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

Saturday, February 10, 2018

POLLEN’S WOMEN: THE ART OF SAMSON POLLEN...

POLLEN'S WOMEN - Preview on Issuu BD
I’m very happy to announce the release of POLLEN’S WOMEN: THE ART OF SAMSON POLLEN, the latest book in the Men’s Adventure Library series that I co-edit and publish with Wyatt Doyle, via his New Texture imprint.

Samson Pollen is one of the great grandmasters of illustration art used for stories published in men’s adventure magazines (MAMs) from the mid-1950s to the mid-1970s.

POLLEN’S WOMEN is a deluxe, full-color, hardcover that features photos of dozens of Sam’s original MAM paintings from his personal archive, along with scans of the stories they were used for from magazines in my collection.

You can see the in-depth preview of the book we posted on the ISSUU.com site or by clicking “Look Inside” on the main listing for it Amazon.

As I write this on February 10, 2018, the main listing on Amazon is new. You can preorder it from Amazon and it should be shipping soon.

If you don’t want to wait for Amazon to start shipping it, you can buy a copy directly from me via my seller listing on Amazon. I already have a batch on hand. (It’s one of the bennies of being co-editor and co-publisher.)

From the 1950s to the 1990s, Samson Pollen created top-notch illustration artwork for various types of periodicals and paperback books and fine art paintings for galleries, commissions and prints.

However, most of his artwork—literally hundreds of paintings—was used as interior illustrations for stories in the Atlas/Diamond group of MAMs published by Martin Goodman’s Magazine Management Company.

The Atlas/Diamond group included many of the best, most popular and longest-running magazines in the men’s adventure genre, such as ACTION FOR MEN, FOR MEN ONLY, MALE, MAN’S WORLD, MEN, STAG and TRUE ACTION.

POLLEN'S WOMEN book - front, back & inside bdSamson Pollen is currently less well known than some of the other great artists who worked for those magazines; artists like Mort Kunstler, James Bama, Gil Cohen, Charles Copeland and Earl Norem.

That’s largely because most examples of vintage MAM artwork shown in books and internet posts are cover scans, and Pollen specialized in doing interior illustrations.

Although he did do many cover paintings for action, adventure and romance paperbacks during his long career as an illustrator, Pollen preferred—and became a go-to artist for—illustrations printed inside across the first two pages of stories.

To create a book that best showcases his original interior artwork, we used an 8.5" x 11" horizontal, landscape format.

That allowed us to put a large photo of each painting on a full page.

In between the photos of paintings, there are pages showing high-resolution scans of the stories they were used in as they appeared in the magazines, with captions noting the magazine titles and issue dates.

In addition to being the first book to feature artwork by Samson Pollen, POLLEN’S WOMEN is the first book I know of that focuses on interior artwork from men’s adventure magazines.

Until now, most of the original paintings Pollen did for those two-page spreads (which were sometimes printed vertically) have never been seen.

Most of the Pollen paintings in the book have never been published anywhere in books or online.

The majority are paintings that Sam has kept stored away in his home in Manhattan.

Some are from the awesome illustration art collection of our friend David O’Dell. David also owns some of the cool original MAM artwork by Earl Norem and racy bachelor mag artwork by Bill Edwards that I’ve featured in past posts on this blog. 

Another collector who owns many original Pollens used in men’s adventure magazines is my friend Rich Oberg. It was Rich who put me touch with Sam in 2017, around the time Sam turned 86 years old.

When I asked Sam if he’d like to collaborate on collections featuring his original artwork for our Men’s Adventure Library series, I was thrilled that he gave us the thumbs-up and full access to his personal stash of paintings.

There are so many, we’re planning to use them for several books. After studying Sam’s amazing treasure trove of paintings, we decided to start with a book showcasing his classic MAM artwork that features alluring female subjects.

POLLENS WOMEN p01 WMPOLLENS WOMEN p05 WMPOLLENS WOMEN p07 WM

Images of beautiful women were common in MAMs, Pollen was particularly adept at painting scenes that feature beautiful women—and he did scores of them for Goodman’s Atlas/Diamond magazines.

Pollen’s women are not the kind of damsels in distress that are common in artwork done for early pulp magazines and the “sweat mag” subgenre of MAMs.

Pollen’s women are often powerful or dangerous or both. Some are temptresses or femme fatales, seeking to lure a man into doing their bidding. Others are warriors, fighting alongside (or against) the male characters in the scene.

