Douglas Stewart Fine Books Pty Ltd

Maker unknown # 1067 [France, c 1890]. Oblong box of very thick board (345 x 258 x 45 mm), the lid with a superb, colourful paste-down illustration depicting children and families at the zoo, with camel and elephant rides and an ostrich-drawn carriage. The box contains four chromolithographic scenes pasted onto wood and cut into jigsaw puzzles; each puzzle is complete (sixteen large pieces). The scenes are: an outdoor Punch and Judy show (probably in the Tuileries gardens); a picnic for children in the countryside; a village festival with children playing musical instruments in a procession; a fair with merry-go-round and other attractions. A true marvel both for its perfect condition and exquisite design.

# 1475 plusieurs cotes & isles des Indes Occidentales, les isles du Cap Verd, le passage par la Terre del Fuego, les Cotes Meridionales du Chili, du Perou, & du Mexique, l’Isle de Guam, Mindanao, & des autres Philippines, les Isles Orientales qui sont pres de Cambodie, de la Chine, Formosa, Lucon, Celebes, &c. la Nouvelle Hollande, les Isles de Sumatra, de Nicobar, de Saint Helene, & le Cap de Bonne-Esperance. Ou l’on traite des differens terroirs de tous ces pays, de leurs ports, des plantes, des fruits, & des animaux qu’on y trouve : de leurs habitans, de leurs coutumes, de leur religion, de leur gouvernement, de leur negoce, & c. Rouen : Jean-Baptiste Machuel le Jeune, 1715. Duodecimo, five volumes, bound in contemporary mottled calf with morocco title labels, spine ornately decorated (joints lightly rubbed), marbled endpapers, engraved title pages to volumes I and II, printed title pages in red and black, early ink annotations to the first blanks of a couple of volumes, ribbon markers, total of 64 engraved maps, charts and views (including the two engraved title pages), many of them folding, engraved initials, headpieces and tailpieces. A fine set of the first collected edition of Dampier, in the original French binding. William Dampier (1652 - 1715) remains one of England’s most famous seamen, and was a truly international buccaneer. As a boy he sailed on merchant ships, firstly to Newfoundland and then to Java, later trying his hand at farming in Mexico and the Carribean. By his late twenties he was commanding raids on Spanish ships and settlements in South America, plundering them for loot. In 1686 Dampier set sail across the Pacific to ransack Spanish colonies in the East Indies, and later that year his ship the Cygnet was beached in north-west New Holland, making Dampier the first Englishman to set foot on Australian shores. Dampier made extensive notes of the exotic species he found there, and made the perilous (and ultimately penniless) return voyage via the Cape of Good Hope. His account of this voyage was first published in 1697. Dampier returned to New Holland in 1699 - 1701 in the Roebuck, and again published an account of this dramatic voyage (1703). He was to make further piratical voyages, as well as a third circumnavigation, before dying in London in 1715. This appealing set is the first collected edition of Dampier’s works, and predates the first English edition by fourteen years. It includes many fine copperplates of Australian fauna and coastlines. Dampier’s contribution to the early study of Australia is significant, and he has been referred to as ‘Australia’s first natural historian’.

[GUTENBERG BIBLE]. A noble fragment : being a leaf of The Gutenberg Bible 1450 - 55 GUTENBERG, Johannes (c. 1398 - 1468) # 1929 With a bibliographical essay by A. Edward Newton. New York : Gabriel Wells, 1921. Designed by Bruce Rogers and printed by William Edwin Rudge. Folio, full black blindstamped gilt-lettered morocco by Stikeman & Co. (corners a little rubbed, a few mm loss to foot of spine), gilt dentelles, [6] pp. preliminary text, with an original leaf of the Gutenberg Bible tipped-in. The leaf measures 388 x 287 mm. printed on recto and verso, black gothic lettering of forty-two lines in double columns, rubricated in red, with headlines, chapter numbers, and large initial letters in red and blue, being three two-line initials (two 'E's' and one 'P'), three Roman numeral verse numbers, and the headline. A very good example with wide margins, some minor foxing, the ink black and crisp. The text is the Vulgate Latin text of Jeremiah Chapters 15 and 16 in their entirety, with the closing ten lines of Chapter 14 and first eight lines of Chapter 17. "Then said the LORD unto me, Though Moses and Samuel stood before me, yet my mind could not be toward this people: cast them out of my sight, and let them go forth." A LEAF FROM THE FIRST WESTERN BOOK PRINTED BY MOVABLE TYPE. "Its printers were competing in the market hitherto supplied by the producers of high-class manuscripts. The design of the book and the layout of the book were therefore based on the book-hand and manuscript design of the day, and a very high standard of press-work was required--and obtained--to enable the new mechanical product to compete successfully with its hand-produced rivals. Standards were set in quality of paper and blackness of ink, in design and professional skill, which the printers of later generations have found difficult to maintain." (Printing and the Mind of Man). Only forty-eight copies of the Bible are known, most of which are incomplete. The provenance of this leaf is the imperfect Mannheim-Zouch-Sabin copy, divided into leaves and sections by New York bookseller Gabriel Wells nearly a century ago. The Gutenberg Bible, the first complete book printed in Western culture using the radical technology of movable pieces of type, is perhaps the most famous and important book in the world. Complete examples are now rarely procurable in the marketplace, yet a single leaf, extracted from an incomplete copy of the Bible by New York dealer Gabriel Wells in 1921, captivates the imagination when one contemplates the impact this revolution of the Renaissance had on humanity. Printing and the Mind of Man 1. Exhibited: 'The Mirror of the World', State Library of Victoria, Melbourne, Australia, October 2009 - October 2011, alternating on view with the example of The Noble Fragment held in that institution's collection.

[Photographer unknown] # 1946 Albumen print photograph, carte de visite format (94 x 53 mm), laid down on a stock card of the photographer Em. Blanchet (his imprint verso) at a contemporary date, the sitter's name 'Moetia Salmon' inscribed in ink verso of the albumen print itself, still clearly legible, although as a reverse image; a photographer's circular wet stamp is also very faintly visible through the paper, but is not identifiable. The vignette portrait is in fine condition, with excellent tonal range. A rare and important portrait of Ariʻiʻinoʻore Moetia "Moe" Salmon (1848-1935), the daughter of Alexander Salmon (1820-1866), a merchant from an English-Jewish family who had become secretary to Queen Pomare IV of Tahiti and who had married in 1842 Ariitaimai (Princess Oehau) of the Tahitian royal family. Moetia's younger sister was Johanna Marau Salmon, who was to become Queen Marau of Tahiti (consort of Pomare V), and whose daughter Moetia would adopt later in life. Her older sister was the celebrated Titaua Tetuanui Salmon, who married John Brander, the wealthiest and most influential trader in eastern Polynesia during this period. In the mid 1860s, when she was just seventeen, Moetia visited Europe with Titaua and John Brander. Within a few years of her return she married Dorence Atwater, the U.S. Consul to Tahiti, in 1871. Aside from his diplomatic career, Atwater also became a highly successful businessman in the pearling industry, and was recognised as a philanthropist with a particular interest in eradicating leprosy. Atwater was accorded honorary royal status in Tahiti: after his death in 1910, Moetia arranged for his body to be brought back to Tahiti from San Francisco, where Moetia and he had spent most of the previous few decades on account of Atwater's ill health. A portrait of Moetia Salmon taken by the French naval officer and photographer Paul Emile Miot during his visit to Tahiti in 1869-70 appears to be exactly contemporary with this image, and it is certainly possible that Miot was also the photographer of this portrait, which may have been sold commercially by a studio (cf Mme. Moetia Salmon, niece de la Reine Pomaré IV, sœur de la Mme. Brander, p. 73 in Picasso, Sydney. The invention of Paradise, 1845-1870. Photographs by Paul Emile Miot. Munich : Galerie Daniel Blau, 2008). This photograph was originally from an album belonging to a French naval doctor who served in the colonies, which would explain the fact that the print is laid down on the card of Emanuel Blanchet, a photographer active in the 1860s at Basse-Terre, Guadeloupe.

