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:
OPEN 12—5 THU—FRI
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 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.
Return Policy
All sales are final. We do accept returns (for refund, 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.
"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.
1991, Japanese
Hardcover (w. dust jacket), 123 pages, 21.5 x 13.5 cm
1st Edition, Out of print title / used / fine
Published by
Touko Museum of Contemporary Art / Tokyo
Treville / Tokyo
$90.00 - In stock -
Fine copy of the long out-of-print hardcover Japanese monograph on the artwork of David Lynch : Paintings and Drawings, an intricately produced and appropriately disconcerting catalogue published to accompany a rare exhibition of David Lynch's artwork at Tokyo's Touko Museum of Art in 1991. Cinema's Master of the Weird displays his skewed genius in a different medium here, to an equally fascinating and unnerving end. Profusely illustrated with paintings, drawings, and photography in colour b/w, accompanied by texts from Christine McKenna, David Lynch, Takashi Nibutani, Noe Sawaragi, Yuji Konno, and Makoto Takimoto.
Fine copy in Fine DJ.
1969, French
Hardcover (cloth bound), 106 pages, 21 x 21 cm
1st Edition, Out of print title / used / good
Published by
Éditions Denoël / Paris
$120.00 - Out of stock
First Edition of the catalogue raisonné of the engraved work of German Surrealist Hans Bellmer, published in 1969 by Éditions Denoël, Paris. Wrapped in the publisher's debossed black covers featuring Bellmer's Céphalopode of 1965, this handsome volume opens with "Morale of Engraving", a four page introduction by author Andre Pieyre De Mandiargues (in French). The rest of the book is made up of 141 reproduced engraved works of Bellmer, including his exquisite works complimenting Georges Bataille, Marquis de Sade, Joyce Mansour, Louis Aragon, Charles Baudelaire, and others, followed by a 7 page catalogue raisonné index, including work title, date, process and technique, dimensions, printing justifications, editors and other details. An essential title in any Bellmer collection and important reference.
Good copy, tanning and some marks to board/page edges with age.
1978, Italian / French
Softcover, 230 pages, 27 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Mazzotta / Milan
$50.00 - Out of stock
First 1978 Mazzotta edition of this absolute classic of Surrealist collage by Max Ernst, first published in 1934. If the collage technique has become an art, it owes it to a work like this book and of course to Max Ernst, one of the masters of collage and incomparable Surrealist painter. Western art has always tried to tear apart the straitjackets of the imprisoned body with one hand: but no one has succeeded in this insurrection like Max Ernst in the novel-collages he invented and brought to climax between 1929 and 1934. These are images accompanied by rapturous captions and cropped from the illustrations of serial novels from the 19th and early 20th centuries, full of sensual and innocent girls undermined by dark pupils of Sade, and messieurs in black suits and spats who hide shameful foibles, while in the background "the city full of dreams" by Baudelaire trembles and again "the specter lures the passer-by in broad daylight". A dreamlike staging inherited from the feuilletons, therefore, but which Ernst, with his montage made up of mysterious juxtapositions and obscure cuts, the exaltation of chance and the thrill of analogy, with his slow-motion cinema and his comic strip for adults only, has been able to transform into the banner of the perennial revolt of desire.
Bi-lingual texts (French/Italian) by Jarry, Schwob, Breton, Eluard...
A masterpiece.
Very Good copy some edge wear, ageing.
1996, English
Softcover (w. dust jacket), 70 pages, 33.5 x 24 cm
1st Edition, Out of print title / used / average
Published by
Janssen Verlag / Berlin
$80.00 - Out of stock
Rare first and only edition of Ed Cervone's Phantasies Of Gay Sex, published in an edition of 1500 copies in 1996 by Janssen Verlag in Berlin, and long out-of-print. Ed's fantastical, whimsical and always joyous colour depictions of homo-erotica fill this over-sized volume, "thirty-one brightly coloured paintings (plus a back cover image), printed on one side of heavy paper to assist pinning up, covering the gamut of the best gay fantasies imaginable. There is no text, just men enjoying each other, by the pool, on the bed, at the drive-in movie theater, on the football field."(—honesterotica)
Born in a refugee camp in Germany during the war's aftermath to a Latvian mother and German soldier, Edmund Cervone (1945 – 2001) and his mother soon found their way to the US. It was in New York City in the 1970's that Ed emerged as an erotic artist and achieved notoriety. Sometimes referred to as Ed of Manhattan, Ed disliked the moniker, an allusion to Tom of Finland. And indeed, his original voice displayed little of the bulked-up stylized figures. Instead, he headed out in another direction, one of more suppleness and litheness. His painterly approach and the motion in his artworks owed as much to his love of landscape painting as it did to the dynamic of the people he would see in the streets of Manhattan. Eschewing models, he would draw from memory from this wealth of characters, matching the joy of his erotic subjects with vibrant, fantastic use of colour. Internationally known as an illustrator for the male erotic press his artwork is part of the permanent collection at the Leslie-Lohman Gay Art Foundation in New York City.
