From Birth to the 1970s Read online

  An exquisite gag cartoon by Bill Ward.

  EROTIC COMICS

  A GRAPHIC HISTORY

  VOLUME 1

  Tim Pilcher

  Foreword by Aline Kominsky Crumb

  First published in the United Kingdom in 2008 by

  ILEX

  210 High Street

  Lewes, East Sussex

  BN7 2NS

  www.ilex-press.com

  Copyright © 2008 The Ilex Press Limited

  This book was conceived by:

  ILEX

  Cambridge

  England

  Publisher: Alastair Campbell

  Creative Director: Peter Bridgewater

  Managing Editor: Chris Gatcum

  Art Director: Julie Weir

  Designer: Jonathan Raimes

  Any copy of this book issued by the publisher as a

  paperback is sold subject to the condition that it shall

  not by way of trade or otherwise be lent, resold, hired

  out, or otherwise circulated without the publisher’s

  prior consent in any form of binding or cover other

  than that in which it is published and without a similar

  condition including sthese words being imposed on

  a subsequent purchaser.

  British Library Cataloguing-in-Publication Data

  A catalogue record for this book is available from

  the British Library

  ISBN 978-1-904705-22-7

  ePub ISBN 978-1-908150-19-6

  Mobi ISBN 978-1-78157-147-7

  All rights reserved. No part of this publication

  may be reproduced or used in any form, or by

  any means – graphic, electronic, or mechanical,

  including photocopying, recording, or information

  storage-and-retrieval systems – without the

  prior permission of the publisher.

  Printed and bound in Thailand

  For more information on this title please visit:

  www.cobeuk.web-linked.com

  Aline Kominsky Crumb’s portrait of Christian Coudures (“the other husband”), for the postcard series, 6 Nudes with Baguettes.

  CONTENTS

  Foreword by Aline Kominsky Crumb

  Introduction

  1. Turn of the Century Titillation

  Prehistory of Erotic Art

  Romans and the Kama Sutra

  Early Japanese Shunga Woodblock Prints

  Hogarth, Rowlandson, and Bawdy Cartoons

  Victorian Values

  Aubrey Beardsley

  Saucy Postcards and Cheeky Humor

  World War I

  Arthur Ferrier

  The Rise of the Tijuana Bible

  Birth of the Pin-Ups

  Vargas and Bomber Nose Art

  Jane, World War II, and All That

  Male Call for G.I. Jane

  2. Playboys Hustling in the Penthouse

  Rise of Men’s Magazines: Captain Billy

  Rise of Men’s Magazines: Humorama

  Pin-up Kings: Jack Cole

  Pin-Up Kings: Bill Ward

  Pin-Up Kings: Dan DeCarlo

  Pin-Up Kings: Bill Wenzel

  Pin-Up Kings: Don Flowers

  Hugh Hefner: Publisher, Visionary, Cartoonist

  Playboy’s Artistic Geniuses

  Doug Sneyd

  Dean Yeagle

  Harvey Kurtzman

  Will Elder

  Little Annie Fanny

  Phoebe Zeit-Geist

  The Adventures of Pussycat

  Wally Wood

  Oh, Wicked Wanda!

  Penthouse Comix

  Hustler Comix

  3. Bondage Babes

  Irving Klaw’s Cartoon Serials

  John Willie

  Eric Stanton

  Gene Bilbrew

  Erich Von Götha

  Guido Crepax

  Franco Saudelli

  Dementia

  Michael Manning

  4. Under-the-Counter and Underground

  Sixties Comix

  Comix Gone Bad

  Bizarre Sex

  Robert Crumb

  S. Clay Wilson

  Wimmen’s Comix

  Tits and Clits

  Comix Legacy

  5. Abandonment Abroad

  Erotic Bandes Dessinées

  George Lévis

  Robert Hugues

  Jean-Claude Forest and Barbarella

  George Pichard

  Magnus

  Mexican Sensacionales

  Art Directory

  Bibliography

  Acknowledgments

  FOREWORD

  It makes me laugh to imagine anyone finding my comic work erotic, and in general I can say the same thing about most Underground comic art. This work is meant to shock, it’s vulgar, gross (especially mine), ugly, slimy, shows way more than you need or want to see, and it’s not really meant to turn you on. I consider my depictions of sex as anti-erotic, absurd and ridiculous—exposing the human underbelly in all its hideousness!

