I'm wearing Cartier jewels, a Borbonese fur, and Halston opera gloves. Am I mesmerizing or what?
Above, a 1955 Technicolor lithograph featuring an unknown but very beautiful model. A piece of well known fashion advice states that, in order to avoid overdressing, a woman should face away from a mirror, then turn quickly and see what catches her eye first. Remove that item and she's good to go. That must have been one garish blouse.
We'll get to the bottom of this even if it takes forever.
Above you see a Technicolor lithograph titled “The Right Exposure.” We're still seeking the identity of this buttcrack flashing model, who we have on half a dozen lithos, including this one we posted back in 2014. Even more so than paperback cover artists, these lithos are our most difficult sleuthing jobs. We've had many successes and we won't quit until we put this model's case to bed too. Have any ideas? Let us know. But be forewarned, here's who she isn't—Marilyn Waltz. We mention that because a couple of readers have suggested this is her, but we're positive she isn't Waltz. We know because, like we said, we have six more images that remove any doubt, but of course we haven't shared those on the website because we're hoping to write posts on them. So you'll have to trust us that she's not Waltz. While you're ruminating over who she really is, consider clicking the keywords “Technicolor pin-up” below, and you'll be taken to see many more beautiful mid-century models.
Since you obviously don't get the point of why I'm wearing this, it's not so we can go outside.
This Technicolor lithograph is entitled “Prepared,” but while the model is prepared for hot fun and games, her off-frame male friend seems to want to go for a wet walk. Well, men can be dense. Once, the Pulp Intl. girlfriends dressed up sexy and gave us homemade coupons that said “Tonight—redeemable for anything you want,” and we made them watch the NFL division championships with us. Not what they had in mind, but anyone could make that mistake. Circa 1960 on this litho.
Answer me honestly. Do men actually like this kind of cumbersome lingerie? No? Me neither. Ahh... that's better.
For a couple of years we were mystified by the identity of the above model, but recently learned that she's Virginia De Lee. There's actually some information out there about her, some of it quite interesting. For example, in June 1957, according to Hollywood columnist Erskine Johnson, she walked into his office dressed as a harem girl, accompanied by a "225-pound giant of a fellow and a four-foot [little person],” unrolled a rug, served him a cup of Egyptian coffee, and announced, “We are here to remind you that the Tyrone Power movie Suez will be on television tomorrow night. It's the premiere performance of a series of Twentieth Century Fox movies on KTTV.”
That's what's called an old fashioned publicity stunt and as far as we know stuff like that doesn't happen these days. De Lee also popped up in the press when famed Hungarian sculptor Sepy Dobronyi said she had a perfectly formed body, so it's possible she modeled for him at some point. She obviously sought stardom, but her only movie role was a minor appearance as a stripper in the b-drama Hell Bound. Whatever fame she has these days mainly derives from the many collectible Technicolor lithographs in which she and that quirky right eyebrow of hers were featured. We showed you a few lithos already, and we have one or two more sitting around. You may see them later.
Only her ex-boyfriends recognize her.
We keep sharing Technicolor lithographs and pleading ignorance of the models' identities. Today we have an excuse. She's wearing a mask—a much more interesting and fun mask than the rest of us have been wearing through the last year. We won't bother to ask for help with her identity—unless someone recognizes her from her body alone. In which case—you lucky devil! This is from the early ’60s.
I've successfully hooked the captain's hat, and now I'm going for his pants.
Since we had a piece of fishing themed art recently, today we have another item. Here you see a Corp. A. Fox Technicolor lithograph of an unknown model decked out for a day on the water. It was printed in 1954 and is the latest addition to our always expanding collection of these. You can see the others by clicking the keywords below.
The list of sensory superlatives quickly runs short.
Here yet again is Marilyn Waltz, also known as Margaret Scott, an early Playboy centerfold and popular pin-up model we've featured a few times. This Technicolor lithograph, entitled “Visions of Beauty,” is from 1952, and as you can see below more than one image of her posing against this velvet backdrop was published. The litho below was entitled “Lovely as a Rose.” Like many women who posed nude back then, Waltz had Hollywood aspirations, but her entire cinematic output consisted of a single role in the 1954 b-flick Love Me Madly, aka Love My Way, aka The Wild Sex. The film is forgotten, if not lost, but it's notable—for us anyway—because her co-star was Georgine Darcy, perhaps better known as Miss Torso from Alfred Hitchcock's Rear Window. With Waltz and Darcy on the same set the filmmakers probably needed a fire brigade on standby in case the sound stage burst into flames. You can see everything we have on Waltz by clicking her keywords below.
