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The eternal clean out! New items weekly.
https://worldfoodbooks.com/category/sale

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A World Food Books gift voucher is redeemable in our Melbourne bookshop or via our webshop (here). An e-voucher (printable pdf) will be sent to your purchase email address (please notify us if you wish to have the voucher sent to an alternate address and wish us to fill in the receiver's details on the card).

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A collection of 300+ BDSM magazine covers from Japan compiled by Masala Noir (1960-2010).

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New Wave & Post-Punk tape and vinyl graphics from 1980 to 2000 compiled by Masala Noir.

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A collection of sexploitation movie posters compiled by Masala Noir.

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Practicing Dying is a literary anti-memoir documenting life in a Zen Buddhist monastery in rural France where the protagonist, a woman in her late twenties, attempts to overcome chronic drug addiction and mental illness.

Broken and severely unwell, our protagonist arrives at the monastery from London: starving, drug-addicted and disillusioned, having exhausted every conventional treatment route available to her. The book examines how, habituated to a life of benefits assessments, petty-crime and sex work, she struggles to adjust to the rules, discipline and religious life of the monastery—at times to devastating and comedic effect.

As the story unfolds, she reflects on her addictions and past experiences, raising critical questions about what it means to be "an addict" and why there may be vested corporate and societal interests in maintaining a narrow, individualistic understanding of addiction.

Anarchic and provocative, tender and self-deprecating, Practicing Dying differs from other contemporary memoirs in the genre of addiction-recovery by simultaneously challenging the dominant narratives surrounding mental health while proposing an alternative approach to treating the “sickness of self” from which we all increasingly suffer.

‘Practicing Dying is brilliant, rewarding and difficult. Northall offers the most brazen and shocking account of addiction I’ve ever read. Committing herself to the practice of Mahayana Buddhism, she eventually finds a way out, but only on the most rambling, circuitious path. Her account of addiction and loss, displacement and grief is profound and it proves that nothing is ever one thing.’ — Chris Kraus, author of The Four Spent The Day Together

‘The untamed offspring of Pema Chödrön’s The Wisdom of No Escape and David Wojnarowicz’s Close to the Knives, this is an addiction memoir that coolly refuses conventional narratives of addiction, trauma and recovery; an unflinching, no-holds-barred, seriously intelligent investigation into existence and how to survive it. A gut-wrenching, sublimely rewarding ride.’ — Olivia Laing, author of The Silver Book

‘Charlotte Northall’s Practicing Dying is extraordinary. It had me holding my breath. She writes in the same direct and uncompromising vein as Heather Lewis and Shulamith Firestone about the darkest corners of experience. But hers is ultimately a story of survival and even transcendence, one earned on every page. The existence of the book itself is hope.’ — Nate Lippens, author of Ripcord

Charlotte Northall is a London-based writer. Her debut, Practicing Dying, blends autobiography and cultural criticism to explore addiction, capitalism, and spiritual practice. She works with rough sleepers, supporting those living with addiction and complex mental health needs.

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A new compilation of Amelie von Wulffen's intriguing, very truth hard drawings and comics.
Amelie von Wulffen's Drawings/Zeichnungen is a fulminant new book featuring works from the last ten years that are being shown here for the first time. They are not primarily intended to be works of art; they differ from her comics and watercolors.
To mark her exhibitions at the Kölner Kunstverein and HFKD Holkstebro, Bierke Verlag is now publishing this collection of very direct and heterogeneous drawings, driven by a need to stay as close to the truth as possible. They deal with dreams and inner experiences, depicting generational conflicts, sexuality, death, and strong emotions with unfiltered harshness.

Since the 1990s, Amelie von Wulffen (born 1966 in Germany) has created a sophisticated and unique oeuvre that enquires into the historic, economic, and social conditions of painting. Highly self-reflexive, von Wulffen's practice expands to include the artist herself. She frequently appears in her own work in different guises, interweaving her family's past with national history and existential questions about a specifically German cultural heritage. Von Wulffen's works purposefully juxtapose aesthetic incongruities and combine different styles of painting from art history and amateur art to re-purpose their associative weight. In that respect, her work reads as a meta-reflection on the aesthetic incongruities of both post-war Germany as well as contemporary popular and political culture. This effect is compounded by the inclusion of references to decorative arts, furniture and architectural elements.
Von Wulffen has shown at major institutions such as Centre Pompidou, Paris; Kunstmuseum Basel, Basel; KW Institute for Contemporary Art, Berlin; Studio Voltaire, London; La Biennale di Venezia, Venice; Manifesta, Donostia-San Sebastian; and Aspen Art Museum, Colorado. Her work is held in the private collections of prestigious institutions such as Pinakothek der Moderne, Munich; Centre Pompidou, Paris; Musée National d'Art Moderne, Paris; the Hammer Museum, Los Angeles; the Museum of Contemporary Art, Los Angeles; and the Museum of Modern Art, New York.

