World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
CLOSED FOR SUMMER.
RE-OPENING 01.02.24
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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World Food Books Gift Voucher
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2002, Japanese / English
Hardcover (w. dust jacket + obi), 132 pages, 37.2 x 26.1 cm
1st Edition, Out of print title / used / fine
Published by
Bunyusha / Tokyo
$200.00 - Out of stock
Beautiful, over-sized hardcover first edition of IZUMI,this bad girl., the stunning collection of Araki's photographic collaborations with Japanese sci-fi author, actress and countercultural icon, Izumi Suzuki. A gorgeous example of Araki's early work and one of his most sought after books, now long out-of-print. Because of Izumi's relationship with Araki, the photos are particularly intimate, capturing the singular, but tragically short life of Suzuki. The iconoclastic Izumi debuted as a writer at the age of 20. From the stage (as a member of Shuji Terayama's underground theatre troupe Tenjo Saijiki), the screen (as "pink" film actress), the image (as model and muse to photographer Nobuyoshi Araki), the page (as celebrated pop culture essayist and proto-cyberpunk author), through to the life between with marriage to free jazz alto-saxophonist Kaoru Abe and suicide at age 36 — Izumi's was a life as adventurous and tumultuous as the art she made and the counterculture she inhabited. She took her own life in 1986, leaving behind a decade’s worth of groundbreaking and influential writing.
"Izumi has been, still is THE woman in A's heart"—Nobuyoshi Araki
Fine copy in Fine dust jacket and obi. Most complete copy.
1974, English / Japanese
Softcover (w. dust jacket and obi), 112 pages, 26 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Kodansha Int / Tokyo
$550.00 - Out of stock
Very rare first 1974 edition of acclaimed female Japanese photographer Ruiko Yoshida's powerful ode to Harlem. Born in Hokkaido in 1938, Yoshida witnessed discrimination against the Ainu, an indigenous peoples native to northern Japan, and much of her work since has been focused on discrimination in society around the world. Harlem : Black Angels is a collection of Yoshida's breath-taking photographs of Harlem in the late 1960s, one of the largest black communities in the world, where she settled after majoring in photojournalism at Columbia University. She married an African American man with whom she had a child. Their daily lives, and the community of Harlemites in the midst of cultural revolution, became the subject of her photographs. The images seem to show a complete assimilation into black culture that had not been depicted by non-black artists at the time and rarely since. Yoshida captures both the time and place with uncanny virtuosity, blurring the frontiers between a personal and an objective documentary of a uniquely vibrant era Harlem. From her touching pictures of the children, to the Vietnam protests, Angela Davis, the funeral of Malcolm X, the Jazz musicians (Coltrane, Davis, Gillespie, Coleman...), the street festivals, the markets, The Black Panthers, Yoshida's gravure images are captioned in both Japanese and English, evoking the powerful sentiments of the time and the spirit of the people.
"Ruiko Yoshida's photographs of Harlem in the early 1970s brilliantly capture various aspects of the culture and the times, showing a side of the U.S. that she felt her Japanese contemporaries knew little about. In the process she created a compelling work that offers an incisive critique of racial hierarchies in the U.S. that, despite its deeply felt humanism, is missing from Bruce Davidson's East 100th Street."—photo-eye
Little known in the West until a reprint in 2010, Harlem : Black Angels has become a jewel of Japanese photo-journalism and a testament to the great breadth of postwar Japanese photobooks. Pictures included in this book were part of the exhibition “Soul of a Nation: Art in the Age of Black Power”
Includes text in both Japanese and English by poet Hajime Kijima.
Very Good copy in original publishers plastic dust jacket and original BLUE obi-strip. Dust jacket with the usual shrinkage and wear due to age. Otherwise cover, obi and interior pages VG—NF, preserved by dust jacket all these years. A most complete copy.
1985 / 1993, Japanese
Softcover, 72 pages, 21 x 20 cm
1st Edition, Out of print title / used / very good
Published by
Hiroshima Atomic Bomb Photographers' Association / Japan
$70.00 - Out of stock
First published in 1985 by the Hiroshima Atomic Bomb Photographers' Association, Testament of The Atomic Bomb Survivor presents an unsettling and profound collection of photographs taken by the "hibakusha" (A-bomb survivors) to serve as a stark reminder of the devastation that befell the Japanese people when the United States detonated two atomic bombs over the cities of Hiroshima and Nagasaki in 1945, killing between 129,000 and 226,000 people, most of whom were civilians. Richly illustrated glossy b/w photo book, accompanied by captions in Japanese, introduction in Japanese and English, and further historical and biographical information in Japanese.
