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:
Thu–Fri 12–6
Sat 12–5
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
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Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 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. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
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All sales are final. We do accept returns (for refund or 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.
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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.
<a href=http://wfb.public-office.info/artist/john-nixon>All titles by John Nixon
"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.
Published by World Food Books / Melbourne
$20.00 - In stock -
A World Food Books gift voucher is redeemable in our Melbourne bookshop or via our webshop (here). An e-voucher (printable pdf) will be sent to your purchase email address (please notify us if you wish to have the voucher sent to an alternate address and wish us to fill in the receiver's details on the card).
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For any questions, please don't hesitate to email: [email protected]
2026, English
Softcover, 362 pages, 22.9 x 15.3 cm
Published by
Sticking Place Books / New York
$58.00 - In stock -
Andrzej Żuławski remains one of cinema's great uncompromising visionaries. Though Possession has achieved cult status, the rest of his extraordinary body of work–from The Third Part of the Night and The Devil to On the Silver Globe, Szamanka, and Cosmos–continues to be too little known. Hysterical Excess and Inhuman Ecstasy is the first book to examine every feature film in Żuławski's career, tracing the obsessions that unite them: ecstatic love, political repression, surrealism, romantic despair, the grotesque, and the emotional extremes that made him one of the most singular filmmakers of the twentieth century.
Drawing on literature, history, philosophy, and close analysis, Samm Deighan reveals the deeper patterns beneath Żuławski's notoriously explosive cinema, illuminating the artistic, cultural, and intellectual currents that shaped his work without sacrificing the visceral power that continues to astonish audiences. Whether you are discovering Żuławski beyond Possession for the first time or returning to his films with fresh eyes, this book is an essential guide to a filmmaker whose cinema remains as exhilarating, unsettling, and transformative today as ever.
1973 / 1986, English
Softcover, 336 pages, 23 x 15.5 cm
Published by
Weiser / Boston
$50.00 - In stock -
A unique collection of Qabalistic texts that includes Gematria, 777, and Sepher Sephiroth.
Gematria provides essential explanations of theoretical and practical Qabalistic number analysis and philosophy. “An Essay in Number,” also included, provides invaluable insights into key numbers as well as techniques and safeguards for practical magical work. Gematria was first published in The Equinox, vol. 1. no. 5.
777 itself contains, in concise tabulated form, an overview of symbolism of the major world religions, as well as the system of correspondence of the Hermetic Order of the Golden Dawn. In short, it is a complete magical and philosophical dictionary—a key to all religion and practical occultism—an amazing work whose value has been recognized through many editions since its first appearance in 1909 and subsequent enlargement in 1955.
The third text in this collection is Sepher Sephiroth, a unique dictionary listing hundreds of Hebrew words arranged by numerical value. It was compiled jointly by Aleister Crowley and Allan Bennett and first appeared in The Equinox, vol. 1, no. 8.
Reprint of the 1986 edition.
1904 / 2016, English
Softcover, 104 pages, 23 x 15 cm
Published by
Mockingbird Press / US
$25.00 - In stock -
This edition is a fully illustrated reprint of the 1904 publication by Aleister Crowley and Samuel Liddell MacGregor Mathers. This edition of The Lesser Key of Solomon the King contains all of the over 150 seals, sigils, and charts of the original lesser book of Solomon. Beware of other editions that do not contain the Lesser Key of Solomon seals; they were painstakingly researched by Mathers and Crowley, and Solomon’s lesser key is enhanced by their inclusion. This edition also contains Crowley’s original comments located in over 35 annotations to help the reader understand the lesser keys of Solomon the king.
In this work, Crowley and Mathers assemble descriptions and directions for the invocation of over 72 demons or spirits. Included are: illustrations of Solomon’s Magic Circle & Triangle, Enochian translations of the Goetia book, step by step guides for invocation, as well as definitions and explanations for the ancient terms seen throughout the Lesser Key of Solomon book.
The Lesser Key of Solomon, or the Clavicula Salomonis Regis, or Lemegeton, is a compilation of materials and writings from ancient sources making up a text book of magic or “grimoire.” Portions of this book can be traced back to the mid-16th to 17th centuries, when occult researchers such as Cornelius Agrippa and Johannes Trithemisus assembled what they discovered during their investigations into their own great works.
As a modern grimoire, the Lesser Key of Solomon has seen several editions with various authors and editors taking liberty to edit and translate the ancient writings and source material. In 1898, Arthur Edward Waite published his The Book of Black Magic and of Pacts, which contained large portions of the Lemegeton. He was followed by Mathers and Crowley in 1904 who published The Goetia: The Lesser Key of Solomon. Many others have assembled their own version of this ancient material since, and it is important to realize that it is the contents rather than the book itself that make up the Lesser Key. Traditionally, the source material is divided into five books: Ars Goetia, Ars Theurgia Goetia, Ars Paulina, Ars Almadel, and Ars Notoria. Mathers and Crowley indicate their edition is a translation only of the first book: Goetia.
