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Mikki Makes a Movie by Ralph Nelson

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Given all the pleasing support for our blogs over the recent Google censorship issue, we thought it might be a good idea to look at the comments on some of our posts where a particular girl or pictorial has been requested to see if we can fulfill some of these.  One recently mentioned a girl called Mikki Dessa who, we admit we didn't remember.

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However, a little research on our list of Penthouse pictorials showed that it wasn't a solo girl pictorial at all but was actually a couples one appearing in the July 1973 issue.  So why hadn't we included it in our chronological "love sets" coverage?  Quite simply because it was an example of something that both Penthouse and Playboy did back in the sixties and seventies in that it was a pictorial tied to a particular film.  Typically, a specially shot piece from the set featuring a lead or, more usually, a minor actress from a forthcoming film.  Occasionally, the piece might feature a couple as is the case here.   This one was shot outside so, happily, fits in our al fresco sex theme.




Mikki Dessa, Penthouse told us, was twenty-one years old and born in Indonesia.  After a lot of mystical nonsense about people turning themselves into ponies when she was growing up in New Guinea, the piece says that she plays"a small part in White Lightening, and for a few screen moments she turns an erotic vignette opposite co-star Bo Hopkins into a memorable piece of honest filmmaking." Penthouse speak for "she only appears in a gratuitous sex scene".




So, here is Mikki, no doubt contemplating her script and hoping that her Penthouse pictorial will make her the next big thing.  White Lightning (1973) was one of those Burt Reynolds and cars in the South films, from the time when he was still a proper actor and before he became a parody of himself.  It was supposed to be the big screen debut of Steven Spielberg, who did several months pre-production on it before going on to make Sugarland Express (1973) instead.  White Lightning also saw the uncredited debut of a six year old Laura Dern.






So, off Mikki goes, flaunting her 5' 3", 35-23-35 figure in the Southern swamps and waiting for the casting directors to call.






Unfortunately for Mikki, it never happened.  She isn't mentioned in the cast of White Lightning and it seems her scene with Bo Hopkins was cut, possibly to get the film the PG certificate it ended up with.  A love scene of the sort indicated by this pictorial would have prevented that.




So, here is our second actor in our al fresco drama.  South Carolina born Bo Hopkins had already made a name for himself in the Sam Peckinpah western, The Wild Bunch (1969) and had been appearing on screen since 1966.  He has worked steadily ever since in feature films and TV, including a recurring role in Dynasty in the eighties.






We have two basic locations for the couple's scenes together: Amongst the trees in the swamp and on a wooden landing stage.  As the scene didn't appear in the finished film it is difficult to know which one was shot for the film.






Here they are on the landing stage with Mikki popping perkily out of her blouse and Bo looking mean and moody.  You'd think he would look happier when presented with such a pleasing pair but perhaps he is acting.






Anyway, Bo begins by exploring Mikki's bust in only Penthouse's fourth couples pictorial to date.






As was often the way in films in this period while the girl has to get naked the man keeps his jeans on.   We get a nice kiss, as well as Bo's hand wandering up between Mikki's legs.




In fact, this picture, where he has his forearm on her pussy, was the most explicit shot in a Penthouse couples pictorial so far.  So, in retrospect, we were wrong to eliminate this as a couples pictorial and will add it to our index onthe right.    It's a shame we never saw any more of Mikki but she is certainly beautifully captured in this erotic vignette by photographer Ralph Nelson; one of just five Penthouse pictorials he shot at the time.

Angélique et Médor after Agostino Carracci

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Back through the centuries for this piece of al fresco reverse cowgirl (as it would not have been called at the time!) action.  In a sylvan landscape a lady guides her lover's erection into her vagina while her companion gazes at it raptly.  We confess that this is still a sight that fills us with delight even after  nearly forty years!  No scrabbling around on the grass for this couple as they have a luxurious looking cushion and a large piece of fabric on which to desport themselves.


Marcantonio Raimondi


This picture has a rather convoluted history.  It is one of  a series of erotic engravings of sexual positions produced in book form under the title I Modi by Marcantonio Raimondi (1480-1534) in 1524.  An engraver, he based his pictures on a series of paintings produced by Giulio Romano (1499-1546) for the Duke of Mantua, Federico II Gonzago's new palazzo in Mantua.  Romano was unaware that Raimondi had used his paintings as the basis for his engravings until Raimondi was imprisoned by Pope Clement VII for producing them.  The  Pope ordered all copies of the books to be destroyed.  Romano escaped imprisonment as his paintings were a private commission and were not, unlike Raimondi's book, for public consumption.   


Pietro Aretino by Titian


The poet and author Pietro Aretino (1492-1556), after going to see Romano's originals, then composed sixteen erotic sonnets to accompany the pictures and he also helped  get Raimondo released from prison.  A second edition of I modi was then published in 1527 which included Raimondi's illustrations and Aretino's sonnets, in the first known example of erotic pictures and text being included in one publication.

Apart from a few fragments in the British Museum the 1527 edition is lost, although Aretino's sonnets survived.  Later Agostino Carracci (1557-1602) reconstructed the illustrations (he must have had access to at least a partial copy at that time, as his illustrations are very close to the British Museum fragments).  In 1798 another edition of I Modi was published in Paris with Carracci's engravings reworked by the French artist Jacques Joseph Coiny (1761-1809).   These are the illustrations we have today.


Angélique et Médor byToussaint Dubreuil (1561-1602)


The story of Angélique et Médor (all the illustrations in I Modi were of famous lovers of myth and history) comes from Orlando Furioso by Ludovico Ariosto (1477-1533).  Based on the much older Song of Roland (Roland and Orlando are the same person) it tells the story of Orlando's love for the pagan princess, Angélique who he married.  However, she began a passionate affair with the Saracen called Médor.   He carved her name into the bark of a tree but Orlando discovered it (you can just see his figure at the right of the engraving at the top of the post).  It was her betrayal that made him furioso.  Perhaps Roland, who as a Paladin of Charlemagne is a sort of French equivalent of Lancelot of King Arthur's round table, was boring in bed and didn't indulge in athletic al fresco girl on top bonking. Orlando carved the inscription off the tree and imprisoned his wife in a tower.   However, she told Orlando that he couldn't carve away her love for Médor and eventually Angélique killed herself, in a typical end for the sexually aggressive woman in European literature.

Watery frolics in the style of Peter Fendi

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Here is a trio of paintings which were thought, for may years, to be by Austrian artist Peter Fendi (1796-1842).  Today it is not certain if they were his work or done in his style.  Fendi was a pioneer in colour printing and also designed a number of banknotes for the Austrian government in 1841.




Whoever did them, they have a spritely joy about them as groups of ladies and a couple of very excited gentlemen disport themselves in the water in a very tidy landscape.  In fact it rather reminds Triple P of  Home Park, near his birthplace of Hampton Court.




We haven't managed al fresco sex in Home Park as it is usually far too crowded with people and rather aggressive (sometimes) deer.  We did have a fumble in a more wooded part with our then girlfriend S, once, but decided that we had better wait until we got back to her apartment near Richmond Park instead (especially as it was October and quite cold, even though it was sunny). 




Anyway, these ladies are obviously not worried about the cold (no doubt ladies of the 1830s were better able to deal with the cold than we are today).  These were probably painted about 1835 (there are around 40 pictures altogether) but weren't published as lithographs until 1910.

Spring scene by Hosoda Eishi (c1790)

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We will finish our al fresco sex theme with this painting by the Japanese artist Hosoda Eishi (1756-1829).  Most Japanese erotic art was in the form of woodblock prints and actual paintings, such as this, are rarer.  The ability to use more subtle shading gives them a particular delicacy, however.  Eishi, unusually for an artist at the time, was an aristocratic Samurai, as is his male protagonist here.  The woman, however, is wearing a maid's clothing.  This picture is from a set of twelve paintings of lovers, depicted at different times of the year.  The river in the background is the Sumida in Edo (now known as Tokyo). On the right, on the far bank, can be seen the gateway to the Mimeguri shrine which is still there today. This area, at the time of the painting was a popular place to look at flowers.


