No place (Hull): no date (1971). Photo-illustrated poster, with lettering in orange, printed offset on pale cream paper stock. 46x29cm. Near Fine. Genesis P-Orridge’s first COUM publicity poster, illustrated with a studio photo of himself as a young schoolboy propping up a massive tuba. A row of six smaller b/w photographs appear below, each one featuring a member of COUM, including one of P-Orridge as an adult. From left to right they show Tim Poston, Spydeee Gasmantell (Ian Evetts), P-Orridge, Haydn Nobb (Robb), Jonji (John) Smith, and Brook (Tony Menzies), with the name captions intentionally incorrect. One of..... More about Yes Coum Are Fab and Kinky

An unused sticker, printed in red on a black ground (there was also a variant in green on black). 4.4x9.6cm. Early logo designed by Genesis P-Orridge and used for publicity and for soliciting bookings. Illustration of a limp penis formed out of the word ‘COUM’ and the slogan ‘Your Local Dirty Banned’. Near Fine. More about Coum Your Local Dirty Banned, c. 1972

A double-sided publicity flyer designed to solicit bookings, 1972. White paper stock. 25.4x20.3cm. One side illustrated with a collage by Genesis P-Orridge, printed in green. The other side, printed in black, lists various genres and titles of works, headed by P-Orridge’s statement: “Coum decompositions involve at least all of the following or any combination thereof being evolved to suit each situation and each set of references they meet. Coumpletely independent projects can be accepted as coumissions on request based on multiple skills.” Near Fine. More about Coum Transmissions

An original flyer announcing a COUM production “coumissioned and coumceived for the wonderful Oval House Theatre” in Kennington, London, March 1974. Printed in black on white paper stock, recto only. 29.6x21cm. Designed by Genesis P-Orridge. The performance was the first COUM action to involve nudity, and it incorporated a section featuring Cosey Fanni Tutti as a ‘glamour’ model being photographed by a lecherous snapper, played by Foxtrot Echo. Another photographer, Peter Christopherson, introduced himself to COUM during their lunch in the theatre’s cafeteria and asked if he could take photographs of the show that evening. They immediately dubbed..... More about COUMing of Age

Original invite card to the opening party for COUM’s Prostitution retrospective at the Institute of Contemporary Arts, October 18th, 1976, a notorious event that saw the simultaneous (though gradual) termination of COUM Transmissions and the emergence of Throbbing Gristle. 13.4x10cm. Printed in black on white card stock, with ‘Unsolicited Pornography’ rubber stamp to lower right corner of verso. Illustrated with one of the images displayed in the exhibition, a photograph of Cosey Fanni Tutti reclining on couch in corset and stockings, wearing shades (the image is used to head an article from Curious magazine). Verso lists..... More about Sexual Transgressions No. 5

Sm. 4to. 80pp. (incl. cover). Magazine format printed on newsprint paper. Photo-illustrated throughout. Design by Willem de Ridder. Billed as “The first sex magazine you can share with him, the first sex magazine you can take home to her…”. Contents include reprinted articles from Love, Finger and other Leblovic-published magazines, as well as Annie Sprinkle’s “Whore-o-scope” (w. drawing by Elsa del Puerto) and the story of how Ellen Steinberg became Annie Sprinkle (4pp.). Newsprint slightly age-toned; slight top right corner curl; o/w Very Good. More about The Ladies Room #1 - America’s First Reader-Written Sex Magazine by Women (no place: no...

NY: nd. (c. 1982). Magazine format. Unpaginated (64pp.), newsprint. Photo-illustrated throughout. Designed by Willem de Ridder. Almost the entire publication (a special issue of Love magazine) devoted to ‘artholes’, a collaboration between Annie Sprinkle (later the founder of The Union Labia - Sex Positive Feminists and PPSS - Pornographers Promoting Safer Sex), and the writer, actress, prostitutes’ rights activist (and later the head of the world’s first cross-dressing academy), Veronica Vera, who first met in the late 1970s. Features autobiographical texts, descriptions of sex acts, and numerous photographs (incl. by Charles Gatewood and Joel-Peter Witkin + several by..... More about Love Magazine 83: The Sprinkle Salon Post Art Art in America

NY: Radio Art Publications, nd. (1983). First edition. 32mo. Stapled wrps., unpaginated (60pp.). Printed on semi-gloss paper. Design by Willem de Ridder. One of 1000 numbered copies. In her introduction to the book, Sprinkle thanks her co-author, Veronica Vera, who “did it, like me, for love and for the advancement of Women For Pornography (W.F.P.).” Consists of 26 short, whimsical texts related to a sexual activity or an erotic object, each one illustrated by a photograph on the opposing page, most of them featuring Annie Sprinkle. Near Fine. More about Annie Sprinkles ABC Study of Sexual Lust and Deviations

