Pin-up Girls

Published by TAJ Books International LLC 2014

5501 Kincross Lane
Charlotte, North Carolina, USA
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Copyright © 2014 TAJ Books International LLC

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The Publishers thank the Private Collection of Kevin Prochaska and Patrick Hitte, as
well as the unidentified families and estates of the artists whose work appears in this
book. We have made our best efforts to contact the owners of copyrights for all art
reproduced herein. Most publishers of calendar art no longer exist and, in most cases,
the art has now fallen into public domain.

ISBN 978-1-84406-264-5 Hardback

978-1-62732-005-4

Printed in China

1 2 3 4 5 18 17 16 15 14
 pin-up girls

I s a b e l l a A l s t o n
 Pin-Up Girls
T he image most indelibly linked to the
term Pin-Up Girl is a busty, long-legged,
beautiful woman posing in a revealing outfit,
or even nude, on calendars, posters, and in
magazines during the World War II years.
These images make up the quintessential and
most recognizable Pin-Up Girls, although they
are only representative of a specific era in
pin-up history. The Pin-Up Girl has actually
been around since the late 19th century,
when actresses and cabaret stars of the
period used photographs of themselves as a
promotional tactic. This format was somewhat
revolutionary because until that point, women
were not expected to flaunt their image in
public or in private. And if a woman did, she
was considered to be of an “unsavory” nature.
The actresses and other female performers
who pioneered the pin-up were generally
not women of polite society, but they were
popular enough with their fans that they were
not publicly shamed. In this era of pin-up,
women were particularly attuned to creating
a unique look in order for their image to be
instantly recognizable, able to garner them the
necessary attention to draw crowds and fans
whom they depended on to make their living.
The late-19th-century pin-up was one of
the first campaigns to promote a woman’s
sexuality as publicity, and it worked. These
women used their bodies—typically in a
4
very tasteful manner—coupled with their
intelligence to get what they wanted. They
knew what men desired and they used that
knowledge to their advantage. Perhaps,
these early Pin-Up Girls were the earliest
frontrunner of the women’s liberation
movement.
In the earliest era of pin-up, before the turn
of the 20th century, the Gibson Girl, created
and drawn by Charles Dana Gibson, was a
precursor of the pin-up art that would become
so popular in the 1940s and 1950s. The Gibson
Girl emerged in the 1890s, an artful rendering
that combined a fragile, beautiful woman with
a curvy figure, saved from promiscuity by a
respectable demeanor. This was new territory.
In the past, a voluptuous woman was almost
always depicted as lewd or immoral.
The Gibson Girl was perceived as a
“modern” woman. She was educated, relatively
independent, and intelligent, and adhered
to the accepted norms and mores of proper
society. Thus, she was accepted as pioneering
but respectable, serving as an ideal to which
many young women could aspire. Another
critical element of the Gibson Girl mystique
centered around the dominant position she
held over men despite her apparent fragility.
Gibson often illustrated her as looking down
on the male sex. The Gibson Girl’s aloof sense
of self-possession, combined with her beauty
 Memories of Olive
1920, Alberto Vargas (1896–1982)
OIive Thomas, who performed in the Ziegfeld Follies,
commissioned by Florenz Ziegfeld

