Paula hiding and preserving those images in what likely was an incredibly stressful situation goes to show how even when being beaten down, she was confident that what they were doing was not wrong. Her actions say ‘there’s value in these,’” Rhody says. “Irving Klaw went before the Senate and pleaded the Fifth Amendment until he was held in contempt of court. I read that for the rest of his life he’d clip out images of BDSM-like material he found in mainstream, popular culture because he wanted to prove that he never did anything wrong.” A present-day parallel might be something like kink.com, known for prioritizing ethics and consent in their workplace,” says Rhody.

Irving Klaw model, Shirley Maitland - Blogger A Tribute to Irving Klaw model, Shirley Maitland - Blogger

In February of 1983, Harmony released what it supposed was the last of its Irving Klaw magazines the ninth in the series. It seemed evident that the vast archive of Klaw material had at that point been exhausted. The family business, which eventually became Movie Star News, began in 1938 when Klaw and his sister Paula opened a struggling used bookstore at 209 East 14th Street in Manhattan. While their work didn’t feature nudity, the Klaws pushed boundaries with overt themes of bondage, fetishism, and role play. Starting March 12, a collection of vintage and unadulterated pinups from the Klaws will go on view at No Name Cinema, a fiercely independent microcinema and exhibition space committed to the experimental and avant-garde.

Charles Guyette: Godfather of American Fetish Art [*Expanded Photo Edition*] by Richard Pérez Seves. New York: FetHistory, 2018. ISBN 978-1973773771 Inspired by John Willie, [12] Klaw also commissioned and distributed illustrated adventure/bondage chapter serials by fetish artists Eric Stanton, Gene Bilbrew, Adolfo Ruiz, and others. Klaw relocated to Florida where he briefly returned to filmmaking in 1963, producing two films: Larry Wolk's Intimate Diary of an Artist's Model and Nature's Sweethearts, co-directing the latter. Photographer Bunny Yeager worked closely with him during this period. She had multiple duties on these films, including casting, writing dialog, etc. Unlike his previous movies, both pictures were exploitation "nudie cuties" that featured a number of topless women. Irving continued to photograph bondage in Miami as well, with models like Maria Stinger.

Professional Catfighting Troupes Wildcatz, Klaw Mark Kittens Professional Catfighting Troupes Wildcatz, Klaw Mark Kittens

It is estimated that Irving Klaw burned over 80% of his photos when the government went after him as a pornographer in the early 60's. I am not sure who owns the rights to his photos now, but these are from a flood on the Usenet and the quality was just too good not to share. In knowing what was once done to such artists, it gives us all the more reason to fight to keep freedom on the net. -- http://www.cuffs.com/submission/klaw/default.html [Nov 2005] Charles Guyette: fetish pioneer who influenced Klaw, Willie & Burtman" The Fetishistas 25 August 2017 Fine – As near to a new copy as you are going to get, looks like it’s just been lifted of the newsagents shelf. Because of the political and social pressure Irving Klaw faced, he eventually quit the business, burning his negatives when he went. (It is estimated that more than 80% of the negatives were destroyed). Paula Klaw secretly kept in her possession some of the better images that we are still enjoying today.Irving Klaw had an unusually close relationship with his sister Paula. The story of Irving and his business has primarily been told through her anecdotes. Paula often ran the front end of the store, but when Klaw began to produce his own photographs and films, Paula befriended the models, often treating them as her own daughters. When another photographer wasn't available, she would grab the camera and shoot the photos. In 1963, in an attempt to satisfy the courts, Irving destroyed his photographs and movies, Paula, unbeknownst to her brother, preserved his legacy – and her financial future – by hiding thousands of the images. After her brother's death, she became fiercely protective of his reputation and his work. Without Paula's foresight, Irving Klaw might have been just an odd, barely remembered footnote in the annals of pin-up history and Fifties puritanism. [9] Closing [ edit ] There are peripheral elements, things that may have been cropped out,” Rhody continues. “You can sometimes see beyond the bondage equipment and notice a domestic setting, like a kitchen with some old beer bottles on the stovetop, for example.” Klaw always went to great pains to make sure his photographs contained no nudity, which would make the material pornographic and hence illegal to sell via mail. Models were often required to wear two pairs of panties so that no pubic hair could be seen. [8] Eric Stanton& the History of the Bizarre Underground by Richard Pérez Seves. Atglen: Schiffer Publishing, 2018. ISBN 978-0764355424 Amusing scenes from 3 public domain exploitation and horror films. "Slaves in Bondage" (1937) has specialty fetish prostitutes rough-housing and spanking each other, "The Brain That Wouldn't Die" (1962) and "Horrors of Spider Island" (1960) feature cat fighting biotches (meow!).