Our books on Amazon: the MEN'S ADVENTURE LIBRARY series...

Our books on Amazon: the MEN'S ADVENTURE LIBRARY series...
Click the image above for more information about our anthologies of men's adventure magazine stories and artwork

Sunday, December 29, 2013

REAL, January 1956 – a classic issue featuring four famous killers…


REAL magazine was one of the best and longest-running men’s pulp adventure magazines of the 1950s and 1960s. It was published from 1952 to 1967 by a series of companies.

The title was launched in October 1952 by Literary Enterprises, Inc., which also created the great men’s adventure mag SEE FOR MEN.

Literary Enterprises published REAL on a monthly basis until April 1958. At that point it disappeared for 16 months.

In October 1959, REAL was revived as a bimonthly publication by Excellent Publications, Inc. (which also took over publication of SEE FOR MEN). Then from February 1964 to February 1967 it was published bimonthly by PAR Publications, Inc. Five final issues were published in 1967 by the Arizill Realty and Publishing Company.

The January 1956 issue of REAL is one of my favorites, both in terms of the artwork and the stories.

The cover painting, by Rico Tomaso, shows An American GI dressed in white camouflage (for snowy conditions) aiming what looks like a World War Two or Korean War era M1 rifle. A bloody, mangled hand is sticking out of the snow in front of him. Presumably, there’s a dead body connected to it underneath the snow.

It’s a great and gritty portrait of an American serviceman in action, one of a series Tomaso did for REAL and, before that for ARGOSY (shown in this previous post).

The stories in the January 1956 issue feature a number of legendary killers, heroes and glamour girls.

One is about Willie Boy,” the ill-fated California Indian who sparked what has been called the last great manhunt of the Old West in 1909.

In some accounts, Willie Boy is a murderous villain. In others, such as the excellent 1969 movie TELL THEM WILLIE BOY IS HERE, starring William Blake, Robert Redford and Katharine Ross, he is portrayed more sympathetically.

This much is simple fact…

Willie Boy had a teenage girlfriend, variously called Isoleta, Lola and Carlotta.

He got into a fight her father, who ended up dead. Willie then took the girl with him on a long run through the barren hills and desert of San Bernardino County, followed by heavily-armed posses on horseback.

When it was all over, the girl had been shot dead — either by Willie or a posse member — and Willie committed suicide, after an 11-day trek through hundreds of miles of backcountry.

The story about Willie Boy in REAL, titled “MANHUNT AT 29 PALMS,” is much darker and less sympathetic to Willie than the movie and other more recent accounts.

Willie is portrayed as a cold-blooded killer by the author John Q. Copeland, who wrote both magazine stories and television scripts in the 1950s.

The striking orange duotone for the story was done by artist Sam Savitt. It shows poor Isoleta cowering in fear and about to be shot by Willie Boy.

Sam Savitt was one of the great pulp illustration artists who worked for both pre-World War Two pulp fiction magazines and the postwar men’s adventure mags. He later became best known as one of the country’s premier painters of horses.

Though it’s debatable whether Willie Boy was a villain or a victim, there is less doubt about the heinous nature of the other killers featured in the January 1956 issue of REAL.

One is Confederate Capt. Henry Wirz, “the Beast of Andersonville.”

Toward the end of the American Civil War, Wirz was the commander of the Andersonville prison, where thousands of captured Union soldiers were kept in inhumanely harsh conditions rivaling those of Nazi concentration camps.

More than 10,000 Yankee soldiers died in Andersonville, from disease, starvation, exposure, and execution — including 13 who Wirz killed himself.

After the war, Wirz was the only Confederate soldier charged with war crimes. He was found guilty and hanged on November 10, 1865. His fate is sometimes cited as a precedent that foreshadowed the prosecution of Nazi officers after World War Two.

The account of Wirz’s reign of terror at Andersonville in REAL was written by M.M. Marberry, whose best-known works are his biographies of women’s suffrage leader Victoria C. Woodhull and American poet Joaquin Miller, “Poet of the Sierras.”

The illustration for Marberry’s story in REAL was done by a little-known illustration artist named Dick Kiel.
In terms of hands-on murders, even Wirz is a piker compared to the monster featured in another story in this issue of REAL.

Titled “MR. MUDGETT’S CORPSE FACTORY,” it tells the horrific story of Herman Webster Mudgett, better known by the alias he used, H. H. Holmes. Holmes was one of the earliest and most infamous serial killers in American history.

