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compiled by Henry Thomas Buckle [false, most-likely Henry Spencer Ashbee] (Printed for G. Peacock, London, 1777 [actually John Camden Hotten, c. 1872-73]) 8" X 5.25", 7 vol. 67pp 84pp, 106pp, 83pp, 57pp, 54pp, 120pp, original publishers hard binding, 5 raised bands, deckled edges, binding very good, very good condition for age, tears and splits to spines, spines labeled with number #6 is upside down, bumping on corners, slight wear to boards, inner pages clean. -
The Autobiography of a Flea, told in a hop, skip, and jump: Recounting all his Experiences of the Human, and Superhuman, Kind, both Male and Female; with his Curious Connections, Backbitings, and Tickling Touches; the whole scratched together and arranged for the Delectation of the Delicate, and for the Information of the Inquisitive. annonymous [disputed but believed to be Stanislas de Rodes, a London lawyer] ("Published by the Authority of The Phlebotomical Society, Cytheria, 1789 [a false imprint, according to Mendez, most likely printed by A. Lefevre (Brussels) for Mlle. Doucé (Paris) c.1890. It is possible that Charles Carrington introduced Doucé to the book as he just arrived in Paris (exiled from England).]) 4.75" x 7.75", 190pp, full red Moroccan leather with gilt boarders, 5 raised bands, gilt decorations and title on spine, gilt decorations border paste-downs, top edge gilt, no illustrations present, text decorations throughout, boards loose, signatures loose, some pages detached. A good copy of a VERY rare fine-binding edition of a very rare book. I can find no other copies for sale or in WorldCat. Written from the point of view of a very observant flea, the story is of the exploits of a young girl and a monastery of corrupt monks. The prose is very well written, erotic, and entertaining, with detailed full-length descriptions, good scene setting, and tension buildups. A question hangs over its authorship who has been referred to as ‘un avocat anglais, bien connu a` Londres’ [an advocate well known in London], suggested to be Frederick Popham Pike, the only barrister known to be writing pornography at this time. Other contenders for its authorship include Frederick Hankey, who died in 1882, Henry Spencer Ashbee, and the current favorite, Stanislas de Rodes. CHARACTERS The Flea: The Narrator of the story is a flea whose name is never revealed. The novel begins with the flea asserting that though he gets his living by blood sucking he is "not the lowest of that universal fraternity". The flea further asserts that his intelligence and abilities of observation and communication are comparable to a human, and demurs from any explanation of the cause, adding that he is "in truth a most wonderful and exalted insect". The unusual narrator allows the story to be written from the viewpoint of a character who neither participates in nor necessarily approves of the sex scenes, and the movement of the narrator between the bodies of the different characters allows the action to follow different characters at different times. Despite ostensibly being written from the first person the novel includes descriptions of the feelings and intentions of various characters which seem more fitting with a third person limited omniscient narrator. Bella: The main character of the book, Bella, is an orphan who lives with her uncle and aunt. At the beginning of the story she is 14 and is described as being the admired one of all eyes and the desired one of all hearts - at any rate among the male sex. She begins the book sexually naive, but inquisitive. Charlie: Very little description is given of Charlie, and after a brief mention in Chapter 3 he ceases to play any part in the story. Father Ambrose: A priest aged 45, described as having a handsome face, with jet black eyes and as being short and stout. The narrator says Ambrose's mind is dedicated to the pursuit of lust, and much of the novel's plot is due to his machinations. After initiating Bella into the ways of unrestrained sensuality, and planning to keep her for himself, he is discovered by the Brother Superior and Brother Clement who insist he share Bella with them. Many scenes of multiple acts of all varieties ensue. Ultimately, Ambrose decides to expand the circle of debauchery by insisting Belle involve her friend the fair, innocent Julia Delmont. Father Clement: Father Clement is one of the "brothers" of Father Ambrose and is a participant and co conspirator in the seduction of Bella. He is described as ugly and possessed of an absolutely gargantuan penis. A memorable scene occurs when Clement mistakes the bedroom he believes is occupied by Bella, and throws himself on Bella's puritanical and rigid aunt. After initially believing the advances are those of her husband, with whom she has not been intimate in many years, she feels Clement's enormous size, and leaps up. Clement forces her down, and after initial resistance, she succumbs. They are discovered and Clement escapes out the window. Bella's aunt goes progressively insane screaming for the "priest with the big tool". Plot The plot begins with Bella in church. As she leaves, Charlie pushes a note into her hand. She reads that it says he will be in their old meeting place at eight o' clock. She meets him in a garden. After some playful conversation, Charlie introduces her to her first sexual experience. Father Ambrose, who had been hiding in the shrubs, surprises them afterward, scolding both of them for their behaviour and threatening to reveal what they have been doing to their guardians. Bella pleads for mercy. Father Ambrose, appearing to relent, tells Bella to meet him in the sacristy at two o'clock the next day and Charlie to meet him at the same time the day after that. Ambrose instructs Bella into a way she may be absolved of her sins and blackmails her into sex with him, lest he tell her guardian what she was up to. Then Ambrose's colleagues, the Fr Superior & Fr Clement, catch them in the act, and they demand equal rights to Bella's favours. And so Bella is introduced to serving the Holy community in a special way. Despite his promises, Ambrose goes to see Bella's uncle, Monsieur Verbouc and tells of her lewd behaviour. This leads to her uncle, who has long entertained lustful thoughts of his niece, attempting to force himself on Bella. The narrator then intervenes, biting him to put a damper on his ardour. Next, Father Clement, looking for Bella's room, climbs into the window of Bella's aunt, the pious Madame Verbouc, who had mistaken him for her husband. M. Verbouc then bursts in and his wife realises she's actually been making love to the randy priest. Bella's friend, Julia Delmont, becomes Ambrose's next target. By now completely corrupted and happy to go along with whatever Ambrose suggests, Bella readily agrees to the Father's next scheme: She will offer herself to Monsieur Delmont, on condition that her face is covered. The trick is that it will not be Bella who lies there, but Delmont's own daughter. Father Ambrose seduces her and says he will come to her by night and make love to her, but she must hide her face. Charming depiction of a drawing room gangbang from the book When the act is consummated, Bella appears and pretends that it was all a big mistake. But since Delmont has now potentially impregnated his daughter, the only way to be sure his incest cannot be discovered is to have all make love to her as well. In case she is pregnant, nobody can claim that her own father is the father. Bella and Julia eventually become nuns, and the book ends as they participate in an orgy with 19 priests. -
