EROTIC SCROLL, HEIAN STYLEBiblio.com
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8537Scroll 290 x 5840 mm. including endpapers silk brocade endpaper at front depicting a pair of Mandarin ducks symbol for fidelity between two people wooden core roller. Japan: late Edo.<br /> <BR> <BR> A fine erotic scroll with 12 paintings the well-known “set of 12“ format in vivid coloring depicting a range of sexual activities. As in many shunga handscrolls the paintings feature a sequence of lovemaking positions in no apparent order with no development simply presenting a variety of couplings and sexual techniques. All the participants in this scroll have Heian-period hairstyles and several of the couples are clearly aristocrats. In the scenes the copulating figures are outlined only in black ink while their private parts and robes are vividly colored.<br /> <BR> <BR> In one scene we see a lesbian couple. One of the women is disguised as a man and the other woman is tied up but able to insert a dildo in her companion’s vagina. Three of the scenes depict ménage à trois situations involving one man and two women. In one of these scenes the man is having intercourse with a woman who appears to be a nun while at the same time performing cunnilingus on a very young woman.<br /> <BR> <BR> Fine condition preserved in an old wooden box.<br /> <BR> <BR> ⧠Akiko Yano “Shunga Paintings before the ‘Floating World’†in Timothy Clark et al. eds. Shunga. Sex and Pleasure in Japanese Art British Museum: 2013 pp. 62-72–â€The concept of twelve in shunga had more to do with a general sense of completeness a full cycle.â€. unknown
9815A total of 17 panels with color-printed woodcuts one double-page & one four panels wide. Oblong 12mo 70 x 84 mm. orig. wooden boards orig. purple silk title label but no title! on upper cover. Japan: late 19th century.<br /> <br> <br> <br /> <br /> A very rare kind of shunga this is an example of a mitate an “appropriation of a classical source…then used to portray the modern urban demi-monde.â€â€“C. Andrew Gerstle “Shunga and Parody†in Timothy Clark et al. eds. Shunga. Sex and Pleasure in Japanese Art British Museum: 2013 p. 335.<br /> <br> <br> In this shunga the appropriation is the tea ceremony. The text is full of sexual puns. For example skill in the tea ceremony really means skill in sexual matters. Tea ceremony tools are actually references to sexual acts and techniques. The finely color-printed frontispiece panel depicts a haboki the feather brush used to arrange the ashes and a natsume a tea caddy.<br /> <br> <br> The next set of images shows three well-dressed men in a tea ceremony room receiving a tea ceremony performance from an equally distinguished-looking woman. However when one opens the flaps a four-panel scene is revealed where we see the same three men having an orgy with the woman.<br /> <br> <br> Each of the remaining ten images has in the upper outer corner a small image of tea ceremony tools or rituals including kuchikiri the breaking of the seal on a jar of new tea koboshi a vessel to drain the liquid after warming the tea bowl chausu a utensil to grind the tea leaves into a powder chawan tea bowl fukusa silk cloth used for ritual purification mizusashi fresh water container kama kettle hishaku bamboo ladle chasen tea whisk and natsume tea caddy. These are followed by ten panels of text explaining the sexual meaning of each tea ceremony implement.<br /> <br> <br> The ten images show various sex acts all referring to the tea ceremony tools. For example the kuchikiri image shows a man deflowering a virgin. The text below is a conversation between the two: The woman says “Please wait. I can’t handle it.†The man replies “The time has come. Stay still here it is. How does it feel†For the kama which is also slang for homosexuality we see an old man a monk having anal sex with a young male lover.<br /> <br> <br> The color printing is at a very high level with the use of embossing and metallic pigments and twice impressed black ink that gives a rich sheen. The woodblocks are very fresh: there is excellent definition of the strands of hair of both men and women.<br /> <br> <br> We suspect that this rare object was produced for the pleasure of a tea ceremony enthusiast.<br /> <br> <br> In very fine and fresh condition. We do not find this cited in any of the usual reference works. unknown
7719Scroll 300 x 4150 mm. with pale green silk borders & endpapers wooden core roller. Japan: n.d. but probably early Edo.<br/> <br/> This is a fine example of an erotic scroll anonymously painted as usual but with great skill. The scroll contains ten scenes of men sometimes samurai and women engaged in various sexual activities. Two of the scenes are threesomes one of which shows a young samurai copulating with two older women. The hairstyles of both the women and men are typical of the pleasure courts of the early Edo period.<br/> <br/> Erotic paintings in Japan have a long tradition established well before the Edo period. “Many aspects regarding the production of early paintings with sexual content — when where and by whom they were made how they were appreciated — are still obscure…There was apparently a radical change in the form of erotic handscrolls from around 1600 onwards when paintings with a sequence of twelve our example has ten erotic scenes became common…Each scene in handscrolls of this type does not normally show any clear relationship with the adjacent scenes nor is there usually any development other than presenting a variety of couplings and sexual techniques. Each group of copulating figures exists within its own enclosed space set against a plain or simply decorated background as if functioning as an example of a possible sexual position…<br/> <br/> “Shunga handscrolls of the seventeenth century are not usually signed…The production of shunga paintings during the seventeenth century was considerable and widespread involving artists who ranged from the elite official schools to popular town painters…Shunga painting remained an important genre in terms of both quality and quantity right up until the modern era and should no longer be excluded from the study of Japanese art and the broader study of the humanities.