World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
Thu–Fri 12–6
Sat 12–5
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
Art
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Photography
Fashion
Eros
LGBTQ+
Fiction / Poetry
Weird / Speculative / Science Fiction / Horror
Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
Film / Video
Painting
Sculpture / Installation
Performance / Dance / Theater
Drawing
Sound / Music
Curatorial
Group Shows / Collections
Periodicals
Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Fiction
Australian Science Fiction / Speculative Fiction
Australian Poetry
Australian Photography
Japanese Photography
Conceptual Art
Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Philosophy
Psychoanalysis
Anthropology
Anarchism
Socialism / Anarchism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism / Women's Studies
Gender Studies / Sexuality
Anthropology
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
<a href=http://wfb.public-office.info/artist/john-nixon>All titles by John Nixon
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2002, Japanese / English
Hardcover (w. dust jacket + obi), 132 pages, 37.2 x 26.1 cm
1st Edition, Out of print title / used / very good
Published by
Bunyusha / Tokyo
$180.00 - In stock -
Beautiful, over-sized hardcover first edition of IZUMI,this bad girl., the stunning collection of Araki's photographic collaborations with Japanese sci-fi author, actress and countercultural icon, Izumi Suzuki. A gorgeous example of Araki's early work and one of his most sought after books, now long out-of-print. Because of Izumi's relationship with Araki, the photos are particularly intimate, capturing the singular, but tragically short life of Suzuki. The iconoclastic Izumi debuted as a writer at the age of 20. From the stage (as a member of Shuji Terayama's underground theatre troupe Tenjo Saijiki), the screen (as "pink" film actress), the image (as model and muse to photographer Nobuyoshi Araki), the page (as celebrated pop culture essayist and proto-cyberpunk author), through to the life between with marriage to free jazz alto-saxophonist Kaoru Abe and suicide at age 36 — Izumi's was a life as adventurous and tumultuous as the art she made and the counterculture she inhabited. She took her own life in 1986, leaving behind a decade’s worth of groundbreaking and influential writing.
"Izumi has been, still is THE woman in A's heart"—Nobuyoshi Araki
Very Good copy in dust jacket and obi.
1980, Japanese
Softcover, 134 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Roman–Sha / Tokyo
$70.00 - In stock -
Very rare copy of SM Scarlet Notebook, "a romance magazine of love and perversion", launched in 1978 by Roman Publishing, Tokyo, and running until 1980. Full of high quality full–colour and b/w graveur bondage photo galleries, erotic stories and artworks, with contributions from leading artists such as Teizo Hayashi, Nureki Chimuo, and Kaoru Roppongi, who famously collaborated with Dan Oniroku and Naomi Tani.
Very Good copy.
1980, Japanese
Softcover, 164 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Daikyosha / Tokyo
$80.00 - In stock -
Rare copy of Special S&M, a niche BD magazine founded by SUN & MOON's Keiich Seta, who also contributed to Kitan Club and SM Mirage, and edited by bondage master Shima Shikou, who was extremely prolific editing roughly 10 SM magazines a month around this time. Contributors also included Kaoru Roppongi. Special S&M inherited the style of SUN & MOON as a practical and tutorial magazine for enthusiasts of deviant love, heavy in personal expression of niche fetishes and detail on methods and equipment. This issue features a huge special feature on medical fetish equipment and DIY servomotor information for homemade vibrators! It also pushes the boundries of SM under the supervision of Shima Shikou, who is well known for his experimental artistic extremes featured also in S&M Sniper, SM Spirits, Speculum, Spiral, etc., his prolific live actions, he also taught rope bondage and set up his own imprint... Profusely illustrated with full–colour photo galleries and b/w photography throughout. The magazine continued until 1983.
VG tanning to spine edges, light dustiness to top of block.
1979, English
Softcover (staple-bound), unpaginated, 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
Belier Press / New York
$80.00 - In stock -
First 1979 edition of Amateur Bondage Vol. 2, collecting almost 250 photographs of women in bondage from the extensive photography archives of Irving Klaw. "All Genuine, all original"! Wildly creative image making by non-professional photographers, models and fetish enthusiasts, which were originally sold through mail-order c. 1950-1956 by the late Klaw.
Irving Klaw (1910-1966), self-named the "Pin-up King", was a hugely influential American merchant of sexploitation, fetish, and Hollywood glamour pin-up photographs and films. In the history of heterosexual BDSM in the 20th century, Klaw was a curious paradox. He was a non-kinky person who produced and sold arguably more BDSM imagery than anyone before or since. He became a symbol for the cause of sexual freedom, and a martyr to anti-sex initiatives by the Federal government, yet he was non-political, uninterested in activism and never intended to be a martyr for anything. He was a business man who came from humble, working-class beginnings. Klaw worked closely with models like Bettie Page, June King, Joan Rydell, Jackie Miller, et al. for his photography and films. Inspired by John Willie, Klaw also commissioned and distributed illustrated adventure/bondage chapter serials by fetish artists Eric Stanton, Gene Bilbrew, Adolfo Ruiz, and others. Irving Klaw is a central figure in what fetish art historian Richard Pérez Seves has designated as the "Bizarre Underground," the pre-1970 fetish art years.
Good–VG copy with only light wear, but back cover has some clipping to edges, most likely for a make–shift Roach/Crutch :).
