The Word Is “Amour” And It’s French For Love
Even as the statue took on shape and texture… so did a relationship she never thought possible.
Sexy Jill wanted men… but other women wanted her!
From the back of A Labor of Love
Dorcas, the young socialite…who came down to the Village seeking to develop a talent, who came in search of a means of self-expression, who came in the hope of putting an end to a nagging inner unrest she was unable to fully understand.
Gina, the sensuous model…a lovely wanton with a flawless body, demanding that she be paid by the hour, whether working as a model by day or a mistress by night.
Suddenly, for Dorcas, it wasn’t enough to mold the exquisite details of Gina’s sleek thighs and hips and breasts in clay…suddenly, she had to work with something softer than clay, something warmer…like flesh!
From the back of The Women She Had
Jill let her hands roam over Betty’ naked body, as Betty kissed her with wild passion. It was tremendously exciting to feel the smooth flesh, to caress the lush curves, to make that warm body tremble with anticipation…. The damn years she had wasted! The thrilling pleasures she had missed! No more! Never again would she do without….
When I could not find any information about where these paintings were published, I wrote David Saunders, who is the leading expert on his father’s work. David immediately wrote back and told me that they had never actually been published, which makes me feel better about my research skills.
I am very familiar with these paintings ever since I was first shown photographs of them by Charles Martignette around 1998, at which point he was trying to arrange to trade them to me in exchange for other original art I own by my father. He stated to me that they were a part of a large collection of original paintings that he owned, which had all come from DELL Publications. He showed me photos of all the other paintings as well, and sure enough I recognized all of them as actual cover art from DELL publication pulp magazines. I helped him to identify the publication dates and titles for all of the other original paintings, but I was not able to find any examples of these two paintings having ever been published, so I told him at the time that they were “unpublished works.” By that time I had already spent a lifetime documenting my father’s art. I had thoroughly identified all known published examples of the art of Norman Saunders. Because of my expertise it was a surprise to see these two “unpublished” paintings, which were entirely unknown to me. They are clearly identifiable from their unique style as being from among the first group of paintings Norman Saunders designed with the intention of breaking into the pulp magazine industry in 1934. This was before his all-important study “master class” with Harvey Dunn in NYC at the Grand Central School of Art, where he received his advanced training from 1935 to 1938. So these are from an earlier period, before he was an accomplished master of oil paintings, when he might be described as a semi-professional illustrator of a student grade. He had already produced thousands of black and white interior story illustrations for Fawcett Publications in Minneapolis, but he had only painted a few full-color magazine covers. He moved to NYC in the summer of 1934 and he struggled to break into the pulp magazine industry as a cover artist. My father later told me that the first publisher to give him a break was George Delacorte at DELL Publications. Dad told me that Delacorte himself was interested enough to buy “an arm-load of sample covers.” Sure enough, many of the earliest published examples of my father’s cover art appeared on DELL pulp magazines, ALL DETECTIVE and BLACK BOOK DETECTIVE. I have made a great effort to inspect every single issue of every pulp magazine published by DELL from that time period, many of which are available for study in microfilm format at the US Library of Congress in Washington DC. I have inspected every such magazine and I feel confident to state definitively that neither of these paintings were ever published on the covers of any pulp magazine.
I suspect these were among the “arm-load of sample covers” my father sold to George Delacorte in the Fall of 1934 or Winter of 1935. These are the only two that have since surfaced from a collection that Charles Martignette bought from an unknown source from the archives of DELL Publications. All of the other examples that Charles Martignette showed me came from BLACK BOOK DETECTIVE circa 1935 to 1937. The evidence strongly suggests George Delacorte bought an “arm load of samples covers” from Norman Saunders and proceeded to use the finest examples on his covers of the pulp magazine BLACK BOOK DETECTIVE, but he never chose to print these. Incidentally, my father also told me that his earliest cover paintings were sold for only $25 each, so at that rate DELL could afford to buy more than they really needed to use.
I hope this background info helps you to better appreciate these unpublished student-grade paintings for what they are.
A dirty, rotten trail to murder!
She was very lovely — and very dead!
Under The Spell Of His Brush, The Dead Live Again
My men like satyrs grazing on the lawns Shall with their goat-feet dance the antic hay – Marlowe
Bernard, painter of nudes, loves all three. As models and mistresses they share an island paradise until the artist’s brother comes uninvited.
Taken from the pages of a famous painter’s diary, The Harem reveals the extraordinary story of a beautiful woman who shared her conjugal rights in one of the strangest households of Europe.
Edit: Added original artwork
Wanting True Love — Not Homage — She Got More That She Bargained For