C. C. Beall

C C Beal

Cecil Calvert Beall (1892 – 1970), better known as C.C. Beall, isn’t a big name among vintage paperback and retro pulp magazine illustrators. Actually, his reputation is mostly due to a series of high profile WWII era war loan drive posters.

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Beall learned under master figure drawer George Bridgeman, surely a familiar name to any former art student, and studied at the Art Students League and Pratt Institute. While most contemporaries worked in slow drying oils or fast drying (but extremely tricky) gouache, Beall worked primarily in traditional (transparent) watercolors, though in a distinctive heavy manner, only ocassionally combining them with charcoal or gouache for selected commercial assignments. His patriotic war era propaganda ad and poster illustrations were so successful that he was temporarily made an employee of the U.S. War Department, and was present at the final Japanese surrender on the USS Missouri in 1945, where he painted the official portrait of the event.

CC Beal - 2

But like many working artists of the time, Beall did all kinds of work, from glossy magazine illustrations to advertising, film studio assignments and book covers, including his darkly gorgeous painting for Bruno Fischer’s 1950 House Of Flesh from the preceding post. Some more of his non-military work is shown here. And heck, I’m throwing in the cover art from House Of Flesh one more time for good measure.

Walk In Fear CC BeallsSiagon Singer CC BeallsFarewell To Arms CC BealDark Interlude CC BeallsCC Beall House OF Flesh 1950 Art

Don’t You Weep, Don’t You Moan

Dont You Weep Dont You Moan

Don’t You Weep, Don’t You Moan by Richard Coleman, a 1955 paperback edition shown here. I don’t know if it’s really “A novel of raw desire”. Originally published in 1935 and garnering good reviews at that time, even at the New York Times Book Review (still out there online), it might be called a torrid soap opera with literary leanings and set in Charleston, South Carolina’s African-American community.

Dont You Weep Dont You Mpan Cover 1935 - 1955

I assume the title’s a nod to the old spiritual, which was also turned into a folk song by Pete Seeger (“…Oh Mary, don’t you weep, tell Martha not to moan”). I don’t know the artist on this one, and couldn’t even trace it on a reliable go-to site like pulpcovers.com, but the illustration is handsome.

Jim Silke’s Century

Jim Silke

A smoking cigarette (Camels, no less), an automatic on the nightstand, a handsome fellow ignoring the wound on his shoulder and a naughty glimpse of stocking just below the lacy hem of the lovely lady’s chemise. What else could you ask for in a piece of noir-ish art, beautifully executed here by master artist Jim Silke for a DC Vertigo American Century cover? The one above is from issue No. 20, I believe. Below is another example of Silke’s cover art from American Century.

American Century 18

 

Going To Glendale?

2019 Los Angeles Vintage Paperback Show

While I’m about to step out for some quick Saturday AM errands (which might include a bookstore stop…maybe) I’m not planning any two thousand mile treks this weekend. Anyway, there’s an annual vintage pulp, paperback and collectibles show ‘round these parts each Spring, if I was so inclined. I’ve gone to a couple of these shows to see the original cover art and illustration art exhibits, but kept my credit cards safely tucked away in my wallet. Fortunately, (being a fan of retro illustration and postwar crime fiction) I’m rarely gripped by the collector frenzy, which can be as dangerous as a gambling addiction for the weak-willed. But for those of you in the Los Angeles area, the Vintage Paperback Collectors Show & Sale in Glendale this Sunday sure looks like the place to be. And I do like that Robert McGinnis illustration chosen for their poster!

The Master At 101 Years

Kiss me Deadly

Shame on me, but I screwed up my post scheduling, so this was meant to appear on Saturday.

A belated birthday acknowledgment to Frank Morrison Spillane, better known as Mickey Spillane, born 101 years ago on March 9th, who sadly left us in 2006. Loved by readers, resented by writers (to this day), reviled by critics, spoofed by himself and many others, the man was actually an instrumental part of building the postwar paperback marketplace. I’ll argue that he played a part in revitalizing — maybe even redefining —  the hard-boiled private eye novel for the second half of the twentieth century, and along the way, sold a mere 225 million books.

