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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.

<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). >

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.


F199. THORN OF EVIL – Collier. Voyeur cover. >

<F200. EASY – Peggy Swensen. Previously known as Peggy Swenson. Cover art is unsigned but unmistakable.

F202. THE PLATINUM TRAP – Avallone >.

<F203. BIRTH OF A TRAMP – Amy Harris. Spanker cover. The letter “R”.

F207. OVER-EXPOSED – Hytes. >

F211 ISLAND OF SIN – Mayo. Skinny-dipping. A tiny letter “R”.

F212. TOUCH ME GENTLY - Harris

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.

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. >


F226. WAYWARD WIDOW – Beauchamp.

Auction copy has price in ink on cover. >

<F229. THIS IS ELAINE – Hytes. “R”. 1963.

It has been suggested that F230, TAKE ME by Thompson (not shown), might be Rader.

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. >

<F232. THE PAYOFF – Collier. Not signed.

F233. IMMORAL LADY – Gage. Not signed. >

<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…>

<F237. NEVER ENOUGH – Hytes. Not signed.

F239. SUDDEN HUNGER – Dodge. R>


<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! >

<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”. >

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.

<F248. HORIZONTAL SECRETARY – Harris. Rader would change his secretary to a school teacher for Bee-Line 185, PRIVATE LESSONS. >

<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.

<F256. A BIT OF FLUFF – Kemp. Playfully erotic, as steamy as a sauna.

F259. THE CRUEL TOUCH – Marshall. >

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. >

<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. >

<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. >

<F273. ANY MAN WILL DO – Hamilton.

Rader reused this cover for Bee-Line 244, STAND-IN FOR SEX. >

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. >

<F278. FRINGE BENEFITS – Anthony

F282. PARTY GIRLS – Russo. >

<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? >

(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. >

<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. >

<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. >

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 ?


F327. SPRING FEVER – Hughes. Rader’s signature appears in the folds of the curtain.

<F331. DIFFERENT – Kemp. Rader reused this cover for All Star 145, THE NIGHTWALKERS. >

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.

F333. TEACHER’S PET – Clements. This is the cover reproduced in THE GREAT AMERICAN PIN-UP. It is all of those things.

<F336. NUDE IN A RED CHAIR – Moore. “R”

F342. THE BABY-SITTER – Fields. “R”. >

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.

<F352. A WORLD ALL THEIR OWN – Kemp. 1964. Not signed.

F353. NEVER SAY NO – Bouma. >



F360. AFTER CLASS – Ellis. Not signed, but unmistakable. >


At Midwood
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