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—SAT 12—6 PM
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
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.
"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.
1982/1992, Japanese
Softcover, 192 pages, 21 x 14.5 cm
Out of print title / used / very good
Published by
Atelier Peyotl / Tokyo
$60.00 - In stock -
"Corpse" Special Feature Issue of cult Japanese underground magazine Yaso, first published in 1982, then re-printed in 1992, edited by Yuichi Konno and Atelier Peyotl (publishers of Night Vision/Yaso/Peyotl/Wave/Silvester Club...). Heavily illustrated with texts in Japanese that look at the theme of death and the dead in the arts, literature, occultism, ancient sciences, philosophy, mythology, poetry, film, crime, and much more. Features John Duncan, Tetsumi Kudo, Cosey Fanni Tutti, Masahisa Fukase, Franz Kafka, Johann Wolfgang von Goethe, Guillaume Apollinaire, Joe Potts (LAFMS), Takashi Ishii, Rudolf II — Holy Roman Emperor, Akinari Ueda, Marcel Duchamp, Chris Burden, Paul Celan, Alain Resnais, Gilyak Amagasaki, Shusaku Arakawa, Pieter Bruegel the Elder, Shuji Terayama, Andy Warhol, Charles Manson, Brian Wilson, Kyoko Endoh, Princess Yongtai, Salvador Dalí, Ono no Komachi, Kiyoshi Kasai, Caravaggio, Throbbing Gristle, Takizawa Bakin, Leno and Rosemary LaBianca, Manson Family, Fyodor Dostoevsky, Wu Zetian, Genesis P-Orridge, Yusuke Nakahara, Ranpo Lagrange, Mitsusada Fukasaku, Nakai Hideo, Richard Wagner, and many more.
Very Good copy.
1991, Japanese
Softcover (w. dust jacket, 128 pages, 26 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Heibonsha / Tokyo
$60.00 - In stock -
Wonderful photo-book chronology of the world of Shūji Terayama (1935—1983) and his experimental theatre troupe Tenjō Sajiki (with Kujō Kyōko, Yutaka Higashi, Tadanori Yokoo, Fumiko Takagi, ...), a major phenomenon on the Japanese Angura ("underground") theater scene of the 1960s and 70s. Terayama's activities encompass a who's-who of the Japanese avant-garde arts and literature of the time. This book visually documents it all; the filmography, performances, installations, happenings, exhibitions, posters, publications, and all else that resonated from Japan’s most revered and provocative avant-garde film-maker and his collaborators. Profusely illustrated with hundreds of illustrations in colour, duo and b/w with Japanese commentary, biographies and chronology. A wonderful, visually mind-blowing reference for anyone interested in the work of Terayama, Tenjō Sajiki, Surrealist performance, or Japanese avant-garde underground (Angura) theatre.
Shūji Terayama (1935 — 1983) was a Japanese avant-garde poet, dramatist, writer, film director, and photographer. His works range from radio drama, experimental television, underground (Angura) theatre, countercultural essays, to Japanese New Wave and "expanded" cinema. In 1967 Terayama founded Tenjō Sajiki with Kujō Kyōko, Yutaka Higashi, Tadanori Yokoo, and Fumiko Takagi, a Japanese experimental theater troupe. A major phenomenon on the Japanese Angura ("underground") theater scene, the group produced a number of stage works marked by experimentalism, folklore influences, social provocation, grotesque eroticism and the flamboyant fantasy characteristic of Terayama's oeuvre. Terayama is considered one of the most productive and provocative creative artists to come out of Japan, with a wide-reaching influence on many artists from the 1970s onward.
Very Good—Near Fine (w/o obi — image just a sample)
1953, Japanese
Softcover, 334 pages, 26 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Nihon Tokushu Publishing / Tokyo
$90.00 - In stock -
Very rare copy of 1953 special "Secret" edition of Fuzoku Soushi, one of the first Japanese Kinbaku/SM magazines to exist, alongside Yomikiri Romance and Kitan Club, edited by Nomura Yoshihide, Ujiie Fura, and Murata Kiyoshi and first published in 1953 to only last one year before authorities put an end to it. Features a full-colour fold-out artwork by legendary Japanese fantasy artist Ayako Nakagawa. Fuzoku Soushi, which was adorned with a series of gorgeous painted covers by master artist Ran Akiyoshi, was a strong rival to Kitan Club, but with a more lavish production, pronounced artwork galleries by many of the leading SM illustrators and very progressive fictional and critical content on all manner of sexual perversions and customs, contemporary, historical, political, including roundtable discussions between people of all walks of cultural life (from medical doctors to Buddhist scholars) to original Japanese erotic fiction and translations of many Europeans stories and essays. Fuzoku Soushi was also heavy with lesbian and male homosexual content and featured female authors.
