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<p>Suggested or explicit, illustrated or purely textual, sadistic or sapphic, published under the cloak or out in the open, love has always had an intimate and passionate relationship with literature.&nbsp; No, curiosity does not kill the Eroticat...</p>
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Eroticism

Suggested or explicit, illustrated or purely textual, sadistic or sapphic, published under the cloak or out in the open, love has always had an intimate and passionate relationship with literature.  No, curiosity does not kill the Eroticat...

184 results
  2. Histoire d'O
    Hans BELLMER (ill.) Pauline RÉAGE [Dominique AURY]
    Histoire d'O
    Story of O
    Jean-Jacques Pauvert|Sceaux 1954|12 x 19 cm|broché

    First edition, one of 480 numbered copies on laid paper, only grands papiers (deluxe) copies besides 20 Arches and 100 service de presse (advance) copies on laid paper.
    Our copy is complete with the rare vignette etching drawn and engraved by Hans Bellmer printed 'en sanguine' present in only around 200 copies.
    Preface by Jean Paulhan.
    Spine very lightly faded.
    A beautiful copy of this masterpiece of erotic literature.

    €4,000
  3. « je vous écris comme un aveugle, parce qu'en me parlant comme vous le faites [...] vous me faites tomber dans une obscurité presqu'insupportable. »
    Georges BATAILLE
    « je vous écris comme un aveugle, parce qu'en me parlant comme vous le faites [...] vous me faites tomber dans une obscurité presqu'insupportable. »
    Autograph letter, signed, to Denise Rollin: “I write to you like a blind man, because that is what you make me when you talk to me the way you do…you make me fall into a darkness that is almost unbearable”
    s. l. s. d. [circa 1940]|20.90 x 26.90 cm|2 pages sur un feuillet

    Autograph letter signed from Georges Bataille to Denise Rollin, 40 lines in black ink, two pages on one leaf.

    George Bataille and Denise Rollin's relationship lasted from the autumn of 1939 to the autumn of 1943 and left behind it a short but passionate correspondence. This letter dates from the early days of their connection, but already reveals Bataille's agonies: “Perhaps I was too happy with you for some months, even though suffering did not wait long to interrupt, at least for a time, a happiness that was almost a challenge.”
    A passionate lover, Bataille moved from exultation to the deepest doubt and even offered his lover a potential way out of their relationship: “If you can't take it, me, any more, I beg you, don't deceive yourself any longer: tell me it's me, and not some foible I could have avoided and which is easily repairable.” He would rather be sac-
    rificed on the altar of their love than have a relationship that was bland and flavorless: “Understand me when I tell you that I don't want everything to get bogged down, that I would really rather suffer than see a sort of shaky mediocrity as a future for you and me.”

    Earlier in the letter, he turns to humor to tear him away from his worries: “I hardly dare make you laugh by telling
    you that I've lost weight, so that my trousers occasionally fall down, because I've not yet gotten into the habit of tightening my belt to the new notch.” Then, he goes back to pleading: “I write to you like a blind man, because that is what you make me when you talk to me the way you do when you leave or when you phone, you make me fall into a darkness that is almost unbearable.” He then tries to get a grip on himself:
    “there are moments I'm ashamed of doubting you and being afraid, or of stupidly losing my head.”
    Finally, hemmed in by all his doubts as a lover, Bataille tried to find some respite in talking about the family that he had made up with Denise and her son Jean (alias Bepsy): “If you write me, tell me how Bepsy's doing, which is perhaps the only thing that you can tell me that doesn't touch something painful in me.”

    Although Bataille's life as a writer is well known in these years, little is known about his private life. And it is not the least paradox of his very revealing work that it only tells the minimum of his private affairs, and usually the worst of it.” (M. Surya, G. Bataille, la mort à l'œuvre). When Georges Bataille met Denise Rollin in 1939, he had just lost his lover Colette Peignot to tuberculosis. His friends had abandoned him and war had just been declared. This sentimental and social chaos however, does not affect Bataille as much as the tumultuous relationship he took up with Denise Rollin who was a friend of Cocteau, Breton, Prévert and a muse of painters Kisling and Derain. Their romance lasted four years and left very few details of their sentimental life during this period of Occupation, except what Bataille is willing to tell us in his novel Le Coupable (The Guilty) partly inspired by this passionate and painful relationship.
     


    In a 1961 interview, Bataille looked back on this time: "Le Coupable is the first book that gave me a kind of satisfaction, an anxious one at that, that no book had given me and that no book has given me since. It is perhaps the book in which I am the most myself, which resembles me the most... because I wrote it as if in a sort of quick and continuous explosion." The letters addressed by Bataille to Denise during this period contain the seeds of the feelings that explode in Le Coupable as in all of Bataille's work. His writing is an ebb and flow of love and suffering, between ecstasy and disappointment, calm and energy, mixing familiar and formal tones, compliments and reproaches. The letters are often impossible to date with precision as they all proceed from the same movement of ecstatic flagellation.

     

    In 1943, Georges Bataille found a house in Vézelay where the couple settled with Laurence (Georges and Sylvia's daughter), and Denise's son Jean. It was there that Bataille completed his book Le Coupable as well as his love story since barely a month after their arrival, Diane Kotchoubey, a young woman of 23, moved in with them. Before the end of the year, Bataille left Denise Rollin for this new flame.

     

    These previously unknown letters were kept by Bataille's best friend Maurice Blanchot who from 1944 became the new lover Denise Rollin, this woman with a "melancholic and taciturn" beauty who "embodied silence". The crumpled letters (one is even torn into five pieces) are as much the precious trace of Bataille's extraordinary passion as they are a valuable source from a little-known period of his intimate life which was until then only perceived through the eyes of his friends. Above all they are of an exceptional literary quality and reveal several sides to him: the man, the accursed, the worshipper and the profaner... all that, according to Michel Foucault, makes Georges Bataille "one of the most important writers of this century”.

    €4,500
  5. Exquisite first edition in a contemporary binding
    Les Fleurs du mal
    Charles BAUDELAIRE
    Les Fleurs du mal
    [The Flowers of Evil]
    Poulet Malassis & De Broise|Paris 1857|12.2 x 18 cm|relié

    First edition printed on vélin d'Angoulême. Complete copy with the six banned poems and the usual misprints.

    Half shagreen binding, spine with four raised bands twice ruled in gilt with gilt fleurons, marbled paper boards, marbled pastedowns and flyleaves, contemporary binding. Some foxing scattered foxing.  

    €35,000
  6. Les Liaisons dangereuses
    Pierre-Ambroise-François CHODERLOS DE LACLOS
    Les Liaisons dangereuses
    [Dangerous Liaisons]
    S. n.|Londres [London] 1796 [1812]|12.70 x 20.30 cm|2 tomes reliés

    Pirate edition of 1812, imprint dated 1796. It features the exact pagination of the genuine 1796 edition, as well as the 13 plates and 2 frontispieces by Monnet, Mlle Gérard and Fragonard fils engraved by Baquoy, Duplessi-Bertaux, Dupréel, Godefroy, Langlois, Lemire, Lingée, Masquelier, Patas, Pauquet, Simonet and Trière. The pirate edition is identified by the letters “R. p. D.” in the plates' lower margins, as they have been retouched by Delvaux. In addition, the fillet preceding the date on the title-page is wavy, and the title is presented in seven lines rather than eight.


    Bound in full morocco, slight rubbing on the corners, all edges gilt, splendid binding signed by Hardy.

    A very fine copy in a magnificent decorated full morocco binding by Hardy.

    €2,800
  7. "[J'ai] cessé depuis longtemps toute communication avec Mme Wanda de Sacher-Masoch"
    Léopold de SACHER-MASOCH
    "[J'ai] cessé depuis longtemps toute communication avec Mme Wanda de Sacher-Masoch"
    Signed handwritten letter
    1er juin 1893|11.30 x 17.70 cm|un feuillet
    Probably unpublished autograph letter, written by a secretary, dated 1st June 1893 and signed by Leopold von Sacher-Masoch to an unknown recipient, probably a lawyer. Handwritten note by Sacher-Masoch in the upper left margin of the letter: « Répondu le 1 mai 93 ».
    Two pages written in black ink on a bifolium.
    The writer is preparing for a possible lawsuit brought by his first wife Wanda, the inspiration for his famous novel La Vénus à la fourrure, who sought to reclaim what was owed to her and free herself from the fantasy she had embodied through her husband’s works.

    Wanda, whose real name was Angelika Aürora Rümelin, had signed with him the notorious contract stipulating that she should cover herself in furs and whip him thus attired—a veritable gospel of what would become masochism. Despite this sacred and formalised union, by the late 1870s Leopold had grown weary of life with her, Wanda being unable to fulfil his desires: « Courtisane malgré elle » and « infirmière », according to Jean-Paul Corsetti, she was, Gilles Deleuze tells us, « sa compagne à la fois docile, exigeante et dépassée ». Overwhelmed by financial difficulties, he sold the famous furs and his wife’s dresses, and their divorce was pronounced in 1886.
    Haunted by her alter ego of La Vénus à la fourrure, which had made of her an imperious and venal Delilah, Wanda appears to have intended to sue her former husband: « Ayant cessé depuis longtemps toute communication avec Madame Wanda de Sacher-Masoch, il m'est impossible de m'entendre avec elle à l'amiable [...] En cas échéant, ce sera contre moi que Mme de Sacher-Masoch pourra tenter un procès?».