Average—Good copy due to moisture rippling/marking to the bottom of the front cover and first book pages, lessening throughout. Light corner bumping, otherwise this would be a VG—Near Copy all other regards.
2017, English
Softcover, 128 pages, 17 x 24 cm
1st Edition, Out of print title / as new
Published by
Nero / Rome
$260.00 - In stock -
The unfinished works of Sergei Eisenstein are traversed by aesthetic, anthropological, and political questions.
First, only edition of this incredible, fast out-of-print book published on the occasion of the exhibition Sergei Eisenstein: The Anthropology of Rhythm, 2017—2018, edited by the curators, art and film historians Marie Rebecchi and Elena Vogman, in collaboration with the artist and typographer Till Gathmann, published by NERO. Copiously illustrated with documents from Eisenstein’s archives that were exhibited for the first time, including notebooks, drawings, film footage and photographs, this book "proposes to explore the intersecting aesthetic, anthropological and political dimensions of three unfinished film projects by Sergei Eisenstein. The Soviet director (b. 1898, Riga — d. 1948, Moscow) is best known today as the paradigmatic author of revolutionary Soviet cinema. Yet there is another face to this Janus-like figure, many of whose unfinished film projects and extensive theoretical works remained unpublished and unknown during his lifetime — and to a certain extent until today. It is this as yet unacknowledged body of work which make up the subject matter of the present book. Focusing in particular on the anthropology of rhythm in Eisenstein’s Mexican project (Que viva Mexico!, 1931–1932), the book follows this thread to two other unfinished projects: the destroyed film Bezhin Meadow (1935–37) and Fergana Canal (1939), which came to a halt before filming even begun".
Fine copy.
2021, English
Hardcover, 76 Pages, 20 x 25 cm
Published by
Baron / UK
$70.00 - In stock -
Back in print! The first posthumous book by Japanese fetish artist Namio Harukawa (May 1947 – April 24, 2020), dedicated to Harukawa’s archive of rarely published work.
Creating a visionary language through the medium of pencil drawings, Harukawa worked for 60 years under a pseudonym, Namio Harukawa: formed from an anagram of “Naomi”, a reference to Jun’ichirō Tanizaki’s novel, and actress Masumi Harukawa, using it until his death in 2020.
Forniphilia and domination has fascinated and preoccupied Harukawa, in his artistic practice, and was central to his life work. His artwork typically featured voluptuous women dominating and humiliating smaller men. His work has been exhibited internationally and received critical praise, from Oniroku Dan to Madonna, and found new contemporary relevance on social networks, from feminists, to liberators.
The book also contains an essay by academic Pernilla Ellens, editor of Post Butt and The true meaning of S.M.H. and is designed by Sam Boxer, Art Director of Gut Magazine.
1994, Japanese
Softcover (staple-bound), 90 pages, 30 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Yumeya Shuppan / Japan
$950.00 - In stock -
Wow! Insanely rare, very special, very collectible early Namio Harukawa artist book / graphic novel, published in Japan in 1994 in a limited run and long out-of-print. One of the finest examples of Harukawa's work, Queen of Execution Island exemplifies his artistic vision through the perfect combination of an art book and a masochistic graphic novel. Harukawa's narrative comic strips are seldom reproduced in his posthumous monographs, and Queen of Execution Island combines here a series of breath-taking fetish stories as chapters rendered in Harukawa's b/w line-work with his beautiful, delicate pencil drawings book-ending the scenarios of each story in loving detail. Chapters (roughly translated) are : "Tongue Service Chair"; "Thigh Hanging"; "Face Pressure Execution"; "Holy Water Drowning Death Penalty", involving activities of "femdom", Urolagnia, Scatology, etc. The chaptered stories are followed by a new series of illustrations, and one of the best work groups of Harukawa that is also seldom seen anywhere else, "Deformed Livestock Race", involving Harukawa's male masochists undergoing transformations into fantasy beasts better equipped to service their female mistresses. Ends with advertisements of many Japanese SM publications that centre around the central fetishes of Harukawa's art, and further magazines featuring his illustrations. Highly recommended — near impossible to get, even in Japan.
