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"Christina's bedroom was upstairs at the back of the house, from her window she could see the ships sliding past the lighthouse and the signal station at South Head. She loved to stand there late at night and look out at the ships in the harbour 'lighted like a Christmas tree', and the 'great subtropical moon' hung over the water like a lantern. ... In later years, Stead would maintain that it was living by the water, with the international shipping activity before her eyes, that made boarding a ship in her mid-twenties and going abroad herself seem the natural thing to do." "Christina Stead - a Biography" by Hazel Rowley.
Chicago, Ill: Flood Editions. First American edition, 2006.
A late collection; the poet's first book to be published in North America; cover illustration by Garry Shead from his 'Ern Malley suite'.
Pictorial wrappers. Fine.
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Camberwell, Vic: Viking. First Australian edition, 2002.
Ingredients, markets, interiors, bread, recipes, utensils, farms, the seasons, preparation, and consumption: the twenty-first century Grand Tour; illustrated in colour throughout, photographs by Simon Griffiths; and inscribed by the author to 'Lady H____, it was delightful to meet you over lunch in Perigueux', in the year of publication.
Fine in dustwrapper.
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Walsh Bay, NSW: Walsh Bay Press. First Australian edition, 2011.
'Field work in the 1980s'; three hundred and eighty-seven black and white full page, 20 x 22cms., photographs of Bali, detailed captions for each at rear; epilogue by the photographer setting out the context for her work; inscribed by the author in the year of publication.
Pictorial boards. Fine as issued without dustwrapper.
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Walsh Bay, NSW: Walsh Bay Press. First Australian edition, 2011.
'A selection of black and white tinted photographs taken in Bali 1983-2010 by Carole Muller'; twenty-six full-page photographs, location and date on facing page; inscribed by the author, '____ this catalogue is to commemorate my 75th birthday. I am sure it will be another party to remember. Much love to ...'
Printed wrappers. Fine.
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Walsh Bay, NSW: Walsh Bay Press. First Australian edition, 2013.
'An adventure in 1990'; two hundred and eighty-three full page 20 x 22cms., black and white photographs, on the island twenty kilometres off the southeastern corner of Bali; prints organised by village into fifteen groups; introduction, essay on Keling textiles, account of trip, maps, glossary (50pp.); inscribed by the author in the year of publication.
Pictorial boards. Fine as issued without dustwrapper.
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London: Faber and Faber. First English edition, 1963.
The then expatriate author's first novel in which an Australian administrator finds himself in a gangster-ridden corner of a British colony in Africa.
Born on the Northern Beaches of Sydney in 1922, a PoW in Italy for four years (the basis for his second novel 'Crumb Borne', 1965) during World War Two, appointed the UN representative in the Congo in 1961, choosing Somalia as his home in the 1960s 'because Africa was the country where he could live happier and follow his interests with greater zest than anywhere else'.
Spots of foxing to extremities, very good in dustwrapper designed by Anthony Gross.
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Paris: The author. Third edition, 2019.
History of the club and its members from its initial meeting in 2000, followed by a collection of the author's occasional pieces – articles, essays, reviews, texts of talks, obituaries, chapters cut from books, 224pp; #54/100 copies signed by the author.
Pictorial wrappers. Fine.
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Paris: The author. First edition, 2020.
Following the movies and moviemakers from Coogee to Junee and on to London, Virginia, Sydney, Los Angeles and, at home, in Paris, a personal collection of Australian film facts, anecdotes and recollections; illustrated; 1/100 numbered copies signed by the author.
Pictorial wrappers. Fine.
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Carlton, Vic: Melbourne University Press. First Australian edition, 2008.
Thoughts on one of the great journeys, arguing for a more holistic, less structured approach to food and dining; inscribed by the author, appropriately, in Paris in the year of publication.
Printed boards. Fine as issued without dustwrapper.
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Paris: 2018.
Cate Blanchett takes on thirteen different roles performing manifestos – Dadaism, Futurism, Fluxus etc. – originally a 130-minute multi-screen installation in 2015, then a 94-minute movie version in 2017. Original French poster for the movie version, released there in May 2018.
Poster measures 157 x 116cms. Rolled. Fine.