Crime Reads Screen Cap

Crime Reads editor Molly Odintz has a very interesting piece at Crimereads.com, “The Ten Best And Pulpiest Mickey Spillane Covers”  – do log on and check it out. The covers shown here aren’t the ones Odintz presents, and some might say her choices aren’t anywhere near as pulpy, weird or downright pervy as some Spillane covers can be. Molly Odintz acknowledges that while commercial success should never be a measure of literary merit, Spillane’s recent centennial and various authors (Max Allan Collins key among them) arguing for a reassessment of the writer’s importance begs for publishers to reissue his work, but in different cover art, “…so that folks like me will actually want to read him in public. Can you imagine bringing one of these on the subway?” But she continues, and this is crucial to understanding Spillane and his work: “But Mickey Spillane didn’t care about what people thought of his cover designs, or the literary merit of his books, and paid no attention to any censorial judgments whatsoever, so perhaps the best way to celebrate the iconic writer’s birthday would indeed be to bring one of these on the subway – and not care what anyone thinks”.

Vengeance Is Mine

Odintz showcases ten Spillane covers she considers particularly weird, pulpy or tawdry. Anyone familiar with postwar pulp magazine and paperback cover art may consider them surprisingly tame. I’ll concede, Spillane’s One Lonely Night was almost always packaged with particularly disturbing cover art of a bound and partially stripped woman. The 1960’s – 70’s era Spillane reissues followed that period’s trend towards photo cover art, and typically employed provocatively posed near-nude women with no relation to the title, story or…well, anything at all, simply beckoning to the reader with ‘come-hither’ expressions. Some European editions of Spillane novels went way beyond anything that would be allowed in the U.S. market. And the fact is, many 1950’s era mystery/crime fiction paperbacks (and certainly the remaining pulps from the same era) can completely out-weird, out-sex, out-perv most any Mickey Spillane cover art, with one after another depicting menacing thugs and lover-boy private eyes threatening or otherwise taking advantage of a gallery of women-as-victims and women-as-eye-candy, invariably undressed or undressing in fetishistic detail, restrained, terrified…or often as not…dead.

One Lonely Night

Do we blame the writers? The publishers, their art directors, the illustrators? Do we blame the culture of the time? Do we blame anyone at all, or do we just recognize that they’re artifacts from another era? Don’t ask me…I’ll have to leave vexing questions like that to smarter folks than I. But I won’t apologize for appreciating Mickey Spillane. I have all of the Mickey Spillane novels, with doubles and triples of a few from different eras, along with the unfinished works completed by Max Allan Collins, some few books about Spillane, the complete Mike Hammer comic strip book and sundry other Spillane items. Call me a fan.

The Body Lovers

While I don’t ride the subway, I fully understand what Molly Odintz is saying, and there are more than a few (maybe most) of my Spillane books that I’m not too eager to whip out in the coffee shop, just so I can watch fellow patrons ease their chairs away from me. But the same goes for other vintage paperbacks I have, and quite a few contemporary books, now that I think of it.

Cheap used bookstore copies of the first few Mike Hammer novels were actually what lured me into the mystery/crime fiction genre in the first place, and for that I’ll be forever grateful. Spillane’s no-nonsense prose and plot-first writing style guides me in my own humble writing attempts, particularly whenever I get ‘writerly’. I don’t know if, like Molly Odintz, I’d like to see Mickey Spillane’s body of work reissued in ‘tamer’ packaging, or just as she speculates, if the hard-boiled crime fiction master’s work indeed should be reissued, but in cover art that celebrates all the violent, sexy, tawdry, pulpy storytelling each book contained.

The Long Wait

 

The Big Blowdown

The Big Blowdown - Richie Fahey Cover art

There’s a long list of George Pelecanos’ projects that I adore: Novels, short stories, television scripts.