â€â€“Akiko Yano “Shunga Paintings before the ‘Floating World’†in Timothy Clark et al. eds. Shunga. Sex and Pleasure in Japanese Art British Museum: 2013 pp. 62 & 70-72.<br/> <br/> The paintings are richly detailed with metallic pigments elaborately detailed hairstyles liberal use of a thick white pigment giving a 3D effect to fabrics and sprays of gold and mica.<br/> <br/> In very good condition preserved in a nice old wooden box. Several of the paintings have minor abrading affecting the pigments. There is some unimportant occasional worming carefully backed on verso. unknown
17625478London: John Wilkie 1762. First edition. With title page of volume II erroneously dated MDCCXII as called for by ESTC. Contemporary half calf over marbled boards measuring 168 x 100mm and collating complete: 20 338; 12 324. A square copy with joints professionally renewed; some chipping to spine labels and gentle shelfwear to boards. Faint dampstaining to lower corner of contents in volume I and paper loss to upper corner of pages 203-204 affecting 9 lines each. Volume II overall clean with long archivally reinforced tear to pages 131-132 and paper loss to lower corner of pages 171-172 with no text loss in either case. An exceptionally scarce fantastical travel narrative with erotic content published by notorious Grub Street writer and demi-monde ally Samuel Derrick. ESTC locates only three copies at institutions BL Columbia and UCLA and of the three copies to appear in the modern auction record the most recent was in 1941. The present is the only example on the market. <br /> <br /> In a 1763 review in The Critical Review or Annals of Literature vol. 15 Samuel Derrick's Collection of Travels is derided as a book for "those who read merely for amusement and care not for turning up the huge collection of voyages traveled by Purchas Churchill Astley Harris &c" due to its "total neglect of dates total want of maps a strange perversion of names a general lack of precision or accuracy." These same reviewers make a dismissive nod to how "the adventures of captain John Smith savour strongly of romance" and suggest that the work "does not seem to have been intended so much for serious reading as for pleasing the imagination" but they fail to grasp just how much this is the case. No matter how deeply Samuel Derrick sought to portray himself as a participant in London's intelligentsia he was ultimately a Grub Street hack who "wrote to eat" and not from "any great artistic urge" Rubenhold. Having learned early on that "hacks and whores shared much common ground" Derrick became not only a "gentleman defender" and friend to several of London's demi-monde he also used their escapades as inspiration for his writing and his writing to promote their reputations and services.<br /> <br /> Such is the case with the present work designed for stoking the reader's fantasies and for lining the author and publisher's pockets. Among "the period's richest funds of data erotica and pornography permeated the culture.and the 18th century bookshop" Pettit and Spedding. Works operating under the thin guises of travel law medicine politics history or religion presented readers across genders with graphic depictions not only of cis-gendered and heterosexual encounters but even more often with scenes that cenered queer polyamorous and female pleasure. In the case of Collection of Travels Derrick used preexisting popular travel narratives as the backdrop for his main work: depicting sexual behaviors common within London's sex trade but setting them within exotic locales. Within volume I for example his explorers encounter "the prostitution of the women of Camul and their hospitable reception of strangers" "the common use of women" in Thebet rites of "marriages of the people of Servia" and the "wives and concubines" of Constantinople including how they are valued how virginity is tried and how they are punished. The second volume builds on this including such content as the "courtezans of Persia" the "women lewd" of Turkey and "the usage of their wives" in Algiers. Given his own appreciation for the power of the sex workers in his own life -- notably Lucy Cooper Kitty Fisher and Charlotte Hayes -- he also includes a section on "the authority of the women in this country" of the Congo. <br /> <br /> One of Derrick's few stand-alone multi-volume works to be published and a rarity in the collecting areas of erotic literature and travel fiction. <br /> <br /> ESTC T135777. Not in the Register of Erotic Books. John Wilkie unknown