In the preface to this edition, it is explained that a “Secret Chief” of the Rosicrucian Order directed the completion of the book. The original editor was a G. H. Fra. D.D.C.F. who translated ancient texts from French, Hebrew, and Latin, but was unable to complete his labors because of the martial assaults of the Four Great Princes. Crowley was then asked to step in and finish what the previous author had begun. Traditionally, S. L. MacGregor Mathers is credited as the translator of this edition, and Crowley is given the title of editor. Although impossible to verify, it is often claimed that Mathers did not want to publish this work, but Crowley did so anyway without his permission.
Aleister Crowley was an English occultist, ceremonial magician, poet, painter, novelist, and mountaineer. He founded the religion of Thelema, identifying himself as the prophet entrusted with guiding humanity into the Æon of Horus in the early 20th century. Born to a wealthy Plymouth Brethren family in Royal Leamington Spa, Warwickshire, Crowley rejected this fundamentalist Christian faith to pursue an interest in Western esotericism. He was educated at the University of Cambridge, where he focused his attentions on mountaineering and poetry, resulting in several publications. In 1898 he joined the esoteric Hermetic Order of the Golden Dawn, where he was trained in ceremonial magic by Samuel Liddell MacGregor Mathers and Allan Bennett. Moving to Boleskine House by Loch Ness in Scotland, he went mountaineering in Mexico with Oscar Eckenstein, before studying Hindu and Buddhist practices in India. He married Rose Edith Kelly and in 1904 they honeymooned in Cairo, Egypt, where Crowley claimed to have been contacted by a supernatural entity named Aiwass, who provided him with The Book of the Law, a sacred text that served as the basis for Thelema. Announcing the start of the Æon of Horus, The Book declared that its followers should adhere to the code of "Do what thou wilt" and seek to align themselves with their Will through the practice of magick. After an unsuccessful attempt to climb Kanchenjunga and a visit to India and China, Crowley returned to Britain, where he attracted attention as a prolific author of poetry, novels, and occult literature. In 1907, he and George Cecil Jones co-founded a Thelemite order, the A∴A∴, through which they propagated the religion. After spending time in Algeria, in 1912 he was initiated into another esoteric order, the German-based Ordo Templi Orientis (O.T.O.), rising to become the leader of its British branch, which he reformulated in accordance with his Thelemite beliefs. In 1920 he established the Abbey of Thelema, a religious commune in Cefalù, Sicily where he lived with various followers. His libertine lifestyle led to denunciations in the British press, and the Italian government evicted him in 1923. He divided the following two decades between France, Germany, and England, and continued to promote Thelema until his death.
Samuel Liddell MacGregor Mathers was born in 1854 in London, England. He attended Bedford School and, after graduating, began work as a clerk in Dorset. His father died while he was a young boy, and his mother died while he was in his thirties. Shortly after his mother's death, he moved from Dorset to London. He was married to Monia Bergson, the sister of the philosopher Henri Bergson. Mathers was a freemason - raised as a Master Mason in 1878. In 1882 he was admitted to the Metropolitan College of the Societas Rosicruciana in Anglia (SRIA) as well as a number of fringe Masonic degrees. Working hard both for and in the SRIA, he was awarded an honorary 8th Degree in 1886. Upon the death of William Robert Woodman in 1891, Mathers assumed leadership of the Hermetic Order of the Golden Dawn. He moved with his wife to Paris on 21 May 1892. After his expulsion from the Golden Dawn in April 1900, Mathers formed a group in Paris in 1903 called Alpha et Omega (its headquarters, the Ahathoor Temple). Mathers assumed the title of "Archon Basileus". Mathers was a polyglot; among the languages he had studied were English, French, Latin, Greek, Hebrew, Gaelic and Coptic - though he had a greater command of some languages than of others. His translations of such books as The Book of Abramelin (14thC.), Christian Knorr von Rosenroth's The Kabbalah Unveiled (1684), Key of Solomon (anonymous 14thC.), The Lesser Key of Solomon (anonymous 17thC.), and the Grimoire of Armadel (17thC.), while probably justly criticized with respect to quality, were responsible for making what had been obscure and inaccessible material widely available to the non-academic English speaking world. His works have had considerable influence on the development of occult and esoteric thought since their publication, as has his consolidation of the Enochian magical system of John Dee and Edward Kelley. Mathers died in November 1918 in Paris. The manner of his death is unknown; his death certificate lists no cause of death. Violet Firth claimed his death was the result of the Spanish influenza of 1918. While this seems likely, few facts are known about Mathers's private life, verification of such claims is difficult.
2023, English
Softcover, 118 pages, 20.5 x 13 cm
Published by
Pantheon / New York
$30.00 - In stock -
"Very early in my life it was too late"
'A spectacular success... Duras at the height of her powers'—EDMUND WHITE
An international bestseller with more than one million copies in print and a winner of France’s Prix Goncourt, The Lover has been acclaimed by critics all over the world since its first publication in 1984. Set in the pre-war Indochina of Marguerite Duras’ childhood, this is the haunting tale of a tumultuous affair between an adolescent French girl and her Chinese lover.
