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NOW FOR YOUR VIEWING PLEASURE…
JAGUAR
PUBLISHED 4 TIMES A YEAR BY
AMERICAN ART AGENCY
HOLLYWOOD, CALIFORNIA (CA)
COPYRIGHT 1961
"SUGGESTED MURAL FOR THE PAD OF THE MAN ABOUT TOWN WHOSE EPIC UREAN TASTE RUNS QUITE NATURALLY TO THEREAL AND THE SURREAL"
VOLUME 1. NO.1
48 PAGE
PAPER BACK / TRADE COPY
STAPLE BINDING
RARE!
OBSCURE!
HARD TO FIND
PERISHABLE PAPER
VERY FIRST EDITION!
USED - WITH SOME FOXING, RUBS
AND AGE COLORATION.
FULLY ILLUSTRATED
COLOR AND SEPIA TONE IMAGES
PHOTO EDITOR MICHELLE ALLEN
ART DIRECTOR G.G. CANFIELD
FOTO FEATURES INCLUDE:
HOPE HATHAWAY - HOT PILLOWS
WENDY HOLIDAY - HOLIDAY PAINTER
GLENDA GRAHAM - I DREAMED I DATED GLENDA
FOTO ARTICLES:
SCENES FROM MOVIES YOU WILL NEVER SEE
THOMAS BLACK EXCLUSIVE
PLAYBOY KNOCK-OFF
PLEASE CONTACT US FOR DETAILS
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FYI
FYI
The history of erotic depictions includes paintings, sculpture, photographs, dramatic arts, music and writings that show scenes of a sexual nature throughout time. They have been created by nearly every civilization, ancient and modern. Early cultures often associated the sexual act with supernatural forces and thus their religion is intertwined with such depictions. In Asian countries such as India, Nepal, Sri Lanka, Japan and China, representations of sex and erotic art have specific spiritual meanings within native religions. The Greeks and Romans produced much art and decoration of an erotic nature, much of it integrated with their religious beliefs and cultural practices.
In more recent times, as communication technologies evolved, each new technique, such as printing, photography, motion pictures and computers, has been adapted to display and disseminate these depictions.
Attitudes through history
In early times, erotic depictions were often a subset of the indigenous or religious art of cultures and as such were not set aside or treated differently than any other type. The modern concept of pornography did not exist until the Victorian era. Its current definition was added in the 1860s, replacing the older one meaning writings about prostitutes. It first appeared in an English medical dictionary in 1857 defined as "a description of prostitutes or of prostitution, as a matter of public hygiene." By 1864, the first version of the modern definition had appeared in Webster's Dictionary: "licentious painting employed to decorate the walls of rooms sacred to bacchanalian orgies, examples of which exist in Pompeii." This was the beginning of what today refers to explicit pictures in general. Though some specific sex acts were regulated or prohibited by earlier laws, merely looking at objects or images depicting them was not outlawed in any country until 1857. In some cases, the possession of certain books, engravings or image collections was outlawed, but the trend to compose laws that actually restricted viewing sexually explicit things in general was a Victorian construct.
When large-scale excavations of Pompeii were undertaken in the 1860s, much of the erotic art of the Romans came to light, shocking the Victorians who saw themselves as the intellectual heirs of the Roman Empire. They did not know what to do with the frank depictions of sexuality, and endeavored to hide them away from everyone but upper class scholars. The movable objects were locked away in the Secret Museum in Naples, and what could not be removed was covered and cordoned off so as to not corrupt the sensibilities of women, children and the working class. England's (and the world's) first laws criminalising pornography were enacted with the passage of the Obscene Publications Act of 1857. Despite their occasional repression, depictions of erotic themes have been common for millennia.
Prints became very popular in Europe from the middle of the fifteenth century, and because of their compact nature, were very suitable for erotic depictions that did not need to be permanently on display. Nudity and the revival of classical subjects were associated from very early on in history of the print, and many prints of subjects from mythological subjects were clearly in part an excuse for erotic material; the engravings of Giovanni Battista Palumba in particular. An earthier eroticism is seen in a printing plate of 1475-1500 for an Allegory of Copulation where a young couple are having sex, with the woman's legs high in the air, at one end of a bench, while at the other end a huge penis, with legs and wings and a bell tied around the bottom of the glans, is climbing onto the bench. Although the plate has been used until worn out, then re-engraved and heavily used again, none of the contemporary impressions printed, which probably ran into the hundreds, have survived.
