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!

Battelli’s Lonely (And Dangerous) Beds

Lucrezia Batteli - StudyThey say a bed with only one person in it at night can be the loneliest place in the world. Maybe so, if you’re still licking your wounds. Maybe not, if you never intend to let it happen again.

lucrezia battelli

Beautiful artwork from the talented artist-illustrator Lucrezia Battelli, who also goes by Lulu Battelli. Look for more at @doclew on Instagram and for art prints at inprnt.com.

Sienkiewicz’ Natasha

bill sienkiewicz black widow

Call her Natalia Alianovna Romanova, call her by her alias, Natasha Romanoff. Better still, call her Marvel’s Black Widow, here rendered by artist Bill Sienkiewicz.

Sveta’s Sirens

Sveta Shubina 2

Graphic designer and illustrator Sveta Shubina may make her living doing stylized logotype designs, but it’s her whimsical take on retro hyper-feminized character illustration that finds her popping up all over the web. Look for more of this Rostov-on-Don, Russia artist’s work at Behance, Instagram and her own gallery/shop at Etsy…and there’s a lot to view.

Sveta Shubina 1

New Zealand’s pinup and fashion designer “The Velvet Decolette”(velvetd.com…a “less bitchy, more kitschy pinup posse”) did a brief interview with the artist, and she explained her influences, some of which ought to be obvious, like Dan DeCarlo, Jack Cole and Bill Wenzel, but also early Disney and Fleisher animation. To complete the homage to those mid-twentieth century cartoonists and pinup artists, Shubina not only replicates their drawing style and the period-perfect costuming, but distresses some of the art itself and fades the hues to add a vintage look. Cute stuff.

Madame Medusa

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 Girl With The Golden Guns.

Secret Agent Miss Fortune by Kilart

Impressive firearms, though it’s unclear just where this nightclub chanteuse hangs her holster. Perhaps the piano player (and everyone else in the club) didn’t applaud her last song quite enough to please her. The piece is “Secret Agent Miss Fortune”, by Kilart.

Men In Danger

Howell Dodd Men In Danger magazine 1964

Men in danger? Sure, but I’m not certain which is more dangerous. The easy money for delivering a package of something that’s surely illegal? Or Miss Can’t-Keep-My-Slip-On goading him from her perch on the bed behind? A pulp (or more correctly, one of the so-called ‘mens sweats’) magazine interior illustration by Howell Dodd from a 1964 issue of Men In Danger.

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/

 

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