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Curator at the Royal Museums of Fine Arts of Belgium in Brussels, Francine-Claire Legrand (Brussels, 1916–Saint-Gilles, 1995) was in charge of the modern art department. Published in 1971, her Le symbolisme en Belgique was and remains a pioneering work in which the author traces the history of the multiple trends that were developing in Belgium at that time. She brought them all together under the single concept of symbolism. Studies on Belgian symbolism have long relied on this groundbreaking work. Profusely illustrated in colour and b/w. That same year, the Belgian art historian published her first study on James Ensor, this unknown artist who became her favorite. She made a significant contribution to renewing the way we view the works of the Ostend painter created after 1900.

Good copy in Average DJ, moisture damage to boards and DJ (rippling), otherwise all-round good copy.

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Rare catalogue published to accompany an exhibition of self-taught Belgian surrealist Armand Simon (1906–1981) in 1973 at the Belgisches Haus Köln. Profusely illustrated throughout with b/w reproductions of his wonderful artworks, many inspired by Lautréamont's Maldoror and the poems by Rimbaud, accompanied by texts from Belgian poet and member of the Oulipo group, André Blavier (1922—2001) and Belgian poet and member of the Hainaut Surrealist group, Achille Chavée (1906—1969), along with excerpts of correspondences and texts by Simon. The beautiful catalogue on this elusive artist, little known outside Belgium.

Armand Simon (1906–1981) was a self-taught Belgian Surrealist artist, cartoonist and poet known for his dreamlike and thought-provoking works. Born in Mons, Belgium, in 1923 Simon discovered the 'Chants de Maldoror' by Comte de Lautréamont, a text that fascinated him and to which he devoted thousands of drawings. An extremely prolific draftsman, he developed a noir universe nourished by literary sources, of which he proposed "graphic equivalents". Dense and precise, his drawings are based on an automatism to which he remained faithful throughout his life. His ink drawings often featured enigmatic and fantastical elements, exploring themes of the subconscious, dreams, and the absurd. In the mid 1930s Simon joined the Belgian Surrealist group Rupture, established in Hainaut, and alongside Chavée, Dumont and Lefrancq, took part in L'Invention Collective, founded and published by Raoul Ubac (1910-1985) and Rene Magritte (1898-1967) in 1940. He illustrated texts by Monique Watteau and Marcel Brion, as well as Achille Chavée's 'Seven Poems of High Negligence'. Throughout his life, he remained a relatively obscure figure outside of surrealist circles, but his work continues to be appreciated for its unique and devoted contribution to the movement. Simon's legacy is preserved through his art, which remains on display in various collections and museums dedicated to Surrealist art. Simon died in Frameries in 1981.

Xavier Canonne holds a doctorate in art history from the Sorbonne (Paris) and directs the Musée de la Photographie de la Communauté française in Charleroi. Since the 1970s, he has known and frequented the Belgian surrealists, some of whom were his close friends. He has devoted various books or articles to Armand Simon, Marcel Marién, Louis Scutenaire, Max Servais, Tom Gutt, Irène Hamoir and Robert Willems.

Very Good copy, light age/tanning.

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First 1987 hardcover edition of this monographic survey of self-taught Belgian surrealist Armand Simon (1906–1981). Profusely illustrated throughout with colour and b/w reproductions of his wonderful artworks, many inspired by Lautréamont's Maldoror and the poems by Rimbaud., accompanied by text from Belgian art historian and curator, Xavier Canonne. Also includes selections of Simon's poetic works and an illustrated biography with rare photographs. The most comprehensive book on this elusive artist, little known outside Belgium.

