lamdha books -
Catalogue of signed Australian art books

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Amadio, Nadine, & Charles Blackman
The Lost Domains - signed copy
A.H. & A.W. Reed Pty. Ltd., Terrey Hills NSW, 1980.
First edition: folio; hardcover, full white faux-leather with gilt spine and upper board titling; 144pp., with many full-colour and monochrome illustrations. Minor wear; foxing to half-title and title pages with some random spots to page 11; signed in ink by both artist and author to the half-title page. A few scratches on rear panel of illustrated dustwrapper. Some spots and scrapes on the slipcase. Very good to near fine. Charles Blackman's works have been described as 'the raw authenticity of feeling' and 'images for grief and guilt, loss, persecution and tenderness in their naked forms, without softening or distraction'; and he himself as 'a creative spirit'. Whatever medium he is using - paint, charcoal, engraving and print-making, tapestries, stained glass - or whatever image he is calling up - his extraordinary schoolgirls, his magical Alice and White Rabbit, his gardens and his flowers, his mother-and-childs, his enchanted children, his fateful literary greats - he never fails to evoke a response, both from within the image and from the onlooker's outside.
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Barry, Eva Maria
Eva Maria Barry - signed Paintings 1968-2002
Northwood Press, 2003.
Quarto hardcover; pale blue boards with white upper board and spine titling, blue endpapers; 96pp., colour and monochrome illustrations. Inscribed in ink to the owner by the artist. Minor wear only; fine in like dustwrapper.
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Buckmaster, Ernest (edited by Barry Ellem & Norman Buckmaster)
Art: limited signed first edition
Evelyn Fine Arts, Melbourne, 1993.
Limited first edition. Hardcover, quarto, no. 544 of 1000, and signed in ink by editor Norman Buckmaster, 150pp., colour illustrations. Three individual prints laid in. Grey cloth boards in grey cloth slipcase. Fine. Ernest Buckmaster emerged from the National Gallery Art School in an aesthetic climate dominated by two powerful and opposed theoreticians, Max Meldrum and George Bell. Buckmaster ignored both schools of thought as they ignored him, becoming a public spokesman for Traditionalism in painting and an enemy of Modernism. Although Ernest Buckmaster spoke often of 'Truth to Nature' his interpretation of the truth was notably idiosyncratic. Early in life, Buckmaster won the Archibald Prize.
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Cassab, Judy
Diaries - signed
Random House (Aust.) Pty. Ltd., Milsons Point NSW, 1995.
Octavo; hardcover, full cloth with gilt spine titles; 518pp., with 32pp., of colour and monochrome plates. Minor wear; mild spotting to the text block top edges; signed by the author in ink to the half-title page. Dustwrapper mildly rubbed; now professionally protected by superior non-adhesive polypropylene film. Near fine.
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Docking, Gil
Desiderius Orban: His Life and Art - signed
Methuen Australia, North Ryde NSW, 1983.
Quarto hardcover; orange boards with gilt spine titling, brown endpapers; 143pp., colour plates and monochrome illustrations. Inscribed in ink to the owner by the artist. A few scattered spots on half-title page and faint spotting to upper text block edges; spot on dustwrapper rear panel. Near fine in like wrapper with an envelope full of reviews and newspaper cuttings on Desiderius Orban.
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Gleeson, James
Robert Klippel - signed
Bay Books, Kensington NSW, 1983.
