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Isaac
Paul Rader Checklist
At Midwood | Other Artists | Other
Publishers | Magazine Work
At Midwood
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F189.
SEX KITTEN – Avallone. A lot of times the covers on vintage-era
paperbacks did not live up to the promise of their title.
This one does. |
F190
THE CRAVING – Mayo. Certain themes begin to emerge
in Rader’s cover art: long beautiful hair being tossed
back tempestuously, long fingers running through hair, a
few strokes of paint magically evoking ecstasy. >
F191
UNNATURAL – Britain. Not shown. 2nd printing of Midwood
47 reuses same cover art.
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<F192.
THE SEX GAME – Skinner. The back cover of this book features
the uncensored version of cover art that was obscured on #106.
Rader recycled the front cover for a baseball & sex book,
GRAND SLAM GIRL (Bee-Line 212). > |
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F193.
LADY WRESTLER – Harvey. Hair down to her bottom, sandals
like a Roman goddess, almost nude in that skintight costume.
F194.
DAUGHTER OF SHAME – Ellis. Auction copy signed by the
author.
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F199.
THORN OF EVIL – Collier. Voyeur cover. > |
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<F200.
EASY – Peggy Swensen. Previously known as Peggy Swenson.
Cover art is unsigned but unmistakable.
F202.
THE PLATINUM TRAP – Avallone >.
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<F203.
BIRTH OF A TRAMP – Amy Harris. Spanker cover. The letter
“R”.
F207.
OVER-EXPOSED – Hytes. >
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F211
ISLAND OF SIN – Mayo. Skinny-dipping. A tiny letter “R”.
F212.
TOUCH ME GENTLY - Harris
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F213.
SLEEP-IN MAID – Linda Michaels. Pen name of Julie Ellis.
I was not sure this was Rader, until I saw the cover of CINDY
(Bee-Line 167), which is supposed to be one of the covers
Rader recycled for Bee-Line. |
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F214.
LAP OF LUXURY – Kemp. Not shown. Auction copy signed
by the author.
<F220.
FLIGHT INTO SIN – Skinner. Rader was a realist who
could use Impressionist tricks – as this detail of
blonde hair illustrates. >
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<F221
YESTERDAY’S VIRGIN – Hytes.
F226.
WAYWARD WIDOW – Beauchamp.
Auction
copy has price in ink on cover. >
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<F229.
THIS IS ELAINE – Hytes. “R”. 1963.
It
has been suggested that F230, TAKE ME by Thompson (not shown),
might be Rader.
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D231
THE WILD WEEK / IMITATION LOVERS – Hytes/Hastings. The
first of many Midwood doubles, which often had interior illustrations.
This one has b&w plates by Frank Frazetta. (We will be
auctioning a set of all of Frazetta’s Midwoods). Later
Midwood doubles have one cover; this first one is set up like
an Ace double. R. Back cover. > |
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<F232.
THE PAYOFF – Collier. Not signed.
F233.
IMMORAL LADY – Gage. Not signed. >
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<F236.
WILD HONEY – Karl. Rader combined two of his Midwoods,
WILD HONEY and THE SWAP SET (32-478), for Bee-Line 229, COME
PLAY WITH ME…> |
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<F237.
NEVER ENOUGH – Hytes. Not signed.
F239.
SUDDEN HUNGER – Dodge. R>
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<F240.
THE SOFT WAY – Hastings. Did any other cover artist use
hair the way Rader did? This cover was reused on Bee-Line
243, ONE FOR THE ROAD! > |
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<F244.
BY HER BODY BETRAYED – Anthony. Artist unknown. Included
here because one of the possible artists suggested for this
cover has been Paul Rader.
F245.
THE SEX PLAN – Elder. The letter “R”. >
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F247.
SEA NYMPH – Swenson. Signed (where the pillow meets the
book’s spine) with his capital “R”. Mr. Rader
captures this moment of ecstasy with deceptively simple devices:
a female hand touching a tattooed arm, a man’s hand buried
in a cascade of feminine hair, a face turned away from us
in privacy. Similar to F190, but, I think, an improvement
on its theme. |
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<F248.
HORIZONTAL SECRETARY – Harris. Rader would change his
secretary to a school teacher for Bee-Line 185, PRIVATE LESSONS.
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<F250.
A RAGE WITHIN – Hastings. This painting was reused on
Private Edition 412, JOURNEY TO EROTICA. >
F252.
STRANGE BREED – 2nd pr of 44 uses same Rader cover.
Not shown.
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<F256.