  My husband, Robert Crumb, is violent, twisted, and often satirical in his “sexy stories.” Some poor souls, who unfortunately share his sexual perversions and unsavory fixations, might find his work good masturbation material, but it is definitely not sex fantasy material for the masses. There are a few Underground artists who actually draw fabulously sexy females… My personal favorites are Gilbert and Jaime Hernandez—their adoration and lust for the female body is a real turn-on. I also love Spain’s tough “bitches” as they’re scary and beautiful.

  Of course, I get aroused by Crumb’s sick work because many of the female objects of desire resemble me and this appeals to my extreme narcissism! And I even admit that I enjoy the way the “wimp” attacks these powerful females, although here’s a scoop for you—I never think Robert goes far enough in his sadistic exploitation of the Obnoxious Amazon’s body, with the exception of Devil Girl! I wonder how many other people in the world would share this fantasy with me? Maybe I’m twisted…? So anyway, moving along…

  Checking out the material in this book, I keep wondering what makes art, or anything for that matter, erotic? Is it work that directly lines up with our own sexual proclivities that turns us on and nothing else? Probably… But obviously there are other subtle sociological factors that contribute to making art powerful. For example, Victorian erotic art is sexy mainly because it is so forbidden. It is also beautifully drawn and all the details of daily life are so lovely that the nastiness of the “act” is loaded and provocative.

  The oriental art is so delicate… The sex organs look like flowers, or exotic little animals. I don’t know what to make of the old Japanese erotic images—it makes me feel like a giant hairy gross beast! I know it appeals to a lot of people, especially those who don’t like to think of sex as yucky, juicy, and messy!

  The 1920s through the ’50s were the golden age of humorous porno, especially in America. There’s a lot of great looking work and this is the epoch of the illustrated dirty joke, double entendre, and embarrassing mishap. There’s an exuberance to a lot of this work and it’s all real healthy and normal sexuality that culminates with Playboy’s sophisticated adult humor of the ’50s and ’60s. Of course, I cannot relate to it at all, being an over-the-hill summer-of-love kind of free spirit monster!

  So anyway, I guess I’ll just go on encouraging my husband to squeeze my face and jump on my butt in public until we’re too old to care, and we’ll let all of you analyze just how twisted and kinky we are!

  ALINE KOMINSKY CRUMB

  Aline Kominsky Crumb and her husband, Robert Crumb, “A couple a’ nasty raunchy old things” bare all in their brutally frank Self Loathing
Comics #2 (1997).

  INTRODUCTION

  Erotica has a long, illustrious history, dating back to mankind’s earliest artistic endeavours, from simple fertility statues to scenes portraying every type of congress imaginable. From 5th century Greek urns and ancient Roman mosaics, to the Japanese shunga prints and Indian Kama Sutra of the 18th and 19th centuries, erotic and arousing art has held a very important position within the history of creativity.

  So it is no surprise that as the human race has developed more sophisticated ways of expressing ideas, erotic art would be at the forefront. As simple illustrations started to develop into cartoon art, using speech balloons and sequential imagery to portray an ongoing narrative, the birth of comic strips would invariably be entwined with the birth of erotic comics.

  But erotica has always been the preserve of the upper classes, and not meant for the plebeian masses, for fear it might “deprave and corrupt those whose minds are open to such immoral influences,” as the Victorians put it. Obviously the upper classes were above such base desires and could appreciate the work purely for its artistic merit. This laughable attitude prevailed for decades, and coupled with the fact that comics and cartoons—erotic or not—had always been given short shrift by the intelligentsia, it meant that erotic comics were doubly dammed.

