An extremely rare and fragile item, in its original paper covers, and barely holding together, just a single thread preventing the book from coming apart. Bur despite this an amazing rarity, an English language flagellation novel, with engraved plates in sanguine. Delighted to be able to share this with you
Unsure who artist is despite the Monogram on each illustration, but I think possibly Leon Roze, anyone who knows the answer please notify me by posting a comment.
Charles Sackville: Mr Howard goes Yachting: And subjects to his voluptuous caprices with young ladies captured and imprisoned on board. London -Paris MCMVIII. Printed for Subscribers Only. 158 pages, printed on Van Gelder Zonen , in a limited edition of 300 hundred copies, with six beautiful illustrations.
This is an unusually late edition for me, undated, but close to 1980, judging by other titles issued by this press. This title and its illustrations are exceedingly rare, in the original French edition, published in 1936 by Éditions Curio. I did not know that this edition existed but stumbled across it. The original illustrations were in colour and from the appearance of the ones in this edition they were taken from the colour plates , I have played with the exposure of my scans and they are an improvement over the ones in the book.
Listed here for your enjoyment with the cover illustration in colour and 6 full page illustrations in monochrome, all by the incomparable Wighead. The author Jim Galding remains unidentified.
This original title is available for trade against my Paris Olympia Press wants.
Jim Galding: Unter dem Hintern einer Frau
.Jim Galding: Unter dem Hintern einer Frau: Eros Publishing Hamburg n.d. (1980?) illustrated by Wighead, being a German translation of “Sous la Croupe Feminine” (1936)
Any questions or information about this title please leave a comment or complete a contact form.
Having stated quite clearly in my past post that I would be henceforth focusing on my Paris Olympia Press collection, unless of course something really interesting comes along, well something did!
This took an age to scan in but it was a pleasure, this extremely rare and rather lovely lingerie catalogue, is the first in Lingeries Libertines series, although I have no idea how many were actually produced. In part this item interests me because of the association, with the Vidal publishing and fashion empire, and in particular connections to editions Couvre-Feu et al. But although I have no idea which images belong to which photographer I know some are Brassai, and therefore there is a link to my Paris Olympia Press collection as Henry Millers ” Quiet days in Clichy” which, although published in 1956, is illustrated with Brassai photographs from the 1930’s.
Before I forget to mention this is an actual magazine in my collection, and it is available for trade against my ever-diminishing Paris Olympia Press wants, so find me some items that can be located under my Books Wanted listings and you could own the real thing.
So here for your enjoyment are the entire contents of this beautiful photographic memoir of the decadent 1930’s, “The Golden Age of Erotica”
Below is the text of a query I raised early last year and now I have a compelling answer from a well respected source, I have actually had the information since November last year, but as I was somewhat incapacitated at the time I missed it, mainly because it was sent via a Contact form that sat in my e-mail until a week or so ago, having found it I rather belatedly offered a response and requested the senders permission to publish it on this site, he responded and agreed that I could do so. It is very brief and self explanatory. J.B. Rund is the Publisher of Belier Press.
From 1975 to 1986, Belier Press released 24 volumes of “Bizarre Comix”. These were reprints of bondage cartoon serials from the 1950s, sold via mail order by Irving Klaw. The artists included Eric Stanton, Gene (Eneg) Bilbrew, Jim, Ruiz and Mario. Each volume was devoted to a single artist and included 2 or 3 complete serials and introductions by publisher J.B. Rund which contained important historical information on the artists and Klaw’s business operations.
The Contact form:-
Name: J. B. Rund
Comment:I was the Source of the Information about the so-called Bernard Montorgeuil and also the person who Sold the Original French Manuscripts, which I found in Paris 1969, to W. N. Schors, who, in turn, Sold them to Editions Bel-Rose (Hans Langerveld) in Rotterdam. All copies of the Edition were Signed by WNS using a Pseudonym that he, himself, Invented. Those works are Not earlier than the 1950’s or 60s.