Armand Simon (1906–1981) was a self-taught Belgian Surrealist artist, cartoonist and poet known for his dreamlike and thought-provoking works. Born in Mons, Belgium, in 1923 Simon discovered the 'Chants de Maldoror' by Comte de Lautréamont, a text that fascinated him and to which he devoted thousands of drawings. An extremely prolific draftsman, he developed a noir universe nourished by literary sources, of which he proposed "graphic equivalents". Dense and precise, his drawings are based on an automatism to which he remained faithful throughout his life. His ink drawings often featured enigmatic and fantastical elements, exploring themes of the subconscious, dreams, and the absurd. In the mid 1930s Simon joined the Belgian Surrealist group Rupture, established in Hainaut, and alongside Chavée, Dumont and Lefrancq, took part in L'Invention Collective, founded and published by Raoul Ubac (1910-1985) and Rene Magritte (1898-1967) in 1940. He illustrated texts by Monique Watteau and Marcel Brion, as well as Achille Chavée's 'Seven Poems of High Negligence'. Throughout his life, he remained a relatively obscure figure outside of surrealist circles, but his work continues to be appreciated for its unique and devoted contribution to the movement. Simon's legacy is preserved through his art, which remains on display in various collections and museums dedicated to Surrealist art. Simon died in Frameries in 1981.

Xavier Canonne holds a doctorate in art history from the Sorbonne (Paris) and directs the Musée de la Photographie de la Communauté française in Charleroi. Since the 1970s, he has known and frequented the Belgian surrealists, some of whom were his close friends. He has devoted various books or articles to Armand Simon, Marcel Marién, Louis Scutenaire, Max Servais, Tom Gutt, Irène Hamoir and Robert Willems.

Very Good copy, light age/tanning.

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Rare first 1994 hardcover edition of this iconic photo book by Günter Blum (1949-1997), a German fine art photographer best known for his erotic depictions of confident nude women. Published only in Japan by the mighty Treville, this book is long out-of-print. Almost textless, this handsome volume reproduces much of Blum's most iconic, meticulous and highly influential work — some of the most striking and powerful images of female (and male) bodies during the boom of fetish photography in the 1980s-90s.

Born on January 19, 1949 in Mannheim, Germany, he studied graphic design and spent the early part of his career creating magazine, book, and album covers. For many years Günter lived and worked in Hamburg and Paris as a painter and illustrator. In 1978 he moved back to Heidelberg where he also worked as a Professor at the College of Design. He took up photography in the late 1980s, embarking on a series of erotic photographs inspired by Fritz Lang’s seminal film Metropolis (1927), posing a female model alongside elaborate, large-scale sets resembling machinery. The sets, wardrobe and leather work seen in his images were designed and built by Günter. He loved details, and was meticulous when it came to even the small elements in his scenes. Everything in the picture was planned and handmade for one purpose – to show the beauty of a powerful woman. Blum’s work was initially inspired by the likes of Helmut Newton and Jan Saudek but his photography became more focused on edgy, provocative imagery inspired by the exaggerated foundation garments of leather and lace that came into fashion in the 1980’s. The influence of punk and the sexual revolution of the 80’s is evidenced by one of his most famous photos, Spiegel Spezial (Special Edition), a cover for Der Spiegel magazine which depicts buttocks wrapped in barbed wire and fishnets. His famous illustrations and photographs were published by Spiegel, Stern, Focus, Playboy, and Vogue. Günter published 5 books and had numerous successful exhibitions throughout his celebrated career. His work can be found in museums and famed collections worldwide.

Günter’s largest collection of images has been preserved for decades by his greatest model and muse, Sylvie Blum. Sylvie became his wife in the 1990’s, and has looked after his prestigious private collection since Günter’s untimely death in July 1997,. This book was dedicated to Sylvie.

Very Good copy with Good dust jacket with some wear, now preserved under mylar wrap.

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Published by Topaz magazine in 1994, this photo book collects 23 of the feature photoshoots in their entirety from the pages of the short-lived but excellent early 90's Japanese bondage magazine. Edited by Hitoshi Yamamoto, Kazuyoshi Kimoto, Hiroyuki Yano, Naoki Katayama. Features the models: Reiko Yasuhara, Mayumi Yamazaki, Makoto Ohara, Megumi Takahara, Rei Arimori, Emi Aso, Megumi Ishihara, Yuka watanabe, Ena Nakagami, Reiya Isshiki, Ayumi Hara, Mari Fujikawa, Yukari Kashiwagi, Megumi Asada, Reina. Photography by Norio Sugiura, Teruo Maeba, Tsunehiro Takakuwa, Shinji Yamazaki, Wakao Takahashi, Ryosuke Aikawa, Chikashi Yokouchi. Stylists: Jun Yoshida, Takuya Mimi Sayuri Kojima, Hiro Seino, Yumi Nakamori. Hair & Makeup: Rina Matsuhaga, Hiromi Katoh. Special thanks to A.Z.Z.L.O. Discipline!

