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  • Memoirs of Cardinal Dubois | A complete unabridged translation from the French by Ernest Dowson | Embellished with photogravure portraits of Cardinal Dubois and the Duc d'Orleans, together with twelve full page drawings by Lui Trugo (Privately Printed for Subscribers [Art Studio Press], New York, 1929, #264/1500) 9.75"x6.5", 2 volumes on hand laid paper, xvi-376pp, viii-349pp, black cloth with gilt titles and decorations, top-edge inked, others deckled, good condition bumped corners and a few scuff marks. Two different ex libris Alan K Dolliver bookplates inside front covers of both books. According to the publisher, the original manuscript which was written entirely in Dubois hand was stolen by his secretary Lavergne after his death in 1723. It was later discovered of its literary value that Lavergne attempted to sell the manuscript. He was found and arrested. They later fell into the hands of Comte de Maurepas, then upon his death they were passed on to an anonymous writer named Mercier (possibly M. Paul Laroix) whose family had it published in 1829. The manuscript then became lost. In 1899 and English version of the book translated by Ernest Christopher Dowson, was published by the notorious pornographer, Leonard Smithers & Co.  This is, presumably a reprinting of that translation. Guillaume Dubois (1656-1723), a son of a country doctor, rose from humble beginnings to positions of power and high honor in government and in the Catholic Church. He is best known for negotiating the Triple Alliance of 1717 between France, the Dutch Republic and Great Britain against their mutual enemy, Spain. Considered one of the four great French Cardinal-Ministers (Richelieu, Mazarin, Dubois, and Fleury). His ecclesiastical career left a great deal to be desired. Although there is no proof of the prevalent assertion that he got secretly married, his licentiousness, and notorious impiety, even at the time of his death, make it evident that he pursued and used ecclesiastical dignities principally to enhance his political position and prestige.  Eventually in 1721, Du Bois was created cardinal. He had the reputation of a libertine and adventurer and made plenty of enemies.  One of his rivals was charged at creating his portrait, the Duc de Saint-Simon, who was said to have placed a painting of Dubois in his lavatory.  Saint-Simon had this to say about the Cardinal: "He was a little, pitiful, wizened, herring-gutted man, in a flaxen wig, with a weasel's face, brightened by some intellect. All the vices - perfidy, avarice, debauchery, ambition, flattery - fought within him for the mastery. He was so consummate a liar that, when taken in the fact, he could brazenly deny it. Even his wit and knowledge of the world were spoiled, and his affected gaiety was touched with sadness, by the odour of falsehood which escaped through every pore of his body." This famous picture is certainly biased. Dubois was unscrupulous, but so were his contemporaries, and whatever vices he had, he forged a European peace that, with the exception of small, restrained military expeditions against the Austrian Habsburgs, would last for a quarter of a century.
  • Memoirs of a Woman of Pleasure or The Life of Fanny Hill, John Cleland (Hoboken, np, 1929 [Philadelphia?] limited edition #621/700 first edition) 5 3/4 X 8 1/4, 211pp, quarter-bound red cloth over decorated boards, white label affixed to spine, color illustrations (rare) in an “art deco” style in  similar to Aubrey Beardsley [or Elliot Dodd], excellent condition for age. Written while the author was in debtor’s prison in London and first published in 1749, Fanny Hill is considered the first original English prose pornography, and the first pornography to use the form of the novel. One of the most prosecuted and banned books in history, it has become a synonym for obscenity. The Hoboken copies of Fanny Hill are quite rare. This is the first edition original published c. 1929 with color illustrations and is extremely rare. An other edition appeared c. 1932 with the illustrations in black and white. It is unknown who the artist is but the illustrations are quite detailed and good.
  • Mémoires de Fanny Hill, Femme de Plaisir, John Cleland (Bibliothèque Des Curieux, Paris, 1914) 9" X 5 5/8", 281pp, soft bound, deckle edges, many pages uncut/unread, "decorated with six compositions from the series of engravings by William Hogarth: La Destin_e d'une Courtisane", fair condition, good considering it's age, pages yellow and small rips near spine Written while the author was in debtor's prison in London and first published in 1749, Fanny Hill is considered the first original English prose pornography, and the first pornography to use the form of the novel. One of the most prosecuted and banned books in history, it has become a synonym for obscenity. This book appeared as a part of a series "Les Maitres de l'amour" (The Masters of Love). "With documents about life in London in the eighteenth century, including Life after the gallant Serails of London, Introduction and bibliography by Guillaume Apollinaire"
  • Marriage Ceremonies and Priapic Rites in India and the East, "by a member of the Royal Asiatic Society" (Printed for Private Circulation Only, 1909) 9" X 7.25", 107pp., hardbound, blue cloth boards, gilt and red titles on spine, top edge gilt. Very good condition, binding good hinges good. From forward: "The sentiments of Hindu Sages that follow have been chosen mostly from well-known books. They are instructive in many respects, and pretend to be nothing but a collection of notes made by the author while seeking a solution to his own doubts and difficulties... So this monograph--the subject of which is the one most intimately bound up with the life of every man and woman--will be found useful and interesting, both to the Aryans of the East, and to the Aryans of the West, and further needs no apology for its appearance."
