This is the third and last column on one of my favorite subjects: Pulp Art. The two prior installments may be read on Mystery*File as Part 19 and Part 20.

   Often I’m asked where can a collector buy pulp or paperback art? eBay is certainly a source and I have often typed in an artist’s name and looked to see what is available. Or I’ve tried different combinations of words on eBay such as Original Pulp Art, Cover Paintings, Paperback Paintings, etc. Another source that I’ve used are the auction houses such as Heritage Auctions. Or you can visit another art collector. They often have pieces that they would be willing to trade or sell. For instance I’ve bought art from such well known collectors as Bob Lesser, Doug Ellis, and Bob Weinberg. At the recent pulp brunch at my house in November, I bought several Bjorklund drawings from WILD WEST WEEKLY from art collector and dealer, Paul Herman. As I mentioned earlier, Matt Moring and I completed a trade involving 4 pulp paintings at the brunch.

   But one of the best sources for original art are the pulp conventions: Windy City in Chicago, PulpFest in Pittsburgh, and Pulp Adventurecon in Bordentown, NJ. Of the three shows I consider Windy City to be the best source for original pulp and paperback art. The convention lasts three days each year and there are perhaps as many as a dozen dealers with art for sale. Next, comes Pulpfest with two main art dealers: Doug Ellis and Craig Poole. Sometimes other book dealers bring in art: Nick Certo, Scott Hartshorn, Mark Hickman, Ray Walsh, etc. Pulp Adventurecon is usually about the books and magazines but this year Craig Poole had several tables with excellent pulp, digest, paperback and slick art. Prices range from a few hundred dollars to several thousand.

   Frankly, I collect art because I love collecting but if you are thinking of possible investment value, you can’t go wrong with original art as an investment. Of course I’m assuming you pick nice pieces and not poor art. For instance I have a painting from DETECTIVE FICTION WEEKLY that is just a bloody hand. Another from the same magazine, is just the face of some ugly criminal. It’s possible these paintings will never be worth anything except for a few hundred dollars, but since I collect pulp magazines, I was happy to buy them as examples of the poor cover art occasionally used by the magazines.

   As you may have noticed I have no problem with buying unframed art, art in poor condition, even art with holes in the canvas. I used to frame everything, but now I say the hell with it and hang them up as is. If a piece is falling apart, I have restored it, however. There are art restorers that work on paintings, in fact Matt Moring and I met a restorer at the Bordentown convention and he has emailed us several photos of excellent pulp art that he has worked on.

   An important thing to remember is to be sure and collect original art that you like. If you like SF, there is plenty out there. Hero pulp art is very popular but quite expensive. Same thing with risque or spicy art such as pinup art. Detective and mystery art has increased in value during the past few years. I can remember when you couldn’t get much of anything for a detective pulp painting. Western art still remains fairly inexpensive except for the big names like Nick Eggenhofer or Gayle Hoskins.

   Many collectors make the mistake of ignoring western art which is a big mistake. The cover paintings are full of action, very colorful, and inexpensive compared to SF, hero and detective pulp paintings. So far there is practically no interest in love or sport cover paintings. Not many collectors are interested in the love or sport magazines either. As a result we don’t see many covers at all from these two genres. It’s possible they have mostly been lost or destroyed due to this lack of interest.

   Here are some great examples of inexpensive pulp art. Most collectors don’t seem that interested in preliminary art but they can be quite stunning as these pieces show. Often such prelim work is very sketchy or not that well done but these two pieces by Delano and Baumhofer are almost finished enough to appear as covers. The two magazines show how the finished cover paintings turned out and you can see there is not a lot of difference between the preliminary work and the finished canvas. The Baumhofer one showing the cowboy on the ground is especially impressive as a preliminary sketch.

