Search Results: Authors starting with H from Douglas Stewart Fine Books

Fitchburg, Massachusetts : Universal Grinding Machine Company, 1919. Quarto, pictorial card covers (front detached), front with printed label 'H.P. Gregory & Co., Ltd., 74 Clarence St., Sydney, N.S.W.' and ownership inscription of H.W. Hollus, Instructor in Charge, Technical College, Hobart, Tasmania, 20 pp, illustrated. 

Also a partial record of their actions during ten days of their existence. By their latest victim. (Abridged). Cover title: Helen's Babies. By their latest victim. Melbourne : ""Review of Reviews"" Office, [c.1900]. Series: The Masterpiece Library. Popular 2d. Novels Series, vol. viii, no. 31. ""Australasian edition"". Octavo (190 x 130 mm), original pictorial wrappers, pp 60, [2], includes advertisements for Melbourne businesses; a fine copy. The American writer John Habberton (1842-1921) was not acknowledged as the author of the popular children's book Helen's babies until 1903, even though the story had first been published in Boston in 1876. The present edition is an abridged version, published in Melbourne around 1900 in a cheap, fragile format. This copy is therefore a rare survivor. The only example of this edition recorded in Australian collections is held in the National Library of Australia. An unabridged version was published in Melbourne by George Robertson in 1877 (State Library of… Read More

Printed card box in the form of a giant matchbox, 160mm x 230 mm x 45 mm, containing 19 handmade zines by the two artists created in 2017 and 2018. Created in an edition of 5 boxed sets hand lettered title card. This is set number 4, all the editioned zines are also edition number 4. All the zines are initalled in pen by the artists. The zines include :

[Melbourne] : the artists, 2016-17. Artist's book, consisting of title card, six cards of text, 8 original nineteenth century cartes de visite with individual collages, paint and pencil additions by Gracia Haby, 8 accompanying original pencil drawings on card by Louise Jennison which follow the photographs, colophon sheet with artists' initials, all housed in a custom fabric box with collage screenprint. Unique edition of one copy. In this unique artwork, the collaborative pair of Melbourne artists Gracia & Louise adorn discarded cartes de visite from another century with a wild assembly of creatures, while dressing the sepia figures in colourful costumes from the Ballets Russes. With accompanying delicate pencil drawings returning the animals and birds to their natural world, the artists create a work of incongruous whimsy, when photograph and drawing are placed side by side they form a duo of surreal realism. 'We are besotted with paper for its adaptable, foldable, cut-able, concealable, revealing… Read More

1. I think all the world is falling. [Melbourne] : the artists, 2017. Artist’s book, 8 pages concertina digital print, printed covers on gold-trimmed board, in a card slipcase with lettering. Printed in an edition of 6 copies. 2. No longer six feet under. [Melbourne] : the artists, 2017. Artist's book, 8 pages concertina digital print, printed covers on gold-trimmed board, in a card slipcase with lettering. Printed in an edition of 6 copies. 3. Disrupted and rumpled. [Melbourne] : the artists, 2017. Artist's book, 8 pages concertina digital print, printed covers on gold-trimmed board, in a card slipcase with lettering. Printed in an edition of 6 copies. 4. Dim wood, spark bright. [Melbourne] : the artists, 2017. Artist's book, 8 pages concertina digital print, printed covers on gold-trimmed board, in a card slipcase with lettering. Printed in an edition of 6 copies. 5. A warmed pebble in my hand. [Melbourne] : the artists, 2017. Artist's book, 8 pages concertina digital print, printed… Read More