"The thermal rays and the blast force from the atomic bomb took the lives of hundreds of thousands of people, destroyed all the buildings in central Hiroshima in an instant, and turned most of them into ashes. In addition, those who were unharmed at the time of the explosion but exposed to the radiation suffered the symptoms of the A-bomb disease caused by the residual radioactivity, and died one after another. There are still many survivors all over Japan as well as in Hiroshima and Nagasaki who are suffering the aftereffects of the bombing. That is something that should never happen again. But we are in danger of having new destruction be- fore the old wounds are healed, and we cannot simply disregard the threat of human extinction. We, the Association of the Photographers of the atomic (Bomb) Destruction of Hiroshima, published a collection of photographs taken by us entitled, "The Time of the Destruction of Hiroshima," in August 1981. As hibakusha (A-bomb survivors) we cannot help but feel indignant at the present situation of the ever continuing production, testing, and de- ployment of nuclear weapons. The forty years following the destruction by the atomic bomb have seen seven of the twenty photographers who survived the bombing die. Those remaining are getting old and the average age of our group is above seventy years. We get impatient at the fact that the atomic bomb is the great enemy of humanity, but the people who can bear witness to what happened are fading out. Hundreds of thousands of people died in bitterness. I intend to offer my short remaining life to keep on telling the story as a witness, lest the death of those people be in vain, while I pray for the repose of their souls.—Yoshito Matsushige, Representative of the Association of the Photographers of the Atomic (Bomb) Destruction of Hiroshima
Very Good—NF copy of 1993 reprint of the 1985 edition. Only light wear.
2000, Japanese
Hardcover, 222 pages, 28 x 20 cm
1st Edition, Out of print title / used / fine
Published by
Oita City Art Museum / Oita
$160.00 - Out of stock
Scarce copy of the stunning hardcover survey of Japanese doll artist Simon Yotsuya, published on the occasion of a major retrospective that travelled Japan between 2000—2002. All the works of Simon Yotsuya are included, from his earliest examples to his latest works — his "Innocent Things: Young Boys and Girls," "Tempting Things: Women," "Automatic Things: Mechanical Devices," "Heavenly Things: Angels and Christ," "Creations of the Self: Simon," "Unfinished Things and Homage to Bellmer" — all beautifully photographed by Japan's leading photographers, including most by Simon's friend and master photographer Kishin Shinoyama, along with many photos of Simon Yotsuya in his parallel career as a female (doll) actor in the 1960s-70s Japanese avant-garde theatre scene. Along with essays, biography, bibliography, chronology, this comprehensive book includes important articles, magazines, and posters. A gorgeous book that will appeal to any fan. Despite his popularity in Japan, Simon Yotsuya's monographic books are surprisingly few in number.
Simon Yotsuya (b. 1944, Tokyo) started making dolls as a child, visiting exhibitions of dolls, and reads all the books he can find on the subject. In his mid-teens he visited Puppe Kawasaki, a doll maker and animator he greaty admired, devoting himself to the craft and becoming a poor high school student. In the early '60s, while working at a jazz coffee shop in Shinjuku, Yotsuya earned the nickname "Simon" (pronounced “Simone”), after his love for singer Nina Simone. He befriends Kuniyoshi Kaneko (painter) and Junko Koshino (fashion designer) and joins in the arts and literary scene. In 1965, he discovers the work of German Surrealist Hans Bellmer through an article authored by Tatsuhiko Shibusawa in the magazine “Shinfujin”, promptly abandoning his previous methods of doll-making to find his way as an artist, incorporating ball-joints into his dolls. Thereafter he becomes an admirer of Surrealism and immerses himself in the controversial Shibusawa's litterary works. In 1965, he also goes to see Tatsumi Hijikata's Butoh Performance for the first time. In the late 60s—early 70s Yotsuya pursued a parallel career to his doll-making as an actor and member of Juro Kara's legendary underground theater company Jokyo Gekijo, Situation Theater, regularly portraying a female doll. He appears in the movie "Diary of a Shinjuku Thief" directed by Nagisa Oshima with the actors of the Situation Theater, but by 1971 he leaves the stage to concentrate on his own work. Simon exhibited at Expo 1970 in Osaka, the Tokyo Biennale in 1974 and by the end of the decade had opened his own doll-making school in Harajuku.
Tatsuhiko Shibusawa (1928—1987), the author of the influential Bellmer article (and novelist, editor, art critic, and translator of Bataille and Marquis de Sade), become a life-long friend of Yotsuya's and his most important advocate, editing the first major book of Yotsuya's work, entitled Pygmalionisme, in 1985. Devastated by Shibusawa's death in 1987, Yotsuya found it impossible to work for nearly two years. He eventually found solace in the Eastern Orthodox Church and was inspired to make a series of angels, which he dedicated to Shibusawa, and straightforward images of Christ. Having carved out his own masterful and unique form of expression, today Yotsuya enjoys international renown as the first ball-jointed doll maker in Japan.
Very Good—Fine copy.
