Vintage black and white photograph of swimmers at University of Indiana, circa 1960. (7" X 10"). Very good, light scratch to surface, verso stamp of a pointing finger along with the holographic "60" More

Orioli was a Florentine bookseller best known for privately publishing the unexpurgated first edition of Lady Chatterley's Lover and for his long association with Norman Douglas. This photographic postcard (3 1/4" x 5 1/2") is inscribed "Best wishes from me and my cat/Pino"). On verso, the card is addressed to Robert Ullman and has a message dated "Xmas/1936". Very good, very light crease. More

(c. 1930). A vintage original photograph of the world renowned actor, singer, scholar and political activist. (10 x 8”) from the collection of Kenneth Macpherson. The image is likely a still from the famed movie Borderline, the 1930 silent film primarily noted for its handling of the contentious issue of inter-racial relationships, using avant-garde experimental film-making techniques. Very good, a few small emulsion marks, signed by the photographer ("Shallit/NY"), crop marks on verso. the image was reproduced in the important photography journal, Close Up, which was edited by Macpherson and the Pool Group (including Bryher and HD). (See Vol. X #3, p.286. More

[Beverly Hills], [©1940]. 78pp. A self-published guide to astrology, with a number of amusing observations. Inscribed to the aesthete Baron Alexis de Rede on front pastedown: "To Alexis/with admiration/A true friend". Very good in green boards, a bit faded. More

Chez la petite Lolotte au Palais Royal, Paris, 1887. 204pp. An uncommon erotic work, largely ignored in the literature. Very good in original wrappers, rebound in vellum. One of 120 numbered copies (#95). Very good, a few darkened areas on final sheets. According to scholar Patrick Kearney: "The identity of 'E.D.' remains something of a mystery. Was he Edmond Dumoulin or Emile Desjardins? Both names have been proposed by sources which are normally reliable. Or perhaps, as has also been suggested, there were two authors working for the same publisher who coincidentally had identical initials. The first public suggestion that the author was Dumoulin seems to occur in the entry (no. 175) for Odor di femina in L'Enfer de la Bibliothèque Nationale (Paris: Mercure de France, 1913), the product of the combined talents of Guillaume Apollinaire, Louis Perceau and Fernand Fleuret. The note to the entry reads: "E. D. sur lequel on n'a pas beaucoup de renseignements serait, d'après les uns, un courtier en vins de Bordeaux, selon les autres un functionnaire de la Gironde. Son nom serait Dumoulin. Quoi qu'il en soit, il a publié des écrits libres, jusque vers 1900, chez H[i]rsch, chez D[u]r[i]ng[e], chez Mme R[o]b[e]rt, et chez d'autres. C'est un des plus voluptueux et le plus sensuel des auteurs sous le manteau de la fin du XIXe siècle et parlois il a de l'esprit. Ses meilleurs ouvrages sont: L'Education d'une demi-vierge, excellent roman quit devait avoir une suite, laquelle écrite, n'a jamais paru; Mémoires d'une danseuse russe, l'Odyssée d'un pantalon, Mes amours avec Victoire, Mes étapes amoureuses, Les Stations de l'amour, Les Callipyges, Jupes troussées. La reste ne vaut pas grand'chose, mais l'Education d'une demi-vierge et la Danseuse russe ont quelque sens. The force of the attribution is weakened somewhat by the fact that two of the books listed, L'Education d'une demi-vierge and Les Stations de l'amour, are by a different author entirely, most probably Adolphe Belot. Neverthless, Dumoulin's name is specifically mentioned, and I believe the source of their information to be Charles Hirsch, a French bookseller and publisher who had a shop in London in the last years of the 19th century. As a dealer in erotica, one may reasonably assume that he knew Henry Spencer Ashbee, the great English collector, and as we shall see Ashbee knew the truth of the attribution in the case of one book at least. By 1930, one of the compilers of L'Enfer de la Bibliothèque Nationale had second thoughts concerning Dumoulin. In entry no. 70.4 of his Bibliographie du Roman érotique au XIXe Siècle, Louis Perceau writes: "E. D. serait un nommé Desjardins, qui aurait été professeur de Faculté à Montpellier. Perceau's source of information is unknown to me, and neither do I know where the Christian name Emile seems first to have been used. The earliest I am aware of seems to be late 1950s reprints of Mes étapes Amoureuses which are listed below. But Edmond Dumoulin definitely wrote at least one of the 'E. D.' books, a collection of erotic verses called Rondeaux et sonnets galants (1887). Limited to just 120 copies, it is one of the rarist of the 'E. D.' books, and it is fortunate that the British Library has an exemplar in its Private Case erotica collection. It is part of the Henry Spencer Ashbee bequest, and Ashbee, who knew Auguste Brancart, the book's publisher, thoughtfully added the following pencil note to it: "Received from A. Brancart of Amsterdam. Dec. 1887. 10 francs. Author Edmond Dumoulin, St. Seurin de Cadourne, Medoc, Gironde, France." The suggestion that the pseudonym 'E. D.' might in fact belong to two separate authors with the same initials appears to have been first fielded by Peter Mendes in entry 137-A of his Clandestine Erotic Fiction in English 1800-1930. A Bibliographical Study where he points to the strong stylistic and thematic variations in the books signed 'E. D.' He develops his argument further: "…since the Ashbee note [viz. the one giving Dumoulin's name and address] appears in a copy falling into the more 'normal' heterosexial groupings, 'Desjardins' could possibly have been the author of the texts in which flagellation is the dominant motif; significantly, only 'E. D.' texts of this latter kind were translated into English in this period… Whether one author or two, all the books signed 'E. D.' were first published at Amsterdam by Auguste Brancart between 1888 (Rondeaux et sonnets) and 1892 (Maison de Verre and Mémoirs d'une danseuse russe). In all, there were eighteen separate titles published, although one of them, Après le bal (1889) was a separate publication of the third playlet included in Théâtre Naturaliste, published the same year. Nevertheless, even seventeen separate novels in the space of four years is an achievement, and lends support to Mr. Mendes' theory. More