Wooden display box with sliding perspex lid, 325 x 425 x  42mm, containing 24 handmade zines by the two artists created in 2015 and 2016. Created in an edition of 5 boxed sets with hand lettered title card. This is set number 5. All the zines are initalled in pen by the artists. ‘We are besotted with paper for its adaptable, foldable, cut-able, concealable, revealing nature. In our artists’ books, prints, zines, drawings, and collages, we use an armoury of play, humour, and perhaps the poetic too, with intent to lure you closer. The animal is oft present and easily detectable, the centre of our paper stage. Hard to miss, over here and over there, the animal runs up hills, scales rooftops, and sometimes appears to take flight. Gliding through a scene it is too large to be contained within or perhaps too manmade to call home, that it has a tail or feathers or furred muzzle is not solely why its form appears. For us, the animal is there to question our very behaviour, those moral principles one… Read More

[Melbourne] : the artists, 2007. Artist’s book, 110 mm tall, consisting of 22 page concertina offset lithograph by Gracia Haby, bound by Louise Jennison, initalled by Haby. Printed in an edition of 10 copies, this is the single Artist's Proof. Exhibited as part of A trapdoor in every room (2007), and later as part of the 2008 Libris Awards: Australian Artists' Book Prize, Artspace Mackay, Queensland. Editions of this book are in the collections of Artspace Mackay, Bibliotheca Librorum Apud Artificem, the State Library of Victoria, Melbourne University Library, Monash University Library, and the National Gallery of Australia (formally as part of the Ergas Collection). ‘We are besotted with paper for its adaptable, foldable, cut-able, concealable, revealing nature. In our artists’ books, prints, zines, drawings, and collages, we use an armoury of play, humour, and perhaps the poetic too, with intent to lure you closer. The animal is oft present and easily detectable, the centre of our paper… Read More

[Melbourne] : the artists, 2016. Artist’s book, consisting of title sheet, contents sheet, 10 cards each printed with an original woodblock and collage sourced from Edwardian postcards, all housed in a custom linen solander box with collage and woodblock inlays. Created in an edition of 10 copies, each unique with a different assortment of collages. ""Because I Like You is based on the concept of a love letter to ten mammals. Each of the edition is housed in a black fabric Solander box with inlaid windows featuring one of the ten mammals enclosed. Each page has one mammal lemonwood block print portraitand one mirrored original collage of the portrayed mammal. The mammals featured range from a Greater bilby (Macrotis lagotis) to a Sea otter (Enhydra lutris) by way of a Royal antelope (Neotragus pygmaeus) and a gruff Polar bear (Ursus maritimus). This artists' book has been over a year in the making, based on a back and forth notion we have been toying with more and more (a collage in response to a… Read More

London : Royal Anthropological Institute of Great Britain and Ireland, [1920?]. Small quarto (270 x 190 mm), original printed green wrappers (edges and spine sunned, manuscript title to spine and discrete annotation to front wrapper), 44 pp, with 4 maps (one folding); a very good copy; from The Papuan Collection of Charles Fletcher (Melbourne), his bookplate to the inside of the front wrapper. Scarce. Distinguished Cambridge anthropologist Alfred Cort Haddon (1855-1940) carried out important fieldwork in the Torres Strait and New Guinea and is famed for his contributions to the study of the indigenous cultures of these regions.

London : Walter Scott, Ltd., 1895. The Contemporary Science Series, edited by Havelock Ellis. First edition. Octavo (185 mm), publisher's blind-blocked maroon cloth over boards lettered in gilt (lightly rubbed), spine titled in gilt (softened at the ends and with a couple of small marks); pp [4 publisher's ads.], xviii, [2], 364, [14 ads.]; illustrated with 130 text figures and 8 plates; very occasional spotting, but a good copy; from The Papuan Collection of Charles Fletcher (Melbourne), his bookplate to the front free-endpaper. Distinguished Cambridge anthropologist Alfred Cort Haddon (1855-1940) carried out important fieldwork in the Torres Strait and New Guinea and is famed for his contributions to the study of the indigenous cultures of these regions. In Evolution in art - an ambitious and fascinating work, similar in scope to archaeologist Flinders Petrie's Decorative patterns of the ancient world (1930), which it very possibly inspired - Haddon sets out to trace the origins of motifs and… Read More

Manuscript in ink on card, 110 x 90 mm; verso with some paper adhesions from where the piece was once mounted in an album. H. Rider Haggard (1856-1925), English writer of adventure fiction, was the author of King Solomon's Mines (1885) and She (1887), among many other popular works. Provenance: Autograph album compiled by Jane Emma Murphy (Balcombe) (1854–1924), ""The Briars,"" Mornington, Victoria (Australia); à Beckett family, Melbourne (by descent).

