lamdha books -
Catalogue of colonial and traditional Australian art

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9817
Bloomfield, Lin (ed.)
The World of Norman Lindsay - signed copy
The Macmillan Company of Australia Pty. Ltd., South Melbourne Vic., 1979.
Quarto; hardcover, with gilt spine titles; 150pp. with 8 colour plates and many monochrome illustrations. Mild wear; slightly rolled; some bumping to the upper board; text block edges spotted; previous owner's name in ink to the flyleaf; signed by the author in ink to the flyleaf. Dustwrapper is chipped at the spine panel head; mild edgewear and rubbing; now backed by archival-quality white paper and professionally protected by superior non-adhesive polypropylene film. Very good.
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$60
48044
Bock, Thomas (Diane Dunbar, ed.)
Thomas Bock Convict Engraver, Society Portraitist
Queen Victoria Museum & Art Gallery/Australian National Gallery, Launceston TAS & Canberra ACT, 1991.
Quarto; paperback; 107pp., with many colour and monochrome illustrations. Minor wear. Near fine.
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$18
208199
Di Tommaso, Lisa
Images of Nature The Art of the First Fleet
Natural History Museum, London, 2012.
Quarto; gatefold paperback; 111pp., with many colour illustrations. Remainder. New. In 1788, nearly fifteen-hundred people on eleven sailing ships came ashore at Port Jackson in Australia after a gruelling eight month journey from England. This collection of vessels later became known as the First Fleet, and those who sailed in them were the community who established the first European colony in Australia. The Art of the First Fleet depicts the natural history of this extraordinary land, the people and culture of the local indigenous population and the events that marked these initial formative years. The collection, now housed in the Natural History Museum, provides an invaluable record of the wildlife and environment, people and events, as seen through the eyes of the colonists who laid the foundations for the European settlement of Australia. The artists' drawings of the people and culture of the Eora people, the local indigenous population of the area, provide the only lasting visual record of their lives. While images of plants and animals were not always technically accurate, they made a significant contribution to the development of science, allowing experts in Britain to be able to identify and name a large number of new species.
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$22
15124
Dutton, Geoffrey
S.T. Gill's Australia
Mead & Beckett, Sydney, 1981.
Hardcover quarto; yellow boards with black spine titling and lower front board illustration, illustrated endpapers; 160pp., numerous monochrome and a few colour illustrations. Owner's inscription. Mild wear to lower board edges. Mild rubbing to illustrated dustwrapper. Very good to near fine and wrapper now professionally protected by superior non-adhesive polypropylene film. From the moment he stepped ashore and within a few years, S.T. Gill had absorbed the instinctive language of Australia's rocks and trees, wildflowers and light. From then until his tragic death in 1880 he gave the fledgling nation his life and art and produced a unique record of the rough burgeoning of Australia. S.T. Gill was recognised but unrewarded during his life. After his death he lay in a pauper's grave. Fortunately, Gill has found an apt biographer in Geoffrey Dutton, who, after careful research and with great empathy for the artist, has written about the life and works of this humorous, talented and humble man.
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$32
81670
Eagle, Mary
The Art of Rupert Bunny in the Australian National Gallery
Australian National Gallery, Canberra ACT, 1991.
Square quarto hardcover; 257pp., colour and monochrome illustrations. A few faint spots on text block edges and dustwrapper spine slightly faded. Near fine otherwise. The Art of Rupert Bunny fully documents the sixty-five paintings by Bunny in the National Collection and examines each with reference to related works and in the context of contemporary influences and styles.
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$35
30715
Hackforth-Jones, Jocelyn
The Convict Artists
The Macmillan Company of Australia Ltd., North Sydney NSW, Australia, 1977.
