Showing posts with label Magazine Art. Show all posts
Showing posts with label Magazine Art. Show all posts

Thursday, February 17, 2022

History’s Swashbuckling Sensualist?


Click on this image for an enlargement.


I ran across this fabulous, but unfortunately uncredited illustration on the Men’s Adventure Magazines & Books Facebook page. It comes from the March 1959 edition of a men’s periodical called Sir! (shown below), and purports to tell the true story of 18th-century marauder Mary Anne Blythe, “a 6-foot, full-bosomed Irish beauty who took many prizes from the shipping lanes around the Bahamas.”

According to Sir! contributor Ken Krippene, a Chicago lawyer turned journalist (who is also remembered for having married travel writer/pinup model Jane Dolinger), Blythe “was barely 15 [when] she left England on a British ship bound for New York, where she had relatives.” The Bust Guide to the New Girl Order (1999), edited by Bust magazine co-founders Marcelle Karp and Debbie Stoller, picks up the story from there, stating that as Blythe neared the Bahamas,
the terrible pirate Blackbeard boarded the ship she was traveling on. Wearing lit matches and red silk ribbons entwined in his long thick beard, he relieved her ship of all its treasure and killed most of the crew. When he returned to her and tried to rip off her dress, she laughed and slapped his face. Captivated by her courage, he was transformed into a perfect gentleman, and escorted her with a curtsy to his ship. There, dressing in men’s clothing, she became his protégée, learning all manner of things sexual or seafaring, and mastering the art of piracy. By the age of twenty she’d earned a ship and crew of her own.

While she could handle a cutlass and pistol with the best of the buccaneers, she had her own secret weapon: women. She knew the power of sexual desire, and used it to her benefit. Her girls would stand at the railing of her ship, sliding their loose tops from their shoulders and waving at the crews of passing merchant ships, while Mary Anne herself wore little more than a G-string and a pair of boots, her dark red hair catching in the wind. As the sea-weary crews of the merchant ships pulled beside them, ready to board and relieve themselves after months of only the ocean and the company of other men, her crew of bloodthirsty bandits would jump from their hiding places and capture the vessel.

Mary Anne did not only use her sexuality as a tool to manipulate men; she indulged her appetite for masculine booty as much as she did her desire for material booty. After taking over a ship, she would have her male captives line up on deck. From these, she would pick a young and handsome man as her lover, keeping him only until he bored her, which could last anywhere from a few hours to a few months (a woman used to so much adventure bored easily). When she was through with him, she would cut his throat and toss his lifeless body overboard.
Krippene adds embellishments to the tale, insisting that “this 18th-century strip teaser” strutted before her male captives “in her abbreviated costume of G-string and revealing bra, studying them like a Kentucky colonel buying a horse.” This led a commenter on the aforementioned Facebook page, one Matt Greenfield, to remark of Ms. Blythe: “Another one of those ‘really ahead of their time’ individuals, given that the bra was over a hundred years from being invented, while the term ‘geestring’ referred at the time to the string that held up the loincloths worn by male Native Americans and didn’t hop genders until the 1920s.”

How much veracity exists in the vivid saga of Mary Anne Blythe? It’s rather hard to tell 300 years later. The 18th century’s best-known pair of female freebooters were Mary Read and Anne Bonny; I don’t find Blythe so much as mentioned in any of the pirate histories on my shelves. Her name does, though, crop up in a 1965 collection of essays titled Bizarre Beauties; and in 2008’s The Legends of Brunswick County: Ghosts, Pirates, Indians, and Colonial North Carolina, author J.C. Judah says Blythe “supposedly buried her pirate treasure in the area of Fort Caswell, at the mouth of the Cape Fear River. It has yet to be discovered. Another cache is reportedly on Plum Point in Beaufort County, a chest full of jewels.”