  • Out of stock
    Marquis de Sade | The Man and His Age | studies in the history of the culture and morals of the eighteenth century, Dr. Iwan Bloch, translated by James Bruce (Julian Press, 1931, [first american edition]) 6 .5"x9.5", 296pp, hardbound, black boards, red and gilt title on spine, some bumps and wear, good condition for age. Iwan Bloch (1872-1922), the “father of sexology”, was a Berlin dermatologist. His many socio-cultural studies in sexology earned him an international reputation as a medical historian. He also discovered de Sade’s manuscript of the “120 days of Sodom” in 1904, which had been believed to be lost. Together with Magnus Hirschfeld and Albert Eulenburg, Bloch proposed the new concept of a science of sexuality: Sexualwissenschaft or sexology. In 1906 he wrote Das Sexualleben unserer Zeit in seinen Beziehungen zur modernen Kultur [The Sexual Life of our Time in its Relations to Modern Civilization], a complete encyclopedia of the sexual sciences in their relation to modern civilization. According to Sigmund Freud, Bloch's studies were instrumental in the development of the anthropological approach to the theory of sexuality. For example, before Bloch, homosexuality was analyzed using a pathological approach.
  • Mark Twain's [Date, 1601.] Conversation As it was by the Social Fireside in the Time of the Tudors, Mark Twain, "With an Illuminating Introduction, Facetions Footnotes and a Bibliography by Franklin J. Meine" (Privately Printed for Lyle Stuart, New York, nd [c. 1939]) 9 1/2" X 6 1/4", 80pp, hardbound no DJ with slipcase, red cloth boards with gilt lettering and decoration, book very good condition, slight soiling on spine, slipcover good condition, faded spine and soiled but intact [Date: 1601.] Conversation, as it was the Social Fireside, in the Time of the Tudors is the title of a humorous work by Mark Twain, first published anonymously in 1880. Edward Wagenknecht once referred to it as "the most famous piece of pornography in American literature." Its content is irreverent and vulgar rather than obscene, and its purpose seems to be comedic shock rather than erotic arousal. It would thus qualify as ribaldry rather than pornography. Twain wrote 1601 during the summer of 1876 (between writing Tom Sawyer and Huckleberry Finn), for the amusement of his closest friend, Reverend Joseph Twichell, 1601 was later first published by another friend, John Hay, who later became Secretary of State. The work circulated among printers (due to it's often archaic type font) and many small batches were printed, however the authorship of the work remained unverified until Twain finally acknowledged he wrote it in 1906.
  • Manuel d'érotologie classique (De figuris veneris). Traduit littéralement du latin par Isidore Liseux et illustré de 20 compositions originales, by Fred. Chas. [translated by d'Alcide Bonneau and not Liseux as noted] (np [Charles Hirsch], Paris, 1906, #106/500 one of 120 printed on Hollande paper) 8.5" X 11.5", viii+167(1)pp, bound in half burgundy morocco over marbled crimson boards, gilt titles and decorations on spine, 5 raised bands, good+ condition, some bumping/rubbing to boards, very famous b&w frontispiece and 19 illustrations by Paul Avril, some soiling/foxing to illustrations, a beautiful and rare book in very good condition. De figuris Veneris (On the figures of Venus) was an anthology of ancient Greek and ancient Roman writings on erotic topics, discussed objectively and classified and grouped by subject matter. It was first published by the German classicist Friedrich Karl Forberg in 1824 in Latin and Greek as a commentary to Antonio Beccadelli's (1394-1471) Hermaphroditus (commonly referred to as Antonii Panormitae Hermaphroditus), an erotic poem sequence of 1425 in renaissance Latin, though it was later also published as a separate work. Chapters are: I. Of Copulation II. Of Pederastia III. Of Irrumation IV. Of Masturbation V. Of Cunnilingues VI. Of Tribads VII. Of Intercourse with Animals VIII. Of Spintrian Postures In 1882 Forberg's work was translated into English and published by Charles Carrington as De figuris Veneris, Manual of classical erotology, and again in 1907 by Charles Hirsch, and into French, German and Spanish. The French edition by Alcide Bonneau was titled Manuel d’érotologie classique. One French edition of 1906 was illustrated by Édouard-Henri Avril, which concludes with a list of 95 sexual positions. Most of the editions were restricted to high society or censored; one of the copies edited in France was immediately deposited on the secret shelves of the Bibliothèque nationale de France. Hirsch's printed 500 copies of this 1906 edition.  20 were on Japan paper, 120 were on Holland paper, 340 were are Arches paper, and 20 were on "anglais" paper.  This is one of 120 on Holland paper.