17425133London: Printed for W. Webb 1742. First edition. Bound to style in 19th century sheep with morocco and gilt to spines. Measuring 168 x 96mm and with occasional mispagination but collating complete: xxiv 300; 2 336. Some offsetting to preliminary and terminal leaves and occasional light foxing and marginal chips not affecting text; discreet archival repairs to short tear on pages 115-116 and long tear to 285-286 of volume I preserving all text. Early amateur cloth tape repair to recto of front endpaper to volume II. Pinholes to lower spines of both volumes with minor associated worming to the lower front hinges. A scarce example of early erotic literature centered on London's famous courtesans ESTC lists only 6 copies with institutions. The present copy aside the last example to appear at auction was in 1882. <br /> <br /> Published two years apart the two volumes of Memoirs of the Nobility are different in their approaches to London's elite including the infamous Great Impures who hosted the wealthiest men in their parlours and their beds. Volume I launches its readers into a thinly veiled satire wherein the protagonist Aloisa visits the mythical kingdom of Thule. During her tour on arrival Aloisa discovers a city of extreme decadence whose cast of characters would be familiar to most Londoners indeed the copy housed at the British Museum has contemporary annotations from William Cole denoting some of the avatars' real-life identities. "there was scarce a Thing as a Virgin of twenty Years of Age to be found in all the Island.all was flaming Lust; and from the Court to the Cottage all had their Share in amorous Intrigues." While sexual violence is rampant in Thule Aloisa's host the Chevalier Faire-Franc informs her of numerous girls assaulted and left pregnant by the son of the new Lord Chancellor for example much of the kingdom's activities center on the sex trade. Ambition and wealth drive residents "to get Money which at Night they as lavishly spend" at various houses of pleasure. In these descriptions readers visit the brothels of such real-life bawds as Mother Elizabeth Wisebourn here called Madona who dresses as a nun to recruit girls and uses medicine and magic to "restore" their virginity and continuously demand the highest prices -- a practice she infamously used to market her girls particularly Sally Salisbury and Sally Lodge before they rose to success in their own rights. Nearby Miss Edwards of Kensington possibly Kitty Fisher or Lucy Cooper resides "in open Fornication" yet "defies all Scandal." A string of famous men -- authors dignitaries and gentry -- are also exposed for their engagement with courtesans their elopements and their affairs. <br /> <br /> By volume II these details fade and the stories shift toward a more general erotic fantasy. But both notably participate in celebrating and expressing anxiety about the growing power of London's sex trade. With estimates of London's sex workers ranging widely from 8600-80000 it was undeniable that a vast portion of the population was engaged in sex-for-money whether as a provider or consumer Rogers. The money and public influence of courtesans like Kitty Fisher Lucy Cooper Sally Salisbury Sophia Baddeley Mary Robertson and others highlighted how women who defined traditional marriage economies could carve out their own wealth independence and community. <br /> <br /> ESTC T75813. Lowndes 2681. Not in the Register of Erotic Books. Printed for W. Webb unknown
17175378London: Printed for E. Curll in Fleet Street 1717. First thus. Contemporary full calf with gilt label to spine. All edges speckled red. Measuring 155 x 90mm and collating complete including frontis and terminal advertisement: 4 394 2. Shelfwear to extremities and slight bowing to boards. Contemporary annotations to front pastedown and front and rear endpapers with portions of rear endpapers excised; rear pastedown neatly removed. Internally a clean copy with a long closed tear to pages 213-214 professionally repaired with no loss to text and brief examples of pencil marginalia to pages 237-38. A pleasing copy of a scarce erotic book which last appeared at auction over three decades ago and which ESTC lists at only 12 U.S. libraries. <br /> <br /> Drawn from a 17th century Spanish picaresque novel following the intrigues of the female rake Rufina Alonso de Castillo's La Garduna de Sevilla 1642 first appeared in English in 1665 as a romantic adventure translated by John Davies as La Picara or The Triumphs of Female Subtilty. By the time of this translation however Rufina's persona took a more overtly libertine turn as she was declared a "whore" even within the title i.e. "pole-cat". Published by unscrupulous bookseller and printer Edmund Curll the text has clear erotic rather than romantic implications. "A notorious figure among the publishers of the early eighteenth century for his boldness lack of scruple publication of work without authors' consent and taste for erotic and scandalous publications" Curll did not involve himself in the release of texts that aimed to educate men and women into socially dictated marital roles Baines and Rogers. Instead his version of the Rufina story revels in its heroine's sexual appetite and capitalizes on the popularity of the English demi-monde -- courtesans such as Kitty Fisher Lucy Cooper and Charlotte Hayes -- by making her a more exoticized iteration of the fantasy they presented to men and women alike. <br /> <br /> Positioned as it is outside the British Empire Rufina's narrative invites readers to engage at a slight distance with questions not only about her sexual agency or even the agency of courtesans but instead about the agency of women more broadly. As Kathleen Lubey has pointed out erotic works from this period positioned "decadent sexual description" within a much larger prose structure that "posed questions about social justice and elaborated on gender inequity"; indeed "pornographic prose fiction" such as The Spanish Pole-Cat "rethinks which people count as persons to what degree they can claim property in their own bodies and the correspondence of those bodies to social identity" What Pornography Knows. Capable of stimulating the senses of all readers physically and intellectually Rufina the female libertinism and the sex trade she invokes encourage excitement over what can happen when limitations are stripped away from certain portions of the population that don't in reality have the ability to move with such freedom.<br /> <br /> ESTC T89213. Not in the Register of Erotic Books. Printed for E. Curll in Fleet Street unknown