1980, Japanese
Softcover, 326 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Nihon Shuppansha / Tokyo
$120.00 - In stock -
Very rare first issue (October 1980) of S&M Aburoman ("the world of beautiful perverted romance that SM love makes"), featuring cover artwork by Toshio Saeki. Founded in October 1980 by Nihon Shuppansha and edited by Mitsuo Yasuda (who also created SM Club, alongside Oniroku Dan, Sotaro Aki, and Tadao Chigusa), S&M Aburoman was a short-lived SM magazine packed with fetish illustrations, artwork galleries, photographic features, stories, pin-up spreads, and articles exploring SM sexuality. Features contributions by Toshio Saeki, Oniroku Dan, Keizo Miyanishi, Kujuro Kujuro, Shinnosuke Ougi, Haruo Shinozaki, Juan Maeda, and many more. Double sided pin-up of Japanese actress Azuma Terumi.
Very Good copy, tanning and light cover wear.
1981, Japanese
Softcover, 326 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Nihon Shuppansha / Tokyo
$100.00 - Out of stock
Rare April 1981 issue of S&M Aburoman ("the world of beautiful perverted romance that SM love makes"), featuring cover artwork by Toshio Saeki. Founded in October 1980 by Nihon Shuppansha and edited by Mitsuo Yasuda (who also created SM Club, alongside Oniroku Dan, Sotaro Aki, and Tadao Chigusa), S&M Aburoman was a short-lived SM magazine packed with fetish illustrations, artwork galleries, photographic features, stories, pin-up spreads, and articles exploring SM sexuality. Features contributions by Toshio Saeki, Tadao Chigusa, Tadao Matasuoka, Shinnosuke Ougi, Akira Kasuga, Juan Maeda, and many more.
Very Good copy, tanning and light cover wear.
1971, Japanese
Softcover (staple-bound), 160 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$90.00 - In stock -
Inaugural 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a pioneering platform of the 1970s subculture in Tokyo. A magazine like no-other, each issue "a paradise of 1970's heretical culture", introduces a new wave of illustrators and photographers, radical criticism, avant-garde comics, sadistic literature, poetry, underground film and theatre, and all manner of transgressive, esoteric and erotic material, alongside well-known authors... This scarce first issue with incredible cover by Japanese illustrator Ken Katayama, features work/contributions by author Izumi Suzuki, film director Michio Okabe, artist Genpei Akasegawa, critic Junzo Ishiko, author Boris Vian, film director Eiichi Uchida, film critic Jin'ichi Uekusa, manga artist Shotaro Ishinomori, author Mieko Kanai, music critic Masaaki Hiraoka, artist Koichi Tanigawa, manga artist Shigeru Sugiura, graphic designer Mad Amano, doll artist Shimon Yotsuya, illustrator G. Akechi, art critic Junzo Ishiko, art critic Yoshida Yoshie, film director Toshio Matsumoto, graphic artist Keiichi Tanaami, author Koji Suzuki, artist Toshio Saeki, manga artist Shigeru Mizuki, manga artist Mori Masaki, manga artist Mitsuhiko Yoshida, artist Tsunehisa Kimura, playwright Jūrō Kara, and many more. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
Good—Very Good copy, general wear/age.
1968 / 1969, Japanese / French
4 Vols., softcover, approx. 1000 pages, 23 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Tensei Shuppan / Tokyo
$340.00 - Out of stock
Complete 4 issue run of Le Sang Et La Rose — a masterpiece of the Japanese underground! Opening with Kishin Shinoyama's photographic portraits of Yukio Mishima depicted as Saint Sebastian and onward through one thousand pages exploring the outer limits of subversive human potential!
Revue de Érotologie, Homosexualité, Sadisme, Masochisme, Fétischisme, Narcissime, Infantilisme, Magie, Occultisme, Humour Noir, Complexe Psychisme. What more could you ask for? Le Sang Et La Rose was a groundbreaking, yet short-lived Japanese arts and literary journal published in Tokyo from late 1968—mid 1969, published in a total of four luxurious, now collectible, volumes. The first three issues were edited by Tatsuhiko Shibusawa (1928—1987), a legendary, controversial Japanese novelist, art critic, translator of French writers such as Jean Cocteau, Georges Bataille and Marquis de Sade, and specialist in medieval demonology. The fourth final issue, and rarest of the four, edited by critic Masaaki Hiraoka and designed by self-taught painter, graphic designer and political activist, Kiyoshi Awazu (!) The importance of this magazine to the Japanese avant-garde and radical culture cannot be overstated.
