• 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.
  • 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.
  • Musk, Hashish and Blood, Hector France, illust. Paul Avril, [trans. most likely Alfred Richard Allinson] (Walpole Press [identical to the 1899 Charles Carrington edition], London and Paris, 1900) 8.5″ X 5.5″, xiii 447pp., hardbound, green boards with gilt tittles and decorations, top-edge gilt others deckled, frontispiece with tissue guard and numerous illustrations throughout. Good condition, label pasted on the last page states “Charles Carrington, 13, Faubourg Montmartre, 13, Paris. IX.” Hector France (1837 - 1908) was a French author best known for his "orientalist" and flagellation tales. This graphic and exciting picture of the Algerian desert, its tribes and their astounding customs is a sensational recounting of France's experiences in North Africa. France tells the stories of his adventures in the nineteenth century Arab world from an eyewitness view. "The adventures of a modern man among the cruel men and passionate women of Algiers." Édouard-Henri Avril (1849-1928) used the pseudonym "Paul Avril" for his erotic work. He was a French painter and commercial artist. His career saw collaboration with influential people like Octave Uzanne, Henry Spencer Ashbee and Friedrich Karl Forberg. He is one of the most celebrated erotic artists of his age. Avril was a soldier before starting his career in art. He was awarded with the Legion of Honour for his actions in the Franco-Prussian War.
  • La Grande Diablerie, poem du XVe siècles, by Éloy d'Amerval (George Hurtrel, Artiste-Édueur, Paris, 1884, #152/1000 hand signed by publisher) 5" x 6.75", 216pp, in original published state, french wraps with loose hardcover/case, red with gilt decoration, frontispiece and 3 full page engravings by Paul Avril protected by tissue guard, images throughout, good minus condition, spine cover is sunned, binding is loose and splitting in places Eloy d'Amerval (fl. 1455 – 1508) was a French composer, singer, choirmaster, and poet of the Renaissance. He spent most of his life in the Loire Valley of France. From his poetic works, the long poem Le livre de la deablerie, it can be inferred that he knew most of the famous composers of the time, even though his own musical works never approached theirs in renown.  This poem, considered invaluable to music historians, recounts a dialogue between Satan and Lucifer, in which their nefarious plotting of future evil deeds is interrupted periodically by the author, who among other accounts of earthly and divine virtue, records useful information on contemporary musical practice. In addition to listing musical instruments, he lists who he considers to be the great composers of the time: they are residents of Paradise in his poem, even though several were still alive in 1508, the date of its composition. Édouard-Henri Avril (1849-1928) used the pseudonym “Paul Avril” for his erotic work. He was a French painter and commercial artist. His career saw collaboration with influential people like Octave Uzanne, Henry Spencer Ashbee and Friedrich Karl Forberg. He is one of the most celebrated erotic artists of his age. Avril was a soldier before starting his career in art. He was awarded with the Legion of Honour for his actions in the Franco-Prussian War.
  • Out of stock
    The Sword and Womankind: being a study of the influence of "The Queen of Wepons" upon the moral and social status of women. Adapted from Ed. de Beauont's "L'Epée et les Femmes," with addtions and an index by Alfred Allinson, M.A. Oxon., and an etched frontispiece by Albert Bessé, [frontispiece actually by Paul Avril, engraved by E. Leon] (The Imperial Press [Charles Carrington], Essex Street, Strand, London, W.C., 1905, #487/1000) 5.75"x8.75", xx+410pp, 1/2 while vellum over marbled boards, gilt title and decorations on spine, marbled endpapers, top edge gilt others deckled, frontispiece features a rare Paul Avril print and NOT Albert Bessé, numerous notes written lightly in margins in pencil, ribbon present, near fine copy, owner's ex libris stamp is evident on a few pages Beaumont, with a characteristic French point of view, believes in a feminine interpretation of history - which is, that all important historic events are caused by women. But unlike most Frenchmen he believed that all such events are caused by naughty women. This is a history of those women, adapted from the original French. Sample chapters: In barbarous ages woman is a divinity - Frea, the Scandinavian Venus; Swordsmen become the agents of women's sexual excesses - public defiances concerning harlots; Debauchery during the crusades - chivalry modified by oriental passions; New ways of love and dalliance - interest in salacious art. History of consequences of gender and sex including degradation of women, concubines, chastity belts, prostitutes, debauchery during crusades, erotic literature, duelists, cavaliers, orgies, etc. The book repeatedly advises that it is privately printed for subscribers only which was a legal fiction designed to get around obscenity laws prohibiting the public sale of such books. Édouard-Henri Avril (1849-1928) used the pseudonym “Paul Avril” for his erotic work. He was a French painter and commercial artist. His career saw collaboration with influential people like Octave Uzanne, Henry Spencer Ashbee and Friedrich Karl Forberg. He is one of the most celebrated erotic artists of his age. Avril was a soldier before starting his career in art. He was awarded with the Legion of Honour for his actions in the Franco-Prussian War.
