In the synopsis (on the front cover, inside flap), the publishers emphasise the 'WORLD-FAMOUS' status of the Camera Artist in question, and how nothing like this book has ever been attempted before. They also go on to state that "there is hardly a pose of the human figure that is not illustrated.", and boast over 1,200 photographs - that may be factually correct, but in many examples the models stand less than 3" tall. So be aware.
John Everard, in his Preface, is much more realistic; stating that during the war years there had been a spate of books on the nude, some unfortunately were very crude and lacking in both artistic and production merit, prompting him to address the issue with a book which fulfilled the demands of artists, sculptors and draftsmen; but, he also states that "Even if it were double or treble its present size it would not cover such a vast subject." and that as a consequence 'Artist's Model' had to be a compromise in terms of selecting poses for the book.

Interestingly the matter of the changing attitudes to the female form are given some consideration by the photographer. His conclusion is that the ideal of beauty in slimness as it is today (c. 1950) is likely a result of the war's monotonous diet, nervous strain, and lack of sleep. And that it is hard to say whether public tastes, which decides on a favourite type of fashionable figure sets the standard, or whether conditions influence the taste or standard demand.
He then goes to great lengths to excuse the lack of body fat on has choice of models, stating that he felt obliged to yield to current public appetites for such body shapes lest he end up producing a book which nobody would want. He does however stress that no 'slimming' retouching of the photographs has been made.
Many of the issues regarding the portrayal of slim models in the media and what is now referred to as 'photoshopping' are still hot topics nearly 70 years later with no sign of being resolved any time soon. Add to this a growing obese population, and the margin between the ideal body shape portrayed on camera and the reality has never been so great.

The miniature figures in the first half of the book are designed to be read left to right. The first figure is taken from the same angle as the master picture which faces it, but with fluorescent lights (which are practically shadowless). Exposure is cut to the absolute minimum, with very full development.
To keep the same pose viewed from all round, the models are put on a turntable which rotates 30 degrees after each shot.
Everard explains that using Kodak Super XX, 4" x 5" or halfplate, developed for 35 to 49 minutes at 68 degrees, in Time Standard Developer, and a Compur shutter, working at one-tenth at F/11 as an average speed and aperture, he is able to consistently obtain good flesh tones in his nude work.
He also gives more insight onto the professions of some of his models pointing out the difference in hands between the gardener vs. the fighter pilot.

The first book of its type which set the standard for those to follow. The make-up and hair styles of many of the subjects do date the book.
It is no substitute for a live model, but certainly has use as a tool for illustrators. ( )