walsh grahame (27 Ergebnisse)

Morrison, John (illustrator). Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Hard Cover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. First Edition. xi, 104pp, index, 90+ col ills. Or black cloth in jacket. Minor edge wear to jacket, foxing to prelims, 5 line gift note opposite half-title. Australian Conservation Foundation recommendation sticker to front. The Carnarvon National Park in Queensland. Size: Oblong 4to.

Zustand: Gut. 312 S. Alle Bücher & Medienartikel von Book Broker sind stets in gutem & sehr gutem gebrauchsfähigen Zustand. Dieser Artikel weist folgende Merkmale auf: Helle Seiten in fester Bindung. Leichte Gebrauchsspuren. Mit Schutzumschlag in gutem Zustand. Sprache: Englisch Gewicht in Gramm: 3021 Gebundene Ausgabe, Maße: 36.2 cm x 3.18 cm x 26.04 cm.

Soft cover. Zustand: Very Good. 160 pp., Illustrations, bibliography, index.

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. Oblong 35.5 cm. 312 pp. with 1 full-page map, many small maps and 339 colour illustrations. Hardcover cloth with dustwrapper. Minor rubbing to wrapper, else a fine copy. An important survey of Aboriginal rock art.

Oblong quarto; hardcover, with gilt spine and upper board titling and blind-stamped decoration; 312pp., many colour illustrations. Minor wear; a few small marks and spots to the text block upper edge; faint scattered spotting to half-title page; upper edge of pages a little rippled. Mild rubbing to the dustwrapper; now professionally protected by superior non-adhesive polypropylene film. Very good to near fine. Postage quoted is for a standard format octavo book. Final charges may vary depending on size and weight. Of the continents, Australia's rock art riches stand out. Art has been created in different environments ranging from desert to reef, and the tropics to snow-covered mountains. Styles vary from region to region, environment to environment. Site recording is highlighting the extent and vast numbers of rock art sites in Australia. Realization of the antiquity, diversity and site numbers, tangible links with contemporary Aboriginal culture, and personal public experience with managed art sites are stimulating more public and scientific attention. This was the first book to attempt an overview of Australian rock art to the general reader, illustrating it in context. The reader is introduced to the subject with historic accounts of European discovery and attitudes to rock art. The antiquity, significance and purpose of rock art and its mythology is explained. Close liaison between the author and Aboriginal caretakers has ensured the avoidance of sensitive detail and the exact locations of art sites are not revealed.

Hardcover (Embossed Cloth). Zustand: Very Good. Zustand des Schutzumschlags: Very Good. First Edition. Size: Large Book - between A4 and A3. 312 pages. Text body is clean, and free from previous owner annotation, underlining and highlighting. Binding is tight, covers and spine fully intact. No foxing in this copy. Dust Jacket is in very good condition, without tears or chips or other damage, other than spine which is faded by sun exposure. Dust Jacket un-clipped. All edges clean, neat and free of foxing. Quantity Available: 1. Shipped Weight: 1-2 kilos. Category: Indigenous Cultures; Australia; Art & Design. ISBN: 186273013X. ISBN/EAN: 9781862730137. All our pictures shown here are of the actual item, not stock photos. Inventory No: 33377. This book is extra heavy, and may involve extra shipping charges to some countries. For further info on this title, click on the "Contact Seller" button within this listing. We will try to reply within 24 hours. Otherwise you can order right now (inclusive of shipping options) from the "Add to Basket" button to the right.

Hardcover. Zustand: Very Good. Dust Jacket Included. First Edition. Bathurst, E.J. Brill / Robert Brown & Associates (Aust) Pty. Ltd., 1988. Oblong folio, 312 pages with a full-page map, numerous small location maps, and approximately 340 colour plates. Cloth lettered in gilt on the spine and front cover (and decorated in blind on the front); cloth slightly bumped and lightly marked; an excellent copy with the lightly scuffed dustwrapper with a 70 mm tear (now expertly closed) near the bottom corner of the front panel. An important survey of Aboriginal rock art; 'One hundred individual sections cover the rock art of not only every Australian state and territory but also every major rock art region and art style. Many art panels in the 339 colour plates have never been published'. This was the first major publication by Walsh, who went on to produce two substantial studies of the Bradshaw rock art of North-West Australia in 1994 and 2000. Provenance: pioneering desert field archaeologist Professor Mike Smith AM (1955-2022), with his ownership details in ink on the front flyleaf and his pictorial bookplate on its recto.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. First Edition. Bathurst, E.J. Brill and Robert Brown & Associates (Aust) Pty. Ltd., 1988. Oblong folio, 312 pages with a full-page map, numerous small location maps and over 339 colour plates. Cloth; a fine copy with the near-fine dustwrapper. An important survey of Aboriginal rock art; 'One hundred individual sections cover the rock art of not only every Australian state and territory but also every major rock art region and art style. Many art panels in the 339 colour plates have never been published'. This was the first major publication by Walsh, who went on to produce two substantial studies of the Bradshaw rock art of North-West Australia in 1994 and 2000.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. First Edition. Bathurst, E.J. Brill and Robert Brown & Associates (Aust) Pty. Ltd., 1988. Oblong folio, 312 pages with a full-page map, numerous small location maps and over 339 colour plates. Cloth; a fine copy with the fine dustwrapper. An important survey of Aboriginal rock art; 'One hundred individual sections cover the rock art of not only every Australian state and territory but also every major rock art region and art style. Many art panels in the 339 colour plates have never been published'. This was the first major publication by Walsh, who went on to produce two substantial studies of the Bradshaw rock art of North-West Australia in 1994 and 2000.