8670Scroll 290 x 4780 mm. with gold paper inner endpaper at front wooden core roller. Japan: n.d. but late Edo or early Meiji.<br /> <BR> <BR> A fine example of an erotic scroll anonymously painted as usual but with great skill. The scroll contains 12 erotic scenes painted on silk the well-known “set of 12“ format of men and women engaged in various sexual activities. As in many shunga hand scrolls the paintings feature a sequence of lovemaking positions in no apparent order.<br /> <BR> <BR> The figures are drawn to express a fluidity of movement passion and pleasure. The accomplished artist has used delicate shading to heighten the scenes. The kimono are richly decorated. In several scenes the women’s pleasure is expressed by curled toes and fingers. The paintings are richly detailed with metallic pigments elaborately rendered hairstyles and renderings of luxurious kimono fabrics.<br /> <BR> <BR> Erotic paintings in Japan have a long tradition established well before the Edo period. “Many aspects regarding the production of early paintings with sexual content — when where and by whom they were made how they were appreciated — are still obscure…There was apparently a radical change in the form of erotic hand scrolls from around 1600 onwards when paintings with a sequence of twelve erotic scenes became common…Each scene in hand scrolls of this type does not normally show any clear relationship with the adjacent scenes nor is there usually any development other than presenting a variety of couplings and sexual techniques. Each group of copulating figures exists within its own enclosed space set against a plain or simply decorated background as if functioning as an example of a possible sexual position…<br /> <BR> <BR> “Shunga painting remained an important genre in terms of both quality and quantity right up until the modern era and should no longer be excluded from the study of Japanese art and the broader study of the humanities…The concept of twelve in shunga had more to do with a general sense of completeness a full cycle.â€â€“Akiko Yano “Shunga Paintings before the ‘Floating World’†in Timothy Clark et al. eds. Shunga. Sex and Pleasure in Japanese Art British Museum: 2013 pp. 62 & 70-72.<br /> <BR> <BR> In fine condition. The extreme edges of each silk panel are slightly spotted due to the glue used. unknown
8539Scroll 210 x 3690 mm. endpapers of gold with silk brocade backing wooden roller. Japan: late Edo.<br /> <BR> <BR> This attractive scroll executed by a highly accomplished artist comprises of 12 erotic scenes the well-known “set of 12“ format in vivid coloring depicting a range of sexual activities. As in many shunga handscrolls the paintings feature a sequence of lovemaking positions in no apparent order. The scenes are finely painted with considerable detail employing much gold silver and other metallic pigments. Throughout the artist has used a fine brush to achieve great detail of fabric hair and faces. All the women have elaborate hairstyles and the kimono are very luxurious with many layers of fabric evident. We learn much about the variety of kimono and obi belts of the period.<br /> <BR> <BR> 1. The first scene shows a man with an erect penis seated behind a woman caressing her breasts underneath her kimono. The penis is highlighted with gold dust and one of the inner layers of her kimono is accentuated with the application of mica. Two maids or servants are seated on the other side of a screen listening attentively to the couple’s activities.<br /> <BR> <BR> 2. In this scene are travelers: a sword-carrying samurai and a woman both wearing walking sandals. They are taking a break and having an intimate moment the man penetrating the woman who is lying on her back on a roadside bench her broad-brimmed hat next to her. Behind them is a beautiful landscape of rice paddies. The folds of the woman’s kimono are finely expressed.<br /> <BR> <BR> 3. This is a very beautifully executed scene of a man and woman having sex underneath a collapsed summer mosquito net. The ability of the artist to show the activity of the couple through the netting is remarkable. The woman’s hair is extremely mussed.<br /> <BR> <BR> 4. A naked man and woman are having sex with another woman observing the activity through a sliding door. The inevitable tissues are nearby. There is a small wormhole.<br /> <BR> <BR> 5. An older court lady and a young man are having an intimate moment with him masturbating her. The artist has used much mica and gold. The numerous layers of the kimono are revealed. Small wormhole.<br /> <BR> <BR> 6. A prostitute is servicing a client in a brothel. Secretions are dripping from her vagina. The man’s head is concealed in their embrace. The paintings on the sliding doors are very beautiful. Tissues are nearby.<br /> <BR> <BR> 7. A naked man is masturbating a woman on an outside deck. The woman is wearing an open kimono. A harp is nearby.<br /> <BR> <BR> 8. This beautiful scene situated just outside of a tea ceremony room shows a man and woman engaged in sex. They are clearly having a secret meeting. Her kimono is extremely luxurious. We see a small part of the next room with a silver wall.