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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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"For All Beautiful and Sensual Pleasure"

August 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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Still, and will probably always be, the best book on Mike Kelley. First edition, now very collectible. This definitive survey was published in 1993 in conjunction with "Mike Kelley", a travelling exhibition held at Whitney Museum of American Art, New York; Los Angeles County Museum of Art, LA; and Moderna Museet, Stockholm, throughout 1994. Mike Kelley, one of the leading Californian artists of the 1990s, was a proponent of abject or pathetic art, an anti-aesthetic, anti-heroic movement, which criticized social and artistic issues through banality and humour. Exploring the work of this great and controversial performance artist and sculptor at the mid-way point in his career, this dense book presents thirteen essays, plus an introduction, discussing Kelley's projects, performances, and the ideas and diverse influences that motivate his work - contemporary art, rock and roll, social commentary and pop culture. Profusely illustrated throughout in colour and black and white, with texts by Elizabeth Sussman, David Marsh, Richard Armstrong, Timothy Martin, Howard Singerman, Colin Gardner, Dennis Cooper & Casey McKinney, John Miller, Ralph Rugoff, Kim Gordon, Howard N. Fox, Diedrich Diederichsen, Jutta Koether, Martin Prinzhorn, Paul Schimmel, John G. Hanhardt. No less! Includes a bibliography and exhibition history. Catalogue designed by Lorraine Wild and ReVerb.

Highly recommended.

Good—Very Good copy, with some general light wear to covers/spine.

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The most comprehensive monograph ever published on Polish painter Maria Anto (1936–2007), renowned for her metaphysical, dreamlike vision that merges figuration with elements of naïve art and poetic symbolism. Edited by Elżbieta Olszewska, this 2004 hardcover volume, long out-of-print, is profusely illustrated in colour with reproductions of over 220 of her paintings, criminally little seen outside Poland, alongside a full autobiography by Anto giving intimate insight into her artwork, exhibition reviews, a timeline of her life and work, lists of exhibitions and awards, and a lengthy interview with Małgorzata Bocheńska. Texts are in bi-lingual Polish / English. Includes her Tarot paintings.

Anto's paintings are characterized by simplified yet fantastic forms, flattened perspectives, magical creatures, and luminous, often unreal colour palettes, creating an atmosphere suspended between reality and imagination. Inspired by Italian trecento painting, surrealism, the works of Marc Chagall and Henri Rousseau, and drawing on mythology, folklore, and inner landscapes, Anto’s work evokes a quiet, contemplative dimension in which solitary figures, animals, and fantastical architectures appear timeless and introspective. Balancing innocence with metaphysical depth, her art occupies a unique place in Polish postwar painting, distinguished by its emotional subtlety, symbolic resonance, and enduring sense of mystery. Contrary to the prevailing currents, Maria Anto managed (quite quickly) to appear in the world of art, although she always remained somewhat independent - on the sidelines of groups and painting trends. The artist graduated from the Academy of Fine Arts in Warsaw in 1960, and already in 1963 represented Poland at the São Paulo Biennale. She repeatedly took part in plein-air painting workshops in Białowieża, where she created her most significant works. "The spirits of Białowieża make me see more. I discover places of power, primeval enchanted spots there." During martial law she actively participated in the independent culture movement. She worked and exhibited prolifically from behind The Iron Curtain. Nevertheless, she remained forgotten for some time after her death, and is still hardly known outside Poland or Italy, where she exhibited most. From today’s perspective, Maria Anto’s art forms an exceptionally original and poetic language that distinguished her from the Warsaw avant-garde. Anto remained faithful to her aesthetic choices throughout her lifetime, creating an astounding collection of works, achieving an undisputed individualism as a painter.

Very Good copy, light wear/age.

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Wonderful 1972 slip-cased hardcover monograph on seldom documented, elusive French artist Clovis Trouille. Bound in pink cloth and wrapped in illustrated original dust-jacket, this heavily illustrated book surveys Trouille's vibrant and controversial paintings through beautiful colour and monochrome gravure reproductions, alongside various texts, biography, bibliography and portrait of the artist — a most complete copy including all insert booklets. Published as volume 4 of the deluxe La Septième Face du Dé series by Kawade Shobo Shinsha in Japan in the 1970s after the Editions Filipacchi series. All editions now out-of-print.

