Friday, February 10, 2017

Bedtime Story from Chic, July 1978


Time for another Chic couples pictorial and, in fact bedtime for this pictorial, featuring a man and a woman on a bed (obviously).  It has toi be said that not a great deal of effort has gone into the set dressing of this one but then it is all about those blue and white striped bedclothes.


I have a number of outtakes from this pictorial (thanks to my friend C from Toronto) which originally appeared in Chic's July 1978 issue.   Rather than putting them all at the end I will try to integrate them into some sort of logical order.  Outtakes will be indicated as OT; all other pictures appeared in the magazine.



Our lady soon gets distracted from her TV watching by the naked man climbing onto her bed, not surprisingly.  Some nice neck kissing and breast squeezing here.

She has lost her (rather fetching) French knickers and her man probes at her nicely framed pussy here.  


Here we have a not quite cunnilingus shot with the implication that the curly headed fellow will be up there next.  She acts as if he already is.


After a not quite cunnilingus shot we have not quite fellatio shots as well.  In these two she is in the process of working her way down his body while presenting her nether regions to the camera.

This one is a bit bolder and he actually has his fingers on her moist looking pussy while licking her inner thigh.  It is all about suggesting what isn't, in reality, being shown.



Usually these couples pictorial have a couple of copulation pictures but in this case, although they were shot, they didn't appear in the final pictorial in the magazine.  Once again the actual angles aren't really correct but they give the impression.

This one, which did appear in the magazine, is even more suggestive and, as it involved genital touching quite unusual and something Chic had only first shown the previous month.


A new departure for Chic here in that they make the couples pictorial the centrefold one and included the man in the gatefold.  Oui had done this earlier and were bombarded with negative comments but Chic persisted and had several more like this in 1978.  She is touching his cock here again, in the most assertive penile display so far in Chic.


Quite a nice pictorial from these two, although she appears to have made him gone a bot cross-eyed, not surprisingly, perhaps.  Lovely smile from her to finish.

Wednesday, February 8, 2017

The Victory of Faith by St George Hare

The Victory of Faith (1890)

This gently sensual picture actually has a religious theme and depicts two Christian women imprisoned in a Roman amphitheatre, while barely visible lions glower through the bars in the background.  The white girl is tied to a stone pillar on which a cross has been scratched. The dark skinned woman is supposed to be her Ethiopian maid with them both being due to be thrown to the lions the next day.

The Gilded Cage (1908)

Hare (1857-1933) was an Irish painter who produced a number of pictures of chained women for religiously uplifting paintings.  This picture was well received at the time and is now on display in the National Gallery of Victoria in Melbourne to where it was donated in 1905.  Their tender touching of each other may be intended to depict their shared faith but now it seems likely that Hare copied the pose from a French erotic postcard!  

Thursday, February 2, 2017

Nymph and Satyr by Bruno Zach (1891-1945)

Another nymph and satyr piece today,with this passionate bronze by Bruno Zach.  Our authentically goat-legged satyr is munching down appreciatively on the nymph's pussy, which she seems to be enjoying very much!

Bruno Zach was born in Zhtomyr, Ukraine (then part of Russia) in 1891 but emigrated to Vienna where he studied at the Vienna Academy.  He worked in the Art Nouveau and Art Deco styles and while noted for his sporting bronzes his figures of women and some erotica has ensured high prices today for original bronzes. 

This work probably dates from about 1930.  We will have some more Zach bronzes here and on Venus Observations shortly.

Sunday, January 29, 2017

The Last Straw/Be-troughed/The Sensuous Bathtub by Fred Enke

Time for a girl/girl set from Men Only (and later Club in the US) featuring two friendly cow girls have a bath in a horse trough.

This pictorial first appeared in the UK in Men Only Volume 41 number 6 for January 1976.  The following month it appeared in Club in the US for their February 1976 first anniversary edition. In Club the pictorial was called Be-troughed rather than The Last Straw, as in Britain.

Just over a year later, in April 1977, pictures from this shoot also appeared in Stag.  Some of the shots I have flipped so they match the Men Only/Club aspect) and there were some additional ones not in the Men Only or Club pictorials, so I am including them here in chronological order of the sequence but their provenance is marked as such.

Quite often Men Only and Club would have different text accompanying the same pictorial but in this case the text is the same for both and tells the story of Serena and Agnes who meet in a lesbian bar.


