A delightful romp through a garden of devilish enticements.

Commissioned by and for wealthy aristocrats for their private amusements, we introduce you to a selection of stories, poems, limericks, and bon mots assured to delight the most refined of connoisseurs. Complimented by rare erotic lithographs by renowned illustrator Eugene Lepoittevin.

Lepoittevin’s Devils first appeared to acclaim in 1832. His original devil was an impish troublemaker. At the behest of his publisher, he created a new series of lithographs featuring his devils ala erotique. The drawings are more humorous than titillating and reflect the sense of absurdity prevalent in European eroticism. Even so, the drawings were long banned in Europe and the United States, with the government going so far as to confiscate copies intended for the Kinsey Institute in 1956.

The selection of writings is culled from humorous erotic pastiches and rare writing privately printed for exclusive collectors by underground publishers that have long been hidden in the Private Case of the British Library and the L’Enfer of the Biblioteque nationale du France.

Bawdy Tales is designed with the collector in mind, utilizing vegan leather and gold embossing to simulate period morocco binding. Includes a bound-in black ribbon bookmark.

Art Historian Sarah Burns introduces Lepoittevin’s work and career. Expert collector of written erotica, “Lady Fanny Woodcock” contributes a short history of the erotic book in Western culture.

Sarah Burns (Ph.D., University of Illinois, Urbana-Champaign) is Professor Emeritus of Art History, Indiana University, Bloomington. She is the author of The Emphatically Queer Career of Perkins Harnly and His Bohemian Friends (Process, 2021).

“Lady Fanny Woodcock” is the sobriquet of a respected collector of erotic books and student of their bibliographic history.

From the original release: On highly-detailed canvases that are packed to the margins with strange symbols, bleeding body parts, Bible verses, and nightmare genitalia, Joe Coleman paints the wondrous carnival of his psychotic universe. His work is even blessed by a blurb from Charles Manson: “His art is something else. Praise! Praise! Praise! He’s a caveman in a space ship.” 

This is an artist no horror fan can afford to miss: He does serial killers, sideshow freaks, deranged sex, evil doctors, and religious iconography like no one else on Earth. This is a superb introduction to Coleman’s world and work, with a biographical article, photos, 32 color plates, and numerous illustrations. Warning: Disturbing!

Twenty-six years later, Joe Coleman is recognized as a genius lauded by critics and collectors throughout the world.

“There was never an artist who came close to capturing horror and dread like Lee Brown Coye. He was master of the weird and grotesque illustration. Coye’s sketches had the shape of nightmares.”
—Robert Weinberg, TheWeird Tales Story

“It was my belief that a good drawing was a good drawing, whether it was in the archives of the Metropolitan Museum or in a pulp magazine.”
— Lee Brown Coye

Pulp Macabre showcases Lee Brown Coye’s little-known but spectacular pulp era featuring 100 images. No other artist working in mid-century pulp fiction created work as twisted as Lee Brown Coye. His eerie cover art and illustrations graced many Arkham House books, most notably those by H.P. Lovecraft.

By the 1970s, after surviving a life-threatening illness, Coye would outdo himself, creating lurid illustrations exclusive to rare privately published books and fanzines. With nearly one hundred gloriously rendered Coye-penned images, Pulp Macabre showcases Coye’s final and darkest era, containing some of the most passionately ghoulish artwork ever made.

Pulp Macabre is co-published by Feral House and Sacred Bones of Brooklyn, NY.

A new edition for adults of the classic children’s stories also includes a World War II-era parody entitled “Struwwelhitler”.  This sadistic classic includes Sarita Vendetta’s macabre illustrations to Heinrich Hoffmann’s verse, and the entire original edition in color.

Apocalypse, maybe?

We all want to experience something remarkable in our lifetimes …even if that something results in our own demise.

The End is at Hand is a collection of short essays about how people throughout history believe the world would end. The book explores how it has all ended before, when we mistakenly thought it would end again, and the many ways it could end in the future. Though organized chronologically, beginning with prehistoric extinctions and extending into the distant future when the universe may (or may not) collapse. Nothing lasts forever, including the worlds we inhabit – human society, our planet, or the entire universe.

The End is at Hand entertains as much as it informs, striking a balance of wry humor with scientifically backed research. Author and artist Darrel Perkins complements these cataclysmic tales with finely crafted linocut illustrations that beautifully evoke impending doom.

Author Bio: Darrel Perkins is a printmaker, illustrator, and educator from Providence, Rhode Island, USA. He earned an MFA in illustration from Edinburgh College of Art in Scotland. His work has been exhibited and published throughout the US, Europe, and the Middle East over the past decade. Perkins iscurrently a professor of Visual Communication at American University in Dubai.

Kim Jong Il’s People’s Republic of North Korea is a gigantic installation, a simulation, a play. Eva Munz, Christian Kracht and Lukas Nikol traveled to this land to take pictures of a country from which there are no pictures. What they show in The Ministry of Truth is a window view of the gigantic 3D production of Kim Jong Il, who writes the nation’s statistics and authors its film script.

Here is the state as the ultimate environmental art, a living dispute to American propaganda.

Eerie Publications’ horror magazines brought blood and bad taste to America’s newsstands from 1965 through 1975. Ultra-gory covers and bottom-of-the-barrel production values lent an air of danger to every issue, daring you to look at (and purchase) them.

The Weird World of Eerie Publications introduces the reader to Myron Fass, the gun-toting megalomaniac publisher who, with tyranny and glee, made a career of fishing pocketbook change from young readers with the most insidious sort of exploitation. You’ll also meet Carl Burgos, who, as editor of Eerie Publications, ground his axe against the entire comics industry. Slumming comic art greats and unknown hacks were both employed by Eerie to plagiarize the more inspired work of pre-Code comic art of the 1950s.

Somehow these lowbrow abominations influenced a generation of artists who proudly blame career choices (and mental problems) on Eerie Publications. One of them, Stephen R. Bissette (Swamp Thing, Taboo, Tyrant), provides the introduction for this volume.

Here’s the sordid background behind this mysterious comics publisher, featuring astonishingly red reproductions of many covers and the most spectacularly creepy art. Watch the trailer below: