Overheard Lovers

Even the most bookish gent can find real life more intriguing than the printed word. This fun but often overlooked 1936 cover is a good example of Norman Rockwell’s droll sensibilty. The set-up was simple: two plain park benches, a disinterested pooch and no background scene to detract from our bookworm’s delightful expression. Rockwell often painted dogs, but it was usually the same spotted mutt that fit in well with his active freckle-faced kids. At one point Post publisher, George Horace Lorimer, asked the artist, “Why do you always use the same mutt in your covers?” Rockwell replied, “I have a good dog and he’s a good model, and I use him because it’s easier.” However, here he used a small, well-dressed breed to go with its rather foppish master.

Fall Gossip Session

Love is “a condition brought by spring, the glory of autumn, the humidity of summer, winter’s exhilaration or paralysis, and other odd manifestations of nature,” noted Post editors of this 1953 cover. In this quaint autumn painting, artist Constantin Alajalov (1900-1987) focused on three neighbors who seem quite fascinated by a budding romance. A refugee from the Russian Revolution, Alajalov arrived in New York in 1923 and worked his way up painting murals in restaurants to his first New Yorker cover within three years. He painted 73 Post covers from 1945 to 1962.

Eavesdropping on Love

Words of love are in the air, and Post editors speculated they went something like this: “It seems like we’re alone on a desert island. Just you and me and the sun and the surf.” But the lovebirds on Amos Sewell’s 1960 cover have company. “There’s another young couple in the vicinity,” editors noted, “and this mushy discussion positively fractures them.”

The need for cover illustration was waning in the early 1960s, as the Post was going with photographs in order to modernize the magazine’s look. Amos Sewell, who illustrated the first of his 45 covers in 1949, created his final one in 1962. During the ’40s and ’50s, Sewell also produced hundreds of story illustrations for the Post and its sister publication, The Country Gentleman.

Reduce to Music

Reduce to Music was the third of 17 covers Frederic Stanley (1892-1967) created for the Post. But his work might never have come to fruition if the self-taught artist hadn’t been willing to take a big risk.

Young Stanley, who worked as a mechanic by trade and created art in his free time, carried some of his paintings to New York with an ultimatum attached: If the paintings sold, he would devote his life to art; if they didn’t, he would remain a mechanic at his brother’s Massachusetts Buick agency. As it turned out, his brother soon had to post a vacancy. Not only did Stanley sell his work, he returned home with a contract for three more pieces.

In the mid-1940s, Stanley took a break from his successful career to recover from meningitis. Penicillin—only recently available to the public—saved his life, but the illness took its toll, and for a year he made no attempts to paint. When he returned to his canvas, he focused on portraiture of prominent citizens. His first client was H. Nelson Jackson, a wealthy physician, who along with Sewall K. Crocker became the first men to drive an automobile across the United States in 1903. Stanley was working on his final portrait of the Governor of Florida at the time of his death.

Former Figure

“Ah, the lighthearted, light everything-else years when Mrs. Portleigh was constructed like that!” wrote Post editors of this unforgettable 1957 cover. Since the editorial staff enjoyed noting foibles of cover illustrators, they added that artist Amos Sewell (1901-1983) “borrowed that dress form in Westport, Connecticut, and walked to his car with it under his arm, and nobody gave him the raspberry. In artist colonies people evidently become shockproof.”

At the time San Francisco-born Sewell painted this cover, he had been living in New York for more than 27 years. But he certainly took the long way from San Francisco to arrive in the Big Apple: via the Panama Canal, he worked on a lumber boat to pay his way to the big city where he would launch his career as a commercial artist. After arriving in New York, he studied at the Art Students League and at the Grand Central School of Art under renowned artist and instructor, Harvey Dunn.

Sewell produced hundreds of story illustrations for the Post and its sister publication, The Country Gentleman, often depicting children. Beginning in 1949, he did 45 Post covers until 1962, when the magazine turned to mostly photographic covers.