    The lawsuit is without doubt connected with the premiere of Kassya, an opera by Léo Delibes on a libretto by Sacher-Masoch adapted by Henri Meilhac and Philippe Gilles, staged at the Opéra-Comique that same year. It is possible that Wanda, who had translated Masoch’s works during their marriage, did not receive the translation rights due to her for Kassya, based on a tale published in her husband’s Contes galiciens.
    In the same spirit as his years of absolute submission to Wanda, he was determined to bear alone the burden of his wife’s accusations, in return for a sum of money paid by the other authors of the opera (Henri Meilhac and Philippe Gilles): « Je déclarerai dans un acte notariel [sic] que, en touchant la somme dite, je me charge de toute responsabilité vis-à-vis de Mme de Sacher-Masoch?».

    A strange and picturesque episode in the history of the founder of masochism, still unknown to his biographers.
    €800
  8. Femmes
    Paul VERLAINE
    Femmes
    [Women]
    Imprimé sous le manteau • [ Henri Kistemaekers]|et ne se vend nulle part [Fictional Place] • [Bruxelles] [Brussels] 1890|13.50 x 22 cm|relié
    First edition, clandestinely printed in 175 numbered copies, ours being one of the 25 lettered copies from the head of the print run.

    Bradel binding in half bordeaux morocco, smooth spine, gilt date at foot, marbled paper boards, marbled paper endpapers and pastedowns, original wrappers preserved.

    A very rare and handsome copy.

    Provenance: from the library of Dr. Lucien-Graux with his ex-libris mounted on a pastedown.
    €10,000
  9. "Naïs et Chloé" Poème saphique autographe inédit signé d'Alexandre Dumas
    Alexandre DUMAS
    "Naïs et Chloé" Poème saphique autographe inédit signé d'Alexandre Dumas
    Unpublished handwritten sapphic poem signed by Alexandre Dumas
    s. d. [circa 1860]|20.60 x 27.60 cm|un feuillet remplié
    DUMAS Alexandre
    Naïs et Chloé. Unpublished handwritten sapphic poem signed by Alexandre Dumas
    N. d. (c. 1860), 20,6 x 27,6 cm, one folded leaf
    Autograph manuscript poem signed by Alexandre Dumas bearing the title “Naïs et Chloé,” 84 verses in black ink on a blue folded leaf of paper. A few tiny tears without damage to the text, invariably produced when a leaf of paper is folded.
    A very rare manuscript of a long unpublished poem depicting the love of Naïs and Chloé, the writing of which is motivated by the admiration and tribute paid by Alexandre Dumas to one of the greatest figures of ancient poetry, Sappho.
    A prolific novelist, Dumas rarely tried his hand at poetry; “Naïs et Chloé,” by its length, constitutes a hapax in the literary production of this writer. The text remains unpublished to this day and is here enhanced by the elegant calligraphy of its author. The poem is made up of 21 quatrains, among which stands a remarkable insertion of the most famous verse by Sappho, “to the beloved woman,” the title of which is preserved in the very body of the text. This embedding is part of the verve with which
    Dumas defends the poetic and evocative force of the writing of Sappho, whom he elevates to the rank of the “star of the world” of Poetry:
    “Il est au sein des mers s'appuyant à l'Asie
    Entre l'heureuse Smyrne et la sombre Lemnos
    Une île aux bois fleuris chers à la Poésie
    A qui Venus donna le doux nom de Lesbos.
    Quand du chantre divin la voix fut étouffée
    Que du nom d'Euridice elle eut frappé l'écho
    Le flot roula tête et la lyre d'Orphée
    Sur la rive où plus tard devait naître Sapho
    Sapho naquit la lyre en ses mains fut remise
    Les sons qu'elle en tira jusqu'à nous sont venus.”
    Translated with conscientious care by the author, the poem borrowed from Sappho in which that most famous verse emerges (“this one, I say, is equal to the gods”), is found in several places in Dumas' work, particularly in the chapter entitled “les vers saphiques” of San Felice and in a collection of articles dedicated to the great female figures, where she sits alongside Joan of Arc and Margaret of Anjou. For Dumas, it is a matter of remaining faithful to the written verses and rendering their sensuality, often blurred by previous translators: “The translations of these two poets […] often appear to lack not only ancient color but are inadequate in their lesbian ardor” (Les étoiles du monde, Galerie historique des femmes les plus célèbres de tous les temps et de tous les pays). Above and beyond this translation, Dumas is imbued with the lyricism of Sappho without losing his own romantic vein, and he paints the sapphic love of Naïs and Chloé in an erotic light:
    “Oh seule palpitante, échevelée et nue
    Une main sur ma gorge et l'autre... Oh ma Naïs
    Serre moi dans tes bras et sois la bien venue
    Car à force d'amour... tiens... tiens je te trahis
    Et l'on n'entendit plus alors dans la nuit sombre
    Que le bruit des baisers répétés par l'écho
    Car Nais et Cloé se taisaient et dans l'ombre
    Clinias s'enfuyait en maudissant Sapho.”
    The poem testifies to the continuous interest that the authors of the late 19th century showed toward sapphism and to the personage of the reader-voyeur, here embodied by Cleinias, whose most famous occurrence remains Zola's Nana.
    Exceptional and long autograph sapphic poem by Alexandre Dumas.
    $ 10 000
    €8,000
  10. The book no publisher dared to issue as a deluxe edition – with original drawing and manuscript leaf
    Les malmenés
    Frans DE GEETERE
    Les malmenés
    Chez l'auteur|Paris 1964|14 x 19.50 cm|broché

    First edition, one of 300 numbered copies signed and justified by Frans de Geetere, reserved for the friends of La Marie-Jeanne, the only copies printed on deluxe paper.
    As stated in the limitation, our copy is complete with a manuscript leaf from the work and an original drawing by the author depicting two reclining nude women, signed by him.
    A desirable copy, complete with its rare promotional wraparound band: "le livre qu'aucun éditeur n'a osé publier".

    €230
  11. Femmes
    Paul VERLAINE
    Femmes
    [Women]
    Imprimé sous le manteau • [Henri Kistemaekers]|et ne se vend nulle part • [Bruxelles] 1890|13.50 x 22 cm|relié sous étui

    First edition clandestinely printed in 175 copies on laid paper, each individually numbered.
     
    Bound in full mint green morocco, spine with five raised bands framed by black fillets, subtle restoration to spine colour, date gilt at foot, endpapers and pastedowns of combed paper, gilt fillet border on pastedowns, original wrappers and spine preserved, all edges gilt, chemise edged in mint green morocco, covers of cat's eye paper, white felt interior, an elegant binding signed by Alix.
     
    A very rare and handsome copy bound by one of the most distinguished binders of the second half of the twentieth century.

     

    €7,500
  12. Photographie originale - Christopher Street Liberation Day March, New York - Le Baiser, Judy Bowen et Philip Raia
    Jean-Pierre LAFFONT
    Photographie originale - Christopher Street Liberation Day March, New York - Le Baiser, Judy Bowen et Philip Raia
    Paris 1970|19.50 x 30 cm|une photographie

    "On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)

    Original photo - Christopher Street Liberation Day March, New York - "The Kiss, Judy Bowen and Philip Raia"
    Original black and white silver print ; with the stamp of Jean-Pierre Laffont for the Gamma agency, and a lengthy mimeographed caption for the French press.
    Original prints from this event are extremely rare, as museums and galleries only have modern reprints.
    A touching and vivid account of the first Gay Pride March, in the aftermath of the Stonewall riots that became the cradle of the modern LGBTQ+ rights movement and subsequent gay liberation movements around the world.
    On June 28, 1969, police raided Stonewall, a mafia-owned dance bar in Greenwich Village catering primarily to gay and transgender people. The city had revoked the liquor licenses of gay bars and police officers regularly hassled its customers because of their sexual orientation. That night at Stonewall was one too many: cornered by Village residents and customers, the police were forced to retreat inside the bar and the riot lasted seven days. On June 6, 2019, nearly 50 years after the historic uprising, the New York Police Department has apologized for its role in the events.
    Now considered to be the origin of the gay liberation movement, Stonewall led to the creation of some of the first gay rights activist organizations, such as the Gay Liberation Front and Street Transvestite Action Revolutionaries (better known as STAR and founded by two of the most prominent transgender activists: Marsha P. Johnson and Sylvia Rivera). The uprising called for a new kind of movement. With this purpose, the Christopher Street Liberation Day March was held on June 28, 1970, one year to the day after Stonewall. Only a few brave groups first gathered at Sheridan Square (Greenwich village), before other people started joining in on their way to Sheep Meadow in Central Park, finally attracting more than 10,000 demonstrators. Annual Pride events were subsequently held in the summer in NYC and other major U.S. cities before reaching other continents after a few years, with hundreds of millions of people gathering for what has become one of the most prominent human rights demonstrations around the world.
    Taken during the kissing contest, this picture shows Judy Bowen, prominent transgender activist and founder of Transsexual Anonymous, passionately kissing her friend Philip Raia, founding member of the Gay Activists Alliance.
    Jean-Pierre Laffont first arrived in the U.S. in 1965 and began his career as a photojournalist in New York for Status Magazine and then as U.S. correspondent for the French agency Reporters Associés. He became Senior Foreign Correspondent for Gamma Press and in 1969 opened the Gamma Presse Images office in the U.S with his wife Eliane. Laffont covered major American historical events- the Civil Rights movement and social protests against racial discrimination, the Vietnam War, demonstrations for Peace, women's rights, and gay liberation, etc. Initially intended for the press, his artworks have now reached iconic status and are featured in international photographic collections.
    €1,000
  15. Schunga. 12 grandes peintures sur soie
    ANONYME (Matsutani Shōun [Yamamoto SHŌUN])
    Schunga. 12 grandes peintures sur soie
    1880|33.50 x 45.50 cm|relié

