Δ 069 Monsters Have Secrets

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This artwork in the style of European fumetti comics is a detail from one page of such a comic:

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This comics page appears in a 2008 LiveJournal entry as one page of a seven-page strip, which sadly is not identified by name, publication, or artist. However, image filenames containing the string “HEMBRASPELIGROSAS05” suggest that the strip may have appeared in Issue #5 of Hembras Peligrosas, the cover of which advertises a story called El Secreto De Frankenstein. What that “secreto” might be is perhaps indicated by a panel from a different page of the strip:

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The subject artwork appears to have also appeared in an unidentified publication with different lettering in French:

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Original post here. Image provenance by Bacchus at ErosBlog.

Δ 068 – Robot Control Panel

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This image is a page from the October 1929 issue of Hugo Gernsback’s Air Wonder Stories (available in its entirety here). The artwork is signed “Paul”, which corresponds to the magazine’s art director Frank R. Paul, as seen on the masthead:

air-wonder

The artist Frank R. Paul is one of the most influential illustrators in the history of American pulp magazines. He is perhaps most famous for his illustration of Martian robots on the cover of the 1927 Amazing Stories magazine where H.G. Wells’s War Of The Worlds was first serialized.

Original post here. Image provenance by Bacchus at ErosBlog.

Δ 067 100-Foot Cyberpunk Woman

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The source post in this image’s Tumblr chain of attribution is from a blog consisting of many artworks evidently by the same artist. The blog is called “AT THE END OF EVERYTHING: drawings for the end of everything”. An earlier version of the same artwork without coloring also appears on the same blog.

Although the Tumblr blog does not explicitly identify its artist, the unique portion of the URL is “tengu-guro” which matchs up to Canadian artist tengu-guro on DeviantArt. The same artwork appears there with the title Cyber Punk 100 ft Woman and is described by the artist as a “sci-fi hentai illustration.”

Original post here. Image provenance by Bacchus at ErosBlog.

Δ 066 The “Lunar Look” For 1973

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All appearances of this image on the web appear to source back to an article in IO9.com quoting from the outer-space-themed November 1953 issue of Seventeen magazine. Although IO9 does not expressly credit this image to Seventeen, one may observe curvature at the left indicating that the image is indeed a photograph of a page from a magazine. The issue reportedly included a light-hearted look forward to an imagined 1973 “Lunar Look” issue of the magazine that would include this description — matching the photograph — of spacewoman fashions:

WILL THIS BE FOR 1973? As an interplanetary tourist, you may use such cosmic cosmetics as Trans-Pact pressed powder, Semi-Stain lip and cheek color to overcome interplanetary pallor, Anti-Gravity hair control, Eye Fringe mascara, impervious to upper stratosphere moisture, Milky Way cleanser. All in plastic, in a kit touched with neon for making-up during dark spaces on the trip. . . . Headgear, a space helmet with painted eyebrows. Travel guide . . . SEVENTEEN’s Lunar Look issue, November 1973.

Original post here. Image provenance by Bacchus at ErosBlog.

Δ 065 Illuminated Love Network

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The source Tumblr post in this image’s current chain of Tumblr attributions offers a surprisingly good provenance for this image:

A NETWORK OF LOVE (2008): a network of love depicts a highly sexualized slice-of-life of the average girl, OIIOOOFF2013, in a post-apocalyptic future:

“sun rises on a devastated earth. the last children of eve struggle to maintain their digital lifestyles. global trade has long since ground to a halt, and our infrastructure lays in ruins. the old systems of power have collapsed and from these ashes, a new society rises, a networkoflove.”

human, electroluminescent technology, plastics, sound performance at exit art, new york city august 1, 2008
starring: helga wretman

The references are to a performance by Berlin-based performance artist Helga Wretman. The block-quoted information above comes from the photo’s source location on Flickr, where the the further caption also appears: “Starring Helga Wretman as OIIOOOFF2013. An Average girl of the not-so-distance future. ALL WE HAVE LEFT IS EACH OTHER.”

The entire performance — and the stand-alone art installation which was repurposed into the setting for it — is documented in this Flickr photograph series by photographer Ruaminx. The series of photos is captioned: “Etapa Del Funcionamiento (Segundo), 2008. Installation at Exit Art, NYC July 24th-August 31st, 2008. This piece evolved into a Stage for “Network of Love”, A collaborative effort with Helga Wertman and Aids-3d.com for a one night performance on August 1st, 2008.”