In spare yet luminous prose, Duras evokes life on the margins of Saigon in the waning days of France’s colonial empire, and its representation in the passionate relationship between two unforgettable outcasts.
'Perfect, a tour de force... accessible in the way Thomas Mann's Death in Venice or D M Thomas's The White Hotel are accessible... dealing successfully with strong themes of erotic love and death.'—NEW YORK TIMES BOOK REVIEW
1970, English
Softcover, 132 pages, 22 x 14 cm
Reprint,
Published by
Grove Press / New York
$28.00 - In stock -
Translated from French by Barbara Bray
Translated from French by Helen Lane Cumberford
Afterword by Jacques Rivette
In this classic novel by the best-selling author of The Lover, erotic intrigue masks a chillingly deceptive form of madness. Elisabeth Alione is convalescing in a hotel in rural France when she meets two men and another woman. The sophisticated dalliance among the four serves to obscure an underlying violence, which, when the curtain of civilization is drawn aside, reveals in her fellow guests a very contemporary, perhaps even new, form of insanity.
Like many of Duras’s novels, Destroy, She Said owes much to cinema, displaying a skillful interplay of dialogue and description. There are recurring moods and motifs from the Duras repertoire: eroticism, lassitude, stifled desire, a beautiful woman, a mysterious forest, a desolate provincial hotel.
Included in this volume is an in-depth interview with Duras by Jacques Rivette and Jean Narboni.
Novelist, playwright, and filmmaker, Marguerite Duras was awarded the Prix Goncourt in 1984 for The Lover. She was also the author of India Song; Destroy, She Said; The Malady of Death; Four Novels; and a collection of essays, Practicalities. She died in 1996 in Paris.
1986, English
Softcover, 60 pages, 22 x 14 cm
Reprint,
Published by
Grove Press / New York
$32.00 - Out of stock
The Malady of Death
by Marguerite Duras
Translated from French by Barbara Bray
“The whole tragedy of the inability to love is in this work, thanks to Duras’ unparalleled art of reinventing the most familiar words, of weighing their meaning.”–Le Monde
A man hires a woman to spend several weeks with him by the sea. The woman is no one in particular, a “she,” a warm, moist body with a beating heart–the enigma of Other. Skilled in the mechanics of sex, he desires through her to penetrate a different mystery: he wants to learn to love. It isn’t a matter of will, she tells him. Still, he wants to try . . .
This beautifully wrought erotic novel is an extended haiku on the meaning of love, “perhaps a sudden lapse in the logic of the universe,” and its absence, “the malady of death.”
Novelist, playwright, and filmmaker, Marguerite Duras was awarded the Prix Goncourt in 1984 for The Lover. She was also the author of India Song; Destroy, She Said; The Malady of Death; Four Novels; and a collection of essays, Practicalities. She died in 1996 in Paris.
2015, English
Softcover, 55 pages, 11.5 x 18 cm
Published by
Wakefield Press / Cambridge
$32.00 - In stock -
This fierce fable of childbirth by German Surrealist Unica Zorn was written after she had already given birth to two children and undergone the self-induced abortion of another in Berlin in the 1950s. Beginning in the relatively straightforward, if disturbing, narrative of a young woman in a tower (with a bat in her hair and ravens for company) engaged in a psychic war with the parasitic son in her belly, The Trumpets of Jericho dissolves into a beautiful nightmare of hypnotic obsession and mythical language, stitched together with anagrams and private ruminations. Arguably Zorn's most extreme experiment in prose, and never before translated into English, this novella dramatizes the frontiers of the body -- its defensive walls as well as its cavities and thresholds -- animating a harrowing and painfully, twistedly honest depiction of motherhood as a breakdown in the distinction between self and other, transposed into the language of darkest fairy tales.
Unica Zorn (1916-70) was born in Grunewald, Germany. Toward the end of World War II, she discovered the realities of the Nazi concentration camps -- a revelation which was to haunt and unsettle her for the rest of her life. After meeting Hans Bellmer in 1953, she followed him to Paris, where she became acquainted with the Surrealists and developed the body of drawings and writings for which she is best remembered: a series of anagram poems, hallucinatory accounts and literary enactments of the mental breakdowns from which she would suffer until her suicide in 1970.
2021, English
Softcover (staple–bound), 16 pages, 14 x 14 cm
Published by
No Label / Aotearoa New Zealand
Witchhammer Press / Aotearoa New Zealand
$10.00 - In stock -
A book of conrete poetry by John Krausbauer.
John Krausbauer is an American composer/musician, artist, writer, refusenik. He has performed his musics and presented his A/V works in a myriad of venues throughout North America, Europe, Japan, and New Zealand. Numerous recordings of his music have been released in the last 25 years by an array of international labels in solo, duo, and group contexts. Recent music collaborators include — Tetuzi Akiyama, Alan Licht, Patrick Shiroishi, R Keenan Lawler, and Kaori Suzuki. His first writings (Art End Times' Art of End Times) were recently published by Witchhammer Press (NZ) + Carbon Records (US).