London, Paris, New York and Melbourne : Cassell & Company, Limited, 1898. Octavo (220 x 150 mm), publisher's buff-coloured wrappers with titles and illustration in blue to upper wrapper, lower wrapper with publisher's advertisement (wrappers with light staining and foxing, some paper loss at foot of spine); pp. 128, with five in-text illustrations by Walter Paget; printed on cheap paper which has toned, scattered foxing, but mostly confined to the first half of the text, otherwise internally good. A scarce example of Cassell's sixpenny edition of Rider Haggard's classic adventure story, the first of the Allan Quartermain novels.

London, New York and Bombay : Longmans, Green & Co., [1891]. Octavo (215 x 150 mm), publisher's red wrappers with titles and illustration in black to upper wrapper, lower wrapper with advertisement for Van Houten's cocoa (wrappers a little darkened, spine rolled and with some paper loss at the ends); frontispiece portrait of the author's young son, Arthur John (""Jock"") Rider Haggard, who died in February 1891 and to whom the book is dedicated, pp. vii, [3], 182, text in double columns; corners a little dog-eared, otherwise internally very good. A cheap sixpenny edition of the second of the Allan Quartermain novels, first published in 1887. Poignant is the frontispiece portrait of Haggard's recently deceased son, Jock, who died of measles at the age of ten, on 8 February 1891: on the page facing is Haggard's original 1887 dedication of the novel to Jock, expressing the wish that he should aspire to attain, like Allan Quartermain and Sir Henry Curtis, ""the state and dignity of English gentlemen"".

translated from the German of S. Hahnemann, By Charles H. Devrient, Esq. with Notes by Samuel Stratton, M.D. Dublin : W. F. Wakeman, 9, D'Olier-St. / London : Simpkin & Marshall & R. Groombridge / Edinburgh : Maclachlan & Stewart, 1833. First edition in English. Octavo (220 x 140 mm), contemporary half calf over marbled papered boards (heavily rubbed and with some light staining, corner pieces worn), spine in gilt-ruled compartments (leather scuffed) with contrasting leather title-piece stamped in gilt (fine) and old shelf label in manuscript at head of spine (partial loss), front pastedown with original ownership signature of Charles Cummins, pp xxv, [1 errata], 332; numerous pages with Cummins' underlinings and marginalia; scattered foxing, binding firm; a good, all-original copy, whose first owner appears likely to have been a physician or chemist. German physician Samuel Hahnemann (1755-1843) is acknowledged as the creator of the pseudoscientific system of alternative medicine known as… Read More

[Melbourne] : Rednaxela Library, 1920. Octavo, illustrated papered boards (spine rubbed), pp. 215, illustrations by Elsie Barlow, inscribed 'With the author's compliments'. The author and publisher's names are fictitious, Rednaxela  being the true author's name spelled in reverse. An obscure piece of Melbourne literature. illustrated by Elsie Barlow. 'Elsie Frederica Barlow (1876 – 15 November 1948), was an Australian painter and printmaker. She was a founding member of Twenty Melbourne Painters. She was also the first woman to have a solo exhibition in Castlemaine, Victoria.' - Wikipedia

Founded in 1850 by the Ven. Archdeacon Hale, a Missionary of S.P.G. / by the Right Rev. Bishop Hale. Published under the direction of the Tract Committee. London : Society for Promoting Christian Knowledge, [1889]. Small octavo (180 x 125 mm), original pictorial green cloth over boards (rubbed, corners bumped), upper board lettered in gilt and black and with vignette portrait of a young Aboriginal boy in black, spine lettered in gilt (softened at ends); patterned endpapers (light foxing), wood-engraved frontispiece 'Natives educated at Poonindie, 1858' (probably after two daguerreotypes), pp 101, [6] (publisher's advertisements); the frontispiece and title leaf starting to separate from the binding at the bottom (as in other copies) but still attached at the top, occasional very light foxing, otherwise contents sound and clean. Ferguson, 10159.

