Quantcast
Channel: The Seduction of Venus
Viewing all 170 articles
Browse latest View live

Ancient orgy 2: Roman Orgy by Wilhelm Kotarbinski

$
0
0
Roman Orgy (c.1872-1887))


This splendid Alma-Tademaesque painting of a Roman orgy is by the Warsaw born artist usually known as Vasily Alexandrovich Kotarbinsky but, more properly, Wilhelm Kotarbinski (1849-1921).   Kotarbinski's father was dead against him pursuing a career as an artist but after studying in Warsaw he borrowed some money from his uncle and moved to Rome to study there.  After three years in Rome he finished his studies in St Petersburg but returned to Rome where he stayed until 1887 before settling in Kiev for the rest of his career.  Rome influenced his choice of subject and he produced a number of classical and mythical subjects, of which this is the most monumental (it measures 65 by 87 inches).  Later on, his work was looser and closer in style to that of the symbolists.   In Kiev he undertook a number of important murals, including in the city's cathedral.  He always considered himself Polish and not Russian or Ukrainian and once refused to sign a picture in Cyrillic script as a result.

This picture dates from his time in Rome but although it is dated the date is too indistinct to be made out.  He made a later copy in 1893 now in the State Russian Museum.  It's rather a chaste orgy with a little kissing and some half dressed young ladies but the execution is sumptuous.  Sadly, Kotarbinski died in poverty in Kiev while planning to return to Warsaw.

Ancient Orgy 3: Romains de la décadence (1847) by Thomas Couture

$
0
0


Here we have a nineteenth century interpretation of a Roman orgy by the French painter Thomas Couture (1815-1879).  A largely historical painter who trained in Paris, this painting is very much his greatest work.  It is a vast painting, some 4.7 by 7.7 meters and now hangs in the Musée d'Orsay, although for the previous hundred years it was in the Louvre.

The Roman decadence depicted, while being first displayed alongside a quote from Juvenal: "Crueller than war, vice fell upon Rome and avenged the conquered world", is actually more a comment on what he saw as the moral decadence in France at the time, under the July Monarchy of Louis-Phillipe I, which was eventually ended by the Revolution of 1848.

Couture had an uncomfortable relationship with the artistic elite in Paris and espoused his particular teaching methods from his own atelier.  His pupils included, Chavannes, Fantin-Latour and Degas.

This painting very much followed the classical tradition of men being dressed and the ladies largely naked and includes the inevitable, unconscious, post bacchanalian figure.

Ancient Orgy 4: Two Bacchanalian scenes by Auguste Levêque

$
0
0



We have featured a couple of paintings by Belgian artist Auguste Levêque before, here and here.  He had two attempts at an orgy scene, although they were both christened Bacchanalian scenes.  It is unlikely that orgies were common in Ancient Rome as Roman sexual morals ran contrary to the concept.  However they are mentioned occasionally and it seems likely that group sex did happen sometimes: Amongst Roman citizens and prostitutes in brothels, on rare occasions under certain Emperors and as part of religious festivals such as the Bacchanalia, the festivals of Bacchus the Roman God of Wine, intoxication freedom and ecstasy.  The cult of Bacchus came to Rome from Greeks in Southern Italy, based on their own festivals of .Dionysus.  Bacchanalian festivals arrived in Rome about 200BC and were later described in lurid terms by Livy who was, though, writing 200 years later.  Certainly the Roman authorities did crack down on Bacchanalian gatherings and limited the number of people who could participate at one time.  Originally, it seems, this was a female cult and there was a suggestion that, even after men started to particpate, women outnumbered men at these events by two to one.  Certainly, this painting by Levêque features far more sumptuous ladies than men and everyone seem to be having a lovely time!




The second of Levêque's Bacchanalian scenes features rather more embracing couples than the first, several fully fleeced ladies and even some mixed race action.  Although we haven't been able to find out exact dates for these paintings they are both likely to date from 1890-1910 so are quite racy for the period.

Ancient Orgy 5: Scene from The Golden Ass by Milo Manara

$
0
0



This Roman orgy, depicting the festival of Lupercalia (which took place in February and was linked to fertility), is by the Italian artist Milo Manara and comes from his graphic novel The Golden Ass.  Although there is one clearly depicted vulva, the orgy is not that explicit.  Several of the figures in the centre of this panel appear to have been 'inspired' by the Temple of Vesta scene from Caligula (1980).  The men are very much outnumbered by the women here.




Manara's loose adaption of The Golden Ass was published in 1999.  The story was originally written by Apuleius (circa 124-170 AD), a Numidian Berber from what is now Algeria.  This is the only Roman novel that has survived in its entirety and tells the story of Lucius who, dabbling in magic, accidentally turns himself into a donkey.

Ancient Orgy 6: Scene from The Slave by Erich von Götha

$
0
0


Another comic book Roman orgy scene here, this time by Erich von Götha  (a pseudonym for British illustrator Robin Ray (b.1924)).  Ray was already in his sixties when his first erotic epic The Troubles of Janice was first printed in Germany and France in 1987.  Since then his heavily sado-masochistic works have become well known although he has had issues getting them published in theUK and America.  This illustration from The Slave has more implied than explicit action and, as usual, the ladies outnumber the men.