Fuzoku Soushi featured a remarkable cast of artists and writers, including Seiu Ito, Ran Akiyoshi, Takahashi Tetsu, Matsui Ryōko, Toshiyuki Suma, Ayako Nakagawa, Reiko Kita (Suma Toshiyuki), Hideo Furusho, Tamaki Kitahara, Yanome Genichi, Kazuhiko Kabiya, Eizo Nakano, Yo Masaoka, Tosuke Takeno, Imao Hirano, Hiroshi Hara, Nobuo Sakanoue, Shigeru Kayama, to name a few. Packed with expressive sadism, masochism, fantasy and perversion in the form of brilliant paintings, photography, illustrations, articles, fiction, Fuzoku Soushi, in its brief and controversial lifespan, became one of the most influential SM magazines ever published.
Good—VG copy with some wear to extremities, tanning, minor closed tears to cover edges, but with the full-colour Ayako Nakagawa fold-out painting present.
1982, French
Softcover, 28 pages, 37.5 x 28.5 cm
1st Edition, Out of print title / used / good
Published by
Créatis / Paris
$50.00 - In stock -
Issue no. 18 of Créatis, June 1982, the wonderful French photographic art magazine published in Paris, founded in 1979 by Albert Champeau and Jean-Pierre Renard. This issue features Christer Strömholm, Joel-Peter Witkin, Alain Bergala, Jeff Silverthorne, Pierre Boucher, William Klein, Roland Barthes, and more.
Average—Good copy due to gloss laminate covers peeling to edges, some pinching to spine, tanning to edges.
1966, French
Hardcover (clothbound w. dustjacket), 110 pages, 20.5 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Éditions Denoël / Paris
$160.00 - In stock -
Beautifully produced, scarce French hardcover monographic volume dedicated entirely to reproductions of Surrealist visionary Hans Bellmer's incredible drawings. This is the very first edition, published by Éditions Denoël, Paris, in 1966. With an introduction by Constantin Jelenski. A stunning book, and a key title in the artist's oeuvre.
German artist Hans Bellmer (13 March 1902 – 23 February 1975), was best known for the life-sized pubescent female dolls he produced in the mid-1930s. "Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he'd been working as a draftsman for his own advertising company. He initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls were directed specifically at the cult of the perfect body then prominent in Germany. Bellmer was influenced in his choice of art form by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925)."
Very Good – (in original dust jacket and protected under plastic wrap)
1989, Japanese
Softcover (w. dust jacket and original plastic wrap), 80 pages, 22.8 x 16.3 cm
1st Edition, Out of print title / used / very good
Published by
Gakutokan / Japan
$100.00 - Out of stock
First edition of The World of Pierre Molinier, published in 1989 in Japan. An exquisite book of Molinier's fetishistic gender-bending paintings, photomontages, and drawings, fittingly wrapped in "stocking" dust jacket, with texts by André Breton, translated from French to Japanese by Kosaku Ikuta, imagery from "Molinier" (1966) film by Raymond Borde, beautifully designed and printed in Japan where Molinier's artworks had a particular resonance.