    12 large paintings on silk: 24 x 34.5 cm, depicting couples embracing. These works seem very close to the style of Yamamoto Schoun.
    A folding collection covered with a patterned green silk fabric. The silk paintings are loosely inserted into movable paper frames. Label on the upper cover missing. Cloth is faded, with a few perforations, dampstains in the lower part of the upper cover, and missing edges. First board is split at the head and foot of the joint.
    Although the colors are quite varied, they all rest on and derive from a dominant pale green, the color found on the boards. The palette mixes different shades of green with complementary colors in the clothing (red, blue-gray...). Couples are always clothed, with clothing playing a revealing role, an integral part of Japanese eroticism. The decor shows a variety of everyday objects, such as teapots and boxes. In each of the paintings, elements frame and circumscribe the scene: screens, sliding walls, windows, but beyond a perfectly balanced composition: the interiors participate in the unveiling, in a staging intended for the gaze. 

    €6,000
  16. Errotika Biblion
    [Honoré Gabriel Riquetti Comte de MIRABEAU]
    Errotika Biblion
    De l'imprimerie du Vatican|Rome [Neuchâtel] [Neuchâtel] 1783|13 x 20.70 cm|relié
    First edition.
    Bound with Reymond, La Bataille d'Austerlitz, poème dramatique en cinq actes, Riom, 1806; [Huvier des Fontenelles], La Targétade, comédie un peu burlesque parodie d'Athalie de Racine de Racine, [1791]; [de Bonnay], La Prise des Annonciades, n.p., n.d.; Abbé de Vermond, La Cour plénière, Héroï-tragi-comédie, Paris, 1788; Aymé, Déportation et naufrage de J.J. Aymé, Paris, n.d.; Jourgniac de Saint-Médard, Mon agonie de trente-huit heures, Paris, [1806].
    Contemporary beige half calf binding, ochre paper boards, smooth spine, deep green morocco title-piece, gilt title, gilt stamped motifs. Some chafing to the boards, scattered foxing. A few brown spots on the title page of La Prise des annonciades.
    Illustrated with a vignette on the title page of Errotika. 
    Collection written by Mirabeau imprisoned in Vincennes at the same time as the Marquis de Sade. Various curiosities are culled from ancient writings relating to sexual practices such as onanism, tribalism, sodomy, nymphomania, etc. : "The author, in addition to the talent of perfectly mastering ancient languages, writes very well in his own, joking lightly and often drawing on Voltaire's style: in the very dirty pictures he sometimes presents, he always uses honest or technical expressions: besides, he seems well versed in the art of voluptuousness" (contemporary 18th century review, quoted in Gay-Lem. II, 151). According to the legend, the book was relentlessly censored by the authorities and only fourteen copies of the first edition had survived - an estimate which seems to be quite inaccurate. After a second edition in 1792, the book was prohibited and included in the papal index. Another edition was destroyed in 1826 by the Royal Court of Paris, and two further prosecutions were brought in 1856 and 1868 for "outrage à la morale publique et aux bonnes mœurs". The text was notably published by Guillaume Apollinaire, along with other writings by Mirabeau, in his 1910 edition, in the Bibliothèque des Curieux series.
    €900
  23. Images de printemps. Shunga
    TOMIOKA EISEN
    Images de printemps. Shunga
    1920|25 x 240 cm|autre
    Series of 8 erotic lithographs depicting Europeans and Japanese women. Famous series by Tomioka Eisen created during the Russo-Japanese War, depicting couplings between Russians (diplomat, bourgeois, soldier, officer) and Japanese women. Chinese printing circa 1920. Japanese soldiers carried shunga collections with them to China and these were later reproduced by the Chinese in lithography, certainly from photographs, what are called photochromes (technique developed in 1888). It was undoubtedly easier to distribute these shunga which did not show Chinese but foreigners, moreover belligerent neighbors. One will note that these images respect the shunga tradition, therefore, the Europeans are dressed in period clothing, the women in traditional Japanese garments. It should also be noted that the title written in Chinese can be read in Japanese.
    Chinese wooden scroll. The entire lithography has been mounted on the scroll paper. Title label mounted on Chinese yellow imperial damask silk fabric. Some foxing stains on several images but part of the printing. 2 creases at the beginning of the scroll, another further along.


    €800
  25. Oeuvres badines
    Félicien ROPS, Jean-Baptiste de GRECOURT
    Oeuvres badines
    Jules Gay|Bruxelles [Brussels] 1881|12 x 19 cm|relié
    First edition of some parts as entirely revised and printed in 500 numbered copies on laid paper.
    Work illustrated, as frontispiece, with an etching by Félicien Rops.
    Half red morocco-grained shagreen binding with corners, spine with five raised bands set with gilt dots and black fillets and decorated with gilt fleurons, gilt date at foot, pebbled paper boards, combed paper endpapers and pastedowns, original wrappers preserved, top edge gilt on deckled edges, bookplate pasted on pastedown, binding signed Mativet.
    Fine copy handsomely bound.

    €250
  26. Sanguines
    Raymond BRENOT, Pierre LOUŸS
    Sanguines
    Editions de l'Odéon|Paris 1961|19 x 25.50 cm|reliure de l'éditeur
    Illustrated edition with color watercolor plates by Raymond Brenot, one of 134 copies on tinted Renage vellum.
    Publisher's full caramel sky binding, smooth spine very lightly discolored, first cover decorated with a gilt illustration, orange paper endpapers and pastedowns, top edge gilt.
    Handsome copy complete, as stipulated in the justification page, with a duplicate suite of the illustrations in sanguine.
    €200
  28. Le trophée des vulves légendaires - Neuf sonnets sur les héroïnes de Wagner rêvés au pied du Vénusberg en Août 1891
    Francis HERTENBERGER, Pierre LOUŸS
    Le trophée des vulves légendaires - Neuf sonnets sur les héroïnes de Wagner rêvés au pied du Vénusberg en Août 1891
    Aux dépens d'un groupe de bibliophiles parisiens|Paris 1948|18.50 x 23.50 cm|en feuilles

    First edition printed in 300 numbered copies on pure rag vellum from the marais, ours being one of the 246 containing illustrations in the text.
    Work illustrated with 18 unsigned drypoints in the text by Fernand Hertenberger.
    Boards uniformly and lightly sunned.
    Rare and handsome copy.

    €1,000
  30. Le Penseur
    Boris VIAN
    Le Penseur
    Roneotype with autograph title of the complete manuscript of the short story
    S. n. • [chez l'auteur]|s. l. s. d. [1949]|21 x 27 cm|6 feuillets agrafés

    Ronéotype réalisé par Boris Vian de son manuscrit original, avec ajout autographe du titre : "Le penseur" et deux corrections autogrpahes, nouvelle initialement parue dans la revue Dans le train n°15, 1949, puis publiée dans le recueil posthume Le Loup-Garou en 1970.

    Sans doute réalisé pour conserver une copie de sa nouvelle, avant l'envoi à la revue Dans le train, ce ronéotype du manuscrit originale signé a été conservé dans les archives de l'écrivain jusqu'à sa mort. les deux corrections autogrpahes et le titre au crayon semble indiquer que Boris Vian avait prévu une nouvelle publication.

    Cette biogaphie express de la courte vie d'un philosophe de génie : Urodonal Carrier, était destinée à être lue le temps d'un trajet en transport en commun. Elle fait partie douze textes que Boris Vian publia entre 1948 et 1950 dans la revue humoristique Dans le train.

    Provenance : Fondation Boris Vian.