Ancient Orgy 7: Orgy by Robert Auer (1873-1952)

$
0
0



This entertaining orgy picture is by the painter Rober Auer who came from Zagreb, in what is now Croatia.  He studied in Vienna and Munich and exhibited at the famous Munich Secessionist Exhibition in 1906.  Known mainly for portraits and sensuous nudes, a collection of previously unknown erotic paintings recently came to light, which we shall look at shortly.

His Roman ladies here sport early twentieth century hairstyles and are smilingly depicted in very graphic action.: copulating, fellating, receiving cunnilingus and indulging in lesbian fingering and breast licking.  It is quite the jolliest looking orgy we have seen and looks the most fun to be a part of!  A slightly more balanced ten men and thirteen women in this one.





A previously unknown collection of 900 works by Robert Auer is discovered. Influenced by Art Nouveau and Viennese Secessionism [1905-1915], the works range from fine art, to kitsch, and pornography. Google Translate provided such charming phrasing, that I am tempted to quote at length. NACIONAL.HR: “This lascivni, underground work some moralist would call voluptuous, and some tehnoman studying sexual techniques without drawing much inventiveness,” … Auer has stood above the level of pornographic and erotomanskog and entered into the field of fine erotic creating intriguing work, which presents him as a skilled draftsman. A stingy man who does not have the spirit and sensibility can easily make something dead and expressionless. Auer’s pen was as black as tar, while a trace Srebrenka barely visible, the results were nice, nice drawings. “ It can be said that the formula of that time was - the secret vices, public virtues. In hiding hiding the vital, living eroticism of something excessive and forced. And this game of hiding the mania that gave a certain charm, transforming it into play. Do not hide that game, it would probably be the case in psychiatry. “ Robert Auer is not the only artist who was obsessed with sex. Apart from him the secrets of erotic cycles were many others, from Nicholas Masic, Prince Miroslav and Bela Csikos sessions to contemporary artists like Dimitri Popovic, Labasa and George Joseph Zankija When asked why they are just at that time the late 19 and early 20th century, many artists, were so preoccupied with eroticism, Zidic said that this period became the first time persons publicly lamented about sexual issues. Youth of that time was preoccupied with a new topic - sexuality, he says, slacking off a civil morality, and the air felt the degradation of the civil codes of conduct and practices. The hero of this period was the painter Gustav Klimt, who was constantly surrounded by women and the feminine hailed his paintings, and psychoanalyst Sigmund Freud published his first book on interpreting dreams and sexuality. “In this atmosphere, Robert Auer emerged as one of the najdrskijih najodvažnijih erotomaniacs this period,” explained Zidic. “Others were more discreet, for example, in the oeuvre of Vlachs Bukovac never come across pornography, or the erotic freedom as was permitted by Auer, but you’ll find real, pure eroticism. “Auer is not realistic, stylized, and he always corrects the world, bringing an ideal form, but because it means fall into the pattern and do not cause a special experience,” says Zidic. “It is, for example, occurs when one image is placed on the 12, 13 of the same or similar acts. The result is the number of characters and the overcrowding of the composition, as the image reflects the pattern and becomes repetitive. “

Ancient Orgy 8: De Figuris Veneris by Édouard-Henri Avril (1849-1928)

$
0
0



This small orgy comes from a 1906 edition of De Figuris Veneris, an anthology of Greek and Roman erotic material.  It was arranged under subject by Friedrich Karl Forberg and published, in Greek and Latin, in 1824 as a commentary on the Hermaphroditus of Beccadelli, written in 1425 but modelled on ancient erotic works.  It was translated into French by the former priest Alcide Bonneau in 1882.


Frontispiece of the 1906 edition


The work itself groups extracts under broad headings such as Of Copulation, Of Pederastia, Of Masturbation, Of Cunnilingus, Of Tribads and even Of Intercourse with Animals.  It concludes with a description of 95 sex positions.  Paul (his pseudonym for his erotic work) Avril produced a series of 19 coloured lithographs for the 1906 edition.  Most illustrate one heading or position but this one covers a number of entertaining activities.  We particularly like the exhausted looking girl and the discarded tie on dildo.

A Merry Christmas to all our readers!

$
0
0




Hope you get to unwrap something nice!  I've got time off between Christmas and the New Year for the first time in years so hope to do some more posts!

Dinner at Eight by Jeff Dunas

$
0
0


If ever there was a pictorial which summed up the difference between erotica and pornography, something which many people today seem unable to understand, it is the Penthouse Love Set Dinner at Eight by Jeff Dunas.




This appeared in Penthouse's July 1978 issue and was the first (of only two) boy/girl pictorials that year.  There had been four in 1975, 1976 and 1977 so it was something of a rarity that year.  Why Penthouse had cut down on its couples pictorials we are not sure.  It may have been because it didn't want to get into a battle with Hustler (who had five couples pictorials that year) over who could be the most explicit.




This was one of Penthouse's most elegant couples sets, exuding period character and beautifully caught by Jeff Dunas.  It had a mixture of  the Golden Age of Hollywood and the Great Gatsby about it and is in complete contrast to the cheap looking, over-lit material that passes for couples sets in magazines today.




