Search Results: Authors starting with N from Douglas Stewart Fine Books

Curated by Angela Tidmarsh and J.V.S. Megaw on behalf of The Flinders University of South Australia; catalogue edited by M. Ruth Megaw. Melbourne : Australian Exhibitions Touring Agency, 1991. Quarto, illustrated wrappers, light handling wear, pp. 36, illustrated. Includes historical photographs of the Hermannsburg Mission. Scarce. A very good copy.

Melbourne : Australian Exhibitions Touring Agency, 1991. Quarto, illustrated portfolio, containing folding posters and educational teaching sheets on Namatjira and indigenous Australian painting. A fine copy. Scarce.

Artarmon, N.S.W. : Legend Press, [circa 1980]. Publisher's illustrated envelope (a few light stains and tears with tape repair), 185 x 235 mm, housing six colour reproductions of paintings by Namatjira, each 175 x 225 mm (sheet size), plus a seventh sheet with biographical information and b/w photographic portrait of the artist. Scarce. The second issue, with different images to the earlier edition.

Melbourne : Niagara Galleries, 2007. Octavo, illustrated wrappers, pp. [12], illustrated, biography lower wrapper water stained.

Milan : Skira Editore S.p.A, 2014. Quarto, boards in dustjacket, pp. 320, illustrated. New copy. The extraordinary technologic innovations and revolutionary machines from the collection of the Leonardo Museum in Vinci. This beautifully illustrated volume discovers the multiple interests of Leonardo the technologist, the architect, the man of science and, more generally, the history of Renaissance techniques.

Large octavo (230 x 150 mm), in the original Admiralty-style binding of straight-grain red morocco with elaborate gilt border incorporating stars, wreaths and cornerpieces, spine gilt in six compartments; inner dentelles; all edges gilt; original marbled endpapers; engraved title-page with date in manuscript 1st October 1794 (although the list has additions to 1801); 200 pp., each with an identical engraved heading, with manuscript entries in black and red ink below, set out in tabular form within red-ruled lines; mostly written in one hand, with occasional alterations or additions in a second; remarkably fresh throughout. A record of the ships in Nelson’s Royal Navy from 1794-1801 with a distinguished Royal provenance, being a manuscript copy prepared for Ernst Augustus, Duke of Cumberland and King of Hanover (1771-1851), fifth son of George III. The register classifies ships by rating; within each rating, vessels are arranged alphabetically. The entries include dimensions, date built, draught,… Read More

Artist's book, card portfolio 280 x 200 x 15 mm, with a linocut on the cover, signed by the artist, titled and numbered 1 / 5, containing a 10 panel concertina panorama, each panel with a linocut illustration of a magpie. A simple and striking artist's book by the Melbourne based contemporary printmaker. Exhibited : Firestation Print Studio Artists Book Prize 2020, cat. no. 18

Brisbane : Queensland Art Gallery, 2000. Quarto, illustrated wrappers, pp. 144, numerous illustrations, light handling wear. A very good copy of a scarce title.

Group of 17 (seventeen) lithographically printed calling cards, various dimensions (smallest 40 x 75 mm, largest 57 x 93 mm); a number are annotated, some with PPC (Pour prendre congé, indicating a temporary absence), and several with the name of Major (or Lt. Colonel) Neild; all in good condition, with occasional light marks and toning. A fascinating little archive which provides us with an insight into the protocols of Sydney society of the 1890s and also into the social circle of the family of John Cash Neild (1846-1911), MLA for Paddington and Major (later Lt. Colonel) in the St George’s English Rifles, a patriotic military unit which he raised himself in Sydney. It includes the personal calling cards of high profile politicians, the vice-consul for Italy, the wife of the French consul, a prominent Anglican clergyman, an academic, and members of the local military and their wives. The cards printed for women are slightly larger ""at home"" cards which have the times they are able to be… Read More

Nell ; with words by Julie Ewington. Melbourne : Station, 2016. Quarto, illustrated boards, pp. 107, illustrated. Printed in an edition of 1000 copies. New copy. The Wake is a gathering of spirits, relatives, friends and lovers. Culminating in the form of objects, the artist Nell explores binary opposites: life and death, happiness and sadness, light and dark. From its inclusion in the 2016 Adelaide Biennial of Australian Art at The Art Gallery of South Australia, Adelaide, to its current display at the Shepparton Art Museum in Victoria, 'The Wake' now also exists in this first book on Nell's practice. This monograph includes words by Julie Ewington and images of the 41 works that make up The Wake.

[Title from contemporary inscription in ink on mount]. Circa 1870. Albumen print photograph, 135 x 170 mm, laid down on its original 19th century album page; a strong print with rich tonal range; scattered foxing to both the print and mount; verso with another albumen print in identical format, captioned 'The Royal Mail' (foxed). One of a series of views that Charles Nettleton took of the Melbourne and Hobson's Bay Railway Company's pier at Sandridge (now Port Melbourne). This busy pier not only handled a high volume freight but was also the main point of disembarkation for immigrants arriving at Port Phillip.