Born from a period of political, social and economical turmoil in Japan, Le Sang Et La Rose may be understood as a emblematic distillation and product of the late ‘60s student rebellion and anti-authoritarian underground culture. Wilfully politically subversive, the publication drew upon a vast range of perspectives - from criticism, literature, obscure esoteric sciences, art, eroticism, radical avant-garde and a historical-rooted Japanese counterculture; featuring literature, theory, art, photography, illustration and graphic design from the most innovative and subversive Japanese and international (predominately French) artists, authors and critics, spanning the themes above. As instigator, Tatsuhiko Shibusawa in effect formulated the magazine’s design to be a spiritual and political operative that would weaponize its readers minds. This stance was made clear in the 1969 manifesto text — "My 1969" — in which Shibusawa discuss' how he perceived the ‘60s as being the age of ideas, ideas as weapons, and outlined a distain towards systems of power, moralism, State oppression, sanitised and harmless liberalism, dogmatic academic sciences and an outright distrust for ideological, progressive literary scholars who advocate "freedom of expression", but have never caused friction with the judicial power. The magazine sketched out an aim to push towards a new kind of personal freedom, intellect, autonomy and moral compass. Here, the concept of ‘erotism’ — as discussed by Georges Bataille in his highly influential 1957 book "Erotism: Death and Sensuality" — acts as a critical force.
Tatsuhiko Shibusawa (1928—1987), was a well-known and controversial Japanese novelist, art critic, and translator of French writers such as Jean Cocteau, Georges Bataille and Marquis de Sade. In 1960 he and his publisher, Kyōji Ishii, were trialled for public obscenity over the publishing of Shibusawa's translation of de Sade's Juliette into the Japanese language. What was to be known as the "Sade Trial" took 9 years and although many of Japan's leading authors testified for the defense, in 1969 the Japanese Supreme Court ruled them guilty and charged. This did not deter Shibusawa, whose essays on black magic, demonology and eroticism were popular reading in Japan, and in 1981 he was awarded the 9th Izumi Kyoka Literature Prize.
All Good—VG copies with general wear and age.
1997, Japanese
Softcover (w. dust jacket), 440 pages, 15 x 11 cm
1st Edition, Out of print title / used / very good
Published by
Kyoto Shoin / Tokyo
$70.00 - Out of stock
First 1997 edition of the hefty 440-page pocket version of what is now one of the truely iconic interior "design" books - Tokyo Style. Over a period of two years, Japanese writer-photographer Kyoichi Tsuzuki visited apartments, condos and suburban homes in Tokyo, and documented exactly what he saw in colour photography. First published in 1993 in the larger format, Tokyo Style is a collection of these photographs along with Tsuzuki's texts. Divided into eight sections - Beauty in Chaos, The Fancy Fetish, Artsy Pads, The Traditional Touch, Monomaniacs, Kiddie Kingdoms, Inertial Living and Hermitages - the book shows readers a demystified Tokyo and the ordinary lifestyles of the Tokyo people. No wide-angles or post-production here, just the most amazing compendium of hundreds of tiny Tokyo living spaces, no two alike. Somehow this print format seems all the more appropriate!
Reprinted many times since, this is the first edition of this format.
Very Good. Good dust jacket with light wear to edges, spine.
1996, Japanese
Hardcover (clothbound), 136 pages, 27 x 21.6 cm
1st Edition, Out of print title / used / very good
Published by
NG Publication / Tokyo
$600.00 - Out of stock
Very rare, highly sought after first book, Danse Macabre To The Hardcore Works, by Japanese "corpse photographer" Kiyotaka Tsurisaki, published by NG Publication (imprint of editor Kotaro Kobayashi — Too Negative, Ultra Negative, ORG, etc.) in 1996 in an edition of 1000 copies. This deluxe clothbound hardcover volume contains an unwavering, unapologetic look at death, collecting Tsurisaki's first works (a three year survey) bound together in glossy full-colour. Most never before published, the book includes his first published photographs from the second issue of Kobayashi's Too Negative magazine. Since 1994, Japanese photographer, film director, and writer Kiyotaka Tsurisaki (b. 1966) has become known for prolifically photographing dead bodies; his images of death and conflict from global "hot-spots" earning him a reputation as a leading underground photographer. For Kiyotaka’s raw photo-journalistic practice he habitats disaster areas, accident sites and war zones, locations where society has collapsed to seek out and photograph man's ultimate taboo — death. Many of these people met with violent ends, whether by vehicle crash, homicide, or suicide. The images are stark, confronting, bleak and profound. Tsurisaki also brings the viewer into morgues and forensics labs, where the macabre work of embalming and autopsy is unapologetically documented. His work has led him from Fukoshima and Japan’s suicide forest Aokigahara, Thailand, Colombia, Mexico, Russia, and Palestine, as well as other lawless or war-torn parts of the world, to photograph human corpses. In El Cartucho, Bogota, Kiyotaka filmed the shockumentary Orozco The Embalmer (2001) — a now cult classic in its genre, alongside his Junk Films (2007) and Wasteland (2012). Tsurisaki has published several photo books and authored Book Of The Dead (2011), and The Dogs of the Nuclear War: A Chronicle Of The Fukushima Daiichi Nuclear Power Plant (2017).
Very Good—Near Fine copy.