Our heroine is supposedly the hostess of a grand party which has just finished leaving her and her chosen man alone in the house.  She agrees to meet him in the drawing room.




The girl is Lori Wagner who was so memorable in another Penthouse couples pictorial The Duelin December 1975.  She would go on to appear in the notorious Caligula (1979).  This passionate kissing shot is pure classic Hollywood.








In fact, the text describes them as looking like Valentino and Harlow.  They indulge in some effectively arousing kissing and caressing as Wagner loses her dress.  Dunas' murky lighting really does conjure up the image of a late night tryst in a darkened room of a big house.







Her back arched, he caresses one breast while she strokes the nipple of the other with her thumb.




More breast caressing here but also what is believed to be the first unequivocal erection in a Penthouse Love Set.  There is nothing salacious in this; it is just a perfectly natural reaction to the gorgeously glowing Lori.




This one, however, seems to show a slight failure of nerve on the part of Penthouse.   Lori is patently grasping his erection here but it appears that it has been artificially obscured with shadow.  It's still a passionate, if theatrical, shot with him holding that Penthouse staple, long pearls, in his teeth.




He has lost his undershirt, the inclusion of which is a nice piece of period detail in itself.  All men in the period depicted in the pictorial would have worn these.  It was, reputedly, only when Clarke Gable appeared without one in It Happened One Night (1934) that the wearing of these plummeted.  




She straddles his now naked thigh and, in the process, presents what at the time would have been called her fundament.  Dunas has the couple go through a series of striking poses; their bodies illuminated against the dark background with the lampshade presenting the only real flash of colour,




The composition throughout this piece is marvellous and many of the poses are more like modern dance than the actual realistic positions a passionate couple would indulge in.  In particular there is striking use of the hands throughout.




This is a wonderful anticipatory shot.  One of Lori's hands, fingers spread, caresses his hand on her hip as she strokes her own hand in turn.  She gazes, not at her partner but away from him as if her senses are focussed on touch alone as he kisses his way up her inner thigh to that prominent golden fleece.




Again, Lori surrenders to the touch of his tongue as he reaches his goal.  This was easily the most explicit cunnilingus shot to appear in Penthouse to date.




There is only the one copulatory shot and it is a rear entry one with Lori's head not even visible just the two bodies in matching poses.  Her stocking is wrinkled around her knee as if to demonstrate the level of her abandon.  Her hand is between her thighs; either caressing or guiding.

This is one of Penthouse's most successfully erotic couples sets and shows what a truly great photographer Dunas was.  Sadly, there seems to have been some dispute between Dunas and Penthouse and none of his pictorials appear on the Penthouse website, meaning that there are no outtakes from this particular set.

We will try to get our next Love Set up this week.

Marianela Nuñez in Carmen

$
0
0



Triple P enjoyed watching Carlos Acosta's ballet version of Bizet's Carmen on TV over Christmas (although the critics weren't convinced).  Carmen was played by splendid Royal Ballet Principal Marianela Nuñez who spent much of the ballet dressed in this enticing little black lacy number.




There really was something about the combination of black lace and very toned , pale thighs that worked very well.




Even better, at one point Acosta has Carmen tied up in a jail cell, treating her with the caution you would apply to a wild animal, which, of course, she is.




Marianela Nuñez was born in Buenos Aires, Argentina, started dancing at the age of three and ballet school at the age of six (she is now 33).  She joined the Royal Ballet School in 1997, joined the company the following year and became a principal dancer in 2002 at the age of twenty.




Cuban born dancer/choreographer Acosta looks suitably ecstatic in his clinches with the lovely Marianela.


Nuñez (top) with Zenaida Zanowski in The Seven Deadly Sins


This isn't the first time Nuñez has appeared on stage in her underwear.  Back in 2007 she caused a stir in the Royal Ballet's production of Kurt Weill's The Seven Deadly Sins.

Lust in Space by Earl Miller

$
0
0


The next Love Set in Penthouse, Lust in Space, would be their sixth and final group pictorial of the seventies.  All of these, apart from the very first, Bawdy Bathers, would feature two women and one man.




It appeared in the October 1978 issue and was photographed by Earl Miller.  With the arrival of the two big budget science fiction films of 1977, Star Wars and Close Encounters of the Third Kind many of the men's magazines would present science fiction themed couples sets over the next few years.  In fact, Penthouse, ahead of the trend, had already had one, 2076, in their July 1976 issue.




More importantly for Bob Guccione, the space-themed pictorial matched with the preview of his new science magazine Omni, which launched that month.  The idea of his wife, Kathy Keeton, this mixture of popular science, science fiction and the supernatural ran until Keeton's death in 1997 and after carrying on as a web only presence for a few month essentially folded in April 1998.

 We have a few outtakes from the pictorial but will incorporate them into the main post, this time, rather than adding them at the end.




The text tells the story of an astronaut who has had to beam down from his spaceship to the surface of the planet Nymphon in the Phi Delta Pubis quadrant.  The text seems to have been more inspired by Star Trek than Star Wars.  Anyway the astronaut passes out as soon as he reaches the surface of the planet.