   
   Now here is an example of a preliminary by De Soto that is very sketchy and unfinished. There is no way this Spider prelim could be used as a cover as is. But it does give the editor an idea of what the artist planned to do with the large painting on canvas. As far as I know this sketch was never made into a finished painting. By the way, I have two SPIDER preliminaries and they are quite rare. Only a couple of the cover paintings are known to exist.

   
   This is one of the earliest cover paintings that I have. It’s from 1914 and the artist is Howard Hastings. He painted a lot for OUTDOOR LIFE and that type of magazine so maybe it is from a slick. I bought this from art dealer Steve Kennedy in 1989 for $700. During this period I could spend about $700 each month on art and much later Steve told me that my $700 each month was a life saver for his business at the time. He had just started to deal in pulp cover paintings, and no one except for me was buying from him. Too bad I couldn’t spend more than $700 each month because I lost out on some nice art that Steve sold later to other collectors.

   
   I got this one from Pulpcon in the eighties for only a couple hundred. I wonder how it got that hole in it? It’s FIFTEEN WESTERN TALES.

   
   This is one of my very favorite illustrations. It’s a great Nick Eggenhofer interior, probably for a two page spread. It shows two stage coaches passing each other and one looks ready to tip over. By the way, I haven’t located where this is from in case anyone can help me out. It may be WESTERN STORY or one of the western titles published by Popular Publications like DIME WESTERN or STAR WESTERN.

   
   This is PEOPLES from the early 1920’s and the artist is Wittmack. This is another painting I got from Kennedy when he was selling me one painting a month back in 1989. I never bothered to get it framed. Frankly I find that framing sometimes detracts from the painting. Steve liked to frame his paintings in a gold frame which I did not like much. And of course Bob Lesser habit of framing the pulp magazine inside with the painting, I found to be sacrilege and very annoying! But despite my many complaints over the years Bob continues this practice. As far as I know there is no museum, art gallery or art restorer that would frame the magazine under glass with the painting. After a few decades you would have a pile of pulp chips and a stain on the canvas.

   
   I love when I get this type of painting. It’s by Norman Saunders and was used on a pulp AND a paperback years later. It was first used on WESTERN ACES magazine in the 1940’s and then reused on the Ace Double titled GUNSMOKE GOLD in the 1950’s. One funny story about me buying this art. When I first saw it the dealer wanted $200 for it as a paperback cover. I stupidly looked closely and muttered that it was signed by Saunders and bang, the price went up right away to $400. Later I discovered it was also a pulp and this makes it worth far more than the $400 I had to pay.

   
–   Whatever happened to art dealer Tony Dispoto? I bought this from him and it’s a great piece by one of the best of the pulp artists. It’s a Flanagan from BLUE BOOK in the mid-1930’s illustrating a great adventure serial by James Francis Dwyer.

   
   This is a rare example of Walter Baumhofer’s early work. It’s from ADVENTURE in the mid-twenties and I got it at Windy City for only a couple hundred dollars.

   
   FIGHT STORIES by Gross. A pulp collecting brain surgeon was once visiting me and was interested in this because boxers often require such surgery.

   
   I love showing this painting to visitors. It’s 10 STORY WESTERN by De Soto and has over 20 pinholes punched through the canvas. In other words someone used it as a dart board! I’ll never get it restored because it shows just how little respect these paintings used to command back in the day. I’ve heard so many horror stories of cover paintings thrown away, lost, burnt, etc. Back when they were painted they were just about considered worthless.

   
   Author Ryerson Johnson once told me that he was an editor for a couple years for Popular Publications back in the forties. When he resigned to return to full time writing, he was shown into a large room full of paintings and illustrations and told to take what he wanted because it was all going to be thrown away eventually. He took several paintings and a couple large stacks of interior illustrations. Decades later he sold this art to me and other collectors.

   When I first bought this ADVENTURE cover, it was on a board that was spongy and soft. You could take off pieces of the board with two fingers. I thought it was just about worthless and ready for the garbage. But art restorers can do magical things and this painting was saved. It was somehow transferred to another board without any damage.