One Hundred Merrie and Delightsome Stories, ed. by Antoine de La Sale, trans. Robert B. Douglas, illust. Leon Lebegue, illust. Adolphe Lalauze (Charles Carrington, Paris, 1899 [first edition, first english translation]) 8" X 5.75", vol 1. 1-256, vol 2. 257-532, full morocco leather, olive green to maroon, gilt decorations, 5 raised bands, marbled endpapers with gilt edging on pastedowns, excellent condition for age, includes complete set of 52 hand-colored plates by Lebegue (originally sold separately) as well as complete set of 10 engravings by AD LaLuze after art by Jules Garnier, vol. 1 ribbon present but detatched, vol. 2. ribbon intact. Charles Carrington was the first to have this translated into English. This is a RARE full-leather version with ALL 52 colored plates! Also rare are the 10 engravings by LaLauze, which originally appeared in a French version. Purported a collection of short stories narrated by various persons at the court of Philippe le Bon, and collected together by Antoine de la Sale, the nouvelles are, according to the authority on French Literature—Professor George Saintsbury "undoubtedly the first work of literary prose in French ... The short prose tale of a comic character is the one French literary product the pre-eminence and perfection of which it is impossible to dispute, and the prose tale first appears to advantage in the Cent Nouvelles Nouvelles." The stories give a curious glimpses of life in the 15th century, providing a genuine view of the social condition of the nobility and the middle classes. M. Lenient, a French critic, says: "Generally the incidents and personages belong to the bourgeoisée; there is nothing chivalric, nothing wonderful; no dreamy lovers, romantic dames, fairies, or enchanters. Noble dames, bourgeois, nuns, knights, merchants, monks, and peasants mutually dupe each other. The lord deceives the miller's wife by imposing on her simplicity, and the miller retaliates in much the same manner. The shepherd marries the knight's sister, and the nobleman is not over scandalized. The vices of the monks are depicted in half a score tales, and the seducers are punished with a severity not always in proportion to the offence." For four centuries 10 of the stories were credited to Louis XI. Modern scholars have since ascribed them to either Philippe le Bel or Comte de Charolais. In all, some thirty-two noblemen or squires contributed the stories, with some 14 or 15 taken from Giovanni Boccaccio, and as many more from Gian Francesco Poggio Bracciolini or other Italian writers, or French fabliaux, but about 70 of them appear to be original. -
Blue Book Treasury of Classic Tails | Volume 1 | Goldilocks, "Translated from the Old Saxon and Illustrated by Sir Rod Q. M'Gurk, Knight of the Brush" (Classic Tails, Inc., 1972) 11" X 8.5", 32pp, soft covers, good condition, some minor bumping to corners & scuffing to covers, near fine internal pages. Blue Book Treasury of Classic Tails | Volume 2 | Jack and the Beanstalk, "Translated from the Old Saxon and Illustrated by Sir Rod Q. M'Gurk, Knight of the Brush" (Classic Tails, Inc., 1972) 11" X 8.5", 32pp, soft covers, just good condition, bumping to corners & scuffing/soiling to covers, near fine internal pages. Blue Book Treasury of Classic Tails | Volume 3 | Little Red Riding Hood, by Fud Dicksworth III (Classic Tails, Inc., 1972) 11" X 8.5", 32pp, soft covers, good+ condition, some bumping to corners, VERY rare.I've been able to find a few references to this book and very little about "Sir Rod Q. M'Gurk" or "Fud Dicksworth III". M'Gurk apparently also had his cartoons published in Swank magazine c. 1976-7. Eventually it came to the attention of some illustrators and (with help of former Disney animators) was made into a movie by Don Jurwich (not sure the connection between him and Sir Rod Q. M'Gurk, but I'd love to know if it was him).
Ad from a "men's magazine" featuring the Naughty Fairy Tales
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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.
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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.
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40 prints from “Liebe. Vierzig Zeichnungen”, Mihály Zichy (n.d. n.p. [1911-13]) 11.25″ X 13.5″, 40pp unnumbered, bound in half-morocco with gilt edges over red boards, gilt titles and decorations on spine, all 40 original plates are present and bound together in what appears to be a contemporary binding, good condition, some foxing throughout. Mihály Zichy (1827 – 1906) was a Hungarian painter and graphic artist. He is considered a notable representative of Hungarian romantic painting. He lived and worked primarily in St. Petersburg and Paris during his career. He is known for illustrating the Georgian epic poem The Knight in the Panther's Skin on an 1881 commission by the intelligentsia. By the time he had completed 35 pictures, he was so moved by the poem that he gave his works to the Georgian people as a gift. In 1911 40 héliogravures after Zichy’s erotic drawings were published as “Liebe. Vierzig Zeichnungen” [Love. 40 drawings]. The subjects were bold, provocative, and at times taboo. Only 300 copies were printed, only for subscribers. There was also a very rare limited printing in 1913 before the plates were destroyed. As far as I can tell these appear to be the prints taken from that one of those editions, and rebound here without the title page that accompanied the published work.
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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.
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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.