1979, Japanese
Softcover (w. dust jacket), 124 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Daisan Shokan / Tokyo
$290.00 - In stock -
Incredibly rare and collectible 1979 first edition of the amazing "One Night Carnival", one of the finest cult photo books of Japanese motorcycle gangs of the 1970s (Bōsōzoku). Published by Daisan Shokan, this stylishly designed book is packed cover—to—cover with 100s of immersive photographs by Fumiaki Fukada, Yuji Moriya, Kazutoshi Sumitomo, and Mutsuhito Fujio of this explosive period of teenage biker gang subculture and runaway tribes — the gatherings, the adrenaline, the drama, the style — right down to the gang insignia, flags, tattoos, jackets, weapons, haircuts... Especially great about the book is the heavy focus in the many biker girl gangs. All captured in high contrast, One Night Carnival, much like Araki's Tokyo Lucky Hole, documents an incredible fleeting moment in Japanese street culture that has long disappeared to history. A classic of the Bōsōzoku photo book genre that will appeal to any fan of Seiji Kurata.
Very Good copy in VG original dust jacket, light wear. Some old foxing to cover boards (hidden beneath dust jacket which is now preserved in mylar wrap). Light handling.
1980, Japanese
Softcover (w. dust jacket), 21.5 x 15.3 cm
1st Edition, Out of print title / used / very good
Published by
Daisan Shokan / Tokyo
$580.00 - In stock -
Incredibly rare and collectible 1980 first edition of the visually explosive cult photo book on the Japanese motorcycle gang phenomenon of the 1970s, "The Bosozoqu", designed by editor Hideki Kimura, with photography by Seiji Kurata ("Flash Up"), Muji Moriya, Ryosuke Kagiwada, Yuichi Nagata, and others. Published by Daisan Shokan, this has to be the most incredible book of this wild period of 1970's teenage biker gang subculture and runaway tribes. It's all packed in here — the gangs, the gatherings, the adrenaline, the drama, the style — right down to the gang insignia, flags, tattoos, jackets, graffiti, weapons, haircuts, fashions, altercations — compiled here in this maniac design of Kimura's that matches the violent nature of the culture. Cover-to-cover full-bleed, high contrast collage photo scrapbook style, with loads of airbrushed graphics and insane type-design. An art book as much as it is a photo book, and a book like no other. Much like Araki's Tokyo Lucky Hole, The Bosozoqu documents an incredible fleeting moment in Japanese street culture that has long disappeared to history. A must have classic of the Bōsōzoku photo book genre!
Very Good copy in Good original dust jacket. Some light wear, foxing and ripple to back few pages/back cover (hidden beneath dust jacket which is now preserved in mylar wrap). Otherwise a sharp, tight, internally clean copy. Includes all original publisher's inserts in place.
1969, Japanese / French
Softcover, 232 pages, 23 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Tensei Shuppan / Tokyo
$110.00 - In stock -
Revue de Érotologie, Homosexualité, Sadisme, Masochisme, Fétischisme, Narcissime, Infantilisme, Magie, Occultisme, Humour Noir, Complexe Psychisme. What more could you ask for? Le Sang Et La Rose is a masterpiece of the Japanese underground. A groundbreaking, powerful, yet short-lived Japanese arts and literary journal published in Tokyo from late 1968—mid 1969, published in a total of four luxurious, now collectible, volumes. The first three issues were edited by Tatsuhiko Shibusawa (1928—1987), a legendary, controversial Japanese novelist, art critic, translator of French writers such as Jean Cocteau, Georges Bataille and Marquis de Sade, and specialist in medieval demonology. The importance of this magazine to the Japanese avant-garde and radical culture cannot be overstated.
Born from a period of political, social and economical turmoil in Japan, Le Sang Et La Rose may be understood as a emblematic distillation and product of the late ‘60s student rebellion and anti-authoritarian underground culture. Wilfully politically subversive, the publication drew upon a vast range of perspectives - from criticism, literature, obscure esoteric sciences, art, eroticism, radical avant-garde and a historical-rooted Japanese counterculture; featuring literature, theory, art, photography, illustration and graphic design from the most innovative and subversive Japanese and international (predominately French) artists, authors and critics, spanning the themes above. As instigator, Tatsuhiko Shibusawa in effect formulated the magazine’s design to be a spiritual and political operative that would weaponize its readers minds. This stance was made clear in the 1969 manifesto text — "My 1969" — in which Shibusawa discuss' how he perceived the ‘60s as being the age of ideas, ideas as weapons, and outlined a distain towards systems of power, moralism, State oppression, sanitised and harmless liberalism, dogmatic academic sciences and an outright distrust for ideological, progressive literary scholars who advocate "freedom of expression", but have never caused friction with the judicial power. The magazine sketched out an aim to push towards a new kind of personal freedom, intellect, autonomy and moral compass. Here, the concept of ‘erotism’ — as discussed by Georges Bataille in his highly influential 1957 book "Erotism: Death and Sensuality" — acts as a critical force.
Issue no. 3 (with cover by Bronzino, 1554) includes full-colour photographic feature by Kishin Shinoyama ("Virgin In Uniform" featuring models/artists Angela Asaoka, Akaji Maro, Yoko Ashikawa) and beautiful Shomei Tomatsu photo feature ("Scoptophilia"), the artwork of the great French cross-dressing painter-photographer Pierre Molinier, texts by Jirō Kawamura, Yumiko Kurahashi, Taruho Inagaki ("Memories of Hemorrhoids or "New Tsurezuregusa"), Akiyuki Nosaka ("Dear Penis, Goodbye"), Minoru Minamihara ("The Mystic Thought of Love in the Case of Jakob Böhme"), Takiji Kobayashi, The Fictitious Garden of Babylon by Tatsuhiko Shibusawa, Tsunekazu Murata ("Witch's Ax : Concerning Heresy in Medieval Europe"), translation of Franz Kafka "Metamorphosis" illustrated by Franco Gentilini, recent research on homosexuality by film critic Jin'ichi Uekusa, Kama Sutra, more Gay (Danshoku) Japanese Theater history, Marquise de Blancvilliers by Koji Nakata, and much more.