He murdered and dismembered dozens, maybe hundreds of women (and several men), many of them in hidden areas of a maze-like hotel he designed and had built in Chicago.

I’m a big fan of the 2004 book that reacquainted Americans with Mr. Mudgett, THE DEVIL IN THE WHITE CITY by Erik Larson.

The story is REAL isn’t as well-written as Larson’s book. But it’s interesting to read a different account and it includes an awesome illustration by Rafael “Ray” DeSoto, another one of the great artists who worked for both pre-WWII pulps and men’s pulp adventure magazines.

The illustration for the next story in REAL about a historic villain was done by an even more famous pulp illustration artist — Norman Saunders.

Saunders created thousands of pulp mag, men’s adventure mag and pulp paperback cover and interior illustrations, as well as the classic MARS ATTACKS trading cards first issued by Topps in 1962.

The story is about Leon Czolgosz, the anarchist who assassinated U.S. President William McKinley and was later executed for it.

Czolgosz shot the President in the abdomen on September 6, 1901 at the Pan-American Exposition in Buffalo, New York.

McKinley died eight days later from an infection and his Vice President, Theodore “Teddy” Roosevelt, began serving his first term as President.

In addition to featuring some of America’s most famous killers, the January 1956 issue of REAL includes stories about a renowned war hero, Medal of Honor recipient Sgt. John Basilone, and the great sports hero, basketball superstar Wilt “The Stilt” Chamberlain.

There’s also a truly interesting story written by the husband and manager of Burlesque superstar May Do (also known as DoMay), a horizontal two-page photo of pinup queen Bettie Page, and a lot of other interesting retro treasures.

We’ll take a look at those in the next post.

In the meantime, if you’d like to read the January 1956 issue of REAL, you can go to the MensPulpMags.com Virtual Newsstand and download a complete, high-resolution PDF copy of that issue.

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Comments? Corrections? Post them on the Men’s Adventure Magazines Facebook Group.

Click this link or the image below to download a PDF copy of:

REAL magazine, January 1956

Featuring pulp art by Rico Tomaso, Norman Saunders, Sam Savitt, Dick Kiel, Rafael De Soto and Dick Loomis, and stories about: the legendary Indian “Willie Boy” (subject of the 1969 movie TELL THEM WILLIE BOY IS HERE); Confederate Captain Henry Wirz, “The Beast of Andersonville;” the infamous serial killer Herman Webster Mudgett, a.k.a. H. H. Holmes; Burlesque star Princess Do May; and, pinup queen the  Bettie Page. Plus lots of wild, vintage ads, "news items" and more.

REAL, January 1956 cover & stories

Click this link to see more issues and stories to download.

Tuesday, December 24, 2013

Merry Christmas, men’s adventure magazines style!


It’s not too surprising that there aren’t many issues of vintage men’s adventure magazines had Christmas-themed covers.

The cover paintings used by most of the 160 or so periodicals in the genre typically featured things like manly action, adventure and battle scenes, or, gonzo killer creature attacks, or over-the-top “sweat mag” style images showing Nazis and other evil villains torturing barely-clothed babes.

I have sometimes wondered what Christmas covers on some of those types of magazines might have been like.

So this year, just for fun, I decided to create a few hypothetical examples.

As readers of this blog know, I and my co-editor Wyatt Doyle are very big fans of killer creature illustrations and stories from vintage men’s pulp mags.

It was the famed “WEASELS RIPPED MY FLESH!” cover painting by Wil Hulsey that inspired me to create this blog.

We used that title and image on the cover of our first anthology of classic men’s adventure magazine stories. (Our second anthology, HE-MEN, BAG MEN & NYMPHOS was recently published and both are now available on Amazon.)

And, not long ago we wrote an article about killer creature stories in men’s adventure magazines for issue #42 of HORRORHOUND magazine.

So, naturally, I had to try my hand at a killer creature Christmas cover. The result is the cover above — “RUDOLPH RIPPED MY FLESH!” — an admittedly demented variation on the December 1955 cover of SPORT LIFE magazine.

Then I started wondering what some men’s adventure magazine covers might look like if Santa Claus made a guest appearance.

That led me to create the spoof covers of ADVENTURE, SAGA and BLUEBOOK below, featuring Santa as various types of badasses.

Perhaps it’s actually more surprising that there are some real issues of men’s adventure mags that did have Christmas-themed cover paintings.