Namio Harukawa (1947—2020), a pseudonymous Japanese fetish artist best known for his masterful pencil works depicting female domination ("femdom"), with erotic asphyxiation through facesitting appearing as a frequent subject of his art. Born 1947 in Osaka, Japan, Harukawa’s distinctive penname combines the name of film actress Harukawa Masumi with an anagram of Naomi, the sadistic heroine in Tanizaki Jun’ichiro’s novel "Chijin no ai / A Fool’s Love". While in high school, Harukawa began contributing work to the readers’ column of leading postwar Japanese SM pulp magazine "Kitan Club". Since then, Harukawa’s drawings of male masochism have lovingly portrayed noble, voluptuously beautiful women and the men who serve them as human furniture. An extraordinary and prolific artist who remained committed to the regime of “absolute Ganmen Kijo Shugi (facesitting principle)” throughout his artistic life, Namio Harukawa passed away on April 2020, he was 72 years old.
Very good—Near Fine with only light wear to the very glossy black foiled covers printed over red card stock(!).
2000, Japanese / English
Hardcover (w. dust jacket) in slipcase, 27.5 x 19.5 cm
1st Edition, Out of print title / used / fine
Published by
Taiyo books / Japan
$790.00 - Out of stock
Super rare, very collectible Namio Harukawa oversized hardcover art book, published in Japan in 2000 and long out-of-print. This deluxe art book is considered the first book devoted entirely to Harukawa's "Paradise under the grand hips" — his iconic big-girl-love-femdom-facesitting illustrations. Beautifully produced and lavishly illustrated heavy book full of the exceptional work of Namio Harukawa (1947—2020), a pseudonymous Japanese fetish artist best known for his masterful pencil works depicting female domination ("femdom"), with erotic asphyxiation through facesitting appearing as a frequent subject of his art. As well as an impeccably reproduced collection of Harukawa's works in full-bleed colour, the book features Harukawa's complete illustrated "lewd love story of a noble lady and a beast", a collection of many of his best known works beautifully reproduced alongside sado-masochist narratives. A stunning book and must for any Harukawa fan.
Namio Harukawa (1947—2020), a pseudonymous Japanese fetish artist best known for his masterful pencil works depicting female domination ("femdom"), with erotic asphyxiation through facesitting appearing as a frequent subject of his art. Born 1947 in Osaka, Japan, Harukawa’s distinctive penname combines the name of film actress Harukawa Masumi with an anagram of Naomi, the sadistic heroine in Tanizaki Jun’ichiro’s novel "Chijin no ai / A Fool’s Love". While in high school, Harukawa began contributing work to the readers’ column of leading postwar Japanese SM pulp magazine "Kitan Club". Since then, Harukawa’s drawings of male masochism have lovingly portrayed noble, voluptuously beautiful women and the men who serve them as human furniture. An extraordinary and prolific artist who remained committed to the regime of “absolute Ganmen Kijo Shugi (facesitting principle)” throughout his artistic life, Namio Harukawa passed away on April 2020, he was 72 years old.
Fine copy in original illustrated, gold foiled Near Fine dust jacket and Near Fine slipcase, only light wear. Hardcovers also illustrated. A well-preserved copy.
2020, Japanese / English
Softcover (w. dust jacket and obi-strip), 366 pages, 15 x 21 cm
Published by
Treville / Tokyo
$90.00 - In stock -
Back in print!
Wonderful new memorial monograph dedicated to the exceptional work of Namio Harukawa (1947 – 2020), a pseudonymous Japanese fetish artist best known for his masterful pencil works depicting female domination ("femdom"), with erotic asphyxiation through facesitting appearing as a frequent subject of his art. Born 1947 in Osaka, Japan, Harukawa’s distinctive penname combines the name of film actress Harukawa Masumi with an anagram of Naomi, the sadistic heroine in Tanizaki Jun’ichiro’s novel "Chijin no ai / A Fool’s Love". While in high school, Harukawa began contributing work to the readers’ column of leading postwar Japanese SM pulp magazine "Kitan Club". Since then, Harukawa’s drawings of male masochism have lovingly portrayed noble, voluptuously beautiful women and the men who serve them as human furniture. Namio Harukawa passed away on April 2020, he was 72 years old. This book is a requiem dedicated to the memory of an extraordinary artist who remained committed to the regime of “absolute Ganmen Kijo Shugi (facesitting principle)” throughout his artistic life.
The profusely illustrated "Facesittings Are Forever" consists of a fine selection over 300 of Namio Harukawa’s works spanning his entire career, including many unpublished works, rough sketches, late works, and coloured works of his mid-career. It features an illustrated archive of his publications, including a rare Gekiga (hard-boiled style) work “Shokeijima no Oujo” and never before seen photographs of his workshop. There are also written contributions in Japanese from Shigeru Kashima, Jun Miura, Rockin Jelly Bean, and Hitomi Onuma.