No place: self-published, nd. (c. 1985). Artist’s book. Oblong 32mo. Cream textured paper wrappers printed in black, saddle stitched. 3opp. Printed on different coloured papers, one of them with a serrated fore-edge. Illustrated, with stickers and glitter added; translucent sealed plastic bag stapled to last page containing hair, an old ticket and two green sequins. Blank page SIGNED in green ink by Annie Sprinkle (embellished with a bright red lipstick print). The text prints a fictional story of how Ellen Steinberg, an art teacher “who didn’t like her name ‘Ellen’ very much” and “was from the..... More about Mirror Image

i) 2 promotional leaflets + 2 photocopied reviews (Village Voice and NY Times) for The Prometheus Project, a group play featuring Annie Sprinkle conceived and directed by Richard Schechner about nuclear destruction, pornography and sexual violence, at the Performing Garage, NYC, December 1985 + circular letter from Annie Sprinkle (December 1985), printed on back of photocopy of ‘Photo Funnies with Annie Sprinkle’ from National Lampoon. ii) 2 postcards of photos by Annie Sprinkle - “Live Sex, Not dead Sex!” (Amsterdam: Galerie Torch, 1987) + “Michelle’s Teddy”, tattoo design by Spider Webb and art direction by Les Barany (New..... More about A group of press, publicity and promotional items from exhibitions and performances by Annie...

Np: The Sprinkle Salon and R. Mutt Press, 1987. First edition. 32mo. Design by Les Barany. Booklet folded accordion style, with 4 panels illustrated with simple line drawings depicting 16 life stages of the author’s breasts, from infancy, pubescence, prostitution, modelling work, experiments with bondage, breast feeding, through to middle and old age, decay and eventual death, beginning and ending with two simple dots. One of 1000 numbered copies. Near Fine. More about The Annie Sprinkle Story by Annie Sprinkle

i) Publicity card for an early production of Sprinkle’s “One Woman Show and Tell”, directed by Emilio Cubeiro at Dominique’s Harmony Burlesque Theater, NYC, June 1989, “Featuring Annie’s Greatest Performance Hits” (Cubeiro was the co-founder of The International Theatre of Poetry and Pain with Lydia Lunch). Illustrated on one side with Sprinkle’s Flashing Finger Puppet card. Stamped and postmarked New York May 30th, 1989 (though there is no addressee). The card suggests “Bring your own camera - all forms of exploitation are welcome”. Short lower left corner crease, o/w Very Good. ii) a photocopy of a 2pp. article..... More about A group of items relating to “Post Porn Modernist”, a one-woman show written and performed by...

An exceptional collection of Suck material, including a complete set of the magazine, the Suck Manifesto by Heathcote Williams, posters from the two Wet Dream Film Festivals organised by the publication’s editors, and various other items of scarce printed ephemera. i) Suck #1-8 (London: BCM/Joy, September 1969 & Amsterdam: Joy Publications, March 1970 - June 1974), all published, including first and second printings of Suck #6 (the second printing was revised, with minor changes, and printed on semi-gloss paper in a slightly reduced format). Newspaper format, each 16pp.-32pp. Profusely illustrated in colour and b/w. Edited by William Levy..... More about SUCK #1-8 + Suck Special Issue - THE VIRGIN SPERM DANCER: An Ecstatic Journey + WET DREAMS -...

i) S.E.L.F. (Sexual, Egalitarian & Libertarian Fraternity) membership card, unused. Black ink on pink card. Folded twice, as issued. Measures 11.7x21.8cm. unfolded. The card also acted as a pass for the festival, which quickly sold out. S.E.L.F. was created by the editors of Suck as a means to arrange the erotic film festival (membership, which was limited to 300, was seen as a way to provide legal cover against potential police intervention). ii) S.E.L.F. Statement. Mimeographed sheet of pink paper. Prints the statement of the aims of S.E.L.F. (“Tenderness, mutual respect, freedom and tolerance - these are all words..... More about A group of printed documents from the 1st Wet Dream Film Festival, the world’s first erotic...

London: MacGibbon & Kee Ltd., 1970. First edition. Maroon paper covered boards. 354pp. Jim Haynes’s copy, with his ownership signature to front free endpaper. Author’s photograph to rear dustwrapper flap by Pete Sanders (Sanders was incorrectly credited in Suck #7 for the controversial nude photograph of her that led to the excoriating letter of resignation she sent to Haynes). Much of Greer’s best-selling book was written in her downstairs studio at the Pheasantry in Chelsea, as well as at the British Library, and the article she wrote for the Cunt power issue of Oz..... More about The Female Eunuch

Paris: Jean Lafitte Editions in association with Joy Publishing, Amsterdam, 1974. First edition. 4to. Staplebound wrps,. 148pp. Another copy, lacking the upper wrapper, but SIGNED, inscribed and dated by Haynes to Felix Dennis on the title page: “Felix - I hope you like this thing. Love, Jim 2 IX ‘74 Paris”. Condition overall Very Good (lack of front cover notwithstanding). More about Hello, I Love You!

The typescript comprises 215 quarto-size duplicated sheets, printed rectos only, and bears some resemblance to the final book (published by Faber in 1984), but provides a far more detailed autobiographical account of Haynes’s life and work. Divided into ten lettered sections, the first part deals with his childhood and reads more as notes towards a first chapter but, as with everything that follows, gives a far higher degree of detail than the finished book (the section's final four pages, for example, prints a transcript from his Cassette Gazette 1 of “An interview I made with my Grandmother Haynes..... More about Thanks for Coming! Author’s duplicated typescript of an early draft, with substantial...