5
and poise, created an irresistibly dynamic
female, which never ceased to intrigue the
male sex because they could never fully
possess her. The World War II and later Pin-Up
Girls shared this reason for appeal. They were
not to be possessed, only viewed and lusted
after. As fashions changed and the female
sex was liberated politically as well as in the
home with the advent of the vacuum cleaner
and the washing machine, the groundbreaking
Gibson Girl slowly dwindled from popular
culture but was never forgotten. She was the
first definitive sex icon in America and laid
the ground rules for what future generations
of American men and women understood to be
the basis of feminine beauty.
Actresses and burlesque dancers in the
early 20th century used photography of
themselves in provocative poses as a means of
self-promotion. Some of the most well-known
women in this category include the silent
screen star Clara Bow and the exotic dancer
Josephine Baker.
Raphael Kirchner, a French artist, took the
Gibson Girl a step further in his drawings of
women, primarily produced during the era of
World War I. Most were in postcard format.
Kirchner is considered by some as the father of
pin-up, inspiring Alberto Vargas in his well-
kown work 30 years later. Paul Chabas, also
French, painted numerous nudes and added
substantially to the earliest body of pin-up art.
6
But pin-up art was not the sole orbit of men.
Mabel Rollins Harris created soft pastels of
nudes from the late 1920s and into the 1930s.
Much of her pin-up work illustrated calendars.
The notorious Pin-Up Girl, scantily clad,
the subject of a photo or artwork specifically
designed to be titillating to the male gender,
did not fully develop until the early 1940s.
The pin-up genre ran the gambit, both in art
and photography, from simply the image of
a glamorous and beautiful woman to what
was considered quite risqué—total nudity.
Many Pin-Up Girls would make a mark for
themselves later as models or actresses, but
the launching pad of their careers was a
growing market for these “cheesecake” images.
Actresses such as Marlene Dietrich, Cyd
Charisse, Betty Grable, and Sophia Loren are
just a handful of examples.
The increasing consumer demand for
the pin-up came first and foremost from the
American military as soldiers were deployed in
droves to Europe and later to the Pacific. These
soldiers and sailors, mostly new recruits, had
to leave behind wives and girlfriends to face
the devastating conditions of war in which
they lived in constant fear for their lives.
The unknowns and uncertainties America’s
fighting men dealt with daily were difficult
to escape. The pin-ups, however, offered a
welcome distraction if only for a few dreamy
minutes. The photos, usually of the hottest
movie stars of the day such as Betty Grable
and Rita Hayworth, and drawings of Pin-
Up Girls represented what waited for them
at home after the war was won and over. In
the midst of a dark and dismal present, the
future was lit by the warm come-hither smile
of a sexy lady waiting on the other side of a
teeming sea.
Bruno Bernard, who worked as Bruno of
Hollywood, captured a wide array of pin-up
poses with his camera in the 1940s and 1950s.
He fled to the United States from Germany in
1937 at the age of 26. He had served as the
general secretary of the Jewish underground
movement and his life was under threat. In
1934, he had earned a doctorate in criminal
law at Kiel University and he did post-
graduate work at the University of Berkeley.
Put the pull of the arts and photography
was very strong. This is where he made his
ultimate mark. In the early 1960s he returned
to his hometown of Berlin where he began a
career as a photojournalist.
One of the first widely acclaimed pin-up
artists was Alberto Vargas, a Peruvian-born
painter, who found fame in the United States.
His original works were less scandalous than
his later works. After Vargas was hired by
Esquire magazine in the 1940s specifically to
create pin-up art for overseas soldiers, Vargas
sexed up his images. One of his signature
touches was to draw women in scantily clad
7
military uniforms. He is often credited with
pioneering the concept of the centerfold.
At Esquire, Vargas dropped the “s” from his
name and immediately devised the Varga Girl
calendar, which made his reputation. Vargas
left Esquire in 1946, working on his own,
even creating his own calendar, but under his
real name, Vargas. In 1960, he joined Playboy,
recruited by Hugh Hefner, to be the magazine’s
primary artist.
But Vargas’ contemporary, George Petty,
perhaps garnered more fame for his so-called
Petty Girls, which were often reproduced to
decorate the front of fighter planes. Vargas
was hired by Esquire to replace Petty after
a dispute over Petty’s salary. Petty’s unique
artistic style was less realistic than that of
Vargas, and his girls were drawn out of
proportion; he would intentionally elongate
their legs and reduce the size of their head.
In many ways, Petty’s style resembles the
proportions of the Barbie doll, which is so
often critiqued for it’s unrealistic and idealized
representation of the female body.
During this period, the popular pin-up
calendar made its debut. Gillette (aka Gil)
Elvgren was the Louis F. Dow Calendar
Company’s star artist. His work would grace
some of the first pin-up calendars to be
shipped overseas to American soldiers. In
1944, Elvgren left Dow to join Brown &
Bigelow, one of the premier calendar and
print companes. Elvgren would continue to
work for the company until 1972. Some of his
most well-known works were produced during
his employment there. He was extremely
successful in the broader field of commercial
art, producing works for Coca-Cola, General
Electric, and Sealy Mattress Company
throughout his career. Other artists that
produced pin-up art for calendars in the 1950s
were Ernest Chiriaka and Al Moore.
In post-World War II America the boom in
the pin-up industry continued as the soldiers
and sailors returned home still harboring an
appetite for pin-up art. Additionally, war-time
restrictions on materials such as nylon were
lifted. As a result, lingerie could be made
skimpier and sexier and was quickly adapted
into the pin-up genre. During these years,
the female body came out of the closet, so
to speak, albeit under a veil of good, old-
fashioned American morals. The Pin-Up Girls
were often depicted as vulnerable females
who were taken by surprise in their state of
undress or caught in a moment when they
were unintentionally revealing. This tactic
added a voyeuristic quality to the images,
enhanced by the fact that they were portrayed
as good, wholesome girls who would never
knowingly show what in polite society should
stay under wraps. In contrast to today when
a woman’s flaunting, dressed or not, of her
sexuality is widely accepted by the majority