A LATE 18TH - EARLY 19TH CENTURY MANUSCRIPT CONTAINING 234 WATERCOLOUR DEPICTIONS OF MAMMALS OF THE WORLD. Natürliche Abbildungen der Saügenden, Vierfüßigen Thiere, geordnet und gemahlet von I.F.B. Klügman und gesamlet von P.F. Colye. I bis III Ordnung, Stralsund 1784. Small quarto (190 x 150 mm), full speckled calf; spine with raised bands and embossed title; later endpapers, 234 watercolours on individual leaves; each work numbered at upper right in red ink (bound in sequence from I – CCLV, thus several have been removed at some stage), some leaves loose. Many of the works are dated at lower right. The series, as stated on the title page, was commenced in 1784, and the latest date inscribed on any of the pages is 1813. The works appear to have been copied from existing publications of natural history and exploration. Each illustration has a manuscript caption, usually with scientific name. The sequence of categorisation of mammals has been deliberately chosen and the groupings are bound as follows: Examples of the human race from all known parts of the world – Europe, Africa, the Americas, Asia and the South Seas (including Australian Aborigines and a Maori woman after Parkinson), inhabitants of the New Hebrides and Tahiti (with a portrait of Omai), “extraordinary humans” such as albinos, giants, and the London Stachelschweinmensch (Porcupine Man); anthropological studies of skulls of different races; examples of other primates; lemurs; bats (including flying fox); sloths; anteaters (including echidna after Shaw & Nodder); armadillos; rhinoceri; elephants; seals; manatee; canines (domesticated and wild, including the Australian dingo); felines (domesticated and wild). The watercolours are in a fine state of preservation, uniformly clean and with vibrant colour, executed recto only. The manuscript was created by an obviously gifted amateur artist in Stralsund, a mediaeval trading port on the Baltic Sea, in the region formerly known as Pomerania. Although it has always had a German-speaking population and strong German civic and economic influence, Stralsund was actually under Swedish control from 1715-1807, when it was taken by Napoleon’s army. After the Congress of Vienna in 1815 it formally became part of Prussian Pomerania. This unique and extensive archive of watercolours is in a sense a wunderkammer of exotic specimens of natural history. Eighteenth century artworks depicting Australian Aborigines, whether copies or not, are very rarely offered for sale.

Sydney: Angus & Robertson, 1933. Quarto, papered boards, illustrated dustjacket, 48 pp., black and white illustrations, six tipped-in colour plates. A very good copy. First edition. Muir 5606

Lithograph measuring 670 x 495mm, framed. Signed by Brack and dated in pencil lower right, editioned lower left 10/25. Grishin catalogue: pr23. ‘In the process of simplification and through the use of a monochrome technique where “the meticulous execution make this lithograph almost indistinguishable from a drawing”, Brack has arrived at a stark and powerful statement’. -­‐ Sasha Grishin, The Art of John Brack, p.135, quoting Dr. Ursula Hoff. Collections: National Gallery of Australia (1/25)

Prepared at the request of The Royal Commission on the Parliament Buildings. Melbourne : John Ferres, Government Printer, 1886. Presentation copy, inscribed for William McLellan, M.P.. Quarto, full calf (lightly marked) with gilt lettering and decoration, 28 pp, 8 leaves with tipped in albumen print photographs (each 145 x 200 mm), plans. A handsomely produced volume. This is also an association copy, McLellan being a long-standing Member for Ararat in the Victorian Legislative Assembly.

Petits contes par Jules Lemaitre de l’Academie Francaise avec des images de Job. Tours : Maison Alfred Mame et Fils, 1919. Quarto, decorated board covers, 54pp. (faint foxing). A charming series of stories for each letter of the alphabet including K for kangourou. This bizarre tale is a quasi-dreamtime explanation for the physical oddities of the kangaroo: using their pouches to store stolen fruit incurred the wrath of God, who shortened their front paws to restore peace to the animal kingdom.

Etching. 12 x 8 cm (plateline), old mount burn, signed and dated 'J.M. 1895' in image upper right, inscribed in pencil 'With J. Mather's comp[limen]ts to Mr. Grimwade - 7.95'.

JOUHANNEAUD, Paul Limoges: Martial Ardant frères, 1856. Octavo, polychromatic cloth, all edges gilt, 208pp., 23 hand coloured plates of races of the world, including the Americas, Asia, Europe, Africa and the Pacific. A French geographical book for children, recounting voyages by great explorers to the four corners of the globe. The expeditions of Columbus, Cook, Bougainville and La Perouse are recounted, amongst others. The hand coloured lithographed plates are particularly fine.

THOMASSIN, Philippe (1562 – 1622) # 130 Published in Rome, before 1602 Thomassin’s allegorical work, engraved after the 1541 painting by Giorgio Vasari (now held in the Uffizi, Florence), depicts Adam, Eve, Moses, kings, priests and soldiers all tethered to the bottom of a fig tree, around which the Serpent is coiled. Atop the tree is the Virgin surrounded by angels. The work displays a compositional complexity well articulated by the medium of engraving, with strong contrasts between the tone of the figures and the depth of the background. Philippe Thomassin was a French engraver, printer and publisher, the son of a master goldsmith in Troyes who moved to Rome in 1585, where he would work for the rest of his life. He was known as a publisher, printer, and artist in his own right, as well as a teacher, his most well known student being Jacques Callot. Thomassin specialised in producing engravings after religious paintings which he published in partnership with his brother-in-law Jean Turpin (c. 1561 – 1626). Upon dissolution of their partnership in 1602, Thomassin gave Turpin his copperplates, about 240 in total, and his name was removed from the plates. A strong and even impression on laid paper, in excellent condition with very minor repairs to a couple of short tears Provenance: The Berry Collection, Melbourne

Comprising The Theory And Practice Of Horticulture, Floriculture, Arboriculture, and Landscape-Gardening, Including All The Latest Improvements;. London : Longman, Hurst, Rees, Orme, Brown and Green, 1825. Third edition. Octavo, full period tree calf, spine with raised bands and gilt lettering, 1233 pp, illustrated. According to Loudon his book is the first to incorporate the writings of Wheatley, G. Mason, Price and Repton for the landscape layout of the home grounds; for botanical nomenclature he uses Sweet's Hortus Suburbanus Londinensis while generally following Linnaeus for insects, animals and minerals. The much-enlarged third edition of Loudon's greatest work, illustrated with many hundreds of engravings on wood by Branston. Includes entries on fruit growing in Van Diemen's Land; acacia; eucalyptus, and artocarpus (bread fruit).

Art in Australia Series 1, No. 1 – Series 4, No. 6 (1916 – 1942). Complete in 100 issues. Series 1 (11 issues, quarto), Series 2 (2 issues, large quarto), Series 3 (81 issues, quarto), Series 4 (6 issues, large quarto). Illustrated wrappers, occasional chipping, extensively illustrated, tipped-in plates, a very fine set. Together with the special issue produced for the Society of Artists Exhibition 1922, limited to 1000 copies, and the useful Artist Index produced in limited numbers by the State Library of New South Wales in 1973. The most important resource on Australian art in the first half of the twentieth century. Art in Australia was conceived by Sydney Ure Smith as a flagship for Australian painting and graphic art. The first issue was limited to 1000 copies, and was produced on a quality paper with tipped-in colour reproductions of unprecedented quality for an Australian journal at that time. Robert Holden writes ‘The magazine became a showcase of Australian printing ability and set new standards of advertising excellence … Artistic layout, quality graphic work in colour, an harmonious choice of typography and carefully worded text were all combined …’ (Cover Up, Sydney: 1995, p. 74). For over a quarter of a century, and through its different formats, it reviewed and discussed all aspects of Australian art, exhibited in both commercial public galleries. Special issues were dedicated to Margaret Preston, Thea Proctor, Norman and Lionel Lindsay, Hans Heysen, Elioth Gruner, Will Ashton, Arthur Streeton, George Washington Lambert, Harold Herbert, the art of Etching, Bookplates, and regional special issues on Sydney, Melbourne, Tasmania. It’s longevity as a journal was due to its modern approach to design, with many covers being icons of art deco style in themselves. The appearance of reproductions by Sidney Nolan, and James Gleeson along with poetry by Alister Kershaw in the 1940s herald the arrival of the Angry Penguins movement. In addition to this, many important articles by Margaret Preston on Aboriginal art along with early colour reproductions result in Art in Australia being an unrivalled resource for scholars and collectors for this period. A fine set.

