Milism reprint

A reprint of the 'long-lost', 2002, Milism article about Royale Studio by Squaddie John has been added to the mitchmen, Royale Studio blog. 

 

It's a review of Royale's modus operandi slightly jumbled up with references to 'Guys in Uniform'. The narrative is somewhat biased towards spanking but also has useful comments about the UK political and social environment in the 50s and 60s, particularly in relation to members of the armed forces. There's also an interesting postscript about the origins of the so-called British Photographers' collection which was responsible for most of the best quality images we have today (like the one above).

 

I have had to restore the illustrations for the article, drawing on title information and my memory of the site, but there are one or two I'm unsure of, so I'm putting out an appeal to any Royale enthusiast who remembers the original article at Milism, to check my reprint and see if they can help with picture identities.

 

My thanks to Squaddie John for giving me permission to re-post it. 

New Additions to the Royale blog

Royale Studio - The Arrest 2 

The 24 picture series, 'The Arrest' is one of the most complete surviving sets by Royale - although there are some intriguing discontinuities that hint at a much bigger epic! 

A story of bullying, it's notable for its abundant imagery of men in tight shorts, with a good deal of wrestling action and spanking too is represented.

All this and a mystery, 'lost' series. 

 

Royale Studio - Scout Recruit

If you appreciate spanking imagery, there's an abundance of it in The Scout Recruit and more tight shorts. If you think Scouting is a pastime for boys you'll be surprised at the men in this story, another long one of 24 images.

 

Brian Lamprill by Vic White 04

There's some stunning imagery of Brian Lamprill filling a white pouch in images by Vic White, that supplement his career with Royale. Links to more sets at Brian Lamprill's Profile Page.

 

A full list of available Royale and Hussar sets can be seen in the sidebar of the Royale-Hussar blog. Plus news of the latest additions.

 

Guys in Uniform - 1 - Double Discipline (Part 'B')

Continued from Part 'A' 

 

Guys In Uniform - Double Discipline B01

The two men under punishment have now put on snug-fitting singlets (or vests) with impersonal numbers on the back. The Instructor has ordered them to lie down, leaving their shorts still lowered, so that their backsides are visible. It's the horizontal equivalent of facing the wall, a psychological rebuke, expressing rejection and isolation. The punisher has put away his cane, but I imagine his tongue can sting these men almost as well.

This photo has a curious composition, with the protagonists confined to the boundaries and a vast empty space filling most of the picture (which I have filled with logos out of desperation!) It is taken from a magazine, part of a montage in which another, overlapping image filled much of that space, see below. The combination of upright and prone figures in a picture is a challenge for any photographer, as Royale Studios also found. However, it seems surprising that the photos seem to have been taken with that marketing scheme in mind. The original photo may amount to more than this, of course, and not be so awkwardly cropped.

 

Guys In Uniform - Double Discipline B02

In the second picture the men have changed out of their shorts altogether, leaving them crumpled at the feet of No 4.  No 3's singlet is very close-fitting, he continues to be the more striking of the pair.

The second stool, last seen in image A03 has been reintroduced. 

 

Guys In Uniform - Double Discipline B03

The two men are ordered to sit on the stools. The corded seats quickly bring new discomfort to their just-caned bottoms. The instructor stands watching them with hands on hip, as if waiting for something. They just hang their heads. Their overhanging bottoms make a strikingly original, teasing image. As if in response, there's a rare sighting of the front of the instructor's shorts, which do not suggest he's totally disappointed with them.

 

Once again, the editor's cropping seems overdone on the right, resulting in another, oddly unbalanced composition. 

 

Guys In Uniform - Double Discipline B04

This unconventional scenario, now takes a new turn. 

It appears No 3 has been detained, kept in after school, as it were.

He slumps on the floor, minus his training shoes, a sign that he's not going anywhere soon. The instructor has also taken off his shorts, as if they are now equals. It hints at a steamy closing ceremony, involving more sacrifice by No 3.

 

In Britain there used to be light-hearted debate about whether, milk should be added to the cup before or after pouring tea. There seems to a similar divide about sex and spanking. And yes, I know that many prefer their spanking without any sex at all.