HARDCOVER. E. J. Brill/Robert Brown and Associates. 1988. First edition, first printing. A near fine copy of this important work. Only marked by very light age tanning of the edges and very light spotting on the top edge. Both blemishes are nearly imperceptible. The d/w is fine and now in a protective cover. Scans available if required.

Hardcover. Zustand: Very Good. Limited Edition. Rare. Limited edition. Hardbound in dust jacket. Minor foxing to page edges, otherwise very good. [ Heavy - Please contact for overseas shipping quote ].

HARDCOVER. Edition Limitee, 1994. First Limited edition. A near fine copy only marked by light spotting on the top edge and to the top of the first page. The d/w is also near fine with only superficial shelf wear.  A superb copy of this scarce book which was limited to only 1000 copies. Scans available if required.

Hardcover. Zustand: As New. Zustand des Schutzumschlags: Fine. Limited edition. Hardcover. Fine. Roughly 65,000 years ago the earliest humans arrived in Australia from Timor and eventually created astonishing works of art in the Kimberley region of northwest Australia, making them perhaps the oldest paintings of human figures ever created. Called the Bradshaws after Joseph Bradshaw (who first recorded them in 1891), or the Gwion Gwion, the mystery of their creation has not been solved and has become a politically and culturally charged issue. Grahame Walsh (1944 - 2007), the author and world's leading expert on the Bradshaws, made thousands of photographs of these sophisticated works and was commissioned by the Australian government to produce a book considered to be the finest in its field ('Australia's Greatest Rock Art') for the Bicentenary. Large 4to, xviii, 285pp, illustrations include 99 full page color plates. Black gilt cloth. Original pictorial dust jacket with illustrations in black silhouette at front cover, title in black at white dust jacket spine.

First Edition; Oblong Super Royal 4to; pp. x, 464; illustrated endpapers, text illustrated with over 620 coloured photographs, numerous text drawings, glossary, bibliography, index, bound in purple mock-crocodile skin with title lettered in gilt on spine, laid down illustration on upper board, fine copy. SCARCE. Grahame Walsh's masterpiece, "Bradshaw Art of the Kimberley", a vast an unclassifiable book, part photographic essay, part speculative anthropology. When the book was published it marked the moment of Walsh's greatest difficulty as well as the first pinnacle of his public renown. Protest from Kimberley Aboriginal groups angered by his interpretation of the Bradshaw style redoubled; rock art experts resented his refusal to share his data or provide access to sites he knew. But the overwhelming detail collected in the book and the depth of his knowledge of the tradition made their own case. It became impossible to deny that Walsh, through his solitary efforts, had uncovered a vast, half-forgotten realm of indigenous art.

