Search Results: Titles starting with K from Douglas Stewart Fine Books

Adelaide : Adelaide Festival of Arts Executive Committee, 1960. Quarto (275 x 210 mm), colour pictorial wrappers (some light staining to lower wrapper), staple bound; inside wrappers with colour advertisements, pp 71 [1], photographic illustrations, mostly b/w but including a double-page of colour plates of Louis Kahan's costume designs for Rigoletto, a full-page colour plate of Diego Rivera's The Flower Vendor, a full-page colour view of the interior of the Bonython Hall, a double-page in b/w devoted to American jazz artist Dave Brubeck and his quartet (Paul Desmond, Eugene Wright, Joe Morello) - note that Take Five had first been recorded only a few months before - and a full-page with b/w illustration on Charles Mountford's collection of Arnhem Land bark paintings and artefacts; advertisements (some colour); contents pristine, a very good copy. This is the superbly produced programme for the inaugural Adelaide Festival of Arts (now known as the Adelaide Festival), which would develop into one of… Read More

London : William Darton, [1820]. Board game, engraved sheet (495 x 405), hand-coloured, dissected and laid on linen (some offsetting), publisher's advertisement label, in original publisher's card slipcase, marbled paper (edges worn), publisher's label and large illustrated title label with images of the animals; without the printed rule book. ONE OF THE EARLIEST CHILDREN'S GAMES TO DEPICT AUSTRALIAN ANIMALS. British and foreign animals is a variation on the Game of the Goose. The 37 tiles have representations of animals with different perceived moral qualities, the majestic Lion - the king of beasts - being the final central image. The penultimate tile is the Kangaroo, the image taken from the famous depiction by George Stubbs (1772), which was frequently reused by engravers across the following decades. The game wold have been played with a teetotum, and was originally issued with a printed rule book with descriptions of the animals, which (like the Morgan Library copy) is lacking in this… Read More

Ewell, Surrey, U.K. : Studley Press, [1946]. Series: Tally-ho books for children ; no. 12. Obong quarto, publisher's leather-backed pictorial yellow boards (slightly bowed towards the front, lightly marked on front and back and some wear along the edges), colour illustrated endpapers, 31 pp, full-page illustrations of animals to rectos (including the kangaroo and koala), text on each animal to versos, contents clean and sound, a very good copy. The bizarre aspect to this selection is the inclusion of negroes, Eskimos and Red Indians. Trier is best known as the illustrator of Erich Kästner's children's books. Monash University Library holds the only copy in Australian collections.

Rangoon : American Baptist Mission Press, 1883. Duodecimo, self-wrappers with woodcut of an owl, pp. [7], stitchbound. Text in English and S'gaw Karen. Printed in an edition of 1000 copies. Number 12 in the Toungoo Series of the American Baptist Mission. Rev. Cross is noted for his language publications including a translation of the New Testament into Karen.

Albumen print photograph, carte de visite format, 102 x 63 mm; recto of mount imprinted 'Madeley, Photo. / Timor St. Warrnambool'; a strong print with excellent clarity, in very good condition (a small mark at bottom edge); the mount is clean and stable (verso is blank).. A very rare example of a carte de visite from the early career of Oswald Madeley.  Oswald Madeley is now remembered chiefly for the infamous photographs he took of the Kelly gang after their capture in June 1880, which included images of the charred remains of several of the bushrangers and their armour (Madeley filed these with the Melbourne Copyright Authority on 5 July 1880), and for his photographs depicting a reenactment of the Kelly saga, A Complete Series of Photographic Views in connection with the Kelly Outrages, which were sold by Arthur W. Burman in Melbourne. Yet very little is known about Madeley's early career as a photographic artist. In Kyneton during 1860 he was listed as a watchmaker and photographic artist in… Read More

: drawn chiefly from the usage of the Australian aborigines : also the Kurnai tribe, their customs in peace and war. Melbourne [etc.] : G. Robertson, 1880. First edition. Octavo, fine original embossed brown cloth (lightly rubbed), spine with gilt lettering, [8], 372 pp, frontispiece folding map of Gippsland, ""Memoirs, the first by the Rev. Lorimer Fison, and the second by Mr. Alfred W. Howitt."" (prefatory note), a fine copy, sound and bright. Pioneering studies of the Aboriginal peoples of Gippsland, eastern Victoria.

