Allen A Hosiery Advertisement
from February 9, 1924

You know how hard boys are on their stockings. That is, back when they wore stockings. This delightful ad from 1924 with a classroom setting insists that “sturdy boys won’t scuff through” these hose. In the 20s, knickers were worn until age 13 or 14, and getting those first long pants was a major rite of passage.

Mazda Lamp Ad
from July 10, 1920

This appealing family scene is from a 1920 ad for Edison Lamp Works. Showing how much electric light adds to our lives, the text waxes poetic: “from the first candle of youth to the twilight of life, the moments that mean most are etched in memory by the glow of a lamp.” Advertisements today show the work of some outstanding photographers, but it is difficult to imagine a photo as engaging as a Rockwell painting.

“Men Arguing About Teddy Roosevelt”

from May 4, 1912

We don’t know much about artist Robert Robinson (1886-1952) and even less about the white-bearded models who posed for at least 15 of the illustrator’s 38 Saturday Evening Post covers. The delightful old geezers argued politics, drove like demons and tried to understand new-fangled things like biplanes and modern art. Enjoy!

“Elderly Couple in Automobile”

from January 11, 1913

“Watching Airplanes With Binoculars”

from July 15, 1914

“Cubist Painting”

from June 27, 1914

“Subzero”

from January 31, 1914

“Cool Drink”

from July 20, 1912

Reprints of these and many other Saturday Evening Post covers are available at Art.com.

“Second Thoughts” from August 16, 1947

"Second Thoughts"
August 16, 1947

Norman Rockwell painted many Saturday Evening Post covers featuring kids in everyday situations, beginning in 1916. Still going strong in the 1940s, the artist remained a master at capturing youth.

“Second Thoughts” from August 16, 1947

"Second Thoughts"
from August 16, 1947

Striving for realism, Rockwell took a long board and stuck it out of a second story window. Then he told son Peter, “I want you to crawl out onto that board and look scared.” Rockwell models became adept at acting a part. Peter was not acting; he was terrified.

“We’re all on diving boards, hundreds of times during our lives,” Steven Spielberg said in a 2010 article in The Oregonian. “Taking the plunge or pulling back from the abyss…is something that we must face. For me, that painting represents every motion picture just before I commit to directing it—just that one moment, before I say, ‘Yes, I’m going to direct that movie.” Hmm, maybe we should all have this one on our walls.

“The Census Taker” from April 27, 1940

"The Census Taker"
from April 27, 1940

In 1790 the U.S. Government decreed that a census be taken every ten years to keep track of the ever-populating land called America. In 1940, this census taker shows up with his big black book to interview an ever-populating housewife. She appears to be much like the old woman who lived in a shoe, with so many children she didn’t know…how to recall all their birth dates. Or perhaps she’s even trying to remember just how many cute little red-haired moppets there are!

“Home From Camp” from August 24, 1940

"Home From Camp"
from August 24, 1940

Just as they do today, droves of youngsters in the 1940s made their way to camps for an outdoor adventure. This particular one came home with everything except the cabin, making it a perfect vehicle for Rockwell’s passion for detail. She seems sad to leave the friends she made and get back to real life, where it remains to be seen if Mom and Dad will go along with the critters she collected.

“Devil May Care” from March 21, 1942

"Devil May Care"
from March 21, 1942

Rockwell and his wife were not blessed with girls, so the artist must have located a young lady’s vanity among his neighbors. The background is even pink to emphasize that this is girl territory. Rockwell did have three boys, however, and this was one of them. If young Tommy Rockwell did have a sister, no doubt the little scamp would be having a ball sneaking a peek at her diary for the juicy stuff.

“Cover Girl” from March 1, 1941

