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Eric David Kroll is a Fetish Photographer born on October 1946 in New York City.

He has lived in New York, San Francisco, Los Angeles and is currently living in Tucson, Arizona. His photography books for Taschen in the mid-to-late 1990s are generally credited with opening up a major new international market for fetish imagery.

Best known for his 1994 coffee table book “Fetish Girls” published by Taschen, it has sold some 200,000 copies, Kroll composes kinky art pictures noted for the rich mix of accoutrements with which he adorns his models: black leather gloves and red rubber corsets, fencing masks, cactus needles, cellophane, ballet shoes, bird seed, custom-made harnesses and underwear sewn together to fit two.

How did the publication happen? As Kroll says, ‘The first time I saw Benedikt (Taschen) was in my studio in Manhattan,’ he says. ‘He’d seen a photo of mine, in black and white, of a young woman on a swing. She had on 60s-style high-heeled pumps, black vintage bra and white cotton high-waisted panties. Years later, he told me he’d decided to do my book, Fetish Girls, based solely on that image.

After “Fetish Girls,” Taschen published two other books of his, “Eric Kroll’s Fetish Days” (1996) and “Eric Kroll’s Beauty Parade” (1997). He has also edited a series of books for the German publishing house featuring the work of artists such as Eric Stanton and John Willie, both mid-20th century masters of the bondage genre.

Eric Kroll is also a collector. Over the years, he’s amassed a huge cache of panties and PVC corsetry, leather dresses, bras and other accoutrements that give his work its special “flavoring.”

He bought 700 vintage girdles from a retired transvestite in Hawaii. They’re crammed into a drawer and a suitcase in the two-bedroom basement apartment. A kitchen drawer is packed with high heels. Kroll spends about $400 a month to store all his other costumes and toys. 

His books include “Sex Objects”, Addison House, 1977, “Fetish Girls”, Taschen, 1994, “Beauty Parade”, Taschen, 1997, “The Transformations of Gwen“, NBM Publishing, 2000 and “The Transformations of Gwen, Volume 2” while he has also edited the books The Art of Eric Stanton, a volume dedicated to the artwork of Eric Stanton, Taschen, 1996, “The Wonderful World of Bill Ward, King of the Glamour Girls“, Taschen, 2003 and “The New Erotic Photography”, Taschen, 2007 which was co-edited with Dian Hanson.

This are now tough for Eric. According to The Fetishistas, he has launched a campaign on to make up the shortfall in his income that he is now experiencing.

On his appeal page, titled Preserve Collection of Fine Erotica, Kroll states: “I stopped making money about ten years ago and live on my social security and good looks. I have my basic bills paid with that income but the home association fees are beyond me and frankly, people aren’t buying my work, though more and more people seem to be aware of this same work.”

His appeal goal is $6,000, of which more than two-thirds had been raised at time of writing.

“Therefore preserving mid-century to present erotica is very important. The money will allow me to keep the collection together until an institution takes it. I will be killer thankful.”

Anyone gracious enough to donate $100 or more gets an 8″ by 10″ vintage silver gelatin signed print by Eric, while anyone who gives $30 to $99 gets a vintage signed Kroll color machine print (standard 4″ by 6″).

Click HERE to Support Eric NOW!

Photography: Tumblr/Eric Kroll, America.Pink., Prismla.Com.

Eric Kroll, Margaret in Ballet Boots, NYC, 1990/2011, Eric Kroll, Helena is Special, 2006, Eric Kroll: La fascination des sirènes | Le Journal de la Photographie, Eric Kroll “Men are Pigs (1998)” edition 1/10.


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