8
of the population, society of the 1940s and
1950s had yet to experience the sexual
liberation of the 1960s and 1970s. Therein lay
the unmistakable allure of the Pin-Up Girl: a
woman’s nude or semi-nude body was a rare
sight to behold.
Marilyn Monroe is probably the most
famous female in American pop culture,
and her rise to fame began in the pin-up
industry. When Marilyn was 16, the product
of several foster homes and an emotionally
unstable mother, she married Jim Dougherty,
who would soon ship out to the Pacific as a
Merchant Marine in World War II. While Jim
was gone Marilyn moved in with her mother-
in-law and began work at a factory that
made parachutes and airplane parts. While
she was employed here, a photographer for
Yank magazine, on a mission to take morale-
boosting photographs of young American
women back home helping out the troops,
discovered Marilyn, then called Norma Jean.
The photographer encouraged Marilyn to sign
with a local modeling agency. Her appearance
on a number of magazine covers garnered the
attention of an executive at 20th Century Fox,
who ultimately signed her to a seven-year
contract.
Marilyn’s career only took off in 1951,
however, after a scandal emerged around some
nude pin-up photographs she had posed for in
1949. A couple of these nudies had featured
in popular pin-up calendars, and she was
recognized. The studio was concerned about
the potentially negative fallout, but Marilyn
admitted the obvious and explained that she
had agreed to the shoot because she needed
money for rent. Marilyn’s gamble worked,
and what could have easily been interpreted
as cheap behavior, destroying her fledgling
career, was sympathetically viewed as the
plight of any young Hollywood actress.
The sudden spotlight on Marilyn rapidly
expanded the public’s awareness of her. In
1952, she graced the cover of TIME magazine
with the headline “The Talk of Hollywood.”
One of four films released that year was
Niagara, arguably the film that launched her
movie career. In it, she plays a femme fatale
who schemes to murder her husband. The
greatest attention from critics was spent noting
her overt sexuality in the role, rather than
her acting ability. This film also established
the “look” that would forever be associated
with her: platinum blonde hair, pouty lips,
tight dresses, and lots of cleavage. She was a
living, breathing Pin-Up Girl. Marilyn’s pin-up
photos, which provided her the spotlight she
so needed to acheve her big break, may have
been a double-edged sword, portraying her as
the sexy blonde bombshell, a role from which
she could not break away.
Playboy magazine, a natural follow-on
to pin-up art, was founded in 1953 by Hugh
9
Hefner. Hefner put Marilyn Monroe on the
cover of the first issue as well as in the
centerfold. It was a brilliant move because the
centerfold photo was the calendar photo that
had brought Marilyn notoriety and greatly
helped popularize the magazine. The Playboy
bunny logo personified Hef’s image of the
perfect Playboy girl as being playful, bouncy,
innocent, cute, and uncomplicated. For his
magazine, Hefner always sought the girl-next-
door who was simultaneously accessible, yet
inaccesible. This is the same characteristic that
exemplified its forerunner, the very popular
pin-up image.
On the opposite end of the pin-up spectrum
is the infamous Bettie Page, often referred
to as the Queen of Pin-Up. Bettie’s parents
divorced when she was about five years old.
She claimed that her father sexually molested
her as a child. She was a good student, voted
most likely to succeed by her classmates, and
served as president of the debate team at her
high school. In 1943, she married her high
school sweetheart, Billy Neal, who was soon
after drafted to serve in World War II. They
divorced. While walking on Coney Island in
1950, Bettie met Jerry Tibbs, a police officer
who dabbled in photography. He convinced
Bettie to pose for him and her pin-up career
was born. Tibbs helped her put together a
portfolio, which was successful is getting
her future modeling gigs, especially within
the “girlie” magazine genre, still relatively
underground at that point. In the 1940s and
1950s, an underground market for mail order
pornography existed and Bettie found her
niche within its pages.
Bettie is often considered to be the first
“bondage” model. Her career lasted about a
decade before, in 1959, she was was born
again as a Christian and foreswore her
previous life. Photos have a life of their own,
however, and over the last 70 years Bettie Page
has worn the mantle of the more demure world
of pin-up as well as the more licentious world
of early pornography and bondage. Unlike
Marilyn, Bettie was interested in the world of
pin-up for the sake of the pin-up; she enjoyed
the eroticism and voyeuristic nature of the
business. In many ways, Bettie represents the
darker side of the genre, whereas Marilyn
portrayed the lighter, more superficial side of
pin-up.
Two women known who made their
reputations in the 1950s world of pin-up were
Mamie Van Doren and Jayne Mansfield.
Mamie Van Doren was born Joan Lucille
Olander in the early 1930s in Rowena, South
Dakota. She was more than three-fourths
Swedish and had strikingly beautiful blonde
hair and blue eyes. When Mamie was 11 years
old, her family relocated to Los Angeles. At
the age of 15, she began working as an usher
at the Pantages Theater. She also won a few
10
small parts on the newly popular medium of
television and appeared in numerous beauty
pageants. She eloped with her first husband
(she has been married five times) two years
later at the age of 17, but the marriage was
short lived. She threw herself head long
into the beauty pageant business with great
success, winning the pageant titles of Miss
Eight Ball and Miss Palm Springs; it was
the latter that ultimately brought her to the
attention of Howard Hughes who dated her
and cast her in small uncredited roles in a few
of his RKO movies.
In 1953, Mamie signed a five-year contract
with Universal Studios who had great hopes
that she could “out Marilyn” Marilyn Monroe,
but they were disappointed. Universal
changed her name to Mamie after President
Eisenhower’s wife. Mamie also posed as a
model for Alberto Vargas, one of the most
famous pin-up artists, and also appeared in
Playboy. She would only have minor success
in film even though she was one of the early
pioneers who brought nudity, albeit very
subtly, to the silver screen. Mamie continued
to appear in independent films, including two
science fiction movies, for another 50 years.
She enjoys cult status today.
Jayne Mansfield, like Mamie Van Doren,
was only mildly successful in film, perhaps
because there were just one too many big-
busted blond bombshells in the 1950s and
Marilyn Monroe photographed by Douglas Kirkland in November 1961