Naturally, given the era, the women in some Pollen illustrations are relegated to being helpmates to the male protagonists. Some are simply unashamedly sexually aggressive.

POLLENS WOMEN p012 WMPOLLENS WOMEN p013 WMPOLLENS WOMEN p19 WM

But, while MAMs are of their time and thus not particularly evolved in terms of perspectives on gender roles or sexuality (despite occasional unexpectedly advanced thinking in those areas), Pollen’s women are almost never helpless victims.

They also contradict the widespread misperception that MAM illustrations typically show women being abused.

In fact, “bondage and torture” style stories and artwork were only prevalent in the “sweat mag” subgenre, which account for less than a third of the more than 160 different MAM titles that were published—and even less of the total readership.

The Atlas/Diamond group Samson Pollen worked for (and most other mid- and top-tier MAMs) didn’t feature such stuff.

POLLENS WOMEN p017 WMPOLLENS WOMEN p22 WMPOLLENS WOMEN p23 WM

Another revelation comes from being able to see Pollen’s original MAM paintings. They are far more lush and painterly than you can tell from seeing them in magazine spreads, surrounded by headlines, subheads and text, and printed on medium- to low-quality paper.

Samson Pollen’s paintings stand on their own as artwork.

Artists in the realm of “fine arts” can generally choose the scenes they paint, and their paintings may or may not try to convey a story about what’s portrayed.

Professional illustrators are hired to depict scenes to accompany specific stories. Yet within the boundaries of those limitations, top illustrators like Samson Pollen are able to use their skill and imagination to create exceptional art.

POLLENS WOMEN p38 WM  POLLENS WOMEN p67 WMPOLLENS WOMEN p80 WM

Artists who created men’s adventure mag illustrations were given little to go on as far as the stories they were illuminating; usually no more than a one to three sentence description of the story, and minimal guidance from the magazine’s art director on what setting, action and characters he wanted depicted.

The artist was then expected to do initial sketches, take any reference photos of models he needed, and submit a finished painting in a matter of days.

Instead of being hamstrung by the strictures of illustrating stories, Pollen soared.

Artist Samson Pollen polaroid photo 2It was a challenge on many levels, but one that Sam not only rose to again and again but relished.

As Sam explained to us:

“They might say something like ‘Well, the hero has an automatic weapon in one hand and he’s carrying a woman in another hand and she’s holding a dog and they’re climbing up a cliff. So, I’d have to come up with a solution. What I would do is visualize it. I’d try to look at the scene and I’d see it in my imagination. That’s the part I liked the most: trying to make sense out of something and create a story of it in my mind, then translate that into a painting.” 

As we worked on POLLEN’S WOMEN, we had the pleasure of talking with Sam many times.

We transcribed Sam’s recollections about his life and career and turned them into a chapter in the book.

If you’re a fan of his work, or men’s adventure magazines and mid-20th Century illustration art in general, I think you’ll find this autobiographical chapter to be fascinating reading.

As I wrote in the brief introduction to the book, Wyatt and I love Samson Pollen artwork and believe he deserves wider recognition as an artist.

We hope this book will help make that happen.

*     *     *     *     *     *     *     *     *     *

Comments? Corrections? Post them on the Weasels Ripped My Book Facebook Page, email them to me,
or join the
Men’s Adventure Magazines & Books Facebook Group and post them there.

CLICK THE IMAGE BELOW TO SEE OUR MEN’S ADVENTURE LIBRARY BOOKS ON AMAZON

zzzz - Horizontal ad 2

Monday, January 1, 2018

Talking with Eva Lynd about Steve Holland, Al Rossi, Richard Deming’s “KILL AND RUN NUDE” and more...

FOR MEN ONLY, July 1964, Al Rossi art, models Eva Lynd & Steve Holland WM2
Several years ago, I had the good fortune of becoming friends with Eva Lynd.

As I’ve noted in previous posts on this blog, Eva worked as an actress in a number of TV shows in the ‘50s, ‘60s and ‘70s, including THE STEVE ALLEN SHOW, THE GARRY MOORE SHOW, THE THIN MAN, PETER GUNN, THE TEXAN, HOGANS HEROES and CAGNEY & LACEY.

She appeared in many plays and several movies, including the cult films THE HYPNOTIC EYE and THAT LADY FROM PEKING, and in TV commercials (most notably as the famous Girl in the Brylcreem Tube).

She was a popular model for pinup photographers, whose photos of her appeared in scores of magazines. Eva also modeled for photographs used in ads, catalogs and album covers.