1976, English
Softcover, 84 pages, 28.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Dover / New York
$35.00 - Out of stock
Perhaps the most famous of Grosz's collections is Ecce Homo (Berlin: Malik Verlag, 1923). The title echoes Pilate's presentation of Jesus as King of the Jews, beaten, with a crown of thorns, bloody and ready for crucifixion, and clearly not the Messiah he had been proclaimed to be six days earlier when he was greeted by rapturous crowds. Just so, the image of the heroic German, brave in war and moral in peacetime, took such a beating in Grosz's drawings, watercolors, and paintings, that he was prosecuted for "offences against public morality and for besmirching the values of the German people" (Kranzfelder, 59). Offering an unsparing vision of human nakedness, lust, greed and cruelty, Ecce Homo was found to be a slanderous attack upon the army, which won damages and the removal of 5 color plates and 17 black and white plates from the portfolio in a law suit. Grosz was also fined 6000 marks. Since Grosz had been attacking the Nazis since the early 1920s and since he had singled out Hitler in particular, it is not surprising that after the Nazi's took power in Germany, his works were singled out for ridicule and destruction. 285 of his works were removed from German collections and destroyed and the 1937 Munich Exhibition of Nazi-labelled "Degenerate Art" included five of his paintings, two watercolours, and thirteen drawings. After relocating to the U.S., Grosz wrote to J. B. Neuman concerning his own place in the history of art: "My drawings will naturally stay true–they are fireproof. They will later be seen as Goya's work [is]. They are not documents of the class struggle, but eternally living documents of human stupidity and brutality"
1976 Dover Edition.
Average—Good copy with previous owner gift inscription to front endpaper. General wear/marks.
1989, English / Japanese
Hardcover, unpaginated, 31 x 23.5 cm
1st Edition, Out of print title / used / very good
Published by
Kyoto Shoin / Tokyo
$180.00 - Out of stock
"The work reproduced here is from three notebooks of drawings, the visual diary of my husband Vittorio's four months of bed-ridden confinement in the hospital. He has captured his plight on paper."—Cookie Mueller
Rare first, only edition of this over-sized hardcover book, "Putti's Pudding", the moving, final collaboration between writer/John Waters movie-star Cookie Mueller (1949—1989) and Italian artist/poet/sailor Vittorio Scarpati (1955—1989), wife and husband, published in 1989, the same year both died from complications related to AIDS.
“Putti’s Pudding” collects the insightful, witty, poignant drawings culled from the pages of the Italian poet and political cartoonist Vittorio Scarpati’s notebooks, all made in 1989 while Scarpati was hospitalised in New York, dying of pneumonia as a complication of AIDS. Mueller writes: "Seen chronologically this is a journey of extreme pain made bearable by his sublime imagination. It's the story of a trip along the paths of Vittorio's fantasies and for a man who hasn't felt the warmth of sunlight or the sweet breezes of fresh air for four months, there's a lot to create in the inward eye. From limitations come finally an emancipation...toward a pinnacle of inspiration." Within months of this publication in 1989, both were taken by the AIDS epidemic.
Combining honest exposition, black humour and whimsy, "Putti's Pudding" is an intimate love letter to Scarpati and Mueller’s relationship that also bears witness to the realities of living and dying with AIDS in the 1980s.
"Cookie and Vittorio met in Positano, Italy in the summer of 1983, "It was love at first sight, more aptly put, we bonded to each other because of a kindred spirit, we became inseparable." They married in New York in April 1986. Each of their separate lives is engaged in an intense, controverse relationship to the world around them. Cookie is a writer, Vittorio is a sailor and poet. Both of them now have different degrees of AIDS and have been sharing the same room in a New York hospital."—Paola Igliori's introduction.
Very Good copy, old As New copy.
1979, English
Softcover, 48 pages, 20.2 x 20.2 cm
1st Edition, Out of print title / used / very good
Published by
Harry N. Abrams / New York
$200.00 - Out of stock
‘CIRCLE, SQUARE, TRIANGLE, RECTANGLE, TRAPEZOID AND PARALLELOGRAM IN RED, YELLOW AND BLUE ON RED, YELLOW AND BLUE’.
First edition of LeWitt's classic artist book, "Geometric Figures & Color" published in 1979, which is beautifully made up entirely of full-bleed colour illustrations of six geometric figures six (circle, square, triangle, rectangle, trapezoid and parallelogram) presented, sequentially, in duo-chrome primary colours (yellow and blue on red, red and blue on yellow, yellow and red on blue).