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Melbourne: Codex Australia. First Australian edition, 2014.
Essays by Alex Selenitsch and Marian Crawford; foreword by Jorge Alberto Lozoya, introduction by Alan Loney; details of the ten books exhibited.
Printed wrappers, stapled. Fine.
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London: Faber and Faber. First English edition, 1933.
Combination memoir and monograph of the sculptor, the 'Savage Messiah' of art history, killed in World War One at the age of twenty-three; and written by the Australian born artist (1885-1969) who lived in Melbourne until 1904. Sixty-nine reproductions. Ashley Montagu's copy, with his signature.
Prelims foxed. Very good in dustwrapper darkened on the spine.
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Brooklyn, NSW: Angell Productions. First Australian edition, 2007.
'Coral Browne left Australia in 1934 at age twenty-one ...' for a life of 'when the legend becomes fact, print the legend'; starting in The Savoy Theatre in the 1940s, on to filming one of the first lesbian love scenes in a mainstream film – 'The Killing of Sister George' in 1968, her career pinnacle in a BAFTA-winning role in 1984 in 'An Englishman Abroad'; her death inspiring Barry Humphries to declare: 'Loyalty and love she lavished free on lowly friends and well-born, like Murdoch, Melba and like me, she was marvellously Melbourne'; illustrated; appendixes of productions, movies, date books etc; #69 of an unspecified limited edition, signed by the author.
Pictorial wrappers. Fine.
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Berkeley, CA: University of California Press. First American paperback edition, 1997.
The life of groundbreaking poet and visual artist Mina Loy, the world of Futurism and Dadaism; inscribed by the expatriate author in 1998.
Pictorial wrappers. Very good.
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North Ryde, NSW: Angus and Robertson. First Australian edition, 1984.
Interviews with Australian expatriates: Robert Hughes, Gordon Chater, Graham Fraser, Judith Anderson, James Wolfensohn, Germaine Greer, Maxwell Newton, Zoe Caldwell and Sumner Locke Elliott; illustrated.
Top edge dusty, edgewear, else very good in dustwrapper.
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St Leonards, NSW: Allen and Unwin. First Australian edition, 1996.
'Sumner was the wittiest man I have ever known', Shirley Hazzard; from Sydney to New York; inscribed by the author, 'to _____ you were there at the beginning in Monash, Melbourne and I'm so pleased you've joined me for the fruition. ...,' in the year of publication.
Pictorial wrappers. Fine.
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Hornsby, NSW and London: Australasian Publishing Company and Harrap. Reprint, 1977.
'A Guide to Gracious Living and the Finer Things by One of the First Ladies of World Theatre'; twenty-six sections, including: 'the family tree', 'the photo album', 'the sex advice', 'the disgusting sight', 'the economy', 'the world', 'the end'; illustrated.
Pictorial wrappers. Limp edition. Fine.
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South Melbourne: Macmillan. First Australian edition, 1989.
Beginning, 'I am probably Jewish. Let's face it, Possums, shake anyone's family tree and, more often than not, a Red Sea Pedestrian falls out – and on his feet!' the Dame tells her inspirational life story; inscribed, 'A joyous heart always, Dame Edna'; vignettes by John Richardson.
Near fine in dustwrapper.
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London: Forest Books. First English edition, 1989.
The expatriate poet's fourth collection; introduction by Peter Porter, illustrated by Pierre Vella; inscribed by the author, 'For ____ remembering Sydney and Wagga'.
Pictorial wrappers. Fine.
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Bendigo, Vic: Bendigo Art Gallery. First Australian edition, 1998.
Exhibition catalogue. Agnes Goodsir (1864-1939), born in Portland, Vic, to Bendigo in 1898 to study art, London in 1899, then Paris, back and forth, painting, settled in Paris in 1921 at 18 Rue de l'Odéon, an address of some note; illustrated.
Pictorial wrappers. Fine. 1,000 copies.
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London: Macmillan. First English edition, 1963.
The author's first book: ten stories, all but one had first appeared in 'The New Yorker'; dedicated to the artist Elena Vivante; Jessica Anderson's, creator of Nora Porteous fifteen years later, copy with her signature.
Very good in dustwrapper sunned on spine and with a couple of chips at edges.