But my favorite remains The Big Blowdown, his 1999 tale of two Washington DC friends (including Nick Stefanos, the Pelecanos character who’s crossed-over into more than one project) set in a post-WWII world of realistically drawn blue-collar Greek neighborhoods filled with rich renderings of everyday people who live and work alongside the small-time mobsters who really run things. Some have compared Pelecanos’ early novels to James Ellroy’s L.A. Quartet, and I won’t argue. They share a spare yet darkly poetic writing style and focus on a specific time, place and cast of characters. How he continues to create excellent books while concurrently working as a writer/producer for high-visibility projects like The Wire, The Pacific and The Deuce among others is beyond me. A person can only do so much. Somehow, Pelecanos does still more.

For me, this particular novel has been a kind of tutorial on how a master wordsmith handles an ethnic milieu, something I’m working with (different ethnicity, but still) in my own projects. Obviously, Pelecanos does it better than many, and better than anything I could ever hope for.

The Big Blowdown will get a careful re-read someday. I’ll just need to give it some time so I can forget the specifics and discover it all anew. As an aside, the nifty Richie Fahey cover art on my well-worn trade pb edition shown above doesn’t hurt.

Edmond Gray

Edmond Gray

Maybe I’m just looking in all the wrong places. I don’t think I’m misspelling the artist’s name. But I can’t seem to locate much (or any!) background or biographical information about postwar illustrator Edmond Gray. I’ll keep digging, but till I do uncover something, here’s a piece that’s always been among my favorites from that era.

The Pop Culture Rembrandt

Pop Culture Rembrandt

Check out the Crime Reads.com essay by J. Kingston Pierce: “Robert McGinnis: A Life In Paperback Art”, honoring the prolific American illustrator on his 93rd birthday this Sunday, February 3rd. The article’s tag notes, 93 Years & Thousands of Paintings from a “Pop Culture Rembrandt” and Pierce’s essay does a fine job of sharing McGinnis story and his place among the masters of postwar paperback, magazine and commercial illustration.

Robert McGinnis - Lesbian Covers

Perhaps more than any other artist from that era, Robert McGinnis’ work is almost inseparable from the identities of a number of popular paperback crime and adventure series. Consider at least the well-known ones: Brett Halliday’s Mike Shayne, various Carter Brown series, Richard S. Prather’s Shell Scott series, John D. MacDonald’s novels including the Travis McGee series, M. E. Chaber’s Milo March Mysteries, Edward S. Aarons’ Sam Durrel spy series, and Erle Stanley Gardner’s Perry Mason books as well as his A.A. Fair Donald Lam & Bertha Cool mysteries. Almost disappoints me that McGinnis only did two covers for one of my own private eye series favorites, Frank Kane’s Johnny Liddel mysteries. But along with these, there were countless stand-alone titles, from crime to romance, westerns to espionage and more. McGinnis only did a few of the postwar paperback era’s lesbian themed books, and took what may be an unfair bad rap for his illustration for Beebo Brinker, but we should remember that illustrator’s often had no more than a brief editor’s blurb to go by, and often didn’t get to read the book itself…if budgets or deadlines would have allowed them to anyway.

Never Kill A Client 1963

McGinnis’ style evolved with the times, becoming increasingly abstract, vignetted and decorative, rooted less in fully rendered interior/exterior scenes. By the time photography and all-typographic styles began to dominate the paperback market’s covers, the artist had moved successfully into film posters and other assignments (likely more lucrative) while pursuing his own fine art work, predominantly western art. The excellent book Tapestry- The Paintings Of Robert E. McGinnis edited by Arnie and Cathy Fenner does a wonderful job of juxtaposing selected McGinnis commercial illustrations with non-commercial paintings, seeing both in a fine art context.

kill now pay later 1960

For many, Robert McGinnis’ striking nude (or nearly so) vixens and elongated, preening sixties-chic coquettes are what he’ll be remembered for. Myself, I’m drawn to the more flesh-n-blood figures, my all-time favorite the seated woman in a simple green dress and long brown gloves from the cover of Never Kill A Client, a 1963 edition of a Mike Shayne mystery (above), and an illustration I keep handy since it so closely resembles my own imaginary character, the ‘Stiletto Gumshoe’. Some real favorites are shown here in this post, including the fetching femme fatale perched on a private eye’s desk from Kill Now, Pay Later (1960), or the bar room pianist tickling the ivories where McGinnis’ trademark longer-than-long legs draw his attention from Murder Me For Nickels. The iciness of the subdued colors in a very risqué for the time, Exit For Dying (1956) may just be the single sexiest piece of cover art I’ve ever seen. But I’ll always love the comparatively prosaic and fully-rendered scene of the redhead alighting from the backseat on Day Keene’s Too Hot To Hold from 1959.