Here is an additional photograph from the Flickr photo series of the performance:

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Original post here. Image provenance by Bacchus at ErosBlog.

Δ 064 – Killer Radio

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This artwork is from the back cover of a Big Little Book (#1151) by Dick Adair published in 1938 by Saalfield Publishing Company (which in its day was, according to Wikipedia, “one of the largest publishers of children’s materials in the world”). Here are some smaller but more complete images of the cover boards, which display the same artwork front and back:

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A BLB catalog here identifies the cover artist as J. R. White:

DEATH BY SHORT WAVE Jumbo Book®; 1938. Hard cover, sewn binding. Standard size: 3 5/8″ x 4 1/2″ x 1 1/2″; 400 pages. Author: Dick Adair. Artist: J. R. White.

The full title according to various used book databases and catalogs appears to have been “Death By Short Wave: A G-Man Story.” There seems not to be much information available on the web about artist J. R. White, although the name appears frequently as an illustrator of other children’s titles in the format that came to be known as Big Little Books. For instance, this page lists White as the illustrator of Tom Swift And His Magnetic Silencer, a 1941 Better Little Book published by Whitman.

Original post here. Image provenance by Bacchus at ErosBlog.

Δ 063 – Accumulate Orgones With Dr. Reich

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Thanks to a fortuitous eBay listing, we learn that this artwork by Walter Richards illustrated an article on page 50 of the April 1962 issue of the men’s adventure magazine True. The article, by Carlton Brown and Donald G. Cooley, was called The Man Who Boxed Sex:

sex-boxing

It begins “For all the problems in the world — personal, political, scientific, or medical — Dr. Wilhelm Reich had an extraordinary popular solution: orgone energy. It kept him and his faithful followers in headlines for years.”

Information in the Wikipedia entry on orgone energy suggests that the illustration from True probably depicts an orgone energy accumulator, a device built by Dr. Reich with the ostensible purpose of collecting orgone energy from the environment for the improvement of health. For a hilariously strident defense of Dr. Reich’s work — or at least an attack on his critics in general but particularly as those critics have found expression at Wikipedia — see this page from the “Orgone Biophysical Research Lab”.

The artist credit “Walter Richards” probably refers to Walter DuBois Richards, as profiled for a gallery showing by the New York Times in 1999 and remembered at this blogspot blog by one of his grandchildren.

Original post here. Image provenance by Bacchus at ErosBlog.

Δ 062 – Binding Fumes

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This artwork is cropped from the cover of the September 1948 issue of Amazing Stories magazine. The complete cover:

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The Internet Speculative Fiction Database credits the cover art to Robert Gibson Jones, a prolific pulp artist of the 1940s and 1950s whose signature is also visible lower right in the uncropped cover image. A bibliography of his many science fiction magazine covers and interior illustrations is here.

Original post here. Image provenance by Bacchus at ErosBlog. Image provenance by Bacchus at ErosBlog.

Δ 060 – Skeletal Space Hands

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This image is cropped from the cover of issue #15 (December 1, 1999) of the Italian comic book series Julia: Le Avventure Di Una Criminaloga:

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Wikipedia describes Julia thusly:

Julia is an Italian comic book series created by Giancarlo Berardi and edited by Sergio Bonelli Editore. The protagonist, Julia Kendall, is a criminologist, and the stories are usually in the crime fiction genre. The comic series was created in 1998 by Berardi and it was born of Sergio Bonelli Editore’s wish for a purely detective series.

Julia Kendall’s character is physically inspired by Audrey Hepburn, one of Berardi’s favorite actresses. Choosing a female protagonist — an ordinary, easily relatable woman — had the series have a large following of woman readers, unusual for a crime fiction comic.

ComicVine credits this particular cover artwork to artist Marco Soldi. Lambiek Comiclopedia offers this brief bio of Soldi:

Marco Soldi began his career at the publishing house Lancio in the early 1980s. In 1986, he became a cover artist for the monthly Splatter. In 1993, he joined Bonelli publishers, where he started out doing a ‘Dylan Dog’ episode. He also cooperated with Granate Press and the publishing house Universo. He then returned to Bonelli, illustrating episodes and covers of the series ‘Julia’.

Original post here. Image provenance by Bacchus at ErosBlog.