Clovis Trouille (1889-1975)—Trouille in colloquial French means fear—was a French artist known for paintings of erotic and anti-clerical subjects. Trouille was born in La Fère, France, and was trained at the École des Beaux-Arts of Amiens from 1905 to 1910. He was drafted on 2 August, 1914. His service in World War I made him an anarchist and his painting followed suit. His hatred of the military, paired with his contempt for the Church as a corrupt institution, provided Trouille with the inspiration for decades of work. Trouille always paddled upstream in a river of Christian morality, military patriotism and bourgeois ostentation with lightness, irony and obstinacy. His erotic and gaudy work delivered a slap in the face to both religion and war. Trouille has often been classed as a "Sunday painter." He's also been referred to as an "Angel of Bad Taste," and a purveyor of "horrotica", with Trouille's other common subjects being sex, perversion and all manner of depravity (ala de Sade). After his work was seen by Louis Aragon and Salvador Dalí, Trouille was declared a Surrealist by André Breton, though Trouille was rather ambivalent, accepting the designation to have his work reach an audience rather than embracing the movement. He was always his own painter. He worked primarily for himself, did not like to sell his paintings, had no interest in self-promotion or the art world, and made his living as a restorer and decorator of department store mannequins. Nonetheless, he maintained contact with the surrealists, including Breton and Marcel Jean. Trouille died on 24 September 1975 in Neuilly-sur-Marne.

Most complete copy of this 1972

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From 1970 until 1987, Gilles Deleuze held a weekly seminar at the Experimental University of Vincennes and, starting in 1980, at Saint-Denis. In the spring of 1981, he began a series of eight seminars on painting and its intersections with philosophy. The recorded sessions, newly transcribed and translated into English, are now available in their entirety for the first time. Extensively annotated by philosopher David Lapoujade, On Painting illuminates Deleuze's thinking on artistic creation, significantly extending the lines of thought in his book Francis Bacon.

Through paintings and writing by Rembrandt, Delacroix, Turner, Cezanne, Van Gogh, Klee, Pollock, and Bacon, Deleuze explores the creative process, from chaos to the pictorial fact. The introduction and use of color feature prominently as Deleuze elaborates on artistic and philosophical concepts such as the diagram, modulation, code, and the digital and the analogical. Through this scrutiny, he raises a series of profound and stimulating questions for his students: How does a painter ward off greyness and attain color? What is a line without contour? Why paint at all?

Written and thought in a rhizomatic manner that is thoroughly Deleuzian-strange, powerful, and novel-On Painting traverses both the conception of art history and the possibility of color as a philosophical concept.

Edited by David Lapoujade, translated by Charles J. Stivale.

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First 1988 edition.

Spinoza’s theoretical philosophy is one of the most radical attempts to construct a pure ontology, with a single infinite substance, and all beings as the modes of being of this substance.

This book, which presents Spinoza’s main ideas in dictionary form, has as its subject the opposition between ethics and morality, and the link between ethical propositions and ontological propositions. His ethics is an ethology, rather than a moral science. Recent attention has been drawn to Spinoza by deep ecologists such as Arne Naess, the Norwegian philosopher; and this new reading of Spinoza by Deleuze lends itself to a radical ecological ethic. As Robert Hurley says in his introduction, Deleuze opens us to the idea that the elements of the different individuals we compose may be nonhuman within us. One wonders, finally, whether Man might be defined as a territory, a set of boundaries, a limit on existence.

VG—NF.

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Super rare glam rock issue of the super rare PANSY fanzine, published by Queer Kids in Tokyo in the 1970s. Never seen another issue ever before (apparently 12 were produced), PANSY applies the queer gaze to the world of glam rock, post punk, new romantic... T-Rex/Marc Bolan, New York Dolls, David Bowie, Japan, Slade, Roxy Music, Raped, Brats ... photographing, interviewing, and profiling the princes of the new androgynous wave with school diary visual sensibility and DIY hand-collage aesthetic throughout. Includes a New York Dolls family tree, loads of magazine clipped pictures, and hand-written Japanese texts. Very obscure, very charming, very Japanese.