Well this either reopens the debate or closes it completely. For the contradictions that led to this , please read below which is the text of my original post, the primary questions remain unanswered, even though my suspicions appear confirmed.
MY ORIGINAL POST FROM 7th FEBRUARY 2016
With thanks to Camillemm, who brought this matter to my attention when I accidentally, misspelled the name several times in my first post on the the mysterious Montorg??il. Now whilst accepting that apparently no one knows who he/she?is, and at risk of stating the obvious, somebody does , if the signed editions produced by Editions Bel-Rose in 1970 are genuine then somebody presumably presented the books to the author/illustrator, so that they could sign them, and also negotiate matters around copyright and earnings from the books.
This also places a certain credibility with the Bel-Rose editions, in that if they were really in contact with the person using the pseudonym, they were also aware of how to spell the name, and he/she was happy to sign the books with the same spelling.
I have checked all of my Editions Bel-Rose, titles in both the French and German editions, and they all use the spelling above, and although the legibility of the signature differs they are generally clear enough to confirm that the e precedes the u in the spelling of the name and confirms the printed version as correct.
Is this a mistake, or a scam of some kind, surely if the author, chooses to hide their identity, then they choose both the name and its spelling. This leaves me with a serious question, why does the spelling on auction records and later editions change?
AUCTION DESCRIPTION CHRISTIE’S 2014.
[MONTORGUEIL, Bernard (dates unknown), pseudonym.] Four manuscript books with original drawings: Dressage, Une Brune piquante, Une Après-midi de Barbara, and Les Quat’ jeudis. France, 1920s-1930s.
Four works in four volumes, quarto (278 x 244 mm), comprising a total of 115 pages of manuscript text in black ink with initials and titles in red, and 59 full-page pencil drawings with touches of colour; or, vol. 1: 41pp of text and 29pp of drawings; vol. 2: 8pp text and 7pp of drawings; vol. 3: 27pp text and 12pp of drawings; vol. 4: 39pp of text and 11pp of drawings. (Occasional light soiling.) 20th-century cloth, respectively blue, green, maroon, and white, the spines titled in gilt (corners rubbed, light soiling).
ORIGINAL ILLUMINATED MANUSCRIPTS OF HIS MOST IMPORTANT WORKS BY ONE OF THE MASTERS OF SM EROTICA. Montorgueil’s work celebrates the dominant woman, his drawings showing tender young men as willing playthings in a dizzying variety of scenarios. The present manuscripts are the source for the Belrose edition of 1970, and the many subsequent reprints by Leroy which introduced Montorgueil to a much wider audience. Little is known of the author, whose work was produced between the wars, but began to circulate clandestinely in the 1950s. The Nordmann collection held a smaller group by this leading 20th century erotic illustrator (sold, Christie’s Paris, 14-15 December 2006, lot 382).
AUCTION DESCRIPTION :Christie’s Paris, 14-15 December 2006, lot 382
[MONTORGUEIL, Bernard (nom réel et dates inconnus)]. Manuscrits et dessins libres originaux de 5 récits. [Vers 1930]
In-4 (266 x 212 mm). 60 pages de texte calligraphié à l’encre noire avec initiales en rouge, 48 dessins dont 2 à double page et 46 à pleine page, à la mine de plomb, certains avec rehauts aux crayons de couleurs, sur vélin d’Arches cartonné. Détail des 5 récits: 1) Dans la Maison des Amazones, Seize images d’étranges plaisirs: titre calligraphié à l’encre rouge et noire, 16pp. de texte avec initiale rouge et 16 dessins ; 2) L’Accusation: titre au crayon rehaussé de couleur, 13pp. de texte et 5 dessins ; 3) Équivalences: titre à la mine de plomb, 7 dessins dont un à double page ; 4) De la pénétration psychologique en matière d’éducation: titre au crayon rehaussé de couleur, 16pp. de texte et 9 dessins ; 5) L’Invertie convertie: titre au crayon rehaussé de couleur, 15pp. de texte et 11 dessins dont un à double page.