  • Manuel d'érotologie classique (De figuris veneris). Traduit littéralement du latin par Isidore Liseux et illustré de 20 compositions originales, by Fred. Chas. [translated by d'Alcide Bonneau and not Liseux as noted] (np [Charles Hirsch], Paris, 1906, #106/500 one of 120 printed on Hollande paper) 8.5" X 11.5", viii+167(1)pp, bound in half burgundy morocco over marbled crimson boards, gilt titles and decorations on spine, 5 raised bands, good+ condition, some bumping/rubbing to boards, very famous b&w frontispiece and 19 illustrations by Paul Avril, some soiling/foxing to illustrations, a beautiful and rare book in very good condition. De figuris Veneris (On the figures of Venus) was an anthology of ancient Greek and ancient Roman writings on erotic topics, discussed objectively and classified and grouped by subject matter. It was first published by the German classicist Friedrich Karl Forberg in 1824 in Latin and Greek as a commentary to Antonio Beccadelli's (1394-1471) Hermaphroditus (commonly referred to as Antonii Panormitae Hermaphroditus), an erotic poem sequence of 1425 in renaissance Latin, though it was later also published as a separate work. Chapters are: I. Of Copulation II. Of Pederastia III. Of Irrumation IV. Of Masturbation V. Of Cunnilingues VI. Of Tribads VII. Of Intercourse with Animals VIII. Of Spintrian Postures In 1882 Forberg's work was translated into English and published by Charles Carrington as De figuris Veneris, Manual of classical erotology, and again in 1907 by Charles Hirsch, and into French, German and Spanish. The French edition by Alcide Bonneau was titled Manuel d’érotologie classique. One French edition of 1906 was illustrated by Édouard-Henri Avril, which concludes with a list of 95 sexual positions. Most of the editions were restricted to high society or censored; one of the copies edited in France was immediately deposited on the secret shelves of the Bibliothèque nationale de France. Hirsch's printed 500 copies of this 1906 edition.  20 were on Japan paper, 120 were on Holland paper, 340 were are Arches paper, and 20 were on "anglais" paper.  This is one of 120 on Holland paper.
  • Manuel D'Érotologie Classique (de figuris Veneris) by Fred. Chas. Forberg, trans. Alcide Bonneau (Imprimé pour René Bonnel, Paris, 1933, #123/500) 6" x 9.25", 223pp, three quarter red leather, gilt titles on spine, 4 raised double bands, near fine condition, ribbon intact, hand-laid Arches paper (identifying watermarks), original paper covers bound in. Rene Bonnel, the publisher of this edition, was one of the foremost publishers of finely printed illegal erotica in the 1930's. This work was openly published and is no exception to the quality of his books. De figuris Veneris (On the figures of Venus) was an anthology of ancient Greek and ancient Roman writings on erotic topics, discussed objectively and classified and grouped by subject matter. (I. Of Copulation, II. Of Pederastia, III. Of Irrumation, IV. Of Masturbation, V. Of Cunnilingues, VI. Of Tribads, VII. Of Intercourse with Animals, VIII. Of Spintrian Postures) It was first published by the German classicist Friedrich Karl Forberg in 1824 in Latin and Greek as “Antonii Panormitae Hermaphroditus”, an erotic poem sequence in renaissance Latin. Forberg later reprinted it as “Manuel D’Érotologie Classique (de figuris Veneris)”. It was translated into English (published by Charles Carrington in 1899 and again by Charles Hirsch in 1907), French and German (one French edition was illustrated by Édouard-Henri Avril [Paul Avril]). It concludes with a list of 95 sexual positions. In 1899 Forberg's work was translated into English and published by Charles Carrington as De figuris Veneris, Manual of classical erotology, and again in 1907 by Charles Hirsch, and into French, German and Spanish. The French edition by Alcide Bonneau was titled Manuel d’érotologie classique. One French edition of 1906 was illustrated by Édouard-Henri Avril, which concludes with a list of 95 sexual positions. Most of the editions were restricted to high society or censored; one of the copies edited in France was immediately deposited on the secret shelves of the Bibliothèque nationale de France.