Needless to say, when the astronaut regains his consciousness he finds himself in the presence of two beguiling aliens.  Penthouse would present more exotic aliens in the future but these were the first and they certainly look striking.   Perhaps their bald look was inspired by publicity shots of Persis Khambatta, as alien Ilia, in Star Trek The Motion Picture, which would premier two months later, 








The two aliens recover the unconscious astronaut and take him to their space base.  Eschewing the normal metallic foil and plastic look they seem to have decorated their dwelling with embroidered panels in the manner of a bedspread.




This was a large couples pictorial with twenty photographs spread over twelve pages giving the photographic editors plenty of space to tell the story properly.








Whatever, our be-feathered alien chicks (perhaps they are related to the bird people from Buck Rogers) soon have our astronaut's helmet off and set to work on his spacesuit.






However, they have time to take a break and indulge in some avian-girl teasing.   Their abbreviated leather costumes owe more, perhaps, to fantasy than contemporary science fiction but the two (unnamed) models carry them off beautifully.




Next, the two space chickens brandish what the astronaut, in his first person narrative, describes as whips although the tails don't really seem to have the requisite stiffness to be successfully invigorating.






Men's magazines at the time were really only just dipping their toes into the BDSM water, which had yet to become a more mainstream part of visual erotica (Penthouse's pioneering fetish pictorial My Funny Valentine had not been followed up).  Still, the aliens go through the motions of beating and then insisting on some whip kissing,  It's not quite as convincing as that shown in the previous boy/girl/girl pictorial (also by Miller) Any Sport in a Storm (trooper) from November 1977.




Rather more extreme is this shot of our astronaut being abused by the heels of the space babes' shoes.  This is certainly the first male/female S&M shot  involving shoes in Penthouse.




This auto-erotic shot reveals that the girls' outfits, being made from straps are divided at the crotch.






This fact explains how the astronaut is able to, apparently, penetrate them while they both keep their clothes on.






The astronaut's penis is never visible in this shoot and in these pictures he is covered by the girls' whips.   This is likely because the astronaut is played by Earl Miller's assistant, Tom Swanson, not a professional model.









The final sequence has the space babes dispensing with their abbreviated costumes and revealing their nether regions for the first time.  The astronaut watches as they indulge in a little light lesbian pussy caressing before he teases them with their own whip.










Finally, after a nice bottom kissing photo, we get the most explicit sex position shot of the pictorial which also includes, unusually at this time for a Love Set, a strong anal shot.

This is a visually striking set and the girls, whoever they are, look very good indeed despite the (well done) bald/feather effect.  As was usual for group pictorials at this time it's not quite as explicit as the conventional couples sets of the time.  The light S&M element and fantasy setting is a precursor of many of the Love Sets from the nineties.

Two Chinese girls enjoying a dildo

$
0
0



We don't think we have featured any Chinese erotica here before but sex was an important part of the path to happiness in Taoism and erotic art flowered in China from the tenth century until the beginning of the twentieth.  As in Japan, erotic art was also used to educate young married couples as well as providing arousing material in its own right.

These two ladies, enjoying what would now be called strap on sex, are likely to be courtesans in the Emperor's harem; their bound feet indicating their high status.  There is much evidence of the existence of dildos in the Imperial harem; no doubt to enable the ladies to satisfy themselves while awaiting their turn with the Emperor.  Unusually for Chinese erotic art, they are depicted in an interior setting. 


Double Exposure from January 1977

$
0
0



We have just had an entertaining phone call with our particular friend S from Vancouver, saying how much she enjoyed Lindy Benson over on Venus Observations and asking me to post some more pictorials from Chic magazine.  She asked if Chic did couples pictorials and I replied that while they weren't originally a feature of the magazine they did start to appear more and more during the late seventies.




Unlike some of the pictorials from sister magazine Hustler, the Chic sets were well photographed with very attractive models and printed on decent paperstock.  From the point of view of formatting them for this blog they also have the advantage of being very short; usually just five pages.  This is their first couples set although, in many ways, it isn't a real couples set at all.  It comes from Chic's third issue from January 1977.




It isn't  areal couples pictorial because it doesn't actually illustrate a sexual encounter but instead is about a man filming a girl with a small portable cine camera. It is a five page pictorial but given Chic's focus, in its large format, on single and double page spread photos only, we get just three images.




The final shot of the pictorial gives us Chic's first anal shot, as the probing lens approaches the young lady's parts in a none too subtle manner.  We don't know who the photographer is as, at this point, they were not giving credits of their pictorials.




We have just three outtakes from this pictorial.  The man, it should be noted, keeps his clothes on throughout, just getting down to his underwear at one point.  Hustler had had a few couples pictorials by this point and they had had the man strip off but certainly they didn't in the first couple of Chic couples sets.




We haven't been able to identify the lovely girl but perhaps one of our readers knows who she is.  She has luscious lips (top and bottom) and very perky nipples indeed.




The final shot, which didn't appear in the magazine may have been left out as it is a really full on anal shot and it would only be later on in the year that these started to feature in the magazine.  So, nicely lit and a different way of getting the girl to display herself with the cameraman adding that extra voyeuristic quality to a simple but effective shoot.

Easter greetings...

