We continue our current sapphic theme with Penthouse's second ever girl/girl set from their September 1972 issue. It had been twenty-one months since their first two girl pictorial had appeared to a rather mixed reception from their readers.
However, after a suitable period of time, they decided to give it a another go and commissioned Amnon Bar-Tur to produce what turned out to be a dreamily romantic set of images.
The story behind the pictorial was that it was a retrospective visit to the fields that were the site of the 1969 Woodstock pop festival. The story being that these two (sadly anonymous) girls had chosen to stay behind as they had found love with each other.
This love was demonstrated in a series of photographs which were rather more sensual than Penthouse's first girl girl effort, Two Women. For example, in the photograph above Bar-Tur actually has one of the girls kissing the other's breast in an intimate contact missing from the pictorial from 1970.
As with their previous effort, the text was full of the sort of pretentious nonsense that, perhaps, purported to support an argument that what was being produced was art (perhaps because of nervousness over the content): “...here in these fields, a new generation expressed with explosive unanimity its desire for a new way of life and a new way of love.” Quite.
Here, one of the young ladies goes in for the sort of curious nipple tweaking that Bob Guccione had pioneered in the magazine in the late sixties.
Frankly, we have no idea whether the pictorial was actually shot at Woodstock at all; it could equally as well have been a field outside London.
This picture of the girls pressing their groins together is altogether more physical than anything in the earlier James Baes pictorial.
Some gentle hair toying ensues before the girls retire indoors. Like Two Women, the pictorial is a mixture of outdoor and indoor photography.
There is a nicely voyeuristic and typically Penthouse approach to the shoot as we observe the two girls wafting around inside dressed in a series of lacy nothings.
Much sensuous unveiling is a large feature of the shoot with one girl almost wonderingly revealing the form of the other.
The continual use of the partly draped form not only gives a nice tactile quality, emphasising as it does the contrast between the textured lace and the girls' smooth skin, but also acts as a teasing element in itself.
It is as if we were hiding in a wardrobe within the house, spying on them and wondering what they might reveal or do next.
This pictorial was the very first girl/girl one Agent Triple P ever saw, at the impressionable age of twelve. For a long time he had no idea what Woodstock was, only ever associating it with a place where lovely girls enjoyed each others' bodies. It was some years before we appreciated the fact that it had been a pop festival (we much preffered Wagner at the time and didn't buy our first non-classical record until we were sixteen).
The response to the pictorial was much more positive than the 1970 effort with Penthouse publishing three letters:
“How wonderful to see two such lovely young women so intimately in love with each other...I must admit this is the first time a magazine pictorial has excited me so much.”
“It was very tastefully handled and I hope we will see more like it in the future.”
“An erotic publication featuring love scenes with the two vivacious young ladies in the Woodstock feature pictorial would be a certain money-maker. They are beautiful dolls and obviously very much in love...”
Well, actually they probably weren't but then that shows how effective the photography was!
Finally, in the sexiest girl/girl photo in the magazine so far one girl, between the thighs of the other, kisses her tummy.
Despite the positive letters it would be a nearly a year before the magazine went back to this particular subject. In fact, given how common two girl sets would become in Penthouse, they only had eight in the first half of the seventies although this doubled to sixteen in the second half of the decade.