Tatsuhiko Shibusawa (1928—1987), was a well-known and controversial Japanese novelist, art critic, and translator of French writers such as Jean Cocteau, Georges Bataille and Marquis de Sade. In 1960 he and his publisher, Kyōji Ishii, were trialled for public obscenity over the publishing of Shibusawa's translation of de Sade's Juliette into the Japanese language. What was to be known as the "Sade Trial" took 9 years and although many of Japan's leading authors testified for the defense, in 1969 the Japanese Supreme Court ruled them guilty and charged. This did not deter Shibusawa, whose essays on black magic, demonology and eroticism were popular reading in Japan, and in 1981 he was awarded the 9th Izumi Kyoka Literature Prize.
Very Good copy. Light general tanning/wear.
2015, English
Softcover, 74 pages, 23 x 15.2 cm
Published by
Theophania Publishing / Canada
$40.00 - Out of stock
Some praise the idea of Faith. To believe that they are Gods (or anything else) would make them such-proving by all they do, to be full of its non-belief. Better is it to admit incapacity or insignificance, than reinforce it by faith; since the superficial "protects" but does not change the vital. Therefore reject the former for the latter. Their formula is deception and they are deceived, the negation of their purpose. Faith is denial, or the metaphor Idiotcy, hence it always fails. To make their bondage more secure Governments force religion down the throats of their slaves, and it always suceeds; those who escape it are but few, therefore their honour is the greater. When faith perishes, the "Self" shall come into its own. Others less foolish, obscure the memory that God is a conception of themselves, and as much subject to law. Then, this ambition of faith, is it so very desirable? Myself, I have not yet seen a man who is not God already.
1921 / 2018, English
Softcover, 152 pages, 20.4 x 12.7 cm
Published by
One-Eye Publishing / Canada
$40.00 - Out of stock
First published February 1921 by the Morland Press in London, The Focus of Life, The Mutterings of AOS is a comprehensive treatise written by Austin Osman Spare on key occult concepts he introduced in his previous writings. The Formulae of Zos vel Thanatos (part of Spare's later magical and philosophical writings, associated with the material published and explored alongside his system in works like Zos Speaks! Encounters with Austin Osman Spare) was written during Austin Osman Spare's later creative and occult period (mid-20th century, with correspondence and materials from the 1940s–1950s collected and later published).
1904 / 2016, English
Softcover, 104 pages, 23 x 15 cm
Published by
Mockingbird Press / US
$25.00 - In stock -
This edition is a fully illustrated reprint of the 1904 publication by Aleister Crowley and Samuel Liddell MacGregor Mathers. This edition of The Lesser Key of Solomon the King contains all of the over 150 seals, sigils, and charts of the original lesser book of Solomon. Beware of other editions that do not contain the Lesser Key of Solomon seals; they were painstakingly researched by Mathers and Crowley, and Solomon’s lesser key is enhanced by their inclusion. This edition also contains Crowley’s original comments located in over 35 annotations to help the reader understand the lesser keys of Solomon the king.
In this work, Crowley and Mathers assemble descriptions and directions for the invocation of over 72 demons or spirits. Included are: illustrations of Solomon’s Magic Circle & Triangle, Enochian translations of the Goetia book, step by step guides for invocation, as well as definitions and explanations for the ancient terms seen throughout the Lesser Key of Solomon book.
The Lesser Key of Solomon, or the Clavicula Salomonis Regis, or Lemegeton, is a compilation of materials and writings from ancient sources making up a text book of magic or “grimoire.” Portions of this book can be traced back to the mid-16th to 17th centuries, when occult researchers such as Cornelius Agrippa and Johannes Trithemisus assembled what they discovered during their investigations into their own great works.
As a modern grimoire, the Lesser Key of Solomon has seen several editions with various authors and editors taking liberty to edit and translate the ancient writings and source material. In 1898, Arthur Edward Waite published his The Book of Black Magic and of Pacts, which contained large portions of the Lemegeton. He was followed by Mathers and Crowley in 1904 who published The Goetia: The Lesser Key of Solomon. Many others have assembled their own version of this ancient material since, and it is important to realize that it is the contents rather than the book itself that make up the Lesser Key. Traditionally, the source material is divided into five books: Ars Goetia, Ars Theurgia Goetia, Ars Paulina, Ars Almadel, and Ars Notoria. Mathers and Crowley indicate their edition is a translation only of the first book: Goetia.
In the preface to this edition, it is explained that a “Secret Chief” of the Rosicrucian Order directed the completion of the book. The original editor was a G. H. Fra. D.D.C.F. who translated ancient texts from French, Hebrew, and Latin, but was unable to complete his labors because of the martial assaults of the Four Great Princes. Crowley was then asked to step in and finish what the previous author had begun. Traditionally, S. L. MacGregor Mathers is credited as the translator of this edition, and Crowley is given the title of editor. Although impossible to verify, it is often claimed that Mathers did not want to publish this work, but Crowley did so anyway without his permission.
