new century antiquarian books

catalogue 74

late spring 2013 [1] BOSTOCK, Cecil W. Cameragraphs of the Year 1924. A Souvenir of the First Exhibition of the Australian Salon of Photography. , Harringtons, n.d. but 1924. Quarto, pp. 48 (chiefly photographic plates) + tipped-in frontispiece; an excellent copy in the original cloth. $185 EDITION LIMITED TO 1000 COPIES. The Sydney Camera Circle was behind the formation of the annual Australian Photography Salon in 1924 and 1926. Bostock, a leading figure in photography circles, designed the catalogues for both exhibitions, both of which also included lengthy critical reviews by Harold Cazneaux. Only the 1924 and 1926 salons were afforded substantial catalogues; it was not until the 1940s and 1950s that elaborate publications drawn from the Australian Photography Salon of 1947 and 1957 were produced, this time by the ubiquitous Oswald Ziegler.

[2] BOSTOCK, Cecil W. Cameragraphs 1926. Selections from the Second Exhibition of the Australian Salon of Photography. Sydney, Harringtons, n.d. but 1926. Quarto, tipped-in frontispiece and 48 pages of photographic plates; a trace of silverfishing on the endpapers and marks of ownership (see below) but a very good copy overall in original cloth. $185 Extremely scarce: unlike the first selection of 1924, the second is without edition statement and was probably issued in larger numbers than the first volume. The present copy is, however, ONE OF THE RARE COPIES IN ORIGINAL CLOTH – most appear to have been issued in wrappers. This is also an appealing association copy with the label of the Camera Club and their small an inoffensive stamp on the endpapers and in the margins of a few text leaves.

[3] CATO, Jack. The Story of the Camera in . Melbourne, Georgian House, 1955. Quarto, pp. [ii] (recto blank, verso statement of limitation), xvi, 188 (last blank) + 39 leaves of plates; fine in original publisher’s chocolate morocco, dark red topstain, with like dustwrapper. $385 RARE: THE DELUXE ISSUE OF THE FIRST EDITION, limited to 100 numbered and signed copies. This specially-bound, numbered and signed deluxe issue is rare beyond its limitation. The Georgian House catalogue for 1960 notes that “A few copies available in full leather binding at £12/12/-. Prospectus available.” [4] CAZNEAUX, Harold. The Australian Native Bear Book. Sydney, Art in Australia, 1930. Quarto, pp. [ii] (photographic additional title), 24 (last blank), [2] (advertisement, verso blank), with woodcut by Margaret Preston on the title; near fine in the original wrappers with overlapping edges, woodcut by Margaret Preston on the front wrapper. $55 First edition: pp. 3 – 22 are full-page captioned photographic plates.

[5] CAZNEAUX, Harold. The Bridge Book by Cazneaux. Sydney, Art in Australia Ltd, 1930. Quarto, pp. [28] (24 of which are leaves of photographic illustrations); trace of foxing, good in little frayed original wrappers. $125 Foreword by Leon Gellert.

[6] CAZNEAUX, Harold and Emil Otto HOPPÉ, et al.. The Second Bridge Book by Cazneaux, T. Purcell, Dr. G. Hamilton and E.O. Hoppé. Sydney, Art in Australia Ltd, 1931. Quarto, pp. [24] (most comprising photographic illustrations); trace of foxing, good in little frayed original wrappers. $165 Photographs from land and water taken by the most distinguished pair of Cazneaux and Hoppé; aerial photography by Purcell and Hamilton.