   
   This is another strange story. Collector Al Tonik had the paperback to this cover and decided to commission artist Rudi Nappi to paint it again as a recreation of the original painting. The artist did the recreation which is almost an exact copy for $100. But then later on I discovered the original paperback cover painting. So Al sold me the recreation to go along with the original cover painting. I now have both paintings, the original which was done in the 1950’s and the recreation which was done in the 1990’s or thereabout. Sometimes we think these old paintings are lost but they show up anyway!

   
   This is from BATTLE STORIES and I bought it from Illustration House in NYC. Notice how the magazine reversed the image. They did this sometimes to make room for the magazine title or cover blurbs.

   
   This is by the great Frank Paul and is from FAMOUS FANTASTIC MYSTERIES, one of my favorite magazines.

   
   This is FIGHTING ACES by Blakeslee. I got it from Bob Weinberg back in the 1980’s. He was just released from the hospital and needed money to pay his medical bills. He had over a dozen of these aviation paintings which he sold but I only bought two of them. I guess I was broke again!

   
   I also collect advertising posters which are pulp related. This is a poster advertising Street & Smith’s DETECTIVE STORY MAGAZINE.

   
   I have several paperback racks which I spent decades searching for. This is the first one I found and I had to trade a Clark Ashton Smith first edition to get it back in the 1970’s. Most collectors don’t realize how rare these things are. Someday after we are gone they will be worth a lot of money.

   
   An unusual night scene which must have happened to many cowboys. They hear a sound and reach for their gun. I got this one a couple years ago at the Bordentown convention and it’s from WESTERN STORY in the thirties. I saw the art dealer come through the door and I immediately ran up and asked the price. It was inexpensive so I bought it. But I had driven in with my old pal Digges and when I went to put it into the car there was absolutely no room. He had filled the entire car up with boxes of pulps. Fortunately my friend, Sai Shanker was visiting me the next day and he delivered it to me at my house. But we were so busy talking that he almost drove off to the airport with it still in his car.

   
   Well, that’s it, all you need to know about pulp art in three easy installments. Thank you Steve Lewis for publishing this and thank you Sai Shanker for taking the great photos. And finally thank you to all my art collecting friends over the many years. Many of you may no longer be with us, but you are not forgotten. After all we are just the temporary caretakers of our collections. Eventually we leave but the collections continue on!

   At the end of last month’s column we saw Simenon becoming a bit uncomfortable with having retired Maigret and deprived him of official status. His next published case, “L’Etoile du Nord” (Police-Film/Police Roman, 30 September 1938), takes place two or three days before he’s due to retire and features, of all people, Sergeant Lucas, who according to “Mademoiselle Berthe et son Amant,” published less than six months earlier, was killed beside him.

   Madame Maigret is already in Meung-sur-Loire, preparing their new home, and the Commissaire has spent the night cleaning out his office in the Quai des Orfèvres. Around dawn he hears the phone ringing in the office next to his, picks up the receiver and quickly finds himself going out in the rain and gloom to investigate a murder in the titular establishment, one of those “drab fourth-rate hotels” to be found near every major train station, in this case the Gare du Nord.

   The victim is Georges Bompard, a fortyish womanizer who rented a room from the hotel’s night porter around 3:30 A.M., two hours before someone entered the room (which apparently wasn’t locked) and stabbed him in the back. Prime suspect is a self-proclaimed prostitute in her late teens who claims to have picked up Bompard in the street and rented her own room in the Etoile du Nord shortly before her customer rented his. Maigret takes her back to Headquarters where there begins a tense confrontational interrogation of the young hooker, complete with seamy sexual stuff—the kid is made to stand naked with other whores picked up during the night—but also with clues of the sort we might expect to find in, say, the cross-examination of a hostile witness by Perry Mason.