Aleister Crowley was an English occultist, ceremonial magician, poet, painter, novelist, and mountaineer. He founded the religion of Thelema, identifying himself as the prophet entrusted with guiding humanity into the Æon of Horus in the early 20th century. Born to a wealthy Plymouth Brethren family in Royal Leamington Spa, Warwickshire, Crowley rejected this fundamentalist Christian faith to pursue an interest in Western esotericism. He was educated at the University of Cambridge, where he focused his attentions on mountaineering and poetry, resulting in several publications. In 1898 he joined the esoteric Hermetic Order of the Golden Dawn, where he was trained in ceremonial magic by Samuel Liddell MacGregor Mathers and Allan Bennett. Moving to Boleskine House by Loch Ness in Scotland, he went mountaineering in Mexico with Oscar Eckenstein, before studying Hindu and Buddhist practices in India. He married Rose Edith Kelly and in 1904 they honeymooned in Cairo, Egypt, where Crowley claimed to have been contacted by a supernatural entity named Aiwass, who provided him with The Book of the Law, a sacred text that served as the basis for Thelema. Announcing the start of the Æon of Horus, The Book declared that its followers should adhere to the code of "Do what thou wilt" and seek to align themselves with their Will through the practice of magick. After an unsuccessful attempt to climb Kanchenjunga and a visit to India and China, Crowley returned to Britain, where he attracted attention as a prolific author of poetry, novels, and occult literature. In 1907, he and George Cecil Jones co-founded a Thelemite order, the A∴A∴, through which they propagated the religion. After spending time in Algeria, in 1912 he was initiated into another esoteric order, the German-based Ordo Templi Orientis (O.T.O.), rising to become the leader of its British branch, which he reformulated in accordance with his Thelemite beliefs. In 1920 he established the Abbey of Thelema, a religious commune in Cefalù, Sicily where he lived with various followers. His libertine lifestyle led to denunciations in the British press, and the Italian government evicted him in 1923. He divided the following two decades between France, Germany, and England, and continued to promote Thelema until his death.
Samuel Liddell MacGregor Mathers was born in 1854 in London, England. He attended Bedford School and, after graduating, began work as a clerk in Dorset. His father died while he was a young boy, and his mother died while he was in his thirties. Shortly after his mother's death, he moved from Dorset to London. He was married to Monia Bergson, the sister of the philosopher Henri Bergson. Mathers was a freemason - raised as a Master Mason in 1878. In 1882 he was admitted to the Metropolitan College of the Societas Rosicruciana in Anglia (SRIA) as well as a number of fringe Masonic degrees. Working hard both for and in the SRIA, he was awarded an honorary 8th Degree in 1886. Upon the death of William Robert Woodman in 1891, Mathers assumed leadership of the Hermetic Order of the Golden Dawn. He moved with his wife to Paris on 21 May 1892. After his expulsion from the Golden Dawn in April 1900, Mathers formed a group in Paris in 1903 called Alpha et Omega (its headquarters, the Ahathoor Temple). Mathers assumed the title of "Archon Basileus". Mathers was a polyglot; among the languages he had studied were English, French, Latin, Greek, Hebrew, Gaelic and Coptic - though he had a greater command of some languages than of others. His translations of such books as The Book of Abramelin (14thC.), Christian Knorr von Rosenroth's The Kabbalah Unveiled (1684), Key of Solomon (anonymous 14thC.), The Lesser Key of Solomon (anonymous 17thC.), and the Grimoire of Armadel (17thC.), while probably justly criticized with respect to quality, were responsible for making what had been obscure and inaccessible material widely available to the non-academic English speaking world. His works have had considerable influence on the development of occult and esoteric thought since their publication, as has his consolidation of the Enochian magical system of John Dee and Edward Kelley. Mathers died in November 1918 in Paris. The manner of his death is unknown; his death certificate lists no cause of death. Violet Firth claimed his death was the result of the Spanish influenza of 1918. While this seems likely, few facts are known about Mathers's private life, verification of such claims is difficult.
1980, Japanese
Softcover (w. dust jacket), 114 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Seven Sha / Tokyo
$550.00 - In stock -
Rare first edition of Kohei Yoshiyuki's cult classic photo book, Document: The Park (Document Park), published in 1980 by Seven Sha, Tokyo. Yoshiyuki's voyeuristic masterpiece, The Park is like no other photo book. A controversial volume of 74 photographs taken by the photographer using a 35mm camera, infrared film, and flash, Yoshiyuki documented a secret community of lovers and voyeurs who gathered in Shinjuku Park and Yoyogi Park between 1971 and 1973. His pictures document the people who gathered in these parks for clandestine trysts under the cloak of darkness, as well as the many spectators lurking in the bushes who watched—and sometimes participated in—these couplings. With their raw, snapshot-like quality, these images not only uncover the hidden illicit sexual encounters of their subjects, both homosexual and heterosexual, but they also serve as a chronicle of a Japan we rarely see. As Martin Parr writes in The Photobook: A History, Volume II, The Park is "a brilliant piece of social documentation, capturing perfectly the loneliness, sadness and desperation that so often accompany sexual or human relationships in a big, hard metropolis like Tokyo."
A beautifully printed book, with original dust-jacket. Includes two conversations with Kohei Yoshiyuki with Kenichi Matsumoto and Nobuyoshi Araki.