  • Manual of Classical Erotology (De figuris veneris), Fred. Chas. Forberg (stated Julian Smithson M. A., and friends, 1884 [later pirated edition]) 9.25"x6", hardcover 1/4 maroon over marbled boards, xiii-248pp, good condition This is a pirated edition (most likely 1920-30) of the first known English translation of this work.  The original Julian Smithson edition was limited to 100 copies. De figuris Veneris (On the figures of Venus) was an anthology of ancient Greek and ancient Roman writings on erotic topics, discussed objectively and classified and grouped by subject matter. It was first published by the German classicist Friedrich Karl Forberg in 1824 in Latin and Greek as a commentary to Antonio Beccadelli's (1394-1471) Hermaphroditus (commonly referred to as Antonii Panormitae Hermaphroditus), an erotic poem sequence of 1425 in renaissance Latin, though it was later also published as a separate work. In 1899 Forberg's work was translated into English and published by Charles Carrington as De figuris Veneris, Manual of classical erotology, and again in 1907 by Charles Hirsch, and into French, German and Spanish. The French edition by Alcide Bonneau was titled Manuel d’érotologie classique. One French edition of 1906 was illustrated by Édouard-Henri Avril, which concludes with a list of 95 sexual positions. Most of the editions were restricted to high society or censored; one of the copies edited in France was immediately deposited on the secret shelves of the Bibliothèque nationale de France.
  • Manual of Classical Erotology (de figuris Veneris) by Fred. Chas. Forberg, trans. Alcide Bonneau (Privately Printed for Viscount Julian Smithson M. A. and Friends [Charles Carrington], 1884, one of 100 copies) vol. 2 only, half-bound in tan vellum over marbled boards, spine is labeled "Carrington" who is the presumed publisher. Top edge gilt, other edges deckled, binding loose but holding. De figuris Veneris (On the figures of Venus) was an anthology of ancient Greek and ancient Roman writings on erotic topics, discussed objectively and classified and grouped by subject matter. It was first published by the German classicist Friedrich Karl Forberg in 1824 in Latin and Greek as a commentary to Antonio Beccadelli's (1394-1471) Hermaphroditus (commonly referred to as Antonii Panormitae Hermaphroditus), an erotic poem sequence of 1425 in renaissance Latin, though it was later also published as a separate work. First edition of this important parallel English, Latin and Greek version. This very rare edition was translated by Alcide Bonneau and published by Charles Carrington.  Each page has latin (and where appropriate, Greek) on the right side and the English translation on the left.  This is the second volume only and includes the following chapters: IV. —Of Masturbation V. —Of Cunnilingues VI. —Of Tribads VII. —Of Intercourse with Animals VIII. —Of Spintrian Postures (a list of 95 sexual positions) Considered the gold standard English translation of the time, this edition followed a poor piracy of 1882 badly translated from Liseux’s French edition of 1882. The name of the publisher is missing (most likely to avoid prosecution) and the limitation statement says 100 copies were "printed for Viscount Julian Smithson M. A., the Translator, and his Friends" and further states that "None of these Copies are for Sale" (also to avoid prosecution).  Through later statements (mostly by association) we know it was published by Charles Carrington and translated by Alcide Bonneau. Carrington, in his 1902 catalogue, Forbidden Books wrote (thus promoting the sale of his clandestinely published book): ‘Were I a bookseller, I do not think I should ever take the trouble to print such a book as I have now before me. Here is a Latin work, full of notes, and bristling with Greek quotations. A most careful and masterly translation has been placed opposite every page of the original text, and it needs no literary critic to see that no one but a real classical scholar—an old Oxford man—could ever have successfully struggled with such a task... The two stout volumes have evidently been printed on the Continent—and for very good and valid reasons, as no English printer would dare to undertake such a work,— therefore each page would have to be submitted to the translator, at least three or four times, foreign compositors working mechanically. Many months would thus pass in wearisome proof-reading, and when at last the hundred copies are struck off, and each man receives his due, what margin of profit awaits the silly bookseller-publisher? He is insulted in every way and laughed at if he dares to wonder that the British Customs seize any copies...’ In 1882 Forberg's work was translated into English and published by Charles Carrington as De figuris Veneris, Manual of classical erotology, and again in 1907 by Charles Hirsch, and into French, German and Spanish. The French edition by Alcide Bonneau was titled Manuel d’érotologie classique. One French edition of 1906 was illustrated by Édouard-Henri Avril, which concludes with a list of 95 sexual positions. Most of the editions were restricted to high society or censored; one of the copies edited in France was immediately deposited on the secret shelves of the Bibliothèque nationale de France.
