Erotic depictions of women in drawing, painting, sculpture and photography from the dawn of man to the present.

Wednesday, August 31, 2016

Personally Selected Venus 15: Cheryl Tiegs in a mesh swimsuit




Reader David Stevens noted the similarity between one of Barbara Minty's swimsuit pictures and the famous Sports Illustrated one of Cheryl Tiegs (above).  This appeared in Sports Illustrated''s November 1978 swimsuit issue; when the swimsuit content was still just part of the normal magazine (it became a stand alone magazine in 1997).  Cheryl's see through net swimsuit was a nipple revealing first for Sports Illustrated.




Conservative Americans wrote in to express their horror at such pornography.  Three hundred and forty, unbelievably, cancelled their subscriptions as a result and more people wrote into the magazine about this issue than any other.  Interestingly, Sports Illustrated's own digital version (above) has been considerably washed out compared with the original (top) to de-emphasise Cheryl's disgusting breasts.




But then Sports Illustrated has had many problems, over the last fifteen years or so, from puritans complaining about the Swimsuit Issue.  In 1999 German model Heidi Klum appeared inside dressed only in a body paint bikini (the first of many they would feature). More horror from shocked Americans.  In 2005, to placate those complaining about objectification of women. they offered an opt out from the Swimsuit Issue for subscribers.




In 2008 Marissa Miller's cover caused opprobrium from one self appointed guardian of public morals, Bob Peters, who complained that in displaying this issue, American retailer Wal-Mart, was torpedoing their own family friendly image.  One mother in North Carolina complained to Wal-Mart when her seven year old daughter pointed out the model was topless.  Really?  Had she never seen her mother naked?




The low level of intelligence displayed by many of these people was apparent when they complained about this 2010 image of Genevieve Morton posing with a WW2 aircraft.   "She is glamourising swastikas!" gasped the professionally offended.  No, many WW2 aircraft had swastikas on them as indication that they had shot down a German (sorry, Nazi) plane.  Good grief! Beyond stupid!

Monday, August 29, 2016

Personally Selected Venus 14: Barbara Minty by Art Kane



Triple P doesn't know what it is about this shot of American model Barbara Minty that he likes so much. A combination of the un-posed look, the dazzling smile, the drops of water on her arms and shoulder and her patently wet swimsuit.  Whatever, when we saw it, while looking for something else, we thought "yes, we would select that!"  




So did legendary actor Steve McQueen, who saw an image of her on a Club Med advertisement and contacted her agent to arrange a supposed audition.  They married after only a few months, despite him being twice her age, but he died less than fours years later.




These pictures were all shot on Polo Beach, Hawaii, for Sports Illustrated by photographer Art Kane (1925-1995).




The 5' 10" tall Minty, from the Pacific North West, was signed as a model by Eileen Ford.  She featured in dozens of advertisements, editorials and magazine covers in the mid-seventies.  She is now 63.

Sunday, August 28, 2016

The Chronicles of Triple P: Foreign Bodies - Water Baby 1




Having had some time this week and encouraged by Triple P's friend A, we have rushed ahead with our next episode of  the Chronicles of Triple P, our recollections of our many enjoyable interactions with women over the past decades.  It is posted here.




After the events related in this episode we started our intermittent journals, the first of which we eventually found in a crate of paperbacks at the back of the loft.  Fortunately, our handwriting then was a lot more legible than it is now!  We absolutely do not intend to post pictures of the ladies featured in these accounts but stuck on the second page of the journal was this picture of Triple P with the girl in question from this episode, taken by my uncle. Neither of our faces are visible so I just thought it might be nice to put this one up as a memento of nearly forty years ago.. 

Saturday, August 27, 2016

Swedish Venus: Model Writing Postcards by Carl Larsson

Model Writing Postcards (1906)


It's been very hot and humid where Triple P lives and he spent most of yesterday over at his friend A's house.  A had decided to dispense with clothes for the day and she pottered around the house completely naked.  At one point she sat down to write a shopping list and I was reminded of this watercolour by Swedish painter Carl Larsson.


The Model on the Table (1906)


It is a lovely image of a model taking a break from posing to write some postcards (the emails of the day - Europeans sent huge numbers of postcards to each other at the beginning of the twentieth century). In the foreground can be seen another painting by Larsson, Model on the Table, which depicts a real (perhaps the same) model posing on a table with a couple of mannequins.



