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1 - 72 of 167 lolita photos for sale
16x20 Poster Brooke Shields Pretty Baby 1978 Photograph
JOSE ISBERT and LOLITA SEVILLA in WELCOME MR. MARSHALL -1953-. Photograph
Hybrid Tea Rose (rosa 'lolita') Photograph
JODIE FOSTER in TAXI DRIVER -1976-. Photograph
Rose Tinted Love Variant 1 Photograph
SUE LYON in LOLITA -1962-. Photograph
SUE LYON in LOLITA -1962-. Photograph
Painter Alice Lolita Muth Photograph
JAMES MASON and SUE LYON in LOLITA -1962-. Photograph
A Woman Wearing A Spray Painted Dress Photograph
JODIE FOSTER in BUGSY MALONE -1976-. Photograph
Crossings Lolita Fashion in New York City Photograph
Lolita Style Fetish Dress C4 Photograph
Lolita Style Fetish Dress C5 Photograph
Lolita Lebron B. 1919, Under Arrest Photograph
Lolita Lebron (1919-2010) Photograph
Lolita Style Fetish Dress C3 Photograph
Dolores Del Rio (1904 - 1983), (lolita Photograph
Young Woman Relaxing In Hammock Photograph
Lolita, Sue Lyon On Poster Art, 1962 Photograph
Lolita, Sue Lyon On Lobbycard, 1962 Photograph
Black Lolita, Aka Wildcat Women Photograph
Black Lolita, Aka Wildcat Women Photograph
1 - 72 of 167 lolita photos for sale
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The real Lolita: Tragic girl, 11, was kidnapped and raped for months - and inspired Nabokov's scandalous novel
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Vladimir Nabokov's novel about a professor who becomes obsessed with his teenage step daughter was inspired by a real life case of child abuse and abduction according to crime author Sarah Weinman
One March afternoon in 1948, Sally Horner walked into a five-and-dime store located on one of Camden, New Jersey's busiest downtown streets.
She was there on a dare: to steal a five-cent notebook, the initiation rite for joining a girls' club at her elementary school.
Sally, just a month shy of her eleventh birthday, was desperate to join that clique.
She was lonely, confiding her troubles in her school teacher. Her father had committed suicide when she was six. Her mother, Ella, struggled to find and keep work as a seamstress. Her older sister, Susan, was due to give birth to her first child later that summer, which would make Sally an aunt.
A middle-aged man, positively ancient to young Sally, announced he was an FBI agent, and that Sally was under arrest.
And if she didn't do as he said, she would be packed off to reform school.
Sally understood how terrible a fate this would be.
The man said he would let her go this time, but he could come back and find her, without any warning.
Three months later, in June 1948, that man found Sally again as she walked home from school.
He threatened her again, upping the ante: Sally had to tell her mother that he was the father of school friends, promising a week's worth of vacation on the Jersey Shore.
Sally went home and told her mother the concocted story. Ella believed it.
On June 14, Ella took Sally to the Camden bus station, kissed her goodbye, and saw her go away on a bus, sitting next to a man she'd never seen before.
That man wasn't an FBI agent. Sally Horner was never under arrest.
And the man, who called himself many names but was generally known as Frank La Salle, a career criminal only months removed from a prison term for the statutory rape of five girls between the ages of 12 and 14.
What was supposed to be a vacation transformed into a cross country nightmare that lasted twenty-one months.
It took Sally from Camden to Atlantic City, to Baltimore, to Dallas, and then to San Jose, California, where she was rescued – with the help of a concerned neighbour with secrets of her own – in March 1950.
But Sally hardly had a chance to grow up, to recover fully from her rescue.
Only two and a half years later, she would die in a tragic car accident at the age of 15.
News of that car accident spread far and wide.
Sally's initial rescue was a national media sensation, even covered as far as Australia and New Zealand. But her death reached one vital individual: the novelist Vladimir Nabokov.
He read of it in the New York Times, copied the information down on a notecard (now housed at his archives in the Library of Congress in Washington, DC) and, from the summer of 1952 through the end of 1953, wrote the rest of the novel that had so vexed him for the previous five years.
That novel became Lolita, its account of a middle-aged man's obsessive, illicit, and illegal desire for a twelve-year-old girl still controversial more than sixty years after publication in 1955.