Reliure signée Honegger en maroquin mauve, premier plat et dos ornés de mosaïques géométriques de maroquin rouge, noir, brun et bleu marine ainsi que de trois disques de box chair ; dos lisse, titre à la chinoise, décor à l’identique, doublures et gardes de crêpe noir à résille, tête dorée, non rogné (dos un peu passé).
EXCEPTIONNEL ENSEMBLE MANUSCRIT avec 48 superbes dessins érotiques au fini parfait de ce maître de l’illustration sado-masochiste, Bernard Montorgueil, dont toute l’oeuvre célèbre la femme dominatrice dressant les hommes. Dans les présents dessins, l’auteur de Dressage et d’Une Brune piquante, transforme de jeunes hommes tendres et graciles en objets de luxure pour des femmes vêtues d’ahurissantes combinaisons fétichistes.
La plus grande discrétion entoure Bernard Montorgueil. Son oeuvre commença à circuler sous le manteau dans les années cinquante, mais elle semble plutôt dater de l’entre deux guerres. On connaît au moins quatre séries de dessins accompagnés de textes calligraphiés. Bernard Montorgueil se situe au tout premier rang des illustrateurs érotiques du XXe siècle.
The worrying theme of giving provenance of works from the 1930’s apparently without supporting evidence continues, and I will try to pursue at a later date. The matter of the name and its spelling is my main concern at the moment. As despite the fact that the Bel-Rose editions have a variant spelling and are signed, and that at least in the latter (date wise) of the two auctions these editions are referenced, then how come they missed the spelling of the name?
Certainly it is unsurprising that the manuscript and illustrations purchased at the 2006 auction which ultimately provide the material for the 3 éditions Astarté volumes carry the same spelling as the auction listing, the spelling that continues throughout the books despite surprisingly, reproducing an image, as I have done of a signed Editions Bel-Rose limitations page, without referring to the different spelling.
éditions Astraté 2007
I will continue to pursue this interesting puzzle and anyone who would like to contribute would be most welcome. It could be, that I am missing something, but I cannot see any reference to anything “signed” in either of the auction descriptions. So are the Bel-Rose editions the real thing, are the two lots by the same hand, and why did no one pick up on the anomaly?
What started as a query on an Englishman’s spelling of an unusual , French name, now makes me wonder why so many French speakers are having the same problems with what to them should be second nature.
It is a long time since I listed one of these, but as I am painfully aware, that all but a very small number of viewers, have no real, interest in The Paris Olympia Press, here is a small present as advance warning the the site will increasingly gravitate to the full details of my collection and away from other material, unless I get anything very interesting to list that is.
A clandestine publication, in a limited edition, numbered 406/500, no date, no publisher but beyond any reasonable doubt, Frances Flores. 199 pp, with Title page and six explicit erotic illustration, in a spectrum of colours, by an unsigned artist. Some of the illustrations are identical (barring colouration) to illustrations offered in L’Aquarium des Voluptés, another Flores title dated around 1955, therefore no reason to suspect that this title is far from the same date.
A major find for my collection, a very nice copy of the 58 Ginger Man with the original dust jacket flaps. As always the bibliographical description is courtesy of Patrick Kearney, The Paris Olympia Press, The Liverpool University Press 2007. The index number corresponds to the actual location of the description in the bibliography.
5.7.2 THE GINGER MAN J. P. Donleavy, 1958
[Within a green border of type ornament: ] J. P. DONLEAVY | THE | GINGER | MAN | (Paris edition) | THE TRAVELLERřS COMPANION | SERIES | published by | THE OLYMPIA PRESS | [breaking the border: ] 7, rue Saint-Séverin, Paris 5
Collation: 384 pp. No signatures. 17.0 x 10.5 cm., all edges trimmed. Printed on white wove paper.
Contents: pp. [i,ii] blank. p.  THE | GINGER | MAN. p.  blank p.  title, as above. p.  PRINTED IN FRANCE | [rule] | All rights reserved by The Olympia Press, Paris | COPYRIGHT 1958. pp. 5-, text with, at the foot of p.  [rule] | Printed January 1958 by S.I.P., Montreuil, France| Dépôt légal : 1er trimestre 1958.