Why were such valuables never retrieved? As The Bust Guide tells it, Blythe “wreaked havoc on the high seas for years, entertaining Blackbeard while her young lovers entertained her, until a young Spanish sailor captured her heart. She kept him for three years, but when Blackbeard’s jealousy threatened them both, the two lovers stole away on a ship bound for Peru, never to be heard from again.” It seems ardor trumps avarice, even for a G-string buccaneer.

Thursday, August 5, 2021

The Woman Behind “Weird”



Were I able to attend this year’s PulpFest, taking place in Pittsburgh, Pennsylvania, from August 19th through 22nd, I would definitely want to be in the audience for “popular culture scholar” Doug Ellis’ presentation, “The Weird Tales of Margaret Brundage.”

“Initially disguising her gender by signing her work as M. Brundage, the artist redefined sensuality for the already scandalous pulp market,” observes the PulpFest Web site. “Her work was later targeted by New York Mayor [Fiorello] LaGuardia’s 1938 decency campaign. … Margaret Brundage [1900-1976] created 66 covers for Weird Tales between 1932 and 1945, making her the most in-demand cover artist for the fantasy, horror, and science-fiction magazine. Only Virgil Finlay was a close rival.”

Ellis’ remarks on Brundage are scheduled for Friday, August 20.

Friday, April 6, 2018

Stanley’s Style: “A Bundle for the Coroner”

Part of a 100th-birthday tribute to artist Robert Stanley.


From what I can learn on the Web, this January 1955 issue of Dell Mystery Novels, with its Michael Shayne cover story and Robert Stanley artwork, was the first—and only—edition of that magazine. A product of the Dell Publishing company, it was a 25-cent digest-format periodical, and had been planned as a bimonthly.

Wednesday, April 4, 2018

Stanley’s Style: Sweat and Wild

Part of a 100th-birthday tribute to artist Robert Stanley.


(Above) Stanley’s cover for Adventure, May 1949.


Not long after I inaugurated this Killer Covers series about Robert Stanley, I was contacted by Key West, Florida, writer Robert Deis. A former political consultant, Deis is now the brains behind Men’s Pulp Mags, a handsomely illustrated blog focused on men’s adventure magazines (aka “sweat mags”) of the 1950s, ’60s, and ’70s. He has also edited a variety of books—including Pollen’s Women: The Art of Samson Pollen (2018) and I Watched Them Eat Me Alive: Killer Creatures in Men’s Adventure Magazines (2017)—about the artists and authors whose work appeared in such periodicals.

Deis noted that while our biographical sketch of Robert Stanley laid out his career as a contributor to detective-fiction and Western-fiction publications, it omitted mention of his having “painted scores of cover and interior illustrations for men’s adventure magazines in the 1950s and 1960s.” Deis volunteered to send some of Stanley’s sweat mag artwork my way. Naturally, I accepted his offer.

Below, you will find most of the images Deis provided. They come from such varied but thematically aligned sources as Adventure, Stag, and For Men Only. Stanley provided cover art as well as interior illustrations for these pulpish products; six of each can be seen here.

In addition, I’ve installed at the bottom of this post a quartet of Stanley’s interior paintings from The Saturday Evening Post, just to make clear that he had a more refined, romantic side to him, as well, and wasn’t afraid to show it. (The Post scans are borrowed from the Today’s Inspiration Group pages on Facebook.)

Click on any of the images here to open an enlargement.



(Left to right) For Men Only, October 1956; Stag, November 1956


True Action, August 1960; O.K. for Men, April 1959


Adventure, June 1954; Stag, February 1957


Guy magazine, March 1959


Ken for Men, May 1959


Action for Men, January 1962


Male, June 1962


Action for Men, September 1964


Man’s Magazine, December 1966


(Left to right) “Rosanne and the Sailor,” by William Ashley Anderson, The Saturday Evening Post, April 24, 1954; “Outcast of the Florida Keys,” by Frank Skipp, The Saturday Evening Post, October 31, 1954.


