Ingrid Boot: Noir Via New Zealand

Ingrid Boot 6

I first spotted one Ingrid Boot painting at Noirsville (www.noirsville.blogspot.com), which promptly sent me hunting for more info about this artist.

Background info is sparse, but the intriguing artwork speaks for itself.

Ingrid Boot 3

Making her home in New Zealand since 2000, Ingrid Boot studied art at Westminster University in London and completed a degree in Illustration at De Monfort. The artist’s work ranges from glamorous retro nostalgia lifted right from a vintage Vogue magazine editorial (go to the artist’s own site at http://www.ingrid.co.nz to view more of those), to ominous yet alluring film noir-inspired pieces, those comprising a 2018 solo show, aptly titled “Film Noir”, at the Bread & Butter Gallery. More from this incredible painter follows in the next post…

Ingrid Boot 4Ingrid Boot 14 Crime Of PassionIngrid Boot 15 - Fallen AngelIngrid Boot Exhibit Poster

Straight Talk From Courtney Maum.

Montage Half

It’s all very romantic to imagine ourselves trading witticisms with fellow creatives in a fin de siècle Paris café, Weimar Berlin cabaret, postwar Greenwich Village coffeehouse or any burg’s Boho meeting spot. I can count numerous artists, photographers, writers, musicians, actors and dancers among my coworkers, friends and even family members, past and present, and as much as we might like to picture ourselves pontificating on frightfully weighty cultural and aesthetic topics, my own real-world experiences and observations are quite different.

Shoehorn a group of artists into a barroom booth and the talk will most likely be about which art supply store has a Grumbacher promotion running or a BOGO on brushes. Writers will be trading info on paying market submission opportunities, cents-per-word rates and grousing about delayed payments…even if it’s only in contributor copies. The conversations run more or less the same among the garage band and barre-and-ballet shoe crowds.

For all the stereotypes, creatives are more pragmatic than you’d assume, even if only out of necessity – that is, the usual struggles to pay the rent, buy groceries and set aside some beer money like everyone else, but compounded by the need to fund their artistic pursuits, whether they’re buying pre-stretched canvases, stocking up on toner and 20 lb. bond, saving up for Danskins without holes, or worse, replacing a blown-out amp.

Before And After The Book Deal

I thought about all of this as I read Amy Brady’s interview with Courtney Maum, author of Before And After The Book Deal – A Writer’s Guide To Finishing, Publishing, Promoting And Surviving Your First Book at the Chicago Review of Books (link below). Intrigued, I headed to the bookstore right after work, presuming I’d be ordering Maum’s new book, but thrilled to spot a copy already on shelf. One extra-large coffee to-go later, I’d already plunged in, continued through dinner later this evening, but still have a long way to go. But I’m liking this book so much I wanted to share, so I paused to bang out this post.

Browse the writing section in a good-sized library or bookstore and you’ll likely see no shortage of inspirational titles interspersed with a few annual directories and some very elementary how-to books for total newbies and writer-hobbyists. Flip through some writing magazines and you’ll likely see your share of motivational stuff about digging deeper to find your voice, creating three-dimensional characters or crafting dialog that ‘sparkles’. But I suspect many if not most writers are desperate for more straightforward nuts & bolts info about the submission/sale/publication process and are eager for frank discussion about dollars and cents issues. Because that’s precisely what they talk about in person. As do the artists, musicians, dancers and actors.

Courtney Maum’s Before And After The Book Deal is precisely that. And for all its info-packed no-nonsense explanations, it’s incredibly readable, extremely entertaining, and downright funny in a lot of spots. Example: Early on she addresses how writers have to be ready to endure rejection. A lot. She writes, “…you must make friends with rejection in order to survive a professional writing life. Rejection is going to be your zany roommate who never does her dishes, has really loud obnoxious sex, gets drunk and eats your leftovers, and uses strong perfume. Except for that one delightful year that she studied abroad in Cartagana, she’s always going to be living with you in one way or another, so make peace with that chick, now.”

Of course, any scribe whining about the indignities of the query and submission process ought to chat up some musicians, dancers and actors about auditioning.

Though Maum has three novels to her credit, many might rightly ask her “So who appointed you to tell us all about writing and publishing?” But while the author relates her personal experience and provides valuable insights, she’s certainly not adopting a professorial stance and also relies on the wisdom of over 150 contributors who are quoted throughout, from authors and agents to editors and more, all of them “sharing intimate anecdotes about even the most taboo topics in the industry”, as the book touts.

Unless her book takes an unexpected turn in the second half, I’ll wager this one can stand proudly beside Lawrence Block’s Writing The Novel: From Plot To Print To Pixel,  the standard for a truly practical writer’s book, IMHO. Pro, newbie, or somewhere in between like most, still an ‘armchair novelist’ or midway through a writer’s MFA program, you ought to get this book. Just sayin’…

https://chireviewofbooks.com/2020/01/20/finding-clarity-and-a-sense-of-humor-in-the-publishing-process/

 

A Career Cut Short: Bertil Hegland

Bertil Hegland 2

Bertil Hegland (1925 – 2002) was a Swedish illustrator known in the Scandinavian market for popular children and teen book series covers — including the Nancy Drew series (apparently called “Kitty”) — as well as hard-boiled mystery and crime fiction covers. Initially an advertising illustrator, Hegland migrated more and more to publishing. By the late 40’s and still only in his mid-twenties, his main clients were book, digest and magazine publishers.

