{"title":"Modern Passion","description":"\u003cp\u003eTwentieth-century expressions of love—from Lawrence's controversial Lady Chatterley's Lover to Fleming's romantic thrillers, from Claude Cahun's avant-garde inscriptions to C.S. Lewis's theological exploration of affection. This collection represents modern love's complexity: explicit passion, psychological depth, political context, and philosophical inquiry. Features signed and inscribed first editions, photobooks including Araki's Sentimental Journey, Beardsley's illustrated Venus and Tannhäuser, and works that challenged conventions—including Barbara Cartland's popular romances alongside literary modernism.\u003c\/p\u003e","products":[{"product_id":"forster-where-angels-fear-tread-first-edition-1905-103483","title":"Where Angels Fear to Tread.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA very good first edition of the first novel by E.M. Forster, contrasting English and Italian sensibilities, the title derived from Alexander Pope's An Essay on Criticism: 'For fools rush in where angels fear to tread'. The novel's success established the author as a leading literary light of the twentieth century.\u003cbr\u003e\u003cbr\u003eFirst edition, first issue; 8vo; 2pp. advertisements, followed by 32pp. publisher's catalogue correctly dated '5\/05' and with Forster not listed, some scattered light foxing, mostly constrained to the earlier leaves, burgundy endpapers with faint contemporary ownership inscription to front free endpaper; publisher's cloth with title blocked in black on upper cover and lettered in gilt at spine, a little rubbed and bumped at corners, very minor rubbing to spine edges, slight shelf lean but overall a bright example.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eKirkpatrick A1.\u003c\/i\u003e","brand":"FORSTER, E.M.","offers":[{"title":"Default Title","offer_id":45988111941937,"sku":"103483","price":2200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/103483_f238883b-cb97-4fa6-a20f-e31a8bfdedd0.jpg?v=1780914141"},{"product_id":"robert-indiana-tulip-garden-love-1982-screenprint-109440","title":"Tulip, from The Garden of Love","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003e'The Garden of Love' comprises of six colour variations of Robert Indiana's emblematic, square 'LOVE' composition. 'LOVE' is one of the most recognisable images of the American Pop Art movement and was a pioneering piece of hard-edged abstraction - an approach to painting that became widespread in the 1960s and is characterised by areas of flat colour with sharp, clear (or 'hard') edges. 'The Garden of Love' is just one of a number of adaptations of the original 1964 design. 'LOVE' has been translated into different languages, alphabets, and mediums – most famously into a series of vibrant, large scale public sculptures. \u003cbr\u003e\u003cbr\u003eFirst created in 1964 for the Museum of Modern Art's Christmas card that year, 'LOVE' quickly became the most popular greetings card the museum had ever produced and was later adapted for the design for a national stamp. The straightforward and socio-political overtones of the message of 'LOVE', are irrevocably emblematic of 1960s optimism and even became associated with the anti-war movement in America during this time which Indiana strongly supported. The artist makes reference to the 'flower power' generation, from which the concept of 'LOVE' first sprang, by naming each of the colour variations in 'The Garden of Love' after a type of flower: Tulip, Lily, Zinnia, Rose, Phlox and Lilac.\u003cbr\u003e\u003cbr\u003eScreenprint in colours, 1982, on Fabriano paper, signed, dated, titled, and inscribed 'AP' in pencil, one of 15 numbered artist's proofs, aside from the edition of 100, printed by Domberger KG, Filderstadt, with the blind stamp, published by Prestige Art Limited, Mamaroneck, New York, 68 x 68 cm. (26¾ x 26¾ in.)\u003cbr\u003e\u003cbr\u003e\u003ci\u003eSheehan 126-131\u003c\/i\u003e","brand":"INDIANA, Robert","offers":[{"title":"Default Title","offer_id":46886954565937,"sku":"109440","price":15000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/109440_f30fe128-a814-4c80-8a78-d821593a2dcc.jpg?v=1780920573"},{"product_id":"nobuyoshi-araki-sentimental-journey-first-edition-1971-110757","title":"Senchimentaru na Tabi [Sentimental Journey].