Books for Sale: Max des Vignons, Betty Libertine. Orné de quatre eaux-fortes originales de G. Smit, Librairie Artistique Paris, 1923.

Rarish original, complete with illustrations.


Max des Vignons, Betty \libertine. Orné de quatre eaux-fortes originales de G. Smit, Librairie Artistique Paris, 1923. In original publishers illustrated cover printed in blue and red. 199 pages + four loose illustrations. General wear to covers Very good.

Librairie Artistique et Édition Parisienne réunies [Paul Brenet], on the cover, it only says Librairie Artistique

Cover illustrated in blue and 4 etchings, headbands at the top of chapters and culs-de-lampe. / 1 illustrated cover in blue, 4 aqua forte illustrations, and some head and tail pieces pages 199

Second volume d’une trilogie, composée de : Betty petite fille, Betty libertine et Betty passionnée.

Reference : Bécourt 14 : Condamné par le tribunal correctionnel de la Seine 17e chambre le 14 mai 1954.

French Extract (courtesy of Bibliocuriosa)

Il y avait un manège : presque en face, ils s’y rendirent directement, comprenant que l’amant devait au moins jouir du spectacle.

Certes, il aurait été aisé de se mettre à cheval, sur la bête de bois, Betty préféra s’installer sur la tête, les jambes ballantes. On distinguait ses cuisses blanches ; la robe sur le devant se chiffonnait. Elle apparaissait ainsi dépoitraillée, vraiment saoule, mais toujours splendidement belle en son audace.

Le manège vira, vira, la troupe des hommes sur le terre-plein, s’accroissait, tous les yeux lubriques se fixaient sur la jeune fille. Des élégants s’étaient mêlés à cette bande, des théâtreux en rupture de portants.

Immédiatement Betty fut classée : grande mondaine ; c’était la dame qui était jolie et faisait la noce. On voulut savoir à qui elle appartenait, Gravant ne paraissant susceptible de jouer le rôle de banquier.

On dut attendre longtemps, sur ces chevaux de bois, elle s’attardait, se grisait de mouvements, de bruits, de lumières. Elle s’amusait follement, n’étant plus dans la nécessité de conserver un minimum de tenue. Non plus, elle ne comptait, et cela lui procurait une sensation de liberté incommensurable.

Si sa bonne mère l’avait vue, elle aurait été bienheureuse. Quand elle sauta à terre, vingt mains se tendirent vers elle comme pour la soutenir. Les propriétaires de ces mains étaient en habit, le claque sur l’oreille, le havane aux lèvres.

Elle leur tira la langue et en se déhanchant pour échapper, le sein décidément curieux, jaillit brusquement hors du satin. Des doigts la frôlèrent elle se sentit palper audacieusement. On la voyait nue sous la robe, il devenait inutile de se gêner.

ENGLISH Trans

There was a merry-go-round: almost opposite, they went straight to it, understanding that the lover must at least enjoy the spectacle.

Of course, it would have been easy to get on horseback, on the wooden beast, Betty preferred to sit on her head, her legs dangling. His white thighs could be distinguished; the dress on the front was crumpled up. She appeared thus bare, really drunk, but still splendidly beautiful in her audacity.

The merry-go-round turned and turned, the troop of men on the embankment increased, all the lustful eyes were fixed on the young girl. Elegant people had mingled with this band, theatrical people who had run out of doors.

Betty was immediately classified: great socialite; it was the lady who was pretty, and was making the wedding. They wanted to know to whom it belonged, as Gravant did not seem likely to play the part of banker.

They had to wait a long time, on these wooden horses, she lingered, intoxicated with movements, noises, lights. She was having a great time, no longer being in the need to maintain a minimum of dress. Nor did she count, and that gave her a feeling of immeasurable freedom.

If her good mother had seen her, she would have been blessed. When she jumped to the ground, twenty hands were stretched out to her as if to support her. The owners of these hands were in coats, slapping their ears, and havana on their lips.

She stuck out her tongue and, swaying her hips to escape, her bosom, decidedly curious, suddenly burst out of the satin. Fingers brushed against her, she felt herself feeling boldly. She was seen naked under the dress, and it was useless to be embarrassed.


 









See Also

Books for Trade: Max des Vignons, Miss Dean, Librairie Artistique, Paris ,v. 1920?