Quarto; hardcover, with an upper board decoration; 491pp., with many full-colour and monochrome illustrations. Minor wear; some minor marks to the text block fore-edge; numbered in ink to the limitations page; signed by the author and the subject in ink to the half-title page. Dustwrapper sunned along spine; now professionally protected by superior non-adhesive polypropylene film. Very good to near fine. This is number 80 of a limited edition run of only 100 signed copies. Each was originally accompanied by a 33cm-tall sculptural ornament cast in bronze by Klippel, but this is now missing from the present copy. "Sculpture for Klippel was not an independent genre. Drawings, collages and prints operated equally as educative tools and expressive means. Singular works and series in all media were investigations of variations on a theme, evincing a mind able to transform ideas across two and three dimensions, at one moment inventing forms in one media and other times foreshadowing in one media developments of work in another. The objective of seeking a shared vocabulary between nature and man set Klippel on a lifelong investigation of visual, formal and conceptual relations. Exhibitions in Sydney from 1951 indicated the maturation of his work: fantastical biomorphic drawings, assemblages of painted wood and new looping or constructive metal sculptures. They signal Klippel's long standing investigation and absorption of artistic traditions relevant to an art for contemporary times: surrealist conjunctions of contrasting forms, assemblage and the rational aesthetics of Constructivism, and more specifically aspects of the work and approaches of living and historical artists including Alexander Calder, Joan Miro, Jean-Paul Riopelle, Arshile Gorky, Picasso, Nicolas de Stael, Alberto Giacometti, David Smith, Richard Stankiewicz, William Turnbull and Paolozzi to list only a few. At the same time, the search for 'something more' beyond the conventions of art saw Klippel educate himself in areas of scientific knowledge such as microbiology, and aspects of physical and engineering science. By the 1960s, Klippel was at the forefront of the development of sculpture in Australia. Like his Australian peers, who included Clement Meadmore before leaving the country in 1963, and Inge King, Clifford Last and Lenton Parr (but without the support these latter artists offered each other in Melbourne), Klippel became an irrepressible creator of sculpture in an environment that did little to foster its development. Klippel's singular pursuit of a synthesis of instinctive and industrial forms was never mimetic, but extended across a vast stylistic range, from the minimal and monochrome to monumental. The product of an inventive energy, his sculptures in their individuality and sophisticated formal relationships evoked discrete references; architectural, machinic, totemic, anthropomorphic, botanical and sensual. As Edwards recently wrote 'His Neo-Platonic sense of an underlying order and his vitalist apprehension of 'life-energies' permeating all matter formed a dual conception shared by many artists of the mid twentieth century.' '' - Zara Stanhope.
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Gleeson, James
William Dobell: signed by the artist
Thames & Hudson, London, 1964.
Quarto hardcover; blue cloth boards with gilt spine titling and upper board publisher's insignia; 208pp. 32 colour plates and 118 monochrome illustrations. Signed in ink by Dobell on title page. Inscription to owner. Mild scattered spotting to endpapers, prelims, half-title and title pages with a few random spots throughout; lightly toned and spotted text block edges. A few spots on dustwrapper and very minimal wear to edges. Very good to near fine otherwise. The art of William Dobell is timeless. He happens to be a contemporary Australian, but his work would have been understood by Rembrandt or Goya, and we could only shrink from a future which did not find itself reflected in his paintings. Nowadays it is rare for a great artist to stand anywhere but in the vanguard of a movement, but Dobell is an exception. He has looked closely at Soutine and the Expressionists, at Renoir and the Impressionists, and at some of the older masters, but his involvement is with humanity: he has not been diverted by recent theories or fashions in style from his Dickensian interest in the uniqueness of the individual and the mystery of personality. The best of his portraits are unsurpassed in twentieth century art; he has the ability to reveal the spirit beneath the skin. Since behaviour is an expression of the personality Dobell is fascinated by genre subjects. London and Sydney have provided him with a variety of actors, caught in situations of comedy and tragedy, or, more frequently, in those apparently aimless moments that seem to sum up a way of life. His interest in landscape is more limited, but the lakeside near his home at Wangi and the highlands of New Guinea have inspired some of his finest work. The author, James Gleeson, is particularly well fitted to undertake this full-scale study: he is himself well known as an artist and art critic; he is a fellow-Australian and knew Dobell personally.
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Haese, Richard
Rebels and Precursors - signed by author and Angry Penguins participants The Revolutionary Years of Australian Art
Allen Lane/Penguin Books Australia Ltd., Ringwood, Vic., Australia, 1982.