2007, Japanese
DVD (90 mins)
Signed.,
Published by
Uplink / Japan
$180.00 - In stock -
Signed copy of the original 2007 Japanese issue DVD of "corpse photographer", director and author Kiyotaka Tsurisaki's collection of short shockumentaries, Junk Films. Signed on the disc by Kiyotaka Tsurisaki.
"Tsurisaki Kiyotaka, the infamous Japanese death photographer and director of Orozco the Embalmer picks up his video camera and heads into the depths of Hell yet again. Junk Films is a collection of short shockumentaries filmed between the late 1990's and early 2000's, with footage including everything from disemboweled auto accident victims in Krung Thep, to the self mutilating participants of the Vegetarian Festival in Phuket, and even footage of festering corpses in a Bogota landfill. 'Junk Films: The Collected Short Shockumentaries of Tsurisaki Kiyotaka' presents death with a sense of rawness and voyeurism. An unflinching look at the gruesome aftermath of combat, disasters, and accidents, this is like no other shockumentary you've ever seen."
As New copy with some wear to insert sheet, light rippling to back cover. Signed by Kiyotaka Tsurisaki on the disc.
1996, Japanese
Softcover (w. dust jacket and obi-strip), 256 pages, 21 x 14.8 cm
Published by
Core Magazine / Tokyo
$120.00 - In stock -
Don't judge a book by it's cover — you've been warned! Straight out of the young nihilist 90s, the second volume of the very short-lived and absolutely demented Seikimatsu Club (End of the Century Club), published in Tokyo between 1996—2000 for a total of only five volumes. This second volume, "Deathtpia in Suburbia", has the feature theme of Horror! Bizarre! Bizarre! Cruelty! and is packed to the absolute brim with "corpses, freaks, spectacles, murders, suicides, autopsies, rapes, sickness, pain, accident, war, religious rituals, violence, forensics, foetuses. A shocking document that eliminates all fiction (all genuine)!"
With contributors to this issue including Masami Akita (Merzbow), Masaaki Aoyama (author), Kiyotaka Tsurisaki (corpse photographer), Suehiro Maruo (ero guro manga artist), Teruo Ishii (ero guro film director), Kotaro Kobayashi (Too Negative editor-in-chief), Trevor Brown (artist), you should know what you are getting yourself into.
Following the trajection of fellow Japanese abnormal subculture magazines such as Kotaro Kobayashi's notorious Too Negative, Ultra Negative, ORG, etc., and in the spirit of a new wave of 90's nihilist publishing around the world (Answer Me!, Killing Times, Fuck!, AMOK, Feral House, etc.) End of the Century Club stares directly into the dark recesses of humanity and presents its viewers with the uncompromising extremes of our global culture. The real stuff. Where Too Negative presents itself as a glossy colour photo/art magazine, End of the Century Club is almost like a Whole Earth Catalog to the authentic macabre. With articles, interviews, reports, catalogues and hundreds of images spanning all manner of medical/autopsy/corpse photography, death journalism, serial killers, formalihide babies, war/shock accident/crime scenes, hara-kiri, murder, rape, slaughterhouse, forensic books, international underground magazines, Photobook of World Diseases, City of Sodom, corpses on the internet, Underground Baby Contest, Atlas of Dermatology, complete guide to Freaks movies, the Garbage Pail Kids, religious ceremonies, animal deformities, Interview with "The King of Cult" ero guro film director Teruo Ishii, bizarro sex, acrotomophila, artist Joel Peter Witkin's world, interview with Masaaki Aoyama, interview with corpse photographer Kotaro Kobayashi (Death, Hardcore Works, Too Negative, Billy, etc.), photography of George Dureau, interview with fetish film director and producer Kaoru Adachi, interview with experimental film director Shozin Fukui (Metal Days, Gerorisuto, Caterpillar, 964 Pinocchio, Rubber's Lover...), article on "Serial Killers & Record Junkies" by Toshihiko Hironaka (of Boris, Balzac, Hellbent fame), and all sorts of other curios from the mondo, bizarro realm.
Includes "gorgeous" 24-page high-quality corpse photo booklet feature and cover art by Trevor Brown.
Not for the fain-hearted. You'll feel like a shower after.
Very Good copy with dust jacket and obi.
1997, Japanese
Softcover (w. dust jacket and obi-strip), 256 pages, 21 x 14.8 cm
1st Edition, Out of print title / used / very good
Published by
Core Magazine / Tokyo
$120.00 - Out of stock
Don't judge a book by it's Trevor Brown cover — you've been warned! Straight out of the young nihilist 90s, the third volume of the very short-lived and absolutely demented Seikimatsu Club (End of the Century Club), published in Tokyo between 1996—2000 for a total of only five volumes. This third volume, "The World You Don't Know", has the feature theme of exposing "a reality erased from everyday life", which sums it up... packed to the absolute brim with "freaks, corpses, bestiality, autopsies, fetal executions, lynchings, traffic accidents, plane crashes, amputee, heteromorphic animals, freak shows, corpse museums, shemales, etc. A shocking document that eliminates all fiction (all genuine)!"