In addition, and of special interest to me, is the fact that she modeled for several of the top illustration artists who worked for men’s adventure magazines.

She was, in particular, a favorite of artists Al Rossi and Norm Eastman.

Rossi did many illustrations for the Atlas/Diamond MAMs published by Magazine Management, as well as many paperback cover paintings.

Eastman is the grandmaster of the OTT cover paintings used on periodicals in the “sweat mag” subgenre of MAMs.

Not long after Eva and I became pen pals, Eva sent me copies of some of the reference photos Al Rossi took of her for his illustration work and gave to her later.

Several of those photos show Eva posing with another men’s adventure magazine superstar, male model Steve Holland.

As noted in a recent post my writer pal Paul Bishop did for his blog (“STEVE HOLLAND—THE FACE OF A HERO”), Holland’s image was used by dozens of artists for thousands magazine illustrations and countless paperback covers – including James Bama’s iconic portraits of Doc Savage on the Bantam PB series.

Al Rossi photo of Eva Lynd & Steve Holland c1964 WMRossi and Norm Eastman both frequently hired Eva Lynd and Steve Holland to pose together for their illustration art and I always enjoy finding examples.

I’ve IDed the stories most of the Rossi photos of Eva sent me were used in, but not all. So, I’m always on the lookout as I browse through magazines that I buy.

Recently, while reading FOR MEN ONLY, July 1964, I made a major Eva Lynd and Steve Holland discovery.

It’s a story that has a whole series of illustrations by Al Rossi using Eva and Steve as models, including two that are based on Rossi reference photos Eva had sent me copies of.

The story, by the prolific writer of mystery and detective stories and novels Richard Deming, is a cool find in itself.

Titled “KILL AND RUN NUDE” in FOR MEN ONLY, it’s a “Book Bonus” version of Deming’s 1960 novel HIT AND RUN.

The original paperback edition has a classic Robert McGinnis cover painting.

The novel is an expanded version of Deming’s short story “Hit and Run” in the December 1954 issue of the great, noirish mystery magazine MANHUNT.

The main illustration in FOR MEN ONLY’s version, printed as a two-page vertical spread, is based on one of the Rossi reference photos Eva sent me, showing her and Holland. (Or at least it’s based on a very similar shot on the roll of film Rossi shot during that session.)

Rossi also created five small “spot illustrations” for the story that feature either Eva or Steve or both, including one that matches another Rossi reference pic.

When I scanned those illustrations and emailed them to Eva, she got a kick out of seeing them.

And, I got a kick out of asking her questions about her recollections of modeling for Al Rossi and posing with Steve Holland during several conversations we had about them.

Here are some of the things she told me...

FOR MEN ONLY, July 1964, cover by Mort Kunstler WM2MANHUNT, Dec. 1954 w Richard Deming HIt and Run WMHIT AND RUN (1960) by Richard Deming, Robert McGinnis cover

BOB DEIS: Do you recall seeing the illustrations in FOR MEN ONLY, July 1964 before I sent them to you, Eva?

EVA LYND: No.  I have not seen these illustrations before. This is very exciting! The opening illustration is based on a photo Al Rossi took of me and Steve Holland exactly as posed. And, another one is based on a photo he took of me doing a strip dance pose. I knew he used that one later for an illustration in ACTION FOR MEN in 1966 because you found it and sent it to me a while ago. But my face was slightly altered in that one. The other small illustrations in FOR MEN ONLY are also me, like the woman in the sundress with a gun to the guy’s head. I have that dress, in fact it is the same one I’m wearing in a photo Lester L. Krauss once took of me for a magazine or an ad. In the photo, I am full figure against a white, brick background. The sundress has roses on it.

Al Rossi photo of Eva Lynd c1964FOR MEN ONLY, July 1964 - Al Rossi art, model Eva Lynd 05a WM

BOB: Do you remember anything about the photo session you did with Steve Holland for Rossi’s FOR MEN ONLY artwork?

EVA: I remember this session very well. I even remember Al asking me to hop on the table and act as if I was going to do a strip tease. I’m also the girl sitting below in the drawing, and she looks even more like me than the image of the girl doing the strip. I have adjusted to the fact that illustrators didn’t always make exact duplicates of the model. Al was always clear about what he wanted and I always did my best to give it to him. Steve Holland and I knew how we both worked, and would just fall into poses together easily. I am sorry that he is no longer with us because I would have loved to be able to reminisce with him.