Chromolithograph, 620 x 870 mm, laid down on acid free backing paper, a few very minor edge tears expertly repaired, loose manuscript label removed from verso: '23. Neuseeländer'. [Germany?] : s.n., [1880s]. A fine copy. This striking composition, well-preserved and retaining the subtle contrasts of its original palette of browns and greens, is highly reminiscent of the work of the German artist Gustav Mutzel, in particular his chromolithograph 'Eine Australierfamilie von Neu-Sudwales', [Berlin?] : s.n., [188-?], held in the collection of the National Library of Australia [nla.pic-an11009482]. The NLA chromolithograph by Mutzel has been heavily influenced by the tableau images of Aborigines of the Clarence River region of northern New South Wales, taken by the German-born photographer J.W. Lindt in Grafton in the early 1870s, as has indeed the chromolithograph we offer here. (See, in particular, Lindt's photograph taken in 1874, 'Portrait of an Aboriginal man and woman with hunting weapons posing with dead kangaroo', held in the collection of the State Library of Victoria [SLV H1486]). This present composition has, however, replaced the eerie sterility of Lindt's studio backdrop and props with the movement in the background scene of men carrying a canoe to the water's edge and the man on the right carrying the dead kangaroo. The man on the left is making fire and the woman at the centre is using a grinding stone. A woven bag hangs from the bound boughs behind them. In the foreground the artist has depicted an array of implements including a coolamon, shield, boomerang, woomera and barbed fishing spear. The label verso would seem to suggest that this chromolithograph was from a series of ethnological scenes printed in Germany - despite the clearly erroneous identification of the subjects as 'Neuseeländer'.

SCHMIDT, J.M.F. # 359 Schmidt. Berlin : Simon Schropp et Comp, 1820. Engraved map, hand-coloured, 430 x 580 mm, dissected into 9 sections and laid down on linen; original marbled card slip case with manuscript label Charte von Asien und Australien von Schmidt 1820, bearing the stamp of the Furstlich Von der Leyen Bibliothec - The private library of the German aristocratic family Von der Leyen, founded around 1760. The regions of Neu Holland include De Witt’s Land, Edel’s Land, Lowinn Land and P. Nuyt’s Land along the Western coastline. The Swan River, Hawkesbury River and Blue Mountains are all shown. Fine. Tooley 1125.

[LANGLEY, Edward]. # 1291 London : Edwd. Langley, High Street, Borough, n.d. [1818 - 1820]. Copperplate engraving, 475 x 385 mm (paper), contemporary hand colouring, faint central original crease, browning to the extreme lower margin, an exceptional example, clean and crisp. Langley’s charming engraving is an early nineteenth century writing blank, an engraved decorative presentation page within which the schoolchild would compose a formal example of their penmanship. Much like its textile equivalent the sampler, the writing blank afforded an opportunity to showcase the child’s steady hand, and from the late seventeenth through to the mid-nineteenth century they were distributed throughout schoolhouses as well as sold by street criers and peddlers. This example is unused and affords the engraved vignettes (mostly after Webber) their full decorative expression. The scenes are captioned: Shooting of Sea Horses; Woman of Otaheita dancing; A Canoo of Oonalathka; A view of Kaye’s Island; Canoe of Sandwich Islands; Man of Sandwich Islands dancing; Killing of Penguins, and (the central vignette) The Death of Captain Cook at O-Why-Hee. The Langley engraving has been represented in both the Nan Kivell collection (National Library of Australia, Canberra, NK4950) and the Dixson Collection (Mitchell Library, Sydney) for nearly a century, yet accurate dating has eluded cataloguers, with a range of dates from as early as 1785 through to 1850 being attributed. We know from contemporary records that Langley occupied the premises at High Street Borough from 1805 - 1820, but the watermark of a fleur-de-lis along with the initials ‘J.M’ and the date 1818 clearly identity the production date of the paper, and thus narrows the publication date to within 1818 - 1820. Beddie 1860. Collections : National Library of Australia, Mitchell Library (State Library of New South Wales)

BELLIN, Jacques Nicholas # 348 Carte reduite des terres Australes. Gereduceerde Kaart van’t Zuid-land. [Amsterdam? : c. 1760]. Copperplate engraving, 192 x 253mm., original folds, fine. The scarce Dutch version of Bellin’s famous map of Australia, the projected Eastern coastline joining the charted territories of Van Diemen’s Land and Carpentaria. First published in Prevost’s voyages in French in 1753, later German, Danish and Dutch editions followed. Tooley 157.

Silver albumen print photograph (210 x 150 mm) in original glazed frame (390 x 440 mm). Printed caption on mount above image: "Colac Regatta, December 1886. Senior Eight (Won by Corio Bay Rowing Club)"; the crew are identified in printed captions below image, including "C. Brownlow (Stroke)" (Brownlow is seated, second from left, his hands on the shoulders of the coxwain). Charles Brownlow (1861-1924) played with the Geelong Football Club in the VFA from 1880-1891, so this photograph was taken at the height of his playing career. At the time, Brownlow was also club secretary (he held this position from 1885-1923). The Brownlow Medal, first awarded in 1924, was named in his honour. It is awarded annually to the Best and Fairest player in the Australian Football League.

Photographer unknown / Artist: MACKENNAL, Bertram (1863-1931) # 723 Silver gelatin print photograph (285 x 200 mm) in original glazed frame (465 x 365 mm), c 1893. Printed captions on the mount above and below image; signed in pen in period hand lower right: "Dear Felix - love from Dodo" (Felix Meyer, the Melbourne art patron); accompanied by a handwritten copy of a letter from Bertram Mackennal ("Dodo") to Felix Meyer, a highly revealing communication regarding the exhibiting of Circe at the Paris Salon, Mackennal's struggle for recognition, private patronage and the lack of appreciation and support for his work in Australia. Mackennal was Australia's pre-eminent sculptor of the late nineteenth and early twentieth century, his highly refined and elegant style drawing inspiration from the Art Nouveau and Symbolist movements. Perhaps his most celebrated - and most powerful - sculpture was his figure of "Circe", the sorceress of Greek mythology, which was first exhibited as a full-size plaster statue in Paris in 1893. This photograph of the statue, with its caption in French (and plaque with accolade of "Mention Honorable"), was taken at the Paris Salon in May 1893 (Mackennal was based in France from 1891-94). When Circe was later shown at the Royal Academy in London (1894) she caused a scandal - the lascivious, writhing figures around the base were covered by the Academy committee. The statue was to become an important work in the New Sculpture movement around this time, and several editions of Circe in the form of smaller statuettes were cast in bronze and sold on the art market. The letter from Mackennal to Felix Meyer is addressed from "Hotel St Malo, 2 rue d'Odessa, Paris Montparnasse" and is dated April 12th 1892. "I am still waiting the decision of the jury of the Salon whether they intend to pose my Circe or not. You send in your work and then have to wait over two weeks for their decision. How I wish you were here to see this work. It is certainly my biggest attempt in any way. I feel that I am all in it - the awful part to me at present is that of course I can only make an artistic success - people must be supported by their own country until they are world famous, and as my country does not seem able to do this, my position in the near future is one in which my art must be second to other ideas. This is why, my dear Felix, I put so much time and money and thought into my Circe, knowing the chance would not come to me again perhaps for some time, to do a serious large work. I took my opportunity and stinted nothing that I had to push this work through, you know me Felix. But I wanted to justify myself to you and my friends in Australia, and I know if you could see my statue, it would be with annoyance that you would contemplate my position. Still, if I get any money I will send you a photo of her and also to Stuart (Frank Stuart). You mention in your last that you understand Stuart sent on some cash to me after receiving my letter. I have only received 50 pounds by telegraph within the last five months so you can imagine my position, especially when I owed it all. Tell me Felix, what about the bronze of Miss M. Hood. You do not mention it in your last letter. Of course, I would be willing to go anywhere to do it. You can understand my anxiety to know whether I am to do it or not....Oh Felix I often think of the drives we had together there in the summer. I suppose when you drive along the Heidelberg Road you sometimes think of Dodo....I know the day must come to me when I shall be lifted above all this, and I won't owe it to Australia but to a few men there that I can count on the fingers of one hand. I shall never forget what I owe to these men but as to my country I wish to God I had been born English or American. Goodbye Felix. My love to Theodore (Fink) when you meet him and to Stuart. Yours, Dodo".

WARD, Edward Wolstoneholme (attributed) # 695 Stereoscopic albumen print photograph. Each image 73 x 72 mm. Inscribed in ink in period hand verso: "Sydney Cove, Australia. No. 1." For an identical view, titled "Fortifications, Dawes Battery looking east", see "Masterpieces of Australian Photography" (Josef Lebovic Gallery, 1989), pl. 47. Ward was an amateur photographer active in Sydney 1856-60 (Lebovic & Cahill, p 32). An extremely early and important photographic image of Sydney Harbour.

With three original woodcuts by Norman Lindsay. Sydney: Hand–press of J. Kirtley, 1923. Folio, quarter-lambskin over papered boards, dustjacket (a couple of small stains). A fine copy with three signed Norman Lindsay woodcuts. Limited to 210 copies, but not all were made up.

