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late spring2013

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

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

[3] CATO, Jack.The Story of the Camera in Australia. 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 chocolatemorocco, dark red topstain, with like dustwrapper. $385RARE: THE DELUXE ISSUE OF THE FIRST EDITION, limited to 100 numbered andsigned copies. This specially-bound, numbered and signed deluxe issue is rarebeyond its limitation.The Georgian House catalogue for 1960 notes that “A few copies available in fullleather 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 thetitle; near fine in the original wrappers with overlapping edges, woodcutby Margaret Preston on the front wrapper. $55First 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. $125Foreword by Leon Gellert.

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

[7] [CAZNEAUX] BROKEN HILL PROPRIETARYCOMPANY 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 limpchocolate morocco, the front board lettered in embossed vivid red, alledges gilt. $185THE DELUXE PRESENTATION ISSUE of the Jubilee Number of the B.H.P.Review, or annual report to shareholders. A finely produced and elaboratepublication, it is notable for the fine photographs by Harold Cazneaux of the“various operations” of the company. Most of the photographs are in astraightforward conservative documentary style, suited to the publication andto its audience, but many also show a strong modernist influence that liftsthem well above the purely commercial. The ordinary issue of this piece wasin 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, illustrationsthroughout (most tipped-in); original wrappers, fine. $330An excellent group of these illustrated gift books largely illustratedby 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 wrapperswith 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 plumleather-grain card wrappers with flaps, woodcut by Adrian Feint onfront wrapper. Sydney, Art in Australia, 1928. Short text by JeanCurlewis.iii. The Sydney Book. Photographs by H. Cazneaux, T. Purcelland Milton Kent. Quarto, pp. [20], with 19 mainly full-pagephotographic illustrations; original illustrated wrappers. Sydney, Artin Australia, 1931. Short text by Jean Curlewis. Twelve of the imagesare by Cazneaux, the balance are aerial photographs by Milton Kentand (mainly) T. Purcell.

[9] [DUPAIN AND COTTON] BLAXLAND, Helen.Flower Pieces by Helen Blaxland. Decorations by ElaineHaxton. Sydney, Ure Smith, [1947]. Quarto, p. 64, withphotographic illustrations throughout, decorations by ElaineHaxton 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. $45An important documentation of Australian interior decoration of theera. The numerous photographs of Helen Blaxland’s flower

arrangements are by Olive Cotton and Max Dupain. The photographs are taken in appropriate domestic contexts – one for instance has Dobell’s “Blue Boy” inthe background! This is the second edition (first 1946); Blaxland’s “complete” flower pieces was published in 1948, with photographs by Dupain and AtholSmith. 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 ofplates; internally fine and clean,original contrasting cloth with a fewmarks, lacking dustwrapper. $1650Extremely scarce: the edition wasLIMITED TO 1000 COPIES, SIGNED BYDUPAIN, but is rare beyond thatlimitation. The volume comprisesreproductions of 51 photographs,Dupain’s self-selected “best work since1935”, all full-page except for “TheMeat Queue” which is double-page.The volume includes the first publishedversion of the now iconic “TheSunbaker”.“The images and text give priority tothe Documentary spirit. It was thesecond only such publication on aphotographer as an artist sinceKauffmann’s 1919 monograph… Thesurrealist works and form studies of themid-1930s were excluded as Dupainhad dropped the fashion and advertisingwork from his studio. The monographalso contained ‘Some Notes aboutPhotography’, one of Dupain’s earliestefforts at sustained critical writing…”(Gael Newton, Shades of Light, Sydneyand 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 photographicillustrations throughout, some in colour; one margin with a mechanicalcrease, excellent in original boards with dustwrapper. $125A handsome photobook by the pre-eminent photographer of his generation inAustralia and, arguably, the most prolific Australian practitioner of the genre.This substantial and large-format promotional volume was initially producedin about 1950 for the Council of the City of Sydney. The volume was muchexpanded over the next decade or so, and this version with text by JohnThompson, design by J.S. Ostoja, and a preface by the Lord Mayor,Alderman H.F. Jensen (Lord Mayor 1957–1965), is one of those subsequenteditions. As often with popular publications by Ziegler, there are no details ofpublication.