Reprint: quarto; hardcover, with decorated endpapers; 324pp., with many monochrome and colour illustrations. Signed in ink on the first blank page; some light spotting to the text block top edge. Dustwrapper sunned along the spine panel; now professionally protected by superior non-adhesive polypropylene film. Very good. In the 1930s and 40s they were Australia's 'rebels' - Sidney Nolan, Albert Tucker, Arthur Boyd, John Perceval, Yosl Bergner, Noel Counihan and others, artists whose work reflected the intensity of their lives. Against a climate of the Great Depression, World War II and the beginnings of the Cold War, these artists and their older forerunners broke through to a new art. There were clashes between radical artists and conservative patrons, politicians, public figures; between one rebel faction and another. Richard Haese, in examining not only the art of the period but also the social and political preoccupations of these artists, their friends and their critics, recreates this remarkable scene in a way that enlarges our understanding of the intellectual forces of our development, the making of our traditions. This copy is signed by the author, Richard Haese, as well as two of the Angry Penguins circle, Barrett Reid and Max Harris.
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Hard, Lynn & Gary Shead (illus.)
The Unused Portion - inscribed by author and illustrator
ETT Imprint, 2013.
Limited edition of 100 copies. Quarto paperback; 76pp., monochrome drawings. A few spots on covers. Near fine otherwise. Inscribed to persons by author and artist.
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Holden, Robert
May Gibbs and Her Fantasy World: signed copy
James Hardie, Sydney, 1984.
Exhibition booklet produced for the Royal Botanic Gardens (Sydney) Exhibition. Signed octavo paperback; stapled booklet; unpaginated with colour and monochrome illustrations. Faint spotting to text block edges and small scrape on rear panel where a sticker has been removed. Very good to near fine otherwise.
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Jacks, Robert
His Bloomsday Book - signed
Macmillan, South Yarra Vic., 2004.
Signed and limited edition, this is no. 443 of 500 copies. Folio hardcover; black boards with silver gilt spine titling and upper board silver gilt decoration, blue/gray endpapers with artist's signed and numbered bookplate; unpaginated with colour illustrations and double fold-out page near the beginning. Minor wear only; a few scattered spots on upper text block edges and one or two superficial scratches on dustwrapper. Near fine otherwise. A dayfull of collages by Robert Jacks; a "joycepoem' by Peter Steele; an introduction to the artist by Patrick McCaughey; a comment on 'The Dead' by Patrick Hutchings; a memory of Dublin by Tate Adams; comments on the Day's End by Frances Devlin-Glass; Another Odyssey by Petr Herel; Joyce-Jacks text by Jenny Zimmer; And some 'sunnywinking' words from the first edition of 'Ulysses' by James Joyce - all in celebration of the centenary of 'Bloomsday', 16 June 2004.
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James, Bruce
Australian Surrealism - signed The Agapitos/Wilson Collection
Beagle Press, Roseville NSW, 2003.
Quarto; hardcover, with white upper board titling and black endpapers; 203pp., with colour and monochrome illustrations. Minor wear; rubbed board edges with scraped corners; signed in ink by James Agapitos and Ray Wilson. Dustwrapper now professionally protected by superior non-adhesive polypropylene film. Near fine. The book features the collection of Australian surrealist art from the period 1925 - 1955, collected since 1990 by Sydney private collectors James Agapitos and Ray Wilson. It features major works by 40 artists including James Gleeson, Sidney Nolan, Max Dupain, Albert Tucker, Arthur Boyd, John Perceval, Robert Klippel, Adrian Feint, Loudon Sainthill, Peter Purves Smith, Donald Friend, Dusan Marek and Jeffrey Smart and sculptures by Boyd, Klippel, McAuslan, Inge King, Danila Vassilieff and Oliffe Richmond. Sydney visual arts writer, broadcaster and critic Bruce James has written the text as well as plate commentaries and produced updated biographies of the artists.
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Johnson, Michael
Michael Johnson Paintings 1968-1988: signed copy
Art Gallery NSW, 1989.