  Viewed very much as “low art” for the masses, it is only within the last 20 years that a certain amount of respectability has been afforded to this mass-produced art form. Yet history reveals that fine artists have long been influenced by their less feted brethren. Pablo Picasso, for example, was a huge comic fan, and an avid reader of the New York Journal’s comic strip Katzenjammer Kids. The strip was created by German immigrant Rudolph Dirks in 1897, and inspired Picasso towards modernism. His own work wears its cartoon inspiration on its canvas, particularly in his more erotic work, such as his cartoon sketches Couple (1964) and the lesbian Femmes Nues a la Fleur (1971).

  Pablo Picasso’s 1934 illustration of the Greek sex comedy, Lysistrata, possibly inspired by the great Aubrey Beardsley drawings created 40 years earlier.

  One of Picasso’s earliest proto-comic experiments, The Dream and Lie of Franco, depicts an abstract General Franco waving his enormous phallus over Spain (in the 2nd panel).

  In January 1937 Picasso etched the first six scenes of The Dream and Lie of Franco. In this satirical proto-comic strip, a bulbous version of Don Quixote travels on horseback, raping Spain with his huge phallus. The strip was an angry attack on Franco and the Spanish civil war, and acted as the template for his infamous painting Guernica.

  In the 1960s, Pop artists such as Andy Warhol and Roy Lichtenstein co-opted their childhood comic book influences and transferred them on to canvas, instantly “legitimizing” them in the eyes of the artistic elite and dragging comic art out the gutter. Lichtenstein’s reworking of the romance comics of the 50s told of unrequited love, and seething—but repressed—passions, and would adorn postcards and posters for decades to come. Yet the originals, by great artists such as Mike Sekowsky and John Romita Sr., remained dismissed for another 30 years.

  Erotic comics have always had to battle with the tricky debate of erotica versus pornography. In a medium that has been long-regarded by the less enlightened as purely entertainment for children or the “educationally sub-normal” it appears an instant anathema to combine sexual imagery with comic books. Indeed, US-based Psychologist Dr. Fredric Wertham’s 50s witch-hunt against horror and crime comics completely missed the fact that the majority of the titles were intended for an adult readership. Not only that, but his own prejudices began to cloud his judgement as he started seeing sexual imagery everywhere, from the supposed gay relationship of Batman and Robin to the absurd view that “when Wonder Woman adopts a girl there are lesbian overtones.” Sadly, Dr. Wertham obviously forgot Sigmund Freud’s important caveat—“sometimes a cigar is just a cigar.”

  However, there is no doubt that there is art contained within this book that some might regard as “pornographic,” that is to say, an “explicit representation of the human body or sexual activity with the goal of sexual arousal.” However, I would argue that everything included in here is in fact erotica—as defined as “portrayals of sexually arousing material that hold, or aspire to, artistic or historical merit.” The very fact that every piece of work here has taken someone with some artistic ability to create it, instantly elevates it above the average “skin flick” or hardcore photographic magazine. And I would vehemently refute that any of the work contained would ever “corrupt or deprave” anyone looking at it, as defined by the archaic British Obscene Publications Act. In fact, the deferring terms are quite meaningless and are an entirely Victorian construct, created to “protect” the prudish (and highly hypocritical) morals of the time. Today they are obsolete and we can regard these images without the prejudices that have plagued comic art for over a century. As the late artist Stephen Gilbert quipped; “The difference between erotica and pornography is simple. Erotica is what I like. Pornography is what you like, you pervert!” Or, more succinctly, as the Viennese architect Adolf Loos declared in his 1908 manifesto: “All art is erotic.”

  “Ha! My smart-ass wife bet me you wouldn’t put out!” This Bill Wenzel cartoon appeared in Sex To Sexty #41 in 1972.

  Bill Ward’s exquisite pencil drawn pin-up was the pinnacle of '50s sex sirens.