[7] [CAZNEAUX] BROKEN HILL PROPRIETARY COMPANY LIMITED. Fifty Years of Industry and Enterprise 1885 – 1935. Melbourne, J.T. Picken & Sons [for Broken Hill Pty Co. Ltd], 1935. Large quarto, pp. 168, with photographic illustrations throughout; fine in original limp chocolate morocco, the front board lettered in embossed vivid red, all edges gilt. $185 THE DELUXE PRESENTATION ISSUE of the Jubilee Number of the B.H.P. Review, or annual report to shareholders. A finely produced and elaborate publication, it is notable for the fine photographs by Harold Cazneaux of the “various operations” of the company. Most of the photographs are in a straightforward conservative documentary style, suited to the publication and to its audience, but many also show a strong modernist influence that lifts them well above the purely commercial. The ordinary issue of this piece was in wrappers; this deluxe issue is extremely scarce. [8] CAZNEAUX, Harold. Three illustrated gift booklets. Sydney, Art in Australia, 1928 – 1931. Three pieces, small quarto and quarto, illustrations throughout (most tipped-in); original wrappers, fine. $330 An excellent group of these illustrated gift books largely illustrated by Cazneaux’s photographs. Comprising: i. Sydney Streets. Written by Charles H. Bertie. Small quarto, pp. [24], with woodcut illustration on the title-page by Margaret Preston, and ten tipped-in plates (four photographic studies by Cazneaux, reproductions of etchings, watercolours, and oils by Warner, Goodchild, and Moore); original orange leather-grain card wrappers with flaps, woodcut (by Margaret Preston?) on front wrapper. Sydney, Art in Australia, 1928. ii. Sydney Harbour. Photographs by H. Cazneaux. Small quarto, pp. [16], with five tipped-in plates after Cazneaux; original plum leather-grain card wrappers with flaps, woodcut by Adrian Feint on front wrapper. Sydney, Art in Australia, 1928. Short text by Jean Curlewis. iii. The Sydney Book. Photographs by H. Cazneaux, T. Purcell and Milton Kent. Quarto, pp. [20], with 19 mainly full-page photographic illustrations; original illustrated wrappers. Sydney, Art in Australia, 1931. Short text by Jean Curlewis. Twelve of the images are by Cazneaux, the balance are aerial photographs by Milton Kent and (mainly) T. Purcell.

[9] [DUPAIN AND COTTON] BLAXLAND, Helen. Flower Pieces by Helen Blaxland. Decorations by Elaine Haxton. Sydney, Ure Smith, [1947]. Quarto, p. 64, with photographic illustrations throughout, decorations by Elaine Haxton throughout; very good in the original blue-grey cloth, Elaine Haxton decoration on the front board, decorated end- papers by Haxton, with little edge-worn dustwrapper. $45 An important documentation of Australian interior decoration of the era. The numerous photographs of Helen Blaxland’s flower arrangements are by Olive Cotton and . The photographs are taken in appropriate domestic contexts – one for instance has Dobell’s “Blue Boy” in the background! This is the second edition (first 1946); Blaxland’s “complete” flower pieces was published in 1948, with photographs by Dupain and Athol Smith. A version of Blaxland’s Flower Pieces was also published in Ure Smith’s “Miniature Series” in circa 1949. [10] DUPAIN, Max. Max Dupain Photographs. Introduction by Hal Missingham. Sydney, Ure Smith Pty. Limited, 1948. Quarto, pp. 12 + 26 leaves of plates; internally fine and clean, original contrasting cloth with a few marks, lacking dustwrapper. $1650 Extremely scarce: the edition was LIMITED TO 1000 COPIES, SIGNED BY DUPAIN, but is rare beyond that limitation. The volume comprises reproductions of 51 photographs, Dupain’s self-selected “best work since 1935”, all full-page except for “The Meat Queue” which is double-page. The volume includes the first published version of the now iconic “The Sunbaker”. “The images and text give priority to the Documentary spirit. It was the second only such publication on a photographer as an artist since Kauffmann’s 1919 monograph… The surrealist works and form studies of the mid-1930s were excluded as Dupain had dropped the fashion and advertising work from his studio. The monograph also contained ‘Some Notes about Photography’, one of Dupain’s earliest efforts at sustained critical writing…” (Gael Newton, Shades of Light, Sydney and Canberra, 1988, p. 125). [11] DUPAIN, Max, and John THOMPSON. Soul of a City: the City of Sydney, New South Wales, Australia. Sydney, Ziegler, n.d., circa 1960. Quarto, pp. 80, with photographic illustrations throughout, some in colour; one margin with a mechanical crease, excellent in original boards with dustwrapper. $125 A handsome photobook by the pre-eminent photographer of his generation in Australia and, arguably, the most prolific Australian practitioner of the genre. This substantial and large-format promotional volume was initially produced in about 1950 for the Council of the City of Sydney. The volume was much expanded over the next decade or so, and this version with text by John Thompson, design by J.S. Ostoja, and a preface by the Lord Mayor, Alderman H.F. Jensen (Lord Mayor 1957–1965), is one of those subsequent editions. As often with popular publications by Ziegler, there are no details of publication. [12] DUPAIN, Max. Georgian Architecture in Australia. With some examples of buildings of the post-Georgian period. Sydney, Ure Smith, 1963. Large quarto, pp. 148, with photographic illustrations throughout; original boards with dustwrapper. $110 First edition: photography by Max Dupain, architectural commentary and notes by Morton Herman, social histories of New South Wales and Tasmania by Marjorie Barnard and Daniel Thomas.