Kohei Yoshiyuki (b. 1946—2022) came to recognition in 1972 when material from his photo project “The Park” was featured in magazine Shukan Shincho, and a year later, in respected photo journal Camera Mainichi. However, it was the 1979 photo exhibition “The Park” at Komai Gallery and 1980 photo book “Document: The Park” that established him within the contemporary photographic landscape. Since then, Yoshiyuki was a recurrent fixture in Japan debauchery journal Super Photo Magazine along photographers: Nobuyoshi Araki, Daido Moriyama, Keizo Kitajima and Seiji Kurata.
Very Good copy in Good dust jacket with usual tanning to spine edge, wear to extremities, and dj corner tear hidden inside jacket fold (blank black area, not affecting any content). Otherwise a well preserved copy.
1980, Japanese
Softcover, 112 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$50.00 - In stock -
Rare early issue of the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. Fool's Mate Vol. 13 August 1980. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/cafe adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This issue "La Pop Metaphysique" with cover feature on the history of King Crimson (Part 1) with in-depth chronology, the history of German Rock Music part 1 (Amon Düül I and II, Gila, Kluster, Neu!, Harmonia, Conrad Schnizler, Klaus Schulze, Tangerine Dream, Can, Sky Records, Roedelius, Moebius, etc), "Pop Music for all the Schizoid-Human & Schizoid-Ages" (Suicide, James Chance, Monochrome Set, etc.), Slapp Happy/Peter Blegvad/Kew Rhone/Amateur/Henry Cow/Faust, "The Real Story of National Health", "U.S.A. Free Music" (L.A.F.M.S., Trans Museq, Henry Kaiser, etc.), Georges Bataille, Gunjogacrayon, Metabolist, David Bowie, Etron Fou Leloublan, Mario Millo, PFM, Ralph Lundsten, Memoriance, and much more. Highly recommended to any fan of such things.
Very Good copy. General wear/age. Price–dropped due to one LP cover cut out of review section.
1995 / 1999, English
Softcover, 272 pages, 24.5 x 17 cm
1st Edition, Out of print title / used / very good
Published by
Creation Books / London
$80.00 - In stock -
Expanded 1999 print of the first 1995 Creation edition of Deathtripping, the first illustrated history, account and critique of the "Cinema Of Transgression", providing a long-overdue and comprehensive documentation of this essential modern sub-cultural movement and its roots in the New York art/rock and underground film scenes. Including interviews with key transgressive film-makers, including Richard Kern, Nick Zedd, Casandra Stark, Beth B, Tommy Turner, Tessa Hughes-Freeland, plus collaborators Lydia Lunch, Joe Coleman and David Wojnarowicz; studies of more recent film-makers including Jeri Cain Rossi, Richard Baylor, Todd Phillips; a brief history of underground/trash cinema: Andy Warhol, Jack Smith, George and Mike Kuchar, John Waters; notes and essays on the philosophy and aesthetics of transgression; extensive film analysis; index and bibliography. Heavily illustrated with rare and often disturbing photographs, Deathtripping is a unique document, the definitive guide to the roots, philosophy and development of a style of film-making whose influence and impact can no longer be ignored.
WARNING: CONTAINS ADULT MATERIAL
VG copy.
1904 / 2016, English
Hardcover (w. dust jacket), 112 pages, 23 x 15.25 cm
Published by
Mockingbird Press / US
$44.00 - Out of stock
This edition is a fully illustrated reprint of the 1904 publication by Aleister Crowley and Samuel Liddell MacGregor Mathers. This edition of The Lesser Key of Solomon the King contains all of the over 150 seals, sigils, and charts of the original lesser book of Solomon. Beware of other editions that do not contain the Lesser Key of Solomon seals; they were painstakingly researched by Mathers and Crowley, and Solomon’s lesser key is enhanced by their inclusion. This edition also contains Crowley’s original comments located in over 35 annotations to help the reader understand the lesser keys of Solomon the king.
In this work, Crowley and Mathers assemble descriptions and directions for the invocation of over 72 demons or spirits. Included are: illustrations of Solomon’s Magic Circle & Triangle, Enochian translations of the Goetia book, step by step guides for invocation, as well as definitions and explanations for the ancient terms seen throughout the Lesser Key of Solomon book.
The Lesser Key of Solomon, or the Clavicula Salomonis Regis, or Lemegeton, is a compilation of materials and writings from ancient sources making up a text book of magic or “grimoire.” Portions of this book can be traced back to the mid-16th to 17th centuries, when occult researchers such as Cornelius Agrippa and Johannes Trithemisus assembled what they discovered during their investigations into their own great works.
As a modern grimoire, the Lesser Key of Solomon has seen several editions with various authors and editors taking liberty to edit and translate the ancient writings and source material. In 1898, Arthur Edward Waite published his The Book of Black Magic and of Pacts, which contained large portions of the Lemegeton. He was followed by Mathers and Crowley in 1904 who published The Goetia: The Lesser Key of Solomon. Many others have assembled their own version of this ancient material since, and it is important to realize that it is the contents rather than the book itself that make up the Lesser Key. Traditionally, the source material is divided into five books: Ars Goetia, Ars Theurgia Goetia, Ars Paulina, Ars Almadel, and Ars Notoria. Mathers and Crowley indicate their edition is a translation only of the first book: Goetia.