11
1960s! Regardless, she did enjoy considerably The post World War II pin-up industry
more fame than Van Doren, but not as was slowly overtaken by magazines such as
much as her rival Marilyn Monroe. She was Playboy and Hustler, and the desirable “good
often referred to as “the working man’s girl” pin-up image of the 1940s and 1950s
Marilyn.” Unlike Marilyn, however, Jayne gradually faded into the background as women
grew up in a supportive family environment began more openly to embrace and flaunt their
in a comfortable middle-class home. Her sexuality. The centerfold girls that emerged in
father was an attorney. Jayne also inherited the 1960s and later posed to be intentionally
a considerable sum of money from her and overtly sexy, determined to command the
grandparents at a young age. Highly educated, attention of a male audience. Many of the pin-
she was fluent in German, French, and ups from this era were aspiring movie stars,
Spanish, and also spoke some Italian. She such as Raquel Welch and the ill-fated Sharon
played the viola, violin, and piano and was Tate. Like Marilyn, these women used their
well versed in ballroom dancing. Despite her
broad range of talents and accomplishments
(obviously, she was quite intelligent), she
was disappointed in Hollywood’s fascination
and focus on her curvy measurements with
little appreciation of her brain. Jayne had
tremendous success within the pages of
Playboy as one of the early Playmates as
well as in her nightclub shows, which were
striptease revues, in Las Vegas. Her film
career peaked early and quickly fizzled, even
though she continued to appear in low-budget
independent and foreign films. Sadly, Jayne
Mansfield only lived to the age of 34, dying
in a car accident in Louisiana, near where
she was playing in a Biloxi, Mississippi,
supperclub. In her short life, she had three Sophia Loren stealing a glance at Jayne
husbands and five children; one of her Mansfield’s famous cleavage
daughters is the actress Mariska Hargitay.