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eSentimental Journey is Araki Nobuyoshi's signature work, one of the key photography books of the twentieth century. It comprises photographs made whilst on honeymoon with his wife Yoko in Yanagawa on Japan's Kyushu Island. Araki's exposure of this most intimate of occasions attracted much criticism in a country which still valued a strict code of behaviour, but ultimately, by putting his private life forward for public scrutiny, he paved the way for successive generations of Japanese photographers to work in a similar vein.\u003cbr\u003e\u003cbr\u003eInitially, Araki had intended for Sentimental Journey to contain no text. However, after publication and and at the request of the bookshop Kinokuniya, he wrote a short introduction that rejects the falseness and insincerity of much photography and compares his work to the popular post-war literary form of the 'I' novel. This is the first of a loose trilogy of privately printed books, followed by Okinawa: Sentimental Journey Continued (1971) and Tokyo (1973).\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (238 x 238 mm, 91\/4 x 9 1\/4 in); black-and-white photographs; side-stapled with photo-illustrated card covers, white and black, light wear and soiling, faint stains to rear, foot bumped, a very good copy without the leaf of green paper subsequently added shortly after publication at a bookshop's request; [108]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eRoth, Provoke pp11-12; Roth, The Book of 101 Books: Seminal Photographic Books of the Twentieth Century pp206-7; Parr\/Badger, The Photobook: A History, I p295; Roth, The Open Book: A History of the Photographic Book from 1878 to the Present pp268-9; 802 photo books from the Auer collection p527; Araki: Self, Life, Death p694; A Book of Araki Books! 1970-2005 pp38-45; Japanese Photobooks of the 1960s and '70s pp108-115; Japanese Photobooks 1912-1990 pp406-407.\u003c\/i\u003e","brand":"ARAKI, Nobuyoshi.","offers":[{"title":"Default Title","offer_id":47945184444721,"sku":"110757","price":5000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110757.jpg?v=1780918956"},{"product_id":"pablo-picasso-david-bethsabee-1949-lithograph-112038","title":"David et Bethsabée (d'après Cranach)","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThis work is a unique proof gifted to Geneviève Laporte (1926-2012), Picasso's lover during the 1950s. In 1951, Picasso and Laporte began an affair which lasted for two years and during which time the artist presented her with a number of his works. A poet and writer herself, Laporte published her book 'Sunshine at Midnight: Memories of Picasso and Cocteau' in 1973 in which she recounts Picasso giving her the current work: \u003cbr\u003e'He [Picasso] also pulled out a lithograph to show me, a David and Bethsabée after a painting by Cranach. The date on the first proofs appeared in reverse because for once, said Picasso, he had forgotten that it had to be written back to front on the zinc. The plate shows Bethsabée richly dressed, seated in a garden and stretching out her foot to be washed by a serving woman, while David peers down at her with lust in his eye, from a terrace above… The proof Picasso showed me was pulled on a sheet of paper which had a silken feel. 'It's Chinese paper,' Picasso told me. They don't make much of it anymore. This is the only proof of this state.' He looked at me, while I, fascinated by the lithograph, remained silent. Then Picasso said with a smile: 'Tell me, as you used to do, what you think of it.' I remained speechless, tongue- tied by the beauty and force radiating from this black and white linear image… he put it on the table, took a red pencil and wrote: Pour Geneviève Laporte (épreuve unique). Then he added the date and remarked: 'It's for you. Take care of it, because your print is unique.' Then he disappeared into a cupboard and returned with a very simple white wooden frame. Picasso himself put the lithograph into this frame and Marcel brought it round to my apartment that evening.' (Laporte, Geneviève. Sunshine at Midnight: Memories of Picasso and Cocteau, 1973, Weidenfeld ad Nicolson, London, p.89-90.) \u003cbr\u003e\u003cbr\u003eIn