The loves of classical gods, especially those of Jupiter detailed in Ovid provided many subjects where actual sex was the key moment in the story, and its depiction was felt to be justified. In particular Leda and the Swan, where the god appeared as a swan and seduced the woman, was depicted very explicitly; it seems that this—rather strangely—was considered more acceptable because he appeared as a bird. For a period ending in the early 16th century the boundaries of what could be depicted in for display in the semi-privacy of a Renaissance palace seemed uncertain. Michelangelo's Leda was a fairly large painting showing sex in progress, and one of the hundreds of illustrations to the book the Hypnerotomachia Poliphili of 1499 shows Leda and the Swan having sex on top of a triumphal car watched by a crowd.
In 1839, Louis Daguerre presented the first practical process of photography to the French Academy of Sciences. Unlike earlier photographic methods, his daguerreotypes had stunning quality and detail and did not fade with time. Artists adopted the new technology as a new way to depict the nude form, which in practice was the feminine form. In so doing, at least initially, they tried to follow the styles and traditions of the art form. Traditionally, an académie was a nude study done by a painter to master the female (or male) form. Each had to be registered with the French government and approved or they could not be sold. Soon, nude photographs were being registered as académie and marketed as aids to painters. However, the realism of a photograph as opposed to the idealism of a painting made many of these intrinsically erotic.
The daguerreotypes were not without drawbacks, however. The main difficulty was that they could only be reproduced by photographing the original picture since each image was an original and the all-metal process does not use negatives. In addition, the earliest daguerreotypes had exposure times ranging from three to fifteen minutes, making them somewhat impractical for portraiture. Unlike earlier drawings, action could not be shown. The poses that the models struck had to be held very still for a long time. Because of this, the standard pornographic image shifted from one of two or more people engaged in sex acts to a solitary woman exposing her genitals. Since one picture could cost a week's salary, the audience for these nudes mostly consisted of artists and the upper echelon of society. It was cheaper to hire a prostitute and experience the sex acts than it was to own a picture of them in the 1840s. Stereoscopy was invented in 1838 and became extremely popular for daguerreotypes, including the erotic images. This technology produced a type of three dimensional view that suited erotic images quite well. Although thousands of erotic daguerreotypes were created, only around 800 are known to survive; however, their uniqueness and expense meant that they were once the toys of rich men. Due to their rarity, the works can sell for more than 10,000 GBP.
In 1880, halftone printing was used to reproduce photographs inexpensively for the first time. The invention of halftone printing took pornography and erotica in new directions at the beginning of the 20th century. The new printing processes allowed photographic images to be reproduced easily in black and white, whereas printers were previously limited to engravings, woodcuts and line cuts for illustrations. This was the first format that allowed pornography to become a mass market phenomena, it now being more affordable and more easily acquired than any previous form.
First appearing in France, the new magazines featured nude (often, burlesque actresses were hired as models) and semi-nude photographs on the cover and throughout; while these would now be termed softcore, they were quite shocking for the time. The publications soon either masqueraded as "art magazines" or publications celebrating the new cult of naturism, with titles such as Photo Bits, Body in Art, Figure Photography, Nude Living and Modern Art for Men. Health and Efficiency, started in 1900, was a typical naturist magazine in Britain.
Another early form of pornography were comic books known as Tijuana bibles that began appearing in the U.S. in the 1920s and lasted until the publishing of glossy colour men's magazines commenced. These were crude hand drawn scenes often using popular characters from cartoons and culture.
In the 1940s, the word "pinup" was coined to describe pictures torn from men's magazines and calendars and "pinned up" on the wall by U.S. soldiers in World War II. While the '40s images focused mostly on legs, by the '50s, the emphasis shifted to breasts. Betty Grable and Marilyn Monroe were two of the most popular pinup models. In the second half of the 20th century, pornography evolved into the men's magazines such as Playboy and Modern Man of the 1950s. In fact, the beginning of the modern men's glossy magazine (or girlie magazine) can be traced to the 1953 purchase by Hugh Hefner of a photograph of Marilyn Monroe to use as the centerfold of his new magazine Playboy. Soon, this type of magazine was the primary medium in which pornography was consumed.
In postwar Britain digest magazines such as Beautiful Britons, Spick and Span, with their interest in nylons and underwear and the racier Kamera published by Harrison Marks were incredibly popular. The creative force behind Kamera was Harrison Marks' partner Pamela Green. These magazines featured nude or semi-nude women in extremely coy or flirtatious poses with no hint of pubic hair.
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