For her third portrait Mistress Nikki Whiplash requested to be depicted tormenting the commissioner of the portrait with her long black boots , prodding with an electric device and pulling his nipples with fine black cords. A pipe leads to his backside as he hangs upside-down before her (apparently he feels quite comfortable in this position). He is supported by taut leather straps and a particularly vicious cable around his member. Ms Whiplash informed me I was being generous in depicting his size but he just smiled smugly.
The hourglass is placed before him so he has a reminder of how much time has elapsed in his torment. Mistress Whiplash fills the waiting time with a cup of tea!
The scene takes place in the sunken prison compound at the premises of Mistress Whiplash.
Ten or more years ago, even before this blog started, I received a commission to paint the renowned and now retired Czech Mistress Valkyrie.
The portrait was a success, happily received and no more was heard.
Her loyal slave sova takes up the story…
On sight of the completed painting it can truthfully be said that Mistress Valkyrie was delighted by the representation of winter at Castle Valkyrie, her private estate in the Moravian countryside, and of the slave devoted to Her.
The drawing made its way to Prague, to Mistress’s city apartment, where it joined other of Her most treasured possessions.
For reasons that need not trouble us today, Mistress finding herself able to spend less time than she might like in the city of Her childhood, enlisted her mother as a de facto caretaker. Mistress’s mother, devout in her faith, had always been troubled by her only daughter’s lifestyle. So it was that one daycaretaking turned into a desire to erase the evidence of things inappropriate to the precious little girl that she had raised. The precious drawing was lost…
Whilst Mistress Valkyrie’s devotion to her mother was sorely tried, time passed quickly with forgiveness even if it didn’t diminish the sense of loss.
Eventually the idea of recreating the drawing took hold. Sova remains Her devoted possession and was happy to recommission the work: his only direction being that the original should be recreated just as his Mistress remembered.
And he tells me that Mistress Valkyrie is delighted with the outcome – more so than her slave’s words can express.
The original painting of Mistress Valkyrie (now lost)
I don’t remember when I first saw the drawings of John Willie. It might have been in the eighties as I was getting to know all the kinky greats …Stanton, Bilbrew, Harukawa. I was impressed by the quality of the artwork, sure, but the plot of the stories? …a sleazy cad (Sir Darcy) tying up and tormenting a beautiful maiden (Sweet Gwendoline) ? …no, definitely not my thing! so unfortunately it did not connect with me. I was looking for similar quality of artwork where he would get tormented by her … yes that was it ! a femdom Gwendoline ! but for some reason it wasn’t there.
John Willie’s original cartoon strip “Sweet Gwendoline”
Much later I decided to make a series of drawings of just such a situation with no thought of sales, just as I thought it needed to be done.
In my rendering Sweet Gwendoline has matured and discovered her dominant aspect and now takes revenge on Sir Darcy for all her previous suffering. There was no idea of a plot at all. I simply added scenes as they occured to me , in each of which Sir Darcy would be placed in a terrible predicament by Sweet Gwendoline aided occasionally one of her friends. These have been published on websites and are quite well-known, but for a few years they were left simply a series of seven paintings.
Then last year I reviewed them all and thought that a story might bind the series together . However an extra scene of the meeting of Sweet Gwendolyn and Sir Darcy after so many years needed to be added to provide an introduction .
That brought the number of artworks up to eight.
I therefore called on the services of long time colleague and friend Irv O Neil to ‘novelise’ the series …to shape it with his fine literary talents into a story around the artwork, connecting the pictures into a logical story and to evolve the world called Masotopia in which everything took place.
As he writes in his blog…
And so, with a few tweakings I gave to the names, our heroine became Adorable Gwen aka Mistress Gwen; Agent U-89 became Agent 399 aka Mistress Carlotta; and Sir d’Arcy became Sir D’Evious Dalrymple. On a visit to a unique femdom resort in the Carpathian Mountains, which Sardax dubbed “Masotopia,” off went my imagination along with Sir D’Evious to see what happened in a castle compound full of dommes ruling over those members of 1930s English and European male society who craved the firm hand of Feminine Rule!
So well was it was written and so consistently constructed one might almost have thought that it was I who had illustrated his novel.
So 8 paintings – and now a story – how to publish? a book maybe ? though maybe a little too slim for that, and to be honest I had more than enough problems selling Venus in Furs as a printed book.
More of a contribution to a magazine perhaps …except magazines no longer exist.
So it would have to be Internet-based , like almost everything .Then I thought about the possibility of releasing each chapter monthly via Mistress Sidonia’s amazing femdom website The English Mansion, in the tradition of the nineteenth century novelists who published in instalments in newspapers and journals.
Mistress Sidonia graciously accepted the idea and allows me a tiny garret at the top of English Mansion and from there she publishes the story one chapter per month.
Join now to see the series developing !
Read Irv O Neil’s blog post about writing to the series…
In this second portrait Domdeluxury lives a life of luxury in a slightly futuristic apartment. Installed on a sofa with human ashtray before her, all her desires are met by the clicking of a remote control. Her servant -Pammy- in pink maid costume brings her a drink at her command and woe betide her is she is too slow . The remote control sends a pulse to her belt and headband and she receives a sharp reminder of who is the Mistress!