the late 1940s Picasso entered his 'old master period', spending the next decade studying and reworking masterpieces of the past to rewrite them in his own visual language. This work is based on a painting by the German Renaissance painter and printmaker, Lucas Cranach the Elder and depicts the biblical King David gazing upon the beautiful Bethsabée as she bathes. Noted for the use of contour and absence of chiaroscuro in his works, Cranach was a highly skilful and much revered printmaker. Picasso greatly admired the Master Printmakers who had come before him, highlighting the importance of the medium in Picasso's own work.\u003cbr\u003e\u003cbr\u003eLithograph, 1949, on Velin Arches paper, inscribed, dated and signed lower left in red chalk 'Pour Geneviève Laporte (épreuve unique) 26.5.51 Picasso', a rare unique print, dedicated to Geneviève Laporte, his lover during the 1950s, aside from the six artist's and printer's proofs, image: 64.5 x 47.7 cm. (25.4 x 18.8 in.), sheet: 70 x 50 cm. (27.5 x 19.7 in.)\u003cbr\u003e\u003cbr\u003e\u003ci\u003eMourlot 109 (State 10a or 10 bis); Bloch 442; Hatje Cantz 214\u003c\/i\u003e","brand":"PICASSO, Pablo","offers":[{"title":"Default Title","offer_id":48681123381553,"sku":"112038","price":65000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112038_44accfe9-33d4-4cc5-97f4-3576e1d6f300.jpg?v=1780952514"},{"product_id":"robert-indiana-zinnia-garden-love-1982-screenprint-113787","title":"Zinnia, from The Garden of Love","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003e'The Garden of Love' comprises of six colour variations of Robert Indiana's emblematic, square 'LOVE' composition. 'LOVE' is one of the most recognisable images of the American Pop Art movement and was a pioneering piece of hard-edged abstraction - an approach to painting that became widespread in the 1960s and is characterised by areas of flat colour with sharp, clear (or 'hard') edges. 'The Garden of Love' is just one of a number of adaptations of the original 1964 design. 'LOVE' has been translated into different languages, alphabets, and mediums – most famously into a series of vibrant, large scale public sculptures. \u003cbr\u003e\u003cbr\u003eFirst created in 1964 for the Museum of Modern Art's Christmas card that year, 'LOVE' quickly became the most popular greetings card the museum had ever produced and was later adapted for the design for a national stamp. The straightforward and socio-political overtones of the message of 'LOVE', are irrevocably emblematic of 1960s optimism and even became associated with the anti-war movement in America during this time which Indiana strongly supported. The artist makes reference to the 'flower power' generation, from which the concept of 'LOVE' first sprang, by naming each of the colour variations in 'The Garden of Love' after a type of flower: Tulip, Lily, Zinnia, Rose, Phlox and Lilac.\u003cbr\u003e\u003cbr\u003eScreenprint in colours, 1982, on Fabriano paper, signed, dated, and titled in pencil, an artist's proof aside fom the edition of 100, printed by Domberger KG, Filderstadt, with the blindstamp, published by Prestige Art Limited, Mamaroneck, New York, 68 x 68 cm. (26¾ x 26¾ in.)\u003cbr\u003e\u003cbr\u003e\u003ci\u003eSheehan 126-131\u003c\/i\u003e","brand":"INDIANA, Robert","offers":[{"title":"Default Title","offer_id":50048502235441,"sku":"113787","price":15000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/113787_fd48cf1a-4540-44bf-a3b1-c4c2f816709f.jpg?v=1780920574"},{"product_id":"stan-barstow-kind-loving-first-edition-115222","title":"A Kind of Loving.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFirst edition of the author's first book, set against the background of a West Riding industrial town.\u003cbr\u003e\u003cbr\u003eFirst edition, first impression; 8vo; faint offsetting to endpapers, ownership signature to front free endpaper, else unmarked internally; publisher's black cloth, gilt lettering to spine, with the unclipped pictorial dustjacket by Adrian Bailey, printed in olive green, brown, lilac and black, slight toning and dust-soiling, mild creasing and rubbing to spine ends and extremities, else very good.