 

There's another (unavoidable) blank corner here. They all fit together very well in 'Uniform Magazine' spread (shown below). But it's hard to imagine this was all intentional. The uncluttered backgrounds don't help.

 

Uniform Magazine, Vol 3 p41

 

 

Guys In Uniform - Double Discipline B05

 In this picture, it seems that the tables have been turned on the sadistic instructor. Bereft of his shorts (just visible on the floor with the distinctive, black waist band), he rests his forearms on a stand rather like a butchers block, with a padded top set at an ideal height for bending over. A cane stands propped against the side, ready for the arrival of another dispenser of rough justice.

 

Maybe picture B04 is actually showing the waiting room, with both men in line for a painful reprimand, perhaps having been caught having sex after spanking. Maybe this set be named 'Triple Discipline'!

 

 

Guys In Uniform - Double Discipline B06

In this picture we see the instructor slumped on the floor, looking distinctly down in the mouth, if not in other departments. I have sequenced these images to suit my own narrative, since no thumbnail sheets are known for Guys in Uniform sets. I imagined this as the aftermath of the Instructor's supposed comeuppance. Equally, it could be him, still awaiting his turn, after No 3 was summoned in to the Punishment Room. 

 

~

 

There is a further image that doesn't seem to be part of this set, but also features the distinctive vest with coloured hoops.

 

Guys In Uniform -Athlete with Cane

 

This is not obviously the man wearing the hooped vest in the preceding pictures, but his predicament complements my narrative there perfectly. He's strapped to the four corners of a board or box in a way that prevents escape but not all movement. A cane leans against his bottom, an unsubtle clue to the reason for his restraint.

 

He's wearing shorts, which have been hitched-up to provide an open target area. His gym socks have been removed and dropped at his feet to one side. 

 

He's also wearing an incongruous, broad leather belt-cum-corset, with multiple straps at the back. Probably put on him by the men who restrained him. This fetish garment features in many Guys In Uniform sets with leather/rubber themes, but this cross-over picture is usual. It suggests the meeting of two worlds - wholesome athletic activity and dark, secret fetish. 

 

This is an initiation, perhaps or a peeping Tom about to be taught the error of his ways. His expression suggests that he's realised from the restraints and the tightness of his strange garment that this warning is going to be very different to anything he has experienced before.  
 

~ 

 

Preview the next Guys in Uniform set
to be featured at mitchmen.

 

More about Guys In Uniform Studio  

 

Guys in Uniform 1 - Double Discipline (Part 'A')

More about Guys In Uniform Studio  

This series of articles aims to update and extend my original survey of the work of 'Guys in Uniform' at mitchmen

 

Guys In Uniform - Double Discipline A01

Above: An atmospheric staging of a disciplinary session at a military establishment. The two offenders hang their heads, deferring to the punisher's authority and anxious not to aggravate him.

There is a colour variant of this image which reveals that the man in authority here has removed his shorts, they lie on the floor at the back. Apart from that incongruous detail, it seems a logical first image in continuity terms. Like most of 'Guys in Uniform' output, this set doesn't have a discernible storyline.

.

Guys In Uniform - Double Discipline A02

The two men 'assume the position' under the watchful eye of their nemesis, who is properly dressed now, but seems in no hurry to start.

 

The images in this article come from a 'Guys in Uniform' set which I have called 'Double Discipline'. It is probably the best known example of their work - with good reason! The situation of two men in PT kit, up for punishment with a cane, is memorable. You are immediately struck by the tight and very brief, white shorts, which visually are an advance on the efforts of Royale Studio. Of course, Guys in Uniform had the option of using flimsier garments than Royale did in the 50s. 

 

Royale's black and white images of men in shorts were bedevilled by 'white-out' of shorts under the glare of bright lights, erasing the details. The wider availability of colour 20 years later solved that problem, although the bending figure on the left above is a near miss. The pants are lit to show off the target areas very well, and the glimpse of bulges between the legs is amazing. The hems of their shorts show off chunky thighs, while the ankle socks with blue hoops (also classic sports wear in their day) reveal solid calves - these men are fit!

 

Guys In Uniform - Double Discipline A03

The Offender who is first up lowers his shorts and the ritual begins.

