Magazine Covers
magazine: Cosmopolitan, December 1943, 115(6)
story: “Someone Who Knows Told Me …”
credit: Bradshaw Crandall
description: Actress Anne Baxter (1923-1985). Although she'd already completed nine films, Anne Baxter became more well-known for her performances as Eve Harrington in All About Eve (1950), and Princess Nefertiti in The Ten Comandments (1956).
magazine: Collier's, April 5 1947, 119(14)
story: Manhattan Idyl
credit: Jon Whitcomb
description: Hat by John-Frederics
magazine: Ellery Queen's Mystery Magazine, July 1947, 10(44)
story: The Widow's Walk
credit: George Salter
description: A female water skier is pulled in two directions; from her tow rope in front, and from another rope looped around her neck from behind.
magazine: Collier's, December 6, 1947, 120(23)
story: I'm Mad at You
credit: Lawson Wood
description: Millinery Monkeyshines by Lawson Wood. What, girls, no long skirts?
magazine: Ladies' Home Journal, April 1948, LXV(4)
story: Cousin Len's Wonderful Adjective Cellar
credit: Rouben Samberg
description: None
magazine: Collier's, May 15, 1948, 121(20)
story: Breakfast in Bed
credit: Ariane Beigneux
description: A little girl, bundled against the cold, blows dandelion tufts into the air.
magazine: Collier's, August 28, 1948, 122(9)
story: It Wouldn't Be Fair
credit: Wilson Cutler
description: A young girl sits on a small rug, puzzling how to knit socks from directions on the floor, as a cat plays with dangling balls of yarn.
magazine: Collier's, November 6, 1948, 122(19)
story: Long-Distance Call
credit: David Peskin
description: Left to right, the SMU 1948 backfield: Gilbert Johnson, Paul Page, Doak Walker and Dick McKissach, who topped last year's Southwestern Conference, and defended in the Cotton bowl.
magazine: Good Housekeeping, March 1949, 128(3)
story: Something in a Cloud
credit: Alex Ross
description: Cover clothes by Merry Mites
magazine: Collier's, April 16, 1949, 123(16)
story: You Haven't Changed a Bit
credit: Stanley and Janice Berenstain
description: Small hoards of children descend on a zoo, harassing the attendants, and challenging chaperones to keep them in order.
magazine: Collier's, June 25, 1949, 123(26)
story: The Little Courtesies
credit: Tana Hoban
description: A little girl wades into a shallow river, holding her pink sundress out of the water while she feeds ducks.
magazine: Collier's, April 29, 1950, 125(17)
story: Sneak Preview
credit: Richard Tucker
description: Part of the Greatest Show on Earth, which opened two weeks ago in New York's Madison Square Garden, are Rita Reich and Ernie Burch. Born in Munich twenty-three years ago, but until recently a citizen of Austria, Rita studied music and dancing, and is now a Ringling Bros. and Barnum & Bailey aerialist. Newark-born Ernie, at twenty-six, is one of the youngest clowns in the profession, with nine years of experience behind him. It takes him an hour and a half to put on any of his eight different make-ups.
magazine: Collier's, May 20, 1950, 125(20)
story: Week-end Genius
credit: Charlotte Joan Sternberg
description: Tulip time in Holland, Michigan, is being celebrated this year from May 17th through the 20th by the area's 30,000 inhabitants and some 500,000 visitors. Artist Charlotte Sternberg gives us a preview of this unique festival, which began officially in 1929 and has been held annually since with the exception of the war years. Millions of tulips line more than eight miles of parade roads and, at the height of the celebration, brighty costumed Hollanders march along the blossoming lanes accompanied by a gold-trimmed organ direct from the Netherlands.
magazine: Collier's, June 24, 1950, 125(25)
story: I Like It This Way
credit: Charlotte Joan Sternberg
description: Five years after he started tending the New York, New Haven & Hartford Railroad crossing at Meriden, Connecticut, 19 years ago, David F. Barry started a garden — a between-trains diversion typical of gate-tenders the country over, and one that brightens a generally dull job in unusually drab surroundings. Artist Charlotte Joan Sternberg admits it's too early for the corn and too late for the tulips but she likes to paint corn and tulips, so that's all there is to it.
