Douglas Stewart Fine Books Pty Ltd

[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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

[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.

[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.

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.

...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.