One of George Harrison Marks’s lesser known movie credits is for the German comedy Otto und die Nackte Welle (Otto and the Nude Wave). I’ve not seen the film but from what I gather Otto makes wildlife documentaries. Out filming one day he comes across a Von Noeltinghoff filming some nude girls. In revenge for some slight Noeltinghoff incorporates shots from his film into Otto’s wildlife documentary. It’s all a bit of a farce. From the lobby cards below there seems to be several clips from the Naked World of Harrison Marks (1967) in the German film. If anyone knows more please share.
Here’s a bit of info about the ever-popular Teri Martine. I sure lots of my readers can add to this. I think Pamela Green and Teri Martine only met once. By the time Teri was modelling for George Harrison Marks Pam had taken a back set in the business.
Teri Martine was born in 1944, in Southend, Essex. In her late teens she answered a modelling ad in the local newspaper The Southend Standard. At the interview in front of the lens she felt awkward, but luckily she was very photogenic and it led to her first booking. It was an amateur camera club at the same studio she was interviewed in. And wouldn’t you know it, one of the photographers happened to be her dad’s best friend Peter Starling. He naturally assured her that he wouldn’t tell.
Teri Martine worked as an amateur model for a year and went under the name of Valerie James. By 1964 she was getting so many bookings as an amateur model that she quit her job as a manageress of a local boutique and went professional. Going professional at the age of 20 she changed her name to Teri Martine. Now, you may have wondered how she arrived at this name, the long and the short of it is she was engaged to two young men. One by the name of Terry and the other was Martin, the latter being her first husband. Teri also modelled under the alias of Julie Nash and Cleo Kane.
She joined the Rosaleigh Ann Model Agency run by a gentleman called Mr. Walker or as the girls called him ‘Granny Walker’. He liked the girls to sit on his lap when he was interviewing them. She worked for him for several months, when June Palmer approached her to join her agency. Working for Granny Walker and June brought in lots of work, which included amateur camera clubs, commercial advertising, magazines, auto shows and promotions. You name it, she did it. She became successful and extremely well known on the modelling circuit. Her first publication was on the front page of the Reveille.
George Harrison Marks met Teri Martine via June Palmer Model Agency in 1966. She did five stills shoots Harrison Marks between March and November. She really enjoyed what she was doing and it showed. George featured her in two of his 8mm films: Favourites of the Pharaohs (1966), which was filmed on the Egyptian set of The Naked World of Harrison Marks (1966), and the rather less ambitious Everything is Lovely in the Garden (1967). George and Teri dated for a while around this time.
One of the more peculiar jobs Teri got was for a photographer that made vinyl and latex garments. This kind of thing was increasingly popular and it wasn’t long before Teri was a regular feature in such magazines as Pussycat, Bizarre and Latex Nurse.
Teri went to the U.S. in 1969 and got married for the second time to a G.I., who she was pen pals with while he was in Vietnam. They wrote to each other for 3 years before she went to the United States. She worked at the Playboy Club for about six months as a ‘Bunny’ then answered an ad in a Chicago newspaper for glamour models. After several months working as a model she was asked how she felt about being tied up and gagged. Assured it was all play-acting and a bit of laugh she agreed to give it a shot. She soon realised it was fine and above board and quickly carved out a name for her self as a bondage model.
Hopefully one of these days I’ll do a proper interview with Teri.
Pamela Green modelled for numerous photographers. My favourite by far was Zoltán Glass. He was born in Budapest on April 26, 1903. He began his career as a cartoonist and retoucher for a local newspaper, but in 1925 he moved to Berlin, where he found regular employment as the picture editor of a Berlin evening paper, before moving on to the Berliner Tagblatt as a photojournalist.
Zoltán prospered and was soon able to develop a thriving freelance business as a commercial photographer and journalist. He established Reclaphot, a photographic agency that specialised in advertising work, and Autophot, a company dedicated exclusively to automobile photography. He was an amateur racer and keen motorsport enthusiast while living in Germany and covered the country’s biggest races at the Nurburgring and the Avus circuit, near Berlin. His most famous photos are of the Mercedes-Benz Silver Arrows team, which dominated Grand Prix racing from 1934. With the rise of Hitler, however, business became increasingly difficult for him and he fled to London. However, as an enemy alien at the outbreak of World War II, he was not permitted to pursue his profession and faced the threat of internment, so he voluntarily handed over his camera equipment to the British authorities.