$
0
0


These splendidly retro bunnies are British actresses Brooke Vincent and Sacha Parkinson who play vintage British soap Coronation Street's first lesbian couple.  Coronation Street is nearly as old as Triple P and has now had getting on for nine thousand episodes.




Triple P's mother used to watch this show in the sixties when the women in it looked like this.  Progress!

Dejah Thoris and John Carter for Martian Close Approach

$
0
0


A couple of days ago Mars was at its closest distance from earth for about eleven years (only 43 million miles - it varies due to Mars' elliptical orbit).  Mars, for Triple P, still means the novels of Edgar Rice Burroughs, which he read when he was about twelve years old.  Like nerds from before the time the term was even invented, we loved the sword and radium pistol wielding, nearly naked, Red Martian Princess - the 'incomparable' Dejah Thoris.  We particularly like this illustration of her and John Carter, her Earth-born lover which gives us an appropriate Earth/Mars conjunction.




There must be hundreds, if not thousands, of illustrations of Dejah Thoris out there and we remember doing our own illustration of her when at school.  This was almost immediately confiscated by a teacher due to the anatomical accuracy of the figure and was no doubt circulated around the staff room afterwards (the fate of several of our drawings of women at school).  We drew a naked green woman on the cover of our rough book which was much remarked upon by the teachers.  At least it resulted in Triple P being asked to be art editor of the school magazine, in which we included a few decorously dressed girls on mushrroms. By the time we were seventeen we had access to a young lady who was happy to pose (almost) naked for us, giving our drawings an animation and freshness that our Art teacher (fortunately a liberal chap) instantly recognised as being done from life. The main problem with our Dejah picture may have been that we based the figure and face on the blonde V, the only woman in the school, who was the physics assistant and a girl (she can't have been older than 23) with an outrageous figure and a penchant for tight jeans and even tighter tops (and what lovely tops they were).  She was the source of many happy dreams for a lot of the boys.  We have no idea what happened to that picture, otherwise we could have put it up here, in a case of Dejah vue (sorry).


Cover painting from the first edition of A Princess of Mars by Frank Schoonover (1917)


Dejah Thoris first appeared in the first John Carter novel, A Princess of Mars, in 1917, where Burroughs described her thus:"She was as destitute of clothes as the green Martians who accompanied her; indeed, save for her highly wrought ornaments she was entirely naked, nor could any apparel have enhanced the beauty of her perfect and symmetrical figure." It is easy to see why she was such a popular figure (literally) for Science Fiction illustrators, although in 1917 she was depicted with rather more clothes on, in the original cover illustration for A Princess of Mars by Frank Schoonover (1877-1972), who had her more in Ancient Egyptian mode.  A year later Schoonover produced some famous paintings of the American army in Europe,


The Warlord of Mars cover illustration by J Allen St. John (1919)


Her nakedness was a problem for the early illustrators and when she first appeared in comics in the 1940s she remained very modestly dressed.  It wasn't until the seventies that she became the under-dressed figure so beloved of illustrators and comic book artists today.  Here, J Allen St. John (1872-1957), has her looking like a medieval princess.


Joe Jusko


In her most recent incarnations, by Dynamite Comics, she has been depicted as much more naked, as the original books indicated. However, ironically, Edgar Rice Burroughs Inc. sued Dynamite accusing them of producing "pornographic" images of Dejah Thoris (meaning topless - oh how prudes love to use the P word).  Since then the visible nipples have gone and the two companies worked everything out to produce more Barsoom and Tarzan material together, although Dejah is now rather more covered up (at least in the bust area).




The version of A Princess of Mars we read when we were at school, which was published by New English Library in 1972, had a cover by Bruce Pennington which featured a Dejah Thoris barely dressed in a wisp of fabric.




We like the Dynamite Comics picture of Dejah and John Carter at the top of this post, as it is the only picture we could find of the two lovers kissing and the curtains in the foreground give it a nice voyeuristic quality.  It is romantic and sensual.  Sadly, we don't know who the artist is.


Frank Cho


One thing it does portray is Dejah Thoris' red skin.  Burroughs described her as being a light copper colour in skin tone but many illustrators make her white.  Ironic, really, as when Burroughs moved to California in 1919 he sold lots from his Tarzana Ranch in the San Fernando Valley for property development on the basis that: "they shall not be leased, sold, or conveyed to, or occupied by any person not of the Caucasian race”.  Looks like Dejah Thoris wouldn't have been able to live there!






The final issue over the depiction of Dejah Thoris is, of course, that like all her race of Red Barsoomians, she has no belly button as she was born from an egg.  Virtually all artists give her one, however.  With only a few more recent pictures not including this feature, such as the cover immediately above.




Even Frank Frazetta has her with both a belly button and white skin in all of his Dejah Thoris pictures.




Lynn Collins certainly had one in the rather unfairly trashed John Carter (2012) but then she didn't have red skin either, just red body paint.  But then they didn't even make the surface of Mars red, so poor show on the red front, altogether!


Explorers of Gor, Jim Burns


In discussing this post with our friend S, she suggested we write a Barosomian-set erotic story but we have no desire to be pursued by Edgar Rice Burroughs Inc.'s notoriously litigious lawyers.  We did write an illustrated story in the eighties about a young woman who is mysteriously transported to another, more primitive planet (not Mars) and has sex with everyone she meets but we have no idea where it is (we do think we may still have it!).  It was more John (Gor) Norman than John Carter and was done for a young lady who enjoyed bondage, so reflects that.   