[13] [DUPAIN] SEIDLER, Harry. Australia Square. Text prepared by the architect Harry Seidler. Photographs by Max Dupain. Book designed by Harry Williamson. Sydney, Horwitz Publications, 1969. Oblong quarto, pp. 48, photographic illustrations throughout (some coloured); light general wear, very good in original light card wrappers. $110 First edition: a promotional or corporate relations publication produced for the developers of the Australia Square complex, Sydney, with Dupain’s fine atmospheric architectural photographs.

[14] DUPAIN, Max. Francis Greenway: a celebration. Sydney, Cassell Australia, 1980. Folio, pp. 136, photographic illustrations throughout; near fine in original cloth with like dustwrapper, double-page photographic endpapers (bookplate on front endpaper). $110 First edition: a fine photo-essay complementing Dupain’s Old Colonial Buildings of Australia, published in the same year. Introduction by J.M. Freeland.

[15] [DUPAIN] NEWTON, Gael. Max Dupain. Sydney, David Ell Press, 1980. Quarto, pp. 124, numerous full-page photographic plates; original wrappers. $275 First edition: SIGNED BY THE PHOTOGRAPHER in 1985 (and rare thus). Monograph associated with the A.G.N.S.W. exhibition “Max Dupain Photographs 1928-80”. [16] DUPAIN, Max. Old Colonial Buildings of Australia. Sydney, Methuen Australia, 1980. Large quarto, pp. 176, with photographic illustrations throughout (many in colour); near fine in original boards with like dustwrapper. $110 First edition: a fine photo-essay complementing Dupain’s Francis Greenway: a celebration, published in the same year. Introduction by J.M. Freeland.

[17] [DUPAIN] FALKINER, Suzanne. Leslie Wilkinson: a practical idealist. Sydney, Valadon Publishing, 1982. Folio, pp. 128 + eight leaves of coloured plates, illustrations (mainly photographic) throughout; original boards with dustwrapper. $95 First edition: monograph on Sydney architect Leslie Wilkinson. Photographs by Max Dupain throughout.

[18] DUPAIN, Max. Max Dupain’s Australia. Melbourne, Viking, 1986. Large quarto, pp. 224, with photographic illustrations throughout; near fine in the original boards with edge-creased dustwrapper. $75 First edition: an extensive photo-essay.

[19] [DUPAIN] WHITE, Jill (editor). Dupain’s Sydney [with] Dupain’s Beaches [with] Dupain’s Australians. Sydney, Chapter & Verse, 1999 – 2003. Three volumes, quarto, very numerous photographic illustrations throughout; fine in original boards with like dustwrappers. $275 First editions: series of volumes based on Dupain’s archive of his work entrusted by him to his long-standing personal studio assistant Jill White in 1994. The second and third volumes are inscribed and signed by White. [20] FLATTELY, Stan (compiled by). The Australian Snow Pictorial. Melbourne, Georgian House, 1952. Large quarto, pp. 96, with duotone photographic illustrations throughout; the endpapers a little offset from the boards, near fine in original cloth with little edge-worn dustwrapper. $95 First edition and scarce: compiled for the Ski Club of Victoria by Stan Flattely, who was editor of the club’s journal Schuss. Apart from a small number of photographs supplied by departments of the Victorian, New South Wales, and Tasmanian governments, the photographs in the book were supplied by members of the club. Among the more prominent contributors were E.G. Adamson, H.S. Gibbs, L.J. Clarke, and F. Smithies.

[21] HENSON, Bill. Photographs. Sydney, Picador, 1988. Folio, colour and duotone photographic illustrations (a number folding); fine in original cloth with like dustwrapper. $440 First edition: with a brief introduction by novelist David Malouf. This was the first major monograph on Henson’s work.