<br /> <BR> <BR> 9. A man and woman are engaged in sex. The man is wearing a business kimono and in the background are fine pictorial screens.<br /> <BR> <BR> 10. A man and a woman both naked are engaged in sex while a “Peeping Thomasina†observes.<br /> <BR> <BR> 11. In this scene a man and four women are having an orgy. He is masturbating two woman while penetrating another. Her vaginal secretions indicate the fourth woman has already had sex with the man.<br /> <BR> <BR> 12. This scene shows a man and woman in the missionary position. In the background is a most beautiful silk screen painted in gold depicting two cranes. There is another room with sake containers suggesting this scene takes place in a brothel.<br /> <BR> <BR> Fine condition preserved in a black lacquerware box with gold images and a metal clasp which has an unidentified family crest in the shape of a Paulownia tree. The outer silk brocade endpapers are a little stained and worn.<br /> <BR> <BR> ⧠Akiko Yano “Shunga Paintings before the ‘Floating World’†in Timothy Clark et al. eds. Shunga. Sex and Pleasure in Japanese Art British Museum: 2013 pp. 62-72–â€The concept of twelve in shunga had more to do with a general sense of completeness a full cycle.â€. unknown
17715080London: Printed by T. Thorn 1771. First edition. Contemporary sheep recornered and rebacked to style with gilt and morocco to spine. Measuring 163 x 95mm. Collating 4 203 1 blank: complete with A Looking Glass beginning at page 146 with continuous register. Nineteenth century bookplate to front pastedown. Offsetting to outer margins of title and of pages 198-203 not affecting text; lower corner of dedication leaf neatly excised with no loss to text; marginal paper flaw to pages 45-46. Overall internally unmarked and clean. One of two equally scarce variants with no priority the other printed by J. Bird. ESTC reports only one surviving copy of each both of these held by the British Library of these only the Bird variant is digitized. Neither these first issues nor the later re-issue titled Cupid Turned Spy appear in the modern auction record. An exceptionally rare work. <br /> <br /> The widespread cultural assertion that men had control over their own fates led to equally widespread anxiety in the seventeenth and eighteenth century. Despite a preponderance of laws and traditions that privileged men and sought to subjugate women and queer peoples sex outside the boundaries of marriage undermined those systems. Few figures encapsulate this truth better than the cuckold. "Cuckolds were seen as being unable to satisfy and control their wives; as literary tropes "they are more often than not the target of derision to both their peers on the stage and the audience the theatre nearly universally to be greeted with laughter as they follow a predictable path of failure in marriage" Corcoran. As much as these figures assisted male audience members in projecting their fears onto allegedly weaker men they signify that complete control over women marriages and lines of inheritance isn't possible. The denial of women's agency does not equate the complete absence of women's agency.<br /> <br /> Women's sexual agency had become highly visible in key sectors of London society by the eighteenth century thanks in part to the rise of a famed generation of courtesans often called the "demi-monde" who dominated not only their own brothels and houses but also theatres opera houses and the court itself. Sex work more generally had become extremely common with studies estimating that anywhere from 8600 to 80000 citizens of the city were engaged in some level of the sex trade Rogers. In this atmosphere depictions of the cuckold shifted in some erotic works. Rather than symbolizing men's sexual failures the cuckold's acceptance of his position acknowledged and at times even celebrated women's sexual autonomy. If being cuckolded was inevitable as a result of women's equal participation in sexual desire then fault might not lie with the cuckold. Indeed being a cuckold may even have benefits when more conservative social judgment is set aside.<br /> <br /> Authored by the pseudonymous "Cornuto" -- a Latin joke naming the author after the cuckold's "horn" -- Cuckoldom Triumphant is dedicated to the gentry noting "the amazing encrease of antlers of late among the nobility whose customs the common people are so fond of copying which gives me the pleasing promise of cuckoldom's becoming universal." Indeed the author notes cuckoldom is inevitable and each must choose his own reaction to the state. To that end "this work is intended to comfort the afflicted and confirm the contented among those who are married as well as prepare the unmarried for the happy state of cuckoldom." In what follows the author provides readers with a sensational erotic story following the awakening of Mrs. Latitat to the pleasures of extramarital sexuality as well as her husband's transformation from jealous resistance to acceptance and contentment within a more peaceful marital state. <br /> <br /> ESTC T62268 T226126 for the J. Bird variant. Register of Erotic Books 1197 for a later issue re-titled Cupid Turned Spy. Printed by T. Thorn unknown