Edited by Kimura Hiroyuki, Topaz burst onto the flourishing SM scene as the influence of Kinbaku/Shibari culture, fetish fashion, "abnormal" sexual practices, modern primitive, and underground SM culture was becoming hugely influential on high-end fashion, glamour photography, and art/film/music at large. A similar approach to SM Sniper, sharing many of the same contributors such as SM archivist and noise musician Masami Akita (Merzbow), Topaz emphasised the new wave of artistic output from the real protagonists of the experimental SM counterculture in Japan (and abroad), centering around the work of the models, stylists, make-up artists, and fashions designers, as much as the kinbakushi, writers or photographers. Topaz benefited from the large format of a glossy, full-colour magazine, rather than the usual mook format of SM magazines, each issue packed with hundreds of images, a double-sided full-colour fold-out poster, original full-colour glossy photo-shoots, art galleries, reports and reviews on developments in the underground (noise music, pink film, sex clubs, erotic art, etc.), instructional and historical articles, rare interviews and profiles with the featured models and artists, and photo features on all manner of sexual customs and practices (transsexualism, lesbianism, virtual sex, rubberism, medical fetish, prostitution, techno sex...). One of the most under-rated SM mags from Tokyo, brimming with information on underground publishing, boutiques, and erotic art largely lost to time.

Mature audiences only.

Near Fine copy, single corner crease to cover.

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1984 issue of Peeping Magazine, a specialty deviant photography magazine published in Tokyo in the 1980's that covers all manner of voyeuristic close-up/peeper/FLASH/Infrared/Monroe-effect photography (ala Kohei Yoshiyuki and Ikko Kagari) with full-colour and b/w photo features of innovative, controversial, spy photography. Clandestine trysts in the park at night, girls next door, sports action, nature calls (urination)... Staged? simulated? real? professional? amateur? art as criminal impulse? Who knows. Questionable, sure. Certainly a fascinating reflection of the loneliness and desperation that so often accompanies sexual or human desire in a big, cold metropolis like Tokyo.

Mature audiences only.

Very Good copy, light wear.

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First, only edition of this great bondage photo book by Masatoshi Osanai, published by S&M Sniper's Million publishing house. "Binding Force" is a collection of works by the Japanese photographer who worked as a portrait photographer of idols and celebrities throughout the 1980s to the 1990s. This is his only book of bondage photography, announced in 1990 as "the first face restraint photo book in Japan!!". Like Helmut Newton and Robert Mapplethorpe, Osanai seamlessly works between portraiture and fetish photography, creating a conceptual photo book made up entirely of headshots of models gagged and bound in various face restraints, gas masks and the like. "It's a non-comedy. It's a comedy. It's the beauty of a mask, the wilderness of pleasure, or the grave marker of ecstasy that appears at the end of a transformation." (rough translation from the publisher's blurb). Includes texts (in Japanese) by Shuhei Takahashi and Akira Nagae.

Very Good—Near Fine copy in VG dust jacket.

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"Kneel down and lick the queen's toes, slaves"

Typically rather anonymous, dateless Japanese vending-machine fetish photo magazine from the 1980s. These are great. Passion is cover-to-cover, full-colour, gloss femdom photography of two young Japanese women in fetish wear enjoying the torture of their young male slave in a dungeon.

Mature-audiences only.

Very Good copy.

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March 1995 issue of Secret Magazine, a legendary fetish and bondage art magazine edited by Jürgen Boedt, published out of Brussels, Belgium, and well respected across the globe. Striking b/w glossy pages filled with photo portfolios, fetish artwork galleries, kink advice, stories, reports from around the fetish world, interviews and much more. One of the last traditional Black and White Bondage Art magazines in Europe.

Very Good copy with general light magazine wear.