BURN, Henry (c. 1807 – 1884). # 799. Watercolour on paper, 250 x 395 mm, signed and dated lower left. Framed. Henry Burn was born in Birmingham, England in about 1807, and in the early part of his career exhibited at the Birmingham Society of Artists and at the Royal Academy. Burn sailed for Australia in late 1852, arriving in Melbourne on 30th January 1853. From the mid 1850s to the 1870s Burn painted across Melbourne, documenting the growth of the city and its rural surrounds which now form the inner suburbs. He often painted plein-air along the Yarra River, particularly the areas which today form the suburbs of South Yarra, Collingwood and Richmond. This scene of tranquility shows two small rowboats of fisherman in the act of landing a catch, while two other men bearing rods approach along the left bank. The river curls around a bend with a calm determination, with the occasional bended eucalyptus lining the shore, as Burns paints the Yarra River, life force of Melbourne, as providing nourishment to both man and nature. A fine and representative work by Henry Burn, of Melbourne’s river as a romantic idyll

COOPER, Rev. Wm # 1190 A history of the rod in all countries from the earliest period to the present time. London: William Reeves, [c. 1900]. Revised edition. Octavo, gilt-decorated cloth, 544 pp. plus adverts, illustrated. An essential reference on all aspects of flagellation.

Lithograph. 1905. 266 x 362mm (paper), printed in black, unsigned as issued, fine condition. Framed.

Lithograph on paper. 1973 21.5 x 24 cm (image) Edition: 75 Signed lower right Provenance: The Estate of the late Beryl Whiteley

The two hemispheres fit tightly together, opening and closing by means of a copper hinge. The interior of each hemisphere is carved in deep relief with a scene from the Old Testament: Samson slaying the lion and Delilah cutting Samson's hair. The latter carving, with the guards waiting to enter the room in the background, is reminiscent of Rubens' famous depiction of this scene. The carving is highly detailed and very finely executed. The exterior of the entire sphere is carved with elaborate, raised geometric designs. Diameter: 55 mm

Sydney: The Beagle Press, 2005. Quarto, handsomely bound in gilt-lettered red cloth in slipcase, 256pp. extensively illustrated. The de luxe edition, limited to 35 copies only, with a signed limitation statement by Smart and original signed lithograph. The lithograph, titled 'Come in, Spinner', is similarly limited to 35 copies, signed and numbered by the artist. Very rare.

La Chûte des Anges ribelles LASINIO, Carlo (1759 – 1838) # 137 [Affreschi celebri del XIV e XV secolo] Engraving 390 x 445mm Published in Florence, 1821 The central image in Laninio‘s engraving is St Michael the Archangel and the army of angels battling the rebel demons during Satan’s uprising as described in the book of Revelations. The Holy Father watches over this scene from Heaven while the defeated demons descend towards a fiery underworld ruled by Lucifer. Lasinio bases his composition after the fresco by Spinello Aretino in the Compagnia di Sant’Angelo in Arezzo originally painted c. 1371-1410. The image is plate 26 of a 31 plate series by Lasinio each individually published by Niccolo Pagni in Florence between 1813 – 1827 based on a series of frescoes in the local area. The plates were later re-issued with a title page and text in 1841 in book form. Lasinio was a noted Florentine printmaker and collector of the late eighteenth and early nineteenth centuries and one-time Professor of Engraving in Florence and Curator of the Camp Santo in Pisa. His early work shows the influence of Bartolozzi and in the late 1780s he pioneered early colour-printing producing several hundred colour engravings of artists based on the collection in the Uffizi. A strong impression on wove paper, faint stain to upper third of the print, a short tear to upper edge and minor edge creases. Provenance: The Berry Collection, Melbourne

Transfer lithograph, c 1903. Printed in sanguine from one stone. Dimensions of printed image 245 x 305 mm. "CONDER" within image, lower left; titled "Le (sic) Peau de Chagrin" within image, lower right; signed "Charles Conder" lower left margin; "no. 9" lower right margin. During his time in Australia (1884-90) the English artist Charles Conder became an important figure in the Australian art scene, not the least because of the major part he played in the development of Melbourne's Heidelberg School. In 1899 Conder produced a portfolio of lithographs based on the stories of Balzac. La peau de chagrin (The Magic Skin) illustrates a scene from Balzac's story of the same name, but as Campbell Dodgson notes in his catalogue of Conder's lithographs and etchings (1913, no. 9) this lithograph is not part of that series and was probably made a few years later. Dodgson also states that this lithograph was exhibited at the Society of Twelve (London) in 1905.

CHAMPAGNAC, J. B. J. Souvenirs historiques, caracteres, types nationaux, curiosites naturelles, peintures locales, notions geographiques, etc. Illustre de 23 dessins par MM Jules David, Bouchot, Marckl, Bayalos, etc. Paris : P.-C. Lehuby, n.d. (c 1860). Second edition. Octavo, gilt-decorated boards (spine sunned, short split to spine), all edges gilt, 392pp. illustrated with tinted lithographs, sporadic foxing. A fanciful tour of the five continents, typical of the genre, with seven chapters relating to Oceania, including La pieuse negresse de l’Australie. An attractive book.

Autograph manuscript written in ink, with two pencil sketches; [nd, but probably early 1877]; single sheet (225 x 180 mm), folded. The letter reads: Noch nicht! noch nicht! my dear Black! I am a little behind hand – curious aint it! That confounded Peacock Room has nearly ruined me and I have had to work frightfully to make up for it. It will be all right directly of course but I am woefully pushed. Beseech HRH to be indulgent and appoint some day next week – say Saturday or Friday afternoon at about 5 ‘o’clock and I will try to be ready for her and shall be so enchanted to see her interest in what I have been doing – I think you will like the pictures – manage this my dear Black for your [xxx] [Whistler's signature in form of a butterfly]. Just write a line to say it is all right. The letter discusses a proposed visit from Princess Louise (daughter of Queen Victoria and wife of the Marquis of Lorne). The Princess was herself an artist - a sculptor of note - and Whistler's correspondence indicates she took a keen interest in his work. The two pencil sketches appear to have been drawn before the letter was written. If they are by Whistler, we can assume that they have something to do with a commission he was working on for Princess Louise. The drawings seem to be preliminary sketches for a crest, which features a dog and crossed swords. The stupendously opulent and beautiful Peacock Room was painted by James A. McNeill Whistler during late 1876 and early 1877. The entire room is decorated in oil colour and gold on wood, leather and canvas, its Orientalist theme crowned by Whistler’s painting The Princess from the Land of Porcelain. The Peacock Room is now installed in the Freer Gallery of Art (Smithsonian Institution) in Washington D.C., but was originally designed for use as the dining room in the London (U.K.) residence of Frederick R. Leyland, a wealthy English shipping magnate. In 1904, after the house had changed hands, the American Charles L. Freer, founder of the Freer Gallery of Art, was able to purchase the contents of the room, have it dismantled and shipped to his home in Detroit, where it was installed in an addition to his home in 1905. In 1919 it was once more dismantled and transported to its permanent location in the Freer Gallery in Washington, D.C..

Mezzotint 350 x 256mm Published in Amsterdam, 1678 Valck’s portrait of Queen Mary II of England is drawn from Sir Peter Lely’s oil of 1677 (now in the National Portrait Gallery, London) and shows a fifteen year old Princess recently betrothed to her cousin and Dutch ruler William, Prince of Orange. The couple wed in London in 1677 and moved to The Netherlands, where she lived as consort to her husband Prince for over a decade. From 1685 England was ruled by Mary’s father, King James II, who had converted to Roman Catholicism, to great political concern among the Protestant establishment in England. In 1688 he fathered a son, and heir, who would be raised Roman Catholic and interrupt Mary’s Protestant ascension to the English throne. The English Revolution of 1688 saw the overthrow of King James II and the invasion of England by William upon the request of Parliamentarians to restore the Protestant line. William and Mary would rule as joint Monarchs from 1689 until her death in 1694 at the age of thirty-two. The reign of Mary and William was the only co-regency in England’s history and saw the establishment of the Bill of Rights following the Revolution. Valck’s mezzotint displays typical qualities of richness and softness which create deep tone and texture to the print. Valck’s work is an early example of the medium, and one of the first of an English subject, Peter Lely being an early supporter of the technique as he saw its potential to promote his portraits. Valck was about twenty-six years of age when he completed this portrait. A rich impression on laid paper, pasted on the edges to a backing sheet, small ink handwritten dates of Mary’s reign along the bottom plate line, one short 4mm tear. Provenance: The Berry Collection, Melbourne

EDWARDS, Mary (c 1894 - c 1988) # 1267 Handpainted silk. Measures 201 x 190 cm, with long silk tassels extending on all sides. Signed and dated 1926. An unique and vivid artwork from the art deco period in Sydney. Exhibited : 'Bush curiozities : flora and fauna in art and design'. An exhibition to celebrate the fiftieth anniversary of the Shepparton Art Gallery's Collection. October, 1986. Catalogue number 138.