   The story never appeared in EQMM—obviously because too many elements, including a botched abortion crucial to the plot, were not to Fred Dannay’s taste—and as far as I know its only appearance in English was in MAIGRET’S PIPE. Too bad. It’s one of the most intellectually challenging of the shorter Maigrets, and one could almost say that Simenon permits the astute reader to figure out the truth by pure reasoning.

   With “L’Auberge aux Noyés” (Police-Film/Police-Roman, 11 November 1938) Maigret is back in harness as if he’d never retired, although he’s not at the Quai des Orfèvres but in the town of Nemours on a business visit to the local captain of gendarmerie. A savage storm comes up and he spends the night at the house of Captain Tillemont, who receives a phone call at 6:00 A.M.—another of those damn early-morning phone calls!—and invites the Commissaire to accompany him to the site of a “curious accident” where the highway between Nemours and Montargis parallels the banks of the river Loing.

   There’s a curve in the road 700 meters from the Auberge des Pecheurs, which means the Fishermen’s Inn but is locally known as the Inn of the Drowned (the story’s French title) because of several fatal accidents at the curve. Now there seems to have been another. “A ten-ton lorry, one of those stinking monsters that travel by day and by night along main roads,” has hit a car stalled at the curve with its lights off. The car went over the bank into the swollen Loing but no one knows what happened to the young couple who were apparently inside.

   When the auto is pulled out of the water, somehow the door of the luggage compartment comes open and reveals the body of a middle-aged woman, her throat cut by a razor. With the Auberge aux Noyés as his headquarters Maigret takes an unofficial hand in the investigation and soon finds reason to believe that things aren’t what they seem. That evening, under weather conditions equally miserable, he sets up a reconstruction of the event as only he can.

   It’s an excellent story, perhaps more cerebral than emotional, although there are too many unseen but crucial characters and too much happens too quickly at the climax. I wish Simenon had taken a few thousand extra words for this one, which appeared in EQMM for January 1975 as “The Inn of the Drowned” and in MAIGRET’S PIPE as “The Drowned Men’s Inn.”

   Perhaps the most popular of the Maigret short stories, at least in this country, is “Stan-le-Tueur” (Police-Roman, 23 December 1938). It’s the earliest short Maigret to appear in English, translated by Anthony Boucher (EQMM, September 1949), and was collected both in THE SHORT CASES OF INSPECTOR MAIGRET (1959, Boucher’s translation) and in MAIGRET’S PIPE (1977, translated by Jean Stewart). Its title all three times was “Stan the Killer,” a literal translation of the French title.

   Simenon opens with Maigret and his men—including once again the supposedly deceased Sergeant Lucas—having staked out a shabby hotel which is being used as a hideout by between four and eight Polish criminals, a ruthless gang responsible for raids on several farmhouses and the slaughter of everyone inside including children. The gangsters are known only by the colorful nicknames the police have given them—the Beard, One-Eye, Spinach, the Fat Boy—and their leader, known as Stan the Killer, has sent a note to Maigret threatening to shoot down any number of innocent bystanders if an arrest is attempted.

   Into this powder keg steps Michel Ozep, a former Polish army officer with nothing to live for, who comes to Maigret and offers in effect to commit suicide by cop, taking Stan out in order to prevent bloodshed even if it means his own life. At the climax Maigret sends Ozep into the Hôtel Beauséjour to confront the young Polish woman who runs with the gang, and the results are violent and tragic.

   In some respects the two English translations of this story differ wildly, and we must try to account for the differences. In Boucher’s version Maigret from a hotel room across the street from the gang’s hideout observes the young woman “dusting the frame of a bright-colored picture on the wall.” On entering the room he discovers that the picture is a portrait of the woman herself, who’s lying on the floor with her throat cut. He pulls down the picture and finds from the lettering on the back that it’s an illustration accompanying an article entitled “The Pretty Pole and the Terror of Terre Haute” from the American true crime magazine Real Life Detective Cases.