Very Good copy with small previous sticker damage to top of spine (front/back), otherwise only light edge wear and age.

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Very rare original BOY London Blackmail catalogue circa early—mid 1980s, featuring all the classic BOY range from one of London’s most iconic original punk shops/fashion labels, founded in 1976 by Stephane Raynor. Likely designed by Peter "Sleazy" Christopherson (Throbbing Gristle/Psychic TV/Coil/Hipgnosis) who designed the BOY logo and much of their visual collateral, his photo catalogue, featuring models from around the London punk scene, was originally privately issued by BOY London to be used for mail-order and wholesale orders. It features all the original Vivienne Westwood and Malcolm McLaren Seditionaries designs, from the t-shirts (Sex Pistols' God Save The Queen, Destroy, Tom of Finland, etc.) to footwear, parachute shirts, bondage trousers and mohair jumpers, which were all sold in BOY after Seditionaries closed in September 1980. It also features BOY's own (equally iconic) designs and wild styling, with amazing hair and make-up by Jalle. Extremely rare piece of London's punk fashion history.

Good copy with light general handling wear/spine pinching.

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A new translation of Sade's most notorious, shocking, and influential novel

This distressing but hugely important text, which the Marquis de Sade himself called "the most impure tale that has ever been written since the world exists," has influenced countless major artists and thinkers throughout history. Flaubert and Baudelaire both read Sade, the surrealists were obsessed with him, filmmakers like Pasolini saw parallels with twentieth-century history in his writings, and feminists such as Simone de Beauvoir and Angela Carter fought over him. This new translation brings Sade's provocative novel into Penguin Classics for the first time, and will reignite the debate around this most controversial of writers.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

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April 1988 issue of Sun Publishing's Sexy Look magazine, a highly collected glossy photo magazine from Tokyo that is made up entirely of colour and b/w spreads throughout that take a single word or phrase, like an accumulative gentlemen's magazine cum encyclopedia of the bizarre, to introduce the reader to titillating thrills, perversions, weird crimes, unusual customs, anthropological oddities, and the 1980s Japanese sex industry from all angles each month. The most prominent angle was a low one, as primarily the magazine was an excuse for the many contributing photographers to take "close-up" peeper/FLASH photography of women (ala Kohei Yoshiyuki and Ikko Kagari). Lots of Tokyo sex club material, with spreads punctuated by ads for pink videos and sex toys.

Very Good copy, light wear.

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Rare copy of “The Face Of Love”, a seldom seen classic erotic photo book from the 1960s by the remarkable and misunderstood Dutch photographer Sanne Sannes, one of the archetypal visionaries of sixties Amsterdam, who was tragically killed in 1967 in an automobile accident at the age of thirty. A beautiful book of Sannes' experimental heavy grain b/w nude photography, effectively employing blur, bokeh, close-ups, etc. to express the emotional nature of his subjects hidden from view. In the strong contrast between light and darkness, life and death, Sannes' outstanding camera work reveals the fascinating beauty of women with an intimate honesty seldom seen. "The Face of Love" was posthumously published in 1972 and contains about 200 full-page illustrations with accompanying essays by Jim Hughes and Louwrien Wijers.

"Sanne Sannes was the enfant terrible in photography, doing things which are not done; neither sharpness, nor clearness, not one technical axiom in photography meant anything to him. He was an artist at work.
A painter, at first only using black and white, later mixing the colors of his film in an imaginative way. His main subject was the full range of emotions connected with love: the sexy and erotic as well as the desireous and paralyzing love-emotions. His work showed a warm heart for the way women love. He was eager to know their inmost feelings and constantly he tried to hit the source of their emotions."—Louwrien Wijers

"Sanne Sannes did not make easy photographs. Certainly, he did not make pretty photographs. I'm not even sure he made photographs. He made explorations of people, of their outsides and their insides, and sent back picture postcards of their psyches. If you looked hard at some of these, you could make out a scribbled message: "Having a great time. Glad you're here."—Jim Hughes

"Suddenly the subject he often talked about was there. Death obsessed him. Life enthralled him. He played the game of life with insatiable enthusiasm. Laughing defiantly, speaking satirically, moving firmly and working energetically, he proved himself indomitable every moment and in every situation. He was the jolly joker in this game of his. He made all the tricks. Then all of a sudden the winner lost. Sanne Sannes' brilliant mind, moving mastership and inspiring personality were destroyed in a fatal car crash Thursday March 23, 1967, three days after his thirtieth birthday."—Louwrien Wijers

The Dutch photographer Sanne Sannes (Groningen, 1937-1967) is known for his experimental black and white photographs with large film grains and fast shutter speeds. His work is full of erotic and mysterious portraits of women. Sannes, referred to by some as the Marquis de Sade of Holland, was an elusive personality, just like his works, and died at the young age of 30.