Pierre Molinier (1900—1976) was a French painter, photographer and a forerunner of gender performance art and Body Art (Art corporel). Molinier spent much of his artistic life working in isolation in Bordeaux, exiled from local and national art scenes. Born in Agen, nothing had predestined Molinier to a life as an artist. Self-taught, from a working-class background, he followed in his father’s footsteps and started out as a house painter. He got married and had two children. Tired of his infidelities and provocative behaviour, his wife left their marital home an in 1950 and Molinier begun photographing himself seriously, staging his own death and erecting a fake gravestone proudly declaring himself ‘a man without morals’. He was thrown out of the Bordeaux Salon des Indépendants as early as 1951 amidst controversy over his orgiastic painting of the same year, Le Grand Combat. Stirring up an obsessive correspondence with the anarchic poet-founder of Surrealism, André Breton, Molinier was soon integrated into the Surrealist group with a solo exhibition at Breton’s Paris gallery in 1956. Molinier’s anti-moral project appealed to the group’s interest in repressed desires, fetishism, and the transgression of bourgeois morals. In 1959, he exhibited at the Exposition International du Surrealism in Paris. From the mid-1960s Molinier chronicled the exploration of his subconscious transsexual desires in "Cent Photographies Erotiques": graphically detailed images of pain and pleasure. Cut-up, reassembled, and manipulated, Molinier painstakingly created elaborate and sensual photomontages in which he assumed the roles of dominatrix and succuba previously taken by the women of his paintings. Either alone with doll-like mannequins or with female models such as German sadomasochist Hanel Koeck, Molinier, who considered himself fundamentally androgynous, appears as a transvestite, employing his body and that of his acquaintances to create visions of hybrid identity, where stockinged multi-limbed, multi-sexed beings imitate pagan figures, Hindu gods, and Masonic symbols, in a rejection of a Christian tradition which he argued, had repressed androgyny. Designed to shock, Molinier’s artwork represented a very intimate disclosure about his own sexual ambiguity, inviting the viewer to bring to the images his or her own response of excitement or disgust. The degree of his artistic perversity and blasphemous tendencies was deemed too much for the French cultural elite, and the man Breton dubbed the “magician of erotic art” was shunned from the art world. Molinier did not participate in the 1965 International Surrealist Exhibition. For the last 11 years of his life Molinier played out his own most profound moments in the 'theatre' of his Bordeaux 'boudoir – atelier'. He committed suicide in 1976, shooting himself with a pistol, something he had foreshadowed in his artwork, time and again. Essentially a leg fetishist, but also considering himself as a shaman, facetious and provocative, anti-bourgeois and anti-religious, Molinier enjoyed transgressing gender identification : his outstanding photographs greatly influenced the European and North American Body Art in the 1970s and continue to fascinate artists today.
Very Good copy in original plastic jacket.
2010, English
Hardcover, 400 pages, 24 x 31 cm
Published by
Les Presses Du Reel / Paris
Mennour / Paris
$150.00 - In stock -
The Molinier bible! A mammoth, crucial 400 page book on the method and genesis of Pierre Molinier's provocative, gender-bending photos and artwork. Beautifully printed and prodigiously illustrated with over 800 pictures, mostly unpublished, numerous documents, manuscripts and letters, a complete (nearly 100-page) chronology, a critical biography, and a text by Jean-Luc Mercié.Molinier. Essential publication on Molinier, the most comprehensive to date, and a must for any fan.
Rare English edition translated from the French by Edward Penwarden.
Pierre Molinier is an unknown of worldwide renown. Every book and every exhibition on the body, gender confusion or sexual excess seems to feature at least one work by this artist whose “genius” was acclaimed by André Breton in a memorable text published in 1956. But the bulk of his work has remained inaccessible. A number of pictures have never been shown and a corpus of only 160 prints has been published. The ensemble revealed by the artist's archives is much more extensive. It includes numerous proofs made to prepare his photomontages and working prints given to friends, but also notebooks and personal letters. Here, precise links emerge between his paintings, photographs and scandalous life. The myth carefully constructed by the artist begins to crumble before the reality of the work.
An inveterate seducer, thoroughgoing fetishist, unrepentant transvestite and inadvertent bisexual, to the very last Molinier remained haunted by two obsessions: pleasure, meaning immediate access to la petite mort, and “leaving a trace in the infinity of time.” This book charts the aesthetic incarnation of his passions. Its 819 photographs, most of them never published before, reveal the method, shed light on the procedures and give details of the origin and alchemy of his latent or composed images. Finally, an exhaustive chronology offers a new biography of Molinier, based on his letters: for it is in the intimacy of these writings that the shaman's heart beats closest to the truth.
In a career shared between the university (fifteen years) and publishing (twenty) Jean-Luc Mercié has written widely on painting and photography. This monograph is his fourth book about Pierre Molinier, the master from Bordeaux.
Born 1900 in Agen (France), Pierre Molinier, surrealistic painter and photographer, a precursor to body art, died in 1976 after having thought out radical and pornographic artwork.