Albumen print photograph, 199 x 151 mm, inscribed in the negative at bottom left 'Hughan 6-74', laid down on its original album page of thick card, 320 x 250 mm, verso with contemporary caption in pencil in ink in a neat hand: 'Cascade à Canala'; a strong print with rich tonal range and excellent clarity; the mount is free from foxing. Allan Hughan was a British merchant and ship's captain who had been shipwrecked in New Caledonia in 1870. By 1871 he had started a commercial photography business in Nouméa, and the following year he was appointed government photographer. In addition to studio portraits his work included views of Nouméa and the interior of the island, documentation of the traditional way of life and customs of the Kanak people, and an official photographic study of the French penal colony on the Isle of Pines. For related images by Hughan taken in the same year, cf. Kakou, Serge. Découverte photographique de la Nouvelle-Calédonie, 1848-1900. Arles: Actes Sud, 1998, plates 56-61.

[Title from printed caption in lower margin]. [Published ca. 1900]. Collotype process print with hand colouring,175 x 225 mm (image), on sheet 250 x 300 mm; lower margin of sheet with imprint of 'J. Taylor, Collotype, Adelaide, Copyright' and printed caption in black; the print is in excellent condition; some light marks to margins of the sheet. James Taylor, photographer and collotypist, arrived in South Australia from Scotland in 1864. After working for many years in Gawler and Port Augusta he set up business in Adelaide in the early 1900s, producing commercial collotype postcards and prints from original photographs most likely taken by himself on his travels in outback South Australia. The present photograph was taken in the Musgrave Ranges, which straddle the border between South Australia and the Northern Territory. Because of the early date, the hunters in the photograph are probably Yankunytjatjara, and not Pitjantjatjara people. The fact that Taylor took pains to retain specific… Read More

Edo (Tokyo), Japan : 萬屋兵四郎 [Yorozuya Heishirō], [1862] (Bunkyū 2). Hand coloured woodblock print, original cloth covers and paper portfolio, both with title labels (portfolio with some silverfishing and lacking left-hand flap), map with some foxing and silverfishing, repaired with Japanese tissue. A detailed map of the world on Mercator's projection bordered by vibrantly coloured national flags. The explanatory notes by the editor 佐藤政養 [Satō Masayasu], indicate this edition was based on the 1857 Dutch publication Wereldkaart, naar en met de lasste ontdekkings-reizen, opgedragen aan de Nederlandsche Handelmaatschaapij by bookseller C.F. Stemler. Masayasu (1821-77) was a scholar of the Dutch language in the late Edo period and a railway engineer in the early Meiji period. Australia is labelled as ""New Holland"", with the colonies of New South Wales, Victoria, South Australia, and Western Australia shown, the remainder branded ""Colonies not clear."" The text includes some… Read More

 / arranged and compiled by Mangkaja Arts Resource Agency ; 15th September-3rd November 1991, Tandanya National Aboriginal Cultural Institute Inc. ... Adelaide. [Fitzroy Crossing, W.A.] : Mangkaja Arts Resource Agency, [1991]. Quarto (295 x 205 mm), stiff wrappers with embossed lettering to front, stapled; 28 pp., illustrated in colour; an excellent copy. Loosely inserted are several separately issued Mangkaja Art artist profiles and press releases, plus a related article photocopied from the December 1991 issue of Westerly. 'Catalogue to accompany exhibition of paintings by artists from Fitzroy Crossing and Bayulu Community; each artist provides biographical details and a description of their paintings.' (NLA)

London : Adam and Charles Black, 1905. Octavo, gilt-lettered pictorial cloth (spine faded); top edge gilt; illustrated endpapers with early owner's signature to front pastedown; pp. xx; 301; numerous colour and b/w plates, with tissue guards intact; spine very slightly rolled, fore- and bottom edges with heavy spotting, text leaves with occasional light foxing (including to the preliminary leaves), the plates clean and bright; binding nice and firm.

Needlework sampler bookmark, 105 x 65 mm; very well preserved. The text reads: 'John Evans / Born / June 17th 1878 / Round Mountain / Sweet copy far more dear to me / Than all the living forms could be. / Save him who placed thee next my Heart'; [together with] another sampler bookmark, sewn onto silk, 210 x 28 mm, worded 'Think of me.'; in good condition (the silk a little frayed). These sweet keepsakes were both found in a photograph album belonging to the Evans family of Bombandy, between Cudgegong and Rylstone, southeast of Mudgee in the Central West of New South Wales. John Evans (1878-1968) was born at Round Mountain, near Rylstone, on 17 June 1878. His parents were John William and Jane Evans. The keepsake commemorating his birth was almost certainly made by his mother, judging from the wording of the text; and it is quite likely, considering the shared context of the two objects, that Jane Evans was also the maker of the 'Think of me' bookmark. John married Elsie May Rayner (1887-1961) on… Read More

Singapore : Kelly & Walsh, 1929. Ninth edition. Duodecimo, lettered red flush cut cloth, lightly marked, pp. xvi; 75, a very good copy.

