 |
Peter George (in Royale Studio set 2-PUN) 01
|
Peter's second solo set for Royale Studio was labelled 2-PUN.
It included this sensational bondage image.
The catalogue description below identifies that it was a posing pouch set.
 |
| Peter George (in Royale Studio set 2-PUN) 02 Catalogue Image |
Royale's 2-PUN catalogue thumbnail focussed on the bondage ingredient with this slightly different version of the ladder pose. Even with wrists loosely tied, however, it wasn't mild enough for the image to get into print until a Royale/Hussar Studio retrospective in 1968 (in Trim Studio Quarterly No 26).
There's a hint of the classical about it, most obviously
Michaelangelo's dying slave. However, the workman's ladder jars with that connection, suggesting less lofty goings on (so to speak). Peter's pouch in this set looks eminently grabbable.
.jpg "Vintage photo of Peter George by Royale Studio") |
| Peter George (in Royale Studio set 2-PUN) 03 |
This image also toys with the bondage theme,
but in the more customary, more cautious way of the 1950's
It sneaked into a 1959 issue of 'Model Man'
Peter's creased pouch here shows the familiar Royale signs
of having been wetted and wrung out.
 |
| Peter George (in Royale Studio set 2-PUN) 04 |
This set also featured some splendid images which departed from the usual beefcake, formal style with a restrained eroticism that allowed the model's physique to shine through. This somewhat intimate pose showed him as the big man which he actually was (see 3-PUN catalogue blurb in
Peter George Part 1).
The narrow saw bench on which he is balanced here must have been quite uncomfortable, but even though it's cloaked in shadow, the timber between his buttocks and the triangular support, pointing upwards, directly underneath is not devoid of erotic meaning. Like the stepladder image, it transplants an abstract, arty pose 'in pouch' into a slightly incongruous, rough (and sexy) workshop setting.
 |
| Peter George (in Royale Studio set 2-PUN) 04a |
Unsurprisingly, this powerful pose put Peter on the front page of a Beefcake magazine but not until 1962 and the down to earth bench was crudely obscured, thereby eliminating the element of intimacy and elevating him to a God-like, remote status, which was presumably deemed to be more acceptable.
 |
| Peter George (in Royale Studio set 2-PUN) 05 |
Somewhat surprisingly, the same magazine had already used this, artier image from the set for its cover (in late 1959). Peter looks more boyish than God-like here, perhaps giving the picture a more innocent air. The half-round posing prop on which he is perched also avoids any dubious real-world associations. However, his highly oiled body and the very suggestive pouch shadowing, flanked by amazing thighs, make for a surprisingly sexy undertow.
From all this front-page publicity, you get a sense of the impact that this man's arrival on the beefcake scene created and how popular he was. For that reason, there are more pictures of him posing solo than most men who modelled for Royale.
 |
| Peter George (in Royale Studio set 2-PUN) 06 |
The
half-Polo, roundel seen in the picture above was a regular Royale prop that featured in many of its beef sets. It had the virtue that models could drape themselves over the top to create sensational, suggestive poses, like this. The white pouch, clearly outlined against the black background, draws attention to the erotic possibilities of this position - even more than the equivalent,
'crab' image does in Peter's PT instructor set. There's also a lingering sense of bondage/S&M, it's reminiscent of 'sacrifice' imagery, which puts the jolly, preceding image into quite a different light.
This photo was included, untitled, in the catalogue for Bonham's sale of the 'Originals', but it's only recently that I've been able to identify the model as Peter George from a spread in 'Him' Magazine No 1, ca 1960 (reference pages are included in the archive folder).
 |
| Peter George (in Royale Studio set 2-PUN) 07 |
Royale thought highly enough of this bench pose to include it specifically in their set description. It's an unashamedly provocative position with no pretence of artiness. Instead, it's as if we have intruded on the resting athlete and there's a moment of mutual questioning. Once again, the pouch becomes the focus of attention, its smooth contours presenting tactile qualities that are almost irresistible for those with wandering hands.
 |
| Peter George (in Royale Studio set 2-PUN) 08 |
This more conventional beefcake image shows Peter looking like an experienced professional model.
The oily but elegant pose projects considerable presence and a sense of his physical size.
 |
| Peter George (in Royale Studio set 2-PUN) 09 |
His beefing up and toning is even more evident in this super, seated image.
It shows his torso musculature in detail and to great advantage,
with a wasp waist looking both impressive and sexy.
This shot highlights the more youthful side to his persona.