Solomon "Sol" LeWitt (1928 – 2007) was one of the most distinctive and influential American artists of the 20th century. He shaped and defined many of the century's most cerebral "isms", notably minimalism and conceptualism.
Near Fine copy with only light wear/tanning.
1980, German
Softcover, 84 page, 26 x 17 cm
Out of print title / used / very good
Published by
Rowohlt / Hamburg
$45.00 - Out of stock
Perhaps the most famous of Grosz's collections is Ecce Homo (Berlin: Malik Verlag, 1923). The title echoes Pilate's presentation of Jesus as King of the Jews, beaten, with a crown of thorns, bloody and ready for crucifixion, and clearly not the Messiah he had been proclaimed to be six days earlier when he was greeted by rapturous crowds. Just so, the image of the heroic German, brave in war and moral in peacetime, took such a beating in Grosz's drawings, watercolors, and paintings, that he was prosecuted for "offences against public morality and for besmirching the values of the German people" (Kranzfelder, 59). Offering an unsparing vision of human nakedness, lust, greed and cruelty, Ecce Homo was found to be a slanderous attack upon the army, which won damages and the removal of 5 color plates and 17 black and white plates from the portfolio in a law suit. Grosz was also fined 6000 marks. Since Grosz had been attacking the Nazis since the early 1920s and since he had singled out Hitler in particular, it is not surprising that after the Nazi's took power in Germany, his works were singled out for ridicule and destruction. 285 of his works were removed from German collections and destroyed and the 1937 Munich Exhibition of Nazi-labelled "Degenerate Art" included five of his paintings, two watercolours, and thirteen drawings. After relocating to the U.S., Grosz wrote to J. B. Neuman concerning his own place in the history of art: "My drawings will naturally stay true–they are fireproof. They will later be seen as Goya's work [is]. They are not documents of the class struggle, but eternally living documents of human stupidity and brutality"
1980 reprint of the collection reproduced in black and white and colour, published by Rowohlt in Hamburg, 1980.
Very good copy.
2022, English
Hardcover, 120 pages, 27 x 20 cm
Published by
Walther König / Köln
$80.00 - Out of stock
Previously unseen early works from the Weimar Republic's greatest chronicler and satirist.
This volume is dedicated to the early life and career of the brilliant young artist Georg Ehrenfried Gross (1893-1959), who would later become known as George Grosz. Known for his politically charged paintings and caricatural depictions of Berlin life in the 1920s, the youthful Gross had a long way to go before changing his name and becoming the most popular and sharp-tongued chronicler of the Weimar Republic. Gross made his first oil paintings in 1912 while still a student, and by 1914 was working in a style deeply influenced by Expressionism, Futurism and popular illustration. Presenting over 50 works made between the years 1904 and 1917, all but a few exhibited for the first time ever, the inaugural exhibition of Das kleine Grosz Museum, and this accompanying catalog, trace the artistic and biographical trajectory of this great artist's journey.
2023, English
Hardcover, 120 pages, 27 x 20 cm
Published by
Walther König / Köln
$80.00 - Out of stock
George Grosz created his last major series of paintings and watercolours, the “Stick Men”, beginning in the mid-1940s in reaction to the devastating news about the Holocaust and the other atrocities of the Second World War. The deployment of atomic bombs at the end of the war, and the threat of a Third World War, further deepened his pessimistic vision of mankind’s future. He presented his “Stickmen” as dehumanized, famished beings aimlessly wandering through a contaminated, post-apocalyptic world. The catalogue forcefully contradicting the widespread misconception that Grosz had become “soft” and apolitical during his American years. The contrary is true: his Stick Men series is the culmination of the political and artistic convictions of a lifetime of struggle – an artistic legacy that, given the current state of the world, could not be more timely and relevant.
English and German text.
Published on occasion of the exhibitions: ‘The Grey Man Dances: The ‘Stick Men’ of George Grosz’, May – Oct 2023, Das Kleine Grosz Museum, Berlin; as well as a forthcoming exhibition at The Heckscher Museum of Art, Huntington, NY, 2024.
2010, Japanese
Hardcover (w. printed wax dust jacket), 110 pages, 22.5 x 16 cm
1st Edition, Out of print title / as new
Published by
Usatsuki Shokai / Japan
$140.00 - In stock -
First edition of this fast out-of-print special collection of ero-guro master Toshio Saeki's iconic artworks for literature. Roughly translated to "Hidden Dream Filled with Snakes", this beautiful hardcover book reproduces over 100 plates of lush full-colour final artwork, as well and preliminary sketches, related to legendary historical novels by authors such as Futaro Yamada, the pen name of Seiya Yamada, a novelist discovered by Edogawa Rampo and widely celebrated in Japan for his ninja and mystery stories. Saeki is well-known in Japan for creating the bold artwork that adorned editions of such popular fiction, reproduced here, filled with monsters, ghosts and samarai. Includes a Japanese commentary by Goro Yamamda.