[22] HENSON, Bill. Mnemosyne Zurich, etc. Scalo and Art Gallery of New South Wales, 2005. Large quarto, pp. 504, with very numerous photographic illustrations (mainly in colour); fine in original boards with dustwrapper. $660 Very scarce. First edition: published to coincide with the A.G.N.S.W. retrospective. Includes an exhibition checklist, exhibition history, and bibliography. Texts by Judy Annear, Jennie Boddington, , Dennis Cooper, Peter Craven, Isobel Crombie, John Forbes, Michael Heyward, Alwynne Mackie, David Malouf, Bernice Murphy, and Peter Schjeldahl, and an interview with by Sebastian Smee. [23] HOPPÉ, Emil Otto. The Fifth Continent. London, Simpkin Marshall Ltd, [1931]. Quarto, pp. xxxii, 160 (comprising 160 full-page plates); very good in original bright orange linen, lettered and decorated in blue and grey, lacking the (rare) dustwrapper. $110 First English edition. Emil Otto Hoppé was born in 1878 in Munich, Germany. Educated in Paris and Vienna, he moved to England in 1900, where he initially worked for the Lombard Bank. Hoppé taught himself photography and joined the Royal Photographic Society in 1903 and began work as a professional photographer in 1907, with a studio in London. He was a founding member of the London Salon of Photography. Hoppé’s portraits were in great demand. He also worked as a fashion photographer and travelled extensively, producing a series of photobooks of places visited that were published in both German and English. He published several photobooks in the 1920s and 1930s, notably in the German ‘Orbis Terrarum’ series with subsequent English editions: German Industry (Deutsche Arbeit), Romantic America (Das Romantische Amerika), and The Fifth Continent (Der fünfte Kontinent), for example. “Publication of The Fifth Continent made E.O. Hoppé the first foreign photographer to produce a photo-book on the entire nation of Australia. While many hundreds of photographers had made hundreds of thousands of images of different places and had photographed notable journeys, including the rugged transcontinental trips by pioneer motorist Francis Bibles before World War 1, in 1931 no local photographer had published an equivalent, all encompassing work… The work remained unrivalled as a standard pictorial reference on Australia nationally and internationally, until the 1950s when overtaken by the post- war Australians books of Frank Hurley” (Gael Newton). [24] [KAUFFMANN] BEER, Leslie H. The Art of John Kauffmann. Twenty Illustrations in half-tone, with Biography and Essay by Leslie H. Beer. Melbourne, Alexander McCubbin, 1919. Folio, pp. 62 + 20 tipped-in half-tone plates; very good in the original thin plain boards with attached dustwrapper that is a little worn at the extremities. $770 Extremely scarce: THE FIRST MONOGRAPH ON AN AUSTRALIAN PHOTOGRAPHER as an artist and one of the earliest Australian photobooks. Published in an edition limited to 500 numbered copies, signed by the photographer, the collection celebrated the work of the pioneering Australian photo-impressionist. [25] LE GUAY, Laurence (editor). Contemporary Photography. Volume 1, no. 1 – Volume 2, no. 9 [all published]. Sydney, November-December 1946 – June-July 1950. Twenty-one issues, small quarto, each approximately 72 pages, extensively illustrated throughout; a fine complete set bound with the colour photographic wrappers in contemporary binder’s cloth. $1650 Very scarce: a complete run of this important photographic magazine, a seminal forum for the dissemination of photographic modernism and the documentary movement. Issued as an alternative to the largely hobbyist and predominantly Pictorialist Australasian Photographic Review, Le Guay’s journal featured the work of photographers who were inclined to modernism, the developing documentary movement, and ‘persuasive’ photography in advertising, fashion and other commercial applications. Among the photographers featured throughout the journal’s life were Casneaux (who also played a prominent editorial role), Dupain, Parer, Hurley, Lyons, Ainslie Roberts, David Moore, David Potts, Le Guay, , Athol Shmith, John Hearder, and Dr. Julian Smith.