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New York: Viking. First American edition, 1980.
Two orphaned Australian sisters loose in the world; National Book Award winner in the United States and for others 'a second visit book', resisted on first reading, but a 'different' book second time around; Michelle de Kretser was one such reader: 'Why the fuss?' after her first reading, then twenty years later: 'But this is brilliant'; signed by the author.
Faint spots of foxing to extremities, else fine in dustwrapper.
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New York: Farrar Straus and Giroux. First American edition, 2000.
Thoughts on Capri and surrounds, meetings with Graham Greene – 'I never heard him pronounce on a book he hadn’t read, or invoke an influential name in order to impress. The common emblems of '‘importance", social and public attention, an air of authority, the flaunting of "edge" were not his forms of egoism' – as well as other writers and, never to be underestimated, holidays and books; signed by the author and with two corrections to the text noted on the rear free endpaper as 'authorial corrections'.
Fine in dustwrapper.
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New York: Farrar Straus and Giroux. First American edition, 2003.
American-occupied Japan two years after the end of World War Two; Alfred Leith and Helen Driscoll meet in a broken landscape, hopscotching between Japan, Hong Kong, Britain and New Zealand.
Barry Humphries' copy with his bookplate. Fine in first issue dustwrapper without Anita Shreve's endorsement and with finalist sticker for the National Book Award.
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Budapest: Chemolimpex, 1954.
A kangaroo and its joey are appropriated by the frequent collaborators to promote 'Gulliver' rubber heels in Budapest during the Cold War. The kangaroo takes on Brobdingnag proportions, its tail too long for the design, the joey's handkerchief becomes a speedometer, and, before 1956, the captions are printed in English.
Poster measures 33 x 58cms. Nick centre of top edge, else fine.
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North Sydney, NSW: Ebury Press. First Australian edition, 2015.
From Kiama to Hollywood, designing costumes for goddesses, actors as well, three times an Oscar winner; illustrated; foreword by Catherine Martin. The memoir only came to light amidst the publicity surrounding the release of Gillian Armstrong's film 'Women He's Undressed' in 2015.
Faint mark to foredge, else fine in dustwrapper.
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[East Sydney]: [the author], [2021].
Beginning, 'My exotic life of travel and adventure began in the 1950s in Melbourne, not long after the end of the Second World War. I was lovingly created of rich, blood-red finest wool velour, with a magnificent black mink collar and fine silk lining. I was a coat that said, Hello world, I'm ready for whatever you have to offer!'
Pictorial wrappers, stapled. Fine.
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South Melbourne, Vic: Affirm Press. First Australian edition, 2017.
Behind the wheel of a red car across America in search of ...
Pictorial wrappers. Fine.
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Melbourne: George Robertson. First Australian edition, 1911.
An Australian actor and writer in India and Sri Lanka, beginning in The Grand Hotel, Colombo and then pushing north; illustrated.
Dark blue cloth stamped in red. Owner signature, spots of foxing to prelims and extremities. About very good.
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London: Jonathan Cape. First English edition, 1930.
The severe, and typical, dustwrapper illustration is by Mabel Dickinson Lapthorn, born in Melbourne in 1889, emigrated to England, designer of movie posters and dustwrappers there, also working in Amsterdam on dustwrappers for Sigrid Undset, Ivan Bunin and Marcelle Capy novels published by J.M. Meulenhof, see a couple of books along.
Cecile Ines Loos' first novel, set in Poland, both before and during World War One, seen through the eyes of an illiterate peasant girl and her employers, or the consciousness of the oppressed; translated from the German by Margaret Goldsmith.
Near fine in dustwrapper.
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London: Jonathan Cape. First English edition, 1930.
Another unmistakeable Mabel Lapthorn dustwrapper illustration for Claire Spencer's first novel concerned with Effie Gallows, an uncompromising female force in a Scottish village, the three men who love her and who, like the other villagers, struggle to cope with her 'crystal fearlessness'.
Top edge darkened, very good in dustwrapper marked on rear panel and chipped at the crown and base of spine.
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Melbourne: Sun Books. First Australian edition, 1981.
An Australian aboard - England, France, Japan, the United States, and 'places worse' - illustrated by Edward Koren; inscribed by the author in 1982.
