Royale Studio Models - Peter George 3, Nudes

Peter's 3rd solo set for Royale Studio was 4-PUN.

It was a nude set and appeared in the catalogue in 1959.

This is a slightly better version of the catalogue image. Photographed naked against a black background, Peter's trademark, 'little boy lost' look is amplified by the self-conscious, modestly crossed hands. His beefy physique shows up well here but it's no surprise after the glimpses of his bulk we saw in the preceding post about the 2-PUN set.

Manual magazine posted two images from the set in their December 1959 issue but decided it was better to suggest that Peter was in fact clothed. I suppose a suspicious mind might see sexual innuendo in the close proximity of hands and uncovered groin but it's a telling indication of the sensitive nature of gay publishing in this era. 

In this contrasting view of his physique, a more down-to-earth, youthful-looking Peter wistfully eyes a miniature copy of an ancient statue and copies the pose, as though wishing he were equally well endowed. Such modesty. 

Royale's description of '20 nudes' employed the customary 50's cloak of artistic modelling. But whilst the catalogue image and the warrior (above) with their noble poses, do have a touch of Classical Greek statuary about them, this picture is clearly situated in the present. The statue device was quite common in the beefcake photography of the era representing the double nostalgia for an idyllic era when male beauty was valued and (it was believed) that men had been free to love openly whoever they pleased.

This picture differs from most of its companions in containing rather daring, erotic references which are cleverly disguised by the shadows. That's a walking stick Peter is holding and its curved handle, held between forefinger and thumb (and easily mistaken for a thumb) is a striking phallic substitute in its own right. Its message is reinforced by Peter's rigid forefinger resting on the stock in a way that is inexplicably but unmistakeably suggestive of stroking. Amazingly, this picture was published by Man Alive in June 1959, perhaps no-one noticed!

The use of classical columns has the same intent as the statue, transporting the model to a time when restraints were fewer and distancing the naked body from the disapproval of 1950's UK society. However, a naked bottom seated on, and moulded by, a flat surface is not without sexual interest and the punning, double meaning of 'sitting on a column' would have been quite obvious to viewers of an era when normal gay language was necessarily laden with innuendo.

This image is less controversial, and it also seems to have a classical inspiration

 in the famed, Greek discus thrower sculpture. 

(Or you might see it as a naked man fleeing from a pursuer on a dark night.)

This stiff, formal pose is not devoid of erotic allure but is more manly. It has a controlled, submissive quality expressed by the kneeling position with tightly tucked legs. Something akin to a patient awaiting the Doctor's inspection - with a degree of curiosity and apprehension, methinks. 

The overt presentation of the rear view seems less inviting here thanks to the obstruction presented by the model's feet. His wrinkled soles are invitation enough for worshippers of such things, but they also form an opening that works like a reflection of the parted cheeks just above and allows just enough access for naughtiness.... 

I feel I'm being reprimanded for my lewd imaginings here. It's virtually the same pose but with that expectant tension released. It transforms the sitter back into the independent, proud man we saw in the opening images. 

He's still a most desirable young man in his nakedness, but evidently not a pushover.

~

The next group of images are those I have characterised as having lighter backgrounds and believe to have originated a year or two later than the 'black' set. It is possible that they are related to the 'bamboo' (mostly) pouch-clad set which I appended to the 2-PUN pouch set in the previous post in this mitchmen series.