Photograph album, quarto (270 x 220 mm), original full black morocco over heavy boards, upper board with gilt-tooled ornament and title, silk endpapers, the front free-endpaper with a contemporary inscription in ink: 'A Souvenir of Victoria. To Mrs. Rose from A. & S. M. Melbourne, 4th January 1882'; containing [36] albumen print photographs individually mounted on the rectos of gilt-edged card leaves, all (bar two) with captions in pencil in period hand on the mount below the image (these were presumably written by one of the couple who presented the album to Mrs. Rose); while most of the prints have good definition and tonal range, a number are faded to varying degrees; the endpapers have foxing but the mounts are generally clean, with occasional spotting. Charles Nettleton (1826-1902) worked as an official photographer to the Victorian government and the City of Melbourne. Of all the Melbourne photographers of the nineteenth century, he was probably the most prolific documenter of the metropolis,… Read More

Albumen print photograph, carte de visite format, 63 x 102 mm (mount); verso with imprint of 'W.J. Norman, Wholesale and Retail Looking Glass and Picture Frame Manufacturer, 94 & 170 Elizabeth Street Melbourne' and contemporary inscription in pencil 'Oriental Bank'; no photographer's imprint; a strong albumen print with excellent tonal range, the mount also in fine condition. The magnificent Oriental Bank, which stood on the corner of Queen Street and Flinders Lane, was designed by architects Robertson and Hale and completed in 1857.

Albumen print photograph, carte de visite format, 63 x 102 mm (mount); verso with imprint of ‘W.J. Norman, Wholesale and Retail Looking Glass and Picture Frame Manufacturer, 94 & 170 Elizabeth Street Melbourne’ and contemporary inscription in pencil ‘Savings Bank'; no photographer’s imprint; slight fading at the left hand edge, otherwise a strong albumen print with excellent tonal range, the mount also in fine condition. The Melbourne Savings Bank's head branch was designed by Purchas and Swyer and completed 1861.

Albumen print photograph, 200 x 270 mm, no photographer's imprint; laid down on its original album page, contemporary manuscript caption in ink beneath image 'Victoria Engineer Volunteers [sic] in Camp near Melbourne 1871'; verso blank; the albumen print is in fine condition, and the page is free from foxing. This large format composition shows the entire complement one of the numerous Victorian volunteer units of the time. It was possibly taken by the prolific Melbourne photographer Charles Nettleton, who is known to have photographed the annual volunteer encampment at Sunbury in 1866.

Albumen print photograph, carte de visite format, 90 x 58 mm; laid down on a section cut from a nineteenth-century album page, the mount inscribed 'Sandridge Railway Pier'; in good condition. An early photographic view of the Sandridge Railway Pier (now known as Station Pier) at Port Melbourne, which was opened in 1854. Although the photographer is unidentified, we believe the image was probably taken by the prolific Charles Nettleton, as the pier was one of his favourite subjects and he photographed it on many occasions in the 1860s and '70s. The photograph was purchased as a souvenir by a visitor to Melbourne in November, 1866 - a view of the Burke and Wills Monument on the same album page was captioned with this date.

Albumen print photograph, carte de visite format, 63 x 102 mm (mount); verso with imprint of ‘W.J. Norman, Wholesale and Retail Looking Glass and Picture Frame Manufacturer, 94 & 170 Elizabeth Street Melbourne’ and contemporary inscription in pencil ‘Parlt. House'; no photographer’s imprint; a superb albumen print with excellent tonal range, the mount also in fine condition. A striking view from the north of Melbourne's Parliament House Library, taken from the gardens opposite, the magnificent edifice rising from the muddy, unpaved thoroughfare in the foreground.  

Newcastle Art Gallery, 2012. Exhibition catalogue, single sheet, folded, pp. [6], illustrated, introduction by Ron Ramsey, text by Richard Neville. Very scarce catalogue on the Irish convict artist's depicctions of the indigenous people of New South Wales.

Sydney : Oz Publications Ink Limited, 1963-1969. Forty-one issues, quarto, original stapled wrappers, various paginations between 16 and 20 pages, all illustrated; an expected amount of toning and occasional mild foxing; overall very good condition throughout; a rare complete set of the Australian issues of one of the most significant counterculture publications of the 60s. The Australian satirical magazine Oz was an important phenomenon of the underground press of the 1960s. Initially edited by Richard Neville, Richard Walsh and the revered pop artist Martin Sharp (who designed most of the covers as well as contributing cartoons and other art work), it was published in Sydney between 1963 and 1969. A separate London version of Oz, edited by Neville, Jim Anderson and Felix Dennis, was published from 1967 until 1973. Throughout its history - a lengthy one for a periodical which existed well and truly outside the mainstream press - Australian Oz attracted contributors who were to become influential… Read More

London : Oz Publications Ink Limited, February, 1972. Quarto, staple bound, 46 pp, printed in colour; a very fine copy. The Australian satirical magazine Oz was an important phenomenon of the underground press of the 1960s and early 1970s. Initially edited by Richard Neville, Richard Walsh and the artist Martin Sharp (who designed most of the covers as well as contributing cartoons and other art work), it was published in Sydney between 1963 and 1969. A London version was also published from 1967 until 1973, edited by Neville, Jim Anderson and Felix Dennis. Throughout its history - a lengthy one for a periodical which was well and truly outside the mainstream press - it attracted contributors who were to become influential figures in their respective fields, as well as in the intellectual life of the 60s and beyond. These contributors included such luminaries as Robert Hughes, Bob Ellis, Germaine Greer, Philippe Mora and Michael Leunig. Oz was never anything less than subversive and irreverent, and… Read More