Pictorial wrappers. Very good.
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Garden City, NY: Doubleday, Paige and Co. Collected edition, [1920].
Dorothea MacKellar met Joseph and Jesse Conrad in mid-1912 during a family visit to England. After her publisher wrote to the Conrads introducing her, they invited her to their home in Orlestone, Kent, where the Australian writer became friends with the family. She continued to see them during 1912-1913 when she stayed on in London after her family had returned to Australia. Dorothea MacKellar left Australia for a second visit to England in February 1920, Deborah Fitzgerald’s biography mentions her staying with the Conrads in August and October of that year. Dorothea MacKellar returned to Australia in February 1921 and did not see the Conrads again.
Inscribed, 'To my friend Dorothea MacKellar affectionately Joseph Conrad 1920'
Joseph Conrad began ‘The Rescue’ in 1898, put it aside, began work on it again in 1918, and it was published in January 1920. It is his third novel to feature Captain Tom Lingard and is reputed to draw on Conrad's experience as first mate on the “Vidar” sailing between Singapore, Borneo and Sulawesi during 1887 and 1888.
Trade issue of the 26vol. collected edition of Conrad's works. Dark green leather binding stamped in gold, top edge gilt. Professional repairs, new spine with surviving fragment of spine attached. Short tear to half-title above inscription. Very good.
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Adelaide, SA: Greenaway Art Gallery. First Australian edition, 2007.
Exhibition catalogue. Sixteen colour reproductions - Holland, Switzerland, Japan, America, New Zealand, Italy – a short essay by the artist, 'Most of my travel is linked with exhibitions; I have travelled to every exhibition I have ever had and see no reason why I won't in the future.'
Pictorial wrappers, stapled. Fine
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Fortitude Valley, Qld: Heiser Gallery. First Australian edition, 2012.
Exhibition catalogue. Twenty-four colour reproductions of works - Japan, America, New Zealand, France, Ireland, and Australia; short essay by the artist.
Printed wrappers, stapled. Fine.
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Sydney: The artist. First Australian edition, 2021.
After a visit to the J.D.Salinger centenary exhibition at the New York Public Library in 2019; five hundred numbered copies, signed by the artist.
Pictorial wrappers, stapled. Fine
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Melbourne: Sun Books. First Australian edition, 1971.
Barry McKenzie #1, beginning with his arrival at Southampton; illustrations by Nicholas Garland; dedicated to Peter Cook, and with the Kings Cross Whisper's endorsement, 'Passe, atavistic, anachronistic, philologically a pastiche, but funny and compassionate all the same.'
Pictorial wrappers. Owner signature. Very good.
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Melbourne: Sun Books. First Australian edition, 1971.
Barry McKenzie #2; the story continues, Rev. Kevin McKenzie, Barry's twin brother, makes an appearance and gets into some fisticuffs with his sibling; illustrations by Nicholas Garland; dedicated to Kingsley Amis; and with the glossary of McKenzieisms (3pp.) at the end of the text.
Pictorial wrappers. Owner signature. Very good.
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Melbourne: Sun Books. First Australian edition, 1979.
Barry McKenzie #3; 'The final fescennine farrago ...'; illustrations by Nicholas Garland, introduction by Bruce Beresford, an extended glossary – 'brewer's droop' and 'chemise lifter' explained – plus reproductions of pieces by Geoff Dutton, Ron Saw, Colin Bennett, Barry Humphries about Bazza, his history and significance, or not (28pp.).
Pictorial wrappers. Small annotation on front cover, else fine.
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New York: Van Nostrand Reinhold Company. First paper edition., 1979.
Analysing 30+ contemporary chairs; illustrated; signed by the author.
Pictorial wrappers. Errata sheet laid in. Very good.
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1996.
Cologne, 20 October 1996: the first of three concerts in Germany for the band's 'Breathe' tour
Original German poster for the concert at the Live Music Hall; the poster reproduces the cover of the album.
Poster measures 82x59cms. Rolled. Fine.
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Exeter, Devon: Stride. First English paperback edition, 1993.