After the war he eke out a living taking publicity stills for clients in the film and theatrical worlds. His career took a big step up when the Hungarian Arpad Elfer who was Creative Director of Colman, Prentis & Varley, one of the most prestigious London ad agencies started giving him work. By the mid-Fifties he was one of the most successful fashion and advertising photographers in London and had had his own studios at 183 Kings Road, Chelsea, and later at 41 Paradise Walk, SW3. One of his clients was Odhams Press who published Lilliput, a pocket-sized gentleman’s magazine that featured an assortment of titillating articles and risqué humour, together with adventurous photographic essays from such well known talents as Bill Brandt and Brassai.
Around this time Zoltán’s brother Stephen had carved out a name for himself taking pictures for Health and Efficiency and other such publications. Pamela Green modelled for him several times at the nudist camp Spielplatz and at his tiny first floor studio in Church Street, Chelsea, but it was Pamela’s agent Pearl Beresford, who sent her along to Zoltán. His studio in the Kings Road was enormous and unlike his brother he was brisk and businesslike. Pamela worked regularly for Zoltán often on complicated sets. They even went down to the Scilly Isles to do nudes on the beach. His passion for nude photography and his creative and innovative approach made him well known, especially in the United States.
By 1964 Zoltán Glass had made enough money to sell his Chelsea studio to a consortium of British photographers and move abroad to a villa in Roquebrune on the French Riviera with his common-law wife Pat, a former cabaret dancer. He offered his collection of pin-up photography to Harrison Marks, who strangely turned him down. He died in France on February 24, 1981, at the age of 78, leaving neither offspring nor a will.
If anyone has some more info on Stephen or Zoltán Glass it would be much appreciated.
In loving memory of Pamela Green who passed away four years ago. I miss her terribly.
I must apologise to readers of this blog for my poor posting rate of late. Something I hope to rectify in the coming weeks.
The online book of condolences is still up by the way.
Here’s another picture of Pamela Green taken by the female photographer Joan Craven. The mask is by costumier Hugh Skillen. Don’t know much about Hugh Skillen. From what I can gather he worked for the ballet and theatre in London’s West End. One of the plays he worked on was Bell, Book and Candle (1954-55). The film of which was a favourite of Pam’s. I wonder if she saw the play. You can read more about Joan Craven on my earlier post.
I’ve recently discovered that Jean Straker, along with the photographers Walter Bird and Jack Eston, took part in a discussion on Pin-ups and Figure Studies broadcast by the BBC on Network Three on May 22, 1958. On the show Jean defines a pin-up as “a picture of a girl in which the girl represents herself. It may be provocative; it need not be provocative; but it is essentially a picture of a person that we either know personally, or by name”. A figure study as “a photograph of a girl who simply symbolises woman; she is impersonal. It is not a photograph representing her as herself.” And a nude as “a picture in which the girl symbolises an idea or represents some historical or mythological figure: that is, she represents somebody other than herself.” I wonder how Jean Straker would classify the following pictures of his.
Jean Straker and The Visual Arts Club
Here’s a picture of a very dapper looking George. I presume at the Gerrard Street Studios in the early ’50s. On the wall centre right is a picture of Norman Wisdom. The other two portraits I recognise but can’t put a name to them.
This is a little bit different! Here’s a classic shot of Pamela Green from The Window Dresser given the Ramon Maiden treatment. Ramon Maiden is an artist from Barcelona inspired by religious and tattoo imagery. Reminds me of Delftware. Lots of great stuff on Ramon’s website. Well worth a peruse. I do like it when contemporary artists find inspiration in the works of Pamela Green and George Harrison Marks. Any artists out their who would like to showcase their work should drop me a line.
Pamela by Lorenzo Di Mauro