2025, English
Softcover, 656 pages, 20.3 x 12.7 cm
Published by
Contra Mundum Press / New York
$68.00 - In stock -
“It is said I present vice as too odious. The reason: I do not want people to be attracted to vice. I am far more moral than those who make their villains attractive. I shall only ever depict crime in the most vivid colours of hell. I want readers to see crime in all its vile nakedness, to fear it and to hate it, and so I show it in all its horror. Woe to those who dress crime in roses! Their intentions are impure, and I will never imitate them.”—The Marquis de Sade
Written in his Bastille cell in the years between 120 Days of Sodom and Justine, this is the first English translation of Marquis de Sade’s collection of short works, Stories, Tales, and Fables.
Essential reading for all Sade devotees, Stories, Tales, and Fables is an introduction for those who are not yet familiar with the work of this controversial French literary innovator. The short works in this collection range from the dramatic novella, Dorci, to comic tales such as The Duped Judge. Whether he is writing bawdy, exuberant comedies, supernatural tales, or human tragedies, Sade is essentially a moralist, and his exploration of the darker side of human nature remains as relevant to our society as it was to his own.
Psychologically perceptive and defiantly unconventional, Stories, Tales, and Fables reveals the compelling force of Sade’s narrative powers. An accomplished and artful fiction writer, Sade, like all great writers, asks penetrating questions about society, life, and humanity. This collection also includes a selection of Sade’s non-fiction, ranging from his insightful survey of the novelist's art, Some Thoughts on the Novel, to his Last Will and Testament, as well as several essays about Sade’s work by renowned authors including Apollinaire, Heine, Masson, Anatole France and Paul Ėluard.
Translated by R.J. Dent
2004 / 2021, English
Softcover, 408 pages, 22.5 x 14.5 cm
Published by
iUniverse / US
$49.00 - Out of stock
The spectre of the marauding serial killer has become a relatively common feature on the American landscape. Reactions to these modern-day monsters range from revulsion to morbid fascination--fascination that is either fed by, or a product of, the saturation coverage provided by print and broadcast media, along with a dizzying array of books, documentary films, websites, and "Movies of the Week."
The prevalence in Western culture of images of serial killers (and mass murderers) has created in the public mind a consensus view of what a serial killer is. Most people are aware, to some degree, of the classic serial killer 'profile.' But what if there is a much different 'profile'--one that has not received much media attention?
In Programmed to Kill, acclaimed and always controversial author David McGowan takes a fresh look at the lives of many of America's most notorious accused murderers, focusing on the largely hidden patterns that suggest that there may be more to the average serial killer story than meets the eye. Think you know everything there is to know about serial killers?
Or is it possible that sometimes what everyone 'knows' to be true isn't really true at all?
2018, English
Hardcover, 480 pages, 17.4 x 23.2 cm
Published by
Atlas Press / London
$65.00 - In stock -
Georges Bataille's secret society, long the stuff of legend, is now revealed in its texts, meditations, rules and prohibitions.
This book recounts what must be one of the most unusual intellectual journeys of modern times, in which the influential philosopher, cultural theorist and occasional pornographer Georges Bataille (1897-1962), having spent the early 1930s in far-left groups opposing the rise of fascism, abandoned that approach in order to transfer the struggle onto "the mythological plane."
In 1937, Bataille founded two groups in order to explore the combinations of power and the "sacred" at work in society. The first group, the College of Sociology, gave lectures that were intended to reveal the hidden undercurrents within a society on the verge of catastrophe. The second group was Acéphale, a genuine secret society and anti-religion whose emblem was a headless figure that, in part, represented the death of God. Until the discovery a few years ago of the group's internal papers (which include theoretical texts, meditations, minutes of meetings, rules and prohibitions and even a membership list), almost nothing was known of its activities.
This book is the first to collect a representative selection of the writings of Bataille, and of those close to him, in the years leading up to World War II. The texts published here comprise lectures given to the College of Sociology by Bataille, Roger Caillois and Michel Leiris, essays from the Acéphale journal and a large cache of the internal papers from the secret society. A desperate narrative unfolds, wherein Bataille risked all in a wholly unreasonable quest--with a few fellow travelers, he undertook what he later described as a "journey out of this world."
Additional texts by Roger Caillois, Pierre Klossowski, Michel Leiris, and by Georges Ambrosino, Pierre Andler, Michel Carrouges, Jacques Chavy, Jean Dautry, Henri Dobier, Henri Dussat, Imre Kelemen, Jean Rollin, Patrick Waldberg.