        €300
      • Histoire d'un géant, écrite par un nain
        Histoire d'un géant, écrite par un nain
        Chez Barba|à Paris [1802]|10.30 x 17.70 cm|relié

        Rare first edition published anonymously.
        With a frontispiece "Je n'ai jamais vu un aussi petit homme" engraved by Benoist after Claude-Louis Desrais.
        Half brown calf binding, smooth spine slightly sunned and ruled in gilt, marbled paper boards, endpapers and pastedowns in caillouté paper, contemporary binding.
        A rare copy of this satyrical and erotic novel about the love adventures of a dwarf and a giant. Despite their rivalry, the dwarf remedies the giant's impotence by hiding in his breeches, and together they take revenge on a cruel marquise.
        We have found only four copies in public collections (National Library of France, British Library, Library of Château d'Oron, Switzerland, and National Library of Hungary).
        Not included in the Dictionnaire des ouvrages anonymes.
        €1,500
      • Ronéotype avec titre autographe du manuscrit complet de la nouvelle : L'amour est aveugle.
        Boris VIAN
        Ronéotype avec titre autographe du manuscrit complet de la nouvelle : L'amour est aveugle.
        S. n. • [chez l'auteur]|s. l. s. d. [1952]|21 x 27 cm|20 feuillets agrafés

        Ronéotype réalisé par Boris Vian de son manuscrit original, avec ajout autographe du titre : "L'amour est aveugle", nouvelle initialement parue dans la revue Paris-Tabou n°1 de 1949, puis publiée dans le recueil posthume Le Loup-Garou en 1970.

        Sans doute réalisé pour conserver une copie de sa nouvelle, avant l'envoi à la revue Paris-Tabou, ce ronéotype du manuscrit originale signé a été conservé dans les archives de l'écrivain jusqu'à sa mort.
        Ecrit d'un seul jet et comportant très peu de corrections, il témoigne de la créativité de l'écrivain et de son univers onirique hors du commun.

        Provenance : Fondation Boris Vian.

            €450
          • "Bon gré mal gré, comme tous les rêves, on est retenu à l'intérieur de ce b... mental où interfèrent les symbolismes chrétien, alchimique, sexuel, sinon d'autres encore et dont les desservants ne le cèdent pas en impassibilité aux protagonistes d'Histoire d'O [...] En dépit de la météorologie, toujours un peu "à la traîne", le printemps de 1955 s'annonce magnifique à Paris"
            Manuscrit autographe signé "Printemps secret" sur la poésie et la peinture
            André BRETON (Max Walter SVANBERG)
            Manuscrit autographe signé "Printemps secret" sur la poésie et la peinture
            s. l. • [Paris] 1955|21 x 27 cm|2 pages sur 2 feuillets

            Autograph manuscript signed by André Breton, written in black ink on two sheets of green paper.
            Horizontal fold to each sheet, pagination in red pencil on the 2nd sheet. Published in the journal Art, 1955.

            €3,500
          • Emakimono shunga, 12 peintures sur soie : Histoire de la jeune fille céleste et de sa robe de plume
            ANONYME
            Emakimono shunga, 12 peintures sur soie : Histoire de la jeune fille céleste et de sa robe de plume
            1920|24.50 x 380 cm|autre
            12 original paintings on silk in a scroll, itself covered with silk. The Emakimono is a painted scroll with horizontal narrative.
            Scroll composed of a wooden rod around which the paintings are rolled. The external margins are made of printed green silk while the background on which the paintings are mounted is made of another lighter green silk fabric; the whole is mounted on paper. Occasional worming or light small stains on the silk. Each painting: 18x23.5cm. Very fine condition.
            The 12 paintings tell the story of a goddess who came from heaven wearing a feathered robe and who visits the world of humans. This famous legend is a myth in several Southeast Asian countries, notably China and Japan. She becomes trapped in the human realm when her robe is hidden and eventually falls in love with a mortal man. In the paintings it is a poor fisherman. The presence of this fisherman evokes one of the oldest and most classic Japanese tales: the fisherman and the turtle. One notes the presence of Mount Fuji which opens and closes the tale.
            It is extremely rare for shunga to tell a story; they are always isolated scenes that may have a common background, but never a narrative through images. In 12 panels, the paintings tell of the meeting and departure of the goddess to her world when she finds her feathered robe again. Beyond this particular phenomenon, the paintings belong to the end of shunga creations, and it is the only period of this art that saw the birth of a new manner, not only in representation but also in the distribution of roles in sexuality. The paintings no longer merely reproduce an already established style but create a new one for the needs of the story. One will notice in each sexual scene the presence of handkerchiefs, intended for intimate cleansing, before or after the act.
            €2,500
          • Makimono Makurae (images d'oreiller). 12 peintures
            ANONYME, [Miyagawa SHUNTEÏ]
            Makimono Makurae (images d'oreiller). 12 peintures
            1920|15 x 869 cm|autre
            12 paintings on silk on a transparent silk band of 840cm, mounted on paper and bordered in gold. Each painting 70x14cm. It seems plausible to attribute the work to Miyagawa Shunteï.
            Wooden scroll on which is wound a long ribbon of 869 cm of paper. The paintings are held essentially by the margins and constitute a long silk band of 840cm. The scroll is nestled in a large green silk fabric. Some worming and stains but superb overall condition.
            Late production of shunga and ultimate flowering of this creative genre, these paintings reveal a new pictorial manner never dared before. Of greater purity and greater preciosity, these paintings also reflect in these years another way of apprehending sexuality, in which woman is more equal, lover. The narrow height and very extended width of the paintings allows extremely tight shots of the couples, thus conferring greater immersion for the voyeur and more subtle representation of intimacy. The palette of colors used is very rich, ranging from pink to black, passing through different shades of green.
            The scroll participates in the mystery of the progressive unveiling of the paintings. Early 20th-century Shunga are rather rare because the censorship exercised by the authorities was very repressive at this time, shunga being considered a stain on Japanese civilization.
            €6,000
          • Masterpiece of Eroticism with a Capital O
            Histoire d'O
            Pauline RÉAGE [Dominique AURY] Jean PAULHAN (pref.)
            Histoire d'O
            [Story of O]
            Jean-Jacques Pauvert|Sceaux 1954|12 x 19 cm|en feuilles sous chemise et étui

            First edition, one of 20 copies on Arches paper, most limited deluxe issue (tirage de tête).
            Like all copies on Arches, it is wrapped in a double dust jacket in yellow and white, and bears the rare sanguine vignette drawn and engraved by Hans Bellmer.
            Preface by Jean Paulhan.


            Our copy is housed in a custom clamshell box featuring an original design signed by Julie Nadot.

             

            Beautiful first edition copy of this masterpiece of erotic literature, in its most limited deluxe issue.