ACTION FOR MEN, Jan 1966, Al Rossi art, model Eva Lynd FOR MEN ONLY, July 1964 - Al Rossi art, model Eva Lynd 07a WM

BOB: You worked as a model for Al Rossi during two periods when you lived in New York City, in the late ‘50s and again in the mid-‘60s. What information would he give you for a shoot?

EVA: Since I worked for him quite often, he would call me directly and let me know what to bring for wardrobe. It seems to me that he always worked in his studio. I don’t remember if it was a house or not, or where it was, although I know it was in the city. In the studio, he would describe the scene we would be doing and who we were and what we would be doing in it, including what emotions our faces should show. With Al it was usually something dramatic or romantic, which would be easy. With Norm Eastman it would be women in severe danger and I would have to show the horror of it all without distorting my face. The face always had to look good and had to show the horror in a “pretty” way.  I was also very good at assuming the persona an artist wanted for an illustration drawing, as was Steve Holland, which is why we worked well together and why Rossi and Eastman used us together so often. I can only assume that the acting ability we both had helped a lot in doing the still photos.

Eva Lynd in sundress, photo by Lester KraussFOR MEN ONLY, July 1964 - Al Rossi art, model Eva Lynd 02 aWM

BOB: Was doing the reference photo sessions like acting out a scene in a movie or TV show?

EVA: Yes, in a way, except it would be more like stop-motion since we would have to hold still so the artist could get the shot and then change it a bit for the next shot. Al Rossi would usually take a roll or two of each situation to make sure he got what he wanted. That is why some of the reference photos I have may not be the exact image he finally used for his renderings, although some certainly were.

Eva Lynd publicity photo for the STEVE ALLEN SHOW, 1957That Lady From Peking, still with Eva Lynd WM1

BOB: Did Rossi and Eastman tell you in advance when you’d be doing a session with Steve Holland and what the scene would be like?

EVA: Since I pretty much always worked with Steve, I would just assume that it would be him. We worked well together. I know there were times that I worked with other men, but I can’t remember who they were because it would have been just once or so. The illustrators usually would wait to describe the scene until we got there. Al Rossi was a very easy guy to work with, as was Norm Eastman. I remember Al would always tell us to relax while he set up the next scenario.

BOB: Do you recall if you had met Holland through Al Rossi and did you ever hang out with Steve after a modeling session?

EVA: I don’t remember when I first met Steve Holland, but it was probably the first time I worked for Rossi. I had no idea that he was such a famous men’s magazine model. I also don’t know if he knew who I was. We never spent time together when we were not working, and I have no idea what his private life was like. I just know that we worked together incredibly well. When we were done with a session we went our separate ways. He and I would chat about this and that during the shoot, but he was always extremely busy, as you know, and would always take off for another session elsewhere after we were done.

FOR MEN ONLY, July 1964 - Al Rossi art, model Eva Lynd 03a WMFOR MEN ONLY, July 1964 - Al Rossi art, model Eva Lynd 04A WM

BOB: The standard fee for a modeling session was $25 an hour back then, which is the equivalent of nearly $200 in today’s dollars. That’s pretty good money. Did most sessions last about an hour?

EVA: Yes, $25 WAS a lot more per hour than I could have earned as a waitress, which I also worked as in the beginning. And, since we were paid $25 an hour, every illustrator tried to get as much into that hour as possible, so they didn’t have to pay for another hour. I remember Al Rossi would try to get as many storylines into that time as possible, as did all the illustrators. One session that comes to mind is the one in which that I posed for all the women in one illustration, which ended up in KEN FOR MEN, May 1957. When I worked for photographers the fee was the same, but if they wanted to go on location, they would usually try to make a deal for a lump sum, so they didn’t have to worry about the time it might take.

BOB: From what you've said to me in the past, it seems like you never really sought out the magazines that had illustrations or photos featuring you during the years when you were a model. Did you ever even look through any of the men’s adventure magazines Al Rossi and Norm Eastman worked for at the time?

EVA: No, I never looked for my work in any of the magazine, because it never occurred to me to do so, and I never knew where they were going to appear anyway. The illustrators didn’t have time to let anyone know either, if they even knew. My uncle found a lot of the photos of me in various magazines, and made a scrapbook for me, or I would not have had anything in print from that time at all. But, naturally he didn’t find everything either. It’s a lot of fun for me to find all these things now, such a very long time later. I probably appreciate it more now than I would have then, since it was basically only work for me, and I never thought about what the outcome would be. But I am delighted to see photos or illustrations of me I haven’t seen before. For example, a lot of pinup photos Peter Basch took of me during various sessions I did with him keep coming up on eBay.