magazine: Collier's, September 30, 1950, 126(14)
story: My Cigarette Loves Your Cigarette
credit: John Florea
description: This is June Bright, a California lass whose past history should make her a natural for the movies. Born in Mitchell, Nebraska, she spent a great part of her 24 years on a Colorado cattle ranch (excellent training for Western films). Later, she was a secretary with the F.B.I. in Washington (great for spy and detective thrillers). So, as you can see, she is admirably equipped for a career in motion pictures. Collier's staff photographer John Florea too this picture of Miss Bright, in Santa Barbara.
magazine: Collier's, October 7, 1950, 126(15)
story: The Third Level
credit: Thomas Fransioli
description: Through the Golden Gate Bridge, the hills of stimulating San Francisco looked like this to Tom Fransioli as he painted his sixth city in a series for Collier's. In the background is the Bay Bridge connecting the city with Oakland. Beyond that rise the mountains back of Berkeley. The birds high up in San Francisco's clean sky are brown pelicans flying in their characteristic V formation.
magazine: Collier's, January 6, 1951, 127(1)
story: Such Interesting Neighbors
credit: David Mink
description: The only point that would seem to need clarifying in this self-explanatory scene is the apparent incongruity between the New York Times Building's midnight salutation on the television screen and the hands of the electric clock atop the set. The answer is that the Dave Mink family, which has appeared previously on Collier's cover, lives in Evanston, Illinois, where each New Year arrives on Central standard time. At any rate, only Mother seems to care what goes on.
magazine: Ladies' Home Journal, April 1951
story: Husband at Home
credit: Arthur Siegel
description: Content
magazine: Collier's, June 30 1951, 127(26)
story: One-Man Show
credit: Jerry Cooke
description: If you haven't already recognized it, the nose under the straw hat belongs to Jimmy Durante, who was slaying the customers at New York's Copacabana when photographer Jerry Cooke posed the picture. Reading left to right, the four little noses belong to Patti Hardy (Brooklyn), Carole McCrory (Huntsville, Texas), Janet Wallace (New York City) and Donna Lee Hickey (Forest Hills, Long Island). For copious details about the inimitable Schnozz recorded by his close friend, Gene Fowler, see page 13.
magazine: Collier's, July 14, 1951, 128(2)
story: Swelled Head
credit: Stan Ekman
description: Artist Stanley Ekman's daughter, Jean, posed for this painting in an outfit she received on her eighth birthday. Her father states that a carousel nag is the only horse Jean has ridden to date, but the cow-girl trappings were thrill enough for her. Ekman, whose illustrations are familiar to Collier's readers, lives in Glenview, Illinois.
magazine: Collier's, August 4, 1951, 128(5)
story: Quit Zoomin' Those Hands Through the Air
credit: Thomas Fransioli
description: Detroit is No. 10 in our metropolitan cover series, and the fifth largest city in the country. Celebrating its 250th anniversary this year, it was founded July 24, 1701, when Antoine de La Mothe Cadillac landed on the site. High light of the birthday festivities will be a mammoth parade on July 28th, previewed here by artist Tom Fransioli. At left is City Hall, facing Campus Martius, the public square, between Fort Street and Michigan Avenue. Centered is the Majestic Building; beyond is the David Stott Building. Well-known department stores line the way all along Woodward Avenue, running north at the right.
magazine: Collier's, September 15, 1951, 128(11)
story: I'm Scared
credit: Hy Peskin
description: Every footballer dreams of being named for an All-American team, but only one in a thousand makes it by his junior year. As a sophomore at the University of Nebraska, nineteen-year-old Robert Reynolds made 10 different All-Americas last season and was the highest-scoring football player in the nation, with 157 points. Half-back Reynolds hails from Grand Island, weighs 180 and is just one inch short of being six feet tall. P.S. Just before photographer Peskin took this picture in Storm Lake, Iowa, Reynolds lost the teeth playing baseball on a Storm Lake team.
magazine: Collier's, November 24, 1951, 128(21)
story: Sounds in the Night
credit: Barney Tobey
description: The remembrance of his first few summer vacation experiences in Vermont with an old car, plus his admiration of our teenager's uninhibited mannerisms, plus autumn in a small town, all contributed to inspire this painting by Barney Tobey. As to the specific situation,
he says, some motorist will come along, give the gals a break, and get that jalopy to the game before kick-off. I know I would.