Soda Fountain Dieter

The life of Stevan Dohanos (1907-1944), the artist of this 1954 cover, reads like a classic American rags-to-riches success story. He was born third of nine children to Hungarian immigrants, and worked an odd number of jobs before settling into the steel mill where his father was employed.

In fact, it was at the steel mill where he began selling crayon-colored copies of famous artists’ work to fellow employees for $2 to $3 a piece. Copies of Norman Rockwell’s early Post covers quickly became his best sellers. Later Dohanos reflected on that time in his autobiography American Realist: “I did not know then that years later I would produce art for the famous Saturday Evening Post and Rockwell would become a personal friend.” Nor had he dreamed that, like Rockwell, he would become one of America’s most successful illustrators.

Working Out

“Every boy has a spell of yearning to resemble Hercules or Tarzan or some other bulging being,” wrote Post editors of this 1959 cover. “To accomplish this he yearns for fairly expensive gadgets, scorning his father’s theory that a superb body can be built with a snow shovel or a spade. … Kurt Ard purchased those awesome exercisers, but you needn’t feel sorry for his model—the expanded springs were fastened to the studio walls and all the lad had to exercise was his face.”

According to the editors, Danish artist Kurt Ard (1925-present) sought modeling volunteers “in the streets, parks, or by posting ads in the papers—and one day a lovely girl named Ulla answered an ad. She became his best model, then his best girl, then his wife.”

Working Out was one of seven covers Ard created for the Post. He sold his first magazine illustration in Scandinavia for $1.43 when he was 17. By age 31, he had more than 1,000 illustrations in Europe’s top-flight magazines.

NO Desserts

Russian-born artist Constantin Alajálov (1900-1987) was discussing cover ideas with a Post staffer while dining in a New York restaurant: “I was thinking of doing one about a stout lady in a cafeteria,” Alajálov said. “She’s on a strict reducing diet, see, and she has to carry her tray past a long line of fancy desserts.”

From concept to reality. The result of that dinner conversation was this entertaining 1949 cover accompanied by an amusing quip from the editors: “The plight of the stout lady is agonizing indeed, but not much more so than that of our representative as he ate with Alajálov that night. Our man was on a diet, and Alajálov is one of those slim people who can eat their way through the richest dishes on a menu without ever gaining a pound.”

Considering how brilliant and lighthearted Alajálov’s covers are, you may find it hard to believe that the illustrator began as a government artist, painting huge propaganda portraits and posters during the Russian Revolution. By age 21, he had made his way to Constantinople—at the time a refugee haven—where he sketched portraits in bars and created murals for nightclubs, managing to save enough money to pay his way to America in 1923. In New York, he was still painting murals, until he landed his first New Yorker cover and shortly after the first of many for the Post.

Spring Storm Blowing In

In a contemporary description of this cover, Post editors wrote that artist John Falter remembered well the spring storms from his Midwestern childhood in Nebraska and the way trees turned up the undersides of their leaves and looked like phantoms.

His more than 125 Post covers depicted everyday life, and often its foibles. (See “John Falter’s August.”)

Falter was known for his masterful use of outdoor light, reflected here with quickly disappearing patches of light and just as rapidly darkening skies.

Brushing Their Teeth

According to a 1938 article in the Post, San Francisco-born artist Amos Sewell worked at a bank for several years, studying art in the evenings and spending vacations sketching up and down the Pacific coast. Then “in 1931, right in the middle of the depression, (Sewell) decided he was tired of the banking business and shipped out as a work-a-way on a lumber boat bound for New York, via the Panama Canal.”

In spite of his earlier vagabond lifestyle, many of Sewell’s 45 covers are notable for their homespun quality. Prime examples include this 1955 suburban toothbrushing scene, a father assembling a swing set (see “Thanks, Dad!”), and a little boy playing cowboy (see “Romance of the Cowboy”).

Date with the Television

It all says mid-1950s: the TV, the dress, the lamp, the ashtrays … we have everything but tailfins here in this portrait of teenage angst.