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"BARSTOW, Stan.","offers":[{"title":"Default Title","offer_id":54906421969271,"sku":"115222","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/115222_b4a99197-0cb8-4cae-9890-f3b672330fa9.jpg?v=1780921585"},{"product_id":"redgrove-shuttle-glass-cottage-first-1976-118683","title":"The Glass Cottage","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFirst edition of The Glass Cottage by Peter Redgrove and Penelope Shuttle. Inscribed to D.M. Thomas.\u003cbr\u003e\u003cbr\u003eThis is the second novel by co-authors Redgrove and Shuttle, who have been described by The Times as 'a combined writing-force, who also greatly enrich fiction'.\u003cbr\u003e\u003cbr\u003eFirst edition; 8vo; inscription to title page, minor toning throughout; red cloth hardcover, original pictorial dustjacket, minor wear and toning to dustjacket, small crack in spine of dustjacket; 205pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"SHUTTLE, Penelope; REDGROVE, Peter.","offers":[{"title":"Default Title","offer_id":55486456463735,"sku":"118683","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/118683.jpg?v=1780920374"},{"product_id":"alec-soth-allowing-flowers-first-edition-2008-117832","title":"Allowing Flowers.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eAlec Soth produced Allowing Flowers as part of a fundraising effort by CommonBond Communities, the largest nonprofit housing developer in the Upper Midwest. The book was never available commercially. Each of the 12 photographs features flowers, floral print clothing, or depictions of flowers.\u003cbr\u003e\u003cbr\u003e'Soth captures the humanity of the word \"home\" in a powerful collection of images featuring seniors, families and children who live in the Minneapolis and St. Paul area. The book features photos of the very people CommonBond helps; their 'common bond' is living in CommonBond Communities' affordable apartments and town homes.'\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (286 x 307 mm, 11¼ x 12 in); colour photographs, text by Denny Haley; pictorial paper-covered boards over cream wrappers, publisher's cream card slipcase with spine printed in colours, fine; [32]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"SOTH, Alec.","offers":[{"title":"Default Title","offer_id":55817093022071,"sku":"117832","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117832.jpg?v=1780910452"},{"product_id":"indian-miniature-murshidabad-mughal-119661","title":"[The Prince Encounters a Village Girl at a Well],","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eScenes painted around imagined amorous encounters between the 'prince and village girl' were popular among artists during the late Mughal period in centres such as Delhi, Lucknow, and Murshidabad. The concept of 'love at first sight' was similarly echoed in the tradition of the courtly poets of the pan-European middle ages and can be seen echoed through their visual arts.\u003cbr\u003e\u003cbr\u003eThe inspiration behind the theme in this painting was likely rooted in Persian literary sources, the Nayrang'i Eshq (The Charm of Love) by Mughal Sufi poet Ghanimat Kunjahi (d. 1695 AD), being one such example. Written during a period of considerable Muslim-Hindu cultural interaction, the poem was later absorbed into Sanskrit works and grew further in popularity. One notable section of the poem (stanza 40.7) describes how in pursuit of a stag, Shahid comes upon a village where he is struck by the sight of village girls at a well and is particularly struck by the beauty of Wafa, the daughter of the village headsman (see C. Shackle, Persian Poetry and Qādirī Sufism in Later Mughal India: Ghanīmat Kunjāhī and his Mathnawī-yi Nayrang-i 'ishq, in The Heritage of Sufism: Volume 3, Late Classical Persianate Sufism, Boston, 1999). \u003cbr\u003e\u003cbr\u003eIn this painting, a beautiful maiden leans across to offer the handsome stranger a drink from the well. Neither appears abashed, and their eyes fix upon each other as if a spell has been cast. Of note is the way their hands come together around the vessel of water, though they do not touch. The mono green background gives a prominence to this encounter, watched by the other village girls. There are subtle details that give context to the scene – the stranger's courtly attire and jewelled ruby dagger. His companion's falcon hints at their noble status. By contrast, the village girl's sari is tied in the style of a working women as she draws water from the well. For notable examples, see Indian Painting 1600–1870 (Oliver Forge \u0026amp; Brendon Lynch, New York, 2012) and Painting 91 in Domains of Wonder (B.N Goswamy \u0026amp; C. Smith, 2006).