Oscar Wilde
London and New York: John Lane, The Bodley Head and John Lane Company, 1907.

Translated from the French of Oscar Wilde, with Sixteen Drawings by Aubrey Beardsley. The first edition to include all 16 of Beardsley’s illustrations including the unadulterated hermaphroditic title page illustration, as well as the introduction by Robert Ross, and the two leaves with the Cast of the Performance of Salome, as presented in England for the first time by the New Stage Club on May 10 and 13, 1905, and the reproduction of the playbill of the first production of the Operatic Version by Richard Strauss at the Konigliches Operahaus, Dresden on December 9, 1905. Identical to MASON 355 except without the Wm. Clowes & Sons imprint at the foot of the last page of text.

Oscar Wilde
: Privately Printed, 1902.

One of 200 numbered copies of Wilde’s play first written in 1881, and now published for the first time from the author’s own copy, showing his corrections of and additions to the original text. MASON 624.

William Levy
The Hague: Uitgeverij Bert Bakker, 1978.

An ecstatic journey of a boy transformed into a girl for one day only, and her erotic adventures in Amsterdam, magic centrum. A classic publication from the age of sexual liberation, The virgin sperm dancer is an early photobook which illustrates the story of Joop, a young Dutch man who experiences a day transformed as Joopie, a sexually awakened woman. Published as a Suck Special Issue of the Amsterdam-based pornography magazine Suck, The virgin sperm dancer clearly aims to titillate with its uncensored graphic photographs of the escapades in this fantasy. However through the lengthy narrative and exploration of the versatility of sexual experience, Sperm Dancer finds itself as a prototype for later works that explore sexual freedom and concepts of gender. Through depictions of free love in Amsterdam in the 70s with a focus on transsexuality, bisexuality, transvestism, and homosexuality, Sperm dancer avoids gender paradigms of masculinity and power, and includes women’s sexual empowerment and orgasm as a focus of the work. Unusually for a sex magazine, this standalone publication does not appear to pitch its eroticism to a particular sexuality but rather embraces the versatility of sexual experience as being its greatest appeal. The Virgin Sperm Dancer was immediately influential and homaged on the cover of the September 1972 issue of London Oz. A second edition was published in 1978. Suck is touted as the first European sex newspaper and was launched in London in 1969 before moving to Amsterdam to avoid England’s anti-obscenity laws.

Jack London
London: Wm. Heinemann, 1905.

First UK Edition of London’s collection of radical socialist essays: The Class Struggle; The Tramp; The Scab; The Question of the Maximum; A Review; Wanted: A New Law of Development; How I Became a Socialist.

Victoria Racing Club
Melbourne: Victoria Racing Club by Sands & McDougall, 1900.

An extremely well preserved early Melbourne horse racing programme, unused and with all of the sweepstakes leaves. The map shows Flemington Racecourse. Unrecorded in Trove or OCLC.

James Cook; George Forster
Dublin: W. Whitestone, et al., 1777.

Cook’s account in the first two volumes, and Forsters’ in the final two. Each volume with the armorial bookplate of Christopher Nicholslon, County Meath, and the small circle floral bookplate of Australian book collector Iain G. Herriot.

A. B. Becher
London: J. D. Potter, 1859.

Navigation of the Atlantic Ocean. Containing a Brief Account of the Winds, Weather, and Currents Prevailing Therein [BOUND WITH] Navigation of the Indian Ocean, China and Australian Seas. With an Account of the Winds, Weather, and Currents Found Therein Through the Year. Important 19th century navigational guide, the two volumes here issued together. Alexander Bridport Becher worked for the Hydrographic Office of the Admiralty.

Henry A. Fagan
London: Jonathan Cape, 1956.

Science fiction novel by the Chief Justice of the Supreme Court of South Africa, published the year he was appointed to the role. Illustrated by Harold Jones.

A. L. Pullar
Sydney: The Canberra Press, 1933.

Australian dystopian “Yellow Peril” sci-fi in which volcanic disasters destroy Japan causing the Japanese to flee to China, displacing the Chinese to Australia, displacing white Australia to Tasmania.

Tim Dlugos
Washington, D.C.: Jawbone, 1977.

Booklet of the early erotic experiences of the American poet Tim Dlugos (1950-1990). A free verse poetic telling of youthful sexual discovery, gay and hetero, and all complicated relationships smooshing. One of 200 copies. The author’s second published work.

Centurian Publications
Westminster: Centurian Publications, 1982.

Complete in two parts, Centurian Publications fetish magazine focussed on forced feminization and trans domination stories, personals, comics, and artwork, published in the wake of the 1980 film by the same name direct by Kern Vore, and No. 1 featuring the same cover art as the VHS release. Features artwork by Gene Bilbrew, Bishop, Ramm, Adams, Diego, and others. Rare, No. 1 recorded in two public collections, Yale and the Leather Archives & Museum, No. 2 is unrecorded.

Anonymous
[New York]: [Lee’s Mardi Gras], No date.

The stories of three men who take different approaches to cross-dressing. Published without imprint but with the sticker and number stamp of Lee Brewster’s Lee’s Mardi Gras. Possibly Eric Stanton or Gene Bilbrew cover illustration. Single copy recorded in OCLC, at Yale.

Anonymous
New York: Lee’s Mardi Gras, No date.

The story of a 14 year old boy’s boarding school student who is chosen to play the part of Gwendoline in Oscar Wilde’s The Importance of Being Earnest, and finds that dressing as a woman is who he is. Single copy recorded in OCLC, at Yale.

[Reuben Sturman]
[Cleveland]: WWNC, No date.

1960s fetish magazine produced by Reuben Sturman’s World Wide News Corp, though the content likely largely derived from Leonard Burtman, and the influence of John Willie’s Bizarre still ever present. Bettie Page pops up, but the main content is a host of other corseted and rubberized models in short series photographed by Lou Green, Len Barton, and Paul Wagner, alongside artwork by fetish artists Eric Stanton and Gene Bilbrew, including an extract of Staton’s comic story, Deborah, as well as a short text on the attraction of hair by Carlson Wade.