Oblong quarto; hardcover; 96pp. Minor wear; owner's name to half-title page; faint spotting to the text block edges. Dustwrapper now professionally protected by superior non-adhesive polypropylene film. Very good. Many of the first European artists in Australia were convicts (the majority had been convicted of forgery) - inspired primitives or skilled artists working under patronage. They depicted the flora, fauna and topography of the new land and their services soon came to be in great demand by both the government and private individuals. Governor Macquarie was an active patron and encouraged a number of artists, including Eyre, Lycett and Read. During the first half century of settlement - when they were the only coherent group of artists to record the appearance, growth and progress of the two colonies of Van Dieman's Land and New South Wales - a developing sophistication in approach can be traced.
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$25
217880
Hetherington, John
Norman Lindsay: signed The Embattled Olympian
Oxford, London, 1973.
First edition. Hardcover, octavo; black boards with silver gilt spine titling and illustrated brown endpapers; 272pp., monochrome illustrations. Signed by the author on obverse of front endpaper. Owner's name. Well-spotted and browned upper text block edge with spotting on other edges; one or two internal spots. Black illustrated dustwrapper very slightly rubbed; and mild wear to edges(now professionally protected by superior non-adhesive polypropylene film). Very good to near fine. Hetheringon's biography is a relentlessly penetrating account of Norman Lindsay's life and times written in the spirit of Lytton Strachey's admonition, 'Discretion is not the better part of biography'. It vividly depicts not only the central figure but his intimate associates also - his brothers Lionel and Percy, his talented sons Jack, Phil and Ray as well as poets Douglas Stewart, Kenneth Slessor and Hugh McCrae.
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$75
214103
Kerr, Joan, (ed.)
The Dictionary of Australian Artists Painters, Sketchers, Photographers and Engravers to 1870
Oxford University Press, Melbourne Vic., 1992.
First edition: quarto; hardcover, faux quarter-binding with gilt spine titles on a teal label and decorative endpapers; 889pp., with many monochrome illustrations. Moderate wear; slightly shaken; a heavy bump to the spine heel; light spotting to the text block edges and top edge dusted. Dustwrapper a little rubbed and edgeworn; sunned along the spine panel; now professionally protected by superior non-adhesive polypropylene film. Very good. Laid in: a press release concerning the book's publication.
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$160
201504
Lane, Terence
Australian Impressionism
National Gallery of Victoria, Melbourne Vic., 2007.
Quarto; gatefold paperback; 352pp., with many colour illustrations. Minor wear. Near fine. Exhibition catalogue. This book hopes to take up the story from the hugely successful Golden Summers exhibition, concentrating however on the five key initiators of the movement and limiting the timescale to the period 1883-1897. Tom Roberts, in company with the Paris-trained Spanish artists Ramon Casas and Laurea Barrau, his Melbourne friend Dr William Maloney and John Russell - the only Australian painter to be directly in touch with Monet and mainstream Impressionism, visited Spain in 1883. It was also the year in which Roberts worked briefly under Gerome at Julian's Academy in Paris. The exhibition and catalogue concentrates on the participants in the first camps at Box Hill, Mentone and Eaglemont and does not extend to major figures of the second phase of Australian plein-air painting including the group who worked at Charterisville in the Heidelberg/Eaglemont area.
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$60
97307
McDonald, Patricia R. & Barry Pearce
The Artist and the Patron Aspects of Colonial Art in New South Wales
Art Gallery of NSW, Sydney, 1988.
Quarto paperback; 187pp., colour and monochrome illustrations. Wear and scraping to cover edges and corners, especially at spine panel extremities. Very good. Exhibition catalogue.
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$20
54405
Olsen, Penny
Feather and Brush
CSIRO Publishing, Melbourne, 2001.
Quarto, hardcover; blue boards with gilt spine titling, blue endpapers; 227pp., Colour plates and illustrations. Minor wear; mild fraying to lower board corners; slight rubbing to dustwrapper, mildly sunned spine. Very good to near fine and wrapper now professionally protected by superior non-adhesive polypropylene film. Traces the 300 year history of Australian bird art and contains more than 250 images representing the work of a hundred artists.