Hardcover. Zustand: Fine. First Edition. Toowong, Takarakka Nowan Kas Publications, in association with The Australian Centre, University of Melbourne, 2000. Oblong folio, [vi], xiv, 464 pages with over 2000 illustrations and over 620 colour plates. Synthetic leather with a large colour-pictorial title-label mounted on the front cover; bottom edge lightly shelf-marked; essentially a fine copy. An unparalleled 'visual record of ancient Kimberley rock art, dealing specifically with periods predating the Ice Age', and a work of lasting significance produced to the highest standard. Grahame Walsh died in 2007, aged 62; an insight into the nature of the man and this book may be found in this extract from his obituary by Nicolas Rothwell, published in 'The Australian', 24 August 2007. It was in the Kimberley that Walsh 'encountered the two art traditions that would dominate his later years. The Bradshaw rock paintings are ancient and extend across an arc of the north Kimberley. They depict graceful figures engaged in display or hunt. The Wandjina paintings, much more recent, mark the last crescendo of Kimberley Aboriginal art. In their best-known form, they show round, wide-eyed faces surrounded by ghostly halo circles. To Walsh, both these traditions had an intense appeal. Backed by private sponsors, he prepared the first large book on the Bradshaws. It appeared in 1994. By this stage, Walsh was becoming a figure of notoriety in the academic rock art world. It was plain he was a field photographer of brilliance and a persistent finder of lost sites. But he was without formal qualifications and his somewhat controversy-courting ideas about pre-Aboriginal civilisations in the far north triggered a storm of predictable fury. The result was a damaging split between Walsh and the academy: damaging, arguably, for both sides. Walsh had found a fresh forum for his ideas and a wider audience. Perhaps, in all the twisting course of his life, no turn was stranger than the one that brought him into contact, and friendship, with the leaders of Australia's legal and corporate worlds. Unusual backers began funding his research. He was especially close to Dame Elisabeth Murdoch and Maria Myers, to both of whom he dedicated his masterpiece, "Bradshaw Art of the Kimberley", a vast, unclassifiable book, part photographic essay, part speculative anthropology, bound in purple mock-crocodile skin. A photograph of the author glowers from the frontispiece: he sits, a pair of cameras at the ready, beside a Bradshaw panel, wearing his favourite battered black Akubra, souvenired from the aftermath of a bar-room brawl in Camooweal. It is clear today that 2000, when the "purple crocodile" was published, marked the moment of Walsh's greatest difficulty as well as the first pinnacle of his public renown. Protests from Kimberley Aboriginal groups angered by his interpretation of the Bradshaw style redoubled; rock art experts resented his refusal to share his data or provide access to sites he knew. But the overwhelming detail collected in "Bradshaw Art" and the depth of his knowledge of the tradition made their own case. It became impossible to deny that Walsh, through his solitary efforts, had uncovered a vast, half-forgotten realm of indigenous art'. This copy was purchased at the launch of the book in Perth on 16 October 2000. Loosely inserted is the lavish prospectus, a flyer advertising the launch (the author's first name is misspelled 'Graham', and Kimberley is printed there twice as 'Kimberly'), and a copy of the illustrated review of the book by Nicolas Rothwell ('The Weekend Australian', September 16-17, 2000). The review is presented in broadsheet format, printed on a sheet of good quality yellow paper stock (recto only); reading between the lines of the flyer, it may have been produced thus for distribution at the launch. [4 items].

Hardcover. Zustand: Fine. First Edition. Toowong, Takarakka Nowan Kas Publications, in association with The Australian Centre, University of Melbourne, 2000. Oblong folio, [vi], xiv, 464 pages with over 2000 illustrations and over 620 colour plates. Synthetic leather with a large colour-pictorial title-label mounted on the front cover; a fine copy. The title page is signed and dated (17 August 2000) by the author. An unparalleled 'visual record of ancient Kimberley rock art, dealing specifically with periods predating the Ice Age', and a work of lasting significance produced to the highest standard. Grahame Walsh died in 2007, aged 62; an insight into the nature of the man and this book may be found in this extract from his obituary by Nicolas Rothwell, published in 'The Australian', 24 August 2007. It was in the Kimberley that Walsh 'encountered the two art traditions that would dominate his later years. The Bradshaw rock paintings are ancient and extend across an arc of the north Kimberley. They depict graceful figures engaged in display or hunt. The Wandjina paintings, much more recent, mark the last crescendo of Kimberley Aboriginal art. In their best-known form, they show round, wide-eyed faces surrounded by ghostly halo circles. To Walsh, both these traditions had an intense appeal. Backed by private sponsors, he prepared the first large book on the Bradshaws. It appeared in 1994. By this stage, Walsh was becoming a figure of notoriety in the academic rock art world. It was plain he was a field photographer of brilliance and a persistent finder of lost sites. But he was without formal qualifications and his somewhat controversy-courting ideas about pre-Aboriginal civilisations in the far north triggered a storm of predictable fury. The result was a damaging split between Walsh and the academy: damaging, arguably, for both sides. Walsh had found a fresh forum for his ideas and a wider audience. Perhaps, in all the twisting course of his life, no turn was stranger than the one that brought him into contact, and friendship, with the leaders of Australia's legal and corporate worlds. Unusual backers began funding his research. He was especially close to Dame Elisabeth Murdoch and Maria Myers, to both of whom he dedicated his masterpiece, "Bradshaw Art of the Kimberley", a vast, unclassifiable book, part photographic essay, part speculative anthropology, bound in purple mock-crocodile skin. A photograph of the author glowers from the frontispiece: he sits, a pair of cameras at the ready, beside a Bradshaw panel, wearing his favourite battered black Akubra, souvenired from the aftermath of a bar-room brawl in Camooweal. It is clear today that 2000, when the "purple crocodile" was published, marked the moment of Walsh's greatest difficulty as well as the first pinnacle of his public renown. Protests from Kimberley Aboriginal groups angered by his interpretation of the Bradshaw style redoubled; rock art experts resented his refusal to share his data or provide access to sites he knew. But the overwhelming detail collected in "Bradshaw Art" and the depth of his knowledge of the tradition made their own case. It became impossible to deny that Walsh, through his solitary efforts, had uncovered a vast, half-forgotten realm of indigenous art'.