2023, English
Softcover (staple–bound), 16 pages, 14.5 x 10.2 cm
Published by
No Label / Aotearoa New Zealand
Witchhammer Press / Aotearoa New Zealand
$10.00 - In stock -
“Art End Times’ Art of End Times” is a credo to commemorate the sea change in western art that has been taking place over the last many decades. Namely, a transformation of pursuits from the sensuous, psycho-experiential and ecstatic to those of the overtly dry, overthought and intellectually shabby. “AET” is a death knell for western art and the empty promises born of its new&improved paradigm. It’s a diatribe intended, in part, to prick the slumbering, credulous lobcocks who ineluctably plod down the same overworn paths, forever leading to the same tired results. It is a challenge to anyone partaking in the art-game to own up to their deceptive tactics, tactics of weird art-speak nothingness, slick social maneuvering for low-grade power grabs, self-promotional inanity, and the rest of the polite grotesquery affiliated with the void-chamber of modern institutionalized “Art” and its lame duck associates…
1976, Japanese
Softcover (w. dust jacket + obi), 15 x 10.5 cm
1st Edition, Out of print title / used / good
Published by
Kadokawa Shoten / Tokyo
$45.00 - Out of stock
Lovely Japanese pocket book collection of writings by Georges Bataille, published by Kadokawa Shoten in 1976. The book includes four stories/essays: Madame Edwarda, The Dead, Story of the Eye, The Paradox of Eroticism, and Eroticism and the Enchantment of Death. Translated from the original French to Japanese by Kosaku Ikuta and with original jacket artwork and beautiful internal illustrations by Kuniyoshi Kaneko.
Kosaku Ikuta was a pioneering figure in French literature in Japan, known for translating writers such as Georges Bataille, Louis-Ferdinand Céline and André Pieyre de Mandiargues. Ikuta’s translations were praised by Yukio Mishima, while beautifully designed books and writings on dandyism established a distinctive place in unconventional literature.
Good copy in Good DJ/obi. Pulp paper stock is tanned, light wear to extremities of wraps, now preserved.
1985, Japanese
Softcover (w. dust jacket), 60 pages, 26 x 17 cm
1st Edition, Out of print title / used / very good
Published by
Gakutokan / Japan
$150.00 - In stock -
Beautiful 1985 Japanese edition of Georges Bataille's Madame Edwarda, illustrated throughout with all the original illustrations by Hans Bellmer. Madame Edwarda first appeared in Paris under Georges Bataille's pseudonym Pierre Angelique in two small underground editions in 1941 and 1945. It was finally published under Bataille's own name by the publishing house of Jacques Pauvert in 1956. Translated here by Kosaku Ikuta, all illustrations by German artist Hans Bellmer, complete with inserted preface booklet by Georges Bataille and additional insert of publisher's catalogue.
In Madame Edwarda, a man becomes erotically obsessed with an old whore who turns out to be God. Bataille's erotic prose fuses elements of sex and spirituality in a highly personal vision of the flesh. A world of sensation in which only the vaulting demands of disruptive excess and the anguish of heightened awareness can combat the stultifying world of reason and social order. Intoxication and insanity are so carefully delineated by the author that it seems to infect the reader.
"Madame Edwarda's truth consists in confronting us with an obvious scandal that we wouldn't even know where to place. We could incriminate her words: there have never been such rigorous ones; or the circumstances, the fact that Madame Edwarda is a brothel whore, but this, indeed, it could be reassuring; or even that certain details, which must be said to be obscene, are so with a necessity that ennobles them and makes them inevitable, not so much in the name of art, but for a perhaps moral, perhaps fundamental need. (...) That the most incongruous of books, as Georges Bataille defines it in his preface, is also the most beautiful book, and perhaps the most tender, is above all scandalous."—Maurice Blanchot
Very Good copy throughout, only light cover wear/tanning.
1992, Japanese
Softcover (w. vinyl wrap and obi), unpaginated, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Victor Music Press / Tokyo
$90.00 - In stock -
First 1992 edition of French Lolita, a Japanese photo book collection paying homage to 22 belles of French film, from the 1960s to the 1990s, from Brigitte Bardot to Vanessa Paradis. Lavishly illustrated throughout in colour and b/w with photographic chapters on Jean Seberg, Jane Birkin, Catherine Deneuve, Anna Karina, Sylvie Vartan, Joanna Shimkus, Dominique Sanda, Isabel Adjani, Nastassja Kinski, Marie Laforet, Françoise Hardy, Jane March, Charlotte Gainsbourg, Julie Delpy, Beatrice Dalle, Brigitte Bardot, Vanessa Paradis, Irene Jacob, Emmanuel Beart, Juliette Binoche, Sophie Marceau... Scarce and only available in Japan.