Average—Good copy without dust jacket. Some tanning to edges and creasing to some pages, heavy "fan" creasing on one spread with some resultant damage. Otherwise generally Good throughout.

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Rare first hardcover edition of Sanne Sannes' wild Sex A GoGo published in 1969 by De Bezige Bij, Amsterdam. When Sex a Gogo was published in 1969 Sanne Sannes, the remarkable and misunderstood Dutch photographer Sanne Sannes, one of the archetypal visionaries of sixties Amsterdam, had recently been killed in a car accident at the age of 30. His wonderful Sex a Gogo book featured his signature heavy grain erotica in a unique kind of erotic-pop-sex-manual form, complete with fantastic psychedelic collaging and graphic cartoon elements. The book's montages were devised by designer Walter Steevensz who took over the project when Sannes died and it is his vision as much as the photographer's that is evidenced in this typically 1960s comedy of sexual mores. Yet however comical Sex a Gogo never allows us to forget about its erotic intentions.

The Dutch photographer Sanne Sannes (Groningen, 1937-1967) is known for his experimental black and white photographs with large film grains and fast shutter speeds. His work is full of erotic and mysterious portraits of women. Sannes, referred to by some as the Marquis de Sade of Holland, was an elusive personality, just like his works, and died at the young age of 30.

Good—Very copy with some wear to cover extremities.

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First 1979 popular edition of VELVET EDEN: The Richard Merkin Collection of Erotic Photography, a book of playful and now classic sepia-toned erotic photography from the first half of the 20th century, published by F & S, produced and edited by Harris Lewine, with commentary by Richard Merkin and Bruce McCall, designed with Louise Fili. The seed for this now classic, very playful volume of erotica was planted when an art director (Harris Lewine) required a photograph the book jacket design of Anaïs Nin's Delta of Venus. Where did this photograph come from?

Average—Good copy, general wear/age, light cover creasing, previous owner's name to first page.

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Early 1986 pocket book of medical fetish illustration by Romain Slocombe, "Sad Vacations". Fifteen full colour works by Slocombe are accompanied by texts (in French) by François Landon and descriptions of each work by Jacques Peeters.

A French cartoonist, illustrator, book author, translator, photographer and filmmaker, Romain Slocombe, born in Paris in 1953, began his career as an illustrator working on comics and counter-culture magazines such as Métal Hurlant in the late 1970s and early 1980s. As an artist, he was closely involved with the punk Bazooka collective, with Kiki Picasso, Bernard Vidal, Natsuko, Yoshi Ichimura, Fred Chalmer, Loulou Picasso, and others, having studied alongside many of its members at the École des Beaux-Arts in Paris. He became known as a comic strip author and published his first bondage album, Prisoner of the Red Army, which caused a scandal. While bandaging women, the artist develops an aesthetics of upheaval, of which J.G. Ballard became the cult writer. Seizing the dark side of Japanese fetishism to invent a new genre of artistic SM — "surgical bondage", Slocombe's medical fetishised "broken dolls" would enter into subcultural history forever through the 1996 publication City of Broken Dolls. Slocombe's distinctive paintings, drawings and photographs of women in medical bondage — tied, injured, bandaged, imprisoned and hospitalised, often combining a re-working of historical political revolution, WW2, noir fiction, and Japanese photographic SM imagery with the graphic language of bande dessinée comic-roman and new wave expressionism, became some of the most strikingly original and influential erotic art of the subcultural 1990s.

Very Good copy, light wear/age.

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A dark and compelling work by a new voice in Australian – and world – literary fiction.