  • anonymous (Hearton Publishing Co., Hartsville, France, nd.) 5.5" X 4", 32pp, softcover, good quality for age, very pornographic photos, stated "Illustrated from Life"
  • Mae West and Will Rogers in "The Sod-Buster", (np. nd.) 3.25" x 6", 16pp. pamphlet, stapled In the style of a "Tijuana bible" but larger and with 16 pages (instead of the traditional 8).  Cover art  and back cover in black and red. Tijuana bibles (also known as eight-pagers, bluesies, gray-backs, Jiggs-and-Maggie books, jo-jo books, Tillie-and-Mac books, and two-by-fours) were little pornographic comic books produced in the United States from the 1920s to the early 1960s.
  • Mae Givitt presents Pete in "No Help Needed", (n.p. n.d.) 4.5" x 3", 8pp. pamphlet, stapled Tijuana bibles (also known as eight-pagers, bluesies, gray-backs, Jiggs-and-Maggie books, jo-jo books, Tillie-and-Mac books, and two-by-fours) were little pornographic comic books produced in the United States from the 1920s to the early 1960s.
  • Mademoiselle De Maupin – Double Love, Theophile Gautier, illus. Clara Tice (Privately Printed for The Pierre Loüys Society, 1927 #67/1250) 6.5x10, 407pp., black spine over decorated boards, gilt titles and decorations on spine, binding loose but holding. In September 1833, Gautier was solicited to write a historical romance based on the life of French opera star Mlle. Maupin, who was a first-rate swordswoman and often went about disguised as a man. Originally, the story was to be about the historical La Maupin, who set fire to a convent for the love of another woman, but later retired to a convent herself, shortly before dying in her thirties. Gautier instead turned the plot into a simple love triangle between a man, d'Albert, and his mistress, Rosette, who both fall in love with Madelaine de Maupin, who is disguised as a man named Théodore. The message behind Gautier's version of the infamous legend is the fundamental pessimism about the human identity, and perhaps the entire Romantic age. The novel consists of seventeen chapters, most in the form of letters written by d'Albert or Madelaine. Most critics focus on the preface of the novel, which preached about art for art's sake through its dictum that "everything useful is ugly". Pierre Jules Théophile Gautier (1811 – 1872) was a French poet, dramatist, novelist, journalist, and art and literary critic. While an ardent defender of Romanticism, Gautier's work is difficult to classify and remains a point of reference for many subsequent literary traditions such as Parnassianism, Symbolism, Decadence and Modernism. He was widely esteemed by writers as disparate as Balzac, Baudelaire, the Goncourt brothers, Flaubert, Pound, Eliot, James, Proust and Wilde.
  • anonymous (Isidor Liseux, 6, Rue de Furstenberg, Paris, 1928) 5.75" X 4.5", 32pp, softcover, good quality for age, very pornographic photos.
  • Out of stock
    Louisville Slugger Softball Bat 33", 2.5" wide "Louisville Slugger | 1255 | Hillerich & Bradsby | Made in USA | Louisville, KY | Powerized"
  • Louisville Slugger 125Y, Hillerich & Bradsby Co 33.25", 1.75 wide, tape on handle has been removed. States "Louisville Slugger 25Y, Hillerich & Bradsby Co, Made in the USA, Louisville, KY" "Heartwood" "Official Thin Grip Softball Model 12"
  • Little Annie Rooney, (np. nd.) 4.5" x 3", 8pp., pamphlet, stapled and taped Tijuana bibles (also known as eight-pagers, bluesies, gray-backs, Jiggs-and-Maggie books, jo-jo books, Tillie-and-Mac books, and two-by-fours) were little pornographic comic books produced in the United States from the 1920s to the early 1960s.
  • Life Lines, Arthur S. Gray ("Published in Cleveland, Ohio by the author and friends, Privately by Subscription, 1936") 10 1/8 X 6 3/4, 93pp, hardbound no DJ, deckle edges, good condition, slight soiling to boards The title page reads "Life Lines, a divertisement by and for Arthur S. Gray". Published in Cleveland, Ohio by the author and friends, Privately by Subscription, 1936". The author writes in his preface, "Because this book is a Michelangelo collection of poems and drawings done now and then for my diversion and satisfaction, it is necessary to announce that the pictures are not illustrations. Each drawing is a simple record of some particular and more or less unique quality which caught my attention and incited me to draw. After the prime reason, the urge to make something. I draw the way I do for two reasons: first to preserve the integrity of my powers of observation and reaction; second, to render that respect which is the natural right of an individual entity."
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