Saunders and wife Ellen posing together to model a 1953 Western fiction cover painting.

Norman Blaine Saunders (1907 – 1989) was a prolific 20th-century American commercial artist. He is best known for paintings in pulp magazines, paperbacks, men’s adventure magazines, comic books and trading cards. On occasion, Saunders signed his work with his middle name: Blaine.

Saunders’ career was launched when his contributions to Captain Billy’s Whiz Bang resulted in a job with Fawcett Publications, where he was employed from 1928 to 1934.
He left Fawcett to become a freelance pulp artist, moved to New York City and studied under Harvey Dunn at the Grand Central School of Art. He painted for all the major publishers and was known for his fast-action scenes, his beautiful women and his ability to meet a deadline. He worked in almost any genre—Westerns, weird menace, detective, sports and the saucy pulps (sometimes signed as “Blaine”). He was able to paint very quickly, producing 100 paintings a year (two a week from 1935 through 1942).

When viewing Saunder’s art from the bondage point of view his art might not stand out, but I think pulp artists like Saunders were also founders of art we now today as fetish art. The Damsel in Distress theme, the strong females that submit men, being bound by a villain. It is all there for those who like bdsm art,that is why I decided to add a collection of his art to this blog.

When you like to learn more about Norman Saunders please visit the website Norman Saunders. This site documents all published works of Norman Saunders, from 1926 to 1986, for historians to study, collectors to authenticate, and enthusiasts to enjoy.  Everything is organized chronologically to allow viewers to browse the paintings in the same order in which the artist created them, to give some impression of the artist’s evolving style. 
In 1972 Norman Saunders and his son, David Saunders, began to assemble documentation of all published illustrations. The artist’s private collection consisted of hundreds of original artworks as well as “proof sheets” of pulp covers.