This Book is for Sale

Max des Vignons, Betty Libertine. Orné de quatre eaux-fortes originales de G. Smit, Librairie Artistique Paris, 1923.

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Books for Sale: Max des Vignons, Betty Passionnée. Orné de quatre eaux-fortes originales de G. Smit, Librairie Artistique Paris, 1923.

This Book

Rarish original, complete with illustrations.


Title Page

Max des Vignons, Betty Passionnée. Orné de quatre eaux-fortes originales de G. Smit, Librairie Artistique Paris, 1923. In original publishers illustrated cover printed in blue and red. 199 pages + four loose illustrations. General wear to covers about good.


Cover


Back Cover







See Also

Books for Trade: Max des Vignons, Miss Dean, Librairie Artistique, Paris ,v. 1920?


This Book is for Sale

This Book

Max des Vignons, Betty Passionnée. Orné de quatre eaux-fortes originales de G. Smit, Librairie Artistique Paris, 1923.

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Books for Sale – Aime van Rod-Flora en Pension-Librairie Artisrique- Front-cover in color, frontispiece and 4 B&W illustrations. By Topfer, G. aka Smit, Gaston-1916 (1923)


This Book


 



Aime van Rod-Flora en Pension-Librairie Artisrique- 1916 (1923) -G.Smit-1st, Published and Printed by; Collection des Éditions Parisiennes,  Front-cover in color, frontispiece and 4 B&W illustrations. By Topfer, G. aka Smit, Gaston. In original publishers paper covers. Cover illustration in colour, with text in red and blue, spine printed in blue, author, title, Priix Fr 50 ( light over stamp 10). Librairie Artistique et Parisiennes Reunies,66, Blvd, Magenta Paris 10. Erotic motif in blue on back cover. Very Good condition Complete First thus, Rare.

Notes: The first edition was published by the Paris Edition [Roberts & Dardaillon] in 1914 with illustrations by J.R ?. Republished by the Librairie Duponchelle under title: Daisy Lennox, Discipline for young girls (c. 1960)

The Illustrations


Frontispiece


 


 



Extract French Courtesy of Bibliocuriosa (English translation) Below

Alors Maud se mit sur son séant, puis elle se retourna, se mit à genoux.

— Votre figure dans l’oreiller ! Faut-il qu’on vous dise tout ce que vous avez à faire ? N’y mettez pas de mauvaise volonté, sinon il va vous en cuire !…

La jeune fille obéit. Sur ses bras repliés elle appuya son front, cachant sa face dans l’oreiller de sorte que la partie menacée par le fouet était très élevée et dans une position fort propre à être bien fouettée.

Cela fut mieux encore lorsque miss Clench, avec des gestes précieux qui eussent peut-être été fort risibles en toute autre circonstance, eut retroussé la chemise de nuit et l’eut rejetée sur la nuque de la patiente.

Elle découvrit ainsi un dos souple et cambré point maigre ainsi qu’on l’eût pu croire d’après la silhouette de Maud Willis, et un séant fort rebondi.

Cette position ridicule et profondément humiliante pour l’intéressée, me rappelait un sujet de gravure ancienne que j’avais vue je ne sais plus où et qui portait comme titre : « Le clystère ».

— Vous avez ce qu’il faut, miss Davies ? demanda Rachel.

— Voici, répondit la surveillante en présentant une sorte de large palette de bois, garnie d’un manche court, quelque chose comme le battoir des lavandières.

Miss Rachel s’en empara et posa la main gauche sur les reins nus de Maud.

— Miss Clench, dit-elle encore, vous devriez bien lui appuyer sur la tête pour l’empêcher de la relever, car elle ne manquera pas de le faire tout à l’heure. Mais essayez un peu de vous affaler, Maud, et vous allez savoir ce que cela vous en coûte !…

Elle parlait à voix presque basse. Dans le dortoir tout se taisait, on eût dit que toutes les élèves étaient endormies. Cependant, en regardant vers Annie Morton, je vis que cette dernière soulevait légèrement sa tête pour apercevoir le lit de Maud et ce qui s’y passait. Au delà de son lit, dans l’ombre, je vis également d’autres têtes et d’autres bustes se soulever, mais mon attention fut brusquement attirée par un claquement sec suivi d’un cri assourdi. Miss Rachel venait d’appliquer le premier coup de la correction en plein sur les rotondités charnues de Maud et la malheureuse exprimait déjà sa douleur. Alors je ne vis plus qu’elle. Il me semblait que chaque coup se répercutait sur ma propre chair et une chaleur intense imprégnait peu à peu toutes les fibres de mon corps.