London (1971). 4to. Barrington was the publisher of several male nude magazines, beginning in the 1960s and was arrested and imprisoned for pornography in the 1960s. He subsequently issued these publications in a more limited way in order to avoid legal problems. One of 100 signed copies (#16), very good in plain blue wrappers with spiral binding. More

Hamburg: Christian Hansen Schmidt (1954). 78pp. A forceful work about the injustice of § 175, drawing on examples of recent prosecutions for homosexual acts. Illustrations by E. Brucks. Very good in illustrated wrappers. More

Wiesbaden Tirana Verl. (1952). 64pp. Uncommon post-War auotobiographical novel dealing with his homosexuality during the war See Hergemoller, Mann für Mann, Biographisches Lexikon zur Geschichte von Freundesliebe und männlicher Sexualität im deutschen Sprachraum, Hamburg 1998 @123-24. Very good in wrappers, light browning to cover. More

Paris: Alyscamps Press (1994). The Ode was originally published in April 1926 in the Revista de Occidente and is considered one of the finest paeans to friendship in Spanis and Lorca greatly admired Dali's work for its symmetry, objectivity and lack of sentimentality. This English translation by Christopher Sawyer-Laucanno was issued in an edition of 100 signed broadsides (#22) and incorporates two half-tone photographs of the pair taken in the 1920s. Very good on handmade Zerkall paper (60 cm x 40 cm). More

Paris: Les Editions Parisiennes [1933]. 249pp. A survey of the sexual attitudes of Moroccans in the 1930s, the author presents his observations as a travelogue with numerous references to prostitution and homosexuality. The book bears a printed dedication to Francis Carco, Very good in original wrappers, signature and ownership stamp on front endpages Uncommon. More