Sneaky Xmas Gift Catalogue by Stan Malinowski

$
0
0


When is a Penthouse Love Set not really a Penthouse Love Set?  When it is. what wouldn't have been called at the time, an advertorial.  We actually thought about not including this pictorial in our chronological review of Penthouse Love Sets but it contains some striking images (not least this fine study) so decided to go ahead. 




It appeared in the November 1978 issue of the magazine and even featured on the cover in aphoto photo which, like the pictorial, was shot by Stan Malinowski (then pretentiously calling himself just Malinowski).




The first picture in the pictorial featured the cover girl, one of three models in the set.   They are not named in the text but this is Carrie Nelson, Pet of the Month for January 1978.




Next up we have one of two Brunettes in the shoot.  This is the peerless Deborah Zullo, Penthouse Pet of the Month for November 1977 and one of our favourites of the seventies.




The third model in the shoot is Pet of the Month for April 1973, Paula Francis (here on the left).  This is one of the few shots of all three girls together




So we get three Pets of the Month but which one is which, in this picture. we will leave you to judge.  These are early examples of the new high cut knickers (as you can see in comparison with the girl on the right's tan lines) which would start to appear over the next few years





Although there are some sapphic overtones in the shoot (actually rather more than overtones in some shots) this is actually an unusual pictorial for Penthouse in that it combines their normal fashion pictorial (which sometimes featured Penthouse Pets too) with a standard girl/girl approach.






For every one of the girl's outfits has the supplier, code number and price indicated in the piece.  So here we have Paula and Deborah (with the Penthouse key necklace) cavorting in nylon net with black Camelia lace (Paula) and sheer black net Swiss embroidered lingerie (Deborah).




Here we have blonde Carrie Nelson (who appeared in a number of other men's magazines at the time under a variety of different names) and Paula Francis (who doesn't seem to have done anything other than her Penthouse Pet shoot and this) looking sweet and innocent.  Well, maybe Carrie looks a bit more knowing.












Here we have Paula giving Carrie's perky breast a little squeeze and getting ready for some gently sensual caressing.  All of the lingerie for the shoot was provided by a shop called Viva in glamourous New Jersey. An almost, but not quite, matching babydoll and chemise here.






Paula and Carrie (bosom buddies, the text hilariously calls them) look striking in red satin.




Here we have one of the ladies in what the text describes as a Southern Belle-style cincher, although ,from the look of their taut stomachs in the other shots, she hardly needs it.




This is the last real fashion picture of what, despite its hybrid nature, is actually quite a successful set.  It's certainly a nice retro dose of lacy fantasy from a time when Triple P's schoolgirl girlfriend wore plain white cotton. We suppose at prices of around $15 -£35 the items were not the cheapest on the market at the time and we think all the outfits are nice and completely lacking in tacky sleaziness.






The last five pictures demonstrate why we did include this pictorial in among our Penthouse Love Sets as there is not a scarp of lingerie to be seen on any of the girls in these, with Paula (in tit licking action, above) being the most assertive.  It is a shame that this was the only other pictorial, apart from her Pet of the Month one in 1973 that she seems to have done.




Finally, these two get a good look at each other in what is a gently enticing pictorial.




We have one more Love Set from 1978 to post, which we scanned yesterday.  It is a boy/girl one and there would be two more of these before the end of the decade.  There are also five more girl/girl ones to come in the seventies.

A Touch of Class by Earl Miller

$
0
0



As it's Scarlett Knight's 'Hump Day'', when she usually unearths an arousing picture of a couple for her Google+ page, we thought we would post another Penthouse Love Set (two in one week, shock!).




This one, A Touch of Class, comes from the December 1978 edition and is unusual in that the pictorial features on the cover of the magazine.  In fact, it was the first time that a boy/girl Love Set had featured on the cover of Penthouse and, indeed, this would only happen one more time, in the eighties.




This one is supposedly set in a boarding school.  The opening shots have our lady and gentleman tossing a few balls.  These seventies and eighties Love Sets really benefit from these sorts of shots is establishing a relationship between the models.  The shots of them dressed make the shots of them naked much more satisfying.




The slightly dubious, thing from today's perspective, about this is that he is supposed to be her teacher.  We are not speaking about university or college here, either (and Triple P admits to having had a fling with a lady tutor who was fourteen years older than him), this is school.  This sort of behaviour, these days is considered very inappropriate and a line like that in the text "sometime he singles out a pupil, as here..." (and) "..teaches her a thing or two" would be deemed grooming today.




There have been a rash of teacher/pupil relationships hitting the headlines recently but quite often it seems to be a female teacher on the prowl. We went to a school performance evening at a young relation's girl's school school a couple of years ago and from the boy's school next door was a band where the lead guitarist (a pupil) seemed very friendly with the band's very attractive young singer (who obviously wasn't a pupil).  We asked if she was a pupil at the girl's school but was told she was a teacher from the boy's school.  This was the boy's school Triple P attended and there certainly weren't any women teachers like that when we were there!  In fact their weren't any women teachers at all until Triple P was sixteen when we got our first female teacher, for German. She was not unattractive but as she was in her late thirties she was not in the target zone of any of the boys.  She did wear nice leather boots in the winter, though.