The blond-haired man wielding the cane here is not entirely convincing as a military disciplinarian, but I suppose we might regard him as an 'Instructor'.  His skimpy shorts have a thick black waistband rather like those worn by professional boxers. In fact, there's a striking resemblance to a pair of shorts worn by a hunk, who graced the front cover of Zipper 45 a few years later, in 1984 (below). 

 

Boxer on Front cover of Zipper 45

 

Sadly, this man didn't appear anywhere else as far as I know, and the shorts fashion didn't catch on for official contests.  

 

There's a break in continuity in the images we have at this point. You'd expect another picture very similar to No 3, but showing the 2nd offender taking his turn to be caned, a classic 'double'. He does indeed get his lot in the next image, but much else has happened in the meantime...

 

 

Guys In Uniform - Double Discipline A04

In image 4, the first offender has been dispatched to stand facing the wall and his hands have been tied behind his back, suggesting a rebellion might have quelled. His shorts are in a higher position, a concession, perhaps, to allow him to shuffle with dignity. Or perhaps his unsuccessful attempt to 'cover up' was responsible for his wrists being restrained. The Instructor is not yet finished with him, but his raised head suggests he remains defiant.

 

One of the two stools has now disappeared. The remaining man lowers his shorts and takes his turn alone.  

 

 

Guys In Uniform - Double Discipline A05

The indentation visible here shows the instructor means business.  No 2's filthy shoes won't have gone down well with him, and might have earned him something extra. (However, they afford us a convenient way of distinguishing the two men, in the absence of visible faces). 

 

His colleague at the wall dips his head, as if acknowledging his comrade's treatment, but whether in sympathy or sudden dismay on his own account is impossible to say.  

 

Guys In Uniform - Double Discipline A06

 

Having completed his allocation of strokes, 'mister dirty shoes' takes his turn at the wall. His shorts are now down round his ankles. We can only speculate how that came about, but he seems to have decided it prudent to leave them there, so we get to appreciate his chunky backside. 

 

He seems to be standing protectively over a glass of water that appeared in some of the earlier pictures. Finding the session too hot? Well, you might detect a rosy hue to his cheeks, but this studio didn't go beyond mild simulation. No doubt, though, there must have been some playful taking advantage of the situation. Purely in the interests of authenticity, of course.  

 

No 1 is recalled for a second dose, and his kneeling position here suggests he's still not being co-operative. You can see the front of the Instructor's shorts quite clearly here with the badge in the waistband, not to mention a telling bulge underneath. He has a number of tattoos on his arm, which spelt 'rough and butch' in those days. That bodes ill for the rebel.

 

Guys In Uniform - Double Discipline A07

 

You sense a certain extra energy and determination here, as the Instructor resumes his thankless task of correction. His swing is hampered, though, which won't improve his temper.

 

My eye is drawn back to the man facing the wall, he has a beautiful figure and an upright posture (a cross between at attention and at ease) that is very manly. There's a treat for neck freaks, like me (despite a near 'white-out'). 

 

~ 

There's a significant jump in continuity in the remaining images in this series. The two men being punished discard their shorts and put on figure-hugging singlets/vests instead. We don't see the men changing, just the end result. There seems no rational explanation for such a switch, except perhaps to increase the humiliation factor. There are other discontinuities too, so I have therefore separated this group into a separate post - 

Double Discipline Part 'B' 

.

Guys In Uniform Studio (Updated 29 Jan)

Article Incomplete

 

Guys In Uniform - Sailor in the Rigging

 

Guys in Uniform Studio* set up in the mid 1970s, producing sexy pictures with a strong flavour of military discipline. It was much inspired by the example set by Royale Studio in the late 1950s, and the personnel involved reputedly had connections of some sort with Basil Clavering's set-up (see below). 

 

As an example, the photo above directly references the 'Sailor in the Rigging' images of Royale Studio and Hussar. 