[12] DUPAIN, Max.Georgian Architecture in Australia. With some examples ofbuildings of the post-Georgian period. Sydney, Ure Smith, 1963.Large quarto, pp. 148, with photographic illustrations throughout;original boards with dustwrapper. $110First edition: photography by Max Dupain, architectural commentary andnotes by Morton Herman, social histories of New South Wales andTasmania by Marjorie Barnard and Daniel Thomas.

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

[14] DUPAIN, Max.Francis Greenway: a celebration. Sydney, Cassell Australia,1980. Folio, pp. 136, photographic illustrations throughout; nearfine in original cloth with like dustwrapper, double-pagephotographic endpapers (bookplate on front endpaper). $110First edition: a fine photo-essay complementing Dupain’s Old ColonialBuildings 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. $275First edition: SIGNED BY THE PHOTOGRAPHER in 1985 (and rare thus).Monograph associated with the A.G.N.S.W. exhibition “Max DupainPhotographs 1928-80”.

[16] DUPAIN, Max.Old Colonial Buildings of Australia. Sydney, Methuen Australia, 1980.Large quarto, pp. 176, with photographic illustrations throughout (manyin colour); near fine in original boards with like dustwrapper. $110First edition: a fine photo-essay complementing Dupain’s Francis Greenway: acelebration, 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. $95First edition: monograph on Sydney architect Leslie Wilkinson. Photographs byMax Dupain throughout.

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

[19] [DUPAIN] WHITE, Jill (editor).Dupain’s Sydney [with] Dupain’s Beaches [with] Dupain’sAustralians. Sydney, Chapter & Verse, 1999 – 2003. Three volumes,quarto, very numerous photographic illustrations throughout; fine inoriginal boards with like dustwrappers. $275First editions: series of volumes based on Dupain’s archive of his work entrustedby him to his long-standing personal studio assistant Jill White in 1994. Thesecond 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 illustrationsthroughout; the endpapers a little offset from the boards, near finein original cloth with little edge-worn dustwrapper. $95First edition and scarce: compiled for the Ski Club of Victoria by StanFlattely, who was editor of the club’s journal Schuss. Apart from a smallnumber of photographs supplied by departments of the Victorian, NewSouth Wales, and Tasmanian governments, the photographs in the bookwere supplied by members of the club. Among the more prominentcontributors were E.G. Adamson, H.S. Gibbs, L.J. Clarke, and F.Smithies.

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

[22] HENSON, Bill.Mnemosyne Zurich, etc. Scalo and Art Gallery of New SouthWales, 2005. Large quarto, pp. 504, with very numerousphotographic illustrations (mainly in colour); fine in original boardswith dustwrapper. $660Very scarce. First edition: published to coincide with the A.G.N.S.W.retrospective. Includes an exhibition checklist, exhibition history, andbibliography. Texts by Judy Annear, Jennie Boddington, Edmund Capon,Dennis Cooper, Peter Craven, Isobel Crombie, John Forbes, MichaelHeyward, Alwynne Mackie, David Malouf, Bernice Murphy, and PeterSchjeldahl, and an interview with Bill Henson by Sebastian Smee.