With contributors to this issue including Masami Akita (Merzbow), Masaaki Aoyama (author), Kiyotaka Tsurisaki (corpse photographer), Hideshi Hino (horror manga artist / Guinea Pig director), Kotaro Kobayashi (Too Negative editor-in-chief), Trevor Brown (artist), you should know what you are getting yourself into.
Following the trajection of fellow Japanese abnormal subculture magazines such as Kotaro Kobayashi's notorious Too Negative, Ultra Negative, ORG, etc., and in the spirit of a new wave of 90's nihilist publishing around the world (Answer Me!, Killing Times, Fuck!, AMOK, Feral House, etc.) End of the Century Club stares directly into the dark recesses of humanity and presents its viewers with the uncompromising extremes of our global culture. The real stuff. Where Too Negative presents itself as a glossy colour photo/art magazine, End of the Century Club is almost like a Whole Earth Catalog to the authentic macabre. With articles, interviews, reports, catalogues and hundreds of images spanning all manner of medical/autopsy/corpse photography, death journalism, serial killers, formalihide babies, war/shock accident/crime scenes, human intersection, murder art show, lobster boy, 3D stereo photography hall of horrors, donkey fucker (please no!), strange diseases of the world, amputee lovers, siamese twins, deformed children, amazing Photo Press historical stories, animal deformities, huge Hideshi Hino art gallery, book guide and interview, ALARMA! photo gallery, Trevor Brown art gallery, corpse photography, columns and features on and by Kiyotaka Tsurisaki (Death, Hardcore Works, Too Negative, Ultra Negative, Billy, etc.), Father Yod (YaHoWha 13) record guide, Medical Atlas by Naruhiko Tanaka, lots of noise record reviews by Masami Akita (Merzbow) inc. Smell & Quim, M.B., Lustmord, Ramleh, Genocide Organ, Richard Ramirez, Agoraphobic Nosebleed, Whitehouse, Extreme Hair Stench, Genital Masticator, Traci Lords Loves Noise, Morder, etc., interview with artist Wes Benscoter (heavy metal illustrator for Slayer, Mortician, Kreator, Deceased, Cattle Decapitation, etc) on the occasion of his NG Gallery body painting show, complete Freak book library, and all sorts of other curios from the mondo, bizarro realm. Lots of full colour gore.
Not for the fain-hearted. You'll feel like a shower after.
Very Good copy with dust jacket and obi.
1994, Japanese
Softcover, 178 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tom Shobo / Japan
$120.00 - Out of stock
A rare, special issue ORG photo book by Japanese fetish photographer Kiyoshi Ikejiri, published in 1994 by Too Negative's Kotaro Kobayashi. Ikejiri was a leading photographic contributor to all of Kobayashi's Eros and Thanatos-themed underground periodicals, and this might be his only exclusive photo book. Cover to cover with vivid reproductions of Ikejiri's experimental SM fetish photography of young Japanese and Western female models. Heavy with sadistic industrial, medical bondage themes.
ORG was a Japanese erotic fetish photo journal initiated and edited by Kotaro Kobayashi of affiliated periodicals such as Too Negative, Spiral, Schizo, etc. ORG was published between 1993 to 1997 by Tom Publication Inc. The magazine came into being while Kobayashi was working in N.Y.C. during the early to mid-nineties. Kobayashi wanted to re-ignite the dense air that had evaporated from the erotic book market in Japan. The first issue hit the streets April 1993 with Kotaro as editor-in-chief and photographer Kiyoshi Ikejiri by his side. Kotaro Kobayashi’s ORG editorial template was also utilized for his cult mondo art gallery in photo magazine format, Too Negative. The most universal fact in life is “PAIN”. There are several kinships between the two prints, the only significant difference is the lack of concept ‘Thanatos’ - death - in ORG as seen in the aforementioned magazine’s printing of cadavers and bloodlust violence. Other than that, the two prints are of equal arresting power and manipulative corrupting sadism.
Very Good copy.
1975, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$70.00 - Out of stock
February 1975 issue of S&M Collector, the legendary cult pioneering Japanese kinbaku magazine published monthly by Sun Publishing from 1972—1985 and founded by Shin Miyasaka and Toshiyuki Suma. Cover artwork by Haruo Shinozaki. One of the finest examples of SM publishing in Japan in the 1970s and 1980s, each issue of S&M Collector included a perfect combination of colour and b/w bondage photo features, illustrated fetish fiction, articles and a heavy selection of the most talented bondage artwork galleries, with contributors including Oniroku Dan, Ran Akiyoshi, Shoji Oki, Yoji Muku, Namio Harukawa, Tadao Chigusa, Mito Akiyoshi, Sanpei Akashi, Juan Maeda, Yoko Ozuma, Toshimi Fuji, Hakuzan Shiraishi, Ran Akiyoshi, Haruo Shinozaki, Akira Minomura, Bill Ward, Osamu Nakahara, and many more. Beautifully designed with printing on many various paper-stocks, finishes, and fold-out spreads.