And Sally Horner's plight, and its inspiration for Lolita, hid in plain sight, like a neon sign read to flash under the right circumstances, thanks to a parenthetical aside by the novel's unreliable narrator, Humbert Humbert, who wonders: “Had I done to Dolly, perhaps, what Frank Lasalle [sic], a fifty-year-old mechanic, did to eleven-year-old Sally Horner in 1948?”
Several years ago, I stumbled upon what happened to Sally Horner while looking for my next crime story idea.
Sally' s kidnapping, terrifying odyssey, and dramatic rescue caught my attention with particular urgency.
Here was a young girl, victimised over a twenty-one month odyssey from taking her from Camden, New Jersey to Atlantic City, then on to Baltimore, Dallas, and California, by an opportunistic child molester named Frank La Salle.
Here was a girl who figured out a way to survive away from home against her will, who acted in ways that baffled her friends and relatives at the time.
Here was a girl who survived her ordeal when so many others, snatched away from their lives, do not.
Then for her to die in a car accident just two and a half years after her rescue, her story then subsumed by a novel, one of the most iconic, important works of the 20th century, immortalised by that single parenthetical hardly anyone noticed.
No wonder Sally Horner got under my skin in a way that few stories ever have before or since.
No wonder I spent months chasing down court documents, talking to family members, visiting some of the places she had lived – and some of the places where her abductor, La Salle, took her.
And even after a Canadian online magazine published my article about Sally's life and its connections to Lolita in the fall of 2014, I knew I wasn't finished with Sally.
Or, more accurately, she was not finished with me.
What drove me then and galls me now is that Sally’s abduction defined her entire short life.
She never had a chance to grow up, pursue a career, marry, have children, grow old, be happy.
She never got to build on the fierce intelligence so evident to her best friend that, nearly seven decades later, she spoke to me of Sally not as a peer, but as a mentor.
After Sally died, her family rarely mentioned her or what had happened.
They didn’t speak of her with awe, or pity, or scorn. She was only an absence.
For decades Sally’s claim to immortality was as an incidental reference in Lolita, one of the many utterances by the predatory, middle-aged narrator, Humbert Humbert, that allows him to control the narrative, and of course, to control twelve-year-old Dolores Haze.
Like Lolita, Sally Horner was no “little deadly demon among the wholesome children.”
Both girls, fictional and real, were wholesome children.
Contrary to Humbert Humbert’s assertions, Sally, like Lolita, was no seductress, “unconscious herself of her fantastic power.”
The fantastic power both girls possessed was the capacity to haunt.
Over the four and a half years I spent working on The Real Lolita, I talked with a great many people about Lolita.
For some it was their favourite novel, or one of their favourites. Others had never read the book but ventured an opinion nonetheless.
Some loathed it, or the idea of it. No one was neutral. Considering the subject matter, this was not a surprise.
Not a single person, when I quoted the passage about Sally Horner, remembered it.
I can’t say Nabokov designed Lolita to hide Sally Horner from the reader.
But given that the narrative moves so swiftly, perhaps an homage to the highways Humbert and Dolores traverse over many thousands of miles in their cross-country odyssey, it’s easy to miss a lot as you go.
Even casual readers of Lolita, who number in the tens of millions, plus the many more millions with some awareness of the novel, the two film versions, or its place in the culture these past six decades, should pay attention to the story of Sally Horner.
Because it is the story of so many girls and women, not just in America and the UK, but everywhere.
So many of these stories seem like everyday injustices – young women denied opportunity to advance, tethered to marriage and motherhood.
Others are more horrific, girls and women abused, brutalised, kidnapped, or worse.
Yet Sally Horner’s plight is also uniquely American, unfolding in the shadows of the Second World War, after victory had created a solid, prosperous middle class that could not compensate for terrible future decline.
Her abduction is woven into the fabric of her hometown of Camden, New Jersey, which at the time believed itself to be at the apex of the American Dream.
Wandering its streets today, as I did on several occasions, was a stark reminder of how Camden has changed for the worse.
Sally should have been able to travel America of her own volition, a culmination of the Dream. Instead she was taken against her will, and the road trip became a nightmare.
But her story helped inspire a novel people are still discussing and debating more than sixty years after its initial publication.
Vladimir Nabokov, through his use of language and formal invention, gave fictional authority to a pedophile and charmed and revolted millions of readers in the process.
By exploring the life of Sally Horner in The Real Lolita, I reveal the truth behind the curtain of fiction.
What Humbert Humbert did to Dolores Haze is, in fact, what Frank La Salle did to Sally Horner in 1948.
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