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$80
33452
Phipps, Jennifer
Artists' Gardens Flowers and Gardens in Australian Art, 1780s-1980s
Bay Books, [n.d.].
Hardcover quarto; blue boards with white upper board and spine titling; 216pp., numerous colour plates. Inscription. Boards rubbed and faded at edges; spotting to endpaper edges; mildly toned text block edges; dustwrapper slightly faded. Very good with wrapper now professionally protected by superior non-adhesive polypropylene film. "Artists' Gardens" captures the beauty and majesty of nature. Flowers, gardens and landscapes are transformed by the artists' palette in over 100 oils, watercolours, drawings and etchings ranging from the exquisite detail of early botanical artists such as John Lewin and Ferdinand Bauer to the abstract representation of modern artists such as Imants Tillers and Vicki Varvaressos.
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$35
215405
Prunster, Ursula, & Brett Rogers
Norman Lindsay Centenary Exhibition of Graphic Art
Newcastle Region Art Gallery, Newcastle NSW, 1979.
Quarto; paperback, with decorative endpapers; 61pp., with many monochrome illustrations. Moderate wear; covers well rubbed and edgeworn; text block edges mildly toned. Very good. Errata slip tipped in. Exhibition catalogue.
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$35
34147
Rienits, Rex & Thea
Early Artists of Australia
Angus & Robertson, Sydney NSW, 1963.
Quarto; hardcover, full cloth with gilt spine titles on a black label and decorative endpapers; 246pp., with a colour frontispiece and 38pp. of colour and monochrome plates Mild wear; spine extremities softened; text block edge lightly toned with some spotting. Dustwrapper is lightly rubbed and edgeworn (now professionally protected by superior non-adhesive polypropylene film and white paper backing). Very good. The discovery of Australia by Europeans meant the revelation of a new continent - landscape, people, animals, birds, plants - all strange and often astonishing. Some of those who saw the new world at first hand naturally attempted to record it pictorially, for the information of those at home as well as for their own satisfaction. There was a growing demand for natural history drawings, seamen wanted practical sketches of the coast, and so for one reason or another many drawings, paintings, and engravings were made, depicting Australia both in its primitive state and in its first stage of settlement. It was in collecting such pictures that the authors first began to research the lives of those who made them.
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$40
92271
Spate, Virginia
Tom Roberts
Landsdowne Press, Melbourne Vic., 1972.
First edition. Large quarto hardcover, 161pp., 38 plates, 49 monochrome illustrations. Minimal wear, toned text block edges. Otherwise near fine in like dustwrapper and professionally protected by superior non-adhesive polypropylene film. Roberts was one of the first Australian painters to attempt to develop a distinctively Australian style of painting. In this, he was clearly influenced by the European art of his day, having travelled and studied in England and Europe. But always he modified techniques to suit the Australian scene.
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$40
77350
Terry, Martin
Maritime Paintings of Early Australia, 1788-1900
Miegunyah Press/Melbourne University Press, Carlton South, Vic., Australia, 1998.
Quarto; hardcover; 114pp., with many full-colour illustrations. Minor wear. Dustwrapper mildly rubbed; sunned lightly along the spine. Very good. Australia is a nation whose modern incarnation has its roots in the sea. The first white artists to come to these shores had a clear-stated duty to observe and record the country to which they had been sent, noting landscapes, flora and fauna: oftentimes, their images depict ships and other nautical phenomena as a means of stressing the distant origins of their subjects. Artists without such duties imposed on their creativity often painted images of ships at sea or battling storms, underscoring the faraway notions of "home". Throughout the European occupation of Australia, the sea and its accoutrements has been an important subject for artists to capture: this volume covers a wide range of exponents, their schools, and their techniques in exhibiting the breadth of maritime imagery which this country has produced.
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$40
98809
Ure Smith, Sydney, & Bertram Stevens (eds.)
The Art of J.J. Hilder
Angus & Robertson Ltd., Sydney NSW, 1918.