9739Scroll 320 x 5250 mm. silk-brocade front outer endpaper with floral drawing in color at beginning wooden core roller. Japan: after 1823.<br /> <br> <br> <br /> <br /> The 12 finely rendered erotic drawings present on this scroll in the famous “set of 12†format have been attributed on the manuscript label of the scroll’s box to ChÅkyÅsai Eiri active 1790s-1801 a little known pupil of Hosoda Eishi 1756-1829 who for some years was an equal rival to Utamaro. ChÅkyÅsai Eiri produced an album of 13 large-size color woodblock prints entitled Fumi no kiyogaki Neat Version of the Love Letter or Pure Drawings of Female Beauty 1801 see Clark et al. Shunga pp. 310-11 & 400-01 for two images in the series and their descriptions.<br /> <br> <br> The underdrawings for six of the prints in the series drawings 1 2 3 5 partial 7 and 12 including the well-known image of two women using a dildo together are present. Drawings 8 9 10 and 11 can be identified as images from Hokusai’s FukujusÅ Adonis Flower ca. 1822-23. The remaining two drawings are independent images that might have appeared in other publications. The artist has placed small manuscript annotations on the images regarding colors.<br /> <br> <br> In spite of the manuscript information on the box’s label we believe these are highly skilled later copies.<br /> <br> <br> Fine condition.<br /> <br /> <br> <br> References<br /> <br> <br> Akiko Yano “Shunga Paintings before the ‘Floating World’†in Timothy Clark et al. eds. Shunga. Sex and Pleasure in Japanese Art British Museum: 2013 pp. 62-72–â€The concept of twelve in shunga had more to do with a general sense of completeness a full cycle.â€. unknown
1770ACGGGLIF1Z51The Netherlands 1770. 8vo. Contemporary red half roan sheepskin gold-tooled spine. With an illustration on title-page built up out of cast ornaments and 4 engraved plates. 2 184 pp. Second copy located of the first and only edition of "Confessions of a libertine" an 18th-century Dutch picaresque erotic novel in which the principal narrator Karel tells his fiancée Charlotte about his promiscuous past. The story starts with how his father met his mother Julia in the monastery where he grew up in. Julia was the 17/18-year-old daughter of the abbot who was "taught" all about sexuality by her father at an early age. The abbot passed away soon after Karel's father left for the army and was replaced by a 45-year old Franciscan monk who took turns with both mother and daughter. The situation became unsustainable because of the mother's jealousy of her daughter causing Julia to flee to her lover; Karel was conceived the following night. The life of Karel's parents gives a glimpse of the story that follows often taking place in a religious environment. The novel does not only detail the sexual encounters however but also provides arguments for free morals for instance pointing out that our ancestors just followed their nature without being obstructed by any morals. Novels like this have been neglected for about two hundred years and only in the last decennia interest has been revived.With bookplate and owner's inscription. The plate facing page 43 loosely inserted but otherwise in very good condition. Spine slightly rubbed and colour of the paper sides faded but still firm and otherwise good.l Buijnsters Ned. lit. achtiende eeuw pp. 108-109; Buisman 132 1 copy; Gay & Lemonnyer I col. 374; Leemans Het woord is aan de onderkant p. 225; NCC same copy; STCN same copy; Waller 226 same copy; WorldCat & KVK same copy; not in Ashbee Centuria II pp. 346-354; Kearney The private case ; Muller; Rose Register of erotic books; Scheepers; De Vries. unknown
JUINBB24<p>Paris Jubert 1787.</p><p>24mo of 1 frontispiece and 12 engraved vignettes by Dorgez that is 13 etchings.</p><p>Red morocco triple gilt fillet around the covers flat spine decorates with gilt fleurons grenne morocco lettering piece gilt edges. <i>Contemporary binding.</i></p><p><b>The illustration includes </b>: <i>1.</i> <i>Vénus and Mars ; 2. Jupiter and Calisto ; 3. </i><i>Pluton and Proserpine ; 4. Venus and Comus ; 5. Le Triomphe de la Beauté ; 6. Bacchus and Ariane ; 7. L'Aurore and Céphale ; 8. L'Amour and Psyché ; 9. Diane and Endimion ; 10. Neptune and Amymone ; 11. </i><i>Vénus and Adonis ; 12. Junon and Ixion.</i></p><p><b>All the illustrations have been finely colored at the time.</b></p><p><b>A precious copy preserved in its elegant red morocco contemporary binding.</b></p><p><u>Références</u> : Inventaire du fonds français graveurs du XVIIIe siècle / Bibliothèque nationale Département des estampes. Tome VII Deny Mlle Jeanne-Du Duy-Delage / par Marcel Roux. ; avec la collab. d'Edmond Pognon. - Bibliothèque nationale Paris 1951 article DORGEZ n. 14 = IFF18 DORGEZ 14</p><p>Almanachs illustrés du XVIIIe siècle /Vte de Savigny de Moncorps 2eme éd. 1909 n. 75 = Savigny de Moncorps 75</p><p>Les almanachs français : bibliographie-iconographie des almanachs. à Paris : 1600-1895 / John Grand-Carteret 1896 n. 839 = Grand-Carteret 839.</p><p><u><br /></u></p><p><u><br /></u></p><p><u>FRENCH</u></p><p>Paris Jubert 1787.</p><p>In-24 de 1titre-frontispice et 12 vignettes gravées par Dorgez soit 13 eau-fortes.</p><p>Maroquin rouge triple filet or autour des plats dos lisse orné de fleurons dorés pièce de titre de maroquin vert tranches dorées. <i>Reliure de l'époque</i>.</p><p>L'illustration comprend : <i>1.</i> <i>Vénus et Mars ; 2. Jupiter et Calisto ; 3. Pluton et Proserpine ; 4. Venus et Comus ; 5. Le Triomphe de la Beauté ; 6. Bacchus et Ariane ; 7. L'Aurore et Céphale ; 8. L'Amour et Psyché ; 9. Diane et Endimion ; 10. Neptune et Amymone ; 11. Vénus et Adonis ; 12. Junon et Ixion.</i></p><p><b>L'ensemble des illustrations a été finement mis en couleurs à l'époque.</b></p><p><b>Précieux exemplaire conservé dans son élégante reliure en maroquin rouge de l'époque.</b></p><p><u>Références</u> : Inventaire du fonds français graveurs du XVIIIe siècle / Bibliothèque nationale Département des estampes. Tome VII Deny Mlle Jeanne-Du Duy-Delage / par Marcel Roux. ; avec la collab. d'Edmond Pognon. - Bibliothèque nationale Paris 1951 article DORGEZ n. 14 = IFF18 DORGEZ 14</p><p>Almanachs illustrés du XVIIIe siècle /Vte de Savigny de Moncorps 2eme éd. 1909 n. 75 = Savigny de Moncorps 75</p><p>Les almanachs français : bibliographie-iconographie des almanachs. à Paris : 1600-1895 / John Grand-Carteret 1896 n. 839 = Grand-Carteret 839.</p> hardcover