   Except for the woman’s throat being cut, there’s not a word of this in Jean Stewart’s later translation. Did Stewart omit it or did Boucher invent it? I strongly suspect the latter. As we’ve seen in earlier columns, Boucher did have a tendency to translate very freely at times. Besides, the American details suggest Boucher because they seem to ring true—and also to be way beyond Simenon, who in the Thirties knew less than nothing about the U.S., so much so that in the Stewart version (and presumably the French original) Maigret and Lucas “drew aside the [dead] woman’s dress and uncovered white flesh on which was the mark with which, in America, they brand criminal women.”

   From what benighted source did Simenon unearth that tidbit? And should we be surprised that Boucher thought it necessary to get rid of it and substitute his own account of how the French police learned of the woman’s American criminal background?

   Within less than a year of the story’s appearance in EQMM it became the basis of a 60-minute live TV drama (THE TRAP, CBS, 20 May 1950), starring E.G. Marshall and Herbert Berghof, although which actor played Maigret seems to be lost to history. A little more than two years later the story was recycled for CBS’ STUDIO ONE SUMMER THEATER (1 September 1952), this time with Romney Brent and Eli Wallach in the leading roles although once again we don’t know which man played Maigret. Paul Nickell directed from a teleplay by Paul Monash, whose script was likely used also in the version seen on THE TRAP considering that the adaptations were broadcast on the same network so close together. In view of the infant medium’s infantile restrictions I find it hard to believe that either TV version came close to doing justice to Simenon’s story.

   In “La Vieille Dame de Bayeux” (Police-Roman, 3 February 1939) we find Maigret transferred to Normandy and based temporarily in Caen, where he’s been assigned to reorganize the Brigade Mobile, the French counterpart of England’s Flying Squad. There he’s visited by 28-year-old Mlle. Cécile Ledru, the paid companion to wealthy widow Joséphine Croizier, with whom Cécile lives in Bayeux, a half-hour from Caen.

   While on a visit to Caen for dental work and staying in the palatial home of her nephew and heir Philippe Deligeard, the older woman suffered a fatal heart attack. More than one doctor has certified the nature of Joséphine’s death but Cécile is convinced that her benefactress was murdered and insists that Maigret investigate. The result is a fascinating but almost completely cerebral story, so arranged that most readers will be able to figure out the gist of the plot but can’t possibly know the details until Simenon reveals them.

   This story too was translated twice, by Boucher for EQMM (August 1952) and the SHORT CASES collection and by Jean Stewart for MAIGRET’S PIPE, the title all three times being “The Old Lady of Bayeux.” Once again there are differences between the translations but they’re not as consequential as those between the two versions of “Stan the Killer.”

   According to Boucher, Cécile tells Maigret: “I was an orphan, and I started out in life, at the age of fifteen, as a maid of all work. I was still wearing pigtails, and I didn’t know how to read or write.” Stewart renders this passage: “I was an orphan, and my first job was as a maid of all work. I was only fifteen, with my hair still down my back, and I couldn’t read or write….”

   Close enough, yes? The other variations are no more important than this one. The strangest detail in the story is common to both translations and therefore almost certainly Simenon’s: Cécile tells Maigret that she knows she takes nothing under Mme. Croizier’s will because “I drew up the will myself….” Neat trick for someone who isn’t a notaire!

   This story too was adapted for live TV in the medium’s infant years. “The Old Lady of Bayeux” (SUSPENSE, CBS, 2 September 1952, 30 minutes) was directed by Robert Stevens from a teleplay by Halsted Welles. This time we know who played Maigret. It was Mexican-born Luis Van Rooten (1906-1973), one of the best known actors of radio’s golden age, who indeed appeared on THE ADVENTURES OF ELLERY QUEEN and was the subject of an encomium by Queen co-creator and radio supervisor Manfred B. Lee.

   In a letter of 1 August 1946 to Tony Boucher, who was collaborating with Manny on Queen scripts while also translating Simenon, Jorge Luis Borges and others for EQMM, Manny called Van Rooten “a little bald-headed guy who for my money is one of the great radio actors….A terrific performer. You simply can’t believe that a voice like that can come from a guy so small.”