Guess we would, too.
magazine: Collier's, January 5, 1952, 129(1)
story: Stopover at Reno
credit: Marvin Koner
description: On January 5th the United States Military Academy at West Point, New York, begins the celebration of its 150th Anniversary. To pay tribute to the Point — one of the finest military schools in the world — Collier's tells its tale pictorially in terms of one first-year cadet, James J. Waldeck, Jr., of Hampton, Virginia. There is nothing special about Mr. Waldeck, except that his superiors asked him to be the "typical plebe" in Marvin Koner's cover photograph and in the picture story on page 14. Otherwise, Waldeck is exactly like every other man at the Academy: dedicated to Duty, Honor, Country -- the motto of West Point.
magazine: Collier's, January 5, 1952, 129(1)
story: Obituary
credit: Alan Dunn
description: One of the siutations cartoonists beat to death is the gag about the apartment dweller who pounds on the radiator for heat, or bribes the janitor to give with same. The homeowner substitutes a thermostat for a superintendent, which is fine so long as the oil holds out. What can you do, though, if the supply runs low just as a blizzard cuts you off from friend and fuel? Obviously, you stand there and wait, like the bundled trio on our cover. Well, at least the chilled head of the house has the consolidation that his driveway is being shoveled clear of those drifts for free.
magazine: Collier's, May 31, 1952, 129(22)
story: Tiger Tamer
credit: Constance Bannister
description: The children on our cover are two of some 200,000 Americans who were born with a cleft palate — a cleavage in the roof of the mouth which can make a nasal blue out of the victim's speech. While surgery and the insertion of artificial palates are major weapons in correcting the speech defect, patients still must learn to direct air through the mouth when speaking, instead of letting it escape through the nose. At New York City's National Hospital for Speech Disorders, exercises like blowing plastic balls across a table are used to develop air control and also to help make the palate more mobile. A picture-story showing th drama of treating speech handicaps is on page 24.
magazine: Collier's, August 2, 1952, 130(5)
story: There Is a Tide.....
credit: John Florea and Fred Swartz
description: The two little girls gaily performing breath-taking acrobatics on our cover have been scampering about ship riggings since they were 18 months old. Joi Gee Holmquist, top, is almost nine years old. Her sister, Ingrid, is five. They live with their parents on a 50-foot ketch that usually is anchored in the Los Angeles harbor at Wilmington, California. To learn more about this young seafaring pair whose playground is high over a deck, turn to page 62.
magazine: Collier's, September 20, 1952, 130(12)
story: Man of the Cocktail Hour
credit: L. Willinger
description: Nina Foch portrays a gay young lady haunted by pensive thoughts. Nina, a dramatic actress of the movies, Broadway stage and television, is one of several successful young show people who study acting in director David Alexander's unorthodox school of dramatics. For the unusual details, see page 12.
magazine: Collier's, October 18, 1952, 130(16)
story: Diagnosis Completed
credit: Chesley Bonestell
description: A historic moment: man's first landing on the moon. The lunar rocket ship is about to touch down; its motors are being turned off, and the shock-absorbing central landing leg, visible inside the rocket flames, is just above the moon's surface. This view, with the distant earth in the background, was painted by artist Chesley Bonestell from the perspective of a man standing on the lunar north pole. For a full description of the ship and the trip, turn to page 51.
magazine: Good Housekeeping, November 1952, 135(5)
story: Behind the News
credit: Coby Whitmore
description: None
magazine: Good Housekeeping, July 1953, 137(1)
story: 5 Against the House, Part One
credit: Joe De Mers
description: None
magazine: Good Housekeeping, August 1953, 137(2)
story: 5 Against the House, Part Two
credit: Alex Ross
description: None
magazine: Good Housekeeping, September 1953, 137(3)
story: 5 Against the House, Conclusion
credit: Al Parker
description: None
magazine: Collier's, November 26, 1954, 134(11)
story: The Body Snatchers, Part One
credit: Ormand Gigli
description: Americans are gone — real gone, in fact — on the old Egypt craze. No wonder comediane Imogene Coca is making like the Sphinx — with a Scarab Look, a "wig" and all the other trappings. For more photographs of Imogene and a report on the current fad, turn to Murray Robinson's hilarious article on page 21.