ROBLEY, Major-General # 1470 London : Chapman & Hall, 1896. Quarto, gilt-lettered brown cloth with moko decoration, faint shelf-number to spine, minor rubbing at edges and short splits to head and foot of spine, photographic frontispiece, 180 illustrations and photographs, Tate Central Library bookplate on front pastedown and stamp on verso of title-page, a very good copy with many pages yet unopened. Horatio Gordon Robley (1840-1930) was a soldier, artist, and collector. He arrived in New Zealand in 1863 and while stationed in the country drew an unprecedented number of sketches of Maori life. Moko or Maori Tattooing is his magnum opus. His acknowledged objective was to put together a text to support the specialised record he had drawn of tattoo patterns. Robley also had a significant personal collection of mokomokai, or preserved Maori heads with moko design. When he returned to England in 1908 he offered to sell his collection of heads to the government of New Zealand, they declined, and the collection eventually went to the American Museum of Natural History. In 1998 these human remains were repatriated to New Zealand. Very rare, a fine copy of this important early work.

Mezzotint 455 x 312mm Published in England, c. 1730-50 Nathanial Oldham of Middlesex was a noteworthy character who served with the British Army in India and ‘inherited a fortune which allowed him to indulge his love of field sports and fine art’ (Tate Gallery). The print by Faber is after an oil by Highmore, which is now lost, Highmore and Oldham enjoying a friendship described as ‘very intimate’ (Einberg & Egerton, p. 48). Oldham was a consummate collector, he spent his vast fortune assembling a variety of objects including natural history specimens which early reports describe as ‘whimsical gimcracks’ rather than articles of merit to men of knowledge and science. His love for curiosities bankrupted him, and despite auctioning off his collection in the 1747 was sent to the King’s Bench prison where died in debt. John Faber the younger moved to England from Holland at a young age and studied engraving under his father, also John Faber. He became well known for his fine quality mezzotint portraits, completing about 165 in his lifetime. This portrait of Oldham, after the lost oil painting, shows the eccentric gentleman out shooting with a male companion and his loyal dog. It is probably set on his estate at Ealing, where Oldham resided from 1728 – 1735. A rich impression on laid paper with good margins, tipped on to backing card along the left margin, an associated short tear extending to the plate line. Provenance: The Berry Collection, Melbourne

Mezzotint 343 x 255mm Published in London, 1690 This portrait of a beautiful young woman is based on a painting by John Riley and sets the subject in an attractive English landscape with an unusual circular building in the background. The wears a loose fitting silk dress and is placing a garland of roses and garden flowers around the neck of a docile lamb seated beside her. Little is known about the sitter, but it is thought that Conway Hackett was the daughter and sole heir of Dr. Thomas Hackett, an Irish Bishop, who married Trafford Smyth, a barrister of Middle Temple. John Smith is considered one of the finest early English mezzotinters, deciding to specialise in this technique from early in his career. Hi was sought out for commissions for numerous noble persons and also developed close working relationships with portrait painters such as Sir Godfrey Kneller to produce mezzotints of their oil paintings. Smith was also a respected subject and landscape printmaker, and widely collected on the continent during his own lifetime, with major collections of his works to be found in Paris, Dresden and Vienna. A strong and even impression on laid paper, tipped along the left margin on to backing card, two short tears along upper margin, very slight surface residue to the neck of the subject. Provenance: The Berry Collection, Melbourne

Circa 1840. Watercolour on card, measuring 150 x 180mm, signed in ink lower right, framed. Augusta Innes Withers (1792 – 1869) was one of the most accomplished natural history artists of her time. Her illustrations, which garnered much critical acclaim from contemporary critics, appeared in numerous publications, including Benjamin Maund’s Botanic Gardens (1826), The Botanist (1836 – 42), James Bateman's Orchidaceae of Mexico and Guatemala (1837-41), the Illustrated Bouquet (1857-63) and the Transactions of the Royal Horticultural Society. She was appointed Flower Painter in Ordinary to Queen Adelaide in 1833 and was also a member of the Society of Lady Artists. This is a rare work of an Australian subject, a Red-Capped Robin, noteworthy for its fine detail and accuracy.

CRANE, Walter (1845-1915) # 1955 Pencil on thick paper, 175 x 137 mm. Signed lower left with Walter Crane's monogram and the date Nov: 1883. Very fine. A charming illustration - apparently unique and unpublished - of an anthropomorphised duck and frog meeting in the rain, with the frog quipping: Nice weather!. Provenance: Sotheby's, Fantasy, illustrated Books and related drawings, London : 31 October 1997, lot 345.

Sydney: The Shepherd Press, 1945. Quarto, gilt-decorated boards in dustjacket (a couple of short edge tears, but unusually fine), numerous colour and black and white plates, occasional foxing. Limited to 1000 copies.

CROZET, Julien Marie. # 1586 Commencé sous les ordres de M. Marion… On a joint à ce voyage un Extrait de celui de M. de Surville dans les mêmes Parages. Paris : Barrois l’aîné, 1783. Octavo, contemporary speckled calf, edges stained red, spine in compartments with floral tooling, gilt-lettered morocco title label, ribbon marker, marbled endpapers, armorial bookplate to front pastedown, pp. viii; 291, 7 engraved plates (one folding). A fine copy. THE FIRST FRENCH VOYAGES TO AUSTRALIA AND NEW ZEALAND. Marc-Joseph Marion du Fresne (1724 - 1772) was a gifted mariner, notably commanding at the young age of 22 the Prince de Conty which aided the escape of Bonnie Prince Charlie from Scotland in 1746. By the 1760s he was living on the Isle de France (Mauritius). In 1770 a French vessel arrived bringing the islander Aotourou back from Paris with instructions he be returned to his native home of Tahiti, where he had been collected on Bougainville’s circumnavigation in 1768. Dufresne undertook to return Aotourou to the island, largely at his own expense, but the expedition was struck by smallpox and Aotourou died shortly after setting sail. Nonetheless, the expedition continued, and after claiming the Crozet Islands for France, arrived in Van Diemen’s Land in 1772. The sailors made contact with the Aborigines and became the first Europeans to encounter indigenous Australians, as well as the first Frenchmen to set foot on Australian shores. Relations between the parties soured, and after a skirmish the ships sailed to New Zealand, only the second time (after de Surville) the French had reached this part of the world. After initial peaceful contact (the French could speak a few words of Maori based on what Aotourou had taught them) the expedition broke a covenant by fishing at Manawaora Bay, and were attacked by the Maori, who killed and cannibalised twenty-six of their number, including the commander du Fresne. Crozet, second in command of the voyage, retaliated against the Maori by sacking a village and killing 250 of its inhabitants, before setting sail to return to France. Du Fresne’s journals were lost but Crozet’s manuscripts enabled publication of this volume in 1783. It includes much detailed information on Maori life and customs. Also included is an extract of de Surville’s account of an earlier expedition to New Zealand. (De Surville, at the same time as Cook, was mapping the west coast). This is the first printed account of the first French voyage to New Zealand. Davidson wrote in A Book Collector’s Notes ‘It is an exceedingly rare item and is seldom available’. Hill 401; Kroepelien 1104, Davidson pp. 98 - 99.

Paris : Bouasse-Lebel, [c 1860]. Engraved map, 31 x 43cm, with hand colouring, laid on wood and dissected to form a jigsaw puzzle, original backing paper, a few stains, complete. A charming puzzle map of Oceania. The maps were usually unbound sheets from an atlas.