Almost all of them were on ARGOSY and TRUE, two of the earliest and longest-running men’s adventure magazines. Those were also two of highest circulation magazines in the genre, largely because their content tended to be a bit milder than, for example the “Diamond Group” magazines (MALE, MEN, STAG, FOR MEN ONLY, etc.), or the wild Reese and EmTee mags (MAN’S BOOK, MAN’S STORY, MEN TODAY, WORLD OF MEN, etc.).

Below are scans of some classic ARGOSY Christmas covers: December 1954 (cover painting by Walter Baumhofer), December 1956 (cover by Jack Dumas) and December 1959 (cover by Ed Valigursky).

And, here are three of my favorite Christmas-themed covers of TRUE: December 1945 (cover painting by Earl Blossom), December 1953 (cover by Stan Galli) and December 1954 (also by Stan Galli).

Some other examples have recently been posted in the Men’s Adventure Magazines Facebook group, so drop by there to see them if you have a chance.

In the meantime, here’s wishing you a Merry Christmas, Happy Hanukkah, Happy Kwanzaa and Happy Everything Else!

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Some recently-published, manly books you should get for yourself if Santa forgot to bring them…

Wednesday, December 18, 2013

STAG, December 1965 – WWII battles, Wild Flings, “Foxhole Girls” and more...


My previous post about the December 1965 issue of STAG focused on the author of its cover story about Pearl Harbor – military historian Robert F. Dorr – and on the news item with the gonzo, oh-so-Sixties “bra gun” illustration.

Of course, there are a lot of other great stories, illustrations and pulp oddities in that issue.

In fact, the mid-Sixties were great years in general for STAG and other periodicals in the “Diamond” group of men’s adventure magazines published by Atlas Magazines, Inc., Vista Publications, Inc., and other subsidiaries of Martin Goodman’s legendary company Magazine Management.

The Diamond magazines are also sometimes collectively referred to as the Atlas/Diamond group and the Magazine Management magazines.

They include STAG, MALE, MEN, FOR MEN ONLY, ACTION FOR MEN, KEN FOR MEN, MAN’S WORLD, SPORTSMAN and TRUE ACTION.

The contents pages of Diamond mags show an image of the group’s diamond-shaped logo, along with a slogan that changed over over the years, as did the list of magazines in the group. On some contents or interior pages, you often find a version of the logo that includes the titles that were in the group at the time.

In the early 1950s, most issues of the Diamond magazines were primarily illustrated with photographs, rather than illustrations.

Illustrations became increasingly frequent in the late 1950s and were typically used for half or more of the main featured stories in each issue from then until the 1970s, when photos began to dominate again.

That’s one reason why issues of STAG and other Diamond magazines from the mid-Sixties are among my favorites.

All of the issues from that period include cover and interior illustrations by some of the best illustration artists who worked for the men’s adventure genre.

They’re also chock full of classic action, adventure and war stories and “book bonus” reprints.

For example, in addition to the Pearl Harbor story by Bob Dorr, the December 1965 issue includes a book bonus adaptation of the screenplay for the epic film 1965 film BATTLE OF THE BULGE.

STAG’s version is actually credited to the movie’s scriptwriters, John Melson, Milton Sperling and Philip Yordan (which is unusual).

There’s also a fascinating, partly-true but highly-embellished Vietnam War story in this issue titled “FOXHOLE GIRLS OF VIETNAM.”

It’s about the women who fought for and against American troops. It’s further embellished with a terrific “Good Girl Art” illustration by artist Earl Norem.

And, speaking of GGA, it doesn’t get much better than the Samson Pollen painting used for the story “LAST WILD FLING OF DAISY BEDFORD,” the issue’s featured “pulp sleaze” fiction yarn. (Shown above.)

There are two stories in this issue that have illustrations by the great Bruce Minney, who passed away earlier this year.

One is a history piece about the bloody Homestead Steel Strike of 1892. It’s credited to W.J. Saber, a pseudonym of the writer Warren J. Shanahan (1926-1997).

Under his Saber pen name, Shanahan was a prolific writer of stories for the Diamond magazines in the 1960s and 1970s and wrote at least one paperback novel, THE DEVIOUS DEFECTOR (1967). A post by Steve Lewis on his excellent Mystery File site says that Shanahan also wrote for several mystery magazines under his own name and penned a novel in “The Phantom” series created by Lee Falk.