Binding: Bound in green cloth boards, with red endpapers and with black paper labels on spine and front cover, printed in gold and white. Label on front cover measures 5.2 x 8.2 cm. and has a gold border decorated in black with the same type ornament used on the titlepage: [in gold: ] J. P. DONLEAVY | [in white: ] THE | GINGER MAN | [in gold: ] THE OLYMPIA PRESS, PARIS.
Label on spine measures 5.0 x 2.4 cm. and is similarly decorated, but at top and bottom only: [in gold: ] DONLEAVY | [in white: ] THE | GINGER | MAN | [in gold: ] OLYMPIA. Upside-down on the front paste-down is an oblong paper label measuring 6 x 1.5 centimetres on which is printed, within a single-line frame, NOT TO BE SOLD IN | THE U.K. OR U.S.A.. Centred to the right beside this, in larger type and still within the frame, is: FRS. 1.200. Two copies of this first issue have been noted, both having this label upside-down.
Issued in glossy white dustwrappers streaked in yellow and with coloured blot designs in dark blue, red and gray running into each other. Front of dustwrapper: [in white, each letter contained within an individual dark blue blot: ] THE | [in black upper-case script, each letter contained within an individual red blot: ] GINGER | [in black lower-case script, each letter contained within an individual gray blot: ] man [in black lettering: ] BY J . P. DONLEAVY – THE OLYMPIA PRESS, PARIS. Spine of dustwrapper has a similar coloured blot design, but with one blot per colour: [In white, within a dark blue blot: ] THE | [in black upper-case script, contained within an indidividual red blot: ] GINGER | [in black lower-case script, contained within an individual gray blot:] man [in black lettering: ] BY J. P. DONLEAVY.
On the front inside flap of the dustwrapper, and within a red border of type ornament, begins THE STORY OF THE GINGER MAN, an extended account of the how the novel came to be published in the first place and the litigation that was then in progress. This account is carried over to and concluded on the back inside flap. At the conclusion of the text is a red rule, followed by: [left justified:] NOW AVAILABLE IN ENGLAND: | [centered:] Samuel Beckett | [in red:] Molloy | [in black on the next line and to the right:] 13/6 | [in red and centred:] WATT | [in black on the next line and to the right:] 15/- | [in black and centered:] Paul Ableman | [in red and centred:] I HEAR VOICES | [in black on the next line and to the right:] 15/-.
Notes: Maurice Girodias believed that he owned the English language rights to The Ginger Man, including those governing contracts for English editions outside France. Donleavyřs view of the situation was quite different, and thus was born one of the longest and most bitterly fought feuds in the history of publishing. This present edition of The Ginger Man was printed specifically by the Olympia Press to be imported into England to undermine the edition published there by Neville Spearman who had entered into a separate contract with Donleavy. Fearing possible legal action in England, Spearman, presumably with Donleavy’s agreement and co-operation, expurgated their edition of the book. For similar reasons, Girodias pruned his edition as well, but to a lesser degree. Unfortunately, he neglected to take into consideration the reputation his imprint had with the British Customs and Excise authorities.
Referring to an omission in the 1975 edition of this bibliography of the Olympia Press, a letter from Donleavyřs then secretary, Mrs. P. V. Epps, to the present author dated January 3rd 1977 stated: There is one edition of Mr. Donleavy’s book The Ginger Man which is absent from your handlist. However, this is understandable due to the fact that it was published in a limited hard cover 500 copy edition in 1956 [sic], and Mr. Girodias claimed that much of this edition was destroyed by the English Customs. It happens, however, to be a volume which Mr. Donleavy does not presently have, and he is attempting to obtain a copy.