  • The Amours of the Chevalier de Faublas | by John Baptiste Louvet de Courvray | founded on historical facts, interspersed with most remarkable narratives | a literal unexpurgated translation from the Paris edition of 1821, etchings by Louis Monzies from drawings of Paul Avril (Privately Printed for Société des Bibliophiles [possibly Charles Carrington], London 1898,  one of 100, first English translation edition) 5.75"x8.25", 4 volumes, ix+330pp, 367pp, 416pp, 430pp, white spine over green boards, gilt title ("Classics Facetius | Faublas") and decorations on spine, top edge gilt, others deckled, many pages unopened, spine slightly soiled, slight sunning, otherwise in excellent condition for age, numerous illustrations with titled tissue guards. This is the first English translation of this work which, when published was a "sensation" all over Europe.  It appears to be published by Charles Carrington, who occasionally used the Société des Bibliophiles imprint and often used illustrations from Paul Avril.  Édouard-Henri Avril (1849-1928) used the pseudonym "Paul Avril" for his erotic work. He was a French painter and commercial artist. His career saw collaboration with influential people like Octave Uzanne, Henry Spencer Ashbee and Friedrich Karl Forberg. He is one of the most celebrated erotic artists of his age. Avril was a soldier before starting his career in art. He was awarded with the Legion of Honour for his actions in the Franco-Prussian War. Jean-Baptiste Louvet de Couvrai (1760 - 1797) was born in Paris as the son of a stationer, he became a bookseller's clerk, and first attracted attention with the first part of his novel "Les Amours du chevalier de Faublas" (5 parts) in 1787; it was followed in 1788 by "Six semaines de la vie du chevalier de Faublas" (8 parts) and in 1790 by "La Fin des amours du chevalier de Faublas" (6 parts). The heroine, Lodoiska, was modeled on the wife of a jeweler in the Palais Royal, with whom he had an affair. She divorced her husband in 1792 and married Louvet in 1793. This is considered a so-called "libertine" novel. It dwells mainly on the sexual escapades of its hero, a sort of amiable young libertine, and on the corrupted morals of eighteenth-century France. At the start of this novel the young Chevalier de Faublas attends a party dressed as a woman and is knowingly seduced by the lady of the house ('. I receive with equal astonishment and pleasure a charming lesson, which I repeated more than once .') Oxford Comp. to French Literature says it is "typical of many frivolous, licentious novels of its time, and still mentioned. Faublas, the amiable hero, is the victim of his own charms. His amorous adventures, recounted with a certain lively force, begin with his entry into society at the age of sixteen. He loves several women by the way and three in particular. A jealous husband and a despairing suicide reduce the three to one. The novel ends on a moral note: Faublas , who had happened to settle down with his remaining love, is haunted by the avenging phantoms of the other two and goes mad."
  • De Figuris Veneris, suite de 19 gravures en couleurs et un frontispice, Paul Avril, np. nd., [Charles Hirsch, Paris 1906] 11"x9" portfolio book with frontispiece with 19 loose hand-colored lithographs (10.5"x8.5") each with tissue guard describing scene and page where they are to be inserted into book. String ties intact. Soiling and rip to frontispiece on cover and some rips and soiling on inner flaps that hold the artwork.  Lithographs are in good+ condition some minor soiling on paper but not on the art. Previous owner's inscription on inside front board, "Le H. Avril 1938 | Toulouse | G. A France's" When publishers sold books in the early 19th century, they often sold the illustrations separately.  These illustrations are for F.K. Forbergs Manuel d'Erotologie Classique (de Figuris Veneris) [Charles Hirsch, Paris 1906]. These (and the illustrations he did for Carrington's Fanny Hill) are the most explicit, rare, and sought after illustrations by Paul Avril. Most copies of Manuel d'Erotologie Classique have a combination of black, red, or sepia monochromatic illustrations.  I have yet to find a copy of the book with all 19 hand-colored illustrations.  The only lithograph prints of this work I've seen have been black & white (probably ripped out of books).  This is the only "un-inserted" loosely bound portfolio of the hand-colored lithographs I have found anywhere. Édouard-Henri Avril (1849-1928) used the pseudonym "Paul Avril" for his erotic work. He was a French painter and commercial artist. His career saw collaboration with influential people like Octave Uzanne, Henry Spencer Ashbee and Friedrich Karl Forberg. He is one of the most celebrated erotic artists of his age. Avril was a soldier before starting his career in art. He was awarded with the Legion of Honour for his actions in the Franco-Prussian War.
