Time for another of Penthouse's girl/girl Love Sets and here we have a particularly effective one from Earl Miller. Regular readers will notice that we have changed the layout of The Seduction of Venus to allow for larger images, especially those in horizontal format. We have updated all the older posts with bigger pictures (you have to do it picture by picture!) and have changed the title picture from what our zoologically challenged friend S called "the duck fucker painting" to a detail of Mars and Venus by Louis-Jean-François Lagrenée
This pictorial appeared in the September 1977 issue of Penthouse which featured Lucia St Angelo as Pet of the Month, whose pictorial you can see on our Venus Observations site here.
Now, although these pictorials rarely bothered with chronological consistency or continuity this pictorial actually features two quite separate set ups and costumes. We start off, as the title suggests, with the girls in ballet clothes, which are always evocative.
There is something about toned legs emerging from underneath a tutu which always sets Triple P off and we have had several girlfriends in the past who were both keen dancers and enjoyed attending the ballet. One, in particular was very flexible.
There are no actual dance poses in this so it is all obviously meant to be post training. These days ballet dancers are recognised as very fit, strong, highly trained artistic practitioners. Their seductive image existed from the start, however. In the nineteenth century, when the form was still developing, ballerinas, especially in the great French theatres, were not much more than prostitutes, trying to attract the eye of a wealthy admirer who would pay for their companionship for the night, after the performance. Indeed, the top dancers of the Paris Opera ballet would not even appear on stage until the second act as the rich young men from the Jockey Club wouldn't arrive at the theatre, to gaze upon the uncovered legs of the dancers, until the second act so they could have dinner first. So strong was the rule that each opera had to have a ballet in the second act, that when Berliox realised his opera Les Troyans would have to be split into two, because of its length, he had to ensure there was a ballet in each second act or incur the displeasure of the audience.
Unlike in most Penthouse pictorials our ballerinas aren't named, as the text is entirely made up of passages from The Song of Bilitis by Pierre Louÿs published in 1894. We have discussed these poems before, in a post on the art of Suzanne Ballivet. The extracts in Penthouse come from the second of the three parts of the work, Elegies, which looks at lesbian love.
Once they have divested each other of their clothes and ballet shoes they indulge in some quite suggestive oral action on a couple of chairs. The dark haired girl, in this section, wears her hair in a couple of blue ribbons.
This shot isn't quite as explicit as it appears at first glance as the blonde is actually licking the inside of the dark haired girl's thigh but suggestion is everything for Penthouse at this stage. Considering the problems they had with another Earl Miller pictorial, The Lady and the Stableboy, a few months previously, they must have been being careful in their implied cunnilingus pictures, in case they got banned in Canada again.
There is implied fingering action in this one but it also very carefully shot. Actual girl/girl finger penetration wouldn't be shown in Penthouse until 1993.
This is the last of the ballet shots and is the only one in the pictorial which clearly shows the girls labia. One of several kissing shots in the pictorial.
In the other pictures in the pictorial the two girls are dressed quite differently, in lingerie, and are on a different set (or a differently dressed one). It's nice to see them smiling!
In fact, while we think the dark haired girl is the same one from the ballet pictures we think the blonde is a quite different girl. She has much shorter, straighter hair and different nipples.
Whoever they are, there is a lot of nice caressing going on in what is a nicely tactile sequence. The blonde has a lovely bottom!
This photograph is actually the only one where the girls appears full frontal ,making you wonder whether these picture might have been set shot some years before.
Another couple of nice, intimate kissing shots add to the romantic atmosphere portrayed in the poems accompanying the piece.
Thy lips descend upon my lips. All thine unbound hair follows them like a caress after a kiss. It glides over my left breast, it hides mine eyes from me.
Another face between the legs shot but here the blonde does appear to have her mouth at least on the dark-haired girl's pubic hair if not actually lower.
In this final shot the dark haired girl does have her mouth snugly between the blonde's bottom cheeks. So this is a successful girl/girl pictorial, particularly in the non-ballet pictures which give us some nicely sensual kissing and caressing. But whether there are two, three or even four girls we are not quite sure!