The other story in the December 1965 issue of STAG that features an illustration by Bruce Minney offers predictions of new technological marvels that would exist ten years later, in 1975. (There’s no artist credit shown in the story, but Bruce’s biographer Tom Ziegler IDed it for me.)

It was written by Emile C. Schurmacher, a prolific writer of mostly non-fiction magazine articles and books who was a frequent contributor to the Diamond magazines. The subhead for the story summarizes some of his predictions:

“10 years from now you’ll drive an electric car with an autopilot, fly to Europe in a 1500-mph ‘stretched jet,’ commute to work by hydrofoil ship. You’ll watch 3-DTV, eat ‘cabnips’ and ‘potorads’ cooked electronically at the table. You’ll kiss the common cold goodby and if you lose an arm you'll draw a new one from a human parts bank.”

Of course, it took more than 10 years for electric cars, fast jets to Europe, hydrofoil ships, 3-D television sets, electronic microwave ovens and genetically-altered foods to become commonplace, but they are all realities today. Transplants of some human body parts are now standard procedures, though not arms. Alas, the common cold is still with us.

I think sports fans will be interested in this issue’s story “STAG PICKS AMERICA’S GREATEST SPORTS THRILLS,” in which the editors spotlighted what they considered to be the top five events in the history of modern sports. They chose: the Joe Louis-Max Schmeling boxing match of 1938, the 1951 baseball playoff series between the Dodgers and the Giants, the 1947 Kentucky Derby, the 1958 NFL championship game between the the Colts and the Giants, and Jesse Owens’ Gold Medal wins at the 1936 Olympics.

And, fans of classic glamour girl photography and foreign film sexpots should like the photo spread featuring Pascale Petit, a popular actress in France who starred in dozens of films. Her latest in 1965 was the Bond-style spy flick CORRIDA POUR UN ESPION, released in the US under the title CODE NAME: JAGUAR.

The December 1965 issue of STAG also contains a good example of a Sixties-style sexposé (sex expose) about the ever-popular topic of nudist colonies — plus many other smile-inducing and sometimes cringe-inducing cultural artifacts.

If you’d like to explore them all, you can download a complete PDF copy of this issue from the MensPulpMags.com virtual newsstand.

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Comments? Corrections? Post them on the Men’s Adventure Magazines Facebook Group.

Click this link or the image below to download a PDF copy of:

STAG, December 1965

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Monday, November 18, 2013

The Walter Kaylin anthology, HE-MEN, BAG MEN & NYMPHOS, is now available on Amazon...


Like many fans of post World War II men’s pulp adventure magazines, I was originally attracted to them by their cool painted covers and interior illustrations.

After I began collecting and reading the magazines about five years ago, I found that many of the stories in them are equally cool.

Some are amazingly good, gritty pulp fiction yarns written by talented writers.

Others are good in different ways.

Some are like old Grade-B movies that are so bad — or so wild and crazy — that they’re good. Some provide fascinating glimpses of mid-Twentieth Century American culture that you won’t get from reading mainstream history books.

I discovered that there are a couple of excellent books about the men’s adventure magazine genre: IT’S A MAN’S WORLD and MEN’S ADVENTURE MAGAZINES. However, they both focused on the magazines’ history and artwork.

There were no modern book anthologies that reprinted stories from the post-WWII men’s adventure magazines, like there are for the pre-WWII pulp fiction magazines.

Now there are two.

The first was WEASELS RIPPED MY FLESH!, published last December by New Texture Books.

I co-edited that collection with the head honcho at New Texture, Wyatt Doyle, and author/journalist/musician Josh Alan Friedman.

A few days ago, New Texture officially released our second collection of classic men’s adventure stories: HE-MEN, BAG MEN & NYMPHOS. It’s now available on Amazon.

The WEASELS anthology includes stories by twenty different writers.

This new one is an authorized anthology of stories by a single writer: Walter Kaylin, the guy that other, better-known writers who once worked for men’s adventure magazines in the 1950s, 1960s and 1970s considered to be one of the best men’s adventure writers of them all.

The guy they called “the great Walter Kaylin.”

In 1984, Josh Alan Friedman did an interview with Mario Puzo, author of THE GODFATHER, about the days when he and Walter were both staff writers for Magazine Management, cranking out stories for MALE, MEN, FOR MEN ONLY and STAG and other top men’s adventure magazines published by the company.

In that interview, Mario said of Walter:

“He was great! He wrote these great adventures, but he couldn’t turn them out that fast. He was outrageous, he just carried it off. He’d have this one guy killing a thousand other guys. Then they beat him into the ground, you think he’s dead, but he rises up again and kills another thousand guys.”