The view from Kuntsu Sumida Park looking towards the Mimeguri shrine today.  You can just glimpse the pale ochre-coloured Sumida river on the left hand side of the photograph at the chest height of the man in a blue jacket


Today, technically, despite the urbanisation of Tokyo, you could still have al fresco sex on this spot as it is the site of Kuntsu Sumida Park, a narrow open space which follows the river bank for just under a mile.  The shrine is no longer visible from the spot across the river as the view is blocked by the elevated Metropolitan Expressway 6, which runs between it and the river bank.

Kissing Venuses 10: Valerie and Caprice

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S in Vancouver sent us these lovely shots which look to be from one of those "nearly art" sites.  "Do you remember that time.." she began, when we were speaking to her on Skype the other day.  We knew exactly what she was referring to; the occasion when she and Triple P were dining in a restaurant in Asia and she basically picked up the resident singer, who looked not dissimilar to the darker lady in these pictures, and took her back to our suite after her performance. 




We spent some time observing the two of them and enjoyed the two tone skin contrast as they went through a series of athletic manoeuvres on the bed.  Kissy, kiss.

Vestal Venuses for Vesta Asperit

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Today is Vesta Asperit, a sacred day to Vesta, the Roman Goddess of the hearth.  It is the first day of the Vestalia festival.  On this day the Vestal Virgins spent their time making salted cakes which were used in sacrifices.  




 In the film Caligula (1979) the Vestal Virgins indulged in a mass lesbian romp in a pool in the temple, as might be expected of a film financed by Penthouse's Bob Guccione. In reality, the Vestal Virgins only numbered at most six and, maybe seven and they tended the sacred flame in Rome to ensure it didn't go out.




The passionate vestals in the film consisted of a number of Italian actresses and a bevy of Penthouse Pets.  In a film that is actually short on real eroticism it's an enticing scene and a good opportunity to play spot the Pet!




We will return to this scene in more detail in a future post when we take a look at the depiction of Roman orgies.

Any Sport in a Storm (Trooper) by Earl Miller

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In order to post Sea Song, to go with our al fresco sex theme of a month or so ago we jumped forward one pictorial from our chronological look at Penthouse"Love Sets".  




Time, therefore, to jump back one issue to the November 1977 magazine and plug the gap (so to speak).  The rather clumsily named Any Sport in a Storm (Trooper) was Penthouse's fifth group Love Set and the second period one after 1776.  This was Earl Miller's first attempt at a group set and like all but the first, Bawdy Bathers, depicted two women and one man.




Anyway, it's back to World War 2 for this one and a first person narrative by the German officer who has stopped off in a German aristocrat's schloss en route to Belgium and the 6th Panzer Division of General Dietrich.  It is typical of Penthouse's attention to detail that there was indeed a General  Dietrich, although he was in charge of the 6th Panzer Army.




Uta (with dark hair) and Marta (the blonde) were supposed to be cousins living in the schloss, all ready to entertain the officer as part of their contribution to the war effort.  The tiny nose and toothy smile of the blonde are immediately identifiable as porn star Serena who had a ten year career from the mid seventies to the mid eighties.   Unfortunately, we can't identify the dark haired leggy lovely, who is extremely fine.




When the officer, suspicious of the two's intentions, rebuffs their advances they perform with each other for his appreciation.






"I watched Marta as she caressed her cousin's breast. her tongue followed the course of her slender body, finding sanctuary in the velvet space between her legs." So, not just lesbian sex but incestuous lesbian sex.  How decadent!




Eventually the officer gives in to their enticements (who wouldn't?) and joins them for a romp on the Nazi flag, which we are sure no self respecting German officer would have done.




Here we have Serena giving us the only real pussy shot in the pictorial; the whole production being rather modest for the period, although the heel on the officer's chest adds to the S&M flavour of the set.




The end of the pictorial highlights what was an unusual S&M theme for Penthouse.   It was also the first time that the magazine had had an S&M scene involving a man.




This is quite an assertive cunnilingus shot for Penthouse too, given the problems they had experienced with The Lady and the Stableboy earlier in the year.




So our officer gets a good seeing to from the cousins in a pictorial that had decadent Nazis (Tinto Brass'Salon Kitty (1976) had been released in the US earlier in the year), incest, lesbianism and S&M.  Quite a statement for Penthouse!

The next Love Set will be  passionate girl/girl one which we aim to scan this weekend.

Women in Love by Gajda

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Here we have Penthouse's first Love Set for 1978 in the shape of a girl/girl pictorial by Gajda.  Having had four girl/girl sets in the magazine in 1975 and 1976, there were then only two lesbian pictorials in Penthouse in 1977.  




In fact, this one, Women in Love, appearing in February 1978's issue, would be Gajda's last Penthouse pictorial and the only girl/girl set to appear in the magazine in 1978; although there would be a three girl set in the April issue.




The opening double spread (top) sets the tone for a pictorial with plenty of passion in it.   There is none of the coy posing seen in some girl/girl sets of the time; these two really look like they are getting aroused by their interaction with each other.






There is some nice mouth to mouth action in this one; something, we would venture, that a girl/girl set really needs to be effectively arousing.




There is also some splendid tit licking as well; contributing to the heat in this set.












The girls are seen in a number of distinct outfits each.  In these ones the girl in the black fishnets sports a fetching hat and red shoes.  Nipple sucking and spread legs shots give this sequence some oomph.








For the remainder of the shoot they wear matching blue shoes and have a number of different tops.   Both girls are quite similar looking and their top halves are quite covered up in many of the shots.  The fist person (and pretentious, even by Penthouse's standards) narrative doesn't offer any names for either.






The photographer gives us several close up shots featuring the pussy of one girl and the bottom of the other.  Both have very hairy pussies, even by late seventies standards.




In this picture we have an unusual, for the time, close up of a tongue in close proximity to the other girl's pussy.  The lady being licked has a trail of hair going up to her belly-button.




The girl in the pale stockings is, very popular model of the time, Linda Gordon (also known as Stephanie Blum and Stephanie Platt.  




In this final shot she gets her nipple well sucked and has her pussy caressed by the other girl in what was a strong girl/girl shot for the time.  




Gordon first started to appear in men's magazines in 1976 and over the next couple of years appeared in a number of men's magazines.  Here she is in an early appearance, fronting up Gallery in July 1976.








Given her impressive bust it is not surprising that she appeared in many of the specialist big bust magazines, flaunting her distinctive nipples.






She also appeared in many of the second rank magazines such as Swank, Nugget and Cavalier.






Her highest profile pictorial was probably the one that appeared in December 1976's Men Only and January 1977's Club where she was the centrefold in both.  Unusually, the two magazines featured slightly different shots for her cover.  The Men Only one was particularly sexual for a UK men's magazine cover, even for this period.




The shots inside, by Fred Enke (credited as Olivia in Club), present Linda (or Rosie Whails, as Men Only named her) in the style she usually adopted in her magazine pictorials: legs spread assertively, her fingers parting her labia and an effectively ecstatic expression.  One of the strength's of Gordon's appearances in magazines was that she always managed to project an image of sexual arousal. This was strong stuff for a UK magazine at the time, although by the same time the following year Paul Raymond's magazines had backed off such explicit displays of their models genitals, leading to a separation in levels of explicitness between Men Only in the UK and Club in the US from then on.






Although Linda Gordon appeared in many magazines, Women in Love is the only girl/girl one we have been able to find.  She did do at least two boy/girl pictorials, with the same male model (who, it has been said, was her husband at the time) which are just short of hardcore.




She didn't appear in any films, although she may have done a few solo loops and disappeared at the beginning of the eighties.  Still, she helped give Women in Love a higher than normal passion quotient, making it one of Penthouse's best girl/girl pictorials of the seventies.

Our next Penthouse Love Set is a three girl one which dates from April 1978.

Leda and the Swan from Playboy

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S was asking for more Leda and the Swan pictures and I just came across this one from September 1969's Playboy.  We promise to find some more soon!