[23] HOPPÉ, Emil Otto.The Fifth Continent. London, Simpkin Marshall Ltd,[1931]. Quarto, pp. xxxii, 160 (comprising 160 full-pageplates); very good in original bright orange linen, letteredand decorated in blue and grey, lacking the (rare)dustwrapper. $110First 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 taughthimself photography and joined the Royal Photographic Societyin 1903 and began work as a professional photographer in 1907,with a studio in London. He was a founding member of theLondon Salon of Photography. Hoppé’s portraits were in greatdemand. He also worked as a fashion photographer and travelledextensively, producing a series of photobooks of places visitedthat were published in both German and English. He publishedseveral photobooks in the 1920s and 1930s, notably in the German‘Orbis Terrarum’ series with subsequent English editions: GermanIndustry (Deutsche Arbeit), Romantic America (Das RomantischeAmerika), and The Fifth Continent (Der fünfte Kontinent), forexample.“Publication of The Fifth Continent made E.O. Hoppé the firstforeign photographer to produce a photo-book on the entire nationof Australia. While many hundreds of photographers had madehundreds of thousands of images of different places and hadphotographed notable journeys, including the ruggedtranscontinental trips by pioneer motorist Francis Bibles beforeWorld War 1, in 1931 no local photographer had published anequivalent, all encompassing work… The work remainedunrivalled as a standard pictorial reference on Australia nationallyand 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-toneplates; very good in the original thin plain boards with attacheddustwrapper that is a little worn at the extremities. $770Extremely scarce: THE FIRST MONOGRAPH ON AN AUSTRALIANPHOTOGRAPHER as an artist and one of the earliest Australian photobooks.Published in an edition limited to 500 numbered copies, signed by thephotographer, the collection celebrated the work of the pioneeringAustralian photo-impressionist.

[25] LE GUAY, Laurence (editor).Contemporary Photography. Volume 1, no. 1 – Volume 2, no. 9[all published]. Sydney, November-December 1946 – June-July1950. Twenty-one issues, small quarto, each approximately 72pages, extensively illustrated throughout; a fine complete set boundwith the colour photographic wrappers in contemporary binder’scloth. $1650Very scarce: a complete run of this important photographic magazine, aseminal forum for the dissemination of photographic modernism and thedocumentary movement. Issued as an alternative to the largely hobbyistand predominantly Pictorialist Australasian Photographic Review, LeGuay’s journal featured the work of photographers who were inclined tomodernism, the developing documentary movement, and ‘persuasive’photography in advertising, fashion and other commercial applications.Among the photographers featured throughout the journal’s life wereCasneaux (who also played a prominent editorial role), Dupain, Parer,Hurley, Lyons, Ainslie Roberts, David Moore, David Potts, Le Guay,Axel Poignant, 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 patchrubbed, one shallow horizontal fold and other signs of use but avery good copy. $440Very scarce early Australian photobook. One of the earliest photographic‘noctambulations’, Lucke-Meyer’s photobook was almost certainlyinspired by Paul Morand’s Paris de Nuit of the previous year, although itlacks the grittiness, the modernism, and the human elements of Morand’swork. A comparison with Bill Brandt’s A Night in London (1938) mightalso be suggested, but with the same reservations. Lucke-Meyer’sphotobook with poet Basil Burdett’s Melbourne nocturne, is perhapsbetter thought of as a late flowering of Pictorialism, depicting a city ofshadows 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 WalesPress, 1993. Quarto, photographic illustrations (mostly incolour); fine in original boards with dustwrapper. $65First edition: presentation copy inscribed by the photographer totelevision performer Bert Newton.

[28] MOUNTFORD, Charles Pearcy.Australian Aboriginal Portraits. Melbourne, MelbourneUniversity Press, 1967. Quarto, pp. [vi], 89 + 39 full-pageplates; fine in original leather-backed canvas boards, withoutdustwrapper as issued. $185EDITION LIMITED TO 200 NUMBERED AND SIGNED COPIES.Mountford, well-known as an anthropologist was also a photographerand motion picture cinematographer of distinction.

[29] MURRAY, Alec.Alec Murray’s Album: Personalities of Australia.Introduction by Tatlock Miller. Playground forSophisticates by David McNicoll. And commentay by GwenMorton Spencer. Sydney, Ure Smith, [1949]. Quarto, pp. 84,[85] – 100 (advertisements), with photographic illustrationsthroughout, many full-page; fine in original cloth with verygood little edge-worn silver and red dustwrapper. $165Scarce with dustwrapper. Murray was a leading and sought-aftersociety and fashion photographer of the day. The surreal mood of hisdramatically posed and lit photographic portraits found favour withcritics such as the perceptive and well-regarded Tatlock Miller.Murray later established himself in England as a prominent fashionphotographer.