“What Family She Had,” by William Holder, The Saturday Evening Post, January 24, 1953; “Rich Girl’s Whim,” by Frederick Borg, The Saturday Evening Post, September 27, 1952.

Wednesday, February 22, 2017

Fashionable but Fatal



It’s not an exact theft, but pretty damn close.

The (sadly uncredited) artwork fronting this premiere issue of Edgar Wallace Mystery Magazine, published in August 1964, looks remarkably like the illustration Ernest “Darcy” Chiriacka created for the cover of the 1958 short-story collection The Best of Manhunt, right down to the woman’s clingy red dress (one shoulder strap fallen) and trailing fur stole. Don’t you agree?

Thursday, July 7, 2016

Duped: McGinnis Sure Gets Around

The latest installment in Killer Covers’ “haven’t we seen this front someplace before?” series. Previous entries are here.



In a post yesterday, the must-watch paperback/magazine-art blog Pulp Covers: The Best of the Worst presented the front (above) from the October 1964 issue of Bluebook, which featured what I presume was an excerpt from Ian Fleming’s 1963 travelogue, Thrilling Cities. Under that image, editors noted, “This looks a lot like a McGinnis cover,” referring to the now 90-year-old artist, Robert McGinnis.

Well, the resemblance is more than coincidental. The cover painting of a blonde in a lavender or pink dress, reclining across the chest of a dark-haired male, originally fronted the 1962 Paperback Library edition of Night Without Sleep (1950), by New York City-born screenwriter and author Elick Moll (1901-1988). That novel—about a composer who awakens from a drunken stupor one morning, fearful that he’d murdered a woman during the previous night—was adapted by Moll and Frank Partos into a 1952 film noir of the same name, starring Gary Merrill, Linda Darnell, and Hildegarde Neff. And McGinnis did, indeed, provide the illustration for the novel’s 1962 paperback release, shown below. Good catch, guys!

Tuesday, June 14, 2016

Pub Call



Anyone familiar with this page knows that I tend to favor vintage book covers over old magazine fronts. But I have to confess, the blog Pulp Covers has been pretty much on fire lately as it’s showcased beautiful, long-ago painted façades from copies of Detective Yearbook, Police Detective, Line-up Detective, and assorted other crime-oriented publications. Two of the offerings from that collection are posted here: the 1951 Detective Annual (above), with a cover story—“Blood Money Buys a Party Girl’s Kiss”—that should have made it a candidate for my 2012 gallery of “kiss covers”; and the February 1949 edition of Best True Fact Detective (below), promoting a story with one hell of a brilliant title, “The Two-Timing Blonde Goes for a One-Way Ride.” While Pulp Covers doesn’t identify the artist in either of these cases, I’ll forgive it such omissions as long as it keeps adding to this string of winning pub fronts.

UPDATE: The cover artist behind the Detective Annual illustration shown above has been confirmed as Howell Dodd.

Thursday, April 14, 2016

Stirnweis Show and Tell



The entrancing, multiple-image front above comes from the 1967 Ballantine paperback edition of The Anti-Death League, a more-or-less intellectual thriller by Kingsley Amis. The painting is credited to by Shannon Stirnweis, a Portland, Oregon-born artist who worked for many years as a magazine, book, and advertising illustrator. Stirnweis is the subject of a several-part interview with Ontario artist and graphic arts instructor Leif Peng, who blogs at Today’s Inspiration. Click here to catch up with their full exchange and see many additional examples of Stirnweis’ work.

Below is another of my favorite Stirnweis creations—his painting for the April 1966 issue of Adventure magazine.

Thursday, November 5, 2015

Bonds Away!