'The story, stories ... are shaken through a sieve of memories'; inscribed to David Gascoyne by the Melbourne-born author, living in London since 1972; autograph letter, signed from David Miller to David Gascoyne inquiring re translations of Benjamin Fondane, the Romanian and French poet, and David Gascoyne's work in general.
Pictorial wrappers. Book label of David and Judy Gascoyne. Fine.
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Carlton, Vic: Black Inc. First Australian edition, 2016.
'He was in his mid-twenties when he finally got away' – from Melbourne in 1936 over to Britain and Europe; 'In Search of Alan Moorehead' follows the expatriate Australian's trajectory from struggling Fleet Street journalist to celebrated war correspondent, later as a regular contributor to 'The New Yorker', minor novelist and major popular historian (subjects ranging from nineteenth century Africa to Captain Cook), and, in 1956, author of the first significant book about the Gallipoli campaign, described by Germaine Greer as 'a masterful account'.
Extremities evenly tanned, some pencil underlining in text, very good in dustwrapper.
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Vienna: Theseus Temple. First Austrian edition, 2016.
The annual summer exhibition, of one artwork only, in the Theseus Temple, Vienna, curated by Jasper Sharp. Illustration of exhibition one side, documentation re the artist and work, German and English, on reverse.
Single sheet measuring 59 x 41.5cms. Folded four times, small ink annotation, else fine.
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London: Jonathan Cape. Reprint, 1970.
A trawl through the international Underground movements of the sixties – anecdotes, personalities, festivals, overland from Australia to London – with Johan Huizinga's 'Homo Ludens' (1938) along as a guide; 'Headopoly' game (banned in Australia at time of first publication) folded and laid in at rear, ready to play.
Fine in dustwrapper designed by Martin Sharp.
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Port Melbourne, Vic: William Heinemann. First Australian edition, 1995.
Sydney in the early '60s – banned books, taboo social topics, the white Australia immigration policy – Prime Minister Sir Robert Menzies proclaims: 'We are a happy nation and despite some dismal critics – we deserve our happiness.' From their hangouts at Vadim's in Kings Cross to the Newport Arms Hotel, a group of young people decide the time is ripe to launch a magazine of dissent, covering topics like abortion, police brutality, the criminal underworld, homosexuality, censorship. 'OZ' lands them in court on obscenity charges amidst howls from the Establishment denouncing the 'filthy little rag', its central editor slagged as 'the dirty Wizard of OZ'. Decamping to Swinging London in 1967, the co-editors publish the London OZ, Germaine Greer, Robert Hughes, Michael Leunig and a raft of radicals and artists contribute on topics ranging from the anti-war movement, drugs and sex, and politics. An obscenity trial in 1971 – described by 'The Sun' as a 'gold-plated sledgehammer to crack a very squalid nut', in which harsh prison sentences and a deportation order 'hung heavily for being transported back to Mosman is a fate worse than death' – ended in acquittal on appeal. inscribed, to ____ whose intervention would no doubt have improved it, by the author in the year of publication.
Pictorial wrappers. Very good.
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Berlin: Scalo. First German edition, 1999.
A photographic diary of a life shared away from the public eye: pieces by Helmut Newton and Alice Springs on each other; two sections of self-portraits of each; and a selection of their other portraits. English text.
Fine in dustwrapper.
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London: Methuen. First English edition, 1965.
The Tasmanian-born writer and gallerist's second travel book, all over East Africa, on to Ethiopia, across to Ghana, and back to England; ten colour illustrations, endpapers and dustwrapper by Sidney, her husband.
Extremities darkened. Very good in good dustwrapper.
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London: Macmillan. First English edition, 1967.
Arriving in New York harbour, a husband with twenty pieces of luggage including five briefcases, and on through two years living and travelling in the continental United States; endpapers and dustwrapper illustration by Sidney Nolan.
Very good in dustwrapper darkened at the top left of the front panel.
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London: Macmillan. First English edition, 1971.
'At the Brisbane air terminus I bought a copy of 'Pale Fire' (those were the days), and we changed into a smaller plane, en route for New Guinea'; the Nolans' travels in Papua and neighbouring islands.
Tape shadow on front free endpaper, extremities darkened, else very good in dustwrapper reproducing a painting by Sidney Nolan.
