Two complete Eric Stanton vintage classics, like you've never seen them before. (Both reconstructed from archival material and designed to display Stanton's risqué humor.) Out of print for many decades, The Return of Gwendoline (c.1965), a follow up to Stanton's Sweeter Gwen (his comic tribute to John Willie), and Deborah (1957), a noirish, fetish fashion adventure originally serialized in Exotique magazine. Two rare, complete serials, plus additional bizarre "Golden Age" Stanton art—all collected in one elegant, low-cost volume! If you're an admirer of sexy, alternative illustration—or a fan of Bettie Page, John Willie, Charles Guyette, Irving Klaw, corsets, tightlacing, latex or leather, ultra-high-heel shoes, bizarre boots, sexy domination, shibari, 1950s vintage glamour, exotic glamour and fetish fashion—then this collection is for you. Make this book yours today! [Enjoy as a stand-alone volume of great Stanton art … or as a supplement to the definitive "classic era" collector's hardcover book, Eric Stanton &amp; the History of the Bizarre Underground, available right now on Amazon!] ★ ☆ ✰ ✯ ✡ ✪ ✶ ✱ ✲ ✴ ✼ ✻ ✵ ❇ ❈ ❊ ❖ ❄ ❆ ❋ ❂ ⁂

Eric Stanton: The Return of Gwendoline & Other Bizarre Art (Vintage Fetish Classics)

Arts & Photography

Stanton, Eric

Photography & Video

Independently published

Eric Stanton, Reunion in Ropes (TASCHEN Icons Series)

Comics & Graphic Novels

Riemschneider, Burckhard

Graphic Novels

Taschen

You can trace a thematic line between the work of comic-book artist Eric Stanton and his fellow American image-maker Russ Meyer. Both began producing their art in the aftermath of World War Two, both were obsessed with a similar parodic vision of the female. Tall, absurdly buxom, with long legs, a slim waist, long hair, and an expression of insane desire imprinted on her beautiful face, as with Meyer, Stanton's depiction of woman was beyond reality. They were amazon descendants, femme fatales, mistresses of the whip or the handcuffs; simultaneously a parody and a sincere celebration of empowered sexuality. The men in his fast-moving narratives are often striving to escape but they are always immobilised, restrained literally by ropes, or simply frozen in their awe at the sight of Stanton's superheroines. So prolific was the artist that his collected oeuvre, all the covers, illustrations (for magazines such as Exotique) and comic books, could now fill several libraries, but one should really stumble upon Stanton by chance. At midnight in a cheap hotel room, you might come across this edition lurking under the mattress with a girl's name and a phone number scrawled inside. You probably won't even need to phone that number.

Eric Stanton - The Dominant Wives & Other Stories

TASCHEN Publishing

Individual Artists

Eric Stanton (Amuses Gueules)

Benedikt Taschen Verlag

THIS IS THE LARGE COLLECTABLE JUMBO BOOK FROM TASCHEN, NOT POSTCARDS.

The Art of Eric Stanton: For the Man Who Knows His Place (Photo & Sexy Books)

Kroll, Eric

How To Create Comics & Manga

Pulp art at its finest: A Stanton retrospective “A woman has to be strong. The bigger the better.” —Eric Stanton Eric Stanton (1926-1999) has been called “the Rembrandt of Pulp-Culture” and it’s not hard to see why—he is perhaps the brightest star of his genre. His imaginative, detailed full-color comic strip narratives picture buxom, leggy femmes fatales having their way with tied-up, handcuffed, or simply awestruck men. Stanton’s imagery is either an empowerment of female sexuality or a caricature of female-domination fantasy—depending on whom you ask—but there is no doubt that in Stanton’s world, women rule the land. This retrospective volume covers Stanton’s work from the late 1940s until the 1990s, including over 500 comic strips, single illustrations, and magazine covers. Also featured is an in-depth introductory text exploring Stanton’s life and work by photographer Eric Kroll. Text in English, French, and German

The Art of Eric Stanton: For The Man Who Knows His Place

Eric Stanton (1926–1999) was America’s premier fetish artist, a man of very particular tastes, as all fetishists are. Most keep their work and sex preferences separate, but Stanton made his desires the center of his art, pouring his passions onto the page. These preferences included, in no particular order, female dominance, female fighting, mixed gender wrestling, and face sitting.Perhaps if the man born Ernest Stanzoni in New York City in 1926 had grown taller, all would have been different. As it happened, he topped out around 5’5” (165 cm), making him smaller and weaker than many women, and rather than bemoan this shortcoming, he chose to eroticize it. Then, like Robert Crumb and Tom of Finland to follow, he put his fantasies on paper.Stanton produced paperback book covers, magazine illustrations, comics and even wrestling and smother videos, but what he is best known for is his Stantoons: self-published 16- to 28-page booklets produced between 1982 and his death in 1999. These booklets best represent Stanton’s rich and complex fantasy life, as well as the lives of his fans, whose fantasies he also incorporated. This new edition of The Dominant Wives & Other Stories, brings together the finest of the Stantoons,along with Stanton’s most famous series for Irving Klaw: Bound in Leather, parts 1 and 2. Done in pencil, pen and ink, gouache and mixed media, these 20 stories represent the best of Stanton, who himself represents the best of fetish.

Stanton. The Dominant Wives and Other Stories (Bibliotheca Universalis) (English and French and German Edition)

Large Paperback, 1993, Excellent condition, Great images, Title: The Art of Stanton, Master of Bizarre, Book One, 157 pages

Art of Stanton, Master of Bizarre

Glittering Images

Eric Stanton: Bound To Please & Other Bizarre Art (Vintage Fetish Classics)

Pérez Seves, Richard

History, Fet

Eric Stanton: Bondage Enthusiasts Bound in Leather [*Expanded Edition*] (Vintage Fetish Classics)

G.B.

Manga

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