            €17,000
          • Shunga. 7 peintures sur soie
            TOMIOKA EISEN, MIYAGAWA SHUNTEI
            Shunga. 7 peintures sur soie
            1880 - 1900|25.80 x 31.70 cm|autre
            Set of 7 original paintings on silk, 4 attributed to Tomioka Eisen and 3 to Migawata Shuntei. Eisen's paintings mounted on original cardboard with mica paper, those by Shuntei on raw silk loose.
            Modern accordion binding executed in fabric, cardboard, paper and leather. The ensemble has been meticulously conceived and executed with respect for the paintings. The folding structure is bound to a light green fabric chemise. Each panel unfolds by means of a supple leather band. The paintings already mounted on cardboard have been remounted on another cardboard, those on silk benefit from particular treatment; they are simply held by 2 paper strips in the margins. Each painting has an opening frame made from different modern Japanese paper. The pastedowns, the case, the interior of the folding structure as well as the exterior have been treated with different very precious Japanese papers. This execution emanates great preciosity, in total accord with the paintings it contains. Light traces of pale dampstains and soiling to spine. Small worming to some paintings.
            Magnificent ensemble.
            Like the last fires of a setting sun, the late realizations of shunga are distinguished by a particular brilliance, a refinement and preciosity never equaled. Although they continue to respect the framework and traditional codes of shunga, these paintings exacerbate the play of fabrics, poses, faces, the pictorial realization seeming to prevail over the illustrated theme, particularly in Shuntei's works in which the bodies seem to float in space, those of Eisen all possessing rich decoration. Besides these changes operated in pictorial treatment, one observes a change in the role attributed to woman, a more present, participative, even primary and incitative role.
            €4,500
          • Shunga. Jūji wagō o-tekagami (Figures d'unions harmonieuses durant 10 heures)
            ANONYME
            Shunga. Jūji wagō o-tekagami (Figures d'unions harmonieuses durant 10 heures)
            1880|21 x 24 cm|autre
            Album bringing together 10 original paintings on beige silk in colors mounted on gold paper. The pastedowns of embossed and gold paper with flowers and leaves. The final work of the collection bears 2 red seals. The majority of these collections are never signed due to censorship, so it is extremely rare to find a seal, therefore the painter's signature. Each painting is a square of silk measuring 16.8x16.8cm. The erotic scenes contain no decor, no background, concentrating all attention on the couples. 3 however have drapery or a screen. The paintings are extremely stylized and finely executed, of great quality. A few fine strokes draw the figures clothed in fabrics that partially cover them. With a few red touches, the colors used are browns harmonizing with the beige background.
            It is almost impossible to date this type of work precisely and it is likely older by several decades, although its very refined style seems to reflect the end of the nineteenth century in Japan.
            Accordion album covered in blue silk with gold motifs. Wooden case in 2 parts (24.5x28.5cm), a base and a lid, with manuscript writing on the lid. For the album: Rubbed manuscript label. Worn corners with fabric loss. The gold paper with rubbing. In the margins the paintings have some soiling or light dampstains. It is very rare that these collections, always hidden from view, have preserved their storage box.
            Compared to the well-known production of erotic prints, the paintings, while respecting a certain number of codes of Japanese eroticism (size of genitals, swooning women, fabrics partially masking nudity, sexual positions...) show greater creativity and originality, expressing more of the technique and vision of the painter. The series thus demonstrates extreme refinement and great purification, especially when compared to shunga from the Edo period. Furthermore, even if the erotic scenes respect the codes of shunga representation, one can clearly distinguish an evolution in the vision of sexuality: women hold a more equal place, and the whole tends more toward harmonious sexuality, perfectly rendered in these paintings by the choice of brown gradations punctuated with touches of more violent colors, thus representing a form of serenity inhabited by the violence of desire.
            Shunga is the generic Japanese term designating erotic art, it literally means Spring Image, spring being a euphemism and figure of speech expressing sexuality. The term Shunga having long been reserved for prints, collections or albums have often been designated by the appellation Pillow Books, or pillow notes, etc. (Utamaro: The Song of the Pillow, 1788).
            Precious and rare ensemble.
            €3,800
          • Le sourire aux yeux fermés
            Jacques d' ADELSWÄRD-FERSEN, Ernest BRISSET
            Le sourire aux yeux fermés
            L'édition moderne|Paris 1912|14 x 19 cm|broché
            First edition, one of 10 copies signed and numbered by the publisher on hollande paper, the only grand papier (deluxe) copies.
            Small tears and minute losses of paper to the margins of the soft cover, a repaired joint at foot, some foxing. Untrimmed copy with wide margins slightly bent.
            Cover illustrated by Ernest Brisset.
            Inscribed copy, signed and dated by Jacques d'Adelswärd-Fersen to bookseller and publisher Léon Michaud : "... prince of the artist publishers."
            Extremely rare.
            €6,800
          • Photographie originale - Christopher Street Liberation Day March, New York - Master and Slave
            Jean-Pierre LAFFONT
            Photographie originale - Christopher Street Liberation Day March, New York - Master and Slave
            Paris 1970|19.50 x 30 cm|une photographie

            "On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)

            Original photo from Christopher Street Liberation Day March, New York - "Master and Slave"
            Original black and white silver print ; with the stamp of Jean-Pierre Laffont for the Gamma agency, and a lengthy mimeographed caption for the French press.
            Original prints from this event are extremely rare, as museums and galleries only have modern reprints.
            A touching and vivid account of the first Gay Pride March, in the aftermath of the Stonewall riots that became the cradle of the modern LGBTQ+ rights movement and subsequent gay liberation movements around the world.
            On June 28, 1969, police raided Stonewall, a mafia-owned dance bar in Greenwich Village catering primarily to gay and transgender people. The city had revoked the liquor licenses of gay bars and police officers regularly hassled its customers because of their sexual orientation. That night at Stonewall was one too many: cornered by Village residents and customers, the police were forced to retreat inside the bar and the riot lasted seven days. On June 6, 2019, nearly 50 years after the historic uprising, the New York Police Department has apologized for its role in the events.
            Now considered to be the origin of the gay liberation movement, Stonewall led to the creation of some of the first gay rights activist organizations, such as the Gay Liberation Front and Street Transvestite Action Revolutionaries (better known as STAR and founded by two of the most prominent transgender activists: Marsha P. Johnson and Sylvia Rivera). The uprising called for a new kind of movement. With this purpose, the Christopher Street Liberation Day March was held on June 28, 1970, one year to the day after Stonewall. Only a few brave groups first gathered at Sheridan Square (Greenwich village), before other people started joining in on their way to Sheep Meadow in Central Park, finally attracting more than 10,000 demonstrators. Annual Pride events were subsequently held in the summer in NYC and other major U.S. cities before reaching other continents after a few years, with hundreds of millions of people gathering for what has become one of the most prominent human rights demonstrations around the world.
            This beautiful picture shows a couple of young women sitting in the grass and wearing two matching t-shirts "Master" and "Slave". One is holding a flyer announcing the Harmonyville Music Festival, a major Woodstock-inspired event planned for August 1970 which never took place.

            Jean-Pierre Laffont first arrived in the U.S. in 1965 and began his career as a photojournalist in New York for Status Magazine and then as U.S. correspondent for the French agency Reporters Associés. He became Senior Foreign Correspondent for Gamma Press and in 1969 opened the Gamma Presse Images office in the U.S with his wife Eliane. Laffont covered major American historical events- the Civil Rights movement and social protests against racial discrimination, the Vietnam War, demonstrations for Peace, women's rights, and gay liberation, etc. Initially intended for the press, his artworks have now reached iconic status and are featured in international photographic collections.
            €1,500
          • Photographie originale - Christopher Street Liberation Day March, New York - "Perverts' Union for Gay Liberation"
            Jean-Pierre LAFFONT
            Photographie originale - Christopher Street Liberation Day March, New York - "Perverts' Union for Gay Liberation"
            Paris 1970|19.50 x 30 cm|une photographie

            "On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)

            Original photo from Christopher Street Liberation Day March, New York - "Perverts' Union for Gay Liberation"
            Original black and white silver print ; with the stamp of Jean-Pierre Laffont for the Gamma agency, and a lengthy mimeographed caption for the French press.
            Original prints from this event are extremely rare, as museums and galleries only have modern reprints.
            A touching and vivid account of the first Gay Pride March, in the aftermath of the Stonewall riots that became the cradle of the modern LGBTQ+ rights movement and subsequent gay liberation movements around the world.
            On June 28, 1969, police raided Stonewall, a mafia-owned dance bar in Greenwich Village catering primarily to gay and transgender people. The city had revoked the liquor licenses of gay bars and police officers regularly hassled its customers because of their sexual orientation. That night at Stonewall was one too many: cornered by Village residents and customers, the police were forced to retreat inside the bar and the riot lasted seven days. On June 6, 2019, nearly 50 years after the historic uprising, the New York Police Department has apologized for its role in the events.
            Now considered to be the origin of the gay liberation movement, Stonewall led to the creation of some of the first gay rights activist organizations, such as the Gay Liberation Front and Street Transvestite Action Revolutionaries (better known as STAR and founded by two of the most prominent transgender activists: Marsha P. Johnson and Sylvia Rivera). The uprising called for a new kind of movement. With this purpose, the Christopher Street Liberation Day March was held on June 28, 1970, one year to the day after Stonewall. Only a few brave groups first gathered at Sheridan Square (Greenwich village), before other people started joining in on their way to Sheep Meadow in Central Park, finally attracting more than 10,000 demonstrators. Annual Pride events were subsequently held in the summer in NYC and other major U.S. cities before reaching other continents after a few years, with hundreds of millions of people gathering for what has become one of the most prominent human rights demonstrations around the world.
            This fine photograph shows three young women holding a sign "Perverts' Union for Gay Liberation" and another that reads "Gay Pride".
            Jean-Pierre Laffont first arrived in the U.S. in 1965 and began his career as a photojournalist in New York for Status Magazine and then as U.S. correspondent for the French agency Reporters Associés. He became Senior Foreign Correspondent for Gamma Press and in 1969 opened the Gamma Presse Images office in the U.S with his wife Eliane. Laffont covered major American historical events- the Civil Rights movement and social protests against racial discrimination, the Vietnam War, demonstrations for Peace, women's rights, and gay liberation, etc. Initially intended for the press, his artworks have now reached iconic status and are featured in international photographic collections.
            €1,200
          • Photographie originale - Christopher Street Liberation Day March, New York - Militant en fauteuil roulant
            Jean-Pierre LAFFONT
            Photographie originale - Christopher Street Liberation Day March, New York - Militant en fauteuil roulant
            Paris 1970|19.50 x 30 cm|une photographie

            "On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)