With the 24th and latest James Bond film, Spectre, scheduled to premiere this weekend in U.S. theaters, it’s no wonder my mind has been active with all things 007. Just this afternoon, I remembered that I had in my files the cover from the November 9, 1999, edition of The Sunday Times Magazine, a supplement to The Times of London. Illustrated by Robert McGinnis--who over the years had done the artwork for posters promoting a variety of Bond films, including the 1967 spoof version of Casino Royale, 1965’s Thunderball, 1967’s You Only Live Twice, and 1971’s Diamonds Are Forever--it was published to coincide with the release of The World Is Not Enough, the 19th Bond flick and the third to star Pierce Brosnan.

Click on the image below for an easier-to-study enlargement.



Edward Biddulph explains in his blog, James Bond Memes, that McGinnis’ complex picture for the Times Magazine was
Conceived to resemble an ornately framed painting, though also alluding to a certain extent [to] the heraldic-style artwork used alongside the main poster campaign for On Her Majesty’s Secret Service, the artwork is topped by a crown (representing Bond’s service to Queen and Country) flanked by near-naked and suggestively positioned women. The faces of the Bond actors are placed below the crown--naturally Sean Connery is at the centre--and below them is the main body of the artwork, which celebrates the best of Bond with representations of iconic moments from the film series, which are divided into themes of space, land, and sea. The panel is bordered by the faces of the most memorable villains of the series, and the whole artwork is framed by more scantily clad women.
Biddulph goes on to provide a more detailed examination of this magazine front here, noting that “Thunderball, Diamonds Are Forever, The Spy Who Loved Me, and Moonraker are Robert McGinnis’ principal reference points. Perhaps these are his personal favourites, but undoubtedly each have contributed more than their fair share of classic scenes and images.”

Thursday, December 25, 2014

Have a Holly, Jolly Christmas!



Actually, whether you’re celebrating Christmas, Hanukkah, or Kwanzaa, those of us at Killer Covers wish you the very merriest holiday season! The magazine cover embedded above comes from the December 11, 1912, edition of Puck. (Hat tip to Print.)

Tuesday, June 24, 2014

Doing Dewey Up Delightfully



I’ve written at some length about Indiana-born novelist Thomas B. Dewey once before on this page. But the posting today of my latest Kirkus Reviews column, which revisits Dewey’s life and his many contributions to crime fiction, provides another opportunity for me to remark on this guy who Bill Pronzini called “one of detective fiction’s severely underrated writers.” You’ll find my column here.

In addition to composing the Kirkus piece, I have put together a rather extensive--but still far from comprehensive--collection of Dewey’s book covers over the years, which I hope you will take a few minutes to study below. Most of them come from his two principal series, featuring either compassionate Chicago gumshoe Mac (“one of the most consistently satisfying private-eye series,” as David Geherin wrote in 1985’s The American Private Eye: The Image in Fiction) or happily married Los Angeles shamus Pete Schofield. There are also a couple of works here that he published as “Tom Brandt” (one of two pseudonyms he employed, the other being “Cord Wainer”). The illustrators represented in this set include Victor Kalin (Go, Honeylou, The Girl with the Sweet Plump Knees, The Girl in the Punchbowl, Nude in Nevada), Ron Lesser (A Season for Violence, Only on Tuesdays), Robert Maguire (Dame in Danger), James Meese (The Mean Streets), Ray Johnson (And Where She Stops), Barye Phillips (The Golden Hooligan), Victor Olson (Mourning After), and Robert K. Abbett (Hunter at Large). The front from the 1965 Pocket Books edition of A Sad Song Singing, embedded at the top of this post, is credited to the immensely talented Harry Bennett, about whom I first wrote in connection with his artwork for Frank Kane thrillers.

Click on any of the images below to open an enlargement.



































Because you’ve been such a fine audience, I am going to toss you a bonus. Below you’ll find the introductory spread for Cosmopolitan magazine’s September 1958 excerpt from Dewey’s The Case of the Chased and the Unchaste. The art is credited to Denver Gillan.



And click here to see facsimiles of the original dust jackets from U.S. and UK hardcover releases of Dewey’s novels.