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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.
One ALS addressed to "My dear Ellis," likely the renowned English researcher on sexuality, Havelock Ellis (1859-1939), a contemporary who had been a protégé of Tuke's father. It discusses the rental of an art studio in London, and Tuke's planned trip to Panama and Jamaica. Tuke's Jamaica paintings from this trip were the subject of a 2015 exhibition. Very good.
London : Vicky Richardson, 2003. Title from label on outside of box. Limited edition of 100 boxes. Consists of a hinged beech wooden box, the interior divided into eight, with objects by type in the partitions. All relate to materials or objects found at or used on the renovation of a house at Dungeness by Simon Conder Associates. Very good condition.
Paris: Librairie Artistique (1923). One of the series of the author's kitsch novels featuring prostitutes, drug addicts, lesbians and gays and assorted goings-on, with an emphasis on flagellation. Very good in original decorative wrappers, one of an unknown number of "deluxe" copies four explicit illustrations by Gaston Smit laid in.
NP: ND . 2 vols. Louise de Vilmorin (1902-1969) was a French novelist, poet and journalist, known for her mordant wit and various love affairs (including Antoine de Saint-Exupery, Orson Welles, Count Paul Esterhauzy, Duff Cooper and André Malraux). Her works, particularly her most famous novel, Madame de, have been described as possessing a sense of libertinage and impertinence and are often set in aristocratic milieus. She was feared by many and her reputation as "femme de lettres and saloniste, legendary clotheshorse and tastemaker, brilliant hostess and home-wrecking man slayer" remains in tact today. Her most impressive production is this lavishly produced assemblage of 60 original photographs by the decorator and antique dealer Victor Grandpierre, mounted on cardboard with rounded corners and gilded, each of which is accompanied by a short poem by Vilmorin. The photographs are a rather surrealistic assemblage of ordinary household objects, as well as assorted antiques arranged to evoke the spirit of her poetry. Issued in an edition of 225 copies, the book was primarily created as a gift for her friends. Two large clamshell boxes with marbled boards, paper labels. Very good, light edgewear, Quite uncommon.
London (1948). Welch's last book, published just before his untimely death. A collection of short stories, including the widely respected "When I was Thirteen", hailed by Edmund White and William S. Burroughs. Very good in a very nice Gothic jacket designed by the author, minor edgewear. One of a limited number of copies printed for contintal E#urope and so designated on verson of title page.
London: Enitharmon Press (1976). A posthumous collection of Welch's intensely personal poetry and a selection of his drawings, with an Introduction by Jean-Louis Chevalier. Mine was a lost and moony life Alone among the fields at night: Or in the loft with the sick smelling apples Blistering along the shelves in the moonlight. Mine was a life all to myself With torn newspaper about my feet, But now I lie beneath this enemy sky At the end of the longest street. Of a total edition of 660 copies, this is one of 60 special numbered copies on blue paper and specially bound. A fine copy. Uncommon.
Shaftesbury: Privately Printed at the High House Press (1926). 79pp. A memorial book published to commemorate the life of Mildred Olivier, the sister of Edith Olivier, who died at a relatively young age. This is Edith Olivier's first publication, and includes essays by herself, as well as by Dorothea Ponsonby, Cecily Foyle, Brian Howard, Pamela Grey of Fallodan, and several others. Stephen Tennant contributed a drawing for the frontispiece and Edith's close friend Rex Whistler contributed several illustrations in the book. The edition was limited to 112 numbered copies, this is copy number 73. One of the earliest books illustrated by Whistler. Very good in patterned paper boards, light cover wear with a bit of label discoloration. Laid in is a 1 page ALS from Edith Olivier on Daye House stationary regarding the publication of the volume.
Lyon: Archives d'anthropologie Criminelle de Criminologie et de Psychologie normale et Pathologique 15 april 1912 (#220). Tome XXVII. The author reviews the medical literature in Germany on sexological issues, with a particular discussion of the work of Magnus Hirschfeld. Very good in wrappers, light sunning and edgewear.
Paris: Livre d'Or (1927). 129pp. A memorial book dedicated to Vivien, the Symbolist poet of Sapphic verse. Illustrated throughout with photographs of the poet and facsimiles of her work. Frontispiece decoration by Manuel Orazi. One of 30 numbered copies on Japon Imperial (#19) of a total edition of 244 copies. Very good, two chips to the spine covers, light wear to covers. Uncommon.