Reclining Nude on Blue Sofa


Carl Larsson (1853-1919) was brought up in a very poor family and his scholarship from a special poor school to the Royal Swedish Academy of Arts provided him with a real escape from an unsettled and unpleasant childhood.  While studying in Stockholm he also worked as a caricaturist and graphic artist for several  Swedish newspapers, earning enough to support his destitute parents.


Nude with grapes (1872)


Larsson had already developed a facility for drawing the nude and earned a medal from the Academy for his nude drawing.  This example, done when he was nineteen, shows an idealised classical style, so different from his later, realistic, illustrative style.


Karin Larsson


After several years working as a book illustrator, he moved to Paris but did not get on with the French artistic scene. In 1882 he moved to Grez-sur-Loing, a Scandinavian artists' colony outside Paris and developed his distinctive watercolour style.  It was there that he met his future wife, another artist,  the beautiful and talented, Karin Bergöö. They got married the following year and their first child (of eight) was born the year after that.  


Leontine, Bare Backed Sitting in the Studio (1902)


Leontine standing (1902)


They returned to Sweden and, luckily for them, Karin's father was a wealthy businessman who bought them a cottage in the village of Sundborn, where her father had been born..  The couple decorated it themselves in a mixture of British Arts and Crafts style (they subscribed to The Studio, the movement's magazine), Swedish folk design and Japanese style, influenced by the popular prints of the time.  The biggest influence, however, was Karin who employed her artistic skills to design and weave fabrics for the house.  She also designed furniture, working with local craftsmen.  Eschewing the usual gloomy, dark Swedish style of the time they created a home full of light and colour.  


Rose and Back



Lisa with Flower Pot (1910)


My Wife


The English style, wild garden was becoming popular in Sweden at the time and gardens became places to relax and enjoy the outdoors rather than just somewhere to grow vegetables. Karin loved her garden and her flower arrangements often appear in Carl's paintings (as in the right of Model Reading Postcards).


When the Children Have Gone to Bed (1895)


It was also Karin who gave Carl the idea of doing paintings of the interiors of their house and these pictures were released as prints and in books.  The first of these, Ett Hem (A home), published in 1898, is still in print today. It was the technological developments in colour printing, from 1890, which enabled Larsson to produce prints and albums of his work, enhancing his reputation, considerably.




In 1909 a German publisher produced another book of his work called Das Haus in der Sonne featuring Larsson's drawings and paintings of  their house.  It sold 40,000 copies in three months and since then has been reprinted more than 40 times.  It showcased the Larsson's ideas about interior decoration to the world.


Larsson's House in the Sun


The Larsson's house, Lilla Hyttnäs, today (the part of the house in the painting is at the far left)


This book created the new 'Swedish Style' which has been so influential on interior designers ever since.  Every time you see painted old furniture or blue or green pastel painted wooden walls in someone's house it is because of the Larssons. The Larssons' house became so famous that people came to visit it as tourists.  Their home, preserved as it was, in still owned by their family and is now open to the public in the summer.  It receives about 60,000 visitors a year.


Girl crouching (1911)




Apart from his nudes and interior studies Larsson was a wonderful portraitist, often using his children as subjects.  He also produced book illustrations, landscapes and other pictures of the village and countryside where he lived.


Midvinterblot (1914)


Despite the popularity of his domestic interior watercolours, Larsson believed that his own best works were his large murals.  He had produced three of these for the Swedish National Museum's interior but the final one, which he considered his masterpiece, Midvinterblot (Mid Winter Sacrifice), was rejected by the museum's board.  The controversy split the Swedish art establishment and even the government became involved.  The rejection of the picture hit Larsson hard and he suffered from bouts of depression.  The historical subject was considered not appropriate for Sweden's new modern view of itself at the time. Eventually, it was sold to a Japanese collector in 1987 who then lent it back to the National Museum where it became rehabilitated in the eyes of the Swedish public.  Eventually, the museum raised the money to buy it back and it was installed in the place it was designed for.




During the time he was painting Midvinterblot, Larsson started to suffer with eye problems and headaches. He concentrated on finishing his memoirs and died in February 1919.  In his posthumously published memoirs he acknowledged that his domestic pictures were really the ultimate expression of his personality and his love for his family.


In front of the Mirror (1898)


The copyright on his published pictures expired in 1969 and from this point his pictures were distributed widely, building his and Karin's reputation and that of Swedish Style, to where it is today.  Now you can buy Carl Larsson colouring books and calendars.