In this shot our teacher seems very excited by the attention he is getting from the girls but photographer Earl Miller later revealed that the man had a banana stuffed down his trousers!   We don't know who the pretty female model in this set is but at least she looks the age she presumably is, early twenties rather than what she is supposed to be: a schoolgirl.  According to the text the school is supposed to be a "posh, progressive boarding school", hence the absence of school uniforms.




"In class the others get teacher's attention by raising their hands, she, by parting her legs," says the text on the page this photo is on.  So its as much her as him, it is implied.  That's what they all say.  "He proceeds to bridge the age gap in an unabridged way", it goes on.  This is quite a bold pussy touching shot for the time.






Next we have a sequence of the couple that didn't appear in the magazine which features them having cycled out to the woods at night (or one of them has, given the bike) for an illicit late night pic-nic. These clothes don't appear in the Penthouse pictorial at all.




They get down to some passionate caressing and she has a succulent, erect nipple in this shot.




The outdoor pic-nic is visible in this shot as we get the first view of her bush.  The male model in this was also Earl Miller's photographic assistant, Tom Swanson, and had also appeared in his Lust in Space pictorial in October 1978.




Although not explicit, this shot is, nonetheless, quite graphic.  This one did appear in the magazine and may have been from the bicycle sequence as Swanson is wearing the same necklace.  The text here is quite graphic too: "When he gingerly fondles her downy, schoolgirl cleft, though, she falls strangely silent, except for almost inaudible moans."  Fortunately, the model in the pictorial has a fully adult bush and is not as described.




The next part of the pictorial had a rather curious genesis.  In those days, unlike today, pictorials in magazines like Penthouse and Playboy would be shot over more than a day and not always in close proximity chronologically .




In this case Miller wanted to shoot more of the couple (perhaps he wasn't very happy with the bicycle pic-nic section which was, perhaps, intended to be the "love" section of the Love Set.




Anyway, when Tom Swanson turned up for the shoot he had shaved his mustache off.  Thinking quickly, Miller decided to incorporate this into the pictorial, which is why we get the girl giving him a shave as the mustache has, in fact, already gone. In the text she justifies this by saying that his mustache reminds her "of daddy".  Although, actually, of course she and he look about the same age so some suspension of belief is called for.






She then decides to "trim off a bit of his nether hair to make him a well-groomed lover." He must be braver than Triple P in letting a girl with a cut-throat razor near his nether regions!   Sir, about the mark for my last essay.  Hmm!






Anyway, our lady seems to be enjoying the (fake) process, given her lovely smile and fortunately Mr Swanson's soapy part is ticked well away from her blade.




Despite what was appearing in other parts of the magazine, spread legged, labia revealing shots like this were still very rare in boy/girl Love Sets.  Bob Guccione actually preferred the more romantic style and it was his wife, Kathy Keeton, who pushed for more explicitness over the years.




In the text accompanying this fine nipple licking shot they say that the girl is a "barely blooming eighteen" years old.  At least as far as the story is concerned.




There is no actually lip to lip kissing in the pictorial although the couple get very close, as here, but always end up looking like they have just missed.




This shot is actually identical to the one on the cover  Including text free versions of the cover shots was something that Penthouse had only just started to occasionally do.







Finally, after all that foreplay and shaving, we get a few lovemaking shots, although they are less assertive than some that have preceded them and we are not sure even if these really count.






These implied fellatio shots (one from the magazine, one outtake) are a bit stronger, however.




Finally, our school girl gets her fancy tickled with the shower; no doubt to cool her down.  Although this boy girl set does not have the passion of Sea Song, for example, it is a nice, gentle set where the two models seem to have a good relationship which comes over well in what is a rather playful set.




The next Love Set will be the first of 1979 and will also be by Earl Miller.  In many ways it is stylistically similar to this one but is a girl/girl set.  We will try to get this posted for Scarlett Knight's Sapphic Sunday this weekend!

Nymph and Satyr by Gerda Wegener (1925)

$
0
0



Triple P hasen't seen the film The Danish Girl (2015) which tells the story of Danish artist and illustrator Gerda Wegener (1885-1940) and her husband, the first sex change patient.  We have been planning a piece on some of her delicious lesbian paintings for some time, however.  The film, we gather, avoids the controversial subject of Wegener's own sexuality.  Here we have a lovely nymph enjoying a satyr.  Despite the satyr's predatory expression the nymph appears to be doing all the work here in a much more female dominant way than the usual depiction of such a couple. 




The two pictures here are illustrations from the erotic book Les Délassements de l’Éros, published in 1925.  Here a more contemporary lady is tickled by a faun.  Both are really delightful watercolours. 

 More about Wegener, soon.

Three Lovers by Théodore Géricault

$
0
0
Three Lovers (1817-20?)