[26] LUCKE-MEYER, W.L. and Basil BURDETT. Melbourne by Night Photographed by W.L. Lucke-Meyer. Sydney, Art in Australia, n.d. but 1934. Quarto, pp. [32], photographic illustrations throughout; original wrappers, a patch rubbed, one shallow horizontal fold and other signs of use but a very good copy. $440 Very scarce early Australian photobook. One of the earliest photographic ‘noctambulations’, Lucke-Meyer’s photobook was almost certainly inspired by Paul Morand’s Paris de Nuit of the previous year, although it lacks the grittiness, the modernism, and the human elements of Morand’s work. A comparison with Bill Brandt’s A Night in London (1938) might also be suggested, but with the same reservations. Lucke-Meyer’s photobook with poet Basil Burdett’s Melbourne nocturne, is perhaps better thought of as a late flowering of Pictorialism, depicting a city of shadows and empty streets – beautiful, mysterious and sinister. [27] MOORE, David. Sydney Harbour. Text by Rodney Hall Sydney, Chapter & Verse in association with State Library of New South Wales Press, 1993. Quarto, photographic illustrations (mostly in colour); fine in original boards with dustwrapper. $65 First edition: presentation copy inscribed by the photographer to television performer Bert Newton.

[28] MOUNTFORD, Charles Pearcy. Australian Aboriginal Portraits. Melbourne, Melbourne University Press, 1967. Quarto, pp. [vi], 89 + 39 full-page plates; fine in original leather-backed canvas boards, without dustwrapper as issued. $185 EDITION LIMITED TO 200 NUMBERED AND SIGNED COPIES. Mountford, well-known as an anthropologist was also a photographer and motion picture cinematographer of distinction.

[29] MURRAY, Alec. Alec Murray’s Album: Personalities of Australia. Introduction by Tatlock Miller. Playground for Sophisticates by David McNicoll. And commentay by Gwen Morton Spencer. Sydney, Ure Smith, [1949]. Quarto, pp. 84, [85] – 100 (advertisements), with photographic illustrations throughout, many full-page; fine in original cloth with very good little edge-worn silver and red dustwrapper. $165 Scarce with dustwrapper. Murray was a leading and sought-after society and fashion photographer of the day. The surreal mood of his dramatically posed and lit photographic portraits found favour with critics such as the perceptive and well-regarded Tatlock Miller. Murray later established himself in England as a prominent fashion photographer. [30] NEWTON, Helmut. White Women. New York, Stonehill Publishing Company, 1976. Quarto, pp. 122, [4] (blank), with photographic illustrations throughout, many full-page, many in colour; fine in original cloth with near fine priced dustwrapper (“$22.50 pre- Christmas / $25.00 thereafter”). $275 First edition: NEWTON FIRST PHOTOBOOK, designed by Bea Feitler and with an introduction by Phillipe Garner. Published a little over a decade after he relocated from Melbourne to Paris. This legendary first work, with its aesthetic superiority, technical brilliance, and flashes of what would become Newton’s often confronting trademark bourgeois decadence, was an immediate success across several continents and cultures. His work centres on facets of the world of glamour and stardom, masquerade and show, and the commodification of beauty and the erotic. It was pre-eminently these aspects of modern mass-media culture that he confronted and subtly subverted, without neglecting the inherent beauty and integrity of his subjects.

[31] NEWTON, Helmut. Sleepless Nights. New York, Congreve, 1978. Small quarto, pp. 122, [4] (blank), with full-page photographic illustrations throughout, a number in colour; fine in original cloth with like dustwrapper. $95 First edition (stated): Newton’s second photobook. Predominantly a playful book, yet in a number of instances here Newton explores the fetishistic more explicitly than before. [32] NEWTON, Helmut. Big Nudes. New York, Xavier Moreau Inc., 1982. Quarto, pp. [80], with duotone photographic illustrations throughout, many full-page; fine in original cloth with like dustwrapper. $220 Scarce first edition (stated) of Newton’s third collection and his first nude photobook: earlier books had worked almost exclusively with clothed or at most semi-nude models. Introduction by Karl Lagerfield. One of the most attractively produced of Helmut Newton’s oeuvre. With White Women (1976) and Sleepless Nights (1978), it defined his style and confirmed his reputation. These first three photobooks remain Newton’s most important individual collections. Like many of Newton’s photobooks, this was published more or less simultaneously in France, USA, UK, and Germany; in this case the French edition was published in 1981, the others in 1982.