Carl and Karin Larsson


Agent Triple P has some Swedish blood so we will have more Swedish Venuses over the next few weeks.

Wednesday, August 24, 2016

The Chronicles of Triple P: The Taste of Things to Come




The next part of the Chronicles of Triple P, our recollections of our many enjoyable interactions with women over the past decades, has just been posted here.  Again, we have drawn on the letters of the lady in question for this one, which covers Autumn 1976 to the Spring of 1977.

Sunday, August 21, 2016

Personally selected Venus 13: Joan Collins in The Stud.




We were having breakfast in Sainsbury's cafe with our enticing lady friend A and sharing the Mail on Sunday, when she pointed out this photo plastered across a whole page in their Events supplement, to illustrate an interview with Joan Collins. Slightly surprised, as Mail newspapers usually censor any hint of a nipple with a black bar.  Maybe it's the old argument that she she is actually clothed, as used by men's magazine cover designers in the early seventies when they put their models in see through tops.


She's 83!


A assumed I had seen the film the still came from (The Stud (1978)) at the time, as she claimed she hadn't been born when it came out (we are not sure about this - she has been consistently reticent about her age but we don't want to pry!).  We did, not, in fact, as it was an X certificate film (no under eighteens) and we didn't see one of those until Alien (1979) a film we were involved with.  We did see The Stud a couple of years later when it was on at a late night cinema showing at university (with the sequel we think),  It relaunched the career of Collins, who was in her mid forties at the time, so her saucy scenes were much remarked upon at a time when only twenty something dolly birds made such films in Britain.  She appeared in the sequel, The Bitch, in 1979 and her performance in these two films led to her being hired for Dynasty.  Now, of course, A wants to watch these two dreadful (I seem to recall) London set disco era 'classics" so she has ordered them from Amazon. I will expect many rude comments about fashions of the day!  We intend to review them in our long ignored Venus in Motion blog in the near future!

Friday, August 19, 2016

World Photo Day Venus by Nicholas DeSciose





Today is World Photo Day, something that a blog that celebrates the work of many photographers cannot ignore.  Of course all the photographs we celebrate are of naked women but then as soon as photography was  invented people (well, Frenchman) started to capture naked women for posterity, thank goodness.  


Hand coloured stereographic nudes.  French C. 1849


Given the millions (probably billions) of images of naked women in existence (we have over 150,000 in our computer alone) it would be impossible to choose one image, so, instead, we have chosen a self portrait of a photographer whose work we particularly admire.

Denver based photographer Nicholas DeSciose did a lot of work for Oui and Playboy in the seventies and we featured one of his Lui centrefold pictorials a few years ago.   As a result, Mr DeSciose got in contact with Triple P and sent us this self portrait which we really like.  We hope he doesn't mind us posting it as a tribute to every photographer in history who has taken photographs of naked ladies!

Thursday, August 18, 2016

The Chronicles of Triple P: Transports of Delight




The next part of the Chronicles of Triple P, our recollections of our many enjoyable interactions with women over the past decades, has just been posted here.  It mainly covers August 1976; exactly forty years ago.  I was assisted in this by some of the young lady in question's letters to me, which I still treasure.

Tuesday, August 16, 2016

Pulp Venuses from Saucy Movie Tales


May 1939.  Saunders


Scarlett Knight has the most attractive Google+ page I know; featuring an eclectic mixture of pictures of, inter alia, dreamy landscapes and interiors, fit men, sexy women, unicorns, romantic (including Sapphic) couples and pulp illustrations.  It was one of the latter (the cover illustration for Marvel Science Stories of May 1939) which caught my eye as it was by Norman (born Normand) Saunders (1907-1989), the top cover illustrator for pulp magazines in the thirties, forties and fifties and a long time favourite of Triple P's.  This is not least because of his ability to paint lovely, lissome women, usually under some sort of threat, who require the attention of a two fisted hero to effect a rescue.  


Saunders


These days Saunders is well known for painting the original illustrations for the Mars Attacks! trading cards in 1962 from sketches by Wally Wood.  These pictures were painted two years after Saunders' last pulp cover.  He lived long enough to see his pulp work becoming a cult favourite.


Mars Attacks 1962. Saunders 


Rather than look at just Saunders work, per se, we are going to look at just one pulp magazine that he did many cover illustrations for and also look at some of the black and white pictures and their creators, from the inside of the magazine.



