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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.
Dublin: James Duffy. (1864). 233pp. The first edition of Lady Wilde's collection of poems, which bears a printed dedication to her sons Oscar and Willie. Her progressive views on women's rights and Irish independence often involved her in various controversies, but she never altered her views nd was a frequent contributor to progressive magazines. A very good copy in the original decorative green buckram, some wear to covers, gilt edges and titling dulled, occasional light browning. Front endpaper bear a partially erased (and indesipherable inscription. Inscribed by the author on front endpaper to her son Oscar: "For my dear Oscar from his mother." Laid in to the text is a xerox copy of a partial undated letter from Lady Wilde to Oscar, in which she states: ..."but it will not make me happy to know that my two sonsmeet in society and do not speak and are hostile to each other..." At rear is an advertisement for Lady Wilde's 3-vol. "The First Temptation: or, Eritis Sicut Deus", a Philosophical Romance, translated from the German; a novel. Laid in to a marbled clamshell box.
Hamburg : Schenck, 1957. Fine in wrappers.
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.
London, E.S. Ebers. 1841. A good copy in original buff boards, front hinge starting, wear to edges and rubbing to covers. From the library of Richard Olney, with his signature on endpaper. Internally very good.
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).
A leatherbound notebook with 15 holograph poems and various quotations, all of which relate to his Uranian interests. The preliminary page describes his hopes for the publication of the poems, some of which were eventually included in his final published volume. There are numerous amendations and corrections to the text, with several sheets excised and a number of blank sheets. Limp maroon morocco, gilt edges, some handling wear and soiling.
Paris: Les Editions Parisiennes . 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.
Paris: Stock (1926). A book of essays, which includes some new material and several revised versions of earlier works. There is a fictive mention of a "second edition" on the cover, but this is the first appearance of this collection. Warmly inscribed on endpaper to Glenway Wescott and Monroe Wheeler, whom Cocteau had befriended while all were living at the Hotel Welcome in Villefranche sur Mer at this time. There is also a blind-stamp with the recipients name on the title page, along with their bookplate on inside cover. Wescott has made penned notations on the last endpaper. Very good in original wrappers, light loss at head of spine, pages a bit yellowed. An important association copy of one of Cocteau's important texts.
Paris: G. Masson: P. Asselin (1886). Alexandre Lacassagne (1843-1924) was a professor of forensic medicine at the Faculty of Medicine of Lyon and wrote extensively about issues related to homosexuality. This work is an extract from Dechambre's Dictionnaire encyclopédique des sciences médicales (série 2, tome 22, 1886) and became an important milestone and was praised by Havelock Ellis among others. The article is inscribed by the author to his colleague Dr. Charles Vibert, very good in later plain wrappers.
Paris: Éditions de la Galerie Simon [Kahnweiler](1921). 28pp. The precocious writer's first work, which was published when he was only 18 years old. Les Pélican, one of Kahnweiler's most elegant publications, is a two-act satirical play accompanied by Laurens' whimsical, cubist illustrations which capture the absurdist tone of the play. The play was performed for the first time on May 24, 1921 at the Théâtre Michel in Paris to much acclaim. Radiguet, a true enfant terrible, was a protege of Jean Cocteau until his untimely death in 1923 at the age of 19. Very good in custom full blue morocco binding, marbled end papers, with original paper cover mounted at rear. Number 80 of 100 printed copies on Holland laid paper, signed by Radiguet and Laurens. Includes 7 original engravings (one of the tipped in front cover and 2 full page) by the French sculptor and illustrator Henri Laurens (1885-1954).
Garcia Monge: San Jose de Costa Rica (1923). 150pp. A collection of short essays on a variety of subjects by the Uruguayan writer, some of which were extracted from earlier publications. Very good in leather boards, light brownign to endpapers. Warmly inscribed by the author to Enrique Canepa on endpaper.