In the preface to this edition, it is explained that a “Secret Chief” of the Rosicrucian Order directed the completion of the book. The original editor was a G. H. Fra. D.D.C.F. who translated ancient texts from French, Hebrew, and Latin, but was unable to complete his labors because of the martial assaults of the Four Great Princes. Crowley was then asked to step in and finish what the previous author had begun. Traditionally, S. L. MacGregor Mathers is credited as the translator of this edition, and Crowley is given the title of editor. Although impossible to verify, it is often claimed that Mathers did not want to publish this work, but Crowley did so anyway without his permission.
Aleister Crowley was an English occultist, ceremonial magician, poet, painter, novelist, and mountaineer. He founded the religion of Thelema, identifying himself as the prophet entrusted with guiding humanity into the Æon of Horus in the early 20th century. Born to a wealthy Plymouth Brethren family in Royal Leamington Spa, Warwickshire, Crowley rejected this fundamentalist Christian faith to pursue an interest in Western esotericism. He was educated at the University of Cambridge, where he focused his attentions on mountaineering and poetry, resulting in several publications. In 1898 he joined the esoteric Hermetic Order of the Golden Dawn, where he was trained in ceremonial magic by Samuel Liddell MacGregor Mathers and Allan Bennett. Moving to Boleskine House by Loch Ness in Scotland, he went mountaineering in Mexico with Oscar Eckenstein, before studying Hindu and Buddhist practices in India. He married Rose Edith Kelly and in 1904 they honeymooned in Cairo, Egypt, where Crowley claimed to have been contacted by a supernatural entity named Aiwass, who provided him with The Book of the Law, a sacred text that served as the basis for Thelema. Announcing the start of the Æon of Horus, The Book declared that its followers should adhere to the code of "Do what thou wilt" and seek to align themselves with their Will through the practice of magick. After an unsuccessful attempt to climb Kanchenjunga and a visit to India and China, Crowley returned to Britain, where he attracted attention as a prolific author of poetry, novels, and occult literature. In 1907, he and George Cecil Jones co-founded a Thelemite order, the A∴A∴, through which they propagated the religion. After spending time in Algeria, in 1912 he was initiated into another esoteric order, the German-based Ordo Templi Orientis (O.T.O.), rising to become the leader of its British branch, which he reformulated in accordance with his Thelemite beliefs. In 1920 he established the Abbey of Thelema, a religious commune in Cefalù, Sicily where he lived with various followers. His libertine lifestyle led to denunciations in the British press, and the Italian government evicted him in 1923. He divided the following two decades between France, Germany, and England, and continued to promote Thelema until his death.
Samuel Liddell MacGregor Mathers was born in 1854 in London, England. He attended Bedford School and, after graduating, began work as a clerk in Dorset. His father died while he was a young boy, and his mother died while he was in his thirties. Shortly after his mother's death, he moved from Dorset to London. He was married to Monia Bergson, the sister of the philosopher Henri Bergson. Mathers was a freemason - raised as a Master Mason in 1878. In 1882 he was admitted to the Metropolitan College of the Societas Rosicruciana in Anglia (SRIA) as well as a number of fringe Masonic degrees. Working hard both for and in the SRIA, he was awarded an honorary 8th Degree in 1886. Upon the death of William Robert Woodman in 1891, Mathers assumed leadership of the Hermetic Order of the Golden Dawn. He moved with his wife to Paris on 21 May 1892. After his expulsion from the Golden Dawn in April 1900, Mathers formed a group in Paris in 1903 called Alpha et Omega (its headquarters, the Ahathoor Temple). Mathers assumed the title of "Archon Basileus". Mathers was a polyglot; among the languages he had studied were English, French, Latin, Greek, Hebrew, Gaelic and Coptic - though he had a greater command of some languages than of others. His translations of such books as The Book of Abramelin (14thC.), Christian Knorr von Rosenroth's The Kabbalah Unveiled (1684), Key of Solomon (anonymous 14thC.), The Lesser Key of Solomon (anonymous 17thC.), and the Grimoire of Armadel (17thC.), while probably justly criticized with respect to quality, were responsible for making what had been obscure and inaccessible material widely available to the non-academic English speaking world. His works have had considerable influence on the development of occult and esoteric thought since their publication, as has his consolidation of the Enochian magical system of John Dee and Edward Kelley. Mathers died in November 1918 in Paris. The manner of his death is unknown; his death certificate lists no cause of death. Violet Firth claimed his death was the result of the Spanish influenza of 1918. While this seems likely, few facts are known about Mathers's private life, verification of such claims is difficult.
1989, English / Italian
Softcover (w. dust jacket), 126 pages, 31 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Glittering Images / Florence
$90.00 - Out of stock
Rare first 1989 edition of The Art of John Willie: Sophisticated Bondage, 1946-1961. This oversized volume edited by Riccardo Morrocchi and Stefano Piselli, in collaboration with Marco Giovannini and Eric Stanton, was published by the mighty Glittering Images, Florence, and filled cover–to–cover with hundreds of bondage photographs and iconic illustrations by the pioneering underground fetish artist John Willie. Text in Italian and English.
John Alexander Scott Coutts (1902–1962), better known by the pseudonym John Willie, was an artist, fetish photographer, cartoonist, specialty shoe designer, and the publisher and editor of the first 20 issues of the trail–blazing fetish magazine Bizarre. John Willie was not just a pivotal underground artist; he was a visionary who redefined the cultural boundaries of his time. Through Bizarre magazine and his creation of Sweet Gwendoline, he provided a space for people with unconventional desires to find community, expression, and acceptance in a society that often sought to repress them. His work balanced humor, fantasy, and artistry, pushing fetish culture into the limelight in a way that was both daring and sophisticated. His work has inspired countless artists ever since.