magazine: Collier's, December 10, 1954, 134(12)
story: The Body Snatchers, Part Two
credit: Rocco Padulo
description: Alan Ameche, who led Wisconsin's attack for four seasons, now tops off a tremendous college grid career with a pair of honors from the American Football Coaches Asssociation. By vote of the coaches, Ameche has won hthe fullback berth on the 65th All-American team. The coaches also named him as the first winner of the Collier's Walter Camp Memorial Trophy, to be awarded annually to the outstanding player of the year. The complete story of the 1954 All-America begins on page 33
magazine: Collier's, December 24, 1954, 134(13)
story: The Body Snatchers, Conclusion
credit: Arthur Lavine
description: Like many other cities, Cleveland takes on a glow during Christmas. From the delicate pin points of light flickering in suburban windows to the huge electric pageants in the public parks, Cleveland hails the holiday season with all the dazzle which light up our cover. For more dazzle, see page 94
magazine: Good Housekeeping, February 1955, 140(2)
story: Legal and Tender
credit: Leo Aarons
description: Boy's hat from Saks Fifth Avenue
magazine: Collier's, March 4, 1955, 135(5)
story: Tattletale Tape
credit: Frank Horvat
description: A couple of giants are featured on the cover. One, the giant whale, Moby Dick, is shown under attack by Gregory Peck, who portrays Captain Ahab in the new film version of the Herman Melville classic. You'll find more exclusive Moby Dick pictures on page 70. The other is the great New York Giant, Willie Mays, whose role in baseball is discussed by Tom Meany in his annual baseball preview, page 28.
magazine: Good Housekeeping, March 1955, 140(3)
story: Of Missing Persons
credit: Leo Aarons
description: None
magazine: Good Housekeeping, August 1955, 141(2)
story: A Man of Confidence
credit: Leo Aarons
description: None
magazine: Good Housekeeping, April 1956, 142(4)
story: Second Chance
credit: Doris Pinney
description: None
magazine: Cosmopolitan, July 1956, 141(1)
story: House of Numbers
credit: Erwin Blumenfeld
description: Whether Nancy Berg wore a spinster-type pair of eyeglasses, no make-up, or an outfit designed for a picnic potato-race, that girl would still spell romance. But she is really the intellectual type, likes to discuss lofty subjects and looks upon romance the way some people look upon double pneumonia. Once, dining with an overly ardent escort, she discouraged him by pouring ice cream over his head. An insomniac, she may stay up till dawn reading or studying, while the rest of the world sleeps. Cover photo by Erwin Blumenfeld. Miss Berg's gown, a custom creation by Munsingwear.
magazine: Collier's, October 26 1956, 138(9)
story: Contents of the Dead Man's Pocket
credit: Bob Landry
description: A castle is a castle in most other countries, or so thought Ingrid Bergman when she spied one while on location in England for Anastasia, her first U.S. movie in seven years. How like the British,
she told photographer Landry, to build a film stdio around such a relic of the past rather than destroy it. Please photograph me against it.
Landry obliged and the result was our cover. Later, Miss Bergman learned that her “medieval” castle was a set built in 1951 for another film. For Miss Bergman's own story of her life, see page 35
magazine: Good Housekeeping, April 1957, 144(4)
story: Rainy Sunday
credit: Beatrice Pinsley
description: Nautical dress on cover by Countess Nemes, available at Bonwit Teller, New York; Marshall Field, Chicago; Neiman-Marcus, Dallas; I. Magnin, California.
magazine: Good Housekeeping, June 1957, 144(6)
story: Expression of Love
credit: Leo Aarons
description: None
magazine: Good Housekeeping, September 1957, 145(3)
story: Fast Buck
credit: Leo Aarons
description: None
magazine: Good Housekeeping, June 1958, 146(6)
story: Vive La Différence
credit: Leo Aarons
description: None
magazine: The Saturday Evening Post, January 10, 1959, 231(28)
story: Seven Days to Live
credit: George Hughe
description: Here is a lass in the springtime of years and poundage; she whisks on a new dress and looks in it the way her elders there wish they did, but don't. That lady over by the fittery door, who is about to see if she fits a dress, is surely a kindly soul, yet she may now be entertaining a caustic thought: When does that emaciated child eat, once a week? You men who are looking ay George Hughe's cover (students of figures, all), what think you about Miss Young? Why, some men admire 'em long and slender, and the rest will say that Miss Y. would be improved by a bit more latitude on the same longitude. Which evoles a query: since those comely matrons ceratinly have husbands who love them approximately as they are, why don't they mind their own shopping and be at peace?
magazine: Good Housekeeping, May 1959, 148(5)
story: Bedtime Story
credit: Harold Halma
description: None
magazine: Cosmopolitan, July 1959, 147(1)
story: All My Clients Are Innocent
credit: Erwin Blumenfeld
description: We're indebted to photographer Erwin Blumenfeld not only for the kissin' couple who introduce you to our July issue, but for his cover comments as well. Having chosen to picture Man and His Woman in a romantic relationship, Blumenfeld remarked, I have been told happiness such as this is not representative of the state of our nation. But as an old married man — thirty-seven and a half consecutive years with one woman — I have learned that few problems cannot be solved. So couples argue and make up … so disappearing husbands do return. So,
declares Blumenfeld, if the divorce rate is high, the kissing rate is still much higher.