A BIT OF FLUFF – Kemp. Playfully erotic, as steamy as
a sauna.
F259.
THE CRUEL TOUCH – Marshall. >
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F260.
THE PATH BETWEEN – Warren. Not shown. 2nd pr. #72 with
same cover.
<F263.
THE MARK OF A MAN – Collier. No artist’s signature
is visible.
F265.
ALL OF ME – Harris. >
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<F266.
RESTLESS – Greg Hamilton. Pen name of Ron Singer.
(F267.
EVERYBODY WELCOME might be Rader. See 33-639.)
F268.
THE UNASHAMED – Hastings. Not shown. 2nd pr of #53
uses same cover art.
F270.
SIGN HERE FOR SIN – Donalds. >
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<F271.
HER PRIVATE HELL – March Hastings. Everyone has their
favorite Rader cover; this one just seems to get named more
often than any of the others. The naked embrace of two lovers
turns out to be one woman and one mirror. Rader reused this
for PE437, THE WICKED NEVER SLEEP. >
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<F273.
ANY MAN WILL DO – Hamilton.
Rader
reused this cover for Bee-Line 244, STAND-IN FOR SEX. >
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F274.
PAJAMA PARTY – Swenson. In the mid-1960’s, Paul
Rader did a series of covers for Midwood that posed groups
of women – usually 3 – in provocative poses. Men
(and women!) all over America asked, “Where is this party?!?”
F276.
SIN ON WHEELS – Beauchamp. 2nd pr. of #70 crops the
original cover. >
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<F278.
FRINGE BENEFITS – Anthony
F282.
PARTY GIRLS – Russo. >
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<F286.
ONE OF THE GIRLS – Mezatesta.
F290.
THE INTRUDER – Powell. Not signed, and possibly not
Rader. The woman does not look like a Rader model. But most
of the rest of the cover is in the Rader style. Maybe a
different artist with a similar touch? >
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(Some
say F292, the 2nd of NURSE CAROLYN with a new cover is Rader.
I’m not convinced yet.)
<F296
THE HEAT OF DAY –Hastings. Memorably featured in Jaye
Zimet’s STRANGE SISTERS. The “Rader” is almost
invisible at the bottom of the book.
F298.
MADE TO ORDER – Hamilton. >
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<F307.
NO WAY BACK – Russell Trainer. Pen name of Robert Tralins.
(Auction copy is signed by the author.)
F313.
MAN TRAP – Curtis.
Rader
rarely used “cute” signatures on his paintings.
This is an exception, as his signatory “R” appears
on the menu. >
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<F315.
WHEN LIGHTS ARE LOW – Mayo. Rader reused this cover art
on Private Edition 396, CONNIE (not shown).
F318.
STRONGER THAN LOVE – Draper. Not signed. >
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F323
JUST THE TWO OF US – Brooks. Not shown.
<F324.
SO EAGER TO PLEASE – Hamilton. Artist unverified. Midwood
was obviously looking for “Rader style” art, and
there are several covers that collectors are unable to agree
on. Rader, or ?
F326.
THE HONEY-MOON HABIT – Corgan.>
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F327.
SPRING FEVER – Hughes. Rader’s signature appears
in the folds of the curtain. |
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<F331.
DIFFERENT – Kemp. Rader reused this cover for All Star
145, THE NIGHTWALKERS. > |
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F332.
DAY IN, DAY OUT – Ellis. With this cover and the next
Rader seems to have hit his mark among the top echelon of
paperback artists. |
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F333.
TEACHER’S PET – Clements. This is the cover reproduced
in THE GREAT AMERICAN PIN-UP. It is all of those things. |
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<F336.
NUDE IN A RED CHAIR – Moore. “R”
F342.
THE BABY-SITTER – Fields. “R”. >
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F343.
GIRLS DORMITORY – Ellis. Coincidentally or by design,
this cover is reminiscent of an earlier Beacon cover, by Clem
Micarelli, for a different book of the same title. It’s
not a swipe, there are just certain thematic similarities.
Borrowing, sampling and outright stealing were everyday occurrences
in the fast-deadline world of paperback art, but Rader has
never seemed a derivative artist. For more on Micarelli at
Beacon, see the “Other Artists” page below. |
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<F352.
A WORLD ALL THEIR OWN – Kemp. 1964. Not signed.
F353.
NEVER SAY NO – Bouma. >
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<F356
FOR SEVICES RENDERED – Curtis.
F360.
AFTER CLASS – Ellis. Not signed, but unmistakable.
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