Young Lovers by Tom Poulton (1897-1963)

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The Legatus has experienced a couple of unexpected sexual frissons this week and, given the anticipatory pleasures of seeing our particular friend A for some skinny dipping tomorrow, we thought we would do another post for The Seduction of Venus.   The first sexual frisson was caused by a very beautiful girl who got on the train at Triple P's station this week. She was dark haired with olive skin and the sort of pouting lips Triple P likes.  We were sitting on the seats which face each other across the carriage. Just before we got to the next station she got out a tube of body lotion and started to rub it into her lower legs.  This was distracting enough but then she slipped her hand up under her short, loose skirt to do her thighs too.  Marvellous!   The second incident was what engendered the thought of posting these pictures by Tom Poulton.  There are many small streets around Agent Triple P's new offices and as we went down one after work we came across an attractive couple having a full on snogging session on the pavement.  She had a nice ponytail (something we have always liked to see on a young lady) and he actually didn't have tattoos and a scuzzy beard as so many younger men seem to these days.  They carried on kissing and caressing as we walked towards them but just as we got to them the girl stepped aside slightly to let Triple P past and it was apparent that her male companion was patently erect.  Not surprisingly, as she was very cute in an eastern European slavic way.  "Get a room!" cries one of Triple P's friends when he sees such couples, who are not uncommon on Waterloo Station late at night.  But we enjoy seeing couples oblivious to others in the throes of public passion.  They make the world a better place!




Anyway, the girl with the pony tail and her passionate companion brought to mind this series of pictures by Tom Poulton and I have always thought it his most attractive and sexy series.  They go under the title of Young Lovers or On Campus and are obviously meant to depict the same couple.  The first two pictures have them walking out and about in, from the look of their clothes, the period between the late fifties and early sixties (Poulton died in 1963).  She is the sort of beat generation girl Poulton might have seen in the coffee bars around his favourite Bohemian pub, the Lamb in Lamb's Conduit Street in London.  The young lady is obviously very aroused as she rubs the crotch of her pedal pushers and caresses her breast under her sweater while exploring the boy's groin.



One of the characteristics of Poulton's drawings was the inclusion of sketches and alternative poses done as he worked out his ideas.  These give an interesting clue to his thinking and technique.  The sketch on the right shows him trying out the girl's weight bearing position on one leg, for example.




Here, in the last of their clothed pictures, the drawing of them kissing has been done over the top of the boy taking the girl from behind.  In another artist you might think that the copulatory image was, perhaps, indicative of their thoughts but Poulton, who was so poor that when he died his friends in his favourite pub had to have a collection to pay for his funeral, was probably just being economical on paper.




Here is a more packed page.  Poulton used, for most of these images, 'medium' (17½" x 22½") sized drawing tissue paper so he could pack in a lot of sketches.  Apart from the main drawing of our girl removing her trousers we have a couple of intercourse images, a penis portrait and some body part sketches.




Poulton also didn't care whether he drew pictures at ninety degrees from the others on the page so, partially hidden amongst all the other sketches but at right angles to them, is this sketch of our young couple masturbating for each other.




After the scene setting. Poulton has them going through their sexual paces starting with this erection rubbing picture.  There is also a smaller sketch of the girl and a rear entry scene.




More phallus caressing, with the top left rotated image being linked to the large one at right.  Some sketches of fingers and some fellatio shots too.




Here Poulton has tried out an alternative leg position of the girl as she places the glans of her boyfriend's penis against her lips.  A real economy of line here with her expression being particularly well done.  It's like she is saying "am I doing this right?"




More cock kissing here and also a couple of cunnilingus sketches as well as another intercourse one.  Again, the girl is more completely rendered than the boy here.



Three attempts at the girl before adding the excited young man whose face the girl sits astride.  There is an earlier sketch for this one on the right of the page above this one.




There is a lot going on here.  At top left we have two fellatio sketches and to the right of those is a soixante-neuf pose (with added anal finger penetration by the girl).  Very faint, and in the centre of the page the girls grasps the boy's erection while indulging in some anilingus.  More anilingus underneath, as the boy holds his erection while she has her face underneath his bottom.




More sixty-nine but this time the girl is on top.  The piece of 'furniture' featured in most of these sketches seems to be some sort of large cylinder; it's not entirely clear what it is but the size and shape is consistent in most of the sketches.




A slight variant on the faint anilingus sketch in the composite one two pictures above, as the girl tugs at his erection while he helpfully pulls his cheeks apart for her.




This time it's her turn to get her anus licked.  Poulton tries two variants here.  In the top the boy licks her pussy and presses his nose into her arsehole.  In the second, he licks her anus and fingers her vagina.




All this foreplay seems to have had the inevitable effect here as the boy appears to have semen running down his thigh.  Not surprising, given such a ponytailed passionate popsy!




There is utter delight on the face of the girl as her young man spurts forth a veritable fountain and she reaches out her hand to catch some.






The girl projects her own fountain in these two sketches as her young man helps her piss into the air.  I bet he doesn't have to mop it up, though!




A just before penetration pose here, along with some nipple sucking and pussy fingering in the smaller sketch.




Three different views of the boy's target and another pre-penetration pose with the girl reaching between her legs so as to guide him into her pussy.




Delight, ecstasy and fascination are depicted in these three intercourse drawings.  In this one, Poulton beautifully conveys the girl's happiness as her young man penetrates her.  Just a few slight changes in her face convey quite different states of mind in the two versions of her face he drew here.




There have been a number of rear entry sketches scattered about in these pages but this is the most developed one.  Here Poulton conveys the girl's ecstasy as the boy grabs her hips and thrusts into her.




In the final picture the girl watches in fascination as her boyfriend's cock slides inside her.  

There is a life and animation about these drawings that is particularly engaging.  It would be nice to think that Poulton worked with an uninhibited young couple to produce these sexy sketches but, as we discussed in our longer look at Poulton's work on Venus Observations we think that he was such an accomplished anatomist that he could produce wonderful drawings like these simply from his imagination.  Real or not they make a sexy couple and if they didn't exist we are sure there were some real examples in 1960 London, exploring each other for the first time.

Playgirl and Viva Couples Pictorials 1: the 1970s Part 1

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Playgirl, June 1973


While we focus on men's magazine extensively in the Seduction of Venus we are well aware that, beginning in the nineteen seventies, there were several magazines that attempted to provide what the likes of Playboy and Penthouse provided but for women.  Principal among these was Playgirl which was billed as a "sex-positive, fun-oriented feminist response to Hugh Hefner's empire”.  The first issue proper was in June 1973, about which there were instant complaints because of the lack of penises in the magazine; something that was resolved very quickly.  Initially, no-one thought that a magazine that objectified men in the same way that Playboy objectified women would do well but in the first six months of its publication the circulation went up from 600,000 a month to 2,000,000.  Douglas Lambert, the creator of Playgirl, got his idea from the success of Cosmopolitan's nude centrefold of Burt Reynolds in April 1972.  We're not showing that picture here as it makes us feel quite nauseous.  We don't mind pictures of naked men but naked hairy men give us the creeps!


Playgirl, October 1973


Our particular friend B sent us a lively email a few weeks ago suggesting we compared the couples pictorials in Playgirl with the likes of those in Penthouse and Oui, which, of course, we have featured quite extensively, from the same period.  Frankly, we didn't even know that Playgirl featured couples pictorials but that is because we have never seen a copy of the magazine.  We just have a mental image of very hairy men with mustaches (sorry again, Mr Reynolds) posing awkwardly, as they demonstrate that most men's bodies are just not very attractive (some penises excepted; we actually don't mind looking at nice penises).  However, she has sent us some pictures and C chipped in with some too and so, at their suggestion,  we are doing some posts on these, starting with the birth of Playgirl and its  rival Viva in the seventies.


Viva, December 1973


Not long after Playgirl appeared, Bob Guccione launched his own equivalent, Viva in September 1973 (the first issue was October's).  Guccione had been interviewed about what he thought of Playgirl and went on record saying that he thought that the male nudes in Playgirl were "contrived" and lacking in naturalness.  He also said he wouldn't use celebrities in Viva (the first six months of Playgirl's centrefolds were all (minor) celebrities).  He did say that he thought women would be more interested in couples pictorials.  In November 1973 Dr Michael J Goldstein, a professor of psychology at UCLA, agreed with this point saying that he didn't "think women generally get excited looking at these pictures"but that "my research indicates that most women enjoy looking at photographs of nude couples more than of men posing alone".