 

 

Guys In Uniform - Double Discipline

 Guys In Uniform created many Gym Discipline scenarios which also mirrored Royale storyettes which had usually featured a gym horse, providing both context and a handy frame for punishment 

 

 ~

*Ever since the release of the British Photographers' collection of Royale and Guys in Uniform images, this Studio has suffered from being called 'Men in Uniform' in some quarters. However, it always used the 'Guys in Uniform' label in its short existence, as shown in the image above. There was never a Studio called 'Men In Uniform'  

 ~

 

The pictures of both studios pushed at the boundaries of acceptability for their respective times. Royale's beefcake images flirted with homosexual innuendo and sadism, which was strictly taboo in the 1950s Britain. By the late 70s, when Guys in Uniform was formed, gay lifestyle magazines were commonplace and even frontal nudes were permissible (if flaccid). However, the combination of nudity and discipline scenarios' was still highly controversial and problematic.

 

Guys In Uniform - Double Discipline

 This image is similar to Royale discipline scenarios, but they did not show their subjects undressed like this.

 

 

Guys In Uniform - The Investigation

Both Studios openly used genuine servicemen as models, particularly Royal Guardsmen (sometimes in authentic uniforms). This shocked the establishment and provoked police raids to seize their material. In Royale's day, anything to do with homosexuality was hushed up by the press, but in the case of Guys in Uniform there was a full-blown scandal when a tabloid 'exposed' that real Guardsmen were posing for nude photographs in homosexual magazines. 

 

There was an interesting, 2002 article by Squaddie John about the history and the connections between the two studios. Formerly published at 'Milism' (now defunct), I have been given permission by the author to reproduce it at mitchmen - read the 'Milism' article.

  

Guys In Uniform - Cover of Uniform Magazine, Issue 2

 

Like Royale and Hussar, Guys in Uniform supplied their images to the Gay Magazines of their time - Him, Playguy and Zipper. Many of them were printed in colour. They also published 3 issues of their own 'Uniform Magazine' (above). Surprisingly, though, it only had black and white photos.

 

Guys In Uniform - The Harness

Guys in Uniform ventured into one area where Royale and Hussar had not dared. This leather harness/apron was part of a provocative (for its time) exploration of leather and rubber fetish, a subject which formed a major part of their output. 

 

Royale Studio - Man wearing a Leather Harness

 

Recently, a solitary image has come to light suggesting Royale had a similar harness, but images of it were never published at the time. This photo formed part of the Bonham's sale of photographs by Basil Clavering in 2021. 

 

The saleroom stated in their prospectus that the collection of hundreds of Royale Studio images had been "acquired by the present owner in Notting Hill in the 1980s, from a fan of Studio Royale (sic) who had tried unsuccessfully to mimic its success". This latter reference sounds like the 'Guys in Uniform' experimenter.

 

Royale did publish a series of fetishistic images with models wearing pouches made from chains, but the Dolphin set 'Leather Merchants' seems to be the limit of their venture into the leather scene.

 

Dolphin Photography - Leather Merchants

More to come

watch this space! 

~ 

View the mitchmen review of Guys in Uniform pictures in 13+ Parts 

Royale Scout Recruitment set

'IRESC, Scout Recruitment' is one of the least well-known, but most complete of the Royale & Hussar, famed, spanking photo-sets.

 

Attributed to Hussar, this 'playlet' is the story of an unconventional Scout induction, and it's spanking hot!

 

I have now posted all 36 images of the set at the Gallery. 

 

Go to Scout Recruitment

 

 Read The Scout Recruit profile page first
for the background to the set

Art by Holzman - Merchant Navy (revised)

Holzman - Merchant Navy 1

This Hussar advert in 'Fizeek' magazine in 1963 introduced a new artist to the gay scene, Holzman, with a 'playlet' about a nautical thief. The illustration shown is one of the opening images of the series showing the 'toughie' arriving on board the boat with his kit bag. You can tell he's tough because he's got a torso-revealing, open jacket (leather?) and a cigarette drooping from his mouth. You sense he's a man with attitude, although the cant of his head and squint here is what smokers do to keep their cigarette smoke out of their own eyes. In that respect this is a neat little piece of observation by Holzman, documenting a practice that's gradually dying out now. The tough is thoughtfully examining something that he's found, his seaman's papers perhaps, although I suspect it's a bottle  (see below). 

I have 15 of the advertised 16 images in this story but no information about their sequence and have therefore  simply numbered them in what seems to be the logical sequence based on continuity.