VG copy in G–VG gloss dust jacket, wear/age to extremities. First edition, second print.
1992, English
Hardcover (w. dust jacket), 184 pages, 24.7 x 17 cm
1st Edition, Out of print title / used / fine
Published by
D.A.P. / New York
$65.00 - Out of stock
First hardcover edition of the first comprehensive title on the artwork of Wallace Berman (outside of an exhibition catalogue published in 1978), and includes insights from people close to him, Walter Hopps, Tosh Berman, David Meltzer, Michael McClure, and others. Profusely illustrated throughout with B&W and colour images of his work.
Wallace "Wally" Berman (1926–1976) was an American experimental filmmaker, assemblage, and collage artist and a crucial figure in postwar California art. A biting and prescient critic of American visual culture, associated with the Beat Generation and known for his magnetic personality and aversion to publicity, Wallace Berman is considered to be one of the most innovative artists to have worked with photography. With his Verifax (an early copying machine) collages, record covers, Polaroid transfers, art and poetry journal, and filmmaking, Berman was among the first artists to appropriate mass, popular, and advertising imagery. His use of appropriation, and his keen critique of the Modernist ideal of originality, places him alongside the first generation of Pop artists as a major innovator. He was among the first L.A.-based artists who developed the potential of the photograph as an object that could be used as raw material for making art.
NF copy in VG dust jacket with light wear to extremities.
2019, English
Softcover (w. flexi-disc), 280 pages, 26 x 21 cm
Ed. of 2500,
Published by
Primary Information / New York
$65.00 - In stock -
Broken Music is an essential compendium for records created by visual artists. The publication was edited by Ursula Block and Michael Glasmeier and originally published in 1989 by DAAD. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.
It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.
Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists.
Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.
Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art.
Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.
1989, English / German / French
Softcover (w. flexi-disc), 280 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Daadgalerie / Berlin
Gelbe Musik / Berlin
$180.00 - In stock -
Rare first 1989 edition of Broken Music, an essential compendium for records created by visual artists. Complete with original flexi-disc. The publication was edited by Ursula Block and Michael Glasmeier and published in 1989 by DAAD and Gelbe Musik, Berlin. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.
It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.
Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists.
Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.
Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art. She was married to curator René Block.
Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.
Very Good copy all-round, light cover/corner wear.
1991, Spanish / English
Softcover (staple–bound), 20 pages, 21.5 x 17.5 cm
1st Edition, Out of print title / used / very good
Published by
Clemente Padín / Uruguay
$15.00 - In stock -
Very rare catalogue published to accompany the mail–art (arte-correo) exhibition ¡Basta de Excusas! held in Montevideo, Uruguay, in 1991 in support of Amnesty International. Organized by an important figure in the mail–art movement, experimental poet, artist and graphic designer, performer, curator, video-artist, and networker, Clemente Padín (b. Uruguay, 1939), this collaborative mail art initiative and exhibition was created to support the human rights campaigns and work of Amnesty International, such as the abolishment of Apartheid in South Africa, political prisoners in Latin America, calling on participants from all over the world to submit postal artworks for the exhibition. Illustrated throughout with texts from Padín, the catalogue features the full listing of participants with their postal addresses.
VG copy, light wear.
1974, English
Hardcover, 150 pages, 29 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Belier Press / New York
$160.00 - Out of stock
Rare 1974 hardcover volume published by Belier Press, New York, collecting in large format the illustrated comic strip stories of John Willie's iconic Sweet Gwendoline. A masterpiece of pioneering fetish illustration, Sweet Gwendoline follows a naïve, curvaceous blonde damsel in distress who repeatedly finds herself tied up, alongside Secret Agent U-89 and the villain Sir Dystic D'Arcy.Legacy, first serialized in Robert Harrison's girlie magazine Wink from June 1947 to February 1950, and became a cult classic and a major influence on modern fetish subculture and alternative comics. This first English edition was hugely popular and was later translated to French, German and Italian editions, and re–printed many times. The book opens with a foreword, biography, bibliography and John Willie correspondence, followed by the collected Sweet Gwendoline comic works, and a beautiful section to close of full–colour reproductions of John Willie's watercolour fetish works.
John Alexander Scott Coutts (1902–1962), better known by the pseudonym John Willie, was an artist, fetish photographer, cartoonist, specialty shoe designer, and the publisher and editor of the first 20 issues of the trail–blazing fetish magazine Bizarre. John Willie was not just a pivotal underground artist; he was a visionary who redefined the cultural boundaries of his time. Through Bizarre magazine and his creation of Sweet Gwendoline, he provided a space for people with unconventional desires to find community, expression, and acceptance in a society that often sought to repress them. His work balanced humor, fantasy, and artistry, pushing fetish culture into the limelight in a way that was both daring and sophisticated. His work has inspired countless artists ever since.
G–VG copy with tanning and foxing to block edges. First edition, fourth print.
2025, English
Hardcover (w. dust jacket), 416 pages, 26 x 19.8 cm
Published by
FAB Press / UK
$110.00 - In stock -
Back in print at last! Exclusively re-issued in hardcover. First published in 2008, this is the Updated and Amended re-issue of Behind the Pink Curtain, the definitive study of Japan's pinku eiga film genre.
Behind the Pink Curtain takes the reader on a wild joy ride deep into the hinterlands of Japanese culture, society and radical politics by way of the weird and wonderful world of the country’s distinctive sex film movements.