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New York: Personality Posters Inc., 1969.
Original black and white poster of a key image from Australia’s sporting history. At the centre, Tommie Smith (gold medallist) and John Carlos (bronze) at the Mexico City Olympics, standing with raised black gloved fists during the playing of the American national anthem at the medal ceremony for the 200-metre event. Their salute was a silent protest against racial discrimination and violence against Black people in the US. The athletes wore beads and a scarf to protest lynchings and removed their shoes as they walked to the podium, to protest poverty.
Peter Norman, the Australian athlete and silver medallist, stands on the podium wearing a badge in solidarity, endorsing the Olympic Project for Human Rights.
The International Olympic Association took the medals back from Smith and Carlos; these were later restored to them. Peter Norman’s decision to wear the solidarity badge cost him his professional status in Australia: he was ridiculed as 'the forgotten man' of the Black Power salute, was not selected for the 1972 Munich Olympics, never ran in an Olympics again, and was not welcomed or included at the 2000 Sydney Olympics unless he renounced his actions thirty-two years earlier, which he never did.
Peter Norman died in 2006. Tommie Smith and John Carlos gave eulogies and were pallbearers at his funeral. John Carlos stated that 'If we were getting beat up, Peter was facing an entire country and suffering alone.' The US Track and Field Federation declared October 9, the day of his funeral, as Peter Norman Day.
Poster measures 103.5 x 74cms. Linen backed, rolled, very lightly toned. Near fine.
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Paris: Halle Saint Pierre, 2006.
Invitation to the opening for an exhibition of twenty-two Australian outsider artists in Paris: list of artists, dates of exhibition and details of curators.
Single card measuring 21x30cms., printed in colour both sides, and folded once. Fine.
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London: Macmillan. First English edition, 1965.
'A Traveller in Modern Turkey', the second of the author's five travel books; thirty-eight photographs by her, endpaper maps and a street map of Istanbul; inscribed by the author in the year of publication.
Spots of foxing to extremities, about very good in dustwrapper;
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London: Bridgewater Press. First English edition, 1999.
A seventieth birthday celebration for Brisbane-born, British-based poet Peter Porter – an expatriate generation of one, correspondent and host to successive generations of Australian writers; a collection of tributes by twenty of his friends: Martin Amis, Julian Barnes, Alan Brownjohn, Geoffrey Burgon, Wendy Cope, Allen Curnow, Ian Duhig, D.J. Enright, U.A. Fanthorpe, Barry Humphries, Clive James, David Malouf, Les Murray, Sean O’Brien, C.K. Stead, George Szirtes, Ann Thwaite, Anthony Thwaite, William Trevor, Kit Wright – a harmonious blend of local and Australian contributors - who have all signed this slate. One hundred and thirteen copies printed, this is one of the twenty-six in quarter cloth and marbled paper boards, not numbered and marked as a contributor's copy.
Quarter cloth and marbled boards. Fine.
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London: Picador. First English edition, 2004.
A late collection celebrating 'the glow at the tail-end of my life'; the wonderful title poem is dedicated to John Tranter; this copy inscribed by the author to 'Barry [Humphries] and Lizzie [Spender]', or, at last, a Peter Porter association copy.
Pictorial wrappers. Barry Humphries' bookplate on the inside front cover. Fine.
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London: The Ulysses Press. First English edition, 1931.
Contains 'Mary Christina', first published as 'Death' in 1911 in English Review and 'Life and Death of Peterle Luthy'; dedicated to Mary A.Kernot, the author's school friend and correspondent; #130/500 numbered copies signed by the author; typography, printing and binding by the Shenval Press.
Original green cloth and grey blue boards. Fine as issued without dustwrapper.
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St Lucia: University of Queensland Press. First Australian edition thus, 1998.
The Australian Academy of the Humanities edition, edited by Clive Probyn and Bruce Steele. In search of the definitive text of the author's first novel, published 1908: twelve appendixes re editions, writing, reception; chronology, table of variants, and the complete text of the novel; 800pp.
Barry Humphries' copy with his bookplate. Small bump front panel, else fine in dustwrapper.
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Cambridge: Cambridge University Press. First English edition, 2004.