Originating from Vladimir Nabokov’s 1955 novel, “Lolita” is a modern term defining a young girl as “precociously seductive.” As Simone de Beauvoir put it in her study, “Brigitte Bardot and Lolita Syndrome”, “Nabokov’s “Lolita” which deals with the relations between a forty-year-old male and a ‘nymphet’ of twelve, was at the top of the best-seller list in England and America for months. The adult woman now inhabits the same world as the man, but the child-woman moves in a universe which he cannot enter. The age difference re-established between them the distance that seems necessary for desire. At least that is what those who have created a new Eve by merging the ‘green fruit’ and ‘femme fatale’ types have pinned their hopes on.” Unlike Nabokov, however, contemporary writers typically use the term “Lolita” to portray a young girl who attracts adult desire as complicit rather than victimized. The meaning of the term “Lolita” in Japanese is divergent from Nabokov’s novel, and instead stems from the positive idealization (“innocent and ethereal creature”) and romanticization of girls’ culture (shōjo bunka) developed from the Meiji period to the 20th century. Girls’ culture in Japan, reflected in cultural traditions such as the all-female Takarazuka Revue and shōjo manga (girls’ comics), was influenced by the traditions of Romanticism.
Very Good copy with VG obi and vinyl jacket.
1964, English
Hardcover (w. dust jacket), 304 pages, 28 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Abelard-Schuman / London
$50.00 - Out of stock
First 1964 hardcover edition.
"The grotesque and fantastic world which reveals itself when reason sleeps has always proved fascinating to ordinary mortals, though never more so thn today. In a civilization so unoriented and fevered as our own, where what is accepted as reason appears to lead only to final destruction, Man is driven to retreat continually into his imagination which, as Goya observed, "begets impossible monsters when deserted by reason."
Howard Daniel has produced this book to prepare the reader for perilous journeys through the world of witches, monsters, and Satan himself. The ruler of Hell is featured prominently—as befits the world's oldest citizen. Born in some remote past when Man was first seized with an unspeakable terror of the unknown, he has thrived in men's minds as the personification of dark-ness, unreason, malevolence, power of destruction, and absence of love. His many guises and the complexities of his chief occupation, temptation, have tested the quality and imaginative scope of such artists as Cranach, Callot, Ernst, and Dali. Countless artists have been in-spired, too, by the concept of the Devil's realm-Bosch and Brueghel in particular-and have pictured dramatically the Devil's "day of days," the Last Judgment, when the souls of the quick and the dead will be weighed, while demondom impatiently awaits the signal to commence chastisement of the damned.
Having completed a tour of Hell, the author introduces the reader to such fabulous beasts as the unicorn, sphinx, garuda, and gryphon, leaving to last the ultimate and most terrifying monster, Death. Death emerges in skeleton form as the medieval King of Terror, the Great Leveller, and again as the Great Reaper, swinging his scythe without discrimination, but it is Brueghel's all-embracing world view of Death, as seen in his "Triumph of Death," that gives the most vivid and lasting impression of this final phenomenon.
In examining the art works conceived by wild and unrestrained fantasy-the "nightmares" of the title the author presents the works of Goya, Kley, Munch, Kubin, and many more. In all he has included over two hundred and fifty illustrations which, under his expert guidance, bring to life for the reader the Devil and all his works, the monsters which roam the landscape of his realm, and the nightmares that may lurk in the crevices of the reader's own subconscious.
HOWARD DANIEL is an Australian of French-Irish origin who now lives near Geneva, Switzerland, where he works as an official of the U.N. Economic Commission for Europe. Educated at Sydney University—he was a student of the great anthropologists Radcliffe-Brown and Firth-he helped introduce surrealist poetry and avant-garde literature Down Under. Moving to London, he studied art history and medicine at London University, until these studies were interrupted by refugee work in Central Europe and the Balkans. Since his first major contribution to the world of art (smuggling out of Nazi Germany the manuscript of the late O. Fischel's great work on Raphael), Mr. Daniel has written the first books in English on Bosch and Cal-lot: Hieronymus Bosch (1947) and The World of Jacques Callot (1949). In 1960 Abelard-Schuman published his successful Adventures in Art: A Guide to Gallery-going. Mr. Daniel is an inveterate museum visitor, who has been known to go a thousand miles to see a rare collection; he has traveled round the world many times. At the moment he is at work on another book, a study of Italian theater in the sixteenth and seventeenth centuries entitled Commedia dell'arte and Jacques Callot."
VG copy in VG dust jacket (light wear/creasing to extremities).
1993, English
HArdcover (w. dust jacket), 248 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
University of California Press / Berkley
$85.00 - In stock -
First hardcover edition.
Reflecting on the technological age, poet Rainer Maria Rilke wrote of the intense emotions with which people can endow manufactured objects. We seem to "charge" the world of things as we would a battery. Now German art historian Christoph Asendorf explores this transformation of human sense perception in the industrial age and contributes to a new understanding of European culture and modernity.
Drawing from literature, painting, architecture, film, philosophy, anthropology, and popular culture, Asendorf offers rich analyses of works by Manet, Baudelaire, Monet, Zola, Benjamin, Heidegger, and Duchamp. These close readings are combined with a montage of key cultural images and events ranging from Paxton's Crystal Palace to the introduction of electricity. The result is a striking account of the emergence of consumer culture within the developing commodity economy of modern Europe.
