First published in UK, 1972
by Thames and Hudson Ltd, London
Standard Edition ISBN 0 500 232158 3
Limited Edition ISBN 0 500 23164 8
(assuming this is the standard edition)
Hardback, 87 pp.
212mm (width)
252mm (height)
25mm (depth)
Pretty amazing print spec on this book, with offical bible texts and other texts printed in black on pulp paper with colour plates printed on coated stock and trimmed to size are tipped-in1,a lot of them, throughout the large book. It's also the only publication where they specify that the binding (I'm assuming that means the tipping in too) was done somewhere else, in this case a different country. I can't even imagine how much a book like that would cost to make now and where you would find finishers to do the tipping in efficently as it is such an outdated method and I would have thought that was the case in the 1970s too. All that is to say I'm assuming this book had a pretty large budget adn exists in two concurrent editions, and that says a lot about how Boyd's work was thought of at the time of publication. Boyd is a very recognisable Australian artist, I don't know much about him but do think his landscape work tells something interesting about his gaze on Country, there is a feeling of distance, something uncanny or unknowable.

Scan of the first painting the book.


Case bound, covered in a textured unbleached cloth with gold foil on spine, and a printed (and still removable) dust jacket, section sewn, with off white headband and beige endpapers printed in black with artist's work.
Pages are toothy, uncoated pulp stock, quite foxed on the page edges printed in black with colour plates printed on gloss coated stock tipped in throughout (!)

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