Inscribed in ink to owner. Quarto paperback, unpaginated with colour illustrations. Some fold-out pages at rear. Lightly toned text block edges with minor wear to cover edges. Very good to near fine.
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Klepac, Lou
Louis Kahan - signed by artist
Beagle Press, Roseville, 1990.
Signed quarto hardcover, 128pp., colour and monochrome illustrations. Minor wear only; near fine in like dustwrapper and professionally protected by superior non-adhesive polypropylene film. The artistic career of Louis Kahan began in 1925 when, at the age of 20, he arrived in Paris with twenty dollars in his pocket. Soon after he became house designer with Poiret, where he met such luminaries as Matisse, Derain and Dufy and designed costumes for Josephine Baker and the Folies Bergere. During the war he served with the French Foreign Legion in North Africa and after the fall of France spent two years drawing portraits of wounded allied soldiers as part of his 'war effort'. In 1947 Kahan came to Australia where he drew and painted people such as Professor Walter Murdoch, Dame Mary Gilmore, Albert Tucker, Arthur Boyd, Igor Stravinsky and Yehudi Menuhin. In 1962 he won the Archibald Prize for his portrait of Patrick White.
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Lanceley, Colin
Colin Lanceley - signed copy With an Introduction by Robert Hughes and interview by William Wright
Craftsman House, East Roseville, 1988.
Square quarto hardcover, 156pp., colour illustrations. Inscribed in ink to the owner on title page. Lightly spotted upper text block edge. Orange spine of dustwrapper slightly faded. Otherwise near fine. Robert Hughes traces the evolution of Lanceley's work from the larrikin love/hate images of Australia of his first exhibition in the '60s, to the 'structured paintings' with their elegance, vibrant colour and fastidious craftmanship, which he produced in the 1980s and '90s.
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McDonald, John & R Ian Lloyd (photo.)
Studio: Australian Painters on the Nature of Creativity: signed copy
R Ian lloyd Productions, Singapore, nd.
Inscribed in ink by author and photographer. Large square quarto hardcover; black boards with white spine titling and black on black upper board titling with white letter 'O', black endpapers; 283pp., colour and monochrome illustrations. Minor wear; lower board corners slightly frayed and minimal scuffing and wear to dustwrapper edges; now professionally protected by superior non-adhesive polypropylene film. Very good to near fine. In search of the meaning of creativity Ian Lloyd points his camera in three directions. He makes portraits of artists, he focuses in on the tools and materials of their art and he captures them in the theatre of creative action - the studio. Among these three approaches portraiture, paradoxically, is the least revealing, since the physiognomy of the artist reveals little about his or her work. The hands of the artist, gripping brushes and working paint on the palette yield more understanding. Yet it is the studio and the artist at work within it that provides the greatest insights into the nature of the creative act. The studio is a kind of laboratory, a place for process. Undeniably, the products of the studio are more important than the studio itself or how it looks. Indeed some of the most significant Australian painting has been produced outside of the studio. A room of one's own is not, therefore, a precondition for creativity. Nonetheless, as Lloyd's photographs attest, there is a close relationship between an artist's work and the environment in which it is produced. It is this relationship that makes these photographs so engaging. They raise the question as to whether the artist creates the studio or the studio creates the artist. Artists' studios are generally private places and their owners are selective about whom they choose to invite. Through his photographs, Ian Lloyd offers us the rare privilege of entering the private spaces of many significant Australian painters.
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McGregor, Ken & Elizabeth Thomson
David Larwill: signed by artist
Craftsman House, Sydney, 1997.
Signed quarto hardcover, 203pp., colour and monochrome illustrations. Minor wear only; fine in like dustwrapper professionally protected by superior non-adhesive polypropylene film. David Larwill evokes an extraordinary range of feelings, moods and expressions through his paintings and many of his works have considerable primal strength. The artistic experience is direct, and the viewer is obliged to respond spontaneously to the core truth of each work. This monograph surveys his career from the early Roar period to the 'Southern Tablelands' series and the 'Road Paintings' through to more recent works. The text documents the artist's life, the influences on his work and especially his great love of Aboriginal and tribal art.