12
pin-up fame as a means to a future acting
career. Similarly, their acting careers would be
somewhat overshadowed by their initial pin-
up phase, which continued to dampen their
professional prospects. One of the most well-
known 1960s pin-ups was the future actress,
Ursula Andress. Her claim to fame was acting
as the first Bond girl, a role in which oozing
sexuality was a key requirement.
The 1970s era of pin-up was dominated
by Farrah Fawcett and Cheryl Tiegs. The two
virtually had a poster war. One or both of the
posters were likely to be found during these
years plastered on the walls of the majority of
the pubescent male population. Farrah’s poster
hit the streets in 1976, ultimately reaching
sales of 22 million. Wearing a red one-piece
Speedo bathing suit with her knees pulled up
to her chest, Farrah is photographed cutting
her eyes toward the camera under her famous
layered fringe. After Farrah’s death in 2009,
the iconic bathingsuit was donated to the
Smithsonian Institution’s National Museum
of American History. Although, Farrah did
continue to play the sex and nudity card,
appearing in Playboy multiple times, she was
successful as an actress on stage and screen—
both large and small. She received six Golden
Globe nominations for best actress, five for
television, and one for motion picture, drama.
Sports Illustrated, catering to a largely
male readership, recognized the bonanza
13
that a swimsuit edition would be to the
magazine. Harkening back to the more clean-
cut days of pin-up, the magazine launched
the careers, and still continues to do so, of
many a model. One of the earliest and most
celebrated was Cheryl Tiegs. The latest is Kate
Upton. Although Cheryl Tiegs would only
model and not act, she rode the wave of super
stardom as the first supermodel, the first to
be featured three times on the cover of Sports
Illustrated. She was heralded the third time
as the ultimate pin-up girl when she wore
a fishnet bathing suit that left little to the
imagination. Modeling bathing suits for Cole,
a bathing suit manufacturer, is ironically what
launched her career in Seventeen and Glamour
magazines. Her famous Pink Bikini poster of
1978 is thought to have outsold that of her
rival Farrah.
In the decades since innocent pin-up
morphed into raunchy sexuality with the
advent of widely distributed girlie magazines
in the 1950s and pornographic films in later
years, the exploitation of female sexuality
has seeped into virtually every form of media,
not only the obvious but also TV newsrooms,
video games, teen music videos, and comic
books. Sex and nudity are no longer taboo. In
the midst of the blatant exhibitionism we find
ourselves surrounded by today, the art and
descretion of pin-up is a welcome respite and
a memorable recollection of a time gone by.
Plate 1
Sophia Western
Adam Buck
1800, Engraving