            Original photo from Christopher Street Liberation Day March, New York - "Activist in a Wheelchair"
            Original black and white silver print ; with the stamp of Jean-Pierre Laffont for the Gamma agency, and a lengthy mimeographed caption for the French press.
            Original prints from this event are extremely rare, as museums and galleries only have modern reprints.
            A touching and vivid account of the first Gay Pride March, in the aftermath of the Stonewall riots that became the cradle of the modern LGBTQ+ rights movement and subsequent gay liberation movements around the world.
            On June 28, 1969, police raided Stonewall, a mafia-owned dance bar in Greenwich Village catering primarily to gay and transgender people. The city had revoked the liquor licenses of gay bars and police officers regularly hassled its customers because of their sexual orientation. That night at Stonewall was one too many: cornered by Village residents and customers, the police were forced to retreat inside the bar and the riot lasted seven days. On June 6, 2019, nearly 50 years after the historic uprising, the New York Police Department has apologized for its role in the events.
            Now considered to be the origin of the gay liberation movement, Stonewall led to the creation of some of the first gay rights activist organizations, such as the Gay Liberation Front and Street Transvestite Action Revolutionaries (better known as STAR and founded by two of the most prominent transgender activists: Marsha P. Johnson and Sylvia Rivera). The uprising called for a new kind of movement. With this purpose, the Christopher Street Liberation Day March was held on June 28, 1970, one year to the day after Stonewall. Only a few brave groups first gathered at Sheridan Square (Greenwich village), before other people started joining in on their way to Sheep Meadow in Central Park, finally attracting more than 10,000 demonstrators. Annual Pride events were subsequently held in the summer in NYC and other major U.S. cities before reaching other continents after a few years, with hundreds of millions of people gathering for what has become one of the most prominent human rights demonstrations around the world.
            This fine picture shows a man in a wheelchair with a sign that reads "Gay Pride" in the middle of the crowd.
            Jean-Pierre Laffont first arrived in the U.S. in 1965 and began his career as a photojournalist in New York for Status Magazine and then as U.S. correspondent for the French agency Reporters Associés. He became Senior Foreign Correspondent for Gamma Press and in 1969 opened the Gamma Presse Images office in the U.S with his wife Eliane. Laffont covered major American historical events- the Civil Rights movement and social protests against racial discrimination, the Vietnam War, demonstrations for Peace, women's rights, and gay liberation, etc. Initially intended for the press, his artworks have now reached iconic status and are featured in international photographic collections.
            €1,200
          • Photographie originale signée - Christopher Street Liberation Day March, New York - "Gay People This Is Your Church"
            Jean-Pierre LAFFONT
            Photographie originale signée - Christopher Street Liberation Day March, New York - "Gay People This Is Your Church"
            Paris 1970|19.50 x 30 cm|une photographie

            "On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)


            Original black and white silver print ; with the stamp of Jean-Pierre Laffont for the Gamma agency, and a lengthy mimeographed caption for the French press.
            Original prints from this event are extremely rare, as museums and galleries only have modern reprints.
            A touching and vivid account of the first Gay Pride March, in the aftermath of the Stonewall riots that became the cradle of the modern LGBTQ+ rights movement and subsequent gay liberation movements around the world.
            On June 28, 1969, police raided Stonewall, a mafia-owned dance bar in Greenwich Village catering primarily to gay and transgender people. The city had revoked the liquor licenses of gay bars and police officers regularly hassled its customers because of their sexual orientation. That night at Stonewall was one too many: cornered by Village residents and customers, the police were forced to retreat inside the bar and the riot lasted seven days. On June 6, 2019, nearly 50 years after the historic uprising, the New York Police Department has apologized for its role in the events.
            Now considered to be the origin of the gay liberation movement, Stonewall led to the creation of some of the first gay rights activist organizations, such as the Gay Liberation Front and Street Transvestite Action Revolutionaries (better known as STAR and founded by two of the most prominent transgender activists: Marsha P. Johnson and Sylvia Rivera). The uprising called for a new kind of movement. With this purpose, the Christopher Street Liberation Day March was held on June 28, 1970, one year to the day after Stonewall. Only a few brave groups first gathered at Sheridan Square (Greenwich village), before other people started joining in on their way to Sheep Meadow in Central Park, finally attracting more than 10,000 demonstrators. Annual Pride events were subsequently held in the summer in NYC and other major U.S. cities before reaching other continents after a few years, with hundreds of millions of people gathering for what has become one of the most prominent human rights demonstrations around the world.
            Wonderful full-length portrait of Rev. Robert Clement, wearing his cassock and proudly holding a sign that reads "Gay people this is your church". In 1970, he founded the Church of the Beloved Disciple, the first “gay church” in New York City, not only welcoming gay parishioners, but also the first to include openly gay pastors. Rev. Clement created and celebrated the first "Holy Unions" – same-sex religious marriage ceremonies.
            Jean-Pierre Laffont first arrived in the U.S. in 1965 and began his career as a photojournalist in New York for Status Magazine and then as U.S. correspondent for the French agency Reporters Associés. He became Senior Foreign Correspondent for Gamma Press and in 1969 opened the Gamma Presse Images office in the U.S with his wife Eliane. Laffont covered major American historical events- the Civil Rights movement and social protests against racial discrimination, the Vietnam War, demonstrations for Peace, women's rights, and gay liberation, etc. Initially intended for the press, his artworks have now reached iconic status and are featured in international photographic collections.
            €1,800
          • Photographie originale signée - Christopher Street Liberation Day March, New York - Baiser sous un parapluie
            Jean-Pierre LAFFONT
            Photographie originale signée - Christopher Street Liberation Day March, New York - Baiser sous un parapluie
            Paris 1970|30 x 19.50 cm|une photographie

            "On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)

            Original photo from Christopher Street Liberation Day March, New York - "Kiss under an umbrella"
            Original black and white silver print ; with the stamp of Jean-Pierre Laffont for the Gamma agency, and a lengthy mimeographed caption for the French press.
            Original prints from this event are extremely rare, as museums and galleries only have modern reprints.
            A touching and vivid account of the first Gay Pride March, in the aftermath of the Stonewall riots that became the cradle of the modern LGBTQ+ rights movement and subsequent gay liberation movements around the world.
            On June 28, 1969, police raided Stonewall, a mafia-owned dance bar in Greenwich Village catering primarily to gay and transgender people. The city had revoked the liquor licenses of gay bars and police officers regularly hassled its customers because of their sexual orientation. That night at Stonewall was one too many: cornered by Village residents and customers, the police were forced to retreat inside the bar and the riot lasted seven days. On June 6, 2019, nearly 50 years after the historic uprising, the New York Police Department has apologized for its role in the events.
            Now considered to be the origin of the gay liberation movement, Stonewall led to the creation of some of the first gay rights activist organizations, such as the Gay Liberation Front and Street Transvestite Action Revolutionaries (better known as STAR and founded by two of the most prominent transgender activists: Marsha P. Johnson and Sylvia Rivera). The uprising called for a new kind of movement. With this purpose, the Christopher Street Liberation Day March was held on June 28, 1970, one year to the day after Stonewall. Only a few brave groups first gathered at Sheridan Square (Greenwich village), before other people started joining in on their way to Sheep Meadow in Central Park, finally attracting more than 10,000 demonstrators. Annual Pride events were subsequently held in the summer in NYC and other major U.S. cities before reaching other continents after a few years, with hundreds of millions of people gathering for what has become one of the most prominent human rights demonstrations around the world.
            Fine photograph showing a couple lying in the grass, their faces under a large umbrella; one of the lovers is giving the middle finger to the camera.

            Jean-Pierre Laffont first arrived in the U.S. in 1965 and began his career as a photojournalist in New York for Status Magazine and then as U.S. correspondent for the French agency Reporters Associés. He became Senior Foreign Correspondent for Gamma Press and in 1969 opened the Gamma Presse Images office in the U.S with his wife Eliane. Laffont covered major American historical events- the Civil Rights movement and social protests against racial discrimination, the Vietnam War, demonstrations for Peace, women's rights, and gay liberation, etc. Initially intended for the press, his artworks have now reached iconic status and are featured in international photographic collections.
            €1,800
          • Vie du marquis de Sade
            Gilbert LELY
            Vie du marquis de Sade
            Jean-Jacques Pauvert|Paris 1965|14 x 22 cm|broché
            New edition with some parts in first edition as entirely revised.
            Iconography.
            Handsome copy.
            Fine autograph inscription signed by Gilbert Lely: "Pour monsieur Thierry de Clermont-Tonnerre qui a bien droit à la reconnaissance du marquis de Sade, auquel il a donné par deux fois l'hospitalité de sa belle collection 10/18. Mais n'est-il pas son parent par alliance ? (Voyez ci-après pages 458, 461, 489, 644.) Hommage très distingué de Gilbert Lely" ["For Monsieur Thierry de Clermont-Tonnerre who has every right to the gratitude of the Marquis de Sade, to whom he has twice given hospitality in his beautiful collection 10/18. But is he not his relative by marriage? (See hereinafter pages 458, 461, 489, 644.) Most distinguished tribute from Gilbert Lely"].
            €60
          • La belle alsacienne ou telle mère telle fille
            Antoine BRET
            La belle alsacienne ou telle mère telle fille
            Imprimerie de Cottin|Paris 1801|8.50 x 13.50 cm|2 volumes reliés en 1
            First edition under this title and the most accomplished definitive version of this licentious story attributed to Antoine Bret (and previously to Claude Villaret), whose first version appeared in Amsterdam in 1745 under the title Galanteries de Thérèse.
            Half red shagreen binding, spine with four raised bands set with gilt dotwork and decorated with gilt compartments, red pasteboard boards with black stains, marbled endpapers and pastedowns.
            Rare work illustrated with 2 frontispiece engravings.