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Lovely 1976 limited edition hardcover portfolio of Franz Von Bayros' "Erzählungen am Toilettentische" (1908) an erotic suite first published privately in 1911, published in Japan by Gakutokan. 18 beautifully produced plates housed in gilded, debossed-plate illustrated hardcover clothbound folio, hand-numbered "454" of 970 copies. One of the finest works of the Austrian graphic artist, illustrator, and painter of the fin de siècle, Franz von Bayros (b. 1866, Zagreb; d. 1924, Vienna), considered one of the great erotomaniacs, alongside Aubrey Beardsley and Félicien Rops. His illustrations for classics of erotic literature are characterized by compositional talent, subtle play with ornament, and a delight in opulent settings.

Born in Zabreb, Croatia, Franz von Bayros (1866–1924) was an Austrian commercial artist, illustrator and painter. A leading figure in the Decadent artistic movement, his work challenged Victorian modesty, exploring phantasmagoric imagery and taboo erotic themes such as lesbian relationships, bestiality and sado-masochism, coupled with a keen sense of humour and warmth given to the subject. Franz’s brilliant draughtsmanship, design sense and his carefully-considered erotic imagination made his work eminently approachable and desirable, both as high-quality art and as a vehicle for exploring the limits of sexual experience, yet the scandalous nature of his work led to his arrest and temporary exile from Germany in 1911, returning to an Austria to face the outbreak of war and alienation.

During his prolific period creating erotic works for limited edition collector's portfolios and rare book prints, Franz Von Bayros created illlustrations for Fleurettens Purpurschnecke (1905), Die Memoiren der Fanny Hill (1906), La Bohème (1906), Im Garten der Aphrodite (In the Garden of Aphrodite) (1907), Les Cent Nouvelles (1907), Die Grenouillère (1907), Die hübsche Andalusierin (1907), Manon Lescaut and the Chevalier des Grieux (1911), Erzählungen am Toilettentische (1911), Le Decameron (1911), amongst many more, as well as a brilliant array of ex-libris bookplate illustration.

Very Good copy.

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Lovely 1976 limited edition hardcover portfolio of Franz Von Bayros' "Im Garten der Aphrodite" (1907) an erotic suite first published privately in 1910, published in Japan by Gakutokan. 21 beautifully produced plates housed in marbled hardcover clothbound folio, hand-numbered "456" of 970 copies. One of the finest works of the Austrian graphic artist, illustrator, and painter of the fin de siècle, Franz von Bayros (b. 1866, Zagreb; d. 1924, Vienna), considered one of the great erotomaniacs, alongside Aubrey Beardsley and Félicien Rops. His illustrations for classics of erotic literature are characterized by compositional talent, subtle play with ornament, and a delight in opulent settings.

Born in Zabreb, Croatia, Franz von Bayros (1866–1924) was an Austrian commercial artist, illustrator and painter. A leading figure in the Decadent artistic movement, his work challenged Victorian modesty, exploring phantasmagoric imagery and taboo erotic themes such as lesbian relationships, bestiality and sado-masochism, coupled with a keen sense of humour and warmth given to the subject. Franz’s brilliant draughtsmanship, design sense and his carefully-considered erotic imagination made his work eminently approachable and desirable, both as high-quality art and as a vehicle for exploring the limits of sexual experience, yet the scandalous nature of his work led to his arrest and temporary exile from Germany in 1911, returning to an Austria to face the outbreak of war and alienation.

During his prolific period creating erotic works for limited edition collector's portfolios and rare book prints, Franz Von Bayros created illlustrations for Fleurettens Purpurschnecke (1905), Die Memoiren der Fanny Hill (1906), La Bohème (1906), Im Garten der Aphrodite (In the Garden of Aphrodite) (1907), Les Cent Nouvelles (1907), Die Grenouillère (1907), Die hübsche Andalusierin (1907), Manon Lescaut and the Chevalier des Grieux (1911), Erzählungen am Toilettentische (1911), Le Decameron (1911), amongst many more, as well as a brilliant array of ex-libris bookplate illustration.

Very Good copy. Some tanning to cloth extremities.

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First hardcover editions of both erotic art book collections of Franz Von Bayros, published by Gakutokan, Tokyo, 1979 and 1980. Born in Zabreb, Croatia, Franz von Bayros (1866–1924) was an Austrian commercial artist, illustrator and painter. A leading figure in the Decadent artistic movement, his work challenged Victorian modesty, exploring phantasmagoric imagery and taboo erotic themes such as lesbian relationships, bestiality and sado-masochism, coupled with a keen sense of humour and warmth given to the subject. Franz’s brilliant draughtsmanship, design sense and his carefully-considered erotic imagination made his work eminently approachable and desirable, both as high-quality art and as a vehicle for exploring the limits of sexual experience, yet the scandalous nature of his work led to his arrest and temporary exile from Germany in 1911, returning to an Austria to face the outbreak of war and alienation.