Adorned with all

the charms in
which Nature can
array her bedecked
with beauty, youth,
sprightliness,
innocence, modesty,
and tenderness,
breathing sweetness
from her rosy
lips and darling
brightness from her
sparkling eyes, the
lovely Sophia comes!

14
 Plate 2
September Morn
Paul Chabas (1869–1937)
1912, The Metropolitan Museum of Art

15
Plate 3
Le Gui de Paris
circa World War I, Raphael Kirchner (1876–1917)
Postcard

16
 Plate 4
La Masque Impassible
circa World War I, Raphael Kirchner (1876–1917)
Postcard

17
Plate 5
Billie Dove
circa 1927
Silent film actress

18
 Plate 6
Josephine Baker in A Banana Skirt
1927, Walery (1863–1935)
Folies Bergère production “Un Vent de Folie”

19
Plate 7
Golden Dawn
1930s, Mabel Rollins Harris
Pin-Up Calendar Art

20
 Plate 8
Spirit of the MIst
1930s, Mabel Rollins Harris
Pin-Up Calendar Art

21
Plate 9
Rita Hayworth
circa 1940

22
 Plate 10
Betty Grable
1943

23
Plate 11
Gene Tierney
February 1944, Yank Magazine

24
 Plate 12
Betty Anne Cregan
December 1945, Yank Magazine

25
Plate 13
K.T. Stevens
1944, Yank Magazine

26
 Plate 14
Deanna Durbin
January 1945, Yank Magazine

27
Plate 15
Rita Hayworth
July 1944, Yank Magazine

28
 Plate 16
Evelyn Ankers
July 1945, Yank Magazine

29
Plate 17
Lauren Bacall

November 1944, Yank Magazine

30
 Plate 18
Jane Russell

September 1945, Yank Magazine

31
Plate 19
Susan Hayward

October 1945, Yank Magazine

32
 Plate 20
Lizabeth Scott
November 1945, Yank Magazine

33
Plate 21
Jeanne Crain
August 1945, Yank Magazine

34
 Plate 22
Gloria DeHaven
June 1945, Yank Magazine

35
Plate 23
Ann Miller
June 1945, Yank Magazine

36
 Plate 24
Ramsay Ames
April 1945, Yank Magazine

37
Plate 25
Veronica Lake

38
 Plate 26
Mamie Van Doren

39
Plate 27
Reverie
circa 1923, Alberto Vargas

40
 Plate 28
Preliminary Sketch, First Vargas Calendar
1940, Alberto Vargas

41
Plate 29
June 1947
George Petty
Ridgid Tool Calendar

42
 Plate 30
December 1947
George Petty
Ridgid Tool Calendar

43
Plate 31
UnTitled
circa 1958, Arthur Saron Sarnoff (born 1912)

44
 Plate 32
UnTitled
1956, Harry Ekman (1923–1999)

45
Plate 33
They’re Easy to Handle
1959, Edward Runci (1921–1986)

46
 Plate 34
UnTitled
1947, Peter Driben (1903–1968)

47
Plate 35
Man’s Best Friend
1959, Harry Ekman (1923–1999)

48
 Plate 36
Going Places
1941, Earl MacPherson (1910–1993)

49
Plate 37
A Run on Sugar
circa 1948, Earl Moran (1893–1984)

50
 Plate 38
Swing Time
1939, Jules Erbit (1889–1968)

51
Plate 39
High Pressure Cooker
1955, Paul Cernia

52
 Plate 40
Twinkle Toes
1948, Rolf Armstrong (1889–1960)

53
Plate 41
Young Nymph
1946, Gil Elvgren (1914–1980)

54
 Plate 42
Aiming High (Will William Tell?)
1959, Gil Elvgren (1914–1980)

55
Plate 43
Untitled
1955, Peter Driben (1903–1968)

56
 Plate 44
Jerri
Bill Randall (born 1911)
Bill Randall’s Date Book Calendar

57
Plate 45
Pretty Cagey
1953, Gil Elvgren (1914-1980)

58
 Plate 46
Miss Information
Bill Randall (born 1911)