Viva, August 1974


Employing the same photographers (and many of the same models) as shot for his men's magazine Penthouse, Viva's couples pictorials were not that different, not surprisingly, than Penthouse's. 



Penthouse Loving Couples,1975


In fact in 1975 Guccione published a magazine called Penthouse's Loving Couples which included not only couples pictorials from Penthouse but also ones from Viva.  The style was so similar you couldn't tell which one came from which magazine and the publication itself didn't tell you.  In fact no less than eight out of the eleven pictorials originated in Viva but the Viva name was only visible inside not on the cover. Presumably Guccione didn't want to put men off from buying it.

Playgirl too, started regular couples pictorials.  Viva (unlike Playgirl which continued for another three decades) had folded by 1980 but we have several examples of their couples pictorials (thanks to C) we can include, by way of comparison.


Oui, October 1972


Across at their male oriented equivalents Penthouse had only had two couples pictorials by the end of 1973 and they wouldn't feature any in 1974.  Playboy had no tradition of couples pictorials at all at this time.  It was the Playboy owned Oui which was pushing boy/girl pictorials.  In fact, their very first centrefold in their debut issue of October 1972 had featured a man under a sheet with their girl.


Oui, January 1973

By January 1973 they had a naked man in their centrefold as well as a girl.  This however, was not popular."I was quite disappointed to see a male nude in the January issue of Oui"wrote Laurence from Michigan. "What inmate wants a centerfold with a guy in it hanging from his wall?"asked Joseph from Yardville Reformatory in New Jersey.  Oh dear!


Oui, December 1973


However by the end of the year Oui published a pictorial in its December 1973 issue, shot by Jeanloup Sieff, that was so popular it actually produced a sequel the following year. An afternoon with Aunt Nancy had an older woman seducing her nephew. The lady (French model Denise Rolland) posed for several implied sex pictures.   


Cavalier, May 1973


Interestingly it was Playboy's long running rival Cavalier which also dipped its toe into the couples pictorial water early on with a cheap-looking and playful, rather than sensual, set in mid-1973.


Playgirl, August 1973


Playgirl, August 1973


One of the earliest, if not the first, couples pictorial in Playgirl accompanied a perfectly conventional travelogue about Marrakesh.  Although there were a number of tourist type shots of the city most of the photos featured the man and his girl.  Interestingly, although he got naked in some of the pictures she kept her (admittedly wet and see through) dress on throughout.  This, of course, being the most noticeable difference from a men's magazine pictorial, where it would be the woman's body which would be showcased.  Nether of them showed their pubic regions but there some nice kisses and caresses.


Playboy, February 1970


The man is Alan Landers, famous for being the Winston cigarettes man in the sixties advertisements, so he would have been 42 at the time.  The girl is actress Jamie Lyn Bauer (24 at the time) who was just starting a long stint on TV soap The Young and the Restless and would appear in many other TV series and films over the next forty years.  As Norma Bauer (her real name) she had appeared on the cover of February 1970's Playboy.


Viva, October 1973


The first couples pictorials in Viva appeared in their premier issue from October 1973.  Unlike Playgirl, which was featuring couples on their covers, Viva would often feature, perhaps oddly for a womens' magazine, a photograph of just a girl.


Viva, October 1973


Viva, October 1973


This pictorial,  The Picnic, like quite a few at the time, had a period setting; in this case two English aristocrats at the beginning of the twentieth century.  Shot by Ron Volkmann, the woman is largely more naked than the man and while she flashes her pubic hair, unlike in Playgirl's initial couples effort, he does not.


Playgirl, October 1973


Playgirl, October 1973


Playgirl's offering that month took the opposite approach with its pictorial of the couple on the cover.  The girl kept her shorts and bikini top on while the man flashed his cock (just).  This was, when you think about it, quite reasonable for a magazine aimed at women.


Playgirl, October 1973


The Penthouse owned Viva, oddly, often had pictures of just the girl, naked, in their couples pictorials.


 Viva, November 1973


Viva, November 1973


The second issue of Viva had another girl on the front, Penthouse Pet of the Month for May 1973, Sandi Greco, but this time the couples pictorial was contemporary.  Bob Guccione had said, earlier in the year, that he wasn't going to have celebrities in his magazine but the man is actor Ben Murphy, then very famous. following his successful TV series Alias Smith and Jones.



Viva, November 1973


The lady is Bess Cofield, then lead singer in the W.W. Fancy rock group, (although we couldn't find anything out about either) according to the accompanying text.  They hadn't met before the pictorial was shot by Earl Miller but have a nice chemistry in their pictures.


Viva, November 1973


Over the course of the shoot, according to Viva, the weekend they spent together "constituted a brief, authentic, and thoroughly shared relationship for them both." The implication being that they actually had sex, of course.


Viva, November 1973


They certainly look a lot more touchy-feely than the couple in The Picnic and there are some hands loitering in some very intimate areas.  In a couple of shots Murphy flashes the root of his penis which was something Penthouse hadn't shown in their couples pictorials at that point.  Considering this was a celebrity pictorial it was successfully erotic and conveyed some real intimacy.


Viva, December 1973


There was another girl on the front of Viva for December 1973 Many of these models were Penthouse Pets, as in this case where we have a portrait of  September 1973's Pet of the Month, Anneka de Lorenzo.


Viva, December 1973


The couples pictorial that month was by the distinguished photographer J Frederick Smith.  Entitled Secrets from my Diary, this was another period piece set in 1673.


Viva, December 1973


There were two firsts for a Viva couples pictorial in this one: the first clearly depicted penis (top) and the first real sex position (above) rather than just some coy caressing.  Penthouse wouldn't have either of these in a couples pictorial for another eighteen months.


Playgirl, January 1974


 Playgirl, January 1974


Playgirl, January 1973


Into 1974 and January's couples pictorial for Playgirl was playful rather than passionate.  The man is naked throughout but doesn't flash his penis at all.  The girl, at least, gets her bottoms off in one shot.


Viva, January 1974


Penthouse, October 1972


Another Penthouse Pet appeared on the cover of January's Viva; in this case it was
October 1972, Janet Dunphy.  The picture was even taken from her original Pet of the Month shoot by Bob Guccione.


Viva, January 1974


Although both Playgirl and Viva included women in their male model shoots the ones in Playgirl were invariably dressed, whereas, as we can see from this January 1974 example of stuntman and actor Nick Dmitri, Viva got in some naked women too.


Playgirl, February 1974


Playgirl, February 1974


Playgirl, February 1974


Again, Playgirl put a couple on the cover for February 1974 (the feeling was that women needed a female figure to identify with rather than just having a man on his own) and the pictorial inside had a nineteen fifties theme.  While the lady stripped down to her underwear the man went all the way.   Shot by staff photographer David Meyer, this time there were quite a few nice kissing shots, which upped the passion quotient compared with previous pictorials.


Viva, February 1974


Viva, February 1974


Viva, February 1974


Viva had yet another solo woman on the cover in February but their couples content was not the usual fictitious story illustrating the pictorial but a piece on tantric sex and its history, giving them the opportunity for some not very risque shots.  Photographed by Zee Gajda, who also did a number of pictorials for Penthouse, it certainly had nothing like the passion of Playgirl's offering that month.


Playgirl, March 1974


Playgirl, March 1974


Playgirl, March 1974


Playgirl's couples pictorial for March was posited on the basis that with the oil crises in full swing people would have to go back to nature and wouldn't be able to rely on technology in the future.  So they had a few random farmers falling out of their clothes and having frolics in the fields.  Just one quick flash of the male member in this one but more good kissing.


Viva, March 1974


Yet another solo girl on the cover for Viva in a very retro looking cover. 


Viva, March 1974


The couples pictorial that month was called New York Story and was by former illustrator and top photographer J Frederick Smith, who also would do quite a lot of work for Playboy, including a controversial lesbian cover the following year.


Viva, March 1974


This pictorial, in contrast to the previous month's and also Playgirl's March issue had no less than seven pictures which featured the man's penis, including this one, where the young lady is actually touching it with her fingertips.