Toshio Saeki (1945—2019) was an illusive Japanese illustrator and painter, and icon of 1970s Tokyo counterculture, known for combining Japanese folklore, Yōkai spirits and elements of Western art with his own sophisticated aesthetics to create a unique, sensational world of eros, dark humour, and horror. Given the title “Erotic Engineer” by Timothy Leary, Saeki's provocative art broke all sexual taboos, questioned Japanese ideology and traditional views on love, desire and gender roles. Saeki’s surgically-precise graphic work is closely related to the Japanese cultural phenomenon ‘Erotic, Grotesque, Nonsense’ (ero, guro, nansensu).
“Toshio Saeki conjures death with a pen”—Shūji Terayama, 1969.
As New copy.
2004, Japanese
Hardcover (w. slipcase), 48 pages, 27 x 19 cm
Signed and numbered edition,
1st Edition, Out of print title / used / very good
Published by
Seirin Kogeisha / Tokyo
$350.00 - In stock -
Very rare first Japanese edition of Picture Scroll of Pathos by ero-guro master Toshio Saeki (1945—2019), limited to only 1000 copies, numbered and this special copy signed by Saeki inside the cover! A gorgeous and rarely seen collection of Saeki's early manga works and picture stories that were originally published in the early 70's and thought to be lost, here reproduced impeccably in black and white with stunning multi-panel colour fold-out spreads. Hardcover bound in illustrated slipcase. Most complete.
Toshio Saeki (1945—2019) was an illusive Japanese illustrator and painter, and icon of 1970s Tokyo counterculture, known for combining Japanese folklore, Yōkai spirits and elements of Western art with his own sophisticated aesthetics to create a unique, sensational world of eros, dark humour, and horror. Given the title “Erotic Engineer” by Timothy Leary, Saeki's provocative art broke all sexual taboos, questioned Japanese ideology and traditional views on love, desire and gender roles. Saeki’s surgically-precise graphic work is closely related to the Japanese cultural phenomenon ‘Erotic, Grotesque, Nonsense’ (ero, guro, nansensu).
“Toshio Saeki conjures death with a pen”—Shūji Terayama, 1969.
Fine copy with Fine dj, slipcase. Signed in bold silver pen by Saeki.
1967, English / German / French
Hardcover (w. dust jacket), 199 pages, 24.2 x 30.5 cm
1st Edition, Out of print title / used / good
Published by
The Graphis Press / Zürich
$80.00 - Out of stock
The great "FILM & TV GRAPHICS", published in 1967 by the legendary Graphis Press, Zürich. Bound in a Celestino Piatti illustrated hardcover this landmark volume from the Graphis hardcover book series, edited by Swiss graphic designer Walter Herdeg, forms an extensive survey of the best of international film and television animation art and graphics from the 1960s. Together with the 2nd volume, published in 1976, these compendiums are very highly recommended for anyone interested in animation from this period, showcasing many important works and artists little documented elsewhere.
Profusely illustrated throughout with 1079 b/w and colour examples, and, as per usual for Graphis publications, handsomely designed and heavily researched, with all texts in English, German and French.
Features the work of : Jiri Trnka, Bruno Bozzetto, Peter Foldes, Saul Bass, John Halas, Jan Lenica, Jacques Colombat, Jiri Brdecka, Rene Laloux, Roland Topor, Dean Spille, Joy Batchelor, Kiyoshi Awazu, Emanuelle Luzzati, Wolfgang Reitherman, Ken Anderson, Bill Peet, Milt Kahl, Gerald Potterton, Walerian Borowczyk, Zlatko Bourek, Yoji Kuri, Helmut Herbst, Jean Michel Folon, William Klein, Harold Whitaker, Jack Kuper, Faith and John Hubley, Fred Mogubgub, Anton van Dalen, Jean-François Laguionie, Art Goodman, Bohdan Butenko, Bill Justice, Roberto Gavioli, Larry Janiak, Richard Oden, Marco Biassoni, Ronald Searle, Ryohei Yanagihara, Pablo Ferro, Jiří Kalousek, John David Wilson, Peter Clark, Colin Cheesman, Harold F. Mack, and many others.
Walter Herdeg was a Swiss graphic designer, noted for his travel posters and work with Graphis Magazine, who was awarded an AIGA medal in 1986.
