Paris: La Revue Blanche (1 Octobre 1896). Soft cover. Jackson contributes this essay on homosexuality and its place in society. His philosophical argument draws on Darwin, Raffalovich, Kraft-Ebbing, Havelock Ellis and others and is quite forward-looking in its plea for acceptance. Very good in original wrappers. Also included is the first appearance of Robert Scheffer's work, "Le Prince Narcisse: etude passionelle," a gay work subsequently published the following year. Very good, light wear and browning to wrappers and spine, small discoloration at spine.
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London: The Century Guild: Hobby Horse (October 1892). 4to. The Hobby Horse was a quarterly Victorian periodical in England published by the Century Guild of Artists and ran from 1884–1894. Unlike its successors, The Yellow Book and The Savoy, The Hobby Horse was not solely committed to an elite aestheticism and it contained a variety of essays on the social role of art and artists. This issue contains a long and laudatory essay by Sayle, a fellow Uranian poet, on Nicholson's collection of pederastic sonnets, Love in Earnest. See d'Arch Smith, Love in Earnest @ 76. A very good copy of an uncommon publication, covers are lightly marked and browned with edgewear and some light loss to spine.
Two autograph letters from the acclaimed painter to his longtime friend and confidant, Charles Kains-Jackson, both dated 1926. Tuke was best known for his paintings of maritime subjects, particularly of nude young men at the beach. The first is dated 11 February 1926, toward the end of Tuke's nine-week stay in Jamaica and was written on the letterhead of the Waterloo Hotel on Black River. Tuke writes: " I have done quite a lot of sketches & studies & found some good subjects, if one was ever to come back here for any length of time." The second letter was dated at Hampstead, England on 4 May 1926, shortly after his return, discussing his plans to visit the artist colony at Kardomah, Wales with friends: "Masson, Colin, and Towsey are all staying this week-end with Sidney Lomer!" Tuke's patron Sydney Lomer once famously asked Tuke to define the genitals more clearly in one of his paintings. "Colin' was possibly Colin Goodwyn, a model for his 1900 painting 'The Coming of Day'; 'Masson' was in all probability the artist's close friend Charles Masson Fox (1866-1935); and the final guest would be the photographer Stanley Towsey. Tuke also writes "If you come here I can show you a number of my sketches and you can inspect the new room I have added to the house." Signed as H .S. Tuke, each 2 pages, the first 8 1/2x5 1/2 inches, 21 1/2x14 cm, and the other a bit smaller; moderate wear and soiling to the first letter and minimal wear to the second.