Oui, April 1974


 Oui, May 1974

The previous month Oui had produced a cover which, for the first time had men on it, trailing a pictorial about the circus.  For May the man on the cover was more obviously part of a couple.  That month two of Oui's pictorials were boy/girl ones at a time when Penthouse had only had two ever.


Oui. May 1974


Neither pictorial was really raunchy, however, and, indeed, one featured a pillow fight but at least that couple were shown kissing whereas in the second one a chaste kiss of a bare shoulder was as naughty as it got.


Oui, May 1974


This approach, however, did not go down well with many of the readers. One complained about the May issue that "two out of the three (pictorials) featured couples. Ditto the subscription ad and the cover of the issue. He continued:"Part of the attraction of magazines such as Oui is fantasy...with the introduction of a partner, however, these fantasies are shattered. Please give us the girls and leave the studs to Playgirl and Viva."


Oui, May 1974


The offending ad featured the couple from the controversial January 1973 centrefold.  Penthouse had similar complaints initially when they started to field more couples pictorials.  It highlighted a key issue regarding erotic photographs in magazines at the time in that some seemed to be suggesting that it could only be erotic if members of the opposite sex alone were depicted.  Actually, most erotica from ancient times until the birth of photography depicted couples. What gradually happened over time, during the first half of the twentieth century, was that it became more acceptable to show pictures of girls alone (the pin-up effect) whereas the addition of men into photographs risked crossing the line into pornography. These magazines were dealing with a legacy largely circumscribed by Playboy in the mid-fifties. It was Guccione and Penthouse who started to introduce couples into the pictorials as part of their greater concentration on sex in itself (rather than as part of a wider lifestyle plus pinups approach as Playboy posited).  Certainly, in the initial couples pictorials in Playgirl the women are, more often than not, dressed while the men are naked (this was also the approach taken in early couples pictorials in Paul Raymond's magazines in Britain where the man, in that case, would remain largely clothed).  


Playgirl, May 1974


Playgirl, May 1974


Playgirl, May 1974


April had Playgirl's female model as fully frontally naked as the man for a change., bringing them in line with the approach in Viva.   A tactile looking close up of the girl stroking the man's lower belly was trumped by a shot of the man seemingly rather more excited as he kissed the girl's breast, her thigh touching his member.



Viva, May 1974


Viva, May 1974


May's Viva had the female model's head very close to her partner's penis in this shot.  There was just a suggestion that he might not be completely flaccid, but it was not clear due to the angle, something all the magazines used to play on (so to speak) at this time.


 Oui, June 1974


Oui took no notice of the naysayers and although they had dispensed with the couple on the cover for June there were a lot of men in their pictorials again. A piece featuring the then wife of film director Russ Meyer, Edy Williams, also included a male model, Richard Dow, in every picture of her.


Oui, June 1974


Further on in the magazine there was a pictorial about nudist beaches of the world which included several pictures of full frontal men.


Oui, June 1974


The innovation for June was that instead of having a centrefold girl they had a centrefold couple. They had included a man in their centrefold picture of Florence Fossorier in their very first issue back in October 1972, of course, but at least they had had the majority of the pictures just featuring Florence. Here, however, it was a couple right from the start.  In particular, it was this picture that got them into trouble with some of their readers as, six months before Penthouse risked it, their male model in a couples pictorial is just showing a glimpse of his cock. "Please take the June issue of Oui and shove it up your ass,"wrote someone from New Jersey, elegantly. "'For the Man of the World' should read 'For the queer of the World'" he said, referring to the magazine's tagline. Yes, the issue of the depiction of the penis caused a split in the readership. Oui published equal numbers of letters from each viewpoint but the men stayed, at least for the time being.


 Viva, June 1974


Viva, June 1974


Viva's June couples pictorial featured Suzanne and the impressive Eddie.  In a pictorial marking the first anniversary of Viva, in October 1974's Penthouse, this shot became the first in the magazine featuring a penis in a boy/girl photo.


Oui, July 1974


Oui had become the first men's magazine to put couples on the cover regularly.  Going one better than Playgirl and Viva they then started to feature celebrities with their real girlfriends, rather than a model, in some quite sensuous shots.


Oui, July 1974


Inside, the first pictorial for July was also a couples one, featuring Andy Warhol star Joe Dallesandro and his girlfriend Stefania Casini.  They were photographed in Rome looking authentically affectionate.


Playgirl, July 1974


Playgirl, July 1974


The 'Playgirl Fantasy', as the magazine named their couples pictorials, for July had a couple cavorting in the desert.  It was not very naughty by the standards of some of the previous ones but the girl did get her clothes off as well as the man.


 Viva, July 1974
 Viva, July 1974


For July, Viva presented a nice undressing sequence for their cover stars over two pages in a pictorial by J Frederick Smith.  Lots of cavorting on the beach and in a hammock.


Viva, July 1974


This double page spread from the pictorial had the girl touching her male companion's penis in a very unusually assertive way for the time.


Oui, August 1974


Oui, despite the negative letters, risked putting a man in the centrefold again but this was a much more passionate shot than previous pictures, as the man slides his hand down over the girl's pussy and they seem poised for a kiss.


Playboy, September 1974


Even Playboy was starting to have couples pictorials. The September issue contained one called Do it Now, about having spontaneous sex in unusual places. It had some pretty passionate photographs compared with some of the other men's and women's magazines.


Oui, September 1974


Another celebrity couple appeared on the cover of Oui in September and ws featured in a pictorial inside. French skier Jean-Claude Killy had won all three Alpine gold medals at the 1968 Olympics in Grenoble and became the best known skier in the world, with an international profile.  This was, however, the last cover that featured a couple for Oui.


Oui, September 1974


Killy was shown with his wife, French actress Danièle Gaubert (they had met on the set of a film, Snow Job (1972)). It certainly gave an added sensual frisson to their pictures.


 Playgirl, September 1974


Playgirl, September 1974


Playgirl, September 1974


Playgirl's September couples pictorial was accompanied, as was quite often the case in this period by a (rather dreadful) poem.  The pictorial itself was quite well done, though, with some nice kissing and caressing.


 Viva, October 1974

 Viva, October 1974


Viva's October couple had fun in and around an old truck.  The poses were becoming more sexual and less romantic.


Oui, October 1974


In October's issue of Oui, in a pictorial inspired by the story of Adam and Eve, Oui had this boldly displayed penis.


Oui, November 1974


The following month Oui presented it's first celebrity penis attached to actor Peter Brown, of medical soap Days of Our Lives, here photographed with his friend Robin Loring (who he had met on the set of the soap) in the surf at Cabo San Lucas.  Brown, who was thirty-nine at the time had just divorced his third wife so no doubt enjoyed Miss Loring's charms to the full.


Playgirl, October 1974


Another poem for Playgirl; in this one the twist is that after her night of passion the woman pays the man for her entertainment.


Viva, November 1974


Viva, November 1979


Viva's November issue contained what would eventually become quite a well know pictorial featuring a naked copulating couple in a bare kitchen.  It wasn't explicit but the use of slow shutter speeds gave it some movement and energy.  It was very much at the arty end of such pictorials at the time and was the work of Art Kane who was, at one point, the art director of both Viva and Penthouse.  The two magazines shared an art department so it is not surprising that their couples pictorials looked so similar in the mid seventies.


 Playgirl, November 1974


 Playgirl, November 1974


The rather baffled looking chap, one Bill Cable, on the cover of November's Playgirl featured in a rare non-couple cover.  He was the star of the couples pictorial inside, however, which was a bodice ripping period piece.


Playgirl, November 1974


The pictorial climaxed with this shot of his lady friend appearing to be quite entranced, in this really rather assertive shot.


Hustler, November 1974


More and more men's magazines were appearing at this point and Larry Flynt's Hustler, which in the late seventies would do more to get penises into men's magazines than any other publication, had their first, albeit penis free, couples pictorial in their fifth issue.


Penthouse, December 1974


Bob Guccione had been featuring penises in his couples sets in Viva but their inclusion by Oui in their pictorials must have been something of a surprise for him given that Penthouse was supposed to be the most cutting edge and daring of the men's magazines.  In December, he included his first cock in this boy/boy/girl pictorial Bawdy Bathers (the second most popular pictorial on this blog), where the lucky gentleman in question seems about to get it touched by Joyce Gibson. 