And with drawings by André Masson
Highest recommendation!
1997, Japanese
Softcover (w. dust jacket), 154 pages, 29.7 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Treville / Tokyo
$220.00 - Out of stock
First 1997 edition collection of "The Early Works" by the Japanese master of Ero guro Toshio Saeki, published by Treville in 1997 and long out-of-print. An extensive collection of incredible works gathered from his first major book in 1970, his acclaimed 1971 Red Book, the panel-by-panel replication of an early Saeki manga story, and much more. Texts by Akira Uno, Alain Robbe-Grillet and Timothy Leary.
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.
Very Good copy in VG dust jacket, light wear.
2025, English
Hardcover, 100 pages, 21 x 14.5 cm
Published by
Amphetamine Sulphate / Austin
$52.00 - In stock -
WHAT I SEE IS BEAUTIFUL, BUT I DON'T THINK IT'S ENOUGH
"I’m beyond thrilled to announce that my brand new novel, WE’LL NEVER BE FRAGILE AGAIN, is ready and waiting to enter the world. It’s my sixth novel, and a book that I’m really proud of. I feel it’s the best writing I’ve done so far and I’m excited to share it with you very soon.
"And again, I’m honoured that the incredible Michael Salerno has given me his miraculous skills and created such gorgeous, beautiful artwork for the book.
"It’s a strange, painful book about memory, regrets, art, friendship, desire and death."—Thomas Moore
Original cover photography and design throughout by Michael Salerno.
2021, English
Softcover, 122 pages, 21.5 x 13.5 cm
Published by
Amphetamine Sulphate / Austin
$46.00 - In stock -
The paresis conquered my entire right side in a procession of patient and orderly ants. Pins and needles pulsating across my cheek, my leg, my arm, followed by a disturbing heat that flooded them intermittently; then the anesthesia took everything away. There was no pain. I let myself be occupied by your absence; I waited without trying to understand. Almost without moving.
A few days after the first rush of desire – my mouth on your lips, seeking your tongue – after those words that lodged themselves in the pit of my being and yet held no meaning for me, when all I wanted was for your body to never leave me in peace, came the waiting, the endless putting off of things. What was so repugnant about me that your hand wouldn’t venture to touch my breasts, to reach under my sweater or stroke my stomach? That you wouldn’t make the slightest attempt to undress me or lead me to your place?
What was electric in our joining turned aseptic, doctored, calculated as our depravity played itself out. And if you bit the back of my neck, it was with such effort that I wondered if you hadn’t sensed, nearby, a sudden decompensation: a collapsing building, an accident, a scream...
Isabelle Nicou is a French writer (b.1969)
Studying philosophy at Université Paris 1 Panthéon-Sorbonne, Isabelle began researching phenomenology and the works of Martin Heidegger and Jacques Derrida, eventually working with Derrida for some years during her studies. She published her first novel, Paresis, in 2002 and her second, Genesis 0, in 2007. In 2015, Isabelle played the role of Nora in the movie Love by Gaspar Noé, selected for the Cannes Film Festival the same year. She is currently finishing her third book, Stricture.
2021, English
Softcover, 108 pages, 21.5 x 13.5 cm
Published by
Amphetamine Sulphate / Austin
$46.00 - In stock -
“As soon as my eyes close, I’m besieged by waves of blood. A piece of flesh floats in with the tide. No panic, only silence and then the sound of the bloody debris when it comes crashing into my wall. I’m a rampart. An enclosure. A stronghold. Very strong, and I’m afraid of nothing. Certainly not of blood, of its stench of warm entrails and iron dust.
Tomorrow I’ll gain what life will lose: defeat of my body – of the teeming power of the body – that will disgorge its excess of blood and return me to myself, alone, cut off from all lineage and with no line of descent. Being done with this tension in my breasts. Done with the stigmata of your existence and all those that pass through me in the place where you cling. Done with being possessed like this, double-stitched, overlocked, woven into a web that covers me like a shroud. Tomorrow, it’s the women in my family, their tide of hemoglobin A, that I’ll abort. Once the pills are absorbed, I would wait to be delivered. Alone. Free of all lineage and with no line of descent. Eternal. The genesis and the lack. The apocalypse and its angel. Now and forever. The point zero. O.”