   Anyone who’d like to travel back in time and see Van Rooten playing Maigret is in rare luck: this particular episode of SUSPENSE happens to be accessible on YouTube. Featured in the cast are Edgar Stehli (Philippe Deligeard) and Nicole Stéphan (Cécile). There’s more suspense in the SUSPENSE version than in Simenon’s story, but for my money Van Rooten with his bald pate and neat little mustache evokes Poirot rather than the heavy-set titan of the Quai des Orfèvres.

   The last Maigret story to be written and published before the outbreak of World War II was “L’Amoureux de Madame Maigret (Police-Roman, 28 July 1939), which appeared in EQMM (“The Stronger Vessel,” January 1952, translated by Boucher) but didn’t show up in a collection until MAIGRET’S PIPE (1977, translated by Jean Stewart).

   Here but to the best of my knowledge in no other novel or story, the Maigrets’ home is an apartment in the Place de Vosges, where Simenon and his first wife in fact lived from 1924 until the early Thirties. Madame Maigret notices a strange old man in a dandified outfit sitting motionless in the park below her window for hours on end and mentions the matter to her husband, who playfully suggests she has an admirer (the amoureux of the title).

   One summer evening Maigret goes down to talk to the old man and finds him shot to death, apparently from a window of the apartment house looking down on the park. It quickly becomes apparent that the “old dandy” was a young man wearing a wig and false mustache, but why he spent hours every day sitting on that park bench remains a mystery.

   Then one of Maigret’s neighbors reports that his maid has vanished, along with his wife’s jewelry. Madame Maigret herself takes something of a hand in the investigation, which establishes that the two matters are of course connected, but the denouement reveals a spy vs. spy intrigue with the countries carefully unspecified, appropriate for the time but not very exciting, and Maigret is ordered to drop the case.

   As Fred Dannay pointed out in his introduction to the EQMM translation, the first English-language title is based on a Biblical verse (“giving honour unto the wife as unto the weaker vessel,” 1 Peter iii, 7). Almost certainly the title came from Boucher, who knew his Bible well.

   As with some of the earlier tales in the series, comparison of the two translations yields some interesting results. In Boucher’s version, examination of the murdered man’s clothes reveals “a sizable quantity of very fine flour—not pure, but mixed with traces of bran….” The bran indicates a mill rather than a bakery, but what would the dead man be doing in a mill?

   The question is answered at the end when, in Boucher’s words, we learn that he lived “at Corbeil, near the mills.” Jean Stewart bungles the translation when she locates the man’s home “at Corbeil, near Moulins….” Moulin means mill, but if the French word refers to a place not a physical mill, the flour-and-bran dust in the dead man’s clothes remains unaccounted for.

   â€œL’Amoureux” was the last story in which Maigret appeared for almost three years. He was next seen in MAIGRET REVIENT, a volume consisting of three new novels, published by Gallimard in 1942 but written during the earlier years of war and ocupation: LES CAVES DU MAJESTIC late in 1939, LE MAISON DU JUGE and CÉCILE EST MORTE in 1940. In 1944, still under Nazi occupation, Gallimard published another omnibus of original novels, SIGNÉ PICPUS, which consisted of the title book (written in 1941) plus FÉLICIE EST LA (from May 1942) and L’INSPECTEUR CADAVRE (from March 1943), plus an assortment of non-series short stories dating from 1937-38.

   The same year saw publication by Gallimard of LES NOUVELLES ENQUÊTES DE MAIGRET, which brought together all the short stories discussed here and in earlier columns. Three new Maigret shorts, including one never officially translated into English, also came out during the dark years.

   These works, all of which seem to have embodied Simenon’s “contract with France” to say not a word hinting that the country was under German control, are best discussed in another column at another time. This one is far too long already.

Have a wonderful day, everyone!