So, in the eighteen months since Playgirl's penis free launch (and resulting storm of complaints from women and the gay men who bought the magazine) the couples pictorial had become a staple of both Playgirl and Viva.  Playgirl, initially, kept its women rather more clothed while Viva, betraying its Penthouse origins, had their girls naked and their pictorials really indistinguishable from the very few couples ones they had had to date in the men's magazine.  Next time we will look at 1975 and 1976 and see how the women's pictorials compared with ones from the men's magazines at the time.

The Seduction of Fifi by Richard Fegley

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Someone commenting on my Playgirl and Viva couples post observed that some of the seventies Oui couples pictorials were very good and as we haven't posted any of them in their entirety we thought we would start with this one, which resonates with Triple P for all sorts of reasons.  Primarily, of course, it is because it is a period piece set, looking at the clothes, in the early years of the Twentieth Century.




This pictorial, called The Seduction of Fifi appeared in the October 1976 issue of Oui.  The photographer was Playboy regular Richard Fegley (1936-2001).  Oui had been the men's magazine in the seventies that first really went in for couples pictorials and was certainly the first (in their premier issue four years previously, in October 1972) to include men in their centrefolds.




The story behind the pictorial, such as it is, centres on virginal stenographer Vivian 'Fifi' Wooster as she is seduced by husband and wife photographers the Cooper-Smiths, when she visits their studio for a portrait.




The predatory husband and wife team soon have Fifi down to her period lingerie.  The costumes are quite good as an approximation of underthings of the period although without that feminine staple of the time, the corset.




The photographers, according to the text anyway, quiz Fifi as to her untouched status.  "No one ever laid his lips to you like this?" asks the photographer.  "Miss Wooster thinks a moment.  "No," she answers."




Having two ladies, of course, enables Fegley to indulge in the newly popular girl/girl interactions which would get more and more common in men's magazines over the decade, although, perhaps, rather less in Oui than some others.






So these two shots of Mrs  Cooper-Smith and Fifi interacting are quite bold for Oui at the time.  Stockings and lace up boots help immeasurably in the presentation, of course.




Threesomes were also unusual in Oui (I can think of one other) and, again. this one of Mrs Cooper-Smith seemingly guiding her husband's mouth towards Fifi's groin was unusually assertive too.






The setting, with its painted backdrop is exactly as you would have expected for a photographic shoot at the beginning of the twentieth century.  The self-caressing shot is very mid-seventies, however!




It is all rather reminiscent of the amusing 1990 novel Kingdom Swann by Miles Gibson (subsequently made into an amusing TV miniseries) Gentlemen's Relish, starring Billy Connolly.  This was also about a photographer shooting saucy pictures at the beginning of the twentieth century. 




The photographer demonstrates the rear entry position with his wife for the benefit of Fifi while Mrs Cooper-Smith's tongue flickers above Fifi's fluff.




At last Fifi herself succumbs to the photographer (from the rear as well, it should be noted).



The final shot has the only, partial, penis reveal in the whole shoot.  Fegley's pictorial is fun without descending into the dreaded 'comedy' approach.  Although the ladies flash their labia several times it is suggestive rather than really explicit (and certainly a step or two behind what Penthouse was now showing).  The period aspects are handled really quite well and the only let down is the grainy soft-focus photography.




It was popular with readers and in January 1977 Oui published an appreciative letter from Mr John McLaughlin of Atlantic City who wrote: "The story and pictures that make up The Seduction of Fifi (0ctober) are beyond a doubt the most delightfully sexy I've ever seen in any Magazine." The letter gave Oui an opportunity to publish another shot from the pictorial (above).

Les Deux Amies by Josef Lambeaux (1852-1908)

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 This passionate and surprisingly graphic bronze of two women is by the Belgian sculptor Jozef Lambeaux.  Lambeaux was born in Antwerp and studied at the Royal Academy of Fine Arts there.  More influential on his style was his membership of a group of young artists called the 'Van Beers Clique'.  He exhibited his first work, War, in 1871.




He travelled to Paris and produced a number of sculptures there and then went to to Rome.  On his return he largely concentrated on sculptures that featured extreme animation in the figures.




His female figures have such an earthy sensuality that several of his sculptures were suppressed until well into the second half of the twentieth century. 




Stroking the head of her lover the girl underneath squirms in ecstasy at the attention of her friend's face on her groin.  There is nothing coy about this piece; it is genuine erotic art.


Kissing Venuses 11: Sylvia and Aurelia

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These two soapy lovelies appeared in the October 1984 issue of the French magazine New Look.  The brainchild (perhaps brain isn't necessarily the correct organ) of Lui founder Daniel Filipacchi it offered a very similar, glossy style of photography with, compared to Lui at the time, some rather more explicit poses. 




We first experienced two girls cleaning each other up like this when we were at college.  Our girlfriend at the time taking her best lady friend into the shower and giving her a good soaping up for our benefit, as a birthday present for Triple P.  Very entertaining it was too.  While they weren't quite as lovely as these two they had larger busts and their passion was convincingly authentic.

Living Dolls by Earl Miller

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Our next Penthouse pictorial, chronologically, is by Earl Miller and was the magazine's third girl/girl/girl set after Moulin Rouge in March 1976 and Class Reunion in February 1977.  




This set, Living Dolls, appeared in the April 1978 issue which was fronted by the magnificent Jane Hargrave.  Because this pictorial has a narrative thread we are incorporating the number of outtakes we have in the order in which they should appear. rather than including them at the end.  The outtakes are fairly easy to identify as the colour saturation is better.




The story in this one is of the classic store mannequins who come to life and is told from the point of view of one of the dummies, as we could call them in Britain.  They inhabit a trendy boutique in Manhattan and are looked after by store owner Luigi, who appears in some of the pictures at the beginning and end.  The first shot shows Luigi picking up one of the mannequins (Penthouse Pet of the Month for January 1976, Laura Favie) and then in the second shot she is standing up in the same position.  the effect is quite well done.




The narrator explains that while they enjoy being dressed up in clothes and occasionally being fondled by passers by, after midnight they come alive.




It's nice to see the three girls smiling in this pictorial, as they do as they start to undress each other.  We can well remember dresses like this from the late seventies!








As the three undress there is some nice caressing, kissing and licking.  The three models interact well together.  "Away from human eyes, when darkness falls, our perfect plastic bodies turn to tender flesh!"










The text explains that they are not just dolls but contain real women's hearts and souls.  It's all a bit metaphysical, really.  






These shots are Three Graces like but the overt pussy touching by another girl was still quite unusual in the magazine to date.






At last, two of the ladies get down to it on a chaise longue while the other watches and caresses herself   Some of these shots were quite graphic for Penthouse at the time and, no doubt because of this, this pictorial never appeared in the UK version.






The third girl joins in and Miller, in his only three girl set in the seventies or eighties, has them effectively arranged and shot from above.   




This picture was the most graphic lesbian shot in Penhouse so far, as one girl has her fingers right on the other's vulva while the anus displaying one on the right has her face between the middle girl's legs.




The strength of this pictorial is it's narrative and here, having got carried away with each other through the night, the girls realise that Luigi the store owner is returning, so they desperately try to get dressed in time.




 In fact, they don't manage it and Luigi is left to ponder the different poses of the girls and the fact that two of them appear to have put each other's dresses on.  "We contemplate how we might contrive to make Luigi stay with us all night tonight,"concludes our mannequin narrator, in the text.




This is a great pictorial.  Miller handles the compositional challenges of having three models well and the story, simple though it is, helps too.  The set is excellent and really looks like a trendy boutique  The girls are all lovely and look similar enough that the idea of them being mannequins works too.




This would be Penthouse's last three girl pictorial of the seventies and in the eighties there would only be two (Camp-Fired Girls in November 1984 and Anna, Jane and Diane in January 1989).  Triple girl sets in the magazine wouldn't come into their own until the nineties.

Our next Love Set is the groundbreaking boy/girl one Dinner at Eight which we will endeavour to move along quickly.