\u003cbr\u003e\u003cbr\u003eSingle miniature painting on card, opaque pigments with gold, depicting a scene with a Prince on horseback accepting a drink from a gold vessel from a village maiden, miniature 282 x 179 mm, full album page 394 x 255 mm; painting framed within multiple gilt rulings, innermost frame painted with delicate pink and white flowers on a spiralling green vine set against a richly gilt background, some very minor surface soiling, overall in exceptionally bright and attractive condition, framed and glazed.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"[INDIAN MINIATURE PAINTING].","offers":[{"title":"Default Title","offer_id":56139472863607,"sku":"119661","price":18750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119661.jpg?v=1780915891"},{"product_id":"ian-fleming-spy-loved-me-first-edition-121279","title":"The Spy Who Loved Me.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eOne of the greatest Bond novels, a departure from other works by Fleming as it is more experimental in nature. The story is told in the first person by Vivienne Michel, a fictional character, to whom we are introduced as co-author on the title and pre-title pages. \u003cbr\u003e\u003cbr\u003eAs with much of the author's oeuvre, many incidents from his own life were used in the making of this fine novel, unusually told from the perspective of a female protagonist.\u003cbr\u003e\u003cbr\u003eFirst edition, first impression; 8vo (195 x 135 mm); publisher's grey cloth, dagger device to upper cover in blind with the blade in silver, silver lettering to spine, publisher's colophon embossed in silver to lower spine, red endpapers, pictorial dust-jacket by Richard Chopping with publisher's original price 15s.net, spotting to p220, outer flap and rear panel to dust jacket, minor signs of shelf wear and rubbing, minor blemish to fore-edges, dust-jacket in remarkable state of preservation, overall very good condition; 221pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"FLEMING, Ian.","offers":[{"title":"Default Title","offer_id":56467201327479,"sku":"121279","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/121279_d27c1d79-ee37-4964-a9ca-23a607de31d3.jpg?v=1780915816"},{"product_id":"121703-lawrence-lady-chatterlys-lover-1928-121703","title":"Lady Chatterley's Lover.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eOne of a number of pirated editions that followed the immediate aftermath of the first edition, also printed in Florence. \u003cbr\u003e\u003cbr\u003eThis novel shines as an example of Lawrence's finite skill in conveying the nature of relationships and his use of characters to communicate his personal philosophy. His depiction of love-making (seen as shocking at the time) and the intimacy and sense of touch derives from his wish to restore an emphasis on the body and balance it with what he perceived to be Western civilisation's over-emphasis on the mind.\u003cbr\u003e\u003cbr\u003eLawrence's writing and opinions earned him many enemies, censorship and misrepresentation of his creativity, which was his reflection on the dehumanising effects of modernity and industrialisation, while also exploring issues such as emotional health, vitality, spontaneity and instinct.\u003cbr\u003e\u003cbr\u003eLarge 8vo (23 x 17 cm); bookplate to pastedown, discreet shelf ticket to rear pastedown, ; contemporary half-blue morocco, marbled boards, spine lettered in gilt in six gilt compartments, top edge gilt, touch of rubbing to extremities, a very good copy; 307 pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"LAWRENCE, D.H.","offers":[{"title":"Default Title","offer_id":56567154475383,"sku":"121703","price":1500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/121703.jpg?v=1780909979"}],"url":"https:\/\/shapero.com\/en-us\/collections\/modern-passion-valentines.oembed","provider":"Shapero Rare Books","version":"1.0","type":"link"}