On the origin of species, by means of natural selection, or the preservation of favoured races DARWIN, Charles (1809-1882) On the origin of species, by means of natural selection, or the preservation of favoured races in the struggle for life. London: John Murray, 1859. First edition. Octavo, near-contemporary half-calf over marbled boards, endpapers renewed at a later date, bookplate removed from front pastedown, occasional foxing, bound without half-title or endpapers. Loosely enclosed, a cut signature (60 x 85mm) inscribed ‘faithfully, Charles Darwin’. Provenance: Private collection, Melbourne

VISSCHER, Nicolas (1618 - 1679) Amsterdam : 1663. Originally issued in a Dutch bible published in Leiden by Elzevir. Fine early (possibly original) colour heightened with gold, original central crease, and a parallel miscrease, pale foxing, a very good copy. The insert celestial maps depict Ptolemaic and Copernican theories of the heavens. The continents of Europe, Asia, Africa and America are represented by allegorical female figures in the four corners. The second world map created by this highly important cartographer. Shirley 431 (first state)

MACKENZIE, Kenneth. With an original etching and 13 illustrations by Norman Lindsay. Sydney: Angus & Robertson, 1937. Quarto, quarter-cloth over gilt-lettered textured boards (occasional foxing, one corner with a minor bump) in original purple box (one edge split, worn), 60pp., bookplates and newspaper clippings to front endpaper, tipped-in illustrations by Lindsay and vignettes. The frontispiece is an original etching signed by Lindsay. Limited to 225 copies signed by Mackenzie.

DUCROS, A. Unpublished manuscript poem to accompany the air Je m’balance. [France], 1914-1915. Folio, hand-decorated paper wrappers, cover with original watercolour of a scene from the trenches, 4pp. Patriotic lyrics, penned in a fine calligraphic hand, which sing the praises of the French soldiers fighting in defence of their homeland in the early part of World War I. The French infantrymen were affectionately known as Poilus (hairy ones); the Germans were referred to as Boches (cabbages or blockheads). “Glory to the Poilus, all fearless knights beyond reproach! Glory to the Poilus, valiant heroes, scourge of the Boches!” Superb.

Carbon print photograph (305 x 460 mm) in original glazed frame (470 x 595 mm), c 1930. Titled in pen on mount below image; back of frame inscribed in pencil in period hand: "Photo by William King". A spectacular composition of the silhouetted Melbourne skyline at twilight, looking west.

[LINDSAY]. McCRAE, Hugh. With pictures and decorations by Norman Lindsay. Sydney: John Sands Ltd, 1909. Folio, quarter-vellum and decorated papered boards (sunned and worn), 149pp. some foxing to the text, includes twenty-one full-page plates and numerous vignette illustrations. Limited to 130 copies, signed and numbered by McCrae, The plates include eight tipped-in original Norman Lindsay sepia-toned lithographs, each signed by the artist in the image. Presentation copy signed and inscribed by Hugh McCrae to Bertram Stevens (1872 – 1922), noted literary and art critic and editor of The Bulletin’s Red Page (1909-10) and later Art in Australia.

With 23 black and white drawings and 5 colour plates by Norman Lindsay. Sydney: The Shepherd Press, 1948. Quarto, gilt-lettered imitation leather, Lindsay illustrations throughout. The deluxe edition, limited to 100 copies, signed by Stewart and Lindsay. Bookplates to front pastedown. An excellent copy.

Four hand-painted silhouettes (each 95 x 60 mm) dating from around 1840, mounted within a glazed wooden frame (C.R. Tompkins of Hay Street, Perth, c 1910). The subjects are identified in period hand verso: (left to right) Robert Wallen (of Oatlands and "Harlech", Hawthorn, Melbourne); Alexander Wallen (of Oatlands); Samuel Wallen (of Drumboe Abbey, Ireland); Henry Wallen, F.R.C.S. (of Drumboe Abbey, Ireland). A typed label reads: "ROBERT WALLEN and relatives. Lived at Harlech, Hawthorn, when the suburb was described as a 'village containing a population of a few hundreds, scattered over a large area which comprised two parks and many spacious paddocks'.... " Robert Wallen (1831-93) emigrated to Australia from County Donegal, Ireland with his family in 1852. He became a highly successful stockbroker and financier, as well as a respected journalist with columns in the Age, Leader, Argus and Australasian. He was mayor of Hawthorn Borough in 1878-79. Wallen was also a keen patron of the arts. He was elected president of the Art Union of Victoria (1882) and remained active in that organisation, as either president or vice-president, until his death. From 1889-93 he was a trustee of the National Gallery, Museums, and Public Library of Victoria. He endowed the annual "Robert Wallen Prize" (five guineas) for students of painting at the National Gallery School. (One of the recipients of this prize was Jane Sutherland). He commissioned - for his private collection - the first sculpture in bronze made by Bertram MacKennal: "Lyric Poetry", or "Sappho" (1891) is now in the collection Art Gallery of New South Wales. Ex Richard Berry Collection, Melbourne; previously by descent.

[WALTER CRANE] # 1901 [London] : George Routledge & Sons, [1866]. First edition. Series title: Routledge's New Sixpenny Toy Books, or large coloured books for children. Octavo, original illustrated paper wrappers and cloth spine, 12 pp (scattered foxing, and some staining to last two pages), colour illustrations. A nice example of a so-called yellowback. Not in Masse.

Published in Rome, 1573 Cort’s image of Mary Magdelene repentant in the wilderness is from his series Six Penitent Saints engraved after paintings by Girolamo Muziano (1532 – 1592). She is depicted with long hair standing before a crucifix alone in a rocky landscape with wild vegetation. Cornelis Cort was a Netherlandish engraver born in Hoorn near Alkmaar in 1533. He was active in Flanders and left Antwerp for Italy in 1565, working first in Venice and then in Rome from 1571. He was closely associated with Titian, he lived at his house in Venice from 1565-66 and engraved a number of prints after his paintings. Cort also probably worked for the Medici family while living in Florence from 1569 – 71. A later impression on laid paper, a couple of light stains, old central crease expertly repaired. Provenance: The Berry Collection, Melbourne

SPENSER, Edmund, CRANE, Walter # 1918 Edited by Thomas J. Wise. London : George Allen, 1894 - 97. Quarto, nineteen parts in original illustrated wrappers, illustrated by Crane throughout. The deluxe edition printed on Japanese vellum, limited to 28 copies of which 25 were for sale. A standard edition was also published. A very fine set with some creasing to the lower yapp edge. Originally in the collection of the Brooklyn Public Library (deaccessioned, without any ex libris markings at all), in custom folding cases which while now split have housed the set in exceptional condition. Magnificently illustrated by Crane and a highpoint of Arts and Crafts publishing. Masse p. 47. Published by Edmund Spenser in two parts, in 1590 and 1597, The Faerie Queene is the longest poem in the English language. An allegorical epic inspired by the works of Virgil, it parallels the virtues and chivalry of the knights of the Arthurian realm with the morals and incorruptibilty of the Tudor dynasty of Spenser's day, and so for obvious reasons the poem was received extremely favourably by Queen Elizabeth I (on whom the Faerie Queene is modelled) and her court. As Spenser fell under the spell of Mediaeval romances in crafting his poem, employing a deliberately archaised language in order to create a magical yet faux atmosphere, so Walter Crane became similarly entranced by the stories of noble deeds, heroism and chivalry which are told in each of the epic's books. Indeed, the subject matter of Spenser's poem was perfect for writers and artists of the late nineteenth century Gothic revival, and although it inspired a plethora of illustrated editions around this time, either complete or abridged, it is Crane's collaborative effort with Wise, particularly in this deluxe edition of such rare beauty, that is generally accepted as the nonpareil illustrated edition of The Faerie Queene.

BLACKMAN, Charles Circa 1962. Conte on paper, 282 x 385mm, titled and signed, with the Spaghetti Eater, Assisi, verso. Framed, with glass both sides. An ethereal Blackman on the front with an amusing image verso.

Single strand of maireener shells strung on cotton, with bone clasp, c 1920; complete length 520 mm. In Palawa tradition the making of shell necklaces has always been the domain of women, and the collecting, stringing and presentation of maireener shells is a very significant part of Palawa culture. From as early as the 1870s, maireener shell necklaces – based on the traditional Palawa practice - were also manufactured and sold by non-indigenous people, in particular by the family business of Mary Maria Martin. This enterprise was founded in 1875 and operated in Hobart – and also for some time in Honolulu – until after Mary’s death in 1924. Due to its relatively short length, the fact that it is strung on cotton and the type of clasp used, this necklace is most likely of non-indigenous origin and is a strong candidate for being an extremely pretty example from the workshop of M.M. Martin. We acknowledge the Tasmanian Shell Necklace Research Project ( http://tasmanianshellnecklaceresearch.blogspot.com/ ) for the scholarly information in this listing.

Dedicated to the Flag Officers of the British Navy. London : James Gillray, 1796 (the Bohn restrike of 1851). Etching with later hand colouring, 255 x 355mm. Satirical depiction of the public assault on Vancouver by Thomas Pitt, 2nd Baron Camelford, who had sailed with Vancouver on his great voyage and bore resentment against the Captain, due to the harsh punishments meted out for infractions such as romancing native women on Tahiti. Restrike of the 1798 plate by Henry Bohn, with the permission of Gillray’s widow.