Two Women updated

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We try to keep our blogs updated which means, essentially, three things.  Firstly, since we have increased the page size of the blogs many of the horizontal page pictures need resizing for better effect.  Given that Venus Observations has, for example, nearly 600 posts we don't have time to go through these systematically so we update them as we, perhaps, look back on them for reference purposes or if someone posts a comment.  The older posts actually require re-uploading of pictures as the size can't be changed.  Eventually, they will all be done for all blogs!  Secondly we become aware of typos and try to correct these.  Thirdly, we often find additional pictures we want to include (particularly in the Pubic Wars series).  We have a lot of these we need to do in the next few months.

Our friend C in New York recently sent us some alternative black and white pictures from the shoot James Baes did which appeared as Penthouse's first girl/girl shoot, Two Women, from December 1970.  I have posted them at the end of that pictorial here.

Playgirl and Viva Couples Pictorials 2: the 1970s Part 2 -1975

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 Playgirl January 1975


1975 would be the year of the couples pictorial and not just in Playgirl and Viva but also in the mainstream men's magazines too, as we shall examine in this post.




Playgirl January 1975


The new year saw Playgirl presenting a period fantasy called New Year 1948 photographed by David Meyer.  Some passionate clinches in this one, with the lady, as was often the case in Playgirl,(just about), remaining dressed.


 Viva January 1975


Viva January 1975


Viva's January couples pictorial by Penthouse stalwart Earl Miller had the gentleman assertively displaying himself in a way that the men's magazine had not yet.  The set is themed around the previous year's The Great Gatsby film.


Viva January 1975


The setting is well done and it is beautifully lit, as you would expect from Miller, but, apart from this tender caress, the couple don't really interact at all but just pose naked together in the same room.


Oui January 1975


Oui featured another one of their celebrity couples in the forms of I Spy actor Robert Culp and his lissome wife Susan. Unlike Jean-Claude Killy, the previous year, however, Culp bravely flashed his penis in his pictorial.


Oui January 1975


An article on aphrodisiacs later in the magazine had another photograph where the male model was showing his penis but this was an even clearer shot than Mr Culp's example. Even more racily, the lady has her thigh actually pressed against the man's prick. All these male members continued to be controversial with the readers, however.


 Playgirl February 1975


Playgirl February 1975


No cock on view but more actual copulatory positions in February's 'fantasy' feature.  This time the woman gets well and truly naked and even, unlike the man, flashes her fur in a couple of small shots.


 Viva February 1975


Viva February 1975


It looks like Viva had a bit of a failure of nerve in February as this double page spread of a lady seemingly with her hand over the man's penis seems to have been blurred somewhat.  It's shame ,as otherwise its a nicely composed shot.


Playboy February 1975


February's Playboy saw them engaging more strongly in the couples pictorial trend with a Oui style shoot by Richard Fegley. It was called The French Maid and was about...a French maid. It was all very tasteful and there were no hints of penises in Playboy.


Penthouse February 1975


Penthouse went one better that month by having a pictorial featuring two girls and a man. Their feature Three in Love was altogether racier and featured glimpses of what Playboy hadn't dared show in its pictorials so far, plus some strong implied fellatio.


Oui February 1975


February's couples pictorial in Oui was less about trying to build an atmosphere of authentic passion and was more of a "comedy" approach; never a successful combination, although it wouldn't stop Oui persisting with this style for a number of years.


 Playgirl March 1975




Playgirl March 1975


Following the release of Star Wars and Close Encounters of the Third Kind, two years later, science fiction themed couples pictorials would become quite popular.  At this point, though, a genre themed fantasy such as this was very unusual.  The male model in this was Paul Barresi; a model, porn star and conventional actor.  More recently he has been involved in a number of cases as a private investigator in celebrity jobs and in 2008 was jailed for wire-tapping, as well as possession of illegal firearms. He is is still in prison.


 Viva March 1975


Viva March 1975


A little less blurring was visible on the member of Viva's March pictorial male model.  This was another period piece set in the 1920s, this time.  From an artistic point of view the Viva pictorials were streets ahead of the Playgirl ones.


Playboy March 1975


Playboy had a pictorial where seven photographers interpreted the theme "ripped off".  Garrick Peterson's contribution had more passion than most of Playboy's couples material and also featured, in a rarity for them, male pubic hair.


 Playgirl April 1975


Playgirl April 1975


April's effort for Playgirl was less revealing for the man but did have him in a World War 1 flying helmet and goggles as the couple romped amongst some balloons.  Even Bob Guccione would have been jealous of the enormous pearl necklace sported by the girl.  Someone's fantasy, anyway.


Viva April 1975


Once again, in April, Viva, a magazine aimed at women featured a woman's nipples on the cover.  Perhaps the presence of the enfolding male arms was enough, or so the publishers thought, to make it appealing to women readers.


Viva April 1975


This pictorial was shot by Earl Miller and in this sequence, at least, the male model's increasing excitement is obvious.  The pictorial was called On the Beach and it was thematically, stylistically and in title the same as the pictorial by Jeff Dunas which would appear in Penthouse the following month.


Playboy April 1975


April's Playboy ran a pictorial on sexy food which included. in this shot by Ken Marcus, this couple being naughty with grapes and oysters.


Oui April 1975


Another real-life couple featured in the April edition of Oui.  Actor Michael Callan appeared in the Ray Harryhausen film, Mysterious Island (1961) and in Cat Ballou (1965).  He was forty at the time of this pictorial and the lady who was described in the text as his "friend Karen" was a minor actress called Karen Malouf who he eventually married (she was his third wife). She looks a lot younger than he does. He flashes his cock even more than assertively than Robert Culp did.


Hustler April 1975


Hustler would become well known for its controversial boy/girl pictorials but back in 1975 they were not yet a staple of the magazine.  This one, Karen and Ken, was one of only two in 1975.  it looked pretty muck like the Playgirl and Viva pictorials but had added labia.


 Playgirl May 1975




Playgirl May 1975



May brought an outdoor Beauty and the Beast fantasy for Playgirl as the couple romped in a damp and chilly looking wood.  One thing that appears to be apparent here is how the beast's proportions grow between shots.  Playgirl had to be careful in the mid-seventies, however, as full erections would have got the magazine into legal problems so they had to ensure that the 'angle of dangle', as they named it, was kept below the horizontal while still permitting some swelling.


Viva May 1975




 Viva May 1975


The couples pictorial in may's Viva was shot by Hong Kong born photographer Wu Tze Chiu, who had also done editorial work for Vogue, Mademoiselle and Seventeen.  It was about a femme fatale arrested by two policemen who she then seduces.  She has her cheek touching one man's penis and there is some implied double penetration.


Penthouse May 1975


May's Penthouse had another boy/girl set, this time from Geoffrey Rian (an alias for Jeff Dunas which he used when he already had another pictorial in the magazine), called On the Beach. This was another first for the magazine in that the girl (future glamour photographer Suze Randall in one of her modelling jobs) was actually shown with her finger in contact with the man's penis.


Viva June 1975


 Viva June 1975


Bog Guccione always ensured he had top photographers working at Viva but for yet another period piece, Express to Sing Sing, set in the world of gangsters he employed the up and coming Richard Schaeffer.  The previous year Schaeffer had self published a photographic book Turquoise Pleasures which had attracted a lot of positive views.  Schaeffer had only recently graduated from the Art Center College of Design in Los Angeles where he had initially planned to study painting but decided to do photography instead.  In a brief biography in the Penthouse book Loving Couples (1975) it noted that his teachers were particularly impressed by his ability to work with people.


 Viva June 1975


Certainly, his gangster and moll act convincingly affectionately here and the man is obviously erect in his shots.  Oddly, despite his burgeoning reputation, Schaeffer retired from photography shortly afterwards, in 1978, and instead had a career in working in the fields of interior decoration, decorative plaster work and stone renovation.  This is a fine pictorial where you really do think the couple are well on the way to having actual sex.


Oui June 1975


Oui's June couples set, abandoning their celebrity couples (perhaps they couldn't find enough abandoned celebrity couples) purported to show a pair of flying trapeze stars. Eagle eyed readers could just see that the gentleman trapeze artist is flashing his penis in one of the pictures


Viva July 1975


Viva's cover had a very visible female nipple on the cover which was very bold for mid 1975.