            A delightful little libertine novel, supposedly autobiographical, of a young courtesan who recounts her apprenticeship in the profession by her mother and, naturally, her flourishing. But the particularity of the work is to maintain confusion between titillating fiction and supposedly authentic narrative. The preface itself is signed by the presumed authoress, who justifies the presence of her portrait as frontispiece, through argumentation of pure misogyny: "The essential thing about a woman is beauty; wit and virtues are only accessory qualities; the first does not always give as much pleasure as it seems to promise, the second, however respectable and boring, rather resembles those curiosities which, being of no use in the commerce of life, are good at most for display."
            Republished in the bibliophile's collection at the end of the century, the novel was preceded by an erudite preface, revealing the true author and analyzing the secular success of this work:
            "Even its morality is quite indicative. Thérèse does not display profound, disappointing, or even merely troublesome philosophy, but she knows how to find picturesque, colorful, rapid traits of observation; she abounds in practical reflections that are wisely practical. And finally she recommends herself above all by a good heart, one of those kindnesses that facilitate life, and more particularly gallant life. All these qualities suffice to make the reading of these short memoirs both endearing and attractive, which truly depict, without great rhetoric, the rapid stages of existence of a girl who has of herself devoted herself to giving pleasure, sparing neither her body nor her heart."
            €700
          • Histoire d'O
            Hans BELLMER (ill.) Pauline RÉAGE [Dominique AURY]
            Histoire d'O
            Story of O
            Jean-Jacques Pauvert|Sceaux 1954|12 x 19 cm|broché
            Histoire d'O [Story of O]
            Jean-Jacques Pauvert | Sceaux 1954 | 12 x 19 cm | original wrappers

            First edition, one of 480 numbered copies on Vergé paper, ours being one of the few "hors commerce" (advance copies), the only deluxe paper after 20 copies on Arches and 100 others on Vergé for the press.
            Our copy is complete with the rare vignette drawn and engraved by Hans Bellmer in sanguine and present on about 200 copies only.
            Preface by Jean Paulhan.
            Beautiful copy of this masterpiece of erotic literature.
            €4,500
          • Les vies des dames galantes
            Pierre de Bourdeille BRANTÔME
            Les vies des dames galantes
            Chez Carrington|Paris 1901|15.50 x 23.50 cm|2 volumes reliés
            Edition illustrated with 50 hand-colored plates by Ad. Lambrecht. Limited edition of 750 numbered copies, this being number 82. Printed on Vergé d'Arches paper, after the 1666 original. The plates are hand-colored with pochoir by Gréningaire and protected by captioned tissue guards. Title page in red and black, chapter titles in red throughout the text.
            Contemporary binding signed by Thierry, successor to Petit-Simier, in dark green half morocco with corners, smooth spine decorated with wide gilt and mosaic ornament, top edge gilt, covers and spine preserved. Separation fillets on boards. Uncut copy, perfectly fresh.
            Very handsome copy in an elegant binding. Preface and notes by Charles Grolleau.
            €950
          • Le Château de Cène
            [Bernard NOËL as] Urbain d' ORLHAC, François LUNVEN
            Le Château de Cène
            Jérôme Martineau|Paris 1969|14.50 x 21 cm|broché sous une boîte cartonnée
            Rare first edition of this masterpiece of erotic literature, one of 120 numbered copies on pure laid paper, the only deluxe copies.
            This issue, complete with its cardboard box, bears the cover of "Fata Morgana" editions, while the ordinary issue bears the name of Jérôme Martineau editions.
            The covers of the "Fata Morgana" edition are slightly and uniformly sunned without gravity.
            Our copy, N°22, indeed contains, like the first 50 pure laid paper copies, the original engraving by François Lunven which he signed in pencil.


            €2,500
          • Les chansons de Bilitis
            Pierre LOUŸS
            Les chansons de Bilitis
            Devambez|Paris 1925|23 x 32.50 cm|relié
            First issue illustrated edition with twelve original etchings by Edouard Chimot. Edition of 576 copies. This copy, one of 100 on Van Gelder Holland laid paper containing the color and black and white states of each figure. Chimot's illustration celebrates the sapphic loves of Bilitis.
            Unique copy, expanded with an original signed drawing by Edouard Chimot and a quadruple suite on Japan paper of 8 different etchings from the edition's illustration: 1. Linear state, unreduced plate; 2. Linear state, unreduced plate with remarques; 3. In black, reduced plate; 4. Final state in colors. This quadruple suite is perhaps the one announced in the justification for the 40 hors-commerce copies. Being larger in dimensions than the book, it gives the copy its grand format. To fill the void at the foot, paper tabs have been mounted on hinges. Dimensions of the original book, 20x25, of the drawing 21.5x31.5cm, the Japan suite in the same format as the drawing.
            Doublure binding in full caramel morocco with an important continuous gilt and mosaic Art Deco decoration on the covers and spine, signed at the bottom of the pastedown Marie-Madeleine Lorthiois. Teal blue morocco pastedowns with gilt and mosaic decoration, black and gold silk endpapers, double endpapers of silvered marbled paper, gilt fillet on the leading edges, gilt engine-turned headcaps, edges gilt on deckled edges, covers and spine preserved.
            Half-caramel morocco chemise with flaps bearing gilt title on spine, and a matching bordered slipcase. Rubbing marks on the slipcase, one rubbing mark at the head of the chemise.
            Personal copy of the binder and bibliophile Marie-Madeleine Lorthiois, with her ex-libris label.
            Magnificent binding, "One of the finest by Marie-Madeleine Lorthiois" (Christian Galantaris).


            €6,500
          • Le Château de Cène
            [Bernard NOËL as] Urbain d' ORLHAC
            Le Château de Cène
            Jérôme Martineau|Paris 1969|13.50 x 21 cm|broché
            First edition on ordinary paper of this masterpiece of erotic literature.
            A small dampstain at head of first endpaper, copy complete with its grey suede dust jacket whose spine is lightly yellowed.
            We include a court summons in the name of Nadine Nimier, issued by bailiff Gustave Karsenti and dated 19 June 1973, as a witness for Bernard Noël's lawyer, prosecuted by the court in criminal proceedings at the 17th chamber on 25 June 1973 for offence against public morals through his work "Le Château de Cène".
            Despite the defence and testimony of Nadine Nimier, Bernard Noël, the author of the work, was condemned on 9 July 1973 to a 3000 franc fine and his publisher, Jérome Martineau, to 4000 francs.
            Two press clippings also included.
            Provenance: from the library of Nadine Nimier, wife and widow of Roger Nimier and cited by Bernard Noël's lawyer as witness at the trial of the work.


            €150
          • Mémoires de Jacques Casanova
            Jacques CASANOVA DE SEINGALT
            Mémoires de Jacques Casanova
            J. Rozez|Bruxelles [Brussels] 1863|12 x 18.70 cm|6 volumes reliés
            New illustrated edition of the rare anonymous erotic suite of 48 engravings found in some copies. 8 engravings per volume.
            Contemporary half glazed navy calf binding. Spine with raised bands elegantly decorated. Author, title, volume number and date in gilt. Top edge gilt. Some traces of rubbing on the raised bands. Borders slightly rubbed. Some corners rubbed. Lower right corner of volume 1 having received an impact. Fine laid paper perfectly fresh (some foxing on the first engraving of volume V). Uncut copy.
            This edition was made from the Paulin edition of 1842. Carteret (Le trésor du bibliophile): "There exists a suite of 48 line engravings, unsigned, which are added to this edition..."

            €1,000
          • [Shunga] « Le plaisir des saveurs sans limite » Album de cinq peintures érotiques chinoises.
            ANONYME
            [Shunga] « Le plaisir des saveurs sans limite » Album de cinq peintures érotiques chinoises.
            1900|16.50 x 24.40 cm|autre
            Album comprising 5 erotic gouaches (glue paintings) on silk. On the first page, the title and signature of the painter as well as a red stamp. While the title can be translated as: A Source of Endless Interest, or, The Pleasure of Limitless Flavors, the painter's name could not be translated. Each painting is signed with a stamp, an extremely rare condition, as these erotic productions were always anonymous for fear of censorship or possible reprisals. The rarest element being the manuscript title as well as the painter's name on the title page. This painter could therefore display his name in this pictorial genre while it was forbidden to produce such works.
            Book mounted accordion-style, covered with blue brocaded silk composed of Chinese motifs. Mute beige title label sprinkled with gold. Paintings on ochre silk mounted on cardboard and bordered with beige silk. Superb condition and very fine freshness throughout, both paintings and book.
            This type of representation is most often crude, in a naive style using ink and watercolor. All the paintings here are in traditional glue (which can be likened to the gouache technique) and are remarkable for their finesse and elegance. One notices a beginning of three-dimensional representation of characters and drapery, which is rarely the case in this type of production. The erotic scenes take place in richly furnished interiors. The whole follows the canons of Chinese erotic aesthetics, thus one does not see the women's feet, always shod and fitted with tiny feet. The date we give is of course approximate, the collection possibly dating from the late 19th century or a few decades after 1900.