18003174241800. 38 mounted lithographs including 2 duplicate plates 1 with handcoloring. Oblong 4to. Early 19th century French purple morocco stamped to neo-Gothic panel design in blind and gilt initials "C D" on upper cover a.e.g. Skillfully rebacked preserving original spine. 38 mounted lithographs including 2 duplicate plates 1 with handcoloring. Oblong 4to. A collection of French erotic lithographs in an ornate romantic binding. Includes a series of 17 lithographs "Le départ de la garnison" "L'Antichambre en goguette" "Ah! Le bon bouillon que j'aurai" etc. Provenance: bookplate of Gérard Nordmann lhis sale Christe's Paris 27 April 2006 lot 218 unknown
96105001China n.d. c. 1790. An erotic hand painted color scroll 12 individual scenes each painting ca. 21.5 x 15 cm. overall width is 18 cm. in very clean pristine condition external phoenix cloth inside dark blue silk mounting jade ends. This work is an excerpt from the Chinese erotic novel the Chin P'ing Mei written during the Ming dynasty. It depicts the sexual exploits of the hero Hsi-men and is China's most famous classic novel of erotica. This lovely hand scroll illustrates twelve erotic scenes with Hsi-men and his willowy female consorts. Sapphicsm a common theme but this example shows the hero engaged in a host of sexual pleasures. He adores the vulva and her tiny "Lotus-hooks" or bound feet. In one superb view he is embraced by three lovely paramours as he attempts to gratify each with his tender touch. In another sensual scene while his "jade stick" pierces and ravishes an old favorite a younger concubine is voyeuring at them with desire as we see her pink-flushed face as she masturbates with relish. Several other marvelous paintings show various positions employed for mutual benefit. Each scene is done in the Ming dynasty style with lovely furniture and furnishings graphically illustrated including scholar's desk items scrolls brushes vases flowers & other period objects. Executed in fine color brush work mounted with silk borders paper mounted some 3 meters plus long embellished with pale jade end pieces. BIBLIOGRAPHY: R. H. Van Gulik: SEXUAL LIFE IN ANCIENT CHINA for more and copious details on this subject and theme. R.H. Van Gulik: EROTIC COLOUR PRINTS OF THE MING PERIOD. DREAMS OF SPRING: Erotic Art in China. This useful illustrated reference shows many similar erotic examples from pages 158-161. Erotic Chinese scrolls of this quality and period are SCARCE. BEURDELEY Michel: CHINESE EROTIC ART. . unknown
1780ST17950Caprées i.e. Nancy: Chez Sabellus 1780 1784. FIRST EDITIONS FIRST PRINTINGS 11 lines on title page and long "s" in text with these Illustrations. 256 x 190 mm. 10 x 7 1/2". Two volumes. <br/> BEAUTIFUL 19TH CENTURY RED MOROCCO GILT IN THE ROCOCO STYLE BY CUZIN stamp-signed in gilt on front turn-ins covers with a gilt-ruled border featuring rocaille motifs at the sides and a floral spray at each corner elaborate inner frame of strapwork interwoven with scrolling acanthus drawer-handle tools flower garlands and several special tools including satyrs mountain goats insects and large vases of flowers raised bands compartments with gilt lettering or a central floral sprig surrounded by a frame of leaves and flowers turn-ins with intricate gilt lace roll-tooling all edges gilt. WITH A TOTAL OF 102 EROTIC PLATES by Denon each volume with a frontispiece and 50 plates plus an engraved title in volume II. Front pastedowns with ex-libris of Léon Gambetta. Cohen-de Ricci 474-75. ◆Light offsetting from illustrations paper in both volumes perhaps lightly pressed but not washed FIRST VOLUME with the faint stain from a ribbon marker now gone one plate slightly toned and with two very small repairs to margin otherwise IN FINE CONDITION; paper in volume II slightly toned and with occasional small spots and light stains but still excellent. None of this significant because THE GLORIOUS BINDINGS LUSTROUS AND UNWORN.<br/> <br/> Despite their scholarly titles which promise scenes from the private lives of the 12 Caesars and secrets from an ancient Roman cult these are among the most famous erotic books of the 18th century. In the first volume the 12 Roman emperors from Julius Caesar to Domitian are depicted engaged in a panoply of intimate acts beginning with Julius Caesar's liaison with King Nicomedes IV of Bithynia which led his enemies to dub him "Queen of Bithynia." We see what Caesar's heir Augustus was willing to do in order to succeed his great-uncle and his later sexual excesses as emperor including incest. Antony and Cleopatra are relatively demure compared to the orgies of Caligula Nero and Claudius' wife Messalina. The "Secret Cult of Roman Women" examined in the companion work is devoted to the fertility god Priapus and his phallic symbols with guest appearances by assorted satyrs nymphs and Bacchantes. The images are white-on-black to resemble sculptured wall medallions and claim to be based on ancient carvings; however Cohen-de Ricci informs us that while the text is evidence of d'Hancarville's erudition the illustrations are entirely the result of his libertine imagination. Art historian Pierre-François Hugues Baron d'Hancarville 1719-1805 