[30] NEWTON, Helmut.White Women. New York, StonehillPublishing Company, 1976. Quarto, pp.122, [4] (blank), with photographicillustrations throughout, many full-page,many in colour; fine in original cloth withnear fine priced dustwrapper (“$22.50 pre-Christmas / $25.00 thereafter”). $275First edition: NEWTON FIRST PHOTOBOOK,designed by Bea Feitler and with anintroduction by Phillipe Garner. Published alittle over a decade after he relocated fromMelbourne to Paris. This legendary first work,with its aesthetic superiority, technicalbrilliance, and flashes of what would becomeNewton’s often confronting trademarkbourgeois decadence, was an immediatesuccess across several continents and cultures.His work centres on facets of the world ofglamour and stardom, masquerade and show,and the commodification of beauty and theerotic. It was pre-eminently these aspects ofmodern mass-media culture that he confrontedand subtly subverted, without neglecting theinherent 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 illustrationsthroughout, a number in colour; fine inoriginal cloth with like dustwrapper. $95First edition (stated): Newton’s secondphotobook. Predominantly a playful book, yetin a number of instances here Newton exploresthe 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. $220Scarce first edition (stated) of Newton’s third collection and his first nudephotobook: earlier books had worked almost exclusively with clothed or atmost semi-nude models. Introduction by Karl Lagerfield. One of the mostattractively produced of Helmut Newton’s oeuvre. With White Women(1976) and Sleepless Nights (1978), it defined his style and confirmed hisreputation. These first three photobooks remain Newton’s most importantindividual collections.Like many of Newton’s photobooks, this was published more or lesssimultaneously in France, USA, UK, and Germany; in this case the Frenchedition was published in 1981, the others in 1982.

[33] ORGANIZING COMMITTEE OF THE XVIOLYMPIAD.The Official Report of the Organizing Committee For the Gamesof the XVI Olympiad, Melbourne 1956. Melbourne, W.M.Houston, Government Printer, 1958. Quarto, pp. 760, extensivephotographic illustration; fine in original gilt-decorated leather-graingreen cloth with like dustwrapper. $330First edition: an important work in its own right, this substantial volume isprofusely illustrated with the best work of Australian sportingphotographers.

[34] OLYMPIC GAMES, Melbourne 1956.A collection of photobooks and related photographicallyillustrated books. Various places, various publishers, 1956 – 1958.The collection $165Comprising: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 [forthe Invitation Committee for the Olympic Games], 1956. Scarce: a finelyillustrated large-format book, being the official invitation to delegates of theInternational Olympic Committee to celebrate the Games of the XVIOlympiad in Melbourne. In a back endpocket is a souvenir guide toMelbourne (Melbourne: A City of unrivalled loveliness) and a foldingillustrated railway guide to Melbourne and suburbs. Loosely inserted is acompliments slip, printed in gold and black; also loosely inserted is a 32-pageoctavo brochure providing a complete translation into French of the text of theinvitation.