Good with Good dust jacket. Some ex-libris remnants to blank end papers.
1976, English / German / French
Hardcover, 212 pages, 24 x 24 cm
1st Edition, Out of print title / used / good
Published by
The Graphis Press / Zürich
$90.00 - Out of stock
The great "FILM + TV GRAPHICS 2", published in 1976 by the legendary Graphis Press, Zürich. Bound in a Raymond Savignac illustrated hardcover this landmark volume from the Graphis "square books series", edited by Swiss graphic designer Walter Herdeg, forms an extensive survey of the best of international film and television animation art and graphics from the 1970s, following on from the first edition, published in 1967. Both very highly recommended volumes for anyone interested in animation from this period, showcasing many important works and artists little documented elsewhere.
Profusely illustrated throughout with over 1200 b/w and colour examples, and, as per usual for Graphis publications, handsomely designed and heavily researched, with all texts in English, German and French.
Features the work of : Saul Bass, Jan Lenica, Rene Laloux, Faith and John Hubley, Ralph Bakshi, Bruno Bozzetto, Sally Cruikshank, Heinz Edelmann, Stanley Kubrick, Robert Crumb, Iwao Takamoto, Joseph Barbera and William Hanna, Jan Svankmajer, Maurice Sendak, Zlatko Grgić, Pavel Prochazka, Paul Grimault, Emma Heinzelmann, Paul and Gaëtan Brizzi, Jacques Colombat, Sadao Tsukioka, Yoji Kuri, Jacques Cardon, Jan Habarta, Jean-François Laguionie, Roberto Miller, Paul Brühwiler, Robert Abel, Rosemary Held, Etienne Delessert, Morton Goldsholl, Robert O. Blechman, Harold F. Mack, Ogilvy and Mather, Seymour Chwast, Pushpin Studios, Andre Chante, Ishu Patel, Bob Godfrey, Paul Birkbeck, Jan Habarta, John Worsley, Marguerita Bornstein, Gary Jackson, Lester Feldman, Ronald Searle, George Dunning, Jaroslav Bradac, Jean Michel Folon, Lou Dorfsman, Pierre L'Amare, Klaus Georgi, Andrzej Piliczewski, Jiří Šalamoun, the animations of Montreal Expo 1967, Osaka Expo 1970, and much more.
Walter Herdeg was a Swiss graphic designer, noted for his travel posters and work with Graphis Magazine, who was awarded an AIGA medal in 1986.
Good copy with catalogue sticker to spine and spine wear repaired with adhesive, internally VG with only light tanning. May differ slightly from cover image.
1968 / 1969, Japanese / French
4 Vols., softcover, approx. 1000 pages, 23 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Tensei Shuppan / Tokyo
$340.00 - Out of stock
Complete 4 issue run of Le Sang Et La Rose — a masterpiece of the Japanese underground! Opening with Kishin Shinoyama's photographic portraits of Yukio Mishima depicted as Saint Sebastian and onward through one thousand pages exploring the outer limits of subversive human potential!
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 was a groundbreaking, 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 fourth final issue, and rarest of the four, edited by critic Masaaki Hiraoka and designed by self-taught painter, graphic designer and political activist, Kiyoshi Awazu (!) 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.
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.
All Good—VG copies with general wear and age.
1983, Japanese
Softcover, 160 pages, 30 x 22.5 cm
1st Edition, Out of print title / used / good
Published by
Graphic-sha / Tokyo
$70.00 - Out of stock
Published in 1983 by Graphic-sha, this lavish book reproduces 270 images of women rendered by 77 of Japan's leading Illustrators of the late 1970s—early 1980s. Akira Uno, Harumi Yamaguchi, Iku Akiyama, Ayumu Ohashi, Hajime Sorayama, Yosuke Kawamura, Peter Sato, Yosuke Onishi, Hiroshi Nagai, Osamu Harada, Tara Yumura, Katsu Yoshida, Yoko Ochida, Sawako Goda, Aoi Fujimoto, Akira Yokoyama, and so many more! Includes interviews with a number of the artists, profiles for all, plus preface by Keisuke Nagatomo and Teruhiko Yumura.
Good copy with general wear and some foxing.
1973, English
Softcover, unpaginated, 27 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Dragon's Dream / Paris
$55.00 - Out of stock
First English-language graphic book edition of award-winning French sci-fi author and illustrator Philippe Druillet's master work, Lone Sloane — Delirius, made with textwriter Jacques Lob and published by Dragon's Dream and Heavy Metal magazine in 1973. The adventures of Lone Sloane through time and space and on the incredible world of Delirius are here presented for the first time in English. An astounding example of Druillet's "technical psychedelia", with lush, saturated colour-work and complex, painterly, decadent panel construction.