KEN FOR MEN, May 1957, art by Al RossiPeter Basch photo of Eva Lynd color MPM

BOB: Yes, and they sell for quite a bit of money. I’ve bid on several and lost. And, many are not the final shots that were used in magazines or in Basch’s photography books.

EVA: And, it’s impossible to know from listings on eBay which illustrations in men’s adventure magazines have images of Eva Lynd inside, since there are no model credits listed. I know of many now, but some have yet to be found, like the ones you found in FOR MEN ONLY. So, I am therefore thrilled that you found those! Since you found them, I know you will also eventually find the one where Steve and I are on our stomachs crawling to the left, he with gun in hand. It has to show up somewhere eventually. I keep hoping it will appear.

BOB: Me, too! As you know, I posted it on my blog in a past post about you and a blogger named David Goode and his buddy Vance Capley made a cool faux movie poster with it, for the no-existent film OPERATION: RAGNAROK, starring Eva Lynd and Steve Holland. I’m posting a copy of the photo again with this conversation and hope that anyone who knows what magazine it was used in will shoot me an email and let us know. Thanks again for talking with me Eva!

Faux movie poster with Eva Lynd & Steve HollandEva Lynd c.2016

*     *     *     *     *     *     *     *     *     *

Comments? Corrections? Post them on the Weasels Ripped My Book Facebook Page, email them to me,
or join the
Men’s Adventure Magazines & Books Facebook Group and post them there.

Related reading and viewing…

Saturday, December 23, 2017

Ho! Ho! Ho! Men’s adventure magazines style…

MAN'S LIFE, Sept 1956, cover by Wil Hulsey, spoof MPM
Most of the more than 160 different men’s adventure magazines published from the late 1940s to the mid-1970s never featured holiday-themed covers for Christmas or any other holidays.

I guess most MAM editors thought holiday covers would be out-of-sync with the manly image of their mags.

There are a few notable exceptions.

Some issues of the top-tier, high-circulation MAMs ARGOSY and TRUE have covers that use either Christmas-themed cover paintings or photographs.

But I have often imagined what it would be like if other MAMs gave a nod to Christmas in their December issues.

So, over the years, just for fun, I have created some MAM spoof Christmas covers that I’ve posted on in the Men’s Adventure Magazines Facebook Group and on my Twitter feed and Flickr page.

This year, I decided to do a blog post featuring both some of the spoof covers I’ve made and some of the best real MAM Christmas covers.

I’ll start with my Christmas-cized version one of the most recognizable MAM covers of all and the one that inspired this blog and our first anthology in our Men’s Adventure Library series: the “WEASELS RIPPED MY FLESH” issue of MAN’S LIFE, published in September 1956.

If Santa Claus had been the hapless, weasel-bedeviled guy in that story (which is reprinted in our book WEASELS RIPPED MY FLESH), the cover (featuring artwork by Wil Hulsey, and Steve Holland as the model) would have looked like the spoof cover at the top of this post.

I also had some fun with the classic cover panting of killer coconut crabs by George Gross, which now resides in the collection of my friend Rich Oberg.

It was used on the cover of MAN'S CONQUEST, November 1956 and is even cooler than the magazine cover indicates, since the Art Director at MAN’S CONQUEST cropped it quite a bit for the cover.

If Gross had been asked to make a Christmas version of his artwork, with Santa Claus facing another killer creature threat, the cover of MAN'S CONQUEST, November 1956 might have looked something like my Christmas-cized version below.

In addition, the cover of our book collecting classic killer creature stories from MAMs, I WATCHED THEM EAT ME ALIVE, which also uses part of the Gross coconut crab attack painting, would have looked a bit different.

MAN'S CONQUEST, Nov 1956, art by George Gross MPMMAN'S CONQUEST, Nov 1956, spoof cover MPMI WATCHED THEM EAT ME book. Santa spoof MPM

Just for the fun of it, I’ve also used Photoshop to show what it would be like if Santa had been depicted as some of tough-looking characters on the covers of men’s adventure magazines; characters like the bazooka-toting GI on the cover of BLUEBOOK, July 1971 (original art by Mel Crair) … the pirate captain on the cover of SAGA, May 1959 (original art by Thomas Beecham) … and the Hairy Ainu snatching a woman on the cover of WILDCAT ADVENTURES, June 1960 (original art by Basil Gogos, who I’m sad to say passed away recently).