B. Souvenirs produced by industry and governments to welcomeforeign visitors.i. The Olympic Games Melbourne 1956. Quarto, colour and blackand white illustrations; original cloth with dustwrapper and thescarce publisher’s mailing box. Melbourne, Colorgravure, 1956.ii. Land of the Southern Cross: Australia. Quarto, colour and blackand white illustrations; fine in original cloth with otherwise finedustwrapper that has a short sealed tear bottom corner of the blankpanel, and the scarce publisher’s mailing box. Melbourne, AustralianPublicity Council, 1956. Includes photographic illustrations byAdamson, Dupain, and others.iii. [COMMONWEALTH OF AUSTRALIA] AUSTRALIAN NEWSAND INFORMATION BUREAU. Australia. Your Host [wrappertitle]. Large quarto, photographic illustrations throughout; signs oflight 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 VictoriaAvenue, Willoughby, N.S.W., n.d. but circa 1931. Oblong quarto,pp. [40] (most photographic illustrations); good in originalwrappers. $125This appears to be the first of at least two editions, this published priorto the completion of the bridge. Included is a quite extensivedescription of the bridge, some quite technical; there is also a briefpiece reprinting part of a paper by Bradfield. Harry Phillips was aprolific 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); aboutfine in the original boards with like price-clipped dustwrapper. $275First edition: a book with enormous (parental) popularity, selling over100,000 copies, and the most influential and positive depiction of theAboriginal people up to that time. It was awarded Best Picture Book of theYear 1957-8.Poignant’s depiction of Aboriginal children in their natural environment ofArnhem Land was planned as a narrative photobook, somewhat aninversion of the popular Colonial tale of children ‘lost in the bush’.This photobook – ONE OF THE FEW REAL AUSTRALIAN PHOTOBOOKS of thecentury – owes much of its content and attitude to the influence ofPoignant’s Aboriginal assistant and adviser, Raiwalla.In a letter from the field to assistant and future wife Roslyn Izett, Poignantwrote that “I started to tell him the story, got just a little bit past thebeginning, and he took it up and told us the most terrific authentic tale youcould imagine. It has quite changed the whole attitude to the job. It hassuddenly 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 thebush)” (quoted Ann Stephen, op.cit.) As Stephen remarks: “No Europeanpresence appears in the photographs… Raiwalla was keen to represent thevalues of his culture to a wider audience without showing the effects ofcolonisation”.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. Largequarto, pp. 104 (almost all duotone photographic illustration);about fine in the original laminated card wrappers. $180Only edition: scarce. Although issued as a normal tradepublication, the book appears to have had a very restrictedcirculation. Unlike the other titles in the Sun Academy series, thisis a book rarely seen on the market: it is even possible that thepublisher withdrew it from sale, being then already embroiled incensorship crisis over its publication of two ‘Barry McKenzie’books by Barry Humphries. In recent years a small cache wasuncovered and these copies have largely made their way into abouta dozen institutional libraries in Australia.

[38] ZIEGLER, Oswald L. (editor).Australian Photography 1947. Sydney, Ziegler GothamPublications, [1947]. Quarto, pp. 200, with 160 pages ofphotographic illustration (pp. 179 – 191 in colour); anexcellent copy in the original cloth with uncommondustwrapper (lacking front flap otherwise very good). $125First edition: scarce with dustwrapper.An important, if uneven, collection, Ziegler published this “as thefirst of a planned annual series covering the best of Australianphotography. It was a substantial book with pages of qualityillustrations drawn from the works submitted for the accompanyingexhibition [the Australian Photography Salon of 1947]. It was inthe tradition of both the old Pictorial salon catalogues and thenewer annuals such as US Camera Annual. Pictorial work wasincluded as well as technical categories but the book validated theimportance of the documentary photographers and professionalillustrators. Cazneaux thought the book a wasted and spoiltopportunity by its support for what seemed soulless or ugly modernphotography. The Documentary followers no doubt felt the amateurPictorial work was trite and sentimental. The photographers in [thebook] with a social bent included David Moore… and painter JohnD. Moore…” (Gael Newton, Shades of Light, p. 126).

[39] ZIEGLER, Oswald L. (editor).Australian Photography 1957. Sydney, Oswald ZieglerPublications, [1957]. Quarto, pp. 134, [10] (advertisements, somecoloured); photographic illustrations throughout; a fine copy in theoriginal card wrappers. $110First edition: the second and last of Zeigler’s elaborate publicationsmarking Australian photographic salons. His first, of 1947, waseffectively the only one to be based on the annual AustralianPhotography Salon. The present volume had its foundation in theimportant 1957 Melbourne International Exhibition of Photography,with additional works selected from those submitted by variousphotographic clubs and societies throughout Australia. The selectioncommittee comprised Laurence Le Guay, Val Waller, and Reg Walker.Among those represented are Max Dupain, Olegas Truchanas, DacreStubbs, 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 alwaysotherwise.

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

Front cover and above:No. 25. A complete set of the important journal,

Contemporary Photography, edited by Laurence Le Guay