[33] ORGANIZING COMMITTEE OF THE XVI OLYMPIAD. The Official Report of the Organizing Committee For the Games of the XVI Olympiad, Melbourne 1956. Melbourne, W.M. Houston, Government Printer, 1958. Quarto, pp. 760, extensive photographic illustration; fine in original gilt-decorated leather-grain green cloth with like dustwrapper. $330 First edition: an important work in its own right, this substantial volume is profusely illustrated with the best work of Australian sporting photographers.

[34] OLYMPIC GAMES, Melbourne 1956. A collection of photobooks and related photographically illustrated books. Various places, various publishers, 1956 – 1958. The collection $165 Comprising: A. Official Publications. INVITATION COMMITTEE. Melbourne’s Olympic Games Invitation. Quarto, pp. [2] (blank), 44, [2] (blank), with illustrations throughout; original light blue cloth with gilt onlay. Melbourne, G.W. Green & Sons [for the Invitation Committee for the Olympic Games], 1956. Scarce: a finely illustrated large-format book, being the official invitation to delegates of the International Olympic Committee to celebrate the Games of the XVI Olympiad in Melbourne. In a back endpocket is a souvenir guide to Melbourne (Melbourne: A City of unrivalled loveliness) and a folding illustrated railway guide to Melbourne and suburbs. Loosely inserted is a compliments slip, printed in gold and black; also loosely inserted is a 32-page octavo brochure providing a complete translation into French of the text of the invitation. B. Souvenirs produced by industry and governments to welcome foreign visitors. i. The Olympic Games Melbourne 1956. Quarto, colour and black and white illustrations; original cloth with dustwrapper and the scarce publisher’s mailing box. Melbourne, Colorgravure, 1956. ii. Land of the Southern Cross: Australia. Quarto, colour and black and white illustrations; fine in original cloth with otherwise fine dustwrapper that has a short sealed tear bottom corner of the blank panel, and the scarce publisher’s mailing box. Melbourne, Australian Publicity Council, 1956. Includes photographic illustrations by Adamson, Dupain, and others. iii. [COMMONWEALTH OF AUSTRALIA] AUSTRALIAN NEWS AND INFORMATION BUREAU. Australia. Your Host [wrapper title]. Large quarto, photographic illustrations throughout; signs of light use, near fine in original card titling-wrappers. Melbourne, Herald Gravure Printers, [1956].

[35] [PHILLIPS, Harry.] Sydney Harbour Bridge [wrapper title]. Colophon: [Sydney], H. Phillips Photographer, Printer & Publisher, 99 Victoria Avenue, Willoughby, N.S.W., n.d. but circa 1931. Oblong quarto, pp. [40] (most photographic illustrations); good in original wrappers. $125 This appears to be the first of at least two editions, this published prior to the completion of the bridge. Included is a quite extensive description of the bridge, some quite technical; there is also a brief piece reprinting part of a paper by Bradfield. Harry Phillips was a prolific photographer-publisher of tourist souvenir pieces (see ANB) . ANB, 34574.

[36] POIGNANT, Axel. Piccaninny Walkabout: A Story of Two Aboriginal Children. Sydney, etc., Angus and Robertson, 1957. Quarto, pp. pp. xiv, 50, with photographic illustrations throughout (many full-page); about fine in the original boards with like price-clipped dustwrapper. $275 First edition: a book with enormous (parental) popularity, selling over 100,000 copies, and the most influential and positive depiction of the Aboriginal people up to that time. It was awarded Best Picture Book of the Year 1957-8. Poignant’s depiction of Aboriginal children in their natural environment of Arnhem Land was planned as a narrative photobook, somewhat an inversion of the popular Colonial tale of children ‘lost in the bush’. This photobook – ONE OF THE FEW REAL AUSTRALIAN PHOTOBOOKS of the century – owes much of its content and attitude to the influence of Poignant’s Aboriginal assistant and adviser, Raiwalla. In a letter from the field to assistant and future wife Roslyn Izett, Poignant wrote that “I started to tell him the story, got just a little bit past the beginning, and he took it up and told us the most terrific authentic tale you could imagine. It has quite changed the whole attitude to the job. It has suddenly become an epic story, far far better than any we could do. Raiwalla has taken charge, organizing details of props (goannas, wallabies, weapons, etc., including making special pubic coverings as used in the bush)” (quoted Ann Stephen, op.cit.) As Stephen remarks: “No European presence appears in the photographs… Raiwalla was keen to represent the values of his culture to a wider audience without showing the effects of colonisation”. See further Ann Stephen “Largely A Family Affair”, in Judith O’Callaghan (editor) The Australian Dream: Design of the Fifties, Sydney, Powerhouse, 1993, p.54-7. [37] SMITH, Geoffrey. Australian Nudes. Melbourne, Sun Books, 1973. Large quarto, pp. 104 (almost all duotone photographic illustration); about fine in the original laminated card wrappers. $180 Only edition: scarce. Although issued as a normal trade publication, the book appears to have had a very restricted circulation. Unlike the other titles in the Sun Academy series, this is a book rarely seen on the market: it is even possible that the publisher withdrew it from sale, being then already embroiled in censorship crisis over its publication of two ‘Barry McKenzie’ books by Barry Humphries. In recent years a small cache was uncovered and these copies have largely made their way into about a dozen institutional libraries in Australia.