Ethel Florence Lindesay Richardson, from 1870, in Australia, then Europe, England, to 20 March 1946.
Barry Humphries' copy with his bookplate. Fine in dustwrapper .
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London: Chatto and Windus. First English edition, 2001.
Vignettes from London between Oxford Street and Euston Road, bordered by Portland Place, Gower Street and Tottenham Court Road; co-authored by Australian-born journalist, writer and editor Marsha Rowe, who worked for the Sydney and London editions of 'Oz' magazine in the 1960s before co-founding second-wave feminist magazine 'Spare Rib' in 1972; illustrated.
Fine in dustwrapper.
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New York: Henry Holt. First American paperback edition, 2002.
The life of the Afro-American writer through the first half of the twentieth century; inscribed by the author in 2004.
Pictorial wrappers. Very good.
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Melbourne: Black Inc. First Australian edition, 2002.
Expatriate chronicler of rock culture, author of 'Rock Encyclopedia', influential social journalist, and 1960s free thinker – from Alassio, Italy, to Brisbane, Sydney, New York, life-threatening asthma with her all the way; the dedicatee of Germaine Greer's 'The Female Eunuch'.
Extremities evenly tanned, very good in dustwrapper with a short tear at the top of the rear panel.
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London: Angus and Robertson. First English edition, 1976.
A biography of John Peter Russell, who left Sydney for fin-de-siecle Europe to attend art school, the only Australian painter to have been closely associated with some of the most influential artists of nineteenth-century France, and friend to fellow pupil Vincent Van Gogh, painting the first oil portrait of the artist; consistently overlooked, returning to live in Sydney in relative obscurity, however brought to public attention in recent years by a retrospective of his work at the Art Gallery of New South Wales and a feature-length documentary 'Australia's Lost Impressionist: John Russell'.
Very good in dustwrapper sunned on the spine.
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Sydney: Art Gallery of New South Wales and Thames and Hudson. First Australian edition, 2018.
Exhibition catalogue: Nine essays; letters between Van Gogh, Rodin, Tom Roberts and John Russell – Australia's 'lost impressionist', who befriended fellow student Vincent van Gogh at art school and, in 1886, painted the first oil portrait of the artist, now held at the Van Gogh Museum, as well as painting alongside Claude Monet and Henri Matisse at Belle Ile; chronology; illustrated throughout in colour, bibliography, index.
Pictorial boards. Fine as issued without dustwrapper.
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Sydney: ETT Imprint. First Australian edition, 2016.
'Youth always revolts against the leadership of age ... we were satirists.' Volume 1 of a proposed 2 volumes; the artist's role in the cultural revolution that began in the 1960s – establishing the Sydney and London 'OZ', his psychedelic posters of Dylan, Hendrix and Donovan, LP covers for Cream, efforts to make the Yellow House a cultural precinct, campaign to save Sydney's Luna Park, and to discover the cause of the fatal Ghost Train fire and to honour its victims ('I love Luna Park and sometimes I feel Luna Park loves me, but it has been an arduous romance'); interviews with contemporaries of the period, including: Tim Lewis, Peter Kingston, Garry Shead, Greg Weight, Jonny Lewis, William Yang, Philippe Mora, Jeannie Lewis, Richard Neville, Tiny Tim and Jim Anderson, and of special significance, given his passing in September this year, actor Lex Marinos' observation, while working with Sharp on 'Tears of Steel & the Clowning Calaveras': 'What was extraordinary was Martin's ability to take stuff and make us see it differently...'; indexed, no illustrations.
Pictorial wrappers. Fine.
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[New York]: Privately printed, 1943.
'I was ten when I first met him. The place was a sugar plantation in the tropics of Australia, and the day juts out like a promontory from the level lands of memory'; based on the author's childhood association with Ah Wong, the caring Chinese cook employed by the Travers' family; issued as a Christmas greeting; 1/500 numbered copies, inscribed by the author to James and Tania Stern, writer and translator respectively, the latter also a therapist in New York; printed at The High Grade Press, New York.
Printed wrappers, stapled. Darkened around perimeter, staples beginning to rust. Very good.
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New York: The Macmillan Company. First American edition, 1901.