Quarto; hardcover, quarter-bound in papered boards with gilt spine titles, upper board titles and an upper board decoration; 49pp., with 5 monochrome illustrations, a tipped-in colour frontispiece, 36 plates likewise and 16 monochrome plates. Moderate wear; shaken; boards rubbed with some marks and slightly bowed; softening to the spine extremities; text block edges toned; offset to the preliminaries and tipped-in plates; spine slightly cracked. Dustwrapper rubbed and edgeworn; lightly chipped at the spine panel extremities and flap-turns; now backed by archival-quality white paper and professionally protected by superior non-adhesive polypropylene film. A very good copy.
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$200
9833
Wingrove, Keith (ed.)
Norman Lindsay's Bears
The Macmillan Company of Australia Ltd., Melbourne Vic., 1978.
First edition: square quarto; hardcover; pale orange boards with white spine titling and yellow endpapers; 72pp. on tan stock, with many illustrations. Mild wear; board edges lightly rubbed and faint spotting to text block edges. Dustwrapper slightly sunned along the spine and adjacent; mild wear to edges; now professionally protected by superior non-adhesive polypropylene film. Very good. Long before Billy Bluegum made his trek to fame in the pages of the Magic Pudding, readers of the Bulletin and the Lone Hand delighted in the activities of Lindsay's most popular bear. Billy's adventures reflected the social and political turmoil of a country soon to be plunged into a world war: society, marriage and divorce, elections, conscription and war, the races and Christmas - all are dealt with in Lindsay's inimitable style - his wry and witty captions the final piquant touch. This selection by Keith Wingrove includes both the first and last Billy Bluegum pictures drawn by Norman Lindsay and are perennially delightful.
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$35
81392
Withers, Walter (Andrew MacKenzie, ed.)
The Forgotten Manuscripts
Mannagum Press, Lilydale Vic., 1987.
Quarto hardcover; 144pp., colour and monochrome illustrations. Dustwrapper lightly faded along spine and lower edges (now professionally protected by superior non-adhesive polypropylene film); otherwise minor wear only. Very good to near fine. The English born painter Walter Withers is known for his moody landscapes of Victorian scenes around Heidelberg, Eaglemont and Creswick. In the brotherhood of the Heidelberg school of painters he was called 'The Colonel' for his ability to organise others, and his old farmstead at Charterisville became the home for a generation of painters in the 1890s. His indefatigable wife Fanny wrote four manuscripts on the life and art of her husband, one of which became the small publication produced by Alexander McCubbin, The Life and Art of Walter Withers - as part of his Australian Art Book Series of the 1920s. Fanny Withers played an important role not only in acting as housewife and mother to Walter's six children, but also in supporting and encouraging her husband and helping run the business side of his life. Her strong will and character, ceaseless energy and her eagerness to promote her husband's career had her entertaining guests and defending assiduously his art works against the critics. Her pen was ever ready, poised to strike at those who unwittingly or unjustifiably attacked his works. In one instance a series of letters were exchanged with a Mr. Carrington of the Argus who deigned to criticise adversely Wither's work prior to the exhibition. In her protest, Fanny Withers wrote: ' ..I do understand the function of an Art Critic - when my husband and I lived in Paris, I was Musical Critic for one of the London Papers, but I never wrote about a performance without hearing it'. To which Carrington replied: 'You may, or should know that a wife's evidence for or against her husband is absolutely and entirely valueless for sound and very obvious reasons'. That Carrington had to resort to such a statement is probably tantamount to an admission that his match had been met. Fanny did not confine herself to only these pursuits. She was a teacher in Heidelberg and Eltham and was passionately concerned with the social welfare of the poorer members of the community. She wrote a novel, Boarded Out; a Story Founded on Fact which was published in Melbourne by Fraser & Jenkinson in 1907, sending out copies of the book to influential members in the community including various local and state members of the government as a means of helping these unfortunate children. The four manuscripts, letters, photographic images of the family, studios and the works of Walter Withers are all included here.
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$28