Thursday, February 16, 2012

Two girls by Olivia de Berardinis



Here is a rare girl/girl illustration by American pin-up queen Olivia de Berardinis.  This is a work from right at the beginning of her career, from 1975, before she developed the distinctive "Olivia" style. 

Studying at the New York School of Visual Arts she was working as a waitress and wondering how to make money from her art.  From a very young age she had always enjoyed drawing women and so wondered if any of the mens' magazines might be interested in her pictures.   What started as a way to make extra cash in the mid-seventies soon became her career.  Her work was spotted by Hugh Hefner who was planning to feature a pictorial of Playmate of the Year Lilian Mueller dressed in the style of some of Olivia's pin up paintings. Since 2004 she has been a regular contributor to Playboy; her monthly pin-ups making her a successor to one of her inspirations, Alberto Vargas.

This painting appeared in Club International, in its November 1975 issue, illustrating an amusing story about two Swedish models on a Greek Island, which seems as good a subject as any for a fantasy...

Wednesday, February 8, 2012

The Duel by Earl Miller



From December 1975, the same issue which brought us the girl/girl love set Mirror Image, we have a boy/girl set which was also photographed by Earl Miller.  This was the first time that Penthouse had two love sets in the same issue. 




The cover, featuring that month's centrefold Susan Waide, was very bold showing as it did some clear wisps of Miss Waide's pubic hair escaping from her lacy knickers.  This boldness would continue in The Duel which, given the sexiness of Mirror Image and Miss Waide's genital-displaying centrefold, would make the December 1975 issue the most explicit Penthouse had produced so far.




This pictorial was remarkable for a number of reasons.  Firstly, it  was the first one that had a real story to it rather than just being accompanied by what could be called "mood writing".   Secondly, this is the first time in any of their six boy/girl sets they had actually really pictured what was clearly meant to be actual sex.  Although the previous boy/girl set Love in the Afternoon had had some close clinches they could still have been taken as just passionate embraces.  The implication of this shot is quite clear, however.




Our hero and heroine are Daniel (centre) and Laurie (right).  The man on the left who is not named is married to Laurie but he beats her up and can't get an erection which is why she sneaks off to the bedroom with Daniel.  There is quite a lot of text for a Penthouse pictorial so we will do our best to precis it.




This being the Deep South, when Laurie's husband catches Daniel pounding his wife on the couch he challenges him to a duel which Daniel accepts. "For the love of your wife I will be glad to exchange fire with you!" he declares.




What is impressive here is the amount of trouble they have gone to in getting authentic period costumes and weapons.  It's not something a modern mens' magazine would bother with.  This was Penthouse's first period-set pictorial and they did a very good job on it.




To have two pages of the pictorial made up with these costumed story shots is also something you wouldn't get today.




The husband and the lover square off but, inevitably, it's the husband who ends up getting shot dead.  Catching the flame coming out from the pistol, as Miller did here, is no easy matter.




As usual in these pictorials, the pictures were not printed in any chronological order; on one page the couple are undressed, on the next dressed.  So we have rearranged them from the order they appear in the magazine into a slightly more logical sequence.




After the duel Daniel and the newly widowed Laurie return to her home where he claims his reward for ridding her of her brutish spouse.




Although the period costumes look pretty authentic we have to take exception to the suspender (garter)belt and stockings Laurie is wearing here.  These didn't really appear until the early-mid-twentieth century.




The text read: "...he knows that the reward has been more than worth the risk.  He has never had it like this before."  And neither had Penthouse as this was there first implied fellatio shot.  This one was too strong for the UK issue, however, and wasn't included in their pictorial.




Again, we get far more simulated sex in this pictorial than all the other girl/boy ones put together.




Here Laurie displays a rather anachronistic tan lined posterior.




Although we do not know, as usual, who the male model is we know that Laurie is in fact "Octavia Corriel" who had appeared in a non-Pet of the Month pictorial in the May 1975 issue. 


Octavia/Lori plays with her pussy in 1975


Octavia's real name was Lori (hence her name in this, Laurie?) Wagner and it was this name she used later in her career.  In her early days she won a number of beauty pageants in California.




Lori was born in Caliifornia in 1953 and was twenty-two at the time of this shoot.  She had been appearing on Broadway in productions such as Hair.




Later, Bob Guccione signed her up as one of the principal three Penthouse girls for Caligula where she had a notorious lesbian scene with Anneka de Lorenzo and an even more notorious pissing scene. 


Lori gets her hair adjusted for Caligula


She appeared with Lorenzo in Messalina, Messalina, a low budget attempt to make some money from Caligula's expensive sets and costumes when it looked like the main film might never be released.




She worked hard at promoting Caligula but stung by the critics she retreated from the public eye and didn't appear in another film until 1988's Trained to Kill. 

Still playing with her pussy in 1991

In 1991 she appeared in Penthouse again at the age of 38, still looking very good. She did  some soft porn films in the mid-nineties.  Also in the nineties she was performing as a stripper in Las Vegas even though she was now in her forties. 




Lori made her last film, Older Women, Hotter Sex  in 2000 and since then has been concentrating on her musical career.




Sadly, in the second half of the nineties she had a horrible. particularly plastic looking bust enlargement.  We think that her bust here looks perfect!  This full page shot was not in the UK edition, presumably as they had to lose two pictures to delete the blow-job one.




This was only the second time that Penthouse had shown some implied rear-entry sex and this is arguably more explicitly so than that in Love in the Afternoon.  As the text says: "Her thighs part...Like a great stallion he mounts her and drives her on."




It was this photo that caused the most excitement with the readers howver, particularly in the UK edition where previous shots of penises had been cut or obscured.  This one, however, appeared in the UK issue unedited.  G.F. from Lancaster wrote: "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."




Despite Mr G.F.s subsequent request for "more cocks" in the magazine in fact this particular direction was not immediately followed and it would be two and a half years before Penthouse went as extreme with the male member again.  In the UK edition it would disappear again altogether.




Talking of which, the UK issue did a little subtle obscuring on Lori's hand in these final post-coital masturbation shots, so her fingers didn't look quite so...penetrative.




In the final part of the text, Daniel asks Laurie how she met her previous husband.  She explains that she met him the day before her first husband died.  "You see, dear, he won the last duel that was fought over me!"   So an almost film noir finish to their most successful couples pictorial so far.




Finally, we have a few alternative pictures which didn't appear in the magazine but which we include for the sake of completeness.