The couples pictorial was supposedly set on the Orient Express and was shot by top photographer Robert Farber.  Interestingly, out of the nine pages in the pictorial only two, containing the pictures here, showed any passionate activity.  The rest see the couple in a very murkily shot "train" dining car interior.  Agent Triple P has travelled to Venice on the Orient Express and the set, while sumptuous, looks more like a hotel than a railway carriage.


Penthouse September 1975


September saw yet another boy/girl pictorial in PenthouseMountain Retreat, photographed by Earl Miller. Continuing the trend of making each set slightly more explicit than the last, this one featured the clearest depiction yet of the man's penis, making only its third appearance in one of the magazine's "love sets".


 Viva November 1975




 Viva November 1975


November's Viva had a striking pictorial of a couple in a bath, shot by Jan Michael.  Every photograph was taken from the same viewpoint; directly over the bath with  a mixture of small shots in a strip across the top of the page and full page pictures, like the final one in the pictorial, above, where the girl gently clasps her companion's cock.


Penthouse November 1975


Meanwhile in Penthouse there was even more explicit naughtiness going on with that month's "love set".  Before 1975 Penthouse had only had two boy/girl pictorials; one each in 1972 and 1973. However in 1975 they would eventually have four including this one, Love in the Afternoon photographed in the English West Country by Jeff Dunas and Denis Scott. It may well be that this increase in couples pictorials in Penthouse was in direct response to their increasing appearance in Oui.  What was remarkable about this one was the amount of times the male model's penis was shown. For the first time, in this pictorial, as well, it is clear that he is semi-erect in a couple of the shots.


Penthouse November 1975


This shot where the girl has her breast pressed against the man's member is easily the most explicit boy/girl shot to have appeared in Penthouse up to this point.


 Playboy December 1975


In December Playboy came up with their raciest couples pictorial to date in the shape of  Peep Show which was credited to two photographers: Francois Robert and Robert Keeling. This, perhaps, shows the way that they might have gone if they had decided to keep competing with Penthouse in the Pubic Wars. On the first two pages alone we get voyeurism, masturbation, rear entry sex and pussy touching.


Playboy December 1975


Next they present some threesome action with some lesbian breast kissing and more rear entry thrown in.




In a first and only time for Playboy in one of their couples sets, they included, albeit indistinctly, a glimpse of the man's penis.


Hustler December 1975


Hustler December 1975


December saw Hustler printing their second couples set of 1975 and one which was to have far reaching consequences.  In a way, the pictorial was an odd one for a men's magazine as it completely fetishised Butch's penis.  This shot of Butch taking 18 year old model Deborah Clearbranch (who was, indeed from Georgia and later transformed herself into porn star Desiree Cousteau) from behind so incensed Joseph Franklin, who objected to the interracial aspect, that in June 1978 he gunned down publisher Laryy Flynt outside a Georgia courthouse, leaving him a paraplegic.




Penthouse's final pictorial of 1975 was notable for being their first period-set "love set". Later, period, fantasy and science fiction themed pictorials would be quite common in the magazine but this one, set in the Deep South in the nineteenth century was the first. Period pictorials, however, as we have seen, were very common in Viva.  This had period clothes and interiors and even quite a clever little story. Called The Duel it featured a 22 year old Lori Wagner who had first featured in the magazine in May that year under the name Octavia Corriell.  This shot of Lori with her hand between the man's legs took Penthouse's penis depiction to a new level.

So, 1975 saw couples pictorials becoming popular in both men and women's magazines.  The increasing depiction of men's penises in the pages of the likes of Oui, Hustler and Penthouse may have been something of a surprise and this development was not universally popular with the readers, with some suggesting that men who wanted to see that should buy Viva or Playgirl instead!  In fact, of course, Playgirl was becoming increasingly popular with homosexual men and one former editor estimated that the readership was as much as 50% gay.  The other issue, for all the magazines, was to what extent they could show erections. Writing to the English issue of Penthouse following the publication of The Duel (above) G.F. from Lancaster made a good point: "The Duel was superbly done. They were really enjoying the pleasure of one another and for the first time in any magazine I've seen or bought, the man had a hard on. It made the pictures more realistic...If you photograph couples and they're supposed to be making love and enjoying it then the man's cock should be like that."


Playgirl December 1975


Just as the depiction of women's genitals in couples pictorials in men's magazines was less explicit than in solo pictorials, at the beginning of the year the depiction of penises in women's magazines was often less assertive than in solo shoots.  By the end of 1975, however this was changing but in both men's and women's magazines.  Playgirl, especially, was pushing the levels of tumescence depicted in their solo male shots.  Viva was more assertive in the couples pictorials.

In Viva in 1975 the couples pictorial became the dominant one.  Viva had never had a centrefold in the way that Playgirl had and by 1975 the featured men had lost their two page final picture and their pictorials had been shoved to the back of the magazine, with the couples pictorials taking pride of place in the centre of each issue.

Next time we will look at the rest of the seventies.

Shepherd and Shepherdess by François Boucher

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A favourite pastoral theme of Francoise Boucher was that of the Shepherd and Shepherdess and he produced a number of paintings on this theme.  All suggest that Boucher thought the job of a shepherd was to loll around the countryside in the company of lady in a state of semi undress and one of two docile looking sheep.  Of all his versions on the theme this one, likely done for one of his private clients rather than for exhibition, displays what he thought these indolent animal guardians actually got up to most of the time.  The shepherd kisses the shepherdess' breast while his left hand toys with the hem of her underskirt, which barely conceals her almost totally displayed groin.  Full on copulation cannot be more than a few seconds away as the sheep appear to keep watch.

Kissing Venuses 12: Hina and Manu by Paolo Curto

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 Some of the most popular posts on our blogs have been those featuring Polynesian lovelies, so what better tonic to a depressingly wet day in England than two kissing Venuses photographed in Polynesia.




These pictures appeared in the August 1983 edition of Italian magazine Playmen and feature, according to them, Hina and Manu.




The pictures were shot by Italian photographer Paolo Curto, who specialises in photographs and paintings which feature the sea and, quite often, young women.  In fact, one of the women here, Hina, features in one of his paintings.  




Born near Venice, he lived in Polynesia for a time but now resides in Sardinia.  His work had appeared in many well known magazines such as: National Geographic, Playboy, Sports Illustrated, Stern, Photo, Paris Match and many others.  These days he does a lot of work for the tourism industry.




This final one is lovely!

Ancient orgy 1: Engravings for Pictures of the Private Lives of the Roman Caesars

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Time for another theme on The Seduction of Venus and as Triple P is planning to watch the full length version of Caligula (1980) with his friend A then she suggested a Roman orgy theme.  




We will start with a series of engravings done for Pictures of the Private Lives of the Roman Caesars published in 1740.  While not, perhaps representing full on orgies they do include some scenes of group sex and nudity at banquets.  We will look at the thorny question as to whether ancient Rome really did feature orgies another time but for now we will pick out a number or orgiastic pictures from this publication.  In discussing it with A she maintained that a threesome cannot be an orgy (as there were a number of such among these illustrations) and we would also, maintain that there needs to be more than four participants, otherwise you just have two couples.




The traditional view of an orgy is of group of Romans lolling around on their couches (we suspect the image of orgies wouldn't have been so powerful if they sat at chairs for meals) decadently munching grapes and swigging wine.  Given the possible origin of orgies as Bacchanalian rites this is reasonable.  We would venture that a group of people standing up and embracing, with no food or wine visible, doesn't constitute an orgy, despite the chap in the foreground obviously finding it quite exciting.




At least in this one we have got what could be a wine jug, except, of course wine would have probably been served in an amphora, but perhaps posh Romans decanted their Falernian to let it breathe.  There doesn't appear to be enough women to go around here, hence, alternatives have to be sought.



Here, at least, we have naked slave girls bringing wine and food.  This is much more like it but with only one man, other than the pipe player, many of the girls are going to be disappointed.




Only one man here too (presumably a lucky Caesar) but the large couch offers plenty of room to manoeuvre.  This feels more like a lunch party I went to at one of S's friends.




Finally, with more food being brought, a dancing girl and a couple of other men enjoying the ladies we are starting to get a better feel for it.

More, orgies soon.
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