The urbane setting (note the glittering city lights in the window) seems far removed from John Falter’s corn-fed Nebraskan boyhood. But let us be reminded of the artist’s meticulously rendered cityscapes as featured in “Can You Guess the City?”

First Cake

Adept at drawing humor from everyday life, Stevan Dohanos’ covers include a toddler in a bedroom happily emptying purses as grown-ups gather in the next room and a woman “on vacation” at a beach cabin. (See “The Great Covers of Stevan Dohanos.”)

About this 1955 kitchen scene (left), Post editors wrote: “These newfangled kitchens certainly have helpful equipment, such as wall ovens with windows so one can watch a cake fall.”

Model Home

Artist George Hughes favored vibrant colors and upper-middle class settings. Because the family is fashionably attired, we might assume some level of affluence. Even so, the average home was around $18,000 in 1950, and the sign in this model home states: “This modern spacious split level: $29,995.00.” No question that the family breadwinner is feeling a degree of sticker shock.

On the inside cover of this issue, Post editors quipped that Hughes himself had just purchased a new, one-level home in Vermont “because he is too old a man to climb steps.” Hughes would have been in his 50s at this time, but this sort of teasing banter was typical of the artist/editor relationship.

Den Into Nursery

Post editors wrote that the wallpaper with whitewater fishing scenes in Dad’s den is going, and he would soon be a “displaced person.” As the father of two young girls, illustrator George Hughes could certainly identify with turning man caves into kid’s rooms.

Renovation may have also been on his mind because the artist had recently moved from New York City to Arlington, Vermont, in part, to be near other Post artists like Norman Rockwell and Mead Schaeffer.

The country air must have suited Hughes, as the ’50s saw 80 George Hughes covers, making him the most prolific Post artist of the decade. By comparison, other prominent cover illustrators like Richard Sargent and John Falter did 35 and 60 covers, respectively (Rockwell did 45).

Sleeping Farmer

This landscape from 1947 was about as sentimental as artist John Atherton got. Most of his 47 Saturday Evening Post covers were still life studies, or a factory, a grain elevator, etc. He detested human-interest or sentimental covers.

Once he asked his friend Norman Rockwell what he was working on. “Oh, you don’t want to know, Jack,” Rockwell replied. Atherton insisted until a very reluctant Rockwell spilled the sappy details of a painting for a Boy Scout calendar where the boys are looking reverently at a cloudy image of George Washington praying. “Jack grunted horribly and grabbed at his back, twisting about in his chair as if he’d been stabbed,” Rockwell recalled. “But Jack was deeply loyal. If anyone else disparaged my work, he’d light into them.” Atherton knew what he was good at and that nobody was better than Rockwell at what he did.

Surveying the Cow Pasture

It is intimidating to have several large beasts staring at you while you work. Fortunately, despite their full-sized figures, they tend to be gentle animals. The surveyor’s biggest fear should be stepping in a cow pie.

Artist Amos Sewell illustrated 45 Saturday Evening Post covers, and well over a hundred fictional stories within the magazine.

Yakima River Cattle Roundup

“When I got into my early teens, like all boys, I got to wondering what in the world could I do to make a living and live in the mountains? One day I got to thinking about it and thought, That’s it! I’ll paint pictures and then I can live wherever I want to live,” said John Clymer. Where he lived as a boy was not far from this view of the Yakima River in Washington.

For 20 years, from 1942 to 1962, Clymer illustrated nearly 90 Post covers, most of them scenic and many, like this one from 1958, pretty enough to momentarily take your breath away. He and his father did not round up cattle as we see here, but editors inform us that they did fish the Yakima “for trout and, furthermore, caught some.”

Slow Mooving Traffic

Well, this is disruptive. One might say—all together now—udder chaos. Artist Ben Prins got the idea for this illustration, which was his first Post cover, because he had been in a similar situation where he “performed heroically as one of the toreadors,” claimed Post editors.