OUTHWAITE, Ida Rentoul and OUTHWAITE, Grenby. London: A. & C. Black, 1921. Quarto, papered boards (wear to edges and corners) 93 pp., 16 colour and 16 black and white plates, sparse foxing. The first of A. & C. Black’s large format illustrated works of Outhwaite, ‘luxury books’ as described by Muir & Holden, lavishly illustrated and finely printed. A good copy of the standard edition. Muir 5596.

LINDSAY, Norman Sydney : Angus & Robertson, [1935]. [Fourth edition]. Quarto, original pictorial dustjacket (a crease and some staining to front) over printed blue boards (head and tail of spine worn), front and rear joints weak and splitting, owner's name 'K. Burke' on front free endpaper, some foxing to half title and title, [167] pp (some lightly stained), illustrated in black and white with colour frontispiece; [together with] a single page holograph letter from Norman Lindsay to the owner of the book, K. Burke, written in pen, addressed from Springwood and in its original envelope, postmarked 31 DE 62. The letter importantly mentions the private photographs taken by Lionel Lindsay: 'As for those documentary remains left by my brother Lionel, who was a camera addict, it amuses me to think of all those antics he, and I, and Bill Dyson, and others, performed before the lense of a camera being now solemnly entombed at Canberra for the diversion of posterity. I took a considerable number of them myself, but what prints I had of them have gone down the drain long since.' This is a reference to the collection of Lionel Lindsay's photographs of family and friends (spanning roughly the years 1880-1960) which was acquired by the National Library of Australia following Lionel's death in 1961.

# 1211 [France : c. 1900]. Lithograph printed from fours stones in colour, measures 190 x 57 cms (paper), framed in black timber measuring 212 x 79 cms. An extraordinary lifesize poster from the late nineteenth century of a Strongman, a circus performer probably from a travelling show in France. Fine condition.

[LINDSAY, Norman] # 1839 Edited by Frank C. Johnson, Jack Lindsay & Kenneth Slessor. Sydney: The Vision Press, 1923-24. Four volumes (all published), quarto, illustrated wrappers by Norman Lindsay, illustrated throughout with vignettes by Lindsay, occasional foxing. An important Australian literary magazine which saw the poems published of a number of locally important authors. Complete.

...frégate du roi La Boudeuse, et La Flûte l’Étoile; BOUGAINVILLE, Louis Antoine de (1729-1811) # 1625 en 1776, 1767. 1768 & 1769. Paris : Chez Saillant & Nyon, 1771. Quarto, contemporary full cat’s paw mottled calf with triple fillet, spine in compartments with morocco title label, tooled in gilt, all edges marbled, marbled endpapers, pp. [viii], 417, [3]; eighteenth century owner’s name inscribed on title page, engraved headpieces, tailpieces and initials, 19 copper engraved charts on 20 plates (mostly folding), 3 engraved plates, a fine copy. FIRST EDITION OF THE FIRST FRENCH CIRCUMNAVIGATION. Bougainville’s voyage was of immense importance in terms of the impetus it provided to a renewal of France’s colonial empire following territorial losses suffered to Britain in the Seven Years’ War: it opened up the Pacific for French expansion. Yet what cannot be overstated is the impact Bougainville’s own vivid and romanticised descriptions of the Pacific - specifically Tahiti - had on the French public imagination, her writers, artists and thinkers. The utopian ideal of the noble savage living in an Earthly Paradise owes much to Bougainville’s response to his encounter with the Tahitian culture and landscape. Even though he was not the first European to reach Tahiti - the Englishman Samuel Wallis had done so one year earlier - Bougainville’s account is fundamental to the formation of the European romantic vision of the South Seas. Bougainville had the imprimatur of the French government to undertake a voyage of exploration which would seek to gather scientific, geographical and cultural information. For example, his narrative includes the first vocabulary of the Tahitian language, which is also the first written glossary of any Polynesian language. The advancement of knowledge had not been the principle objective of French voyages of the preceding period, which were motivated by commercial interests. After entering the Pacific through the Straits of Magellan early in 1768, Bougainville went in fruitless search of the fabled ‘Davis Land’, which was rumoured to exist to the west of Chile. He then took possession of the Tuamotu Archipelago and Tahiti for France, providing in his narrative an extensive, detailed and enthusiastic account of Tahiti. Crossing the Pacific he made landfall first in Samoa and then the New Hebrides. From the island of Espiritu Santo, with the thought of possibly discovering the east coast of New Holland, he struck out due west, a course which would have allowed him to reach the coast of Queensland. Fatefully, he was unable to navigate through the Great Barrier Reef, and sailing north instead, he passed through the Solomons (naming Bougainville for himself) and on to Batavia. Bougainville was to learn in Batavia of the exploits of the navigators Wallis and Carteret, both of whom had sailed across the Pacific a short time earlier. However, it was Bougainville’s narrative which was to cause a sensation in France upon its publication, in some part because of its contribution to scientific and geographical knowledge but primarily for the account of Tahiti, which was to have such an enduring effect on the European imagination.