Certain to challenge the mono-disciplinary perspectives of many specialists, this book will interest historians of art, culture, literature, science, and technology.
Illustrated throughout.
Contents; 1. The Body, the Economy, and the World of Things. 1. L'homme machine. 2. Vathek, or Disintegration. 3. German Romanticism: Money and Happiness, or the Eroticism of the World of Things -- 2. From the "Ego Crystal Forest" To the Crystal Palace -- 3. Economy and Metamorphosis. Excursus: Grandville, or Laputa in the July Monarchy -- 4. On the Physiognomy of the World of the Commodity and the Machine. 1. The Myth of the Living Machine. 2. The Commodity Spectacle circa 1850. 3. The Collector and His Treasure: "An Entirely Furtive Private Relationship" -- 5. Circulation as a Way of Life -- 6. Impressionism. 1. Manet. 2. Degas. 3. Monet. 4. On the Historical Site of the Impressionist Way of Seeing -- 7. Commodities and the Erotic. 1. Paradise in the Department Store. 2. The Eroticism of Machines -- 8. The Decay of the World of Things and Its Restoration in Art -- 9. The Interieur, Or Things in the Everyday Life of the Bourgeoisie. 1. Materials: Artificial Nature and Synthetics. 2. The Production of the "Faculty for Delusion" 3. The Role of Things -- 10. The Production of "Homogeneous and Empty Time" -- 11. Nerves and Electricity. 1. On the Romantic Image of Electricity. 2. Polarity and Sexual Attraction. 3. The Image of Electricity between Hegel's Phenomenology and Kleist: The "Liberation of Predicates from Subjects" and Electrical Epiphany. 4. Andersen: Electricity on the "Romantic-Technological Knife-Edge". 5. Siemens, Edison, and the History of Mentalities of Electric Light, Ornament and Psychic Streams. 6. "Telegram Style of the Soul" and Cosmic Energies. 7. Nerves: Mach, Bahr, and Freud. 8. Strindberg and Electro-Hysteria -- 12. The Constitution of Perception from 1900 to 1914. 1. Mach, Simmel, and Hofmannsthal. 2. Silence. 3. Ornament. 4. The Life of Things: Rilke's Thing-Poems, Animism, and Silent Film. 5. Animated Thought. 6. Abstraction and Empathy. 7. The Lord Chandos Letter -- Epilogue: The Emancipation of Material from the Subject.
VG copy in G–VG dust jacket w. tanning to spine, small closed tear, light wear, preserved under mylar wrap.
1976, Japanese
Hardcover (w. dust jacket), unpaginated, 19.6 x 12.3 cm
1st Edition, Out of print title / used / good
Published by
Sanrio / Tokyo
$200.00 - In stock -
Very rare copy of Rosemary Doll, an enchanting 1976 photo-storybook from Sanrio’s legendary early publishing era. This exquisite pocket-sized volume weaves a dreamy, melancholic tapestry around the delicate bond between a girl named Rose and her doll, Marie. Brought to life through the hauntingly beautiful doll artistry of Rune Naito (iconic illustrator, doll designer and important contributor to Barazoku, the first commercially circulated gay magazine in Japan), the atmospheric, soft-focus photography of Osamu Nishikawa, and the avant-garde, evocative poetry of the modernist, outsider, "VOU"–poet Kazuko Shiraishi ("the Allen Ginsberg of Japan"–Kenneth Rexroth), the book stands as a masterpiece of Japanese Mid-Showa aestheticism. Long out of print and highly sought after by collectors, it remains a mesmerizing artifact of pure nostalgia, capturing the fleeting, surreal innocence of girlhood and doll-centric fantasy.
Bound in hardcovers, this copy have a couple of pages with marker scribbles, one prominently, oddly, over the doll. Otherwise Very Good copy.
1977, Japanese
Softcover, 60 pages, 20.5 x 20.5 cm
1st Edition, Out of print title / used / very good
Published by
Ao Gallery / Tokyo
$90.00 - Out of stock
Rare 1977 photo collection by acclaimed Japanese photographer Hajime Sawatari, published on the occasion of an exhibition held at Ao Gallery in Tokyo in 1977. Studying photography alongside Kishin Shinoyama and an assistant to the great Yutaka Takanashi, Hajime Sawatari (b. 1940) was working in fashion photography when he brought two photo book masterpieces into the 1970's, "Nadia" (aka Doll Forest Museum/Nadia in the Woods) and "Alice" (both 1973). Both cult book became part of an important cultural renaissance that took place in Japan in the 1960s—70s that saw the promotion of provocative, avant-garde book publishing.
Angels in the Finder collects a rare selection of gorgeous photographs by Sawatari from this period, spanning the late 1960s to 1976. Designed by Yoshiki Sakurai, the catalogue comprises colour and b/w photographs of "Angels", young children and dolls. This includes many unseen photographs of "Alice", "A Girl at Play", "Anita's Doll Museum", and many other wonders.