The strange thing about the text is that it is virtually a short story, including dialogue but the whole thing is set in New York.  There is absolutely no mention of a farm, ranch or barn to tie in with the location of the pictures.  It's almost as if it had been written for another pictorial.


Anyway, whatever the disconnect between text and pictures, our denim clad lovelies are soon stripping off their jeans for a bath in the horse trough. 



Men Only had quite a few girl/girl pictorials in 1976, unlike, for example, Penthouse in the UK which was nervous about some of the more explicit lesbian shots appearing in the US edition.  At this point, Men Only's photographers were getting some nice passionate shots from their models.  Later on the magazine's girl/girl pictorials would consist of two girls just posing with each other rather than interacting with any sense of sapphic passion, as here.


It must be difficult for you if you are a model and have no interest in the same sex but have to pose for these girl/girl sets.  I once read an interview with actress Laura Gemser, who said she just wan't attracted to other women physically and found lesbian scenes very difficult. 

In this set the two girls look convincingly into each other,however, which helps the erotic charge no end. This bold, for the time, anus flashing shot is the only extra picture to appear in Club which wasn't in the original Men Only pictorial.


In Stag the girls are called Julie Algrave and Greta Lemaze.  Interestingly, the accompanying text has them meeting in New York as well but then moving to a farm in Vermont, as if the Stag editors had read the original piece but then tried to make it fit the pictures.  The Men Only/Club pictorials don't have them completely naked in the trough, as here. 

The last two shots in the Men Only/Club pictorials have the two girls out of the trough and in the straw, which seems a bit silly when you have just had a bath but there you are.




Finally, Stag have more pictures of the girls in the straw with  a nice kissing shot to finish.  This is a good set with the girls looking like they are enjoying themselves and the sunny, outdoor setting makes a change from the boudoir approach that Men Only used for most of their other girl/girl sets in 1976.  More Men Only girls on Venus Observations soon.

Monday, January 23, 2017

Tenndresse from Les Chansons de Bilitis by Georges Barbier

This lovely illustration is by French artist Georges Barbier (1882-1932).  Barbier didn't have his first exhibition until he was 29 years old but it was a great success and led to a career doing book, magazine and fashion illustrations.  He also worked on theatrical set designs and costumes, including for the Folies Bergère.  He also designed glass and jewellery.  He died, comparatively young, at the age of 50.

These pictures come from a 1922 edition of Les Chansons de Bilitis by Pierre Louÿs.  This work consisted of 143 prose poems with a lesbian theme which Louÿs claimed were translated from the works of an ancient Greek female poet and courtesan called Bilitis, who was a contemporary of Sappho.   At the time they were first published, in 1894, they were accepted as translations of genuine ancient texts but in fact they were all created by Louÿs inspired by an encounter with a dancing girl in Algeria.  In fact the dancing girl in question, Meriam ben Atala, even received a dedication as 'MbA' in the book.

It's theme was controversial, not least because his treatment of lesbians is non-judgemental and sympathetic whereas most lesbian characters in French literature had been portrayed in a less positive manner.  Baudelaire (who was the subject of a censorship trial in 1857 for his work Les Fleurs du Mal, over lesbian themes) had referred to them as "damned women".  Many books which tried to address lesbian themes or had lesbian scenes were banned in France in the second half of the nineteenth century.

Louÿs got away with it by his erudite, sensuous and elegant writing and the fact that people believed that they were reading a translation of a genuine ancient text with historical distance making the whole thing acceptable.  The same applied to his novel, Aphrodite, published two years later and also featuring lesbian characters in Ancient Greece, 

The first illustration in this post accompanies the following text from the poem Tendresse:

Ferme doucement tes bras, comme une ceinture,
sur moi. Ô touche, ô touche ma peau ainsi!
Ni l’eau ni la brise de midi ne sont plus
douces que ta main.

Aujourd’hui chéris-moi, petite soeur, c’est
ton tour. Souviens-toi des tendresses que je
t’ai apprises la nuit dernière, et près de moi
qui suis lasse agenouille-toi sans parler.

 Close your arms gently, like a belt,
on me. O touch, O touch my skin so!
Neither the water nor the midday breeze are not anymore
as sweet as your hand.

 Today cherish me, little sister, it is
your turn. Remember the tenderness I
Taught you last night, and get close to me
Who is tired, kneel down without speaking.

The wonderful Art Nouveau illustrations by Barbier complement the text perfectly.