A nomad swallows poison and drowns himself. Resuscitated by a paramilitary bandit named Aslan, Figure is nursed back into a world of violence, sexuality and dementia. Together, Figure and Aslan traverse a coastline erupting in conflict. When the nearest city is ethnically cleansed, Figure escapes on the last ship evacuating to the other isle of the sea. Crossing village to village largely on foot, a slew of outcasts and ghosts guide him as he navigates states of cultural and metaphysical crisis.

Scott McCulloch’s debut novel, Basin, explores the axis of landscape and consciousness. Echoing the modernist tradition, and written in an incendiary yet elliptical prose style, Basin maps the phenomenon of a civilisation being reborn – a hallucinatory elegy to the inter-zones of self and place.

Born in Melbourne, based between Ukraine and the Caucasus since 2014, and currently dividing his time between Lebanon and Georgia, Scott McCulloch works with prose, essay and sound. His writings have appeared in various magazines and journals worldwide. Basin is his debut novel.

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First edition of this excellent first German monograph on Swiss artist Daniel Spoerri, published by Prestel in 1998. Profusely illustrated with Spoerri's incredible artistic history of installations, performances, studio photos, editions, and other activities across important associations with Fluxus, Nouveau réalisme and Eat Art; works across sculpture, assemblage, action, and relief, including a great number of his iconic "snare works". Includes an exhibition history, bibliography and extensive text in German by Heidi E. Violand-Hobi.

Daniel Spoerri (b. 1930) is a Swiss artist and writer born in Romania. Spoerri is best known for his "snare-pictures". In 1960, Spoerri made his first "snare-picture": "objects found in chance positions, in order or disorder (on tables, in boxes, drawers, etc.) are fixed (‘snared’) as they are. Only the plane is changed: since the result is called a picture, what was horizontal becomes vertical. Example: remains of a meal are fixed to the table at which the meal was consumed and the table hung on the wall." His first "snare-picture", Kichka's Breakfast was created from his girlfriend's leftover breakfast. The piece is now in the collection in the Museum of Modern Art in New York. One snare-picture, made in 1964, consists of the remains of a meal eaten by Marcel Duchamp. He also is widely acclaimed for his book, Topographie Anécdotée* du Hasard (An Anecdoted Topography of Chance), a literary analog to his snare-pictures, in which he mapped all the objects located on his table at a particular moment, describing each with his personal recollections evoked by the object, with illustrations by the great Roland Topor. In the 1950s he was active in dance, studying classical dance with Olga Preobrajenska and in 1954 becoming the lead dancer at the State Opera of Bern, Switzerland. He later staged several avant-garde plays including Ionesco's The Bald Soprano and Picasso's surrealist Desire Trapped by the Tail. During that period he met a number of Surrealist artists, including Meret Oppenheim, Jean Tinguely, Marcel Duchamp and Man Ray, and also a number of artists subsequently associated with the Fluxus movement, including Robert Filliou, Dieter Roth and Emmett Williams. Closely associated with the Fluxus art movement, a movement "characterized by a strongly Dadaist attitude, [whose] participants were a divergent group of individualists whose most common theme was their delight in spontaneity and humor." It has been said that his Anecdoted Topography of Chance "seems perfectly to embody aspects of its spirit." Spoerri was also one of the original signers of the manifesto creating the Nouveau réalisme (New Realism) art movement, which involved artists such as Yves Klein, Arman, Martial Raysse, Pierre Restany, Niki de Saint Phalle, César, Jean Tinguely, Mimmo Rotella, Gérard Deschamps, and the Ultra-Lettrists, Francois Dufrêne, Raymond Hains, Jacques de la Villeglé, an avant garde endeavor begun in 1960. His use of everyday life as the main subject-matter of his art reflects his involvement in the New Realism movement. A major theme of Spoerri's artwork is food, and he has called this aspect of his work "Eat Art." This is seen not only in his snare-pictures of eaten meals, but in restaurant performance pieces, for which he cooks for guests and art-critics take on the role of waiters, playing on the idea of the critic bringing the art to the consumers and giving them an understanding of the work.

Good—Very Good copy with light wear and light fading to dust jacket edges.