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McQueen, Humphrey
Tom Roberts: signed copy
Macmillan, Sydney, 1996.
Signed hardcover, octavo, 784pp., monochrome plates. Lower red board worn on tail of spine; text block edges lightly browned; dustwrapper spine panel faded. Very good to near fine otherwise.
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Pearce, Barry
Jeffrey Smart - signed
Beagle Press, Sydney NSW, 2005.
Large square quarto hardcover; red cloth boards with gilt upper board and spine titles, brown endpapers; 256pp., colour plates. Signed in ink by author and artist. Very faint spotting to upper text block edge; mildly rubbed dustwrapper with very slightly faded spine (now professionally protected by superior non-adhesive polypropylene film); tiny nick on upper front edge. Near fine otherwise.
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Pearce, Barry
Michael Johnson: signed by author and artist
Beagle Press, 2004.
Large quarto hardcover, 204pp., colour illustrations. Inscribed to owner by artist (painted!) and author. Minor wear. Near fine in like dustwrapper (now professionally protected by superior non-adhesive polypropylene film). "Johnson's is the generation of Brett Whiteley and Dick Watkins, Tony McGillick, Wendy Paramour and John Howley; of hard-edge and colour-field experimentation, of minimalism, of the emergence of pop and conceptual art - and of the ideological dominance of American abstraction and all that followed it. This generation was at the coalface, as it were, of the great changes that were taking place in the post 1960s turmoil that was contemporary art practice. He, too, made the journey to London, to Europe, to New York, to explore and absorb - accept or reject - the ideas swirling through the art studios, schools, galleries. Johnson was born in 1938 in Mosman. His early years were spent wandering the foreshores of Sydney Harbour, fascinated with the patterns and scrolls of its shorelines, the iridescent surfaces of its changing tides, their expansions and retractions. His first painting was a small watercolour of Sirius Cove, painted when he was 10. As Pearce writes eloquently in the book, it was in this environment that Johnson became aware of the 'interrelationship between what could be seen on the surface of water, and what was suffused, refracted or invisible beneath it'. Even today he will talk of his paintings' 'breathing', of their expansions and contractions, their spirals, centrifuges and whirls, as if they were tidal - or at least, living, breathing substance. At other times he will talk of them as music, not substance, where colours are chords, with different tonal and melodic values, lines and blobs the staves, and he the orchestrator of gesture and pitch. Yet always Johnson's sustaining trope is the tension between surface and Yeats's notion of 'the deep' - that 'deep heart's core' that Yeats writes about, where being resides. He is after a corporeal universe that is simultaneously both substance and deep space. 'I want to suggest an underlying existence, yes,' says Johnson of his art, 'but - and this is the problem I am still wrestling with - I still haven't solved it. I can't make it be there in them. Because it's not. It's only paint. I can only make an allusion to it. Otherwise, it would be an illustration of it. And that's impossible.' While Pearce was tiptoeing around the edge of his volcano, wondering whether to peer in, or merely allude to it, the decision was made for him. 'None of that personal, emotional stuff,' Johnson told Pearce. 'No biographical stuff, that is another book. If there is any biography, it is how it relates to the art. Best to get the work down.' Michael Johnson is therefore not about Johnson, as such. With more than 100 large colour plates, photographs of Johnson art work and Pearce's careful journey through Johnson's ideas and practice, it is instead an account of the evolution of his thinking about art. 'His life, if you like, has been a quest,' says Pearce, 'a quest to understand the language of painting - and then transform it into his own voice. That is what the book's about.' What lies beneath the volcano, buried in the archaeological layers of feeling, behind the skin of the eye, is, as Johnson himself said, the subject of another book." - Angela Bennie, Sydney Morning Herald.
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Quartermaine, Peter
Brian Seidel: signed by artist Landscapes and Interiors
Beagle Press, Sydney, 1993.