This hat looks great. Now with water, fertilizer, and a lot of patience I'll be able to make a dress to go with it.
Above, a return engagement on Pulp Intl. for American model Joanne Arnold, who in this nice Technicolor lithograph is wearing nothing but a bonnet garlanded with daisies. Arnold was a 1954 Playboy centerfold and sometime model for famed photographer Peter Gowland, who made her the centerpiece of a famous series of underwater nudes, one of which we showed you way back in 2012. She also popped up on another Technicolor litho with four other models. You can see that here. The date on the above item is 1950. Arnold will return, we promise, at which point we'll see if she ever got the rest of her outfit together.
Everyone in Paris hopes for a glimpse of Nico's velvet underground.
Una ragazza nuda, for which you see two beautiful Angelo Cesselon posters above, was originally released as Strip-Tease, and called in the U.S. Sweet Skin. It was an Italian/French co-production starring Krista Nico, née Christa Päffgen, better known as just Nico, future collaborator with the Velvet Underground. Her supporting cast includes Dany Saval, Jean Sobieski, and American jazz pianist Joe Turner playing a character named Sam (IMDB has him incorrectly listed as playing himself). Basically, the movie is the story of an ambitious dancer who can't catch a break, and takes a job stripping at Le Crazy Horse, the famed Parisian cabaret.
Nico goes through the typical stages of becoming the jaded, empty woman viewers have been taught to expect in movies like these. But what isn't typical is the setting. If you're looking for a film with overwhelming Parisian atmosphere this is the one. Streets, cafés, restaurants, the Seine, the wintry countryside, Hippodrome de Vincennes, and the Crazy Horse (or a fictive stand-in) are all on prominent display, and the stripteaseuses are beautifully showcased. And keep an eye out for cameos from Serge Gainsbourg and Juliette Gréco. We just came back from Paris last year and thanks to this flick we're already trying to figure out how to return.
On a technical level, the direction by Jacques Poitrenaud and cinematography by Raymond Pierre Lemoigne both take advantage of the film's many wonderful settings, but the on-camera performances aren't quite at the same level. Nico is a novice actress at this point and it shows, but her minimal emotional range fits with her character. Joe Turner isn't an actor at all and that shows too, but as the conscience of the film his role also works. Some movies are more than the sum of their parts, and Una ragazza nuda adds up to an excellent ninety-five minutes. It premiered in Italy today in 1963.
Age is just a number—except when it comes to vintage memorabilia.
Often when a vendor sells Technicolor lithographs online they just make up a copyright date. Older is obviously considered better, so there's a strong incentive to lie. For instance the lithograph above, entitled “Fun Loving,” was listed as being from 1956. Since there's no easy way for potential buyers to confirm the age of these things, that's a nice, safe date. Old enough to be collectible, but not so old someone can immediately see that the model can't possibly be from that era. But sometimes these obscure models are actually identifiable, and in this case the woman pictured is without doubt Australian model Deanna Soutar, who we just saw a few months ago inside a 1971 Police Gazette. If this litho were really from 1956, Soutar would be six years old in the photo, which she clearly is not. She began modeling around 1970 when she was twenty, so we can safely say this particular litho dates from between ’70 and ’72. If you visit our website a lot you know how hard it is to identify litho models, so we have to call today a victory. |
The headlines that mattered yesteryear.
1937—The Hobbit is Published
J. R. R. Tolkien publishes his seminal fantasy novel The Hobbit, aka The Hobbit: There and Back Again. Marketed as a children's book, it is a hit with adults as well, and sells millions of copies, is translated into multiple languages, and spawns the sequel trilogy The Lord of Rings.
1946—Cannes Launches Film Festival
The first Cannes Film Festival is held in 1946, in the old Casino of Cannes, financed by the French Foreign Affairs Ministry and the City of Cannes.
1934—Arrest Made in Lindbergh Baby Case
Bruno Hauptmann is arrested for the kidnap and murder of Charles Lindbergh Jr., son of the famous American aviator. The infant child had been abducted from the Lindbergh home in March 1932, and found decomposed two months later in the woods nearby. He had suffered a fatal skull fracture. Hauptmann was tried, convicted, sentenced to death, and finally executed by electric chair in April 1936. He proclaimed his innocence to the end
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