At the end of the interview, Puzo says plaintively: Walter Kaylin, come back!”

It’s an honor and a pleasure to make Puzo’s wish come true by reprinting fifteen classic Walter Kaylin stories in our new anthology.

Back in the day, Walter wrote almost every type of story that was featured in men’s adventure magazines, from Westerns, war stories and exotic adventure yarns to spy stories, noir crime thrillers and exposés.

Classic examples of all of those are included in HE-MEN, BAG MEN & NYMPHOS.

Most of the stories were originally published under Walter’s own name.

Some were originally credited to his favorite pseudonyms, Roland Empey and David Mars.

Like the WEASELS anthology, each story is accompanied by scans of the cover of the magazine it was in and the artwork or photos that appeared with it.

In the Kaylin anthology, we also added attention-grabbing pullout quotes from the stories as graphic elements.

The images below show how those elements look for our reprint of Walter’s exotic adventure yarn “The Helicopter Hero and the 100 Ladies of ‘Undress’ Atoll,” originally published in the September 1959 issue of MEN.

The illustrations in the print version of the book are in black-and-white. We’re planning to use full color in the ebook version, which should be available early next year.

You can see how the print version looks and read excerpts from the stories by using the “Look Inside” feature in the book’s Amazon page.

In addition to Walter’s stories, the book includes reminiscences by Walter about his writing career, drawn from phone calls I’ve had with him.

There’s also a moving and insightful preface by his daughters Jennifer Kaylin and Lucy Kaylin, who became successful writers and editors in their own right.

And, there’s a fascinating interview with writer Bruce Jay Friedman. In the late ‘50s and early ‘60s, before he became an acclaimed novelist and playwright, Bruce was the editor of several of the men’s adventure magazines Walter and Mario Puzo wrote stories for.

I am very grateful to Walter, Jennifer, Lucy and Bruce for their support and participation in this book project, and to Josh Alan Friedman for putting me in touch with Walter several years ago.

If you’re a fan of the MensPulpMags.com blog or the WEASELS RIPPED MY FLESH! anthology, I'm pretty sure you’ll like HE-MEN, BAG MEN & NYMPHOS.

If you order a copy and enjoy it, I hope you’ll spread the word about it online by posting a review on Amazon or GoodReads.com or by mentioning it on your Facebook page, blog or website.

Those reviews are like gold for niche indie publications like ours and will help make it possible for us to publish more men’s adventure magazine anthologies in the future.

I already have several more in mind.

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Comments? Corrections? Post them on the Men’s Adventure Magazines Facebook Group.

Some more good books by New Texture writers and friends…

Thursday, November 14, 2013

Rico Tomaso – one of the best of the many great artists who worked for men’s adventure magazines…


Recently, in the Men’s Adventure Magazines Facebook group, I posted a few examples of the great painted portraits of US servicemen artist by Rico Tomaso that were used on covers of TRUE magazine in 1944 and 1945.

I think the paintings in that series rank among the best works that Tomaso created during his long long career.

When he did them, World War II was still underway and the men’s adventure magazine genre had not quite taken shape, though TRUE was leading the way.

The first painting Tomaso created for TRUE in the final years of WWII was for the February 1944 issue. It shows a group of American troops making a beach landing. (It’s not the D-Day landing. That was still four months in the future.)

The second in the series appeared on the March 1944 issue.

It’s Tomaso’s portrait of American flying ace and Navy Cross recipient Lt. Vernon E. Graham.

The original cover painting for that issue, shown below, is now owned by collector Tim Isaacson, who happens to one of the Men's Adventure Mag FB group members.

Tim was gracious enough to send me a photo of it, and a scan of the cover.

The June 1944 issue of TRUE features Tomaso’s portrait of another WWII ace and hero, Medal of Honor winner Major James H. Howard.

All three of those initial paintings in the series are well done.

But my favorites are the more painterly, head-and-shoulders close-up portraits he did, starting with the August 1944 issue.

In fact, that is one of my all time favorite men’s adventure magazine covers paintings.

The paint is applied thickly, with broad, obvious brush strokes.

The look on the soldier’s face is intense. His eyes are haunting.

He evokes an air of ballsy determination combined with war-weariness that is almost palpable.

He is the archetypal American GI.

