|Myles Antony - Hog Sling|
This scene of leather domination seems to connect with my recent 'kidnap' sequence. The captive's heavy stubble and dishevelled hair suggests he might be a 'rough', working man. An electrician who came to install some new lifting equipment perhaps. Now he's getting a lesson in S&M for his pains, from a stylishly-dressed Leather Master.
We can only imagine what persuaded him to undress and allow himself to be put in leather restraints but if he thought this was going to be just a bit of innocent fun, a sharp jerk on the collar tells him he's mistaken. Barely noticeable chains connect his collar and ankle-ties to the ceiling, suggesting (to me) that he's going to be the guinea pig, testing the newly installed lifting tackle. The Master's open zip suggests he's equally interested in inspecting the electrician's own tackle. That will require that he be lifted off the table and once his full weight is supported by those chains it's going to be very uncomfortable and a blowjob may not be much compensation.
In the 1980's Myles Anthony was a prolific producer of wispy watercolours flirting with 'chocolate box', pin-up, erotica (sometimes explicit) but generally featuring youthful subjects (see below). This excursion into adult, leather territory is therefore rather unusual. The faces of the participants are notably well captured and there's an extra frisson of excitement from the contrast between the two characters which seems to cross the divides not only of social status, but age and race too. The subtle invocation of serious S&M in an innocent looking image is not untypical of his work.
|Myles Antony - On The Saddle|
It seems as though this handsome man is looking back at us as he departs from the scene of a passionate, shorts-destroying and butt-ravaging experience. Antony's images take in a host of classic, homo-erotic fantasies. I particularly like this one, a very cute ass and in another subtle touch, the saddle pushes hard (!) at the boundaries of 'respectable' eroticism. I do find the trademark, penetrating eyes a bit off-putting, though! This fantasy has a fellowship with the raunchy comics of Oliver Frey who was his contemporary.
|Myles Antony - Pray For It|
Not much subtlety here you might think, the phallic candle spells out the man's submissive longings but it's devilish red, so he's playing with fire. His boots and socks have a sporty, white colour of innocence but it's the same styling as a workman's garb and he's covered with hints of earthy, body hair. The candles in the background suggest ritual which could equally refer to leather practices or those of the church. Coupled with the title there's more than a hint of fallen angel about this picture. It bears comparison with the well-known submissive and boot-worshipping images of Tom of Finland.
|Myles Antony - Boots (my title)|
The artist flashes some extreme fetish credentials here, most obviously signalled by the Wellington Boots. You can interpret it as simple mudlarking if you like, which leaves room to appreciate some nice figure drawing. It's actually more explicit than it appears at first sight if you know
what to look for but I'm not going to point it out if you don't! Not my cup of tea (maybe that's an unfortunate phrase!).
|Myles Antony - Every Play|
The intriguing title confirms an unmistakeable interest in unbridled fetish debauchery of the messiest kind. It's hard to believe this is the same man as the artist who painted the naked cyclist. Again you can see the influence of Tom of Finland in the pose of the background figure. Of all of the images here this is the most full of interesting detail. You can see what I meant about workman's boots (this is the era of Timberland tans).
|Myles Antony - At Your Pleasure|
This image seems to bridge between the worlds of chocolate box youths and fetish practice with a hint of violence that's quite disturbing. The pink vest is a telling detail of calculated, romantic seduction that jars with the brutal reality we see. The austere concrete wall behind seems highly appropriate.
|Myles Antony - Number 4|
Perhaps those young men are not so innocent or naive after all!
It's in the eyes