The Antipodes Observed: Prints And Print Makers Of Australia 1788–1850
Condition: SECONDHAND
This is a secondhand book. The jacket image is a photograph of the exact copy we have in stock. This image shows the condition of this book. Further condition remarks are below.
Condition remarks:
Book: Good
Jacket: Worn/faded, no tears
Pages: Good
Markings: No markings
A richly detailed work of art history, The Antipodes Observed: Prints and Print Makers of Australia 1788–1850 chronicles the visual documentation of early colonial Australia through the eyes of the printmakers who captured its landscapes, peoples, and settlements during a transformative era. Drawing on an extensive survey of engravings, aquatints, and lithographs produced in the decades following European settlement, it presents a compelling record of how Australia was perceived, interpreted, and communicated to the wider world. The tone is scholarly yet accessible, grounding each work within its historical and cultural context while illuminating the technical craft behind the images. Flower argues that these prints were far more than decorative curiosities — they served as powerful instruments of colonial narrative, shaping European understanding of a distant and unfamiliar continent. A landmark reference for collectors, historians, and enthusiasts of Australian art, the work remains an authoritative guide to one of the most visually rich periods in the nation's cultural history.
Author: Cedric Flower
Format: Hardback
Genre: Australian history
Condition remarks:
Book: Good
Jacket: Worn/faded, no tears
Pages: Good
Markings: No markings
A richly detailed work of art history, The Antipodes Observed: Prints and Print Makers of Australia 1788–1850 chronicles the visual documentation of early colonial Australia through the eyes of the printmakers who captured its landscapes, peoples, and settlements during a transformative era. Drawing on an extensive survey of engravings, aquatints, and lithographs produced in the decades following European settlement, it presents a compelling record of how Australia was perceived, interpreted, and communicated to the wider world. The tone is scholarly yet accessible, grounding each work within its historical and cultural context while illuminating the technical craft behind the images. Flower argues that these prints were far more than decorative curiosities — they served as powerful instruments of colonial narrative, shaping European understanding of a distant and unfamiliar continent. A landmark reference for collectors, historians, and enthusiasts of Australian art, the work remains an authoritative guide to one of the most visually rich periods in the nation's cultural history.