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1982 English hardcover edition of The Autobiography of George Grosz: A Small Yes and a Big No, first published by Dial Press in New York City, translated by Lola Sachs Dorin. In 1982, this new translation by Arnold Pomerans of the 1955 German edition was published by Allison and Busby in London.

The autobiography of George Grosz (1893—1959), the great German artist and satirist, is crammed with unique anecdotes and reminiscences. More than just a chronicle of his own life, it becomes in effect a history of the modern movement and is, says the Stuttgarter Zeitung, "a glorious, exciting book".

Grosz recalls his Pomeranian childhood, army life during the First World War, revolution and hunger in its aftermath, the frenzied, disjointed world of Dadaism and Nazism in the Weimar Republic. He describes the cafés, beer-cellars and studios of Paris and Berlin, a dangerous but optimistic journey to Soviet Russia and final emigration to the United States — less than a month before the Nazis came to power.

He conjures up an exciting period and the central figures, the intellectual outsiders, who were responsible for shaping it — a colourful and unforgettable crowd, the artists and writers and film people and political activists, Dali, de Chirico, Rosa Luxemburg, Thomas Mann, Lenin, Brecht, Dos Passos, Joseph von Sternberg, Trotsky, and many others.

Grosz was the most rebellious and explosive of artists, the scourge of militarism, capitalism and the bourgeoisie in the 1920s, whose lines "tore like barbed wire" and whose life and work became a legend. His autobiography is a rich, enjoyable book, here fully available in English for the first time.

Very Good copy, VG dust jacket.

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1977 printing of this definitive monographic study of German painter and printmaker, Otto Dix (1891—1969). Written by Fritz Löffler in the original German language, the books presents a large plate section of reproduced paintings and drawings in colour and b/w, including fold-out panels, spanning his entire career. One of the most important artists of the Neue Sachlichkeit (New Objectivity), which also attracted George Grosz and Max Beckmann in the mid 1920s. Dix was noted for his ruthless and harshly realistic depictions of German society during the Weimar Republic and the brutality of war. A veteran haunted by his experiences of WWI, his first great subjects were crippled soldiers, but during the height of his career he also painted nudes, prostitutes, and often savagely satirical portraits of celebrities from Germany's intellectual circles. His work became even darker and more allegorical in the early 1930s, and he became a target of the Nazis, defining Dix as one of Germany's most 'degenerate' artists. Through his art, he had committed a 'violation of the moral sensibilities' of the nation and forced to promise to paint only inoffensive landscapes. His paintings that were considered "degenerate" were discovered in 2012 among the 1500+ paintings hidden away by the son of Hitler's looted-art dealer Hildebrand Gurlitt.

Very Good copy in VG dust jacket, light wear to extremities (preserved under mylar wrap).

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First (out-of-print) Amphetamine Sulphate edition.

“Andrea’s gore was dark red, nearly brown, and smelled of meat and piss. She must have wet herself on account of all the drugs…”

California brings out the fucking worst in people. Makes them junkies, whores, killers - failed saints, predatory sinners. Must be something in the land or maybe the water. Something old and evil. Waiting. The Magician is an incantatory trip to this cursed heart of darkness. A modern horror tale of sexual violence and deep psychological harm. Unflinchingly narrated in spare, economic prose climaxing in hallucinatory brutality, Christopher Zeischegg has conjured a dark fable of the American dream as it slides into unending nightmare.

Christopher Zeischegg is a writer, musician, and filmmaker who spent eight years working in the adult industry as performer Danny Wylde. His other books include The Wolves That Live in Skin and Space and Body to Job. He lives in Los Angeles.

Very Good copy with light wear to extremities.

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Quickly out-of-print, inaugural and solitary volume of the UK noise music magazine, As Loud As Possible, published in 2010 and edited by Chris Sienko and Steve Underwood (Harbinger Sound). Not surprisingly an instant collector's item, this first ambitious issue (named after the Incapacitants 1995 album) is packed with articles, interviews and reviews with both "seminal and newly emerging sound artists that specialize in atonal sonic brutality." Runzelstirn & Gurgelstock, Broken Flag (Maurizio Bianchi, Unkommuniti, Mauthausen Orchestra, Satori, Controlled Bleeding, Irritant, JFK, Mauro Teho Teardo (M.T.T.), Con-Dom Sigillum S, Agog, Giancarlo Toniutti, Vortex Campaign, Le Syndicat, Krang....), No Fun, Putrefier, Sewer Election, The Haters, The Rita / Sam McKinlay, Zone Nord / Jean-Luc Angles (Blowhole, Prick Decay, Small Cruel Party), Cheapmachines, Climax Denial, Interchange fanzine, Alien Brains / Storm Bugs / Anti-Messthetics, and much more...