An orchid blooms. Incense rises up from a high spout. Domdeluxury plays with her whip and looks down from the high throne at her new gift. Her maid, Pammy, (the commissioner of the painting) stands before her in traditional maid’s outfit presenting a precious new female slave, tightly bound in ropes. She kneels and gazes up at the beauty of her mistress then adores her new mistress’ high heels. I rarely draw female submissives or conventional rope bondage, but I’m pleased with the bondage depicted here and the dynamics of the composition.
For many years I have been fascinated by the 1837 poem “Tamara” by Russian author Lermontov – my own amateur translation below – and discussing this one day with long time friend and colleague Irv O. Neil (see his recollections of New York) we came up with the idea of a collaboration as in the 90’s – the “old days” when we both worked for Leg Show magazine (to me the 90’s is only yesterday!)
By his own admission Irv became equally entranced by the poem and worked on top form to create his longest novella yet, drawing on his own memories of 70’s New York and weaving the poem into a story of the seemingly innocent librarian who transforms by night into the seductive persona of Tamara in the poem.
Ebooks have allowed individual writers to publish their own creations in epub or pdf form but too often the last-minute choice of stock photography bearing little if any relation to the content together with indifferent typography does nothing to sell the amazing and inventive writing inside. You can’t tell a book by its cover, sure, but you can go a long way to attracting a roving eye to one out of the many thousands of books on offer. Traditionally publishers spend a lot on getting the cover right and it is justified by the increased sales, but for the most part femdom writing is excluded from mainstream publishing and left to the individual ebook. It’s understandable that authors’ budgets would be too stretched to commission an individual cover for their own books but for once, at least, I wanted to give this great story a great cover, in the style of our old collaborations.
The model is imaginary -maybe a southern Russian or central Asian beauty, dressed in figure-hugging leather and carrying a whip, at the dramatic moment when she surprises the principal character -E.Z. Shepherd -who is at his desk looking for a missing page of research.
This watercolour of Ibicella was inspired by a painting of Samson and Delilah by the French symbolist artist Gustave Moreau. Samson lies asleep on the lap of Delilah, who gazes out at the viewer langorously and knowingly, before cutting off his hair.
Ibicella is here shown seated on a throne inspired by the petals of the Ibicella lutea flower, after which she takes her name. Perhaps it is the end of a bacchanal, and she looks out at us with a similar gaze, her hair circled with ivy leaves, and her slave has collapsed over her knee, drunk from wine and her passionate embrace, his chalice fallen to the ground, but still bound to her by long tendrils which run the length of her palace. He wears a mask reminiscent of a fools’ cap, for he is in the best sense a “fool for love”. In the background another slave has been holding a tray of wine for the evening’s debauchery.
Ibicella unveiled the painting during a webcam in which she thanked the commissioner and myself .
Mistress Jade herself was asked how she wished to be depicted in this one.
On a moonlit balcony she stands in a long night-blue dress and holds a whip. Before going out to the garden to whip a slave who is chained to the tree branch, she pauses for a drink presented to her by her favourite slave-girl. Ivy runs round the walls and creeps up a human lamp-holder, totally encased in leather.
The first time I saw the internet was a complete revelation. One summer’s day around ’96 I was at the seaside home of an erotic writer, who also happened to be a pioneer of the web. He had invited me to see his new Apple Mac – “his wonderful machine” and the astonishing ‘Internet’. Through a fug of heavy cigarette smoke I gazed at his magic lantern, at something called a ‘website’! “Surely they can’t show that ??” I gasped as we looked at some dubious page. I was reminded of the famous lines of Keats poem, ‘On First Looking into Chapman’s Homer’ :-
Then felt I like some watcher of the skies When a new planet swims into his ken;
I could see that the rules had all changed. We could now write and depict virtually what we wished. Oh, sure, the webhost was in between but they were usually quite liberal, hippy and unintrusive . And kinky art was liberated, as was a lot more. No longer did I need to worry whether my drawings would be published because I could be the publisher. (Though I still always self-censor I don’t know why …for reasons of ‘taste’?)
Censorship had almost always existed in some shape or form until the internet. My earliest published drawings were all made with a dark cloud hanging over them – “will the publisher accept this?” “Can I get away with this? ” There were in fact no clear guidelines, which would have helped enormously. A lot depended on factors such as which party was in power or whom you were working for and we would all try to make sense of unclear directions. A mainstream magazine had to comply with the news vendor’s policies of what they were comfortable to put on sale. Smaller fetish magazines which allowed greater freedom could only be sold in sex-shops which were regularly raided by the authorities and restocked the next day. The extortionate mark-up on the goods meant they were never seriously out of pocket. So life continued in a haphazard way.
The point of this rambling is that for the past few years we have seen greater regulation coming in as the Internet has taken over our lives and become much more portable, so the content of the web has become a much great concern. This week I was suspended from Twitter for the image above*, one of a series I drew many years ago for OWK. My fault, as I should not have been using such a “violent” image for my public icon, which is required to be squeaky-clean. Make of that what you will. But it has made me reflect on how much we take for granted. At my age I can compare this to what came before and take it philosophically – oh well, just going back to the way it was. I don’t know how it will all play out but I remember clearly how one day pre-internet I tore up some drawings in frustration as I thought I was doomed to only ever get a single page in an obscure magazine that would never reach a wider public or earn me more than a few pennies. It is no exaggeration to say that without this disruptive technology coming along when it did, I might never have continued.