New Castle, Delaware : Oak Knoll Press, 2011. Quarto, cloth in dustjacket, pp. xvi; 272, illustrated. An essential reference for William Morris and the Kelmscott Chaucer. 'When William Morris founded the Kelmscott Press, his celebrated private press, in 1891, one of the books he intended to print was an edition of the writings of Geoffrey Chaucer. Because of its size and complexity, The Works of Geoffrey Chaucer did not emerge from the press until June 1896, shortly before Morris's death. Even at the time of publication, there was almost universal recognition that it was the most ambitious and remarkable book produced in the nineteenth century. Morris himself designed the type, initials, and borders. His old friend Sir Edward Burne-Jones created the eighty-seven wood-engraved illustrations, and the book was printed on a hand-press with ink, paper, and vellum made to Morris' exact specifications. According to Sydney Cockerell, the second Secretary of the Kelmscott Press, Morris printed 425 copies of… Read More

Sydney : Craftsman House, 1988. Quarto, illustrated cloth, pp. 128, illustrated, housed in a cloth slipcase (marked). The deluxe edition, limited to 99 copies signed by the artist. Originally issued with a signed print, which is not present here.

Melbourne : Thames & Hudson, 2021. Quarto, pictorial boards in yellow plexiglass slipcase, pp. 318, illustrated. The deluxe edition, limited to 300 signed copies with a signed Ken Done print in a pocket in rear endpaper. 'Is it not time we placed Done into the context of Streeton and Roberts, Olsen and Nolan – all of whom lived by and painted the harbour? – Glenn Barkley, curator and artist At once ad man and artist, designer and entrepreneur, Ken Done has achieved what few others have. His signature style has graced ad campaigns and art cars, magazine covers and doona covers, public spaces and landmark cultural events, but it is his unabating passion for painting that sustains him. For more than forty years, Done has chronicled the Australian way, documenting how it feels to be Australian with an exuberance that is immediately recognisable. Ken Done: Art Design Life documents Done’s expansive art and design practice over four decades and provides a fascinating insight into the artist and his… Read More

Sydney : Craftsman House in association with G+B Arts International, c2000. Quarto, boards in dustjacket, pp. 198, illustrated. 'As a boy, Johnson travelled around Australia with his father, and in this volume he describes how the opportunity to travel and experience the natural world has nourished his artistic drive. His mature work is the product of this experience in all its forms - the exotic places, the buildings and the people and art of many cultures.' - the publisher

Sydney : Artand Foundation, 2018. Quarto, cloth bound boards, pp. 252, extensively illustrated, fold out plates. Sculptor, installation and performance artist,Unsworth was born in 1931 in the Melbourne suburb of Richmond. Despite growing up as a self-described typical Melbourne kid who loved football, trams and a beer, Unsworth has become one of Australia's most significant contemporary artists. Ken Unsworth was born in Melbourne in 1931. He studied at the University of Melbourne, Melbourne Teachers College, and the National Art School, Sydney. He has held several teaching positions, including Lecturer in Sculpture, Sydney College of Advanced Education. Unsworth has had numerous solo exhibitions, in Australia and overseas, including a major survey exhibition at the Art Gallery of New South Wales in 1998. His works have been included in the Mildura Sculpture Triennial, 1973 and 1978; the Australian Sculpture Triennial, Melbourne, 1981, 1984 and 1993; Australian Perspecta, Sydney, 1981, 1985, 1987 and… Read More

Broken Hill, N.S.W. : The Broken Hill City Art Gallery [1986]. Quarto, illustrated cover, pp 52, limited edition of 1000 copies, foreword by Michael Pursche, essay by Bernice Murphy, illustrated throughout with both colour and black & white plates, biography of the artist, catalogue of 36 works; fine. Signed on the title page by Ken Whisson and Bernice Murphy. Loosely enclosed, a signed letter from Michael Pursche, Director, The Broken Hill City Art Gallery, to prominent collectors Colin and Liz Laverty, thanking them for the loan of a painting for the exhibition, and apologising that due to error it was not photographed for the catalogue.

Sydney : Watters Gallery, 1989. Coil bound exhibition catalogue printed on photo paper, 10 x 22 cos, 11 leaves. Scarce.