Saucy Movie Tales December 1935. Spinelli


Here for example are some typical interior pictures by Laurence Spinelli (1892-1983) illustrating the stories inside.  Only the cover was colour with all the illustrations for the dozen or so stories being in black and white.  These three black and white pictures come from the third issue of the magazine in December 1935.  This was the first one that used the title Saucy Movie Tales, having been called Spicy Movie Tales for the first two issues in October and November 1935.

Saucy movie Tales December 1935. Spinelli


So called because of the cheap wood pulp paper on which they were printed, pulp magazines flourished in the United States from the end of the nineteenth century until the late fifties.  Typically, as the case with Saucy Movie Tales, which we are looking at today, they were 128 pages long and were in a 7" by 10" format.


Saucy Movie Tales December 1935. Spinelli


Some of the magazines focussed on different genres, such as adventure, westerns, detective, science fiction, and romance but many included a mixture of genres.  In theory Saucy Movie Tales was supposed to concentrate on tales of starlets, directors and the movie industry, although they quite often included other subjects too.


December 1935 Saunders


This is Saunders' cover for the same issue as Spinelli's black and white drawings above.  At this point Saunders was working from drawings done by others for the covers of the magazine, hence the similarity in look to the characters in Spinelli's black and white illustrations. 


January 1936. Saunders


The saucy/spicy sub-genre offered (mild, by today's standards) erotic stories and cartoons which meant that they were sold "under the counter".  There were thrusting breasts, slim legs, firm buttocks and states of undress but no actual sex.  The interior illustrations included bare bottoms and bare breasts but no pubic hair, of course, as that would have been classed as obscene rather than saucy.  In Saucy Movie Tales stories there were, of course, the perils of the casting couch, innocent ingenues and even rape.  Some were comic and some merged with detective or even supernatural type stories. 


Saucy Movie Tales January 1936. Spinelli


The contents page of the January issue gives a good idea of the type of story inside.  Spinelli's illustration also gives a good idea of the key subject matter of the pictures the reader wanted!


 Saucy Movie Tales January 1936.  Spinelli


 Alex Laurence (born Alessandro Lorenzo) Spinelli was born in Vickburg, Mississippi.  He lost a leg in  an accident when a teenager but when he was twenty three moved to New York and after studying drawing became a freelance artist.  By the thirties he was illustrating a number of the pulp magazines owned by Harry Donenfeld, the publisher of Saucy Movie Tales. He had got the job there through Adolphe Barreaux who had spotted Spinelli through his advertising work while working for some advertising agencies.  Barreaux became art director of Donenfeld's magazines.



Saucy Movie Stories January 1936. Brown


The pulp magazines also carried comic strips and here we have Marcia at the Movies by Eric Browken.  Eric Browken was one of several pen names for Canadian artist Ken Browne (1900-1965) who was from Nova Scotia.  He studied at an art school in Nova Scotia but in 1916 enlisted in the army and joined the Canadian Army Medical Corps, despite being underage.




Saucy Movie Tales January 1936. Browne (signed Le Brun)


It was during his time in the army that he started to produce cartoons for the troops and carried on specialising in cartoons for forces magazines for many years.  He moved to New York where he got a job at one of William Randolph Hearst's newspapers.  He moved to Pennsylvania, where he got married and then moved back to New York in the thirties.



 Saucy Stories 1936. Browne (signed Kenby)

He worked on several magazines from the publisher of Saucy Movie Tales including its stablemate Saucy Stories which required similar illustrations.


Saucy Movie Tales January 1936, Buettner 


Saucy Movie Tales January 1936,  Buettner


Here we have two illustrations for the story Paradise Playhouse by Kay Lester, which includes a description of some passionate breast kissing.  These drawings are by Carl Buettner (1903-1965).  The son of German immigrants to Minneapolis he studied art by correspondence course, joining the art team at Fawcett Publications in Minneapolis when he was twenty five.  He produced many cartoons for the firm's various publications and his style influenced his friend and co-worker, Saunders.  


Saucy Stories January 1936,  Buettner


In 1934 Fawcett moved much of their operations to New York and Buettner moved there to.  While in the city he started to do work for Fawcett's rival Harry Donenfield and his publications Saucy Movie Tales and Saucy Stories.   Buettner gave up on pulp work and moved to California to work for Walt Disney.