Isabelle Nicou is a French writer (b.1969)
Studying philosophy at Université Paris 1 Panthéon-Sorbonne, Isabelle began researching phenomenology and the works of Martin Heidegger and Jacques Derrida, eventually working with Derrida for some years during her studies. She published her first novel, Paresis, in 2002 and her second, Genesis 0, in 2007. In 2015, Isabelle played the role of Nora in the movie Love by Gaspar Noé, selected for the Cannes Film Festival the same year. She is currently finishing her third book, Stricture.
1984 / 1995, Japanese
Softcover (w. dust jacket), 144 pages, 21.3 x 15 cm
1st Edition, Out of print title / as new
Published by
Rippu Shobo / Japan
$120.00 - In stock -
First 1984 edition of this seldom seen photo book by Japanese photographer Kazuo Kenmochi, These Are Drugs: A Photographic Look at the Roots of Modern Disease. Kazuo Kenmochi, an extraordinary figure in Japanese photography, published three ground-breaking photo books that rank as some of the most comprehensive books on drug addiction ever published — Narcotic Photographic Document, Narcotic '61-'72, and Narcotic Damage in Japan (published 1963 through to 1975). These illuminating books of frontline photo-reportage detail the drug culture in Japan in the early 1960s that was spread by U.S. soldiers after the war. A photo artist with direct access as photographer for the Ministry of Health and Welfare and the National Police Agency, Kenmochi captures all the aspects of the culture from drug production, to distribution, to use, addiction, withdrawal, overdose, raids, seizure, arrests, incarceration, all in great detail. Alongside incredible photo documents of addicts in varying states of disarray, the books photographically documents the seizures, identifies the drug types/variations, paraphernalia, the methods of use, the signs of use on the body, and charts their origins in nature and distribution. Kenmochi's comprehensive observations, ingeniously utilising methods of identity abstraction and provocative photographic techniques used in erotic photography (a field he was active in), to confidentially capture drug use through stark and very intimate moments with users. This 1984 volume collects a selection of the images (vivid colour and b/w) from these highly sought after books into one concise softcover volume.
First 1984 edition, 1995 printing.
Fine—As New in F dust jacket, preserved under mylar dust jacket.
1994, Japanese / English
Hardcover (w. corflute envelope slipcase), 196 pages, 32.5 x 23.5 cm
1st Edition, Out of print title / used / very good
Published by
Sequoia / Tokyo
$220.00 - In stock -
"I dedicate this book to all lives"
Very rare, first volume of the highly collectible cult classic two-volume death photo book series, SCENE, published in 1994 in Japan only. A lavish hardcover production filled with high-quality monochrome reproductions of anonymous, uncredited corpse photography, seemingly sociopolitical photo-journalism of human massacre stripped of text/language as a confronting stream of vivid and graphic images in conceptual photo book form. SCENE presents an unwavering, unapologetic exploration of a world usually hidden from view — the dead and death. Not for the faint of heart. Compiled by Kunio Shimizu and Yoichi Shibata for publisher Hirofumi Nagashima, SCENE is housed in an elaborate black button-and-tie-bound corflute envelope. Select plates have been featured in the pages of Kotaro Kobayshi’s underground publications TOO NEGATIVE and ULTRA NEGATIVE from the same period.
Fine copy with only standard storage wear from button-bind pressure to envelopes/wear to button metal.
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.
1971, Japanese
Rigid softcover (in illustrated slipcase), 64 pages, 30 cm x 21 cm
1st Edition, Out of print title / used / very good
Published by
Gakugei Shorinsha / Tokyo
$400.00 - In stock -
Super rare and bookshop favourite early collection of artworks by ero-guro master Toshio Saeki (1945—2019), published in 1971 by Gakugeishorin. Stunning large-format softcover collection of exquisitely printed saturated full-bleed colour and b/w artworks on warm matte paper stock capturing this legendary underground artist at the height of his powers, housed in original publisher's cardboard slipcase. His third book collection featuring so many of his finest works. Postface by Hiraoka Masaaki in Japanese. A must!
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.
Very Good copy. Very complete copy with slipcase and obi present. Some wear/marking to a VG slipcase.
2024, English
Softcover, 192 pages, 19.8 x 12.9
Published by
Verso / London
$39.00 - In stock -
Translated by Helen O'Horan
The first novel from Izumi Suzuki to be published in English: a candid, intimate exploration of passion, music and transgression.