Digital print on Epson archival matte paper, format Super A3 480 x 330 mm, scanned from the original negative, signed and captioned in lower margin by the photographer, Geoffrey Hales. An intimate portrait of the Australian Ballet's Karl Welander, taken in his dressing room at the Princess Theatre, Melbourne, in October 1968. Melbourne-born Geoffrey Hales is a musician, composer, artist and photographer who worked with the Australian Ballet in 1967-68. An archive of digital prints of Geoffrey Hales' photographs taken during this period - a period many regard as a golden age of Australian ballet - are held in the collection of the Arts Centre Melbourne, Performing Arts Collection. His work from this period also featured in the Arts Centre Melbourne and Australian Ballet's touring exhibition Time in Motion : 50 years of the Australian Ballet, which was exhibited at the State Library of New South Wales, 10 Nov 2012 – 10 Feb 2013 (see:… Read More

Digital print on Epson archival matte paper, format Super A3 480 x 330 mm, scanned from the original negative, signed and captioned in lower margin by the photographer, Geoffrey Hales. Melbourne-born Geoffrey Hales is a musician, composer, artist and photographer who worked with the Australian Ballet in 1967-68. An archive of digital prints of Geoffrey Hales' photographs taken during this period - a period many regard as a golden age of Australian ballet - are held in the collection of the Arts Centre Melbourne, Performing Arts Collection. His work from this period also featured in the Arts Centre Melbourne and Australian Ballet's touring exhibition Time in Motion : 50 years of the Australian Ballet, which was exhibited at the State Library of New South Wales, 10 Nov 2012 – 10 Feb 2013 (see: http://www.sl.nsw.gov.au/events/exhibitions/2012/timeinmotion/items/image04.html ).

Digital print on Epson archival matte paper, format Super A3 330 x 480 mm, scanned from the original negative, signed and captioned in lower margin by the photographer, Geoffrey Hales. A stunning shot of the Australian Ballet's Kelvin Coe in the landmark Australian work, Sun Music. 'Robert Helpmann's Sun Music premiered in Sydney on 2 August 1968 at Her Majesty's Theatre. With a score by Peter Sculthorpe and designs by Kenneth Rowell, the work was danced by artists of the Australian Ballet led by Karl Welander, Kelvin Coe and Josephine Jason'. (National Library of Australia, NLAdance). Melbourne-born Geoffrey Hales is a musician, composer, artist and photographer who worked with the Australian Ballet in 1967-68. An archive of digital prints of Geoffrey Hales' photographs taken during this period - a period many regard as a golden age of Australian ballet - are held in the collection of the Arts Centre Melbourne, Performing Arts Collection. His work from this period also featured in the Arts Centre… Read More

Digital print on Epson archival matte paper, format Super A3 480 x 330 mm, scanned from the original print, signed and captioned in lower margin by the photographer, Geoffrey Hales. When Hollywood came to Frankston ... This rhythmic shot records a scene from one of the most celebrated events in the folklore of post-war Melbourne, the location shoot on Frankston Beach for the Hollywood film On the Beach. The photograph was taken on a swelteringly hot day in January, 1959, by 10 year old Geoffrey Hales. Hales' family neighbour, renowned photographer Gordon DeLisle, had presented him with a Box Brownie camera that morning. DeLisle was employed as the stills photographer for On the Beach, and took the aspiring young photographer with him to Frankston Beach in the afternoon to watch the filming. In the foreground of the shot is the film's director, Stanley Kramer; Anthony Perkins is seated at upper right; and in the foreground at lower right, partially obscured under the umbrella, is the Australian… Read More