Holzman - Merchant Navy 2

The new boy climbs on board with a long, butt enhancing stride and a determined look on his face. 

The texturing of his jacket and jeans suggests they might be leather, which in the 60's was thought of as the uniform of wild bikers. However, the presence of turn-ups and the styling of the jacket with visible seams is more suggestive of denim, a more suitable material for working on a boat.

Holzman - Merchant Navy 3

Below decks, the toughie examines a bottle of alcohol which has a label promising serious gut rot. It's enough to make him drop his cigarette, which apart from being a breach of good manners, is liable to start a fire on a boat, a danger to life and limb. 

Despite these shortcomings in his character which we are learning about, he's portrayed as a sexy beast. The 'Latin look' was quite common iconography at the time and very exotic to UK eyes. The exaggerated fleshy lips and dark-rimmed eyes seem to be borrowed from female notions of sexual allure (regretably, for the image of gay men). A distinctive vocabulary for the male equivalent had yet to be developed (and probably wouldn't have been accepted by society at large anyway).

The straw-clad carafe of wine in the cupboard behind him is a nostalgic image from a less sophisticated era in the UK. You might also recognise the 'Heinz 57 Varieties' label on the tin on the bar, amazingly it hasn't dated in 60 years and I suppose the same is true of his fashion wear.

Holzman - Merchant Navy 4

In this image it seems that the new crewman has removed various articles to his cabin and is about to hide them in his kit bag, furtively concealing his actions from a member of the crew working on the deck just outside. It must be a hot day because everyone seems to be undressing. The enticing glimpse of flesh through the porthole is the calf of a crewman walking towards the left of the picture. 

You could be forgiven for thinking here that the glimpse of flesh has sparked an impromtu massage with the bottle or even that the thievery entailed drinking some of the liquor and then topping up the bottle with piss to hide the theft. This clever 'hidden eroticism' deserved to have escaped the attentions of the censors, because it's very nicely drawn picture, a neglected classic. 

The villain has become more Anglo-Saxon-looking in this image, but I think it is the same character. judging mainly by the turn-ups (see image 2) and the presence of the two tins from picture 3. The Latin look does return later but only in one special example.

The smoky effect at the left, by the way, is not the result of his dropped cigarette but a scanning effect. It has fortuitously added a nice texture of dappled light to an otherwise 'flat' image.

Holzman - Merchant Navy 5

The villain's activities are disturbed by the arrival of a 3rd crewman (also apparently wearing a leather jacket). He too starts to undress, whistling as though routinely changing into his work clothes, which judging by the porthole vision in the previous picture might consist of very few clothes indeed. The thief is horrified, presumably imagining he's about to be exposed - as a thief, according to the story line, or, in the more subversive sub-text, as a man who has problems with naked male flesh. 

Holzman's picture here copies classic, film noir imagery, with the unsuspecting innocent making himself ever more vulnerable to a hidden threat of which he's unaware. The hidden eroticism in this image surrounds the ambiguous interpretation of the bottle, angled just right to suggest the villain is getting other ideas about this new arrival. The coat hook just above his head provides a more graphic hint of what he might have in mind with the backing plate suggesting a tight fit could be his reward. 

Holzman - Merchant Navy 6

This growing tension seems to be triggered into a full-blown crisis, by the arrival of a third man. He appears to be the skipper of the vessel, previously glimpsed through the porthole in picture 4 and now revealed to be dressed only in a cap, skimpy slip and sea boots (the last a worrying link to the label on the bottle!). At this point the undressing crewman has lowered his underpants. In fact they are nowhere to be seen, presumably lost in the folds of his jeans, unless they're ripped to pieces on the floor.  

The villain's reaction seems a bit over the top. In the story plotline he seems to think that his exposure as a thief is imminent and so goes into self-defence mode, smashing the bottle to use as a weapon 

(or it could be that he's suddenly revolted by the thought of having drunk it's contents!) 

Alternatively, in the delicious ambiguity that pervades this story, the young skipper's sexy appearance here offers an erotic explanation of the actions of the villain back in picture 4. His panicky reaction now is triggered by the rapidly accumulating male nudity and the sudden prospect that he might be about to witness something unspeakable going on between these two men, whom, we should remember, didn't know he was there until he announced himself by smashing the bottle. He might even be drawn into it, producing an explosion of a different kind.