During his prolific period creating erotic works for limited edition collector's portfolios and rare book prints, Franz Von Bayros created illlustrations for Fleurettens Purpurschnecke (1905), Die Memoiren der Fanny Hill (1906), La Bohème (1906), Im Garten der Aphrodite (In the Garden of Aphrodite) (1907), Les Cent Nouvelles (1907), Die Grenouillère (1907), Die hübsche Andalusierin (1907), Manon Lescaut and the Chevalier des Grieux (1911), Erzählungen am Toilettentische (1911), Le Decameron (1911), amongst many more, as well as a brilliant array of ex-libris bookplate illustration.

Together threse books reproduced these erotic artworks of Franz Von Bayros, including the ex-libris works and private commissions. All reproduced in b/w with colour lead plates and accompanying Japanese/German/French bibliographic information and minimal text in Japanese. Almost entirely both made of images.

VG/VG

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"For All Beautiful and Sensual Pleasure"

Inaugural April 1993 issue of Japan's short-lived Topaz magazine, published by Eichi Publishing. Edited by Kimura Hiroyuki, Topaz burst onto the flourishing SM scene as the influence of Kinbaku/Shibari culture, fetish fashion, "abnormal" sexual practices, modern primitive, and underground SM culture was becoming hugely influential on high-end fashion, glamour photography, and art/film/music at large. A similar approach to SM Sniper, sharing many of the same contributors such as SM archivist and noise musician Masami Akita (Merzbow), Topaz emphasised the new wave of artistic output from the real protagonists of the experimental SM counterculture in Japan (and abroad), centering around the work of the models, stylists, make-up artists, and fashions designers, as much as the kinbakushi, writers or photographers. Topaz benefited from the large format of a glossy, full-colour magazine, rather than the usual mook format of SM magazines, each issue packed with hundreds of images, a double-sided full-colour fold-out poster, original full-colour glossy photo-shoots, art galleries, reports and reviews on developments in the underground (noise music, pink film, sex clubs, erotic art, etc.), instructional and historical articles, rare interviews and profiles with the featured models and artists, and photo features on all manner of sexual customs and practices (transsexualism, lesbianism, virtual sex, rubberism, medical fetish, prostitution, techno sex...). One of the most under-rated SM mags from Tokyo, brimming with information on underground publishing, boutiques, and erotic art largely lost to time.

Very Good copy.

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"For All Beautiful and Sensual Pleasure"

October 1993 issue of Japan's short-lived Topaz magazine, first published by Eichi Publishing in April 1993. Edited by Kimura Hiroyuki, Topaz burst onto the flourishing SM scene as the influence of Kinbaku/Shibari culture, fetish fashion, "abnormal" sexual practices, modern primitive, and underground SM culture was becoming hugely influential on high-end fashion, glamour photography, and art/film/music at large. A similar approach to SM Sniper, sharing many of the same contributors such as SM archivist and noise musician Masami Akita (Merzbow), Topaz emphasised the new wave of artistic output from the real protagonists of the experimental SM counterculture in Japan (and abroad), centering around the work of the models, stylists, make-up artists, and fashions designers, as much as the kinbakushi, writers or photographers. Topaz benefited from the large format of a glossy, full-colour magazine, rather than the usual mook format of SM magazines, each issue packed with hundreds of images, a double-sided full-colour fold-out poster, original full-colour glossy photo-shoots, art galleries, reports and reviews on developments in the underground (noise music, pink film, sex clubs, erotic art, etc.), instructional and historical articles, rare interviews and profiles with the featured models and artists, and photo features on all manner of sexual customs and practices (transsexualism, lesbianism, virtual sex, rubberism, medical fetish, prostitution, techno sex...). One of the most under-rated SM mags from Tokyo, brimming with information on underground publishing, boutiques, and erotic art largely lost to time.

Very Good copy.