  1

  Turn of the Century Titillation

  PREHISTORY OF EROTIC ART

  Some of the oldest surviving examples of erotic art are Palaeolithic cave paintings and carvings. Along with the more common images of animals and hunting scenes, depictions of nude human beings with exaggerated genitalia have been unearthed in paintings and artifacts. Recently discovered cave art at Creswell Crags, England, includes stylized renditions of female sexual organs and is believed to be over 12,000 years old. It’s been suggested that this art was created for religious or fertility purposes (as opposed to erotic stimulation), but this is open to conjecture.

  In 2005, archaeologists in Germany discovered what they believed to be a pair of 7,200-year-old statues depicting a male figure bending over a female figure in a manner suggesting sexual intercourse. Dr Sträuble, the professor who found the statues, stated, “As these figurines are not stylistic, but realistic, they open up a gateway for historians and anthropologists to discuss whether sex really was a taboo subject in the Stone Age.” To date, this remains the earliest representation of “pornography” known to exist.

  The Moche of Peru were another ancient people who sculpted explicit sexual scenes in their pottery. However, while explicit, their purpose was not to inflame the senses, but was a result of the Moche belief that the world of the dead was the exact opposite to the world of the living. Therefore, as funeral offerings they would make vessels showing sex acts such as masturbation, fellatio, and anal sex—none of which would result in pregnancy. Their belief was that in the world of the dead these acts would take on their opposite meaning and result in fertility, and hence rebirth.

  As mankind’s ability to express itself through art grew more sophisticated, erotic art become less crudely fashioned and more creative in its content. The ancient Greeks often painted sexual scenes on their ceramics, portraying same-sex relations (both gay and lesbian) and pederasty. While perhaps shocking by today’s standards, it’s impossible to tell what was illegal or immoral since the ancient Greeks had no concept of pornography. Their art simply reflected scenes from daily life, some more sexual than others.

  Often, carved phalli were seen in places of worship, such as the temples of Dionysus, while a common household item and protective charm was the “herm,” a statue consisting of a head on a square plinth with a prominent phallus on the front. The Greek male ideal possessed a small penis—an aesthetic the Romans later adopted—so large phalli were often seen as comic or satirical, as opposed to aspirational. This was a theme adopted later in Chinese and Japanese erotic art.

  Eugene Deveria’s lesbian tryst lith
ograph, The Harem, from the late 1800s.

  Édouard-Henri Avril’s graphic depiction of homosexual love in ancient Egypt would have been highly shocking in the 1800s and only seen by a select few.

  Victorian artist Édouard-Henri Avril (1849–1928) was a renowned erotic illustrator who worked on numerous books, including John Cleveland’s Fanny Hill and this example from De Figuris Veneris: A Manual of Classical Erotica by the German scholar Friedrich Karl Forberg.

  This Greek red figure cup found near Pompeii, and dating from the 5th century B.C., portrays a hetrosexual couple in congress. The illustrative painting would be concealed at the bottom of the cup until the wine had been drunk.

  ROMANS AND THE KAMA SUTRA

  The ancient Romans adopted many of the aesthetics of the Greeks, including their depiction of sex in art. Numerous sexually explicit paintings and sculptures have been recovered from ruined Roman buildings in Pompeii and Herculaneum. In the Villa of the Mysteries near Pompeii there were ritual flagellation scenes that are clearly associated with a religious cult, while graphic paintings in a brothel advertised sexual services in murals above each door. In Pompeii, phalli and testicles engraved in the sidewalks guided visitors to the prostitution and entertainment district.

  The Romans considered sexual scenes for decoration to be in good taste, and one of the most infamous is the Warren Cup. One side depicts a man making love to a male youth, who lowers himself into the “reverse cowgirl” position using a rope from the ceiling, while the other side shows a beardless youth making love to a younger boy in the missionary anal position.

  Currently housed in the British Museum in London, the cup was so controversial that it remained unexamined by scholars until 1993. Yet the ubiquity of such imagery suggests that the sexual mores of the ancient Romans were far more liberal than most present-day cultures.