There used to be a accepted legal principle of 'homosexual panic', i.e. a fear of being in imminent danger of being raped by a homosexual. This was advanced as a legitimate excuse for assaulting gay men and even killing them. In some cases the reaction hid the fear of having his own, secret, homosexual leanings exposed. This concept perversely confers on gay men, a power over straights that is erotically appealing, if entirely fanciful.

 Holzman's rendering of the hunky skipper is masterly but some severe cropping seems has gone on at the sides. It has spoiled the depiction of his crewmate (left), while the villain's aggression act has been converted into a disembodied, eerie 'manifestation'. This may have been intentional, to amplify the sense of panic and the shock to the sailors. However, it was also common practice in this period to publish incomplete images in order to encourage viewers to buy the full artwork.

Holzman - Merchant Navy 7

Somewhat surprisingly, the villain chooses to confront the defenceless, nearly naked seaman with the bottle rather than the Captain. It's him (or his nudity) that he finds most threatening, or it could be that this crewman has challenged him or is attempting to calm him*. Interestingly, his jeans have now dropped round his ankles and the villain is suddenly sporting a recognisable manifestation of excitement in his jeans rather than the generalised bulge seen occasionally in the preceding pictures. 

*Perhaps Holzman simply thought cropping it made a better picture. Whatever the case it's a great image using a challenging viewpoint. The quality of these pictures in both technical and dramatic terms is certainly on a par with the emerging stars of this era - Tom of Finland and Etienne.

Holzman - Merchant Navy 8

The captain intervenes with a mighty upper cut. By this time, his half-undressed crewmate is down on the floor, on his knees (and with bare ass raised in a classic, passive pose). The broken bottle is nowhere to be seen, suggesting that he managed to disarm the villain before he could do any damage with it.

Holzman has included the coat hook (from picture 4) in this image, positioning it a short distance from the villain's half-open mouth. It sort of matches the sweep of the Captain's fist but also suggests there's an erotic forfeit in store for him, one that is slightly off-piste at this point.

I don't have a satisfactory copy of this picture but it's too important to leave out. 

The cartoonised version below gives a neater sense of how the original might have looked.

Holzman - Merchant Navy 8 (AI variant)

This more balanced variant gives a better sense of the drama of the moment. It also brings out the nudity of the fallen sailor, almost seeming to suggest that the other men are fighting over him (hence, I suppose, the presence of the phallic coat hook, which, in a bizarre AI tweak, is suddenly dripping!). 

However, we can also see more clearly that the fallen sailor's arm is entwined with the villain's foot, confirming his active role in overpowering him. 

Holzman - Merchant Navy 9

The thief is down but not yet out as the crewmates pile onto him. The captain's hands are clasped tightly together round the villain's neck but he is struggling manfully to detach them. The second crew member, having disentangled himself completely from his jeans and underpants, has grabbed the villain's free arm and is pulling it into his uncovered crotch, where it can't cause any mischief (but feels nice). 

Ominously for the villain, his flies have come undone and his Y-fronts are pushing up through the gap and being nuzzled by the skipper's shin (entirely accidentally, I dare say). His choice of underwear makes the downward pointing bulge in picture 6 improbable, although the picture below shows they are not a very tight fit, so maybe it was an escaper.

 

Holzman - Merchant Navy 10

The sailors turn the villain upside down, perhaps hoping to see what will fall out of his pockets, which is the traditional way of exposing a thief in kids' comics. It also has the effect here of pulling his jeans off completely, which will enable them to conduct a more thorough search (or something like that). Losing his pants also makes it a tad more difficult for him to run off, but I suspect that being undressed by these men is only going to intensify that instinct.

You may think you've seen this picture before and you'd be right if you're a regular visitor to this blog, because exactly the same picture appears in my article on the Art of Cas. The same that is, except that it is signed there by Cas. Cas and Holzman are the same person.

Another Cas-Holzman picture can be seen at the mitchmen Royale Studio blog in the 'Timeline' post section 63.1. It's in an ad, emblazoned with the Cas logo, but a contact address has been positioned on top of the original Holzman signature. The background to this name changing is a mystery. Perhaps something to do with publisher's exclusivity.

