She's not out of the woods yet.
This is your regular reminder that Michel Gourdon was a top notch illustrator, though his brother Alain was the one who attained legendary status. Michel was more of a workhorse, though, painting many hundreds of paperback fronts, which probably contributed to him producing the occasional less-than-stellar effort. But this piece for Pierre Courcel's, aka Roger Jean Tribot's La haine qui rôde, aka The Hatred that Lurks, is Michel at his best. The sports car and female figure are nice, but the background of trees and sunlight is particularly beautiful, we think. It's from 1965 for Editions Fleuve Noir, entry #483 in its long-running Collection Spécial-Police.
Traffic mishaps reach an all-time high.
Below, assorted paperback covers pairing mortal danger and automobiles, including many examples from France, where the theme was particularly popular. Thanks to all the original uploaders on these.
Man, he had tiny feet. Suddenly it's hard to remember why I thought he was so dangerous.
Above, a Michel Gourdon cover for Serge LaForest's Les mains propres, aka Clean Hands, for Collection Special Police from French publisher Fleuve Noir. LaForest was a pseudonym used by Serge Arcouet, who wrote 140 novels as LaForest, Russ Rasher, Tony Stewart, and—we love this one—John Lee Silver. Actually, he shared Silver with two other French writers Pierre Aryaud and Léo Malet. Remember those trips to France we took? These Fleuve Noir paperbacks are staples in every secondhand bookstore you find, probably because very close to a billion have been printed and sold from 1949 until today. Les mains propres is from 1960
He might have broken the law, but he had a higher calling.
What’s an illustrator to do when he doesn’t have a model? Borrow a celebrity. And if you’re going to use a celeb you might as well take inspiration from the best. French artist Michel Gourdon decided upon the era’s most celestial sex goddess Raquel Welch for his cover of M.G. Braun’s Sam et Sally—Le sang du ciel, published in 1972 by Editions Fleuve Noir as part of its Collection Spécial Police. This would not be the last time Gourdon used Welch as a model, but it’s probably the best example.
This sort of appropriation was not unique to Gourdon. During this same period Italian artist Mario De Berardinis used Playboy Playmate of the Year Cyndi Wood for his poster promoting the film Giro girotondo... con il sesso è bello il mondo, Sharon Tate was used for at least two late 1960s paperback covers, Lavar Burton was borrowed for the front of an ultraviolent Italian fumetto, Ornella Muti provided the physical basis for the main character of the vampire series Sukia, Beba and Fiona of the Pornostar comics were based on two showgirls from Striscia la notizia, and none other than Iggy Pop appeared on the cover of Elvifrance’s Wallestein.
All of these examples using celebrity images for profit would be violations of intellectual property laws today, we’re fairly certain, but we could be wrong about that. Were they illegal in the past? Not in Italy, apparently—Ornella Muti must have known her image was being borrowed, since she worked primarily in Italy and Sukia was published there. Same goes for the Striscia la notizia showgirls. Maybe they were flattered. If so, they should have looked inside the comics, where their characters were ripping throats out and shanking dudes in the groin. In any case, we love curiosities like these, and we’ll doubtless run across more later.
Faced with this position surrender is the only option.
Here you see a pose that appears over and over in vintage paperback art—one figure looming menacingly in the foreground as a second cowers in the triangular negative space created by the first’s spread legs. This pose is so common it should have a name. We’re thinking “the alpha,” because it signifies male dominance and because of the a-shape the pose makes. True, on occasion the dominator isn’t male, sometimes the unfortunate sprawled figure is depicted outside the a-shaped space, and sometimes the art expresses something other than dominance, but basically the alpha (see, that just sounds right, doesn’t it?) has been used scores of times with only minor variation. You’ll notice several of these come from subsidiaries of the sleaze publisher Greenleaf Classics. It was a go-to cover style for them. We have twenty examples in all, with art by Bob Abbett, Robert Bonfils, Michel Gourdon, and others.
When vacation meets pulp we’re happy.
Must do this quickly. The Pulp Intl. girlfriends are away only for minutes. We’re basically cut off from civilization on some forgotten coastline, but in a nearby townlet we found an internet place that had some books, and amidst all the dreck and dross, presto!—uncovered an entire stack of Fleuve Noir thrillers with cover illustrations by Michel Gourdon. The Pulp Intl. girlfriends are always trying to get us to unplug, but we simply—*tented fingers*—can’t… be… stopped.
Okay, I’ll put it in neutral and you push. On one, two, and—whoops, had it in reverse. You alright back there?
Here’s an interesting cover for Mario Ropp’s Celle des deux qui vivait, which means “which of the two lived.” If we had to guess, we’d say it was the driver. Following standard practice for French crime authors, Ropp was actually a pseudonym for someone named Marie-Anne Devillers who wrote for twenty-seven years under various names, including Dominique Dorn, Maia Walbert, Maia de Villers, and Michèle Vaudois. The art here is by Michel Gourdon and it certainly qualifies as one of his quirkier efforts. See more Gourdon here and here.
Yep, it's caught in your zipper alright.
French artist Michel Gourdon was an accomplished illustrator, but if he could be said to have produced an unsuccessful effort, this would be it. Looking at the image, we understand this is supposed to be a head butt to the gut, but it looks more like an impending lip lock to the cock. Can you imagine Gourdon unveiling this for his colleagues at Fleuve Noir? Michel goes, “Et, voila!” And a roomful of people all give the same wtf reaction, except for one editor who just hangs his head, and the publisher, who finally goes, “Michel, mon dieu, est c’un blowjob!” Anyway, we picked this up in Bordeaux last week while pulp digging, and as you might imagine, it sort of leapt out of the bin at us. Our pleasure was orgasmic, and we hope you like it too. We have yet more Bordeaux stuff upcoming, so stay tuned.
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