And, in fact, the portrait goes with a story inside that’s a special tribute to “The Infantryman,” written by the well-known journalist and author Lowell Thomas.

Later in 1944 and in 1945, Tomaso did several other similar portrait paintings of individual US servicemen for TRUE in a similar style. 

To date, I haven’t been able to find copies or even good JPEG images of all of them.

But the ones I’ve seen also have the painterly, somewhat Impressionistic feel of the August issue. And, they are all clear reflections of the artistic training Tomaso received as a young man.

There’s surprisingly little biographical information about Tomaso online. One of the best bios I found is in Walt Reed’s classic reference book THE ILLUSTRATOR IN AMERICA.

Based on that, and some other information from various sources, here’s my own thumbnail overview...

Rico Tomaso was born in Chicago in 1898, grew up there and studied art at the famed Chicago Art Institute. One of his teachers was the legendary illustration artist Dean Cornwell. Cornwell became one of the biggest influences on Tomaso’s style and career and one of his closest friends.

Around 1918, Tomaso joined the US Navy. He served a four year tour of duty that took him to Europe. When his term of enlistment ended, he spent several years in France and Belgium, honing his artistic skills and studying the works of the European Realist and Impressionist painters.

After Tomaso returned to the US in the mid-1920s, Dean Cornwell convinced him to move to New York, the best place for aspiring illustration artists to get work. There, he met Robert Henri, the renowned artist and teacher who helped introduce Impressionism in America and was a leader of the “Ashcan School” of American realism. Henri became Tomaso’s other important mentor and friend. You can clearly see his influence and Cornwell’s in Tomaso’s art.

In the 1930s and 1940s, Tomaso’s career as an illustrator grew and flourished.

His artwork appeared in many of the top mainstream magazines of the day, including THE SATURDAY EVENING POST, COSMOPOLITAN, REDBOOK, LADIES HOME JOURNAL, GOOD HOUSEKEEPING and WOMAN’S HOME COMPANION.

He also did artwork for some of the fiction pulps that were popular in the ‘30s and ‘40s and paintings for magazine advertisements during those decades and into the ‘50s.

Tomaso’s paintings appeared in ads for many major US companies, including U.S. Steel, Schlitz Beer, The Hat Corporation, Old Gold, Nash Kelvinator, Texaco, Remington Rand, Brown & Williamson Tobacco Company, New York Life, Coca-Cola and Pepsi-Cola.

Some of his best advertising illustrations were portrait-style paintings similar to those he did for the TRUE servicemen series. My favorites are the ads he for Nash Kelvinator and the Hat Corporation of America. (“HATS – As healthy as they’re handsome!”)

During the ‘50s, Tomaso did cover and interior paintings for several top men’s adventure magazines, including TRUE, ADVENTURE, REAL and SAGA.

Among them was another series of terrific servicemen portraits for the covers of REAL.

The covers shown above and below feature some of the best of his REAL paintings.

In the 1960s, Tomaso seems to have focused increasingly on creating “fine art” for galleries — including many colorful but somewhat schmaltzy paintings that became widely distributed as commercial lithographs and reproductions. He also taught art at schools in New York and did portrait work for clients who could afford such things.

In the ‘60s and ‘70s it was common to find copies of Rico Tomaso paintings of bullfighters, senoritas, landscapes and cute kids among the “Fine Framed Reproductions of Paintings by World Renowned Artists” that were sold by home furnishing retailers (along with those by Picasso and other noted mid-Twentieth Century artists).

Rico Tomaso died in 1985. Though he was never quite as famous as his mentors Cornwell and Henri or artists like the SATURDAY EVENING POST regular Norman Rockwell, his work was and remains more widely known than that of many other illustrators who worked for men’s adventure magazines. Copies of his paintings and prints are still fairly common in galleries and on eBay.

By comparison, copies of the 1944 issue of TRUE that feature Tomaso’s servicemen portraits are hard to find, and may be quite pricey if you find them. I paid $79 for a copy of the August 1944 issue. But for me, it was a must have.

As I began writing this post, I Googled “Rico Tomaso” and looked at the image results. I was amazed to see the broad variety of the work he did and the various styles he used during his 60-year-long career as a professional artist.

And, as I’ve studied the cover paintings he did for men’s adventure magazines, I’ve come to feel that he deserves wider recognition as one of the best of the many great artists who worked for the genre.

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Comments? Corrections? Post them on the Men’s Adventure Magazines Facebook Group.

Related reading about famous illustration artists…