BLUEBOOK, July 1971, spoof cover MPMSAGA, May 1959 - spoof cover MPMWILDCAT ADVENTURES, June 1960, spoof cover MPM

And below is “Marine Sergeant S. Claus” basking in the awe of the islanders on the cover of STAG, April 1958 (original art by James Bama, for a story about “Marine Sgt. Wirkus”). 

Of course, I haven’t only used Santa himself for my men’s adventure magazine Christmas spoofs. In some, I just use Santa hats.

Here’s one using artist Samson Pollen’s original painting for a story in STAG, September 1968…

STAG, April 1958 - spoof cover MPMSTAG, Sept 1968, Xmas spoof version MPM

I’ve also put Santa hats on characters like the badass biker Earl Norem painted for the cover of MEN, October 1969 (one of the covers featured in our book collecting motorcycle gang covers and interiors from men’s adventure mags, BARBARIANS ON BIKES.

And, although the Grinch is certainly not in the same league with Nazis when it comes to being truly evil, I’ve made spoof covers that superimpose the Grinch on Nazi characters in scenes on the covers of magazines in the “sweat mag” subgenre of MAMs.

For example, I Grinched the cover of MEN TODAY, July 1964 and MAN'S STORY, April 1974. The original artwork on both of those covers was done by Norm Eastman. As he often did, Norm used my friend Eva Lynd for the blonde distressed damsels in the foreground. As regular readers of this blog know, Eva modeled for many artists and pinup photographers from the late 1950s to the 1970s and appeared in various TV shows and movies. My publishing partner Wyatt Doyle and I are currently collaborating with Eva on a book about her. It will feature MAM cover paintings and interior illustrations, glamour girl photos she appeared in (like the one at the bottom of this post), and many previously unpublished photos of her taken by top pinup photographers of the day and artists she worked for, from her own personal photo archives.

MEN, October 1969, spoof cover MPMMEN TODAY, July 1964 - spoof cover MPMMAN'S STORY, April 1974 - spoof cover MPM

As I’ve noted, you won’t find real Christmas covers on most men’s adventure magazines. The notable exceptions are TRUE and ARGOSY. Some examples of their Christmas holiday season covers are shown below.

December issues of both TRUE and ARGOSY from the late 1940s and 1950s feature Christmas-themed covers with artwork by top illustration artists. Artists like Tom Lovell and Bob Kuhn

TRUE, Dec 1948, cover by Tom Lovell MPMARGOSY, December 1950 - cover by Bob Kuhn MPMARGOSY, Dec 1955 - cover by Bob Kuhn MPM

...Walter Baumhofer, Fred Ludekens and Jack Dumas.

ARGOSY, Dec. 1954 - cover by Walter Baumhofer MPMTRUE, Dec 1955, cover by Fred Ludekens MPMARGOSY, Dec 1956 - Cover by Jack Dumas MPM

Two other great artists who did Christmas-themed cover paintings for TRUE and ARGOSY are Stan Galli and Ed Valigursky

TRUE - 1953 12 dec - cover by Stan Galli MPMTRUE , Dec 1954 - cover by Stan Galli MPMARGOSY, Dec 1959. Cover by Ed Valigursky MPM

Both of those magazines also featured some December issues with Christmas-themed photographs.

My favorites are those by world-famous photographer Arie deZanger. His almost look like paintings and use reflections in a masterful way.

But as a dog lover, I have a soft spot for the photo by Don Pendleton on the cover of ARGOSY, December 1961, which shows a cute puppy in a red cowboy boot.

ARGOSY, Dec 1963, photo by Arie de Zanger MPMARGOSY, Dec 1964 - Arie deZanger cover photo MPMARGOSY, Dec 1961, photo Don Pendleton MPM

Of course, thinking about Christmas photos from men’s magazines reminds me of Christmas photos of my two favorite pinup models, Bettie Page and Eva Lynd.

Speaking of Eva, an upcoming post here will feature some great men’s adventure mag illustrations by artist Al Rossi and a look at some of the reference photos he shot of her – along with recollections Eva has shared with me about working with Rossi.

Bettie Page Christmas photo (1955) by Bunny YeagerSHE, Feb 1958 - Eva Lynd, Christmas Centerfold MPM

Until them, here’s wishing you Happy Hollydaze from me and MensPulpMags.com!

*     *     *     *     *     *     *     *     *     *

Comments? Corrections? Post them on the Weasels Ripped My Book Facebook Page, email them to me,
or join the
Men’s Adventure Magazines & Books Facebook Group and post them there.

Some of the books I read in 2017, enjoyed and recommend…