Je ne pouvais détacher mes yeux de cette scène extraordinaire. Maud, la tête basse, les épaules effacées, criait, hurlait. Mais ses cris et ses hurlements étaient étouffés par l’oreiller où elle enfonçait sa face. De temps à autre la douleur cuisante la soulevait. Elle essayait de redresser sa tête, mais miss Clench lui appuyait rudement sur la nuque. Parfois aussi elle tentait d’allonger ses jambes, d’effacer en s’aplatissant ses reins surélevés, mais miss Rachel fouettait plus violemment et grondait :

— Voulez-vous bien ne pas bouger ! Voulez-vous rester en place ! Osez un peu vous allonger ! Dites ? Dites ? Dites ? Dites ?

Et Maud se recroquevillait rapidement présentant de nouveau, plus haut, mieux exposé pour ainsi dire, l’endroit sur lequel la fouetteuse s’escrimait.

Cette large palette de bois, ce battoir, causait en frappant la chair un bruit semblable à celui qu’eut fait la main nue, mais plus clair, plus sonore encore. Inutile de dire que, malgré la diminution de lumière, je pouvais constater la coloration de plus en plus forte de la chair fouettée. J’en voyais aussi les moindres soubresauts comme les bonds terribles et malgré moi je suis toute honteuse de le confesser ici, je ressentais un trouble étrange à la vue de cette chair claquée, à l’audition de ce bruit caractéristique, à la pensée de l’humiliation et de la souffrance que ressentait ma voisine.

Extract English translation
Then Maud sat up, then she turned round and knelt down.

“Your face in the pillow!” Do you need to be told everything you have to do? Don’t put any ill will into it, otherwise it will hurt you…

The young girl obeyed. On her folded arms she leaned her forehead, hiding her face in the pillow, so that the part threatened by the whip was very high, and in a position very suitable for being well whipped.

It was still better when Miss Clench, with precious gestures which would perhaps have been very laughable under any other circumstances, had rolled up the nightgown and thrown it back on the back of the patient’s neck.

She thus discovered a supple and arched back, not thin, as might have been supposed from the figure of Maud Willis, and a very plump seat.

This ridiculous and profoundly humiliating position for the person concerned, reminded me of an old engraving subject that I had seen I don’t remember where and which bore the title: “The Clyster”.

“You have what it takes, Miss Davies?” asked Rachel.

“Here,” replied the supervisor, presenting a sort of large wooden pallet, trimmed with a short handle, “is something like the washerwoman’s beater.”

Miss Rachel took hold of it and laid her left hand on Maud’s bare loins.

“Miss Clench,” she said, “you ought to press her on the head to prevent her from raising it, for she will not fail to do so presently.” But try to slouch a little, Maud, and you’ll know what it costs you…

She spoke in an almost low voice. In the dormitory all was silent, it seemed as if all the pupils were asleep. However, looking at Annie Morton, I saw that she was raising her head slightly to see Maud’s bed and what was going on there. Beyond her bed, in the shadows, I also saw other heads and other busts lifting, but my attention was suddenly drawn by a sharp snap followed by a muffled scream. Miss Rachel had just applied the first blow of the correction right to Maud’s fleshy roundness, and the unfortunate woman was already expressing her grief. Then I saw only her. It seemed to me that each blow reverberated through my own flesh and an intense heat gradually permeated every fiber of my body.

I could not take my eyes off this extraordinary scene. Maud, with her head bowed and her shoulders effaced, cried out and screamed. But her cries and howls were stifled by the pillow in which she buried her face. From time to time the stinging pain lifted her. She tried to raise her head, but Miss Clench pressed her the back of her neck. Sometimes, too, she tried to lengthen her legs, to efface her raised loins by flattening herself, but Miss Rachel whipped more violently and growled:

“Will you not move?” Do you want to stay put! Dare to lie down a little! Say? Say? Say? Say?

And Maud quickly curled up, presenting again, higher, better exposed, so to speak, the place on which the whipper was screaming.