Hardcover. Zustand: Fine. First Edition. Toowong, Takarakka Nowan Kas Publications, in association with The Australian Centre, University of Melbourne, 2000. Oblong folio, [vi], xiv, 464 pages with over 2000 illustrations and over 620 colour plates. Synthetic leather with a large colour-pictorial title-label mounted on the front cover; a fine copy, still in the original packaging. Loosely inserted is the lavish colour-pictorial prospectus. The title page is signed and dated (December 2000) by the author. An unparalleled 'visual record of ancient Kimberley rock art, dealing specifically with periods predating the Ice Age', and a work of lasting significance produced to the highest standard. Grahame Walsh died in 2007, aged 62; an insight into the nature of the man and this book may be found in this extract from his obituary by Nicolas Rothwell, published in 'The Australian', 24 August 2007. It was in the Kimberley that Walsh 'encountered the two art traditions that would dominate his later years. The Bradshaw rock paintings are ancient and extend across an arc of the north Kimberley. They depict graceful figures engaged in display or hunt. The Wandjina paintings, much more recent, mark the last crescendo of Kimberley Aboriginal art. In their best-known form, they show round, wide-eyed faces surrounded by ghostly halo circles. To Walsh, both these traditions had an intense appeal. Backed by private sponsors, he prepared the first large book on the Bradshaws. It appeared in 1994. By this stage, Walsh was becoming a figure of notoriety in the academic rock art world. It was plain he was a field photographer of brilliance and a persistent finder of lost sites. But he was without formal qualifications and his somewhat controversy-courting ideas about pre-Aboriginal civilisations in the far north triggered a storm of predictable fury. The result was a damaging split between Walsh and the academy: damaging, arguably, for both sides. Walsh had found a fresh forum for his ideas and a wider audience. Perhaps, in all the twisting course of his life, no turn was stranger than the one that brought him into contact, and friendship, with the leaders of Australia's legal and corporate worlds. Unusual backers began funding his research. He was especially close to Dame Elisabeth Murdoch and Maria Myers, to both of whom he dedicated his masterpiece, "Bradshaw Art of the Kimberley", a vast, unclassifiable book, part photographic essay, part speculative anthropology, bound in purple mock-crocodile skin. A photograph of the author glowers from the frontispiece: he sits, a pair of cameras at the ready, beside a Bradshaw panel, wearing his favourite battered black Akubra, souvenired from the aftermath of a bar-room brawl in Camooweal. It is clear today that 2000, when the "purple crocodile" was published, marked the moment of Walsh's greatest difficulty as well as the first pinnacle of his public renown. Protests from Kimberley Aboriginal groups angered by his interpretation of the Bradshaw style redoubled; rock art experts resented his refusal to share his data or provide access to sites he knew. But the overwhelming detail collected in "Bradshaw Art" and the depth of his knowledge of the tradition made their own case. It became impossible to deny that Walsh, through his solitary efforts, had uncovered a vast, half-forgotten realm of indigenous art'.

Boards in slip-case. 1st edition thus. 1st ed thus, oblong folio, pp.x, 464, profusely illustrated with over 620 colour photographs and 2,000 illustrations, maps. Original boards, colour plate laid onto front of imitation crocodile leatherette boards, decorated endpapers. Previous owner's name ffep, loosely inserted fold-out colour brochure. Custom made lined slip-case with image on card (Aboriginal painting) recessed onto front. Signed by author. Near fine condition. Scarce and significant study of Kimberley rock art and finely painted human figures known as Bradshaw, named after explorer and pastoralist Joseph Bradshaw, first European to sight and record them in 1891. The aboriginal name, Gwion Gwion, for these figures comes from the Ngarinyin people. In 1996 Grahame Walsh discovered a Bradshaw painting partly covered by a fossilised Mud Wasp nest, estimated to be approximately 17,000 years old. Lavishly illustrated throughout, with hundreds of illustrations and colour plates.

HARDCOVER. Takarakka Nowan Kas Publications, 2000. First edition. This copy of this highly sought after book is in pristine  condition and is contained within a stunning custom made slipcase.  It comes complete with the original promotional material for the book and it's launch.  This copy has been SIGNED by the author and inscribed to eminent collector Graham Levey. This book cannot be faulted or bettered. Scans available if required.