Quarto hardcover, 128pp., colour illustrations. Inscribed in ink to owner. Minor wear only; near fine in like dustwrapper and professionally protected by superior non-adhesive polypropylene film. Peter Quartermaine's text reveals Brian Seidel as an artist who is deeply involved with the sensuous qualities of paint and colour, passionate about light and landscape yet equally able to extract subtle poetic qualities of the figure in interiors. The text is supported by eighty-seven colour plates and thirty six black and white illustrations which provide a comprehensive survey of Seidel's work as a painter, draughtsman and printmaker. The book also includes a contribution from Jeffry Makin - a 'soliloquy' which epitomises the rapport between two artists who often go painting together and share a love for the subject matter of their painting and their commitment to art.
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Ross, Peter
Let's Face It - signed The History of the Archibald Prize
Art Gallery of NSW, The Domain Sydney NSW, 1999.
Quarto; gatefold paperback; 147pp., with many colour illustrations. Mild wear; signed in ink with a dedication to the half-title page; text block buckled. Very good. Signed by Peter Ross, Wendy Sharpe, William Robinson and Keith Looby; reinscribed by Wendy Sharpe to person.
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Smith, Ivan (John Olsen, illus.)
A Sliver of Time: signed by Ivan Smith
Harper & Row, Sydney NSW, 1981.
Quarto hardcover; blue boards with silver gilt spine titling and centre front board decoration, blue endpapers with lower corner white decorations; 80pp., colour illustrations by John Olsen. Inscribed in ink to owner. Minor wear; lower board edges and corners lightly rubbed; toning to text block and page edges and mild rubbing to dustwrapper. Very good to near fine, wrapper now professionally protected by superior non-adhesive polypropylene film. Third book of the trilogy which includes The Death of a Wombat and Dingo King.
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Thomas, Daniel
Outlines of Australian Art - signed The Joseph Brown Collection
Macmillan Company of Australia Pty. Ltd., South Melbourne Vic., 1973.
Square quarto; hardcover, full cloth with gilt spine-titling; 74pp., with many monochrome and full-colour illustrations. Mild wear; light toning to the text block edges; signed by the collection owner to the flyleaf; previous owner's name in ink to the flyleaf. Dustwrapper mildly rubbed; now professionally protected by superior non-adhesive polypropylene film. Very good. Outlines of Australian Art is about the Joseph Brown Collection. It presents a chronological survey of over 200 years of Australian art, reproducing 407 works. Its great strength lies in its range of colonial, Victorian and Impressionist paintings. Glover, Martens, von Guerard and Buvelot are represented by some of their best works, and this book includes important works by artists such as William Dexter, Chester Earles, Richard Noble, Henry Gritten and J.H. Carse.
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Trenerry, Elizabeth (ed.)
John Borrack: signed by artist A Retrospective 1956 -1996
City of Whittlesea Art Gallery, South Morang, 1996.
Quarto paperback, 96pp., colour illustrations. Minor wear only; near fine.
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Weight, Greg
Australian Artists: signed copy
Chapter & Verse, Neutral Bay, 2004.
Signed quarto hardcover; white boards with green upper board and spine titling; 203pp., monochrome illustrations. Minor wear only; near fine in like dustwrapper, now professionally protected by superior non-adhesive polypropylene film. In this book noted photographer Greg Weight invites us to visit more than 80 significant Australian artists. Many are captured in their studios, and each artist's portrait is accompanied by a personal response from Greg Weight to the artist or the shoot. Brief biographies of the artists provide more background information and help to place them in context in the current Australian art scene.
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Zusters, Reinis
Spiral Vision - signed
Bay Books Pty. Ltd., Sydney NSW, 1981.
Square quarto; hardcover, with decorated upper board; 176pp., with many colour and monochrome illustrations. Moderate wear; slightly rolled; some scraping to the board bottom edges; mild offset to the endpapers; signed, with an inscription by the artist, to the half-title page. Decorated clear acetate jacket somewhat rubbed and scuffed. Very good. An overview of the artist's work, but with substantial emphasis on his Blue Mountains work. Further landscapes, cityscapes are included, human encounters and spiritual visions.
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