Jasper Sharp’s definitive study focuses on one of the most notorious sectors of Japanese filmmaking, the erotic Pink Film, or pinku eiga genre, and the closely related Roman Porno films produced by Nikkatsu studios from 1971 to 1988. From the early ’60s onwards major Japanese film studios and independent producers alike have kept up a conveyor belt level of output of pornographic features intended purely for cinema release. Up until the 2010s, just short of 100 such titles were shot on 35mm every year intended for screening in a specialist network of adult cinemas across the nation. Many such films have been released on home video in the West or screened at international film festivals, while a significant number of Japan’s most noted filmmakers today cut their teeth in this industry.
Based on extensive interviews with many of the leading figures in the field, Behind the Pink Curtain is a colourful and exhaustive exposé of Japan’s most vibrant and prolific filmmaking sector.
Lavishly illustrated throughout in colour and black and white.
Jasper Sharp is a writer and filmmaker based in the UK and co-founder, with Tom Mes, of Midnight Eye (www.midnighteye.com), the first online resource on Japanese cinema in the English language. His other books include The Midnight Eye Guide to New Japanese Film (2003, with Mes), The Historical Dictionary of Japanese Cinema (2011) and The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds (Alchimia, 2015). His doctorate degree from the University of Sheffield was on the subject of 'Japanese Widescreen Cinema: Commerce, Technology and Aesthetics.'
2003, Japanese
Softcover, 160 pages, 24 x 18 cm
1st Edition, Out of print title / used / fine
Published by
Atelier Peyotl / Tokyo
$60.00 - Out of stock
"Gothic" Special Feature Issue of cult Japanese underground magazine Yaso, published in 2003, edited by Yuichi Konno and Atelier Peyotl (publishers of Night Vision/Yaso/Peyotl/Wave/Silvester Club...). Heavily illustrated with texts in Japanese with in-depth profiles, interviews with and essays on Trevor Brown, Gottfried Helnwein, Kuniyoshi Kaneko, ero-manga master Keizo Miyanishi, influential Gothic Lolita illustrator Mitsukazu Mihara, Floria Sigismondi, Marilyn Manson, Alice Auaa, loads of "Modern Primitive" material (piercing, body modification, body performance, etc.), and much more...
Near Fine copy.
1982, Japanese
Softcover (staple–bound), 82 pages, 27 x 20.5 cm
1st Edition, Out of print title / used / good
Published by
Soryusha / Tokyo
Tatsumi / Tokyo
$80.00 - In stock -
Very early issue of Peeper magazine, a highly collected subcultural sex industry voyeur magazine printed in Tokyo during the 1980s. Established by Tatsumi Publishing in 1981 as a supplement to Soft Focus magazine, Peeper was created in the wake of the explosive popularity of mainstream "Peeping Tom" picture-weeklies of the era and the booming world of Tokyo's sex industry of pink salons, no-pan kissas, soaplands, and love hotels in their hey day, before the crack–downs. Think Nobuyoshi Araki's Tokyo Lucky Hole, but a magazine. Peeper (like Look, Focus, Soft Focus, et al.) filled their pages with everything the 1980s Japanese adult nightlife had to offer, especially focusing on the bars, clubs, and, most importantly, the girls – the pink hostesses and Fuzoku-jou who drove their popularity. There is a lot of all–access photography of hanging out with the women and the regulars of the clubs, just like Tokyo Lucky Hole. Black and white and colour photography throughout on all aspects of the goings–on in the dungeons and bathhouses, with lots of fun and loads of deviancy, from beauty parades to peeping tom public sex, adult manga to kinbaku. The magazine was primarily an excuse for the many contributing photographers to take "close-up" peeper/voyeur/FLASH photography of women (ala Kohei Yoshiyuki and Ikko Kagari). The magazine called out for amateur voyeur photography to run each issue.
Mature readers only!
Good copy, wear/dustiness to covers.
1981, Japanese
Softcover (staple–bound), 82 pages, 27 x 20.5 cm
1st Edition, Out of print title / used / very good
Published by
Tatsumi / Tokyo
Soryusha / Tokyo
$80.00 - In stock -
Very early issue of Peeper magazine, a highly collected subcultural sex industry voyeur magazine printed in Tokyo during the 1980s. Established by Tatsumi Publishing in 1981 as a supplement to Soft Focus magazine, Peeper was created in the wake of the explosive popularity of mainstream "Peeping Tom" picture-weeklies of the era and the booming world of Tokyo's sex industry of pink salons, no-pan kissas, soaplands, and love hotels in their hey day, before the crack–downs. Think Nobuyoshi Araki's Tokyo Lucky Hole, but a magazine. Peeper (like Look, Focus, Soft Focus, et al.) filled their pages with everything the 1980s Japanese adult nightlife had to offer, especially focusing on the bars, clubs, and, most importantly, the girls – the pink hostesses and Fuzoku-jou who drove their popularity. There is a lot of all–access photography of hanging out with the women and the regulars of the clubs, just like Tokyo Lucky Hole. Black and white and colour photography throughout on all aspects of the goings–on in the dungeons and bathhouses, with lots of fun and loads of deviancy, from beauty parades to peeping tom public sex, adult manga to kinbaku. The magazine was primarily an excuse for the many contributing photographers to take "close-up" peeper/voyeur/FLASH photography of women (ala Kohei Yoshiyuki and Ikko Kagari). The magazine called out for amateur voyeur photography to run each issue.
Mature readers only!
Very Good copy, light wear.