By 1982, Donleavy had evidently located a copy, for on the 7th of May in that year his new secretary, Teresa Miln, wrote to Bernard Stone, a London bookseller: Mr. Donleavy did in the same post as your letter get such a copy, however he is still looking for the same cloth edition 1958 but with the dust jacket containing reference to litigation then being carried on. You will note the dust jacket you presently have has been cut on the fold over containing the legend on the inside cover, and the legend concerning The Ginger Man pasted onto the cover. This [is] because the previous legend might have been in contempt of court concerning the matter sub judice. There may only be a handful of such copies containing this wrapper, but Mr. Donleavy would much appreciate your keeping an eye out for it, and of course any other editions coming into your hands.
It is clear from these letters that when the Olympia Press first published this edition of The Ginger Man, the inner flaps of the dustwrapper contained some account of the ongoing court case between Girodias and Donleavy. Fearing, perhaps on legal advice, that publication of this information might be construed as contempt of court and/or hamper his case, Girodias had the flaps removed and substituted with others carrying less sensitive letterpress. These new flaps are on different paper to the dustwrapper, having a sort of rough, matt finish. Why a whole new batch of wrappers weren’t printed instead it is hard to say, but it may have been because of the expense of additional colour printing.
In December 1997, a copy of the first issue of this edition, with the original flaps, was offered for sale by Quill & Brush Books (P.O. Box 5365, Rockville, MD 20848). A copy of the litigious text was, with great generosity, supplied to the compiler by Quill & Brush Books, and is here reproduced:
THE STORY OF THE GINGER MAN
The story of this remarkable and now famous book is an unusually complicated one. J. P. Donleavy submitted his manuscript to us four years ago, after it had been rejected by several British and American publishers because of its rather raw unconventionality, and because Donleavy definitely refused to leave out any of the rawness and unconventionality. We agreed to publish it provided that some amendments should be brought to the form and style of this novel ,an exuberant first book. This was done, and The Ginger Man appeared in Paris in 1955.
In December 1956, another edition of the book was published in London, unauthorized by us, and rather badly expurgated by the second publisher, as a protection against the implacable vigilance of British censorship. However, the job was so barbarously done that it resulted in the destruction of many of the genuine qualities of the book.
Litigation was initiated by us, and the London publisher adopted the following line of defence: a British Court could not admit the validity of the Donleavy- Olympia Press contract because its object was of an illegal nature, i.e. an obscene book; therefore, their own contract with the author, the second contract, was to be considered the only valid one, its object being a book (the same) dutifully maimed, shorn, and disencumbered from all Rabelaisian appendages.
The laws of Great Britain being what they are, our solicitors warned us in alarm that the line of defence adopted by our adversaries was far from futile; the grave accusation of obscenity, even unsupported, was to raise such echoes in a British Court that we were in danger of losing our case, however unjust such an outcome, however devious the methods of the Defendants.
Our first reaction was unmitigated fury; then we remembered that we had acquired a rather dark fame in England in the past few years as Continental publishers of the outlaw works of Jean Genet, of Henry Miller, of Samuel Beckett, of de Sade, and that we were known as the discoverers and champions of this magnificent masterpiece, Vladimir Nabokovřs Lolita. We reluctantly understood that our solicitors were right.
We were then struck by this major, illuminating discovery: why shouldn’t we withdraw the ladder from under the agile feet of our adversaries? The means were simple, and the prospect healthy: we would ourselves publish an edition of The Ginger Man for sale in England, under our contract also expurgated, but within the limits of reason, and with all due concern for the literary merit of the book.
And this volume is the result. If the London edition is free from the accusation of obscenity, then this edition also is; only we have kept in many sections and passages necessary for the balance, meaning and colour of the book, which the London publisher had suppressed for no discernible reason. And whatever expurgations we have been compelled to perform, we have tried to perform intelligently; we therefore presume that this edition of The Ginger Man deserves even more fully than the London one these comments of the British Press:
A triumph. Manchester Guardian. Sheer excess of horseplay, violence and vitamins. Observer. Has fire enough for a dozen books. Sunday Times. Remarkably authentic and Joycean. New Statesman. Comic dirty and delightful. The Listener, etc., etc.