established himself in the world of antiquarians when he helped William Hamilton acquire the impressive Porcinari collection of Etruscan Greek and Roman antiquities that would subsequently be purchased by the British Museum. He then supervised the production of four sumptuous volumes of engravings documenting the collection. He seems to have undertaken the present work for his own amusement. A later issue of the second title facetiously attributed publication to the Imprimerie de Vatican the Church had of course put it on the Index of Prohibited Books. According to Cohen-de Ricci this is the first and most desirable printing identifiable by 11 rather than 10 lines of text on the title page of the first work and by the use of the f-like "long s" in both volumes. The especially splendid bindings by Francisque Cuzin 1836-90 nod to the Rococo bindings of the 18th century and to the risqué subject matter with satyrs cavorting about the elegant frame. Cuzin opened his Paris workshop in 1855 and soon made his name among bibliophiles of that city with his exquisite bindings establishing what was called the "Cuzin style." Devauchelle says that this style was copied by Cuzin's colleagues but was never equalled. Cuzin was not a gilder but employed some of the best in the trade to execute his graceful designs among them Marius Michel père Wampflug Maillard and Cuzin's eventual successor Émile Mercier. Our copy was once in the library of the distinguished French statesman Léon Gambetta 1838-82 one of the founders of the Third Republic who served as president of the Chamber of Deputies. Chez Sabellus unknown
86710Lugd. Batavorum but Naples ca. 1771. . 2 vols small 4to 20.7 x 15.4 cm. Fully engraved: hand-coloured title numbered 1 pp. 10 preface in red with black borders plates numbered 2-30 hand-coloured each with a leaf or two of text in red within red border; hand-coloured title and 35 hand-coloured plates with text leaves as before - in all 66 hand-coloured plates including two titles. Contemporary marbled calf spines with raised bands gilt in compartments brown morocco labels lettered in gilt marbled endpapers red edges; a bit rubbed hinges a bit weak.<br /> Fine hand-coloured copy of this fully engraved work printed on papier verge de Hollande extra-fort - one of these 'rarissimes exemplaires dont les figures chefs-d'oeuvre de gravure ont ete peintes dans un coloris d'une beaute surprenante' Pia.<br /><br />Hancarville catalogued Sir William Hamilton's collection of ancient vases in Naples in 1764 from which it is likely he took some inspiration for these images showing a collection of classical erotica supposedly taken from actual medallions. In 1777 he travelled to London where he arranged the second edition of this work with the text also in English.<br /><br />Our copy matches Pia's description; the number of plates may vary.<br /> Cohen 476; Pia Enfer 1487-1488. Lugd. Batavorum [but Naples, ca. 1771]. hardcover
101382London but Paris 1757-61. . 5 vols in 6; 8vo 20 x 13cm 5 engraved titles 110 engraved plates 97 head and tail pieces by Gravelot and Boucher among others engraved by Aliamet Bacquoy Lemire and others plus a frontispiece and 20 extra planches libres unsigned but attributed to Gravelot. Contemporary red morocco spines with raised bands gilt in compartments morocco labels lettered in gilt; some labels in contrasting colour.<br /> A lovely copy of this beautifully illustrated work finely bound in red morocco and including the charming 'figures libres' here bound in a supplementary volume. Cohen among others praised this great achievement of Gravelot Boucher Cochin and Eisen the best illustrators of the French 18th century. The edition not only shows 115 plates and frontispieces but also includes decorative engraved head- and tail-pieces in the best tradition of book illustration of its time. The Italian text was translated into French by A. Le Macon.<br /> Cohen de Ricci 160; Ray 39-41. London [but Paris], 1757-61. hardcover
1815G4JCUY01U79OFrance 1815. 20th-century red goatskin morocco sewn on 5 cords with the title "Gouaches érotiques" in gold in the 2nd of 6 spine compartments double-combed marbled endpapers pasted over the original marbled pastdown; spot pattern curled. 4to 26 x 21.5 cm. A matching set of 12 erotic drawings image area about 20 x 16 cm in coloured gouaches each showing a man and woman engaged in manual vaginal or oral sex in a richly furnished interior with furniture lamps clocks vases drapery mirrors books clothing architectural ornamentation etc. Each is drawn on thick paperboard and mounted on the album leaves. A matching set of 12 skilfully executed erotic gouache drawings in numerous colours each showing a naked or more often partly undressed young man and woman engaged in manual vaginal or oral sex. Each is set in an interior in at least most cases domestic most of them richly furnished. Though the drawings depict several different men and women some of them seem to appear in more than one drawing. One drawing appears to show a home library another includes a case full of books and two others have an open book lying on the floor. Another has the woman sitting on the man's lap before a writing desk with a quill pen in her hand. These may be intended to suggest that the man is the young lady's tutor and they got distracted from their lessons. The clothing suggests couples from fairly high social standing. The clothing architectural decoration furniture clocks lamps vases etc. much of it in Empire Style suggest a date around 1815 perhaps in France.The drawings are in good condition and the binding fine. unknown
