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  1. Irving Klaw (* 9. November 1910 in Brooklyn, New York; † 3. September 1966) war ein US-amerikanischer Fotograf. Leben. Klaw betrieb von den 1940er bis in die 1960er Jahre einen US-amerikanischen Postversand, über den er Fotografien attraktiver Frauen in Bondage vertrieb.

  2. en.wikipedia.org › wiki › Irving_KlawIrving Klaw - Wikipedia

    Known for. Merchandising fetish art, burlesque photography, and fetish films; patron of illustrative fetish artists Eric Stanton, Gene Bilbrew. Irving Klaw (November 9, 1910 – September 3, 1966), self-named the "Pin-up King", [1] was an influential American merchant of sexploitation, fetish, and Hollywood glamour pin-up photographs ...

    • November 9, 1910, New York City, US
    • Fetish Art Pioneer
    • September 3, 1966 (aged 55)
    • 1938–1964
  3. 8. Apr. 2018 · Irving Klaw Classic Collection D. D. Teoli Jr. A. C ( 1) : D.D. Teoli Jr. as archivist : Free Download, Borrow, and Streaming : Internet Archive. by. D.D. Teoli Jr. as archivist. Usage. Attribution-Noncommercial-No Derivative Works 3.0. Topics.

  4. 7. Sept. 2016 · In 1952, the now iconic Bettie Page met one of America’s first ‘fetish’ photographers, Irving Klaw, who began hiring Bettie to pose for him. The book Bettie! gives a peek into Klaw's archive.

    • Chloe Coleman
  5. 9. März 2022 · Perhaps the names Paula and Irving Klaw don’t conjure up the same cultural gravitas of Bettie Page, the mid-century pinup legend who stood as a bold yet all-American antithesis to 1950s sex-phobia. But the Klaws are crucial to the story of Page and her contemporaries.

  6. 10. Feb. 2018 · Learn how Paula Klaw, the sister of Irving Klaw, became the photographer and director of Bettie Page, the iconic pin-up model and fetish star. Discover how she fought censorship, saved her negatives, and reconnected with Bettie after decades of silence.

  7. A clip from a TV show that explores the mystery of a rare photo of 1950s pin-up model Bettie Page, allegedly taken by "Pin-up King" Irving Klaw. Learn how this image survived the censorship and the identity of the photographer.