Whether the British Customs did seize the shipment, as Donleavy states that Girodias claims, is problematical. Certainly, before about 1980 this edition of the novel was all but unknown, but about that year a considerable number of copies emerged almost simultaneously at London book fairs and similar functions. It is possible that the Customs sat on them until the dust settled, and then sold them secretly to a wholesaler who in turn filtered them out into the London book trade, but this seems unlikely. Nevertheless, somebody kept them under wraps for more than twenty years.
The second state dustjacket is identical to the first except the inside flaps are cancels. The front inside flap carries, within a double-line frame, the outer line being heavier than the inner, a short unsigned note concerning The Ginger Man, and refers to the many cuts made in the Neville Spearman edition of the novel published in London. The present edition is admitted to having been cut as well, but much less so, and has therefore gained considerably in vigour and quality, and fully deserves the universal acclaim of the British Press. Brief plaudits are then quoted from reviews in The Manchester Guardian, The Observer, The Sunday Times, &c. The back inside flap carries, within an identical border, advertisements for three other Olympia Press novels, Samuel Beckett’s Molloy and Watt, and Paul Ableman’s I Hear Voices, the first of which is priced at 13/6 and the other two at 15/- respectively, which are said to be DISTRBUTED IN THE UNITED KINGDOM BY A. ZWEMMER LTD., |72 Charing Cross Road, | London WC2.
With the exception of the cancel flaps and the NOT TO BE SOLD… sticker, copies with the second state dustjacket are identical to copies with the first state dustjacket.
Possibly of no interest to anyone other than myself and a handful of other collectors, this was one I have waited a very long time to obtain a copy. I had always been puzzled by the rapid reissue of this title, first published in June 53, and immediately reissued in July 53, the latter being extremely common and this the first being very scarce indeed.
Once in hand the reason for the reissue appears to be the change of address of the publisher on the title page, why the price also disappears from the back cover between first and second issue I cannot guess. This information was always available in the bibliography but somehow I had missed it.
As always the bibliographical description is courtesy of Patrick Kearney, The Paris Olympia Press, The Liverpool University Press 2007. The index number corresponds to the actual location of the description in the bibliography.
1.4.1 AMOROUS EXPLOITS OF A YOUNG RAKEHELL Guillaume Apollinaire, 1953
GUILLAUME APOLLINAIRE | AMOROUS EXPLOITS | of | A YOUNG RAKEHELL | THE OLYMPIA PRESS | 2 bis, rue des Ciseaux, Paris (6 e)
Collation: 120 pp. -78, 84. 18.2 x 13.0 cm, all edges trimmed. Printed on white wove paper.
Contents: pp. [1-4] blank. p.  AMOROUS EXPLOITS |of | A YOUNG RAKEHELL, reverse blank. p.  title, as above. p.  [rule] | All rights reserved in all countries..p. , CHAPTER ONE, reverse blank. pp. -20, text. p.  CHAPTER TWO, reverse blank. pp. -29, text. p.  blank. p.  CHAPTER THREE, reverse blank. pp. -37, text. p.  blank. p.  CHAPTER FOUR, reverse blank. pp. -45, text. p.  blank. p.  CHAPTER FIVE, reverse  CHAPTER SIX, reverse blank. pp. -63, text. p.  blank. p. .CHAPTER SEVEN, reverse blank. pp. -75, text. p.  blank. p.  CHAPTER EIGHT, reverse blank. pp. -84, text. p.  CHAPTER NINE, reverse blank. pp. -95, text. p.  blank. p.  CHAPTER TEN, reverse blank. pp. -103, text. p.  blank. p.  CHAPTER ELEVEN, reverse blank. pp. -110, text. p. , THE END, reverse blank. p.  table of contents, reverse blank. p.  blank. pp. -54, text. p. FINISHED PRINTED [sic]| JUNE 1953 | BY IMPRIMERIE RICHARD | 24, RUE STÉPHENSON, PARIS | Dépôt légal : 3e trimestre 1953. pp. [116-120] blank.