March 1936. Saunders


Norman Sunders had moved to New York too and although no longer employed by Fawcett he didn't want to annoy his former employers there so he and Buettner came up with the name Carl (Buettner's first name) Blaine (Saunders' middle name) to use on the Donenfeld Publishing covers, hence the Blaine signature visible on these paintings. Several of the cover paintings by Saunders were based on original drawings by Buettner, so the combined name was appropriate,  



Saucy Movie Tales March 1936 Carlson


This salacious crime scene picture is by Ralph Carlson (1907-1986) who, like Saunders, was from Minnesota and the two became great friends when they were both working at Fawcett Publishing.


Saucy Movie Tales March 1936. Carlson


Also like Saunders, Carlson had studied art by correspondence course, joining Fawcett in 1928.  While attending college during the height of the Depression he joined the communist party.




Saucy Movie Tales March 1936. Carlson


Carslon started work for Donenfeld in 1934. contributing to several of his magazines.  He joined the army in World War 2 and worked on YANK magazine before returning to Fawcett after the war,  Unfortunately, in 1953 he was summoned before the House Un-American Activities Committee due to his communist party past.  He refused to co-operate and was sent to prison and blacklisted, which ended his career as an illustrator.


Saucy Movie Tales March 1936 Carlson


Fortunately, after moving back to Minneapolis in 1955, his old art instructor at his correspondence art college, with whom he had studied in the twenties, hired him as an instructor. This picture, incidentally, illustrates the care that had to be taken over the pubic region.


Pep Stories January 1934

Two years previously, Romanian born publisher Harry Donenfeld was charged by the New York Society for the suppression of Vice with producing obscene periodicals, including Spicy Stories and Pep Stories.  These, unlike Saucy Movie Tales, included tasteful photographic topless artistic nudes but the court decided that one image in particular, from January 1934's Pep Stories wasn't tasteful but obscene, as the model's pubic hair was visible. This was the case that got the publishers of Playboy and Penthouse so worried nearly forty years later. Donenfeld only avoided jail because one of his Romanian employees took the rap and said that his boss didn't know that he had inserted the picture into the magazine. A grateful Donenfeld gave the man a job for life with no requirement to actually do anything, when he emerged from prison.


 Saucy Movie Tales March 1936. Keifer


These two illustrations, also from the March 1934 issue are by Henry Keifer (1890-1957) who was born in Cincinnati but studied art in Chicago. He was drafted into the army in World War 1 but after returning to the US he travelled in Europe, studying art in Paris where he met his French wife, an opera singer.


 Saucy Movie Tales March 1936


 Returning to the US Keifer met Adolph Barreaux who commissioned work for Donenfeld's various magazines from the art agency Barreaux had set up with Donenfeld, so they could control the production of the saucy drawings they needed.  Keifer worked mainly in comic strips both before and after World War 2.


April 1936 Saunders


The sixth issue of Saucy Movie Tales had what would become a prototypical Saunders girl in peril on the cover.  Trussed up in her underwear and hung on a hook in a foundry she is surely looking for help from the hero.






Saucy Movie Tales April 1936.  Keifer


In the same issue, Henry Keifer illustrated a girl gradually losing her ornate lingerie as she was molested by dastardly Arabs in the Sahara Desert.


May 1936. Saunders


You can't get much better for the cover of magazine called Saucy Movie Tales in having a picture of a hero wielding a tripod mounted film camera at a crocodile trying to attack his scantily clad girlfriend.  Pulp perfection by Saunders!


June 1936. Saunders


Five years before Pearl Harbor we have the evil Japanese as the villain,s ripping our heroine's dress off most pleasingly.  It is all a bit reminiscent of Steven Spielberg's 1941.  Horrywoooood!


July 1936 Saunders?


We can't find a signature on this one but we would be very surprised if it isn't by Saunders.  A dire warning for those who get involved in the more risque aspects of entertainment in the nineteen thirties!


Saucy Movie Tales July 1936


This illustration of a comparatively well dressed girl is by Will Ely (1913-1993), a younger artist than some of the others here, who tended to have his girls rather less naked than some of his contemporaries.


August 1936.  Saunders


Another comparatively well dressed woman being rescued from a flaming building for August.  There is no doubt about this one as it is clearly signed 'Blaine'.


September 1936. Saunders


A revolutionary cover in every way for September.  We are not sure if Saunders was channeling that bare breasted feminine personification of France, Marianne, but the bare nipple on the cover is a first. 