Little Cowboy Takes a Licking

The little cowpoke is certainly dressed for the part, but we wonder if he will ever be a hardcore ranch hand. This 1938 cover was by our most prolific artist, J.C. Leyendecker. He illustrated Post covers over a remarkable time span, from 1899 to 1943, often sumptuous and elaborate art of elegant ladies or gentlemen. So it comes as a delightful surprise when we find the artist’s humorous side.

Shoo the Moos

Before dragging grandma and baby through the barbed-wire fence, dad might want to wait and see if the cows will cooperate and vacate this ideal picnic spot (click on the artwork for a larger image).

Post editors noted that the bovines were not all that obliging when artist Stevan Dohanos was painting this 1950 cover. A cow aimed north by the local dairyman would stubbornly decide to go east or west. And as we can see, the white cow seems disinclined to move at all. This cover was painted in Westport, Connecticut, at the “Blue Ribbon Dairy Farm and Cow-Posing Academy.”

“Cowboy and Setting Sun” by N.C. Wyeth

Great American artist N.C. Wyeth (1882-1945) was a realist, as this 1907 cover shows. His first commission was to paint a cover for The Saturday Evening Post in 1903, a heady success for the tender age of twenty-one. The Post then commissioned him to illustrate a Western story, and Howard Pyle, under whom he studied, encouraged his venture West to study the real thing. Already very much the outdoorsman, Wyeth worked as a cowboy and ranch hand, obtaining much more than a fancy art school education.

“Gary Cooper as the Texan” by Norman Rockwell

Twenty-five years or so later, an artist named Rockwell made his own trip out west, to a land called Hollywood. The artist thought it would be ironic to show a big, strapping “cowboy” getting his face made up. Hollywood was excited to have one of its stars appear on a Saturday Evening Post cover by the likes of Norman Rockwell, and the illustrator could have his pick. He selected a winner in handsome Gary Cooper. “He posed for me in Hollywood for three days and worked as conscientiously as any model I ever had,” Rockwell wrote. “Everyone at the set was crazy about him and I could see why.”

“Playing Cowboy” by Amos Sewell

From 1951, this youngster on the bucking two-wheeled bronco is determined to lasso that ornery, good-for-nothing fence post. Artist Amos Sewell did 45 Post covers from 1949-1962, mostly of kids being kids.

“Woman on Horse in Mountains” by W.H.D. Koerner

We’ll call this 1928 cover “Romance of the Cowgirl.” W.H.D. Koerner (1878-1938) was one of the great artists of the American West. Although he lived on the east coast, he made many trips to scenic Western sites like Yellowstone and the Big Horn Mountains of Wyoming. He illustrated many stories of Western fiction that appeared in the Post and Country Gentleman magazines.

“Tom Mix” by Rolf Armstrong

For most of us, Tom Mix (1880-1940) was before our time, but he set the standard for movie and TV cowboys to come. Starring in over 300 movies (mostly silent films), he is described as our “first Western megastar.” The films were more showmanship than authentic, but Americans became hooked on the romance of the West.

“Herding Horses” by John Clymer

“How nice it is to be a Western horse and seldom come to a fence or the inside of a barn door,” reflected Post editors of this 1952 Wyoming scene. With the help of his pigtailed daughter behind him, this rancher moves a herd of horses across the river. The dog is assisting as well, even though we can only see his head barely above the water. Artist John Clymer (1907-1989) turned many American landscapes into beautiful Post covers.

“Cowboy Asleep in Beauty Salon” by Kurt Ard

Well, partner, this cowboy’s had a long day ropin’, shootin’ and riding the range. By the time he got to this here fixin’-up place, he was plumb tuckered out. This adorable 1961 cowboy is by artist Kurt Ard.

For more Western art, see “Native American Covers.”

“Early Morning Feeding” by Howard Scott

Sydney Field, copywriter for an ad agency and a short story writer, was having lunch with Post artist Howard Scott one day. It struck the artist that his friend would make a great befuddled dad on a Post cover. As his soup grew cold, he studied and sketched his lunch companion, and the next thing we knew, the writer was on the cover of our favorite magazine in January 1945 having a bad “heir” day.