Murder Me For Nickels

I’m never comfortable with labeling one artist, author, musician or any other creative as ‘the best’. There are masters and there are followers and many at levels of skill, talent and popularity in between. For me, there are several artists from those golden and ‘silver’ ages of paperback, pulp and glossy magazine illustration that comprise the top tier. McGinnis, of course would be there, not only as a superior figurative artist but also as a master designer, possibly demonstrating more stylistic diversity than any of his peers and contemporaries. And of course, those contemporaries are, for the most part, retired or deceased now. Bittersweet, but maybe that’s for the better, so they don’t have to reckon with an Adobe-ruled Illustrator/Photoshop world.

Robert McGinnis Exit Dying 1956

Do follow the link below to J. Kingston Pierce’s “Robert McGinnis: A Life In Paperback Art” essay and gorge on the many reproductions. It’s a far more eloquent tribute than anything I could muster up. Still, a heart-felt happy 93rd birthday to the ‘”Pop Culture Rembrandt”, Robert McGinnis.

Too Hot To Hold 1959

https://crimereads.com/robert-mcginnis-a-life-in-paperback-art/

 

Euro-Pulp: Michel Gordon

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French illustrator Michel Gourdon was every bit as prolific as many of the more familiar names from 1930’s through 1970’s American pulp magazine and paperback cover art masters like Robert Maguire, Robert McGinnis, Mort Kunstler, Earl Norem and so many others. But biographical or any other info about the artist seems pretty scarce. What I can dig up is in French, and even four years of high school French (mostly forgotten) only equips me for some useless word-here-and-there hunting and pecking. Google translating docs yields gibberish for the most part.

flueve noir duo

What I can glean is that Gourdon was born in 1925, spent most of the WWII years studying at the Bordeaux School of Fine Arts, then headed to Paris in 1946, working for the next fifty years or more as one of France’s most popular pulp magazine, men’s magazine, Giallo digest and paperback cover illustrators, while also pursuing more lucrative advertising and film poster assignments. Michel’s brother Alain was also a popular French illustrator, going by the name ‘Aslan’, known mostly for quite explicit pinup art, along with some book and magazine cover work, most of that also pretty racy stuff. Michel Gourdon passed away in 2011.

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Myself, I’m an ardent fan of retro illustration. Mind you, I’m not foolish enough to elevate what were hastily executed commercial assignments to fine art status, nor blind to how salacious so much of it was, nor naïve about just how utterly perverse the 1930’s pulp magazine covers and 1960’s men’s “sweats’ magazines in particular really were. I mean seriously, I understand the value of the hunky hero and damsel-in-distress (or undress) thing to sell crime magazines on a crowded Depression era newsstand, but for all the weirdly fetishistic perversity, American pulps and postwar paperbacks have absolutely nothing on the postwar ‘Euro-Sleaze’ marketplace. If you disagree, just browse some work by Italian illustrators like Alessandro Biffignandi and Emanuele Taglietti for sheer twistedness. Perhaps the French exhibited a little more class. Uhm…a little.

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Books on Michel Gourdon are hard to come by, at least in the U.S., though vintage digests, paperbacks and magazines with Gourdon covers are available for the deep-pocketed collector crowd (which I don’t belong to). There’s much to be found online, not that I’ll post it all here. Some of the work steps over the line between ‘tawdry-retro-kitsch’ and dangerously warped…heck, a couple of these images might be tip-toeing around that line. But pulp-art is what it is, and for good or bad, Michel Gourdon was one of Europe’s postwar pulp masters who surely deserves more recognition among U.S. fans.

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