Saucy Movie Tales September 1936.  Ely


A couple more illustrations by Will Ely for this issue.  Ely was the son of a well off inventor who manufactured parts for roller coasters.  He was brought up in a large house.  Unlike many of the other illustrators in this post he attended a proper art school, the Pratt Institute School of Art in Brooklyn.  Graduating in 1935, by the following year he was providing illustrations for a number of magazines.  He spent much of the rest of his life drawing for comic books, the best known of which was The Green Hornet in the forties.  


October 1936.  Saunders


No bare breasts on the cover for October but Saunders does produce this very racy breast caressing picture,   The man's thumb is right on her almost visible nipple (you could argue that it is actually showing through her almost transparent lingerie).  Spicy indeed!


November 1936 Saunders?


No visible signature on this one either but the girl's face really looks like one of Saunders'.  Lots of skin on show here.  Really prominent and barely covered nipples in this one.  Outstanding!    


December 1936.  Saunders


The end of the year brings another revealed nipple (only one, mind) and the inclusion of more film equipment, just to remind you what the magazine is supposed to feature.  Although, Norman Sunders would go on to paint many pulp covers, these ones were some of his earliest and were his most racy.  Born in rural Minnesota, at the age of three his eye was badly injured and he needed multiple operations to restore the sight in his eye.  After he recovered his sight he took to drawing.  He turned down a scholarship to the Chicago Art Institute when he was offered the job at Fawcett Publishing.


January 1937.  Saunders


Another single revealed nipple by Saunders for January 1937.  By this time, not very long after his first work for Donenfeld, he was starting, as a freelance, to sell paintings to other publishers and by 1940 he had painted more than 400 pulp covers. 


February 1937.  Saunders


A partially revealed bald pubis is added tp the exposed nipple in this morgue scene.  By 1940 Saunders was working in the conventional magazine (slicks) market but the war brought an end to this part of his life.  He was drafted into the army and after some time in the military police was trained to paint military facilities with camouflage paint! 


March 1937 Saunders


After the war he married one of his models, Ellena Politis, and having struggled with working with the slicks went back to pulp magazines, producing over 400 more cover paintings.  His total of  867 pulp covers made him the most prolific pulp cover artist of all time.  After 1960, and his last pulp cover, he worked for trading card companies, men's adventure magazines, and did comic book and paperback cover work.  This would be Saunders last cover for Saucy Movie Tales and he celebrated with two bare nipples.


April 1937.  Szokoli


Replacing Saunders as cover illustrator was Joseph Szokoli (1913-1981) from New York.  Like Will Ely he studied at the Pratt Institute in Brooklyn but originally read engineering before transferring to the Art School.  In this, his first cover for Saucy Movie Tales, it is obvious that he has a very different style to Saunders but copies the typical Saunders girl face.


May 1937.  Szokoli


Szokoli's second cover features a scary lady with a sword who is flashing her nipples in her ill fitting lingerie. 


June 1937.  Szokoli


June's cover girl was rather more covered up than the previous effort. in what would be Szokoli's last cover for Saucy Movie Tales.  Szokoli was an early user of an airbrush for many of his illustrations, which give them a modern feel.  When magazines started to use photographs to illustrate articles and stories more than artwork Szokoli's airbrushing skills were in demand for photo retouching work.


Spicy Western April 1937.  Szokoli


As well as cover art, Szokoli contributed interior drawings and comic strips  for magazines.  He created Polly of the Plains a sado-masochistic cartoon for another Donenfeld publication, Spicy Western.  In 1940 Donenfeld created a comic book arm in his publishing empire, as comics were becoming huge moneymakers.  It still exists today and is now called DC Comics!  Donenfeld invited Szokoli to draw a new hit comic strip called Superman but Szokoli preferred the independence of being a freelance and turned him down.


August 1937


Having managed 11 issues of Saucy Movie Tales in 1936, Donenfeld missed the July issue and the next issue didn't appear until a month later with a new cover artist and a partial return of the nipple.


November 1937


There were no September or October issues either and there was a different cover artist, again, for the November 1937 issue. The glimpse of nipple was still there, however,  The film camera silhouette seems to have been a stuck on afterthought to re-emphasise the magazine title.


December 1937


December's cover is positively decorous, with its undulating Latin lady, although the film camera lens does seem to be suggestively pointing directly at her groin.


January/February 1938


By 1938 the magazine was admitting that it was only doing one issue every two months.  Another film camera features.


June 1939


The magazine staggered on into 1939 but apart from this example all the over covers used were recycled from previous editions.  After five years of intermittent publishing Saucy Movie Tales disappeared, leaving some classic pulp covers by Norman Saunders as its only real legacy.