He says that his ultimate ambition is "To create a whole universe of science fiction. It would be terrible to think of not doing it. I have worlds to create, characters to develop. It's what I have in me, and I want to experiment. I believe that I will always draw comics; they are among the most beautiful things that can be imagined and they are true."
Philippe Druillet (b. 1944) is one of Europe's most prominent and popular artists in the field of illustrated fantasy and science fiction. A co-founder of Les Humanoïdes Associés and the Métal Hurlant periodical with fellow artist/author Moebius, Druillet made his debut in comics with 'Lone Sloane, le Mystère des Abîmes', a comic book published by Losfeld in 1966, that drew inspiration from Druillet's favorite science fiction writers Van Vogt and Lovecraft. In 1970, he joined Pilote magazine with 'Lone Sloane', using innovative page-setting and contrasted colours for the designs of gigantic structures, that earned him the nickname "space architect". The early—mid 1970's saw Druillet publish some of his most acclaimed and iconic works, including Lone Sloane Delirius (1973), Yragaël (1973), Urm le Fou (1974), and Vuzz (1976), as well as founding Les Humanoïdes Associés and Métal Hurlant in 1975, together with Bernard Farkas, Jean-Pierre Dionnet and Moebius, leading a renaissance in avant-garde science fiction the world over. In 1975 and 1976, he drew 'La Nuit', a cry of revolt after the death of his wife, that was published in Rock and Folk magazine. He also continued working for Pilote with short stories, 'Nosferatu' (from 1979) and the sequel of 'Salammbô' (from 1981). As a comic writer, he worked with artists like Moebius, Gotlib, Alexis, Bihannic, Picotto and Didier Eberoni on stories published in Métal Hurlant, Pilote and Rock and Folk.
Very Good, tightly bound, preserved copy with some light wear and tanning/discolouration strips to covers.
1997, Japanese
Softcover (w. dust jacket), 104 pages, 21 x 29.5 cm
1st Edition, Out of print title / used / very good
Published by
Treville / Tokyo
$150.00 - In stock -
Scarce copy of the now out-of-print Biomannerism book, first edition, published in Japan by Treville in 1997. An incredible selection of international artists linked through their exploration of new aesthetics of erotic metamorphosis between the organic and synthetic compiled with texts by Stéphan Lévy Kuentz. Features lavishly illustrated chapters dedicated to the works of artists Daniel Ouellette, Michel Henricot, Sibylle Ruppert, Joe Hackbarth, Tsutomu Otsuka, Beksinski, Yoshifumi Hayashi, Jean-Marie Poumeyrol, H. R. Giger.
"The erotic Biomannerism movement is a creature of the cyberage, an expression of technophobia and fear of mutation. The artists represented here come from the U.S., France, Germany, Japan, and Switzerland, but they share a Kafkaesque view of the human condition, which they express in twisting, writhing, bulging, disintegrating images of the human form. Inspiration flows from Michelangelo, Dali, da Vinci, Rubens, and Duchamp, as well as Blade Runner, Frankenstein, and Intel."
Very Good in VG dust jacket.
1989, Japanese
Softcover (six book set all w. dust jackets), 220 pages ea. (approx), 18.2 x 12.8 cm
1st Ed. 6th print,
1st Edition, Out of print title / used / very good
Published by
Shogakukan / Tokyo
$80.00 - In stock -
First edition, sixth print complete set of six books from 1989 of the cult classic manga-horror series God's Left Hand, Devil's Right Hand, written and illustrated by Kazuo Umezu. One of Umezu's masterpieces, God's Left Hand, Devil's Right Hand is an anthology of five interconnected stories all centered around Sou Yamanobe, a young school boy plagued by nightmares. Visions of totally surreal, demonic body-horror madness rendered in mesmerising detail, the way only Umezu can. The 5 stories are the Eroded Scissors, the Disappeared Rubber, the Tongue of the Spider Queen, the Black Picture-book and Shadow Dead. A masterpiece of the bizarre, "Devil's" initial 1986 publication run began in Big Comic Spirits, a weekly seinen (manga targeted at young adult men) magazine, running for seventy-seven chapters before being completed in 1988 and subsequently published in these wonderful collected volumes, six books in total. Umezu (b. 1936) is a true forefather of the manga-horror genre, publishing his first book while still in high school, leading to immediately make manga his career upon graduation. After moving to Tokyo in 1962 he developed his detailed horror manga style and has since published his comics in a broad range of genres, from horror fiction to science fiction to humour.
A classic! Very Good copies of all six in the original jackets. Light general wear.