Binding: Plain white wrappers trimmed flush with body of the book, under dark green dustjacket printed in black, with front wrapper framed by border of white, six-pointed stars. Front cover: GUILLAUME APOLLINAIRE | [double rule in white, with thicker lower rule: ] Amorous Exploits | of | A YOUNG RAKEHELL [double rule in white, with thicker upper rule: ] THE OLYMPIA PRESS‘ .
Spine: [reading up spine; horizontally: ] THE | OLYMPIA | PRESS [reading vertically: ] Amorous Exploits of a Young Rakehell [-] GUILLAUME | APOLLINAIRE.
Back cover blank, except for bottom right: PRINTED IN FRANCE | PRICE : 1200 FRANCS.
Notes: A translation, reportedly by Richard Seaver, of Les Exploits d‘un jeune Don Juan, an erotic novel that was first published at Paris in 1905 or 1906 by Elias Gaucher. Although generally credited as an original work by Guillaume Apollinaire, it is actually a word-for-word translation by the poet of Kinder-Geilheit. Geständnisse eines Knaben (Berlin: 1891). For details of the German original, see Hugo Hayn and Alfred N. Gotendorf, Bibliotheca Germanorum Erotica & Curiosa (München: Georg Müller,1912-14) vol. 3, pp. 551,2.
Continuing my fascination with this artist, I purchased this incomplete set last year on e-bay, happy to do so for the wonderful original lithographs, but also because of the original case for them, which I hoped might contain some evidence of the publisher, alas this was not so. The seller had dated them around 1940, which is too late.
Given the subject matter I suspect that this is work for the Diana Slip lingerie range which places it from between 1933-1938. The publisher may well be one of the Vidal group, but this portfolio does not appear within the bibliography. The artist was producing erotic work for Editions d’Antin, and Diana Slip is named as the author of “Princesse Cravache”, also illustrated by this artist and published by d’Antin.
Eugene Klementieff, was a famous artist/ designer, illustrator who used the signature, E.Klem, or just E.K, or sometimes no signature for his erotic works, however his style is so distinctive that it is not usually too hard to identify his work.
So to the images, sadly only 5 of the 20 called for, they are not uncommon on the web, but are often only reproduced in black and white, therefore I hope you enjoy them in their glorious colour versions. If anyone has images of the other lithographs in the set (colour), I would be very happy to add them to this listing.
UPDATE 11-05-17. Not happy with the quality of the images on-line so I have re-scanned at 600dpi, hopefully they will show up better, as they are much clearer in reality.
My favourite kind of book , a mystery title, I say this because although claimed as an Editions D’antin title in “Les Editions du Couvre-Feu”by Chrotphe Bier, (Editions Astarte 2014). The book itself appears only to credit Editions D’Antin as the printer rather than the publisher. This is further complicated by the short list of other books “Sold in the Library” (detail below), which lists titles published by The Obelisk Press and Librarie Astra as well as English versions of Vidal House titles. This can be explained as the lists literally being of titles sold by certain retail outlets rather than being published by them.
Cover of the French Language Edition
The other part of the mystery is the artist behind the illustrations, although unsigned they of outstanding quality and i am tempted to compare them to the work of E.Klem, and having compared them to illustrations from other titled Odeurs du Femmes I am now convinced these are unsigned KLEM , illustrations. In an e-mail communication earlier today Christophe Bier, came to the same conclusion.
And now to the book
FROM A BOOKLOVER’S SPECIAL SHELF-ILLUSTRATED–
MY MOST BEAUTIFUL NIGHTS OF LOVE–
BY MADEMOISELLE SUZY
This edition is reserved exclusively for subscribers.
PRINTED ON THE PRESSES OF THE IMPRIMERIE SPECIALE DES EDITIONS D’ANTIN-17 RUE D’ANTIN PARIS IN THE YEAR MCMXXXVIII
In original covers printed in black and red , 151 pages plus iii. With six beautifully executed, unsigned illustrations in colour tipped in.
Very rare title in the classic flagellation series produced by the Vidal empire in the 1930’s, including works illustrated by Wighead and E. Klem, this is by a lesser artist but of interest in its own right. With a colour cover illustration and 6 illustrations in text by Vera Petroff .