magazine: The Saturday Evening Post, August 1, 1959, 232(5)
story: The Love Letter
credit: James Williamson
description: Cooled by the ocean breeze, refreshed by the briny breakers, they approach the end of a perfect day, and they'll reach it if they don't get too hot and debilitated doing what they're doing now. Strictly speaking, their car is not lost, because it is right where they put it. Indeed, they can avoid worry and temper by serenly bearing in mind that if their search is prolonged until all the other cars are gone, their own will have to turn up. The best advice to offer is that they refrain from wandering off in four different directions; in this type of confusion it sometimes happens that the one who finds the car must then go find the other three and, in doing so, loses the car again. This carscape was painted by James Williamson — see where his “W” almost punctured the tire?
magazine: The Saturday Evening Post, August 22, 1959, 232(8)
story: The U-19's Last Kill, First of six parts
credit: Dick Sargent
description: A life on the ocean wave, a home on the rolling deep.
She is having the time of her life, but he is not at home there at all. Indeed, Mr. Tiller is not in good health, and the smartest tack he can take is to tell his lady fair he just remembered an important business appointment on shore. Artist Dick Sargent heartlessly chruned up those waves to turn his man gray-green, for when Dick sketched a sailor on Long Island Sound, the water was humane, and the man looked fine — so did the pretty model who was with him. After they landed, the girl turned gray-green — and that's a switch. Originally Mr. Tiller was located on the far side of that boat, but Sargent moved him for fear he'd tip the whole shebang over. Dick's a good sailor; he didn't get sick painting this.
magazine: The Saturday Evening Post, August 22, 1959, 232(9)
story: The U-19's Last Kill, Second of six parts
credit: John Clymer
description: A lazy late-summer day, a swimmin' hole, a couple of kids lazyin' away the unhurried hours. Since the water is barely bathtub deep, imagination has to blend with their swimmin'. But shucks, it's a logy-headed boy indeed who can't dream three feet of water into thirteen feet, and then don his diving gear and marvel at mysterious things he sees away down in the hazy depths. Here on Oregon's eastern slopes it's a dry country, and men have to quench its thirst. In the highlands there is a lake; last spring, melting snow filled it brimming full and all summer the irrigation ditches, fingering downward as you see, have nourished the valleys and kept them green and gold. That hay feeder, artist John Clymer agrees, will need a refill soon to keep the livestock alive.
magazine: The Saturday Evening Post, September 5, 1959, 232(10)
story: The U-19's Last Kill, Third of six parts
credit: John Falter
description: Away they go, whooshing toward someplace where there's lots of green land and a far-arching abundance of sky. All hands are sparkle-eyed with vigor and vim, even mother, although she has to start doing chores at six A.M. to get this show on the road by eight. (Ignore Spoteye, the dog, who is just taking a cat nap.) In due time the food is eradicated, the gang's vigor is renewed, the dog taks a dog nap, and mother applies her vim — to doing chores. And by and by in artist John Falter's purple night everybody passes out except you know who, there at the wheel — and for heaven's sake, look who has come to in the back seat! Mother doesn't reflect that a woman's work is never done; what she does think is, They're my babies, including old batter-out here beside me, and I love taking care of them all.
magazine: The Saturday Evening Post, September 12, 1959, 232(11)
story: The U-19's Last Kill, Fourth of six parts
credit: Amos Sewell
description: Ah-h-h, this beautiful moment, this sublime hour, this whole exquisite day! Doesn't mother love her children? They are a joy to her, and her love encompasses all the work and care, the headaches and the pains in the neck that accrue to such joy. Nevertheless, ah-h-h! In mother's ears is a faint, faraway ringing — would it be an echo of the youthful din that has dinned in her ears all summer, or does she think she hears what she is merely imagining, a school bell ringing? Anyway, peace. A dive onto the divan. A blessed wiggling of liberates toes. Coffee — and if she doesn't drink some in a hurry, she'll fall asleep and spill it. The husband of artist Amos Sewell's pretty lady won't find her here when he returns from work; long before that the children will come thundering in.
