Sarg

Good comparison, I never thought about that. Her covers have direct impact to the eye, just like Cole's.

It was a sincere question. I'm sorry you were offended by my curiosity.

IIRC, Lovecraft himself was pretty lukewarm at best about Brundage. He said that he didn't know what her barely-clothed ladies had to do with weird fiction. it was polite way of saying that Weird Tales was sinking to pure sensationalism in order to sell magazines, hugely disappointing to somebody like Lovecraft, who considered himself a serious, philosophical writer who did not simply include salacious scenes in his stories for commercialism.

Somebody help me out here -- is this thought to be good, well-drawn draftsmanship? People don't buy these for the cover art, do they?

According to this page, Finlay did 20 covers total for WT https://tellersofweirdtales.blogspot.com/2014/02/weird-tales-cover-artists.html So, yes -- 7% is more than 1%, but not much. Brundage did 67, or 24%.

Stunning condition. Must have been stored in a vault.

I hope I'm not cancelled for this opinion, but I think the only good Weird Tales cover artists are St. John and Finlay, who, combined, did what? About 1% of the covers? Brundage is a very crude artist. Her women all look like cartoonish kewpie dolls, and her men look like bald or masculine kewpie dolls. Her "Conan" reminds one of Gomer Pyle. CC Senf is worse, Andrew Brosnatch looks like a high school art student, and Lee Coye is just plain ugly and unappealing. A couple of the Bok covers are OK, but not nearly as fine as work he did for others. What a wasted opportunity. The editors had plenty of fine artists to choose from in Chicago and NY. They simply chose not to use them.

I'm buying more pulps, both originals and reprints.

I used to think so, too, but now I just regard them as sleazy rip-offs of otherwise good literature. I certainly have no objection to sleazy covers to outright trash like Reform School Girl.

Is this a Wallace Wood cover? Or Wood/Harrison? It looks like him, though maybe not...

These publishers were such pathetic low-lifes. Imagine reading "The Maltese Falcon" looking solely for the extremely minor part of the book -- which has nothing to do with the plot -- where a woman might undress. "WE FOUND OUR COVER, BOYS!," screams the exultant editor. Just publish porn already.

This is the most interesting "man cave" I've ever seen. 99% of them have big screen TVs and a Bud Light neon sign.

The. Best. Ever.

"Iconic" as a synonym for "great" is a recent fad, instigated by advertisers and PR firms, that's become a gross cliche. Nobody in the 1970s-2000 described the cover of any comic book as "iconic."

I love these covers that are entirely artwork with no text. The image just has more impact when there's nothing to distract the eye.

Reminds one of Crime SuspenStories 22, just without the axe ...

Never saw that one before and it's brilliant.

This cover strays about as far as one could imagine from its 1930s roots.

I don't know about you, but I'm definitely not going into that house.

Blue Book, April, 1937 (Volume 64!!!). Flanagan was a regular contributor to this magazine, but this is my only issue (so far).

Adventure 38 was credited to Flessel for a long time.

It looks like the same cover, but partially repainted it to make it more titillating.

That's great. I didn't know that Flanagan was preceded in illustrating Sax Rohmer by the equally great Joseph Clement Coll. A large book featuring all the Coll and Flanagan illustrations of Rohmer would be outstanding. it won't happen, but I can dream.

This is the first time I've seen CGC credit Flanagan on their labels.

Lou Fine leaving comics after only a couple of years must be considered one of the greatest losses in comic book history.