Very Good copy with some loose but present central pages.
1975, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Sun Publishing / Japan
$65.00 - In stock -
May 1975 issue of S&M Collector, the legendary cult pioneering Japanese kinbaku magazine published monthly by Sun Publishing from 1972—1985 and founded by Shin Miyasaka and Toshiyuki Suma. Cover artwork by Haruo Shinozaki. One of the finest examples of SM publishing in Japan in the 1970s and 1980s, each issue of S&M Collector included a perfect combination of colour and b/w bondage photo features, illustrated fetish fiction, articles and a heavy selection of the most talented bondage artwork galleries, with contributors including Oniroku Dan, Ran Akiyoshi, Shoji Oki, Yoji Muku, Namio Harukawa, Tadao Chigusa, Mito Akiyoshi, Sanpei Akashi, Juan Maeda, Yoko Ozuma, Toshimi Fuji, Hakuzan Shiraishi, Ran Akiyoshi, Haruo Shinozaki, Akira Minomura, Bill Ward, Osamu Nakahara, and many more. Beautifully designed with printing on many various paper-stocks, finishes, and fold-out spreads.
Good copy with general wear/age.
1974, Japanese
Softcover, 306 pages, 21 x 14.8 cm
1st Edition, Out of print title / used / very good
Published by
Taiyo books / Japan
$75.00 - In stock -
March 1974 issue of SM KING, legendary Japanese SM magazine edited by Oniroku Dan (1931—2011), "the most celebrated writer of popular SM novels in Japan", published by Taiyo books between 1972—1974, with each issue featuring many colour and b/w photo features, illustrations, and fetish fiction. Regular contributors included actress Naomi Tani, Toshiyuki Suma, Norio Sugiura, Takashi Tsujimura, Yoji Muku, Gekko Hayashi (Gojin Ishihara), Tadao Chigusa and Juan Maeda. This issue featuring cover artwork by legendary erotic fantasy artist Ran Akiyoshi (1922–1982), plus the work of Gekko Hayashi (Gojin Ishihara), Tadao Chigusa, Takashi Ishii, Aya Nakagawa, Shoji Oki, Oniroku Dan, and many many more. Super star actress Naomi Tani of Nikkatsu fame modeled for a handful of luxury SM King photo collections. Legendary artists Maeda Hisashiro, Tadao Chigusa, Yoji Muku, Yuzo Maeda and Toshiyuki Suma
Very Good copy with general wear/age.
1971, Japanese
Softcover, 330 pages, 21 x 14.8 cm
1st Edition, Out of print title / used / very good
Published by
Taiyo books / Japan
$75.00 - Out of stock
October 1971 issue of SM KING, legendary Japanese SM magazine edited by Oniroku Dan (1931—2011), "the most celebrated writer of popular SM novels in Japan", published by Taiyo books between 1972—1974, with each issue featuring many colour and b/w photo features, illustrations, and fetish fiction. Regular contributors included actress Naomi Tani, Toshiyuki Suma, Norio Sugiura, Takashi Tsujimura, Yoji Muku, Gekko Hayashi (Gojin Ishihara), Tadao Chigusa and Juan Maeda. This issue featuring cover artwork by legendary erotic fantasy artist Ran Akiyoshi (1922–1982), plus the work of Tadao Chigusa, Takashi Tsujimura, Akira Minomura, Mayami Yoshino, Oniroku Dan, and many many more.
Very Good copy. Light wear/age.
1975, Japanese
Softcover, 274 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$75.00 - In stock -
SM Kitan December 1975 issue, featuring cover artwork by legendary erotic fantasy artist Ran Akiyoshi (1922–1982). A cult classic of vintage Japanese BDSM and Kinbaku (Japanese bondage), SM Kitan was a leading SM magazine published by the great Sun Publishing house, and was formerly known as S&M Abuhunter (changing its name to SM Kitan from August 1975). Heavy with wonderful artwork galleries in colour and bw, glossy bondage photo-features, illustrated fetish fiction, manga, fold-outs, and much more. Ran Akiyoshi (1922–1982) illustrated many of the iconic covers, with regular contributors including Sotaro Aki, Tadao Chigusa, Namio Harukawa, Yoko Ozuma, Reiko Kita, Akiyoshi Akiyoshi, Hakuzan Shiraishi, Shoji Oki, Namio Harukawa, Akira Kasuga, and Gekko Hayashi (Gojin Ishihara).
Very Good copy. Light wear/age.