magazine: The Saturday Evening Post, September 19, 1959, 232(12)
story: The U-19's Last Kill, Fifth of six parts
credit: Alajálov
description: On the amples spaces of The Post's first “gatefold” cover, artist Alajálov depicts Miss Outside and Mrs. Inside in wistful reverie. Their daydreams — well, one is an evening dream — are located in the grass-grows-greener-elsewhere category. Miss Outside years for a tall, dark, handsome and otherwise perfect man (is there such a specimen?); and Mrs. I., while her slightly imperfect oaf watches large lasses rassle and Junior uncorks a tantrum, envisions herself a secretary arranging flowers. They'll feel better tomorrow, for reality is usually sunnier than in dour moments it seems to be. Meanwhile, couldn't both ladies take a lesson in tidiness from the girls of their dreams?
magazine: The Saturday Evening Post, September 26, 1959, 232(13)
story: The U-19's Last Kill, Conclusion
credit: Kurt Ard
description: Is the child-portrait expert losing his equanimity? No, he lost it some time ago. Fearing that he may crack up someday under the artistic strain of trying to make juvenile cutups look like what they ain't, he is making an agonizing reappraisal of his life, toying with the idea of going into passport pictures or something. Artist Kurt Ard's cover boy should be shot — well, photographed — just as he is, for thus only will the camera capture his nature, his soul; and if his bubble gum explodes, affixing gluey particles to his face and hair, all the truer portrait that will be of the inner spirit. But no, mamma wants a pic of a boy-angel. Soothing thought: many children are angelic, a joyful challenge to camermen. Ah, there, little thumb-chewing black-eyed Susan on the wall!
magazine: McCall's, October 1959, LXXXVII(1)
story: Take One Rainy Night
credit: Allen Arbus
description: Emerald Rose on black velvet hat by Emme
magazine: The Saturday Evening Post, January 30, 1960, 232(31)
story: The Other Wife
credit: Amos Sewell
description: Artist Amos Sewell has tangled a boy-meets-two-girls mess into his cover, and left the future to be solved in this space, consarn him. If one of those luscious lasses is the boy's sister, he would be romantically justified in snatching up the other, but a cad for not rescuing his own kin from wallflowerism; so the sister angle gets us no place. As the lad moves downcourt, he seems to be dribbling himself slightly toward the brunette; but if he can go all the way without teetering uncertainly toward the hypnotizing blonde, he has stronger character than is resident in most males. Oh, let's just plunk him down in the chair between them and get rid of him. In conclusion, a query: how come those two belles haven't been picked off before this — are all the boys around there nearsighted?
magazine: McCall's, February 1960, LXXXVII(5)
story: Crazy Sunday
credit: Diane and Allan Arbus
description: Suit by Faye Wagner for Dani, Jrs.; for stores where it may be seen, turn to page 190.
magazine: McCall's, April 1960, LXXXVII(7)
story: I Love Galesburg in the Springtime
credit: Diane and Alan Arbus
description: bold black-patterned coat dress by Jay Morley for Helen West
magazine: McCall's, October 1961, LXXXIX(1)
story: An Old Tune
credit: Bert Stern
description: Turtle-Neck Mohair Sweater by Olympic Knitwear
magazine: McCall's, January 1962, LXXXIX(4)
story: Where the Cluetts Are
credit: Howell Conant
description: Elizabeth Taylor
magazine: McCall's, March 1962, LXXXIX(6)
story: The Man with the Magic Glasses
credit: Bert Stern
description: None
magazine: McCall's, May 1962, LXXXIX(8)
story: Old Enough for Love
credit: Mark Shaw
description: None
magazine: Playboy, September 1962, 9(9)
story: Hey, Look at Me!
credit: Paul/Austin
description: None
magazine: McCall's, October 1962, XC(1)
story: The Sunny Side of the Street
credit: Melvin Sokolsky
description: None
magazine: The Saturday Evening Post, October 13, 1962, 235(36)
story: Time Has No Boundaries
credit: McCall
description: By mistake, American bombers fly past the Fail-Safe point and approach Moscow. Can the world survive the Kremlin's angry reaction?
magazine: Playboy, October 1963, 10(10)
story: No Time for the Billiard Ballet
credit: Posar Pompeo
description: Model Teddi Smith … hairstyle by Fred's Shears and Cheers
magazine: Playboy, April 1965, 12(4)
story: Double Take
credit: J. Barry O'Rourke
description: Model Lannie Balcom … hairstyle by Fred's Shears and Cheers, Chicago