Hope I’m in for a good time, I thought. Even if it’s just for tonight.
Set in the underground bar and club scene of 1970s Tokyo, Set My Heart On Fire tells the story of Izumi in her turbulent twenties. Through a series of disarmingly frank vignettes, author Izumi Suzuki presents an unforgettable portrait of a young woman encountering missteps and miscommunication, good music and unreliable men, powerful drugs and disorientating meds. Izumi usually keeps her relationships short but complicated, until she meets Jun.
Set My Heart on Fire is a visceral novel about mistaken relationships and the convolutions of desire, about regret and acceptance. Pulsing through the narration is the protagonist’s love of music, a vital soundtrack spanning the Zombies, T. Rex and the Rolling Stones as well as underground Japanese psychedelic-rock bands such as the Tigers and the Tempters.
"The work and messages of Ursula K. Le Guin, the author’s longer-lived contemporary, come to mind. Both Suzuki and Le Guin knew that gender roles are a matter of costume or control, affect or affliction. The terms we use to define humanity are often inhuman"—Catherine Lacey, New York Times
"Suzuki's unique sensibility, which combined a punk aesthetic with a taste for the absurd. Her work-populated by misfits, loners, and femmes fatales alongside extraterrestrial boyfriends, intergalactic animal traffickers, and murderous teen-agers with E.S.P.-wryly blurs the boundary between earthly delinquency and otherworldly phenomena."—New Yorker
"Wild and restless ... I can't think of anyone I'd rather read than this countercultural icon of the Japanese literary underground."—Frieze
1989 / 1994, English
Softcover, 47 pages, 27.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
MediaKaos / San Francisco
Alecto Enterprises / San Francisco
$190.00 - In stock -
Very rare 1994 MediaKaos/Alecto Enterprises edition of Esoterrorist: Selected Essays 1980-1988 by Genesis P-Orridge, first published in 1989 by OV-Press in a limited edition of 500 copies. Thick screen-printed recycled cardboard covers. “The ideas of Genesis P-orridge, founder and spokesman of the legendary Throbbing Gristle and Psychic TV, are exposed for the first time. Genesis expands upon the theories on music, control, behavior, and the occult as introduced by the Temple ov Psychic Youth. No library of contemporary culture or the occult is complete without this revolutionary, revelationary work!”
Heavily illustrated throughout with Genesis' collage artworks and other illustrations.
"ESOTERRORIST is the product of one Brain's fascinating roller coaster ride along the fringes of culture and sexuality, a virtual mapping of the evolution of an ORIGINAL Cyber-Shaman. Genesis lets us assume that every "thing" is interconnected, interactive, interfaced and intercultural. His essays are all ways experimental, in that thee potential results are not a given, SPLINTERING consensual realities to TEST their substance utilising thee tools ov collision, collage, coumposition. decomposition, progression systéms, "random" chance, juxtaposition, cut-ups, hyperdelic vision and any other method available that melts linear conceptions and reveals holographic webs and fresh spaces. Genesis exposes control systems, explores the recesses of our psyches and leaps tall buildings in a single bound! Genesis uses X-ample to X-plain multi-faceted ideas, meditations, alternatives and processes that Individuals can use to X-termmate control. A "must read" for all trance/ dance/virtual/shamanic/multimedia/flux/tantrik/chaos/ processers, as well as everytwo else. I can think of no other contemporary book that packs more speculation per page. If you read only one book this year, make it this one and become an interactive particle in the ESOTERRORIST web so you WILL continue to exchange information instantaneously regardless of any separation in Time and Space. ESOTERRORIST is a living tome of contemptiorary, post-ritualised fundamentals whose words fuse into the very being ov the reader. Trans-form & Trans-gress within the fabric of ESOTERRORIST.
Joe Matheny; Timothy Leary; Genesis P-Orridge; Joe Rapoza.....?"
(from the back cover)
Good copy with general light tanning and handling wear and pinching creases to thick printed boards. Fragile binding on this edition but this copy all still nicely bound and no loose pages, which is rare.
1997, Japanese
Hardcover (w. dust jacket), 228 pages, 22.5 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Yudachi-sha / Tokyo
$70.00 - In stock -
First 1997 hardcover edition of this important reference monograph/biography of Japanese Ukiyo-e blame artist, Seiu Ito, "the father of modern kinbaku", published by Yudachi-sha, Tokyo. Beautiful Maiden Dance: An ode to the Torture Artist Seiu Ito is an art and photography book that beautifully presents Ito's most famous painting and print collections in full, alongside his original writings, sketches, rare photo documents, and accompanying studies.