Very Good copy with light wear and tanning to board edges.
1973, Japanese
Softcover, 108 pages, 28 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Mainichi Shimbun / Tokyo
$250.00 - In stock -
Rare first 1973 edition of acclaimed Japanese photographer Hajime Sawatari's cult photo book "Nadia" (aka Doll Forest Museum/Nadia in the Woods). Sawatari began working as a freelancer in 1966, photographing for many leading fashion magazines in Japan. Sawatari fell in love with the Italian fashion model Nadia Galli while working with her on an advertisement back in 1971. Driven by the photographer’s desire to capture on film everything about the person he loved, Sawatari took Nadia with him on an extensive journey. Traveling around Karuizawa in the summer, Venice, Sicily and other locations in Nadia’s home country, Karuizawa in the Winter, and Tokyo, his focus on Nadia switched between viewing her as a photographic subject and a lover, resulting in Sawatari establishing his own unique semi-fictional style of “capturing a woman in a back-and-forth between reality and fiction,” which marked a clear departure from his previous female portraits, and opened a new frontier in the realm of photography. This dreamlike and intimate series of monochrome portraits of Nadia weaves a fairytale-like, visual travelogue akin to Sawatari's other cult classic of the same year, Alice. Playful, intimate and at times hallucinatory, the book closes with a lovely hand-written letter by Nadia in Japanese and a photographic portrait of Sawatari, also by Nadia. A gorgeous book.
Number 3 in Camera Mainichi's Private series.
Very Good copy, tightly bound and clean with some wear to covers, corners. Very nice copy for a book that is usually heavily damaged.
1971, English / Japanese
Softcover, 98 pages, 30 x 26 cm
1st Edition, Out of print title / used / good
Published by
Mainichi Shimbun / Tokyo
$100.00 - In stock -
Scarce first 1971 edition of acclaimed Japanese photographer Shunji Okura's photo book "Emma", published in 1971 by Mainichi Shinbun. A marvel of early 1970s nude "sentimental photography", this early book of Okura's is a touching, histrionic collection of portraits and the many moods of the alluring and charismatic young Japanese singer, model and actress, Emma Sugimoto, born under the sign of Gemini. Shunji Okura presents a delicate, playful and intimate relationship between photographer and muse through seventy five beautifully shot monochromes, including many nudes, which have been laid out with a large amount of consideration to communicate Okura's intention as observer and photographer. Stunning intimate portraiture as mastered by the Japanese in this period. Joyous and melancholic. Erotic and naïve. The grandson of Japanese painter Kawai Gyokudō, Shunji Okura (b. 1937) began his photographic career taking portraits of jazz musicians as well as working in fashion and beauty commercial photography.
Number 2 in Camera Mainichi's Private series.
Good copy with tanning and wear to extremities, some chipping to spine tips. Some foxing to initial pages.
1974, Japanese
Softcover (w. dust jacket),180 pages, 21 x 30 cm
1st Edition, Out of print title / used / good
Published by
Nippon Camera / Tokyo
$100.00 - In stock -
First, only 1974 edition of this early lesser-known photo book masterpiece by Japanese photographer Shoji Otake (1920—2015), entirely devoted to his muse, the young actress / model Janet Hatta. Beautiful saturated colour photography and deep b/w photogravure presenting Janet in many scenarios out in the American Southwest, from city to desert, and many amazing studio shoots. Lots of nudes and lots of experimentation in the manner of early 1970's books by Shinoyama, Sawatari, Tatsuki, etc. A fantastic collection.
Very Good copy with light wear/tanning to edges of dust jacket and pages.
c. 1970, Japanese
Hardcover (w. dust jacket + slipcase), unpaginated, 29.5 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Seibun-sha / Tokyo
$170.00 - In stock -
Rare first hardcover edition (with original publisher's slipcase) of Yoshio Inagaki's "She, Her, Her", published in Tokyo. A very mysterious book, no date is stated, but likely it was printed in the very early 1970s. An edition of only 1000 copies, the book is a collection of nude photo works by Japanese photographer Yoshio Inagaki, of whom there is no known biography. The book presents a young female model (Yang Ko-Ga) in various beautiful, atmospheric landscapes, shot with a hazy, romantic lens in deep monochromatic black and white and lush kodachrome colour, reminiscent of the works of Yoshihiro Tatsuki, Hajime Sawatari, Taku Aramasa, and Shunji Okura, and could easily be a lost volume from the acclaimed Camera Mainichi's Private series. A must for any fan of the above mentioned photographers.
Very Good–NF copy with VG DJ with light foxing/wear, Good slipcase with some wear.