That over-the-shoulder look is a standard posing device,
but it looks a little fearful here, rather than being imperious and aloof.
It hints again at the sense of an intruder arriving on the set
at a moment of particularly intimate exposure.
 |
| Peter George (in Royale Studio set 2-PUN) 10 & 11 |
The rear view shown in this magazine spread* showcases a different aspect of Peter's size.
The frontal pose has that appealing, 'come and get me' look again.
It harks back a little to the 'Captive Slave' scenario.
Eminently grabbable.
*a page from Manual Vol 1 No 4 (1959),
make what you will of the cartoon clown with sickly smile and over-sized extremity.
 |
| Peter George (in Royale Studio set 2-PUN) 12 |
Studio lights are used to represent the modelling theme more explicitly in these next two examples from set 2-PUN. They show that Peter taking his formal modelling seriously and looking quite majestic. The poles holding the lights create an extra sense of height.
I always think there's a fetish-like power scenario in the photographer-model relationship. You can imagine the experienced professional giving instructions to the novice so that his body is posed for maximum effect. That includes creating sexy highlights and juxtapositions which he may be unaware of. Thus, the two (erect) poles have a mildly phallic sub-purpose here, especially that one directly behind him.
Peter's pouch has a glittery, stiff look in this image. Something similar can also be seem in image 4 of this post. However, the rest of the set have the more usual, slack, suggestive appearance. This is possibly a Royale wetting effect or just a trick of the light, but I suppose it's also possible two different pouches were used to give different options for sensitive editors.
 |
| Peter George (in Royale Studio set 2-PUN) 13 |
Holding a pole is always good for unimpeachable suggestiveness!
Peter's shoulders and arms look exceptionally good here.
It's also a good example of his 'Leyendecker face' (see
Part 1).
~
Peter George with Bamboo Poles
 |
| Peter George in pouch with bamboo pole (1961) |
There is a further group of 'pouch' images where Peter poses with bamboo poles, but I am doubtful that they form part of the '2-PUN set for a number of reasons: Firstly, they seem different in style, more formal, more distant. This one is a rather beautiful snap bringing out the smoothness and slenderness of his physique (although nothing can disguise that amazing backside).
 |
| Peter George in pouch astride bamboo poles (1961) |
Peter's pouch seems more compact and rounded in this group, less triangular.
and I fancy he's a shade less beefy and toned here.
There's another erotic allusion in the positioning of the pole between his legs,
 |
| Peter George in pouch with crossed poles (1961) |
The lighting is more sophisticated in this group with shadowing playing a distinctive role even in the lighter images preceding this one. The twist in his body here creates a more dramatic pose than is seen in any of the PUN-2 images which mostly involve straightforward standing or lying down. It also creates a bikini-like effect in the pouch which is rather pleasant.
There's an oblique suggestion of crucifixion in this one with the crossed poles and outstretched arms.
This photo and the next one are taken from a spread in Manual No 25 (June 1961)
hence the 'artistic' angling.
.jpg "Peter George kneeling naked with bamboo pole (1961) by Dolphin Studio") |
| Peter George kneeling naked with bamboo pole (1961) |
Here, the pole creates a sense of tension in Peter's body which is artistically poles away (!) from the studio lights images in PUN2 above. It's similar to classical images of the knight kneeling submissively before his King. If you like his boyish side this is a great example, but there's plenty of beef to ogle in his thighs and backside too. These pictures can be deceptive, but he appears to be naked and pouch-less here (compare the seated image, no 9 above)
Notice that these images are attributed by 'Manual' mag to Dolphin Studio which was another Royale 'brand', it was later renamed Hussar Studio. The picture below, was actually published earlier (in Man Alive 13, Dec 1960) but was labelled as being by Hussar, so the identities don't seem very distinct.
 |
| Peter George in pouch with poles (1961) |
As far as I can discover, none of the images in the bamboo poles group were published as early as 1959, which is the principal date of the 2-PUN set, this group all appeared in either Dec 1960 or 1961.
 |
Peter George in underwear with pole (1962)
|
In addition, this image with the same notched pole (published in Jun1962)
seems to suggest that the group also included poses in underwear.
~
The next post in this series will be devoted to Peter posing in the nude.
All the images in this series will be uploaded to the mitchmen Royale Studio Open Archive in due course, watch for an announcement.
view more articles about Royale Studio images by clicking on the GIU/Royale label below
.jpg)
.jpg "Vintage photo of Peter George by Royale Studio")
.jpg "Peter George kneeling naked with bamboo pole (1961) by Dolphin Studio")