Seiu Ito (1891—1960) Seiu Ito, also romanised as Seiyu Itoh, was a Japanese painter, recognised today as "the father of modern kinbaku". Ito's life was the subject of director Noboru Tanaka's 1977 Nikkatsu Roman porno film Beauty's Exotic Dance: Torture!, the final entry in his "Showa Era trilogy". Ito uses his skilful technique to draw realistic torture pictures, and as a master of these paintings, he has many fans and has written masterpieces such as "The Story of Blame." On the other hand, he not only left behind many masterpieces of ghost paintings, but also loved the street customs of Edo and wrote books about Edo customs.
Very Good copy in Good—VG dust jacket and obi, some foxing and rubbing/tanning.
1972, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$75.00 $55.00 - In stock -
May 1972 issue of S&M Collector, the legendary cult pioneering Japanese kinbaku magazine published monthly by Sun Publishing from 1972—1985 and founded by Shin Miyasaka and Toshiyuki Suma. Cover artwork by Haruo Shinozaki. One of the finest examples of SM publishing in Japan in the 1970s and 1980s, each issue of S&M Collector included a perfect combination of colour and b/w bondage photo features, illustrated fetish fiction, articles and a heavy selection of the most talented bondage artwork galleries, with contributors including Oniroku Dan, Ran Akiyoshi, Shoji Oki, Yoji Muku, Namio Harukawa, Tadao Chigusa, Mito Akiyoshi, Sanpei Akashi, Juan Maeda, Yoko Ozuma, Toshimi Fuji, Hakuzan Shiraishi, Ran Akiyoshi, Haruo Shinozaki, Akira Minomura, Bill Ward, Osamu Nakahara, and many more. Beautifully designed with printing on many various paper-stocks, finishes, and fold-out spreads.
Good—Very Good copy with some general wear and cover rubbing.
1978, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$65.00 $50.00 - In stock -
January 1978 issue of S&M Collector, the legendary cult pioneering Japanese kinbaku magazine published monthly by Sun Publishing from 1972—1985 and founded by Shin Miyasaka and Toshiyuki Suma. Cover artwork by Haruo Shinozaki. One of the finest examples of SM publishing in Japan in the 1970s and 1980s, each issue of S&M Collector included a perfect combination of colour and b/w bondage photo features, illustrated fetish fiction, articles and a heavy selection of the most talented bondage artwork galleries, with contributors including Oniroku Dan, Ran Akiyoshi, Shoji Oki, Yoji Muku, Namio Harukawa, Tadao Chigusa, Mito Akiyoshi, Sanpei Akashi, Juan Maeda, Yoko Ozuma, Toshimi Fuji, Hakuzan Shiraishi, Ran Akiyoshi, Haruo Shinozaki, Akira Minomura, Bill Ward, Osamu Nakahara, and many more. Beautifully designed with printing on many various paper-stocks, finishes, and fold-out spreads.
Good—Very Good copy with some general wear and cover rubbing.
1978, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$65.00 $50.00 - In stock -
February 1978 issue of S&M Collector, the legendary cult pioneering Japanese kinbaku magazine published monthly by Sun Publishing from 1972—1985 and founded by Shin Miyasaka and Toshiyuki Suma. Cover artwork by Haruo Shinozaki. One of the finest examples of SM publishing in Japan in the 1970s and 1980s, each issue of S&M Collector included a perfect combination of colour and b/w bondage photo features, illustrated fetish fiction, articles and a heavy selection of the most talented bondage artwork galleries, with contributors including Oniroku Dan, Ran Akiyoshi, Shoji Oki, Yoji Muku, Namio Harukawa, Tadao Chigusa, Mito Akiyoshi, Sanpei Akashi, Juan Maeda, Yoko Ozuma, Toshimi Fuji, Hakuzan Shiraishi, Ran Akiyoshi, Haruo Shinozaki, Akira Minomura, Bill Ward, Osamu Nakahara, and many more. Beautifully designed with printing on many various paper-stocks, finishes, and fold-out spreads.
Good—Very Good copy with some general wear and cover rubbing.