This large wooden pallet, this beater, caused a noise as it struck the flesh similar to that which a bare hand would have made, but clearer and more sonorous still. Needless to say, in spite of the decrease in light, I could see the stronger and stronger coloring of the whipped flesh. I also saw the slightest jolts as well as the terrible leaps, and in spite of myself I am quite ashamed to confess it here, I felt a strange disturbance at the sight of this slammed flesh, at the hearing of this characteristic noise, at the thought of the humiliation and suffering that my neighbor felt.



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Books for Sale: Virgans, Jean de, Flagellées, Librairie Franco-Anglaise, 6 illustrations. G. Smit. G Topfer. Paris n.d.1920

This Book

Another foray into my bookcase seeking titles not previously listed, this one, published by Librarie Franco-Anglaise, a publisher whose books tend not to fare too well, as if not rebound they are likely to perish because of poor paper quality, This particular title is preserved in a very nice binding, and has a very pleasant tactile, size and feeling. You can’t get that on the internet, Perhaps the simplest description of the internet:-

“It totally lacks feelings.”


Librairie Franco-Anglaise. French publisher who was active in Paris c. 1910 until 1935. Some editions add the following publisher name(s): Legrand and Chevallier or M. Legrand alone (after 1919). Many of the publications of the Librairie Franco-Anglaise were first published at the Librairie du Temple.

For detailed information follow links

Bibliocuriosa Librairie_Franco-Anglaise

Bibliocuriosa Librairie_du_Temple


Gaston Smit, also known under the pseudonyms Georges Topfer and James Barclay, is an illustrator about whom little is known. We assume that his real name is Gaston Smit since it is under this name that he illustrated passionate novels for the publisher Albin Michel. Smit is best known for his sadomasochistic illustrations for the following publishers: Amateur-Biblio, Curio, l’Édition Parisienne, Éditions P. Brenet, Éditions Prima, Éditions Jean Fort, Librairie Artistique, Librairie Artistique et Édition Parisienne réunies and Librairie Franco-Anglaise. This artist, possibly French, was active mainly from 1919 to 1933. It is not excluded that he may have published illustrations in newspapers or magazines earlier, but we have not found any trace of this.

For detailed information follow link

Bibliocuriosa Gaston Smit


Title page

Virgans, Jean de, Flagellées, Librairie Franco-Anglaise, 1920. 6 illustrations. G. Smit G Topfer. Imprimerie Bossiere, Saint-Armand, Cher. 265 pages, (iv) adverts. Rebound in Half brown leather on dappled pink boards, author, title and elaborate panel in gilt on spine original illustrated paper covers preserved, very good condition.


illustrations

( NOTE, because of the tightness of the binding impossible to produce flat images)



illustration 1


illustration 2

 



illustrations 4

 




Text and Adverts


sample text

 


other titles

 


Prospectus

 


Back Cover



See also


Books for Sale: Van Rod, Aimé, Asmodée, Visites fantastiques au pays du fouet. Librairie Artistique et Édition Parisienne réunies. Paris 1922. Illustrated by G.Topfer


 

Bookcase Archive: BLACKEYES, Sadie (Pierre Mac Orlan) Petite Dactylo. Roman. Suivi de: Les belles clientes de M. Brozen; et du: Maitre d’Ecole; avec un choix de lettres concernant les faits curieux touchant la flagellaton des Misses et des Femmes. Published by Paris, Collection des Orties Blanches, 1933

 

I previously listed an earlier edition of this, which was altogether a more elaborate production, however there is one illustration in this edition that was different to the other so you get to see it again.

Cover

Spine

Title Page

BLACKEYES, Sadie (Pierre Mac Orlan) Petite Dactylo. Roman. Suivi de: Les belles clientes de M. Brozen; et du: Maitre d’Ecole; avec un choix de lettres concernant les faits curieux touchant la flagellaton des Misses et des Femmes.
Published by Paris, Collection des Orties Blanches, 1933gr. in-8vo, 286 p., with 8 illustrations by G. Smit, original brochure. Under the feminine pseudonym of Sadie . Sadie Blackeyes was Pierre Dumarchey, that is to say Pierre Mac Orlan


The Illustrations


Any questions or information about this title please complete a contact form.


See Also

Books for Trade:Daisy Lennox: Le Pensionnat de Madame Clerval; Collection des Orties Blanches 1933