  • Musk Hashish and Blood, Hector France, with 22 etching by Paul Avril (Falstaff Press Inc., New York [c. 1930, stated "London and Paris, Printed for Subscribers Only, 1900" but is most likely a facscimile reprint of that 1900 edition by Carrington/Nichols)) 8 1/8" X 5 3/4", 447pp, hardbound no DJ, deckle edges top edge smooth and dyed blue, very good condition, some light soiling to boards In the introduction, the author states, "The Tales here brought together in one Volume are in no sense a work of fancy pure and simple; imagination has played quite a secondary part in their evolution. They are rather what in French we call 'pages vecues' (real-life stories) and indeed for ten long years the Author actually lived tem when wrapped in the scarlet 'burnouse' of a Spahi, he shared in many a wild foray and desert bivouac on the Algerian frontiers." He goes on to say, "A few of the following pages I admit, may possibly shock some prudish souls always ready to be shocked; and I hereby declare at once that my book is not written for the perusal in young ladies' seminaries." Édouard-Henri Avril (1849-1928) used the pseudonym "Paul Avril" for his erotic work. He was a French painter and commercial artist. His career saw collaboration with influential people like Octave Uzanne, Henry Spencer Ashbee and Friedrich Karl Forberg. He is one of the most celebrated erotic artists of his age. Avril was a soldier before starting his career in art. He was awarded with the Legion of Honour for his actions in the Franco-Prussian War.
  • Mon Oncle Barbassou, Mario Uchard, illust. Paul Avril (J. Lemonnyer, Paris, 1884 [#394/1000, one of only 225 printed on Holland Paper]) 10" X 6.5", 311pp., hardbound in 3/4 dark blue morocco leather with gilt titles and decorations on spine with 5 raised bands, marbled endpapers, top edge gilt others deckled. First Illustrated Edition with many beautiful engravings by Paul Avril throughout. Some very slight wear to leather and boards, otherwise a very good+ copy overall clean, bright and structurally sound. #394/1000, one of only 275 in Holland Paper. Originally published in 4 parts in 1876, My Uncle Barbassou is a story of a man who inherits his uncle's estate which includes a newly purchased harem of 3 young girls. This novel is a prime example of the French "Orientalists" of the late 1800's. Scandalous for the age, but mild by today's standards, this book is in the original french. This is a beautifully bound copy of the First Illustrated Edition with plates by Paul Avril. Édouard-Henri Avril (1849-1928) used the pseudonym "Paul Avril" for his erotic work. He was a French painter and commercial artist. His career saw collaboration with influential people like Octave Uzanne, Henry Spencer Ashbee and Friedrich Karl Forberg. He is one of the most celebrated erotic artists of his age. Avril was a soldier before starting his career in art. He was awarded with the Legion of Honour for his actions in the Franco-Prussian War.
  • My Uncle Barbassou, Mario Uchard, Paul Avril (illust.) (Vizetelly & Co., London, 1888) 10.25" X 6.5", 339pp., hardbound, blue cloth boards with gilt and black titles and decorations on spine and front cover. Deckled edges. Good condition for age, boards and binding sound, illustrations throughout. Originally published in 4 parts in 1876, "Mon Oncle Barbassou" is a story of a man who inherits his uncle's estate which includes a newly purchased harem of 3 young girls. This novel is a prime example of the French "Orientalists" of the late 1800's. Scandalous for the age, but mild by today's standards, this book is the first English translation. The first English translation from the "Mon Oncle Barbassou" published in 1877. 40 beautiful engravings by Paul Avril. Édouard-Henri Avril (1849-1928) used the pseudonym "Paul Avril" for his erotic work. He was a French painter and commercial artist. His career saw collaboration with influential people like Octave Uzanne, Henry Spencer Ashbee and Friedrich Karl Forberg. He is one of the most celebrated erotic artists of his age. Avril was a soldier before starting his career in art. He was awarded with the Legion of Honour for his actions in the Franco-Prussian War.
  • Musk, Hashish and Blood, Hector France, illust. Paul Avril, [trans. most likely Alfred Richard Allinson] (Charles Carrington, Paris, 1899) 8.5" X 5.5", xiii 447pp., hardbound, cloth boards with gilt tittles and decorations. Marbled end papers, deckled edges, frontispiece with tissue guard and numerous illustrations throughout. Good condition, binding is cocked but intact. Owner's signature in front, ink stamp in back, and imprint on title page reads "W.H. Bovey, Minneapolis, MN." Hector France (1837 - 1908) was a French author best known for his "orientalist" and flagellation tales. This graphic and exciting picture of the Algerian desert, its tribes and their astounding customs is a sensational recounting of France's experiences in North Africa. France tells the stories of his adventures in the nineteenth century Arab world from an eyewitness view. "The adventures of a modern man among the cruel men and passionate women of Algiers." Édouard-Henri Avril (1849-1928) used the pseudonym "Paul Avril" for his erotic work. He was a French painter and commercial artist. His career saw collaboration with influential people like Octave Uzanne, Henry Spencer Ashbee and Friedrich Karl Forberg. He is one of the most celebrated erotic artists of his age. Avril was a soldier before starting his career in art. He was awarded with the Legion of Honour for his actions in the Franco-Prussian War.
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