Bill Randall’s Date Book Calendar

59
Plate 47
Beat That!
1953, Gil Elvgren (1914-1980)

60
 Plate 48
Untitled
1948, Edward D’Ancona (1909–1991)

61
Plate 49
Swinging into Summer
1945, Art Frahm (1906–1981)

62
 Plate 50
A Surprising Figure
1949, Edward Runcie (1921–1986)

63
Plate 51
Barbecue (Rare Treat)
1964, Gil Elvgren (1914–1980)

64
 Plate 52
Let’s Eat Out
1967, Gil Elvgren (1914–1980)

65
Plate 53
Thigh Measurement
1949, Peter Driben (1903–1968)

66
 Plate 54
Fixing Her Hair
circa 1950, Joyce Ballantyne (1918–2006)

67
Plate 55
Untitled
circa 1940, Earl Moran (1893–1984)

68
 Plate 56
Untitled
Early 1960s, Bill Randall (born 1911)

69
Plate 57
Untitled
Early 1960s, William Medcalf

70
 Plate 58
Untitled
1950s, Peter Darro (born 1917)

71
Plate 59
How to Keep Your Money Warm
1952, Peter Driben (1903–1968)

72
 Plate 60
First Mate
April 1953, Peter Driben (1903–1968)

73
Plate 61
An American Beauty
circa 1940, Billy Devorss (died 1985)

74
 Plate 62
Untitled
1949, Peter Driben (1903–1968)

75
Plate 63
Doctor’s Orders
1939, Gil Elvgren (1914–1980)

76
 Plate 64
Go North Young Man
2008, Olivia de Berardinis (born 1948)

77
Plate 65
Untitled
circa 1958, Peter Darro (born 1917)

78
 Plate 66
Ankles Aweigh
1939, Gil Elvgren (1914–1980)

79
Plate 67
Marilyn Monroe
1951

80
 Plate 68
Marilyn Monroe
Late 1940s

81
Plate 69
Marilyn Monroe
Late 1940s

82
 Plate 70
Marilyn Monroe
circa 1948

83
Plate 71
Jayne Mansfield
Late 1950s

84
 Plate 72
Jayne Mansfield
circa 1960

85
Plate 73
Bettie Page
1950s

86
 Plate 74
Bettie Page
1950s

87
Plate 75
Bettie Page
1950s

88
 Plate 76
Bettie Page
1950s

89
Plate 77
Bettie Page
1950s

90
 Plate 78
Bettie Page
1950s

91
Plate 79
Bettie Page
1950s

92
 Plate 80
Bettie Page
1950s

93
Plate 81
Trapeze
1998, Jacob Gestman Geradts (born 1951)

94
 Plate 82
Pin-Up
2007, Patrick Hitte

95
 Index
Ames, Ramsay 37
Ankers, Evelyn 29
Armstrong, Rolf 53
Bacall, Lauren 30
Baker, Josephine 19
Ballantyne, Joyce 67
Buck, Adam 14
Cernia, Paul 52
Chabas, Paul 15
Crain, Jeanne 34
Cregan, Betty Anne 25
D’Ancona, Edward 61
Darro, Peter 71, 78
de Berardinis, Olivia 77
DeHaven, Gloria 35
Devorss, Billy 74
Dove, Billie 18
Driben, Peter 47, 56, 66, 72, 73, 75
Durbin, Deanna 27
Ekman, Harry 45, 48
Elvgren, Gil 54, 55, 58, 60, 64, 65, 76, 79
Erbit, Jules 51
Frahm, Art 62
Geradts, Jacob Gestman 94
Grable, Betty 23
Harris, Mabel Rollins 20, 21
Hayward, Susan 32
Hayworth, Rita 22, 28
Hitte, Patrick 95
Kirchner, Raphael 16, 17
Lake, Veronica 38
Loren, Sophia 12
MacPherson, Earl 49
Mansfield, Jayne 12, 84, 85
Medcalf, William 70
Miller, Ann 36
Monroe, Marilyn 11, 80-83
Moran, Earl 50, 68
Page, Bettie 86-93, 96
Petty, George 42, 43
Randall, Bill 57, 59, 69
Runcie, Edward 46, 63
Russsell, Jane 31
Sarnoff, Arthur Saron 44
Scott, Lizabeth 33
Stevens, K.T. 26
Tierney, Gene 24
Van Doren, Mamie 39
Vargas, Alberto 5, 40, 41
Western, Sophia 14
Bettie Page, circa 1955
Photograph by Rudolph Rossi
and hand-tinted by Rossi