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Patron Zero wrote:

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This photo of Ms.Welch nearly never saw print, held back for ten years before it was published in the UK.

I hadn’t heard that the photo had been held up for 10 years-- any source for that information...?

Rather, I had heard that there had been numerous complaints submitted to the The Advertising Standards Authority, Ltd. (ASA), whose mission statement is that they are “...the UK's independent regulator of advertising across all media, now including marketing on websites. We work to ensure ads are legal, decent, honest and truthful by applying the Advertising Codes.”

The photo appeared in The (London) Sunday Times in September, 1998, and was used to advertise "Heavenly Bodies - The Universal Art of Terry O'Neill," a six-part photographic series in The Sunday Times magazine featuring photographer O'Neill's work. The complainants objected that the advertisement was tasteless, provocative and blasphemous to Christians. 

Decision by ASA: “Complaints upheld. The advertisers said they had intended not to offend or alienate their audience but to reach out and inform them. They said they had chosen this photograph because it illustrated the breadth and power of Terry O'Neill's work and they therefore hoped it would attract readers enough to entice them to seek more information. They argued that it was important to understand the context and period in which the photograph was taken and how it reflected Terry O'Neill's view that the 1960s was a decade that "crucified" the ideal of womanhood because it valued them only for their sexuality. They stated that the cross was used as a symbol of martyrdom outside the Christian faith. The advertisers acknowledged that, with hindsight, they might have done better to devote more space to explaining the origin and motivation behind the photograph. The Authority considered that most readers would be unaware of the origin and motivation behind the photograph and concluded that the advertisement was likely to cause serious or widespread offence. It asked the advertisers to avoid this type of approach in the future.”

Patrick Curtis, who was married to Raquel during the 1960s, told me that the costume in the photo was, in fact, one of the authentic costumes used in One Million Years, B.C. Patrick wrote, “As I remember, we had four or five costumes by the end of the film, and I think one went to a local museum, and she kept most of the rest. So, it was an original in the photo. I know she has several in storage.”