“Swing Set” by Amos Sewell

Another Post cover artist, Amos Sewell, saw a father struggling to put together a swing set—and another Saturday Evening Post cover was born. We can understand the impatience of the kids, but for safety’s sake and the sake of their innocent little ears, perhaps they should stand farther back. This is from 1956.

“Sleepy Inning” by Earl Mayan

I love this cover from 1955. It’s tied up at the top of the ninth, but the game is called for Dad on account of a conked-out kid. Well, pops, there’s always the radio. Artist Earl Mayan did ten Post covers depicting life in the suburban 1950s, including the next one.

“Amusement Park Carousel” by Earl Mayan

In an amusement park in 1958, Dad is anything but amused. That string of tickets he’s wearing declares this is only the beginning. As he risks whiplash on the Whip or tries not to toss his cookies on the Screamer, he dreams of what a great day this would be on the golf course. Face it; you owe him for this one.

“First Prom Dress” by Kurt Ard

Speaking of owe… is that the going price for a prom dress these days? Poor pops—he not only has to foot the bill, he probably had to sit through the modeling of sixteen frocks… before mother and daughter decided on the first one after all.

“Fathers’ Homework” by John Falter

“If one furrow-browed parent spends x hours failing to solve the quadratic equations of one boy,” asked the editors of the Post in 1960, “how long would it take two furrow-browed fathers to fail to solve the quadratic equation of two boys?” Hey, you, kid in the red sweater—the smirk is not helping. Artist John Falter admitted to being hopeless at algebra. No matter. He solved the problem of what to do for a Saturday Evening Post cover 129 times.

“Brushing Their Teeth” by Amos Sewell

Dad seems to be waiting patiently in this 1955 cover—but if he doesn’t get in to shave soon so he can get to work, there will be no toothpaste for anybody. So, dads, for your patience, attempts at homework, baseball games, and prom dresses… we humbly thank you and wish you the best ever Father’s Day!

Worried Rental Agent by Richard Sargent

While potential renters are checking out the closet space, the rental agent is checking out the child. A little boy with a big slingshot is scoping out possible new targets. Did we mention lots of nice windows? Definitely bears watching. This is from 1953.

Public Aquarium by George Hughes

Okay, which little boy came up with this bright idea? “Swimming with the fishes” does not normally have a good connotation, but it sounds cool to these kids. Maybe they’re thinking of diving for buried treasure. The security guard is having one of those “uh oh” moments. This is from 1954 by artist George Hughes.

Dr. and the Dog by Richard Sargent

Talk about a guard! Little Billy is tensed up for a shot and the dog isn’t sure the doctor should proceed. Maybe. We can’t exactly tell the dog’s mood because we can’t see his eyes. But the prognosis for the doctor doesn’t look good. Like the cover with the worried real estate agent above, this cover was by Richard Sargent.

Automobile Showroom by Amos Sewell

Wow! A cool new 1957 something-or-other! Teen One is dying to drive this baby to see how fast she can go. Teen Two is daydreaming about how hot Mary Ellen would look in the seat next to him. And Teen Three is underneath the car soon to emerge with a mechanical question that will stump the watchful dealer. Artist Amos Sewell painted this cover, so the editors dubbed the vehicle the Amos Sewell Super-whiz. That’s the cool thing about being an artist; if you want a hot new car you can just manufacture it yourself.

Saturday Rain by Earl Mayan

The raindrops bear watching, but it looks like the happy gardener is going to win this round. Artist Earl Mayan painted himself as the chagrined golfer, and a friend of his posed for the role of happy flower guy. But will the clouds pass and produce fine golfing weather after all? Well, there’s always next weekend.

Kittens in the Basement by John Falter

When Harry the Cat turns out to be Harriett, it is definitely an uh-oh moment. Let’s hope the kids don’t get too attached to the little cuties because while they’re thinking up names for them, Mom and Pop are trying to figure out ways to get rid of them. That will make the dog happy, because right now he looks like he’s lost his best friends.