A rather sublime and sweet image of a dark-haired Pamela Green taken by George Harrison Marks in the 1950s.
An early picture of Pamela Green, wearing a petticoat and one stocking, taken by Alan Duncan.
In celebration of Queen Elizabeth II becoming the longest reigning monarch last week here is a stunning picture of Pamela Green that was taken to celebrate the Coronation in 1953.
A couple of great pictures from Pamela’s private collection.
Wonderful post on the Dambuster’s Blog about Doug.
The rest of the crew of AJ-O are also featured.
Pilot: Flt Sgt W C Townsend DFM
Flight engineer: Sgt D J D Powell
Navigator: Plt Off C L Howard
Bomb aimer: Sgt C E Franklin DFM
Wireless operator: Flt Sgt G A Chalmers
Rear Gunner: Raymond Wilkinson
Originally posted on Dambusters Blog:
Sgt D E Webb: Front gunner
Lancaster serial number: ED886/G
Call sign: AJ-O
Third wave. The only aircraft to attack Ennepe Dam. Mine dropped successfully but failed to breach the dam.
Douglas Edward Webb was born in Leytonstone, London on 12 September 1922, one of the two children of Edward and Daisy Webb. After leaving school, he worked briefly for Ilford and then for the London News Agency in Fleet Street, as a photographic printer. He joined the RAF in 1940, as soon as he had turned 18, as he wanted to be an air gunner.
After a substantial delay, he began training in 1942 and qualified as a gunner later that year. He was posted to 49 Squadron where he became one of…
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Pamela Green as Rita Landre on the front cover of Film & Figure magazine, no.12, 1968. I am not sure why this American magazine merits the subtitle Nude Horizons in Creative Graphics, even after studying all 78 pages, 8 of which were in colour. Unfortunately, Pamela Green only features on the cover. There are several contributing photographers besides Harrison Marks such as Russell Gay and Serge Jacques. Released by the same company that published the hippie Jaybird.
This picture is a favourite of mine. Pamela Green as Pandora, as photographed by Joan Craven. This was a freelance job while Pamela was working at the London Casino in Old Compton Street. Pamela Green met Joan Craven when she was sent by her agent to Kinocrat House to work for the photographer Walter Bird. Joan Craven shared studios with Walter. Pamela also posed as Circe, the goddess of magic, for Joan — a picture I’ve not yet come across.
For more about Joan read my earlier post Joan Craven (1897-1979)
Shona Craven has started a website dedicated to her great aunt Joan Craven. She is trying to piece together the details of Joan’s life. If you can have any information to share please get in touch with Shona at insearchofjoancraven.wordpress.com
Vicki Martin was the older sister of George’s second wife Vivienne Warren. She died in a car crash in 1955 more of which you can read about here. Thanks to Casper for the following scans.
Pamela Green passed away five years ago today. To mark the occasion I’ve selected a photo to post from her personal collection. It is a rather fun photo with a certain amount of joie de vivre to remember her by. I’m afraid I don’t know much about it other than it was probably taken in between 1948 and 1951. No idea who the photographer is or her two friends. If you have any idea please let me know. The garden looks to formal to be the naturist camp at Spielplatz.
Pam’s Book of Condolences is still up at www.pamela-green.co.uk/condolences
Other than issue 13 of Solo in 1958, the only magazine dedicated to Pamela Green’s alter ego Rita Landre that I know of is Bosomy Beauties, no. 18. It was released by Phoebe Publishers of New York. Date unknown. 32 black and white pages long, twenty-three of them featured Rita. In actual fact, some of them are of Pam in her short red hair phase and not actually Rita.
What I find amusing that even with a title like Bosomy Beauties the publishers still felt the need to pretend the book was an aid to the artists. And I quote…
“This book is presented as an aid to the artist, photographer, model and physical culture student. It is designed to enable him to further pursue his studies of the human figure — the fundamental basis of all fine art. It is the honest and sincere purpose of this and all of our similar publications to capture the fixed lighting, lines, contour and defined shadows in order to assist the artist in making good and authentic reproductions and to aid the model in the learning of new and varied poses.
The primary purpose we have in mind is to inspire both the professional and serious amateur by offering the finest photographic techniques available as a guide to what can be done with a camera, film — and a little patience.”