1969, Japanese
Hardcover (w. dust jacket) in slipcase, unpaginated, 22 x 16 cm
Signed and numbered edition,
Published by
Gentosha / Tokyo
$240.00 - In stock -
Extremely rare signed first 1969 edition of Japanese illustrator Ken Katayama's masterpiece artbook, Beautiful Days, in limited edition hardcover, numbered and slipcased. Beautiful Days is the most crystallised embodiment of one of the most unique artistic visions of fantasy illustration one could ever find, and the first collection ever published by the artist, when, after discovering the erotic works on the fringe of Surrealism he gave up becoming a painter and gave himself over to the obscene impulses of drawing. "There, so to speak, masturbation became a picture. Until then, I never thought that masturbation could become a painting"—excerpt from Ken Katayama's postscript. Katayama's magnificently, obsessive graphite-rendered world making is, like that of Lewis Carroll before him, made up almost entirely of children; children in states of blank-faced entrancement, possession and naked abandon; groping, lost and frozen in a psychosexual schoolhood theatre. Unlike anything else, aspects of Katayama's bewildering, often sadomasochistic, fairytale visions recall the tales of de Sade, Bataille, Klossowski, Carroll's Alice; the unconscious pictures of Balthus, Hans Bellmer, or Leonor Fini; the architectural dreamscapes of Delvaux or the Metaphysical painters; even the dark psychological renderings of fellow Japanese artist Yoshifumi Hayashi — a haunted landscape of eroticised adolescent memories with recurring motifs of free flowing urination and defecation, violently strewn newspapers, urinals, and apparitions of cat-people. Nothing like it! The work even inspired an experimental film of boyhood memories directed by the provocative film-maker Nakamura Masanobu in 1970.
Signed in 1969 by Katayama.
"If you
keep your hands in your pockets
in your pocket
what are you hiding
that's how I got it
darkness in my pocket, days of dust
I opened the old album and showed
beautiful days other days"
Virtually unknown outside his native Japan, Katayama (b. 1940, Tokyo) studied at the Musahino Art University and in the 1960s and 1970s begin contributing illustrations to underground art and literary magazines such as Black Notebook, Featured Story and fetish magazines such as SM Select, amongst many others. He published art books such as Angel Hour, Lost Child's Top, Match Taker, The Cat in Boots, and many more, and went on to become a successful children's story book illustrator, publishing many works throughout the 1980s—90s.
Very Good copy, beautifully preserved in Very Good slipcase. Signed and numbered first edition. The most complete, finest edition of this work.
1988, English
Hardcover (w. dust jacket), 216 pages, 26 x 23.5 cm
1st Edition, Out of print title / used / very good
Published by
Hyland House / Victoria
$55.00 - In stock -
First edition of this major hardcover monograph on Australian sculptor and pioneer of Environmental art John Davis' work, deeply and personally researched with documentation of his works rarely seen anywhere else.
"The Sculpture of John Davis traces the development of his work from the early wood carvings produced while he was a young man living in Mildura in the early 1960's through many changes of style, until he became a major Australian sculptor exhibiting in Venice, Delhi, Tokyo and Los Angeles. John Davis moved through a variety of styles and media from 'Organic Wood Carvings' to an interest in 'Repetitions, Grids, Multiples and Processes' before becoming fascinated by 'Low Technology and Cheap Materials', using 'Twigs, Paper and String'."
John Davis (1936–1999) was an Australian sculptor and pioneer of Environmental art. An Australian exponent of Arte povera, he famously developed a new mode of Site-specific art at the Mildura Sculpture Triennial in the early 1970s. John Davis established a critically acclaimed reputation as an influential sculptor and installation artist whose practice synthesised material diversity with an idiosyncratic concept of landscape and ecology. Davis travelled widely and exhibited regularly in America, Japan and Australia. As well as participating in the inaugural Mildura Sculpture Triennial, and he represented Australia at the Venice Biennale in 1978. Davis initially worked in wood and later in fibreglass and aluminium, becoming known for his multiples and for his distinctive formalist style. By 1973, Davis had become increasingly interested in conceptual, process-based and land art practices, and his mature works reflect his sensitivity to elemental forces, the organic world, and his profound connection to the ecological fragility and beauty of landscape.
VG in VG DJ.
1982, English
Softcover, 302 pages, 29 x 22 cm
1st Edition, Out of print title / used / good
Published by
Weidenfeld & Nicholson / London
Royal Academy of the Arts / London
$35.00 - In stock -
Published on the occasion of the major travelling exhibition, Painting in Naples, 1606–1705: From Caravaggio to Giordano, the Royal Academy of Arts in association with Weidenfeld and Nicolson (London), this authoritative exhibition catalogue edited by Clovis Whitfield and Jane Martineau is a comprehensive survey of the masters of the Neapolitan Baroque. The book contains 163 paintings from the Seicento period, highlighting the profound shift from Caravaggio’s naturalism to the dynamic late-Baroque style of Luca Giordano. Covering Baroque and Counter-Reformation art in Naples, colour and b/w plates are accompanied by essays: "Society in Naples in the Seicento" by Giuseppe Galasso, "Caravaggio and Naples" by Mina Gregori, and "Foreigners in Naples and Outside Commissions" by Sir Ellis Waterhouse.
Average–Good copy with some cover creasing, marking to block edge/general age/wear.