Bertil Hegland 10

But at only 42, Hegland was the victim of an unfortunate car battery accident that severely injured his hand, to the point that he could no longer draw. Apparently, he gave up art altogether at that point. Whether his hand was crushed by a battery (they can be pretty heavy) or it exploded (which we’re often warned about) isn’t clear.

You can point out that Mickey Spillane, James Hadley Chase, Peter Chaney and other writers’ work was packaged in more handsome cover art in the U.S., UK and elsewhere, and I won’t argue. Publishers in smaller markets deal with substantially shorter press runs and surely looked for proportionately smaller fixed upfront costs. Many encouraged illustrators to freely ‘adapt’ U.S./UK covers, and you can see that at work here with some of Hegland’s illustrations.

Bertil Hegland 4

Biographical info is spotty at best on Bertil Hegland, and most of that in Swedish, which I can confirm translates pretty poorly in standard online translation. Check the next post tomorrow for additional examples of Hegland’s work.

Bertil Hegland 5

The Consummate Illustrator

Austin Briggs

Just ordered mine today from Auad Publishing: Austin Briggs – The Consummate Illustrator edited by Manuel Auad, text by David Apatoff, with a foreword by the artist’s son.

Briggs isn’t the first name that’ll come to mind when you think of so-called golden and silver age illustrators from the mid-twentieth century, at least among pulp, mystery and crime fiction enthusiasts. He worked primarily in the glossies (lucky fellow) and in advertising, but his enormous body of work included no shortage of dark and mysterious pieces from high profile magazine story assignments. Check out a previous post of mine on Austin Briggs (link below) for a few more examples of his work and more about the artist.

Austin Briggs Cosmopolitan 1947Austin Briggs

And try the link to Auad Publishing while you’re at it. What an interesting operation. I have a couple Auad books, so I know that Austin Briggs – The Consummate Illustrator will be a handsome piece. Manuel Auad produces a small but impressive list of titles, each a labor of love and honoring classic American and foreign illustrators. These are well made books done in short runs, most sold direct from the publisher, not in stores, and when they’re gone, they’re gone. There’s only so much to browse there, some of the titles already sold out. But the site’s definitely worth a visit for its Links page, with a great list of artists’ and illustration sites you’re bound to probe a bit.

https://thestilettogumshoe.com/2019/07/24/austin-briggs/

auadpublishing.com

The Missing Witness

perry peterson the missing witness 1954 copy

Perry Peterson (1908-1958) enjoyed a successful career doing illustrations for the more prestigious ‘glossies’ like the Saturday Evening Post, Liberty and Ladies Home Journal, so you won’t find his work on tawdry crime pulps, or even very many paperback covers for that matter. Romantic or comical (or both combined) couples were Peterson’s stock in trade, and he did it well. Still, you sense that the artist might have longed for the occasional mystery subject, and clearly had a nice touch with painting a sense of fear, impending threat and danger, as in his 1954 illustration for “The Missing Witness” by John and Ward Hawkins shown above (the full two-page spread below), plus several other examples shown here.

perry peterson the missing witness 1954

Sadly, Peterson passed away at only 50, his career cut short when magazine illustration assignments and PBO covers were still in demand, so we’ll never know what he might have done with less ‘lighthearted’ subjects. Stunning work from one of the lesser known mid-twentieth century masters, though, aren’t they?

Perry peterson 2Perry peterson 3

 

 

 

Duillo’s Crooks & Molls

Duillo 3

Like many of the academically trained artists from the post-WWII era of paperback and pulp magazine illustration, John Duillo’s real interest wasn’t gangsters, gumshoes or femmes fatales, much less the damsels in distress (more accurately, women in peril) that he’s best known for. His real passion was western art and the Civil War. Still, a fellow has to eat, and following a stint in the U.S. Navy, Duillo studied art with Adja Junkers and photography with Berenice Abbott, then worked in commercial illustration, as an art director, set designer and a photographer. From 1960 onward, Duillo is credited with over 500 book covers, constantly in demand for expertly rendered westerns in particular. Search online, though, and you’ll likely be scrolling through a gallery of his color cover illustrations for the late 1950’s through early 1970’s men’s “adventure” magazines, apparently called upon when women in peril images were needed…which seemed to be all the time for those particularly weird publications, and lets just say the images became increasingly ‘perilous’. Quite sinister, in fact. If the 1930’s shudder pulps’ covers seem a little pervy to modern eyes, the so-called ‘men’s sweats’ are diabolically so. WWII Nazis and Japanese soldiers, Cuban revolutionaries, Soviet KGB officers, motorcycle gang leaders and sundry robed and hooded cultists abound, and all of them are gleefully tying up women and threatening them with bizarre tortures – whips, racks, snake pits, alligator ponds, blowtorches, iron maidens — you name it — or in the ‘tamer’ pieces, more conventional forms of sexual assault. Yikes. We’ll skip those here.