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"For All Beautiful and Sensual Pleasure"

December 1993 issue of Japan's short-lived Topaz magazine, first published by Eichi Publishing in April 1993. Edited by Kimura Hiroyuki, Topaz burst onto the flourishing SM scene as the influence of Kinbaku/Shibari culture, fetish fashion, "abnormal" sexual practices, modern primitive, and underground SM culture was becoming hugely influential on high-end fashion, glamour photography, and art/film/music at large. A similar approach to SM Sniper, sharing many of the same contributors such as SM archivist and noise musician Masami Akita (Merzbow), Topaz emphasised the new wave of artistic output from the real protagonists of the experimental SM counterculture in Japan (and abroad), centering around the work of the models, stylists, make-up artists, and fashions designers, as much as the kinbakushi, writers or photographers. Topaz benefited from the large format of a glossy, full-colour magazine, rather than the usual mook format of SM magazines, each issue packed with hundreds of images, a double-sided full-colour fold-out poster, original full-colour glossy photo-shoots, art galleries, reports and reviews on developments in the underground (noise music, pink film, sex clubs, erotic art, etc.), instructional and historical articles, rare interviews and profiles with the featured models and artists, and photo features on all manner of sexual customs and practices (transsexualism, lesbianism, virtual sex, rubberism, medical fetish, prostitution, techno sex...). One of the most under-rated SM mags from Tokyo, brimming with information on underground publishing, boutiques, and erotic art largely lost to time.

Very Good copy.

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"For All Beautiful and Sensual Pleasure"

February 1994 issue of Japan's short-lived Topaz magazine, first published by Eichi Publishing in April 1993. Edited by Kimura Hiroyuki, Topaz burst onto the flourishing SM scene as the influence of Kinbaku/Shibari culture, fetish fashion, "abnormal" sexual practices, modern primitive, and underground SM culture was becoming hugely influential on high-end fashion, glamour photography, and art/film/music at large. A similar approach to SM Sniper, sharing many of the same contributors such as SM archivist and noise musician Masami Akita (Merzbow), Topaz emphasised the new wave of artistic output from the real protagonists of the experimental SM counterculture in Japan (and abroad), centering around the work of the models, stylists, make-up artists, and fashions designers, as much as the kinbakushi, writers or photographers. Topaz benefited from the large format of a glossy, full-colour magazine, rather than the usual mook format of SM magazines, each issue packed with hundreds of images, a double-sided full-colour fold-out poster, original full-colour glossy photo-shoots, art galleries, reports and reviews on developments in the underground (noise music, pink film, sex clubs, erotic art, etc.), instructional and historical articles, rare interviews and profiles with the featured models and artists, and photo features on all manner of sexual customs and practices (transsexualism, lesbianism, virtual sex, rubberism, medical fetish, prostitution, techno sex...). One of the most under-rated SM mags from Tokyo, brimming with information on underground publishing, boutiques, and erotic art largely lost to time.

This issue was slightly smaller in dimensions and skipped the poster.

Very Good copy.

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"For All Beautiful and Sensual Pleasure"

April 1994 issue of Japan's short-lived Topaz magazine, first published by Eichi Publishing in April 1993. Edited by Kimura Hiroyuki, Topaz burst onto the flourishing SM scene as the influence of Kinbaku/Shibari culture, fetish fashion, "abnormal" sexual practices, modern primitive, and underground SM culture was becoming hugely influential on high-end fashion, glamour photography, and art/film/music at large. A similar approach to SM Sniper, sharing many of the same contributors such as SM archivist and noise musician Masami Akita (Merzbow), Topaz emphasised the new wave of artistic output from the real protagonists of the experimental SM counterculture in Japan (and abroad), centering around the work of the models, stylists, make-up artists, and fashions designers, as much as the kinbakushi, writers or photographers. Topaz benefited from the large format of a glossy, full-colour magazine, rather than the usual mook format of SM magazines, each issue packed with hundreds of images, a double-sided full-colour fold-out poster, original full-colour glossy photo-shoots, art galleries, reports and reviews on developments in the underground (noise music, pink film, sex clubs, erotic art, etc.), instructional and historical articles, rare interviews and profiles with the featured models and artists, and photo features on all manner of sexual customs and practices (transsexualism, lesbianism, virtual sex, rubberism, medical fetish, prostitution, techno sex...). One of the most under-rated SM mags from Tokyo, brimming with information on underground publishing, boutiques, and erotic art largely lost to time.

Very Good copy.

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