary and advanced classes, instruction in crafts, teaching of drawing and correspondence lessons. He also gave instruction to trainee teachers.... In 1889 Gill became director for technical art ... He published books on geometrical drawing and design ... In 1892 he was appointed honorary curator of the art gallery and, following the resignation in December of Louis Tannert as master of the school of painting, Gill assumed control of all the board's art teaching activities.... Gill had shown promise as an artist and hoped to win repute in Australia. However, teaching and administration had left little time for his painting. His rare decorative and aesthetic compositions, and also his landscapes, are painted with meticulous detail without sacrificing the overall unified effect. This is a quality passed on to some of his students, including the Hambidge sisters and Gustave Barnes in his early work. Gill's landscapes and some of his interiors show that he was interested in the accurate rendering of light - a rare quality in Adelaide before 1900' (Australian Dictionary of Biography). Gill travelled to England and Europe in 1899, and he went to New Zealand in early 1907. However, he appears not to have visited England the year he produced this watercolour of Windsor Castle.
The watercolour is on paper (135 x 227 mm), unmounted as produced; apart from a tiny light crease to one top corner, it is in fine condition. It is undated, but probably circa 1900. Harry Pelling Gill (1855-1916), art curator and teacher, was born in England; he trained and taught at the Royal College of Art from 1877-82. He was then appointed master of the school of design in Adelaide. 'He arrived in Adelaide in September and organized elementary and advanced classes, instruction in crafts, teaching of drawing and correspondence lessons. He also gave instruction to trainee teachers.... In 1889 Gill became director for technical art ... He published books on geometrical drawing and design ... In 1892 he was appointed honorary curator of the art gallery and, following the resignation in December of Louis Tannert as master of the school of painting, Gill assumed control of all the board's art teaching activities.... Gill had shown promise as an artist and hoped to win repute in Australia. However, teaching and administration had left little time for his painting. His rare decorative and aesthetic compositions, and also his landscapes, are painted with meticulous detail without sacrificing the overall unified effect. This is a quality passed on to some of his students, including the Hambidge sisters and Gustave Barnes in his early work. Gill's landscapes and some of his interiors show that he was interested in the accurate rendering of light - a rare quality in Adelaide before 1900' (Australian Dictionary of Biography). This charming painting - of coastal tea tree (or similar) flourishing prominently against a backdrop of a few substantial dwellings scattered along a line in the relatively featureless landscape - certainly satisfies these criteria.
London, Batsford, 1933 (fifth edition, revised and enlarged)/ 1899.
Octavo, (viii), 184 pages with 700 illustrations plus 83 plates (some in colour).
Cloth with the dustwrapper; extremities slightly bumped and rubbed; dustwrapper a little unevenly sunned, marked, torn and chipped, with a little loss to the spine ends and the head of the front hinge; endpapers and top edge slightly foxed; a good... Read complete entry
Quarto, 264 pages with over 200 illustrations plus 12 colour plates and pictorial endpapers by Thomas Maybank, Geoffrey Watson, Captain FleminG-Williams RAF, F.H. Mason and W.H. Holloway.
Quarter dark green cloth and colour pictorial papered boards slightly rubbed; two very small scuffs (with slight surface loss) to the front cover (not affecting the main image); edges slightly worn and chipped with slight loss; leaves uniformly tanned... Read complete entry
The first edition of the first book in the series. The cover (by Watson) depicts a Sopwith Triplane Scout; the endpapers (by Maybank) are after the style of Heath-Robinson.
Folio; papered boards; a fine copy with the excellent dustwrapper.
Foreword by Gerald Durrell. A modern abridged version of a work first published in 1774; the plates are derived from a number of nineteenth-century works, with the majority of them from Charles D'Orbigny's 'Dictionnaire Universel d'Histoire Naturelle'.
London, Country Life, 1931 (popular edition)/ 1929.
Small quarto; quarter cloth and marbled boards; extremities slightly rubbed; edges and flyleaf slightly marked; endpapers browned and offset; a very good copy with the unevenly sunned dustwrapper slightly rubbed and torn with very slight loss.
The life story of a child's pony, with plates by Lionel Edwards.
Octavo; quarter cloth and gilt-decorated papered boards; extremities slightly rubbed and bumped (with a more solid bump to the middle of the leading edge of each board); endpapers and edges slightly discoloured; a very good copy with the dustwrapper... Read complete entry
One of the Arts du Monde series. With the ownership signature of Sir Walter Crocker (Paris, October 1948) .