John Duillo 1

Cowboys roping steers and rebels waving stars-n-bars flags aren’t my thing any more than than leering sadists. It’s too bad John Duillo didn’t get more illustration assignments for routine mystery/crime fiction book covers or the remaining crime fiction magazines that were still left during his peak years. He was a talented artist, and I’d love to see what he could’ve done with more gangsters, gunsels, gun molls and gumshoes, given the chance.

JohN Duillo 2

Thirteen Days Overdue (And It’s Lace)

Rap Sheet LogoShame on me, but this is thirteen days overdue.

A heartfelt (belated) congratulations to J. Kingston Pierce on the thirteenth anniversary of The Rap Sheet Blog at therapsheet.blogspot.com (link below). The blog began on May 22nd, Arthur Conan Doyle’s birthday, appropriately enough, and since has showcased over 7,500 posts with over 6.3 million page views.

The Rap Sheet and CrimeReads are my primary mystery/crime fiction genre and noir culture resources, providing timely news and acting as vital jumping off points to learn more about so many different writers, books, films, artists and much more. For that, a great big thank you to The Rap Sheet!

So, I checked to see what a thirteenth anniversary is. You know, paper for the first, silver for the 25th, gold for the 50th and so on. There are some pretty weird ones, and several online wedding anniversary gift charts left a few years blank altogether. But all showed lace for a thirteenth anniversary. Now I’m at work at the moment with no lace handy, and I’m not about to go desk to desk to see who could help. Surely someone’s lacy somewhere today, but it won’t be appearing here. So we’ll have to make do with some vintage Alan Geoffrey Yates – AKA Carter Brown – and three editions of The Black Lace Hangover (which is, after all, a pretty cool title).

https://therapsheet.blogspot.com

Abbett’s Silver-Age Masterpieces

run for doom robert abbett

Robert Abbett is but one of the many 20th century illustrators often eclipsed by more famous names like Robert McGinnis, Robert Maguire, James Avati, Belarski, DeSoto and others. And he’s also one of the many artists whose paperback cover and magazine illustration work represents but a tiny part of their artistic career, so many of these academically trained artists well-skilled in and much preferring to work in other subjects altogether…Western art for McGinnis and James Bama, Civil War historical painting for Mort Kunstler, and so on. In Abbett’s case, his illustration fame is definitely overshadowed by his renown as a wildlife, landscape and outdoors artist. Born in Hammond Indiana, Robert Kennedy Abbett (1926 – 2015) studied at the University of Missouri and Purdue University, and once he achieved some success in commercial illustration, relocated to Oakdale Farm in rural Connecticut in 1953. There he became entranced with the autumnal landscapes, hunting and wildlife scenes, which became his trademark in his post-illustration fine arts career.

In fact, even within paperback cover illustration, it’s probably his work on many Edgar Rice Burroughs’ Tarzan, Barsoom and Pellucidar books that brought him the most acclaim, much more than general fiction, crime fiction or any so-called ‘sleaze’ books, which so many illustrators had in their portfolios (even if hidden way in the back).

run for doom kane

Working in a style reminiscent of Mitchell Hooks and other ‘silver age’ artists, Abbett had a tremendous command of figure drawing, but still enjoyed abstracted or vignetted backgrounds and settings, which became the trend in the late 1950’s through mid-1960’s. Bird dogs in New England fields may be his primary legacy, but for me it’s the way so many of his characters look precisely like those I imagine for my own in-progress writing (which is set in 1959, after all). Above is the original art for Henry Kane’s Run For Doom from 1962, as well as a so-so found image of the book cover. Below is one of my favorites: Robert Carroll’s 1961 Champagne At Dawn. No, I don’t mean the book. I don’t have it and never read it, and I’m not sure I’d go looking for a readable copy about ‘fly now, pay later girls’. But change that hair color to a deep brunette shade, and that’s more or less Sharon Gardner, AKA Sasha Garodnowicz, AKA the ‘Stiletto Gumshoe’. Well, maybe a slightly more ‘curvy’ version of Gardner/Garodnowicz/Gumshoe. I can forego a 1961 novel about stewardesses (I assume in 1961 they weren’t flight attendants yet), but I’d give anything to find a decent scan of the original art from that book!

Champagne At Dawn 1961

Adriano Rocchi

adriano rocchi 2

I’ve looked, and unless I’m misspelling the artist’s name, I can’t find a thing about Adriano Rocchi. Not just online, mind you. I have several long bookshelves crammed with books on vintage paperbacks, pulp magazines, U.S. and European illustrators and sundry sleaze artists. But…nothing. Now lets guess from the examples I stumbled across that Rocchi is one of the many post-WWII era Italian pulp artists working in Giallo paperbacks, crime/horror/sleaze digests and film posters. If you know more, I’m all ears!

adriano rocchi

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