The third novel by 'Elizabeth', aka Mary Beauchamp, born in Kirribilli in 1866, author of twenty-one best-selling novels, 'The Enchanted April' her best-known, regularly compared to Jane Austen for her talent and wit, through marriage, a member of the German nobility, a cousin of the New Zealand-born writer Katherine Mansfield, living much of her life in Switzerland, and inviting decades of international speculation about her identity.
'The Benefactress' features Anna Eastcourt, 'an exceedingly pretty girl' who 'wasted her time in that foolish pondering over the puzzles of existence, over those unanswerable whys and wherefores, which is as a rule are restricted, among women, to the elderly and plain.'
Original green patterned cloth stamped in gold. Top edge gilt. Fine in a spectacular example of the original dustwrapper missing a small piece from the base of the spine and the front panel.
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London: Cherry Tree Books. First English edition, [1952].
Beginning on a routine round trip to Mars in 2235; first published in 'Wonder Stories Quarterly' in 1932. The author, born in 1897 at Geelong, Victoria and educated in Melbourne, published his first novel 'Tap Tap Island' in 1921. He took permanent residence in England in 1929, publishing spy sagas and crime thrillers under several pseudonyms. The 'Melbourne Age' described him 'as mild a man as ever cut a throat on paper'.
Pictorial wrappers. Very good.
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Melbourne: Director General of Recruiting, 1941.
War as a change of clothes. The Australian War Memorial catalogue notes, 'Australian Commonwealth Military Forces Second World War recruitment poster. Released in 1941 before Japan had entered the war, at a time when many Australians were reluctant to enlist to fight on the other side of the world.'
Poster measures 71 x 47.5cms. Backing sheet attached to reverse of poster, short closed tear top middle of front panel, a couple of repairs to reverse. Good.
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Crawley, WA: University of Western Australian Press. First Australian edition, 2007.
The intricacies of grieving for family members of soldiers killed in the World Wars and buried overseas; researched through the archives of the Commonwealth War Graves Commission.
Pictorial wrappers. Fine.
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The author. First Australian edition, 2013.
'Australian WWII War Brides'; interviews, illustrations, list of brides, their homes across the United States; dedicated to the 15,000 Australian war brides; inscribed by the author and signed by her on the title page.
Pictorial wrappers. Fine.
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London: Grant Richards. First English edition, 1916.
The third collection by the Australian / English poet writing under a pen-name adopted after a Brisbane street where she had promised her father to become a poet; despite a prolific body of work, her status as a poet dogged the writer all her life; the lack of critical interest as early as 1942, only two decades after her heyday, making 'her neglect one of the mysteries of contemporary literature' according to the editors of Twentieth Century Authors; her poems derided by Germaine Greer as 'gusty versicles'.
Inscribed by her in 1934, in her fifties, to Seraphine [Astafieva], a Russian ballerina, later proprietor of a dance school in Chelsea and, like the author, friend to many of the English and American modernist writers and poets in Paris and London during the years between the World Wars.
Secondary binding in grey cloth, errata slip. Final two pages opened roughly with some loss to margin. Very good.
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London: Virago. First English edition, 1984.
Poetry, published and unpublished, 'Fragment of an Autobiography – Prelude to a Spring Clean' (110pp.), and seven prose pieces, including 'The Spirit of the Lawrence Women'; 'Anna Wickham: a Memoir' by R.D. Smith; edited and introduced by R.D. Smith; 400+pp; published to commemorate the centenary of her birth.
Pictorial wrappers. Review copy with compliments slip from the TLS laid in. Book label of David and Judy Gascoyne. Very good.
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Melbourne: Oxford University Press. First Australian edition, 1996.
The nature of Australian women's travel from the 1870s – when travel in Europe became popular – until 1970 and the advent of jet travel; travel diaries, letters and interviews explore different ways of living and new freedoms; sections on Travel and 'Status', 'Aspirations', 'Independence' 'War', 'Reform', 'Politics', 'Discovery of the World', 'Discovery of the Self' with interludes featuring Annie Duncan, Winifred James, Doris Gentile, Dora Birtles, Irene Saxby, Stella Bowen, Charmian Clift and Gillian Bouras; illustrated.
Fine in very good dustwrapper sunned around the spine and rear panel.
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