            €2,600
          • L'Ordinatrice a cinquante ans
            Maud SACQUARD DE BELLEROCHE
            L'Ordinatrice a cinquante ans
            La Jeune Parque|Paris 1978|13 x 20 cm|broché
            First edition, of which no deluxe copies were printed.
            A handsome copy.
            Exceptional signed autograph inscription from Maud Sacquard de Belleroche: "Pour madame Valéry Giscard d'Estaing la plus gracieuse des Présidentes, ce très respectueux hommage d'une féministe sans hargne. Maud de Belleroche." ["For Madame Valéry Giscard d'Estaing, the most gracious of First Ladies, this most respectful homage from a feminist without rancor. Maud de Belleroche."]
            €80
          • Fétichisme - Fetish - The best of international contemporary fetish photography - Fantasies by 85 photographers
            COLLECTIF
            Fétichisme - Fetish - The best of international contemporary fetish photography - Fantasies by 85 photographers
            Feierabend books|Köln [Cologne] 2007|20.50 x 31 cm|reliure de l'éditeur
            The first edition, of which there were no deluxe copies.
            A handsome copy despite light scratches on the back cover.
            Introduction in English and German by Karsten Zang.
            Publisher's full cardboard binding, smooth spine, illustrated covers, black paper endpapers and pastedowns.
            Rich iconography, each of the 85 photographers presenting 3, 4, 5 or 6 photographs.



            €300
          • Rêve de pion ou Linguistique - Aquatinte, épreuve sur papier vergé signée Félicien Rops
            Félicien ROPS
            Rêve de pion ou Linguistique - Aquatinte, épreuve sur papier vergé signée Félicien Rops
            S. n.|s. d. [1883]|46 x 35.20 cm|une feuille
            First edition of this aquatint, proof on laid paper with wide margins. Félicien Rops' characteristic manuscript signature is present below the plate in red.
            Plate mark dimensions: 18.7x13.9cm. Sheet dimensions: 46x35.2cm
            Tense face of a young professor bound by the tongue to the lower body of another figure with strong legs and arms. The latter is visible only from behind and seems to be breaking free from the grip of two strange tentacles emerging from the bulb from which the professor's head protrudes. These surround the main action and create an impression of movement.
            Fourteen busts of highly expressive figures, all different from one another, form a circle around this central scene.
            Fine proof with wide margins.
            €1,200
          • Psychopathia sexualis avec recherches spéciales sur l'inversion sexuelle
            Richard von KRAFFT-EBING
            Psychopathia sexualis avec recherches spéciales sur l'inversion sexuelle
            George Carré|Paris 1897|16.50 x 25.70 cm|relié
            First French edition, translated by Emile Laurent and Sigismond Csapo from the eighth German edition. While the first German edition contained only 45 clinical cases, it exceeded 200 cases in the later editions.
            Contemporary half cloth binding with ochre corners. Smooth Jansenist spine. Grenat shagreen title-label with minor lacks and rubbing. Traces of rubbing to headcaps and joints. Spine slightly darkened. Cloth rubbed at corners.
            The rare original wrappers have been preserved. Good copy, free from foxing.
            Bookplate, red morocco roundel with armorial device, bearing the motto: Stephanus semper.
            Foundational work of sexology, in which Psychopathia describes for the first time in a clinical and scientific manner the various sexual anomalies (sadism, masochism, fetishism, zoophilia...). Freud, who regularly received inscribed copies of Krafft-Ebing's works, owned the 5th, 7th, 9th and 11th editions of Psychopathia Sexualis, precious sources of information in the exchange and cross-pollination of ideas that animated researchers of that era in the field. Krafft-Ebbing, a psychiatrist teaching at the University of Vienna, deliberately gave his work a Latin medical title to discourage the merely curious.

            €850
          • Pommes d'Eve. Douze contes en chemise par une jolie fille
            Georges de PORTO-RICHE, Joseph ROY
            Pommes d'Eve. Douze contes en chemise par une jolie fille
            E. Monnier|Paris 1884|14 x 21.50 cm|relié
            First edition published anonymously and decorated with original illustrations in red chalk by Joseph Roy, one of 25 numbered copies on Japan paper, the only deluxe copies.
            Bradel binding in half brown morocco with corners, faded spine with five raised bands set with gilt dots decorated with double gilt compartments richly decorated, date gilt at foot, frame of gilt fillets on pebbled paper boards, combed paper endpapers and pastedowns, covers preserved, light rubbing to corners, binding signed Carayon.
            Some light foxing affecting essentially the endpapers.
            Rare.
            Manuscript signature of the publisher below the edition statement.


            €400
          • Les mémoires de Fanny Hill
            Edouard CHIMOT, John CLELAND
            Les mémoires de Fanny Hill
            Editions des Deux rives|Paris 1954|17.50 x 22.50 cm|relié
            Edition illustrated with 30 original compositions, 19 lithographs and 11 drawings printed in sanguine, by Edouard Chimot, one of 75 numbered copies on Annonay laid paper.
            Full red shagreen binding, smooth spine, pebbled paper endpapers and pastedowns, covers preserved, top edge gilt.
            Handsome copy well complete as indicated in the justification page with its original drypoint, the compositions finished in colors and a suite in black of the illustrations.


            €350
          • L'école des faunes. Contes de la vingtième année
            Eugène COURBOIN, Daniel VIERGE
            L'école des faunes. Contes de la vingtième année
            Henry Floury|Paris 1896|14 x 22.50 cm|relié
            Edition illustrated with 27 in-text monochrome decorations by Eugène Courboin and a double frontispiece, including one of Daniel Vierge interpreted as an etching by Frédéric Massé, one of 660 numbered copies on satin velin from Scotland, only print with 40 royal Japan.
            Binding in half pale blue morocco, spine decorated with typographic motifs with a piece of black and flesh coloured mosaic morocco in the centre representing a faun playing the flute, title piece in navy blue morocco, frame of gilt fillets on the marbled paper boards, caillouté marbled endpapers, covers and spine preserved, top edge gilt, contemporary binding signed Randeynes.
            Small traces of foxing on the first board.
            Pleasant, perfectly set copy.
            €500
          • Recueil dit de Maurepas, pièces libres, chansons, épigrammes et autres vers satiriques sur divers personnages des siècles de Louis XIV et Louis XV, accompagnés de remarques curieuses du temps ; publiés pour la première fois d'après les manuscrits conservés à la Bibliothèque impériale
            Jean-Frédéric Phélypeaux MAUREPAS
            Recueil dit de Maurepas, pièces libres, chansons, épigrammes et autres vers satiriques sur divers personnages des siècles de Louis XIV et Louis XV, accompagnés de remarques curieuses du temps ; publiés pour la première fois d'après les manuscrits conservés à la Bibliothèque impériale
            S. n. • [ Poulet-Malassis]|Leyde [Leiden] • [Bruxelles] [Brussels] 1865|9 x 16.50 cm|6 volumes reliés
            First edition from a limited printing of 116 copies. Unnumbered copy on Holland paper. Title pages in red and black.
            Contemporary half red shagreen binding with corners. Spine with raised bands richly decorated. Double fillet border on boards. Top edge gilt. Dark spotting to spine of volume 4, one spot on volume 3 and spine of volume 6. Traces of rubbing. Uncut copy.
            Minister to Louis XV, the Count de Maurepas commissioned Pierre de Clairambault, genealogist, to compile all the libertine pieces written under Louis XIV and Louis XV, resulting in 40 volumes. The selection of pieces contained in Poulet-Malassis's collection is attributed to Jules Gay, the latter having judiciously retained only the most libertine, most scandalous and most frivolous pieces, all freed from circumstantial pieces, panegyrics and other idle dissertations. Numerous historical figures appear, portrayed with quite surprising erotic license and treated in an outrageous manner.
            Alphabetical table of songs, epigrams, etc. contained in the Maurepas collection, alphabetical table of characters contained in the pieces, and index in volume VI.
            €1,000
          • Filles de joie et de misère. - De Phryné à Margot
            Henri BOUTET
            Filles de joie et de misère. - De Phryné à Margot
            Librairie Lahure|Paris 1913|18.50 x 24 cm|relié
            Illustrated edition with 30 original compositions by the author, one of 109 numbered copies on vélin du Marais, the only printing after 40 Japan and 1 unique copy.
            Half old rose morocco binding with corners, smooth spine decorated with gilt vegetal design enhanced with green mosaic morocco pieces representing leaves, gilt date at foot, slight scratches at head of spine, gilt fillet frame on marbled paper boards, marbled endpapers and pastedowns, illustrated covers and spine preserved, top edge gilt, elegant contemporary binding signed by Charles Lanoë.
            Rare and handsome copy handsomely bound.
            Provenance: from the library of I. Fernandez with his bookplate pasted on a pastedown.

            €1,000
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