...of original illustrated correspondence, 1864-1910 CRANE, Walter (1845-1915) # 1914 During the early 1860s the young English artist Walter Crane had befriended the writer, radical thinker and ornithologist John Richard de Capel Wise (1831-1890), and provided the illustrations for his book, The New Forest : its history and its scenery (1862). This was Crane's first published work. Over the next few summers, during the period when Crane had started to illustrate 'yellowbacks' and children's nursery rhyme and fairy tale books for Edmund Evans, Walter Crane and John Wise spent a significant amount of time together at Leam Hall in Derbyshire, where they struck up a close friendship with Anne (Annie) Ashton Booth (nee White) and her sister, Ellen (Nellie) White. This archive of Crane's illustrated correspondence with Annie and Nellie, which commences in 1864 and continues through to 1910, is testament to the very deep affection Crane clearly felt towards the sisters and their family (Thomas Booth, Annie's husband; Charlie Booth, their young son; and Sophia and Susannah, sisters of Annie and Nellie). Although the later portion of the archive is addressed to Annie Booth, the earliest part is shared between Annie and Nellie. The personal letters to Nellie, which include an idealised, romantic sketch of her, as well as a lengthy poem dedicated to her by Crane and evidence of a mutual exchange of photographic carte de visite portraits, betray Crane's infatuation with this striking beauty. Crane's playfully written letters and humorous illustrations depicting croquet afternoons at Leam Hall, sad farewells on his departures back to London, his exquisitely drawn animals, satirical fashion sketches and enchanting Christmas and New Year's greeting cards must have charmed and delighted the sisters. Significantly, following Crane's marriage in 1870 to another woman (Mary, to whom he was to remain married until her death in 1914), there is a ten year hiatus in his correspondence, and when the greetings and messages start up again in 1880, they are only addressed to Annie. The following extracts from Crane's memoirs briefly describe the 'Leam Hall' period of his life, without mentioning the Booths or Whites by name, but indicating that Annie had even purchased several of Crane's works at this time: In the summer of 1863 I joined Mr. Wise again, but this time in Derbyshire, in a then remote valley of the Peak district, ten miles from Sheffield, a little place called Lead Mill, on the Derwent, near Hathersage, where by his usual plan of walking the country he had found lodgings, and a country that he liked. It had, indeed, very great charms, as well as very distinct character. On one side bold crags of gritstone, or "edges," as they were called, breaking above green fields and woods sloping down to the Derwent, meandering over its stony bed, from running shallows into deep brown pools, dear to trout-fishers, and overhung with ashes, oaks, alders, and sycamores; on another side opening out into doughs and valleys leading up to larch woods and high moorlands, purple with heather, and here and there a grey stone seventeenth-century farmhouse. Far away to the west the ridges of the Peak hills and mountains above Castleton were lost in the blue mist. Mr. Wise had thoughts of doing for the Peak district what he had done for the New Forest, and hoped that I might help him as illustrator; but despite the success of his first book, he did not receive sufficient encouragement to go on with the work, which in all its different branches in the thorough way he would have done it would have been remarkably interesting, though no doubt, however congenial, arduous enough for the writer. Book or no book, however, I was enchanted with the country, and set to work sketching with great energy, spending my days by the riverside, or on the moors, or in the woods striving to record in part something of the beauty which surrounded me. I think from this time onwards I spent several months of each year in the summer until 1871 in this valley....The friends we saw most of, perhaps, lived at a delightful house in a garden terraced on the slope of hill almost hidden in trees, known as Leam Hall. The host was a keen sportsman, and spent most of his time either on his grouse moor above, or fly-fishing in the river below. In his good lady I found a patroness, and made several drawings of the neighbouring scenery, of which she was very fond. Croquet was the favourite lawn game in those days, and keen were the struggles over the then comparatively wide hoops, and the vicissitudes of play on a sloping ground whereon many a summer afternoon was whiled away....Towards the end of this summer [1865] my friend Wise somewhat suddenly bade me farewell, and giving up his lodgings, left the valley. I walked with him one evening across Eyam Moor, and did not meet him again until ten years afterwards. He had a way of burying himself in remote districts, and I completely lost sight of him for the time. My intellectual development owed much to him, certainly, and to him I was indebted for my first acquaintance with Emerson. (Walter Crane, An Artists's reminiscences, pp 73-78). This astonishing archive, full of Walter Crane gems, tells perhaps for the first time the story of a formative period in his life and of an enduring friendship about which almost nothing was known previously. The archive came to Australia with Charles (Charlie) Booth when he emigrated from England to Tasmania in 1894, and has passed directly by descent to his grandson, on whose behalf we offer the collection. Scrap album, 230 x 190 mm, tooled gilt morocco (front cover detached), front free endpaper with owner's inscription, Annie Ashton White, Forest House, Babworth, Retford, Notts. and wet stamp of a boar's head, the crest of the Booth family, all edges gilt, approximately 70 leaves (some left blank) with MS entries (poetry and prose) written by friends and family of Annie during the 1860s (the earliest dated August 1860), several albumen photographs of family members (1860s), eleven hand drawn Christmas cards by Walter Crane (dating from the 1860s to 1880s) which are tipped in to the album, together with a further thirteen Walter Crane greetings cards, a group of seven illustrated MS letters from Walter Crane to Mrs Annie Booth and her sister Miss Nellie White (dating from 1864-67), an original MS poem by Walter Crane, and several other Walter Crane sketches and ephemeral items which have all been preserved loose in the back of the album (see complete list below). I. Christmas and New Year's greeting cards by Walter Crane, for Annie Booth and her sister Nellie White: 24 examples (either loose, or laid down on album pages, as indicated): 1864-5 watercolour and ink, 113 x 77 mm, Father Time holding Baby New Year, with scythe and hour glass (album). 1865-66 watercolour and ink, 90 x 125 mm, Father Time, [self portrait as?] Baby New Year, Father Christmas (two variants) (album / loose). 1866-67 watercolour and ink, 93 x 64 mm, Gentleman and lady (two variants) (album / loose). 1867-68 oil, 115 x 40 mm, Church door (album). 1868-69 watercolour and ink, 93 x 64 mm (folding), Angels as postmen (two variants, in the form of miniature letters in envelopes, one for Miss White, the other for Mrs Booth) (loose). 1869-1870 watercolour and ink, 93 x 64 mm, Linked hands (two variants) (loose). 1870-71 gouache and gold ink, 92 x 72 mm, Male and female hands pulling a bon-bon (loose). 1880-81 ink, 180 x 113 mm, Boy with umbrella (album). 1883-84 ink, 147 x 100 mm, Cherub casting grain (album). 1884 watercolour and ink, 137 x 110 mm, Angel steering a boat : Good Luck to You (album). c 1885 watercolour and ink, 120 x 90 mm, Boy on horse jumping a fence (album). 1888-89 ink, 90 x 115 mm, Cherub with a basket (album). 1892-93 watercolour and ink, 175 x 112 mm (folding), Crane and sun, MS dedication to Mrs Booth (loose). 1894-95 watercolour and ink, 90 x 115 mm, Flowers and heart (album). 1896-97 ink, 89 x 114 mm, a Christmas poem by Walter Crane in his own fine, calligraphic hand, MS dedication to Mrs Booth (loose). 1898-99 watercolour and ink, 90 x 115 mm, Explorer with a giant quill, in envelope addressed to Mrs Booth in Walter Crane's hand (loose). 1899-1900 ink, 122 x 74mm (folding), a Christmas poem by Walter Crane in his own fine, calligraphic hand, MS dedication to Mrs Annie A. Booth (loose). 1900-01 ink, 175 x 130 mm, Baby New Year, scythe and hour glass, XXth Century on horizon, with MS poem by Walter Crane, dedication to Mrs Annie A. Booth (album). 1903-04 ink, 89 x 114 mm, Fir trees, MS dedication, to Mrs Booth (loose). 1909-10 ink, 70 x 60 mm, Crane holding holly, on single octavo sheet with Walter Crane's letterhead, holograph letter from Crane to Mrs Booth (loose). II. Printed Christmas and New Year's greeting cards by Walter Crane: 3 examples 1897 linocut (sepia ink), 135 x 110 mm, Lady with basket of flowers, in folding card with MS dedication, to Mrs Annie A. Booth (loose); plus another copy printed on different paper (loose). 1904 woodcut (black ink), 195 x 140 mm (foxed), Greetings from Yew Tree Farm, MS dedication, to Mrs A.A. Booth (loose). III. Other original art work by Walter Crane: 1864-67 A group of seven MS letters from Walter Crane to Mrs Annie Booth and her sister Miss Nellie White, all illustrated with charming pen and ink sketches and caricatures by Walter Crane, the subjects including croquet, fashion, animals, family members and a sketch of the beautiful Miss Nellie White surrounded by male admirers, and an original MS poem by Walter Crane (4 pp, octavo) titled A Ballad of Robin Hood('s Cave), dedicated to Nellie White in memory of a visit she and Walter Crane paid to the high escarpment at Stanage, Derbyshire, one afternoon in 1867. c 1865 Original MS story by Walter Crane, A Circle on Eyam Moor [a supernatural tale of a Derbyshire phenomenon], two octavo sheets, illustrated with pen and wash illustration at the head, 120 x 170 mm (loose). c 1865 Series of seven pen and ink caricatures, approximately 90 x 100 mm each, depicting the artist and friends on a sad journey home after a visit to Leam Hall (laid down on album pages, now loose). c 1865 Three carte de visite designs, each 60 x 92 mm, ink on card. Family crest incorporating the Booth family boar's head; Native Americans paddling a canoe; Pretty young woman in profile (loose). c 1865 Circular medallion, 42 mm diameter, gold ink and watercolour on card with red ribbon attached, with calligraphic message Open Sesame (loose). c 1865 Pen and ink caricature on blue paper, 100 x 100 mm, annotated in pencil: Charley as seen in London in the kilt which... was much admired (loose). c 1880 Watercolour on blue paper, 93 x 135 mm, Lucky Stars (loose). IV. Printed ephemera relating to Walter Crane: 1902 Personal invitation from Walter Crane to attend his exhibition at the Doré Gallery, New Bond Street, London, November 15 1902. Linocut (brown ink), 140 x 80 mm (on card 175 x 105 mm). c 1910 Scottish Widows' Fund Life Assurance Society. Lithographed bookmark, 152 x 58 mm. V. Family photograph album belonging to Mrs Annie Ashton Booth, large oblong octavo (180 x 265 mm), leather bound (lacking front cover), with 50 bromide and albumen silver photos (mostly 100 x 150 mm), all captioned and dated from 1889-1895, many with illustrated borders (the illustrations of rabbits which frame the initial photograph probably in Walter Crane's hand). Several of the photos are views of Leam Hall in Derbyshire, where Walter Crane spent his summers in the 1860s.

MILNE, A. A. # 823 London: Methuen, 1926. First edition. Decorations by E. H. Shepard. Octavo, gilt-illustrated green cloth in illustrated dustjacket (very small nicks to head and foot of spine, minor rubbing to corners, an excellent example), top edge gilt, very small loss on front free endpaper where glue from front pastedown has adhered, usual embrowning on endpapers from dustjacket, neat owner's name on p. , 159 pp. A fine copy of the true first edition, accompanied by the original printed prospectus of 4 pp., with Shepard illustrations, advertising the availability of the three editions of 1926, specimen pages, and a list of books by the author available from Methuen. Pooh made his first appearance in book form in Milne's When we were very young (1924), which features a poem about the bear which had been earlier printed in February in Punch. Pooh returned in a Christmas story commission for The Evening News in 1925, and in October 1926 was to star in his own volume of stories, simply titled Winnie-the-Pooh. Of all the friends of Christopher Robin, Pooh would prove favourite, and his stories have been in print since this first edition. A fine copy with the rare prospectus.