The French painter Théodore Géricault (1791-1824) rarely painted female subjects, which led some to suggest that he was a homosexual or was a misogynist.  Comments made by his biographer, Charles Clément, that "this bold and masterly artist did not conceive of feminine beauty in its most delicate and distinguished forms" and quoting Géricault himself as saying he struggled with representing the female figure have cemented this view of him.  However, many years after he died, at the early age of 32, a series of erotic pictures started to appear, which had been suppressed by his family when they catalogued his work.  This small painting (about 30cm x 20cm), Three lovers, was probably painted between 1817 and 1820, following a tour of Rome, Florence and Naples. 


Study for Three Lovers


The naked woman on the left lolls in a languid, post coital pose as he watches the more active couple on the left.  The three are obviously totally comfortable with each other and we get the strong impression that we have arrived mid-way through a passionate, carnal episode involving all three as participants; not just a couple and a voyeur.  The fact that one women is naked and the other still dressed suggests that it is now just the beginning of the blonde woman's 'turn'.  The man already has bare legs (at least) as if he has already been in action, so to speak.




A number of other erotic sketches have  appeared over the years which are passionate but not graphic.  Still, they are very bold for 200 years ago and were probably done for Géricault's own entertainment rather than for sale.  Certainly it is believed that Three Lovers remained in his studio after he painted it.




Géricault was born in Rouen in 1791 and had a classical artistic education, also learning about the anatomy of the horse from his time living in Versailles where he drew the horses in the stables there.  His first major work, The Charging Chasseur (1812) was well received but his follow-up, The Wounded Cuirassier was less so.  Disappointed he joined the army garrison at Versailles for a short while but then undertook his trip to Italy.


The Kiss (1822)


After returning from Italy, where he had gone partly to end a romantic liaison with his aunt, he painted more military subjects before producing his masterpiece The Raft of the Medusa in 1819; a depiction of a contemporary shipwreck which he turned into a giant allegorical and politically controversial epic. 

Géricault undertook a series of portraits of the insane and, when in London to exhibit The Raft of the Medusa worked on pictures depicting the urban poor.  We was working on studies for his next epic paintings when he died at the age of 32 from tuberculosis in 1824.  We will look at some of his drawings of nymphs and satyrs, shortly.

Four Seasons by Tsukioka Settai

$
0
0



Spring


While researching some Shunga pictures for our notes on Chapter 3 of The Lust World we decided to include a painting by the Japanese artist Tsukioka Settai (1726-1786).  It was from a beautiful set called Four Seasons, so we decided to post the whole set here.  These are not examples of the more popular prints but are luxurious (and expensive) paintings, done on silk which formed part of a scroll.  At this point, in the early Edo period, the tradition in Shunga paintings was just to include the figures with no distracting backgrounds (although these were included in prints, oddly.)  So here we have our copulating couples on a (real) gold background, with the artist focussing on the figures and their beautifully patterned clothes.

Initially, it is hard to see what is particularly seasonal about the pictures but preceding each picture of a couple was a painting of a flower which represented the season concerned.  Sadly, we have only been able to find one reproduction of one of these, in one of our books, but it gives an idea of the artistry that went into these pictures.  These are not illicit images produced by anonymous or third rate artists; the very finest artists in Japan produced Shunga images.  In fact, the most influential guide to Japanese painting, Gasen (basket of pictures) by Hayashi Moriatsu and published in 1721 has a whole chapter on how to produce erotic shunga images

The first image (top) represents Spring and the picture above is preceded by a painting of camellia and a branch of plum blossom, considered a harbinger of the season.  This is a painting of a virgin at literally the moment before she is first penetrated: her body  tense in anticipation.  She is young, as can be seen by her bald pubis, which, traditionally would mean that she was not yet regarded as an adult, which was fourteen in Japan at the time.  She wears the furisode, a robe with long, hanging sleeves which is typical of someone of her age.


Summer


The next picture represents Summer and the flower picture preceding this was of the summer flower, the iris, which also represents beautiful women.  The couple wear lightweight, semi-transparent clothes appropriate to the season.  Her pubic hair illustrates the fact that she is a young adult woman depicted in the throes of passion, his and her genitals wet with dripping juices.


Autumn


Autumn depicts a pregnant woman being taken from behind.  The flower before this picture was the chrysanthemum, the symbol of long life.  The narrow blue sash is there to support her belly.  This woman has her teeth painted with black gallnut which indicates that she is married.  The man's shaven head indicates that he is a samurai while she would have been, as was traditional in shunga at this time, a palace courtier.


Winter


Here we have the flower painting which came before the final image.  It shows a narcissus which represents sensuality.  The flowers were painted on paper, rather than the silk of the sexual scenes.


Winter


In the last image the couple wear thick, winter clothes and the woman is on top.  Not only is this woman also married but her shaved eyebrows indicate that she is an older lady.  The woman's passion is clearly demonstrated in her expression and her copious flow.  Settai was particularly well known for focussing on sex within marriage and presenting his female subject's sexuality,

Sensitivity to the changing seasons is an important part of the Shinto religion and many non-erotic seasons paintings, depicting such things as the same landscape in different seasons, were popular in Japanese art.  Settai's  series is also a journey through the ages of woman, as exemplified by the four seasons.  The intiial nervousness of the virgin, gives way to sexual liberation, the maturity of the mother to be and, finally, the emotional and physical satisfaction of maturity.

Wonderful stuff!
Viewing all 170 articles
Browse latest View live