[38] ZIEGLER, Oswald L. (editor). Australian Photography 1947. Sydney, Ziegler Gotham Publications, [1947]. Quarto, pp. 200, with 160 pages of photographic illustration (pp. 179 – 191 in colour); an excellent copy in the original cloth with uncommon dustwrapper (lacking front flap otherwise very good). $125 First edition: scarce with dustwrapper. An important, if uneven, collection, Ziegler published this “as the first of a planned annual series covering the best of Australian photography. It was a substantial book with pages of quality illustrations drawn from the works submitted for the accompanying exhibition [the Australian Photography Salon of 1947]. It was in the tradition of both the old Pictorial salon catalogues and the newer annuals such as US Camera Annual. Pictorial work was included as well as technical categories but the book validated the importance of the documentary photographers and professional illustrators. Cazneaux thought the book a wasted and spoilt opportunity by its support for what seemed soulless or ugly modern photography. The Documentary followers no doubt felt the amateur Pictorial work was trite and sentimental. The photographers in [the book] with a social bent included David Moore… and painter John D. Moore…” (Gael Newton, Shades of Light, p. 126). [39] ZIEGLER, Oswald L. (editor). Australian Photography 1957. Sydney, Oswald Ziegler Publications, [1957]. Quarto, pp. 134, [10] (advertisements, some coloured); photographic illustrations throughout; a fine copy in the original card wrappers. $110 First edition: the second and last of Zeigler’s elaborate publications marking Australian photographic salons. His first, of 1947, was effectively the only one to be based on the annual Australian Photography Salon. The present volume had its foundation in the important 1957 Melbourne International Exhibition of Photography, with additional works selected from those submitted by various photographic clubs and societies throughout Australia. The selection committee comprised Laurence Le Guay, Val Waller, and Reg Walker. Among those represented are Max Dupain, Olegas Truchanas, Dacre Stubbs, Athol Smith, Axel Poignant, Jennifer Humphreys, Henry Talbot, and an Albert Namatjira portrait by Laurence Le Guay. This copy is in uncommonly good condition for a book almost always otherwise. Books are offered subject to prior sale at the nett prices in Australian dollars. All prices include Australian Federal Government Goods and Services Tax. Freight and insurance are extra and will be added to your invoice. Overseas customers will be invoiced in Australian dollars and are requested to remit payment in Australian dollars only. Books will be sent by airmail. Orders may be left at any time on our 24-hour answer phone (03) 9853 8408 (International +613 9853 8408) or by email – [email protected] or [email protected] or by mail to PO Box 325 KEW VICTORIA 3101 AUSTRALIA We accept Mastercard and Visa. Please advise card number, ccv number, expiry date, and name as it appears on your card. Payment is due on receipt of books. Customers not known to us may be sent a pro forma invoice. Any item may be returned within five days of receipt if we are notified immediately. Normal trade courtesies are observed where a reciprocal arrangement exists. Front cover and above: No. 25. A complete set of the important journal, Contemporary Photography, edited by Laurence Le Guay

Printed, typeset and bound in Australia for New Century Antiquarian Books. Copyright © Jonathan Wantrup 2013. All rights reserved. No part of this publication my be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, or otherwise, without the prior permission of New Century Antiquarian Books.