Contents: “Runzelstirn & Gurgelstock: “Artaud, Aktionkunst, Abreaction and Eb.er” : texts by Alice Kemp, accompanied by new drawings from Rudolf Eb.er, and a detailed “Aktiongraphy”; The Broken Flag Story: An extensive indepth interview with Gary Mundy, covering the career of Ramleh, the complete output of his legendary Broken Flag record label, and also featuring new interviews with the artists responsible for those releases, including: Maurizio Bianchi, Unkommuniti, Mauthausen Orchestra, Satori, Controlled Bleeding, Irritant, JFK, Mauro Teho Teardo (M.T.T.), Con-Dom Sigillum S, Agog, Giancarlo Toniutti, Vortex Campaign, Le Syndicat, Krang and many more, plus unseen artwork and photographs; No Fun: Festival curator Carlos Giffoni talk about the New York festival's past, present and future, and covers his work with the No Fun Productions label. The Politics of HNW: The Rita’s Sam McKinlay talks about the obsessive nature of the harsh-head. Includes a list of Sam's essential Wall Noise picks spanning the past two decades. An excellent introduction to wall-riding; 30 Years of The Haters: G.X. Jupitter - Larsen provides a personal history, as well as a delineation of his ideas, methods, and tricks accrued over three decades. The inside story from the man who has made entropy his life's work. Putrefier: An interview with Mark Durgan, covering his twenty years in the UK's wilderness, from Birthbiter's heyday to the present-day. Includes reminiscences from Andy Bolus about their infamous duo project, Olympic Shit Man! Sewer Election: Sweden's loudest, Dan Johansson talks about his music, ideas, art and running a tape label. Interview by Mikko Aspa of Grunt; Zone Nord: An album -by- album look at the discography of this retired French noise legend, including brief commentary from Mr Zone Nord himself, Jean-Luc Angles; Apraxia: An interview with Patrick Barber, the man behind the label. Covers the output of this legendary label who released Blowhole, Prick Decay, Small Cruel Party and others in the early '90s; Cheapmachines: An interview with London sound-sculpter and all-'round sonic chameleon Phil Julian.
Climax Denial: An interview with this Milwaukee-based Power Electronics lecher, including an album-by-album analysis; Alien Brains, Storm Bugs and Anti-Messthetics: A study of the non-careers of two early eighties UK outfits that were very much connected. Includes input from some of the key players, plus lots of vintage artwork; Interchange: A look at this influential UK fanzine from the mid-80s, plus an interview with its creator, John Smith. Tunnel Canary: G. X. Jupitter - Larsen tells us about his first memories in Vancouver of this volatile bunch. IDES: An overview of the primary output of this American tape label, and an interview with its owner, Nicole Chambers; Classic Albums: A regular feature dedicated to both in-depth analysis and memories of overlooked but not forgotten gems from yesteryear. Issue #1 features articles on The Lemon Kittens (We Buy A Hammer For Daddy), XX Committee (Network) and RJF (Greater Success In Apprehensions & Convictions). A collection of thoughts and interviews, including an exclusive interview with ex- XX front-man, Scott Foust. Opinion Columns: A regular feature from a rotating pool of participatory players with the music they ponder. Includes John Olson (Wolf Eyes), Andy Ortmann (Panicsville), Mikko Aspa (Grunt), Steve Underwood (Harbinger Sound), Hicham Chadly (Nashazphone), Jonas Kellagher (Segerhuva), C. Spencer Yeh (Burning Star Core) and Mark Wharton (Idwal Fisher) amongst others. Covering artists including Masonna, Vomir, and The Black Phelgm, and ranging from Bizarre Uproar all the way to Christian bluegrass bluegrass music! Extensive reviews section. Back cover artwork by Richard Rupenus (The New Blockaders).

Very Good copy with light wear.

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