1980, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$65.00 - In stock -
SM Kitan August 1980 issue, featuring cover artwork by legendary erotic fantasy artist Ran Akiyoshi (1922–1982). A cult classic of vintage Japanese BDSM and Kinbaku (Japanese bondage), SM Kitan was a leading SM magazine published by the great Sun Publishing house, and was formerly known as S&M Abuhunter (changing its name to SM Kitan from August 1975). Heavy with wonderful artwork galleries in colour and bw, glossy bondage photo-features, illustrated fetish fiction, manga, fold-outs, and much more. Ran Akiyoshi (1922–1982) illustrated many of the iconic covers, with regular contributors including Sotaro Aki, Tadao Chigusa, Namio Harukawa, Yoko Ozuma, Reiko Kita, Akiyoshi Akiyoshi, Hakuzan Shiraishi, Shoji Oki, Namio Harukawa, Akira Kasuga, and Gekko Hayashi (Gojin Ishihara).
Very Good copy. Light wear/age.
1980, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$65.00 - In stock -
SM Kitan September 1980 issue, featuring cover artwork by legendary erotic fantasy artist Ran Akiyoshi (1922–1982). A cult classic of vintage Japanese BDSM and Kinbaku (Japanese bondage), SM Kitan was a leading SM magazine published by the great Sun Publishing house, and was formerly known as S&M Abuhunter (changing its name to SM Kitan from August 1975). Heavy with wonderful artwork galleries in colour and bw, glossy bondage photo-features, illustrated fetish fiction, manga, fold-outs, and much more. Ran Akiyoshi (1922–1982) illustrated many of the iconic covers, with regular contributors including Sotaro Aki, Tadao Chigusa, Namio Harukawa, Yoko Ozuma, Reiko Kita, Akiyoshi Akiyoshi, Hakuzan Shiraishi, Shoji Oki, Namio Harukawa, Akira Kasuga, and Gekko Hayashi (Gojin Ishihara).
Very Good copy. Light wear/age.
1962, Japanese
Softcover, 190 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Bunken Shiryo Kankokai / Tokyo
$100.00 $80.00 - In stock -
Very rare early special "Masochist Ecstasy" issue of Fuzoku Kitan, an important Japanese SM magazine was published between 1960-1974, and edited by Hajime Takakura. Filled with SM stories and illustrations, along with colour and b/w gravure photographic kitan and fetish photoshoots and art galleries, the magazine published a wild array of subjects on sexual customs, especially a significant amount of western SM artists and material introduced to Japanese audiences and a great deal of queer sexuality. This issue from 1962 is probably one of the finest examples of this, featuring photographic spreads of Japanese and western male physique models, Japanese cross-dressers, Japanese and western female kinbaku/bondage photography, the "man, man, man, man's world!" feature of queer western romanesque illustration from George Quaintance, Tom of Finland, and others, illustrated cover article on Masochism, stories from Japanese cross-dressers, illustrated fiction of gay and lesbian SM stories, as well as lots of fem-dom, sodomy and sadophelia. Almost all articles under nom de plumes! Cover art by Tom of Finland.
Good copy, with edge wear and tanning from age. Binding great.
1972, Japanese
Softcover, 190 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Bunken Shiryo Kankokai / Tokyo
$45.00 $25.00 - In stock -
March 1972 issue of Fuzoku Kitan, an important Japanese SM magazine was published between 1960—1974, and edited by Hajime Takakura. Filled with SM stories and illustrations, along with colour and b/w gravure photographic kitan and fetish photoshoots and art galleries, the magazine published a wild array of subjects on sexual customs, especially a significant amount of queer and transgender sexuality, lots of cross-dressing, masochism, torture, sodomy, sadophelia and fem-dom material. Art gallery by master of kinbaku illustration Yoko Ozuma, equestrianism photography, lots of stories from Japanese cross-dressers, readers confessions, a treasure-trove of illustrated transgressive fiction, almost all articles under nom de plumes! Also, excellent ads.
VG—Good copy, with light cover/spine wear, tanning.
1972, Japanese
Softcover, 190 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Bunken Shiryo Kankokai / Tokyo
$45.00 $25.00 - In stock -
December 1972 issue of Fuzoku Kitan, an important Japanese SM magazine was published between 1960—1974, and edited by Hajime Takakura. Filled with SM stories and illustrations, along with colour and b/w gravure photographic kitan and fetish photoshoots and art galleries, the magazine published a wild array of subjects on sexual customs, especially a significant amount of queer and transgender sexuality, lots of cross-dressing, masochism, torture, sodomy, sadophelia and fem-dom material. Photo features of Rope and Ecstasy and Sadist Breeding Male Slaves, studies on corporal punishment, stories from Japanese cross-dressers, readers confessions, a treasure-trove of illustrated transgressive fiction, almost all articles under nom de plumes! Also, excellent ads.
VG—Good copy, with light cover/spine wear, tanning.