Here's a lama, there's a lama, and another little lama
To offset the ridiculous cover above, we thought we’d share something a bit more traditionally pulp, so here you see the front of Jerôme Caval’s 1964 thriller Le lama de Lima, which means, well, exactly what it looks like it means. The book is volume 30 of the Espionnage Service-Secret collection from the Parisian publisher S.E.G., and the brilliant art is uncredited.
One of the last two functioning examples of revered World War II fighter plane hits the auction block today.
Today in London, Christie’s auction house is selling off one of the only two flyable, original spec Vickers Supermarine Spitfire fighter planes left in the world. One of the most elegant of World War II fighters, the Spitfire played a pivotal role in the Battle of Britain, going up against the German Luftwaffe and its comparable Messerschmitt fighter craft. This particular Spitfire made an emergency landing on a beach at Calais, France in 1940, and was quickly covered by tidal sands. The sands receded in 1980 to expose the aircraft once more, and it went into the Musée d’l’Air at Le Bourget, Paris, before being acquired and restored by the British company Aircraft Restoration Company/Historic Flying Ltd. Christie’s estimates the plane will sell for at least US$2.3 million, and could go for close to US$4 million.
, Musée d’l’Air
, World War II
, Battle of Britain
, Vickers Supermarine Spitfire
Anthropologists stunned as new research shows Native Americans funneled beer centuries before frat boys.
We have no idea why scientists are surprised. Native Americans brewed many types of alcoholic beverages, so it follows they’d come up with ridiculous ways to drink them. Jean d’Ascain wrote L’or qui tue in 1946 for the Paris based publishing company La Caravelle as part of its Collection Le Ranch. On the cover Albert Chazelle art shows an early American colonist named Trish learning how to funnel, while one of the boys cops a cheap feel. The natives would later improve the funneling process by adding a tube, as well as sexually suggestive, horribly out-of-pitch singing. Genealogical note—Trish is the many-times-great grandmother of this person. Also, d’Ascain wrote a sequel where natives invent the drinking game Edward Fortyhands.
Secrets, spies, and other tools of espionnage.
Here are a few scans from the cover and interior of Folies de Paris et de Hollywood #174, which appeared in 1960. It’s a “numéro exceptionnel,” or special issue of the magazine, and is devoted secrets and spies. All that means is that the photo features are entitled things like “Paola Mystere,” and “Le Rendez-vous Secret.” You get the usual assortment of glamour models, including Sally Douglas, who we've featured before, and lots of showgirls. We bought twenty of these a while back but have been lazy about sharing them because, well, it’s really time intensive. We have to scan each page in two halves, which already amounts to twice the normal work, then Photoshop the pieces together, which is a whole new realm of effort. But we’ll get more issues up soon. In the meantime you can our previous shares by clicking here.
Americans may have perfected the art, but the French got there first.
During the last few months we shared three Technicolor lithographs with glassine overlays of clothing that could be peeled back to reveal a nude model, and mentioned we thought the technique originated in France with Paris-Hollywood, a cover of which you see above. The magazine began publishing déshabillable—i.e. undressable—pin-ups in 1950, whereas the American undressables we’ve found date from no earlier than 1953. Though Statesiders may have been latecomers to the party, once they got the technique down they churned overlay pin-ups out by the hundreds. You can see three here, here, and here, and we’ll share more later.
The artist responsible for painting the centerfold in this issue of Paris-Hollywood was Roger Brard, and he was the brush for most of those the magazine featured, but at least one other artist was involved too. Elsewhere in the issue you get showgirls, showgirls, and more showgirls, including a three page spread on la vagabonde Cirque Z dancer and world traveler Katrina, a Venice carnival-inspired set involving a model wearing a lace mask (she also gets the back cover), and a weird photo essay with knives and six-shooters. All of this is from 1952. We have twenty scans below, and you can see many more issues of Paris-Hollywood by clicking its keywords at the bottom of this post.
Everybody who was anybody got inside.
Above and below, scans from the French show-biz and showgirl magazine Paris-Hollywood, issue 26, from 1948. The front cover features Marguerite Chapman, the rear Arlene Dahl, and in between you get Cyd Charisse, Patricia Roc, Martha Vickers, Alexis Smith, Anne Jeffreys, Luce Feyrer, Edwige Feuillère, Marlene Dietrich, and other luminaries. That's quite a collection of celebs. In upcoming years the magazine would spend more time on cabaret dancers, but its early issues were all about international stars. We picked up a few of these in Paris a while back and we’ll get to some detailed scans of those soon. In the meantime, you can see more from Paris-Hollywood here, here, and here.
, Marguerite Chapman
, Arlene Dahl
, Cyd Charisse
, Patricia Roc
, Martha Vickers
, Alexis Smith
, Christiane Ardennes
, Claude Carmoin
, Edwige Feuillère
, Anne Jeffreys
, Luce Feyrer
, Marlene Dietrich
Anna Karina gives an ancient place a touch of contemporary beauty.
Anna Karina, née Hanne Karin Bayer, is a famed model, novelist, singer, and award-winning actress, who was a muse of French director Jean-Luc Godard, and star of such films as Alphaville, A Woman Is a Woman, and Chinese Roulette. She has also directed two movies, with the latest appearing in 2008. All very amazing, considering she was homeless and unable to speak French when she was discovered by an advertising exec in a Paris café at age seventeen. The above photo was made in Tunisia (standing in for Egypt) for her 1969 film Justine.
, A Woman Is a Woman
, Chinese Roulette
, Anna Karina
, Hanne Karine Bayer
, Jean-Luc Godard
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