 

Holzman - Merchant Navy 11

 

This picture and 12 to 15 below have all been retrieved from tiny thumbnails in Hussar ads, hence the inferior, fuzzy quality. They suffice to allow us to understand what is going on, however. 

If any reader can supply better versions, please get in touch!

 

The crew have manhandled the villain so he's draped astride a convenient drum. 

 There's a provocative view of his underpants as they prepare to punish him.

The Captain is holding a knotted rope in his hand.  

A loop of rope hanging on that peg behind them offers further restraint options. 

 

It's unclear what the crewman on the right is doing. He appears to be holding a cane in which case this image might also be sequenced to follow on from the next one. However, there's no cane in the other pictures, I think it is just a flaw. He might be hand-spanking him however. 

Holzman - Merchant Navy 12

The captain begins, flogging him with a knotted rope. His crewmate (underwear restored to preserve decency) sits on the villain's head to hold him down (with his balls resting on his shoulders where they can enjoy the villain's movements as he reacts to the thrashing). His pose here, with the characteristic turning of the head is very reminiscent of the contemporary artist, Spartacus.

The skipper's fleshy physique does not disappoint in this picture but his face has now transformed rather unpleasantly into an appearance similar to that of the villain when he arrives at the boat. This seems to be a look chosen by Cas to represent nastiness and it's been gradually developing in the Captain in the preceding pictures, like something out of Dorian Gray. 

Cas seems to be playing with a very dubious stereotype of foreignness here and unnecessarily so since it would perfectly OK for the cute, hunky, young man in picture 6 to maintain order on his own boat without turning into a demon. I suppose there's a certain satisfaction in the villain being 'out-nastied', having underestimated his intended victims. 

 

 

Holzman - Merchant Navy 13

The villain must have struggled energetically during the assault because the Captain has lost his cap and the two sailors have had to tie him down over the barrel with his arms and legs spread wide. The crewman who was earlier threatened with the broken bottle, still has the miscreant's head between his legs. He pulls it up by the hair so it's snugly wedged in his crotch, almost face upwards here so it gets the fullest experience. He takes his turn flogging him with the knotted rope, no doubt enjoying the villain's struggling movements between his thighs. These exertions seem to be dislodging his already skimpy trunks (much in the style of Tom of Finland).

The skipper watches them, flexing his muscles triumphantly. He even seems to be rubbing his packet with his left hand, but that may be wishful thinking on my part!

 

 

Holzman - Merchant Navy 14

  

Finally the villain seems to have collapsed, or at any rate he has stopped resisting. The crewmen lift him bodily almost as if intending to pitch him overboard. Their bulging trunks symbolically almost touch in a sort of low five (or three) you might call it . The rope and barrel have been restored to their places against the wall*. The enhancement and clarification of this image has brought the villain's underpants into stark relief, stretched tight round his buttocks and deep between them. 

*This detail doesn't seem quite right, it would seem more natural for this image to sit before image 11, where the same loop of rope can be seen on the wall. Unfortunately that creates a different continuity problem - with the Captain's hat, which is on his head in images 10 and 11. 

Holzman - Merchant Navy 15

In this final image, again recovered from an advert thumbnail, the punishment seems to finished. The scene has shifted to a bedroom with a washbasin in the corner and the chastised villain meekly seeks the comfort of a cushion to sit on, on the bed. He's now without any underpants at all and there's a faint suggestion of criss-cross weals on his buttocks. It's possible that a bare-ass final spanking was the subject of one of the two missing images.

His two adversaries stand, lording it over him, with undisguised enlargements in their pants. One of them is resting his arm on a long pole which faintly suggests the punishment may even have reached into internal regions in some shape or form. The Captain, restored to normal handsomeness, breaks out the liquor that seems to have been the root cause of the problem. The villain hasn't got much to celebrate but it doesn't look like he's free to go just yet . You sense the affair is not yet over.

~

These images were obtained from the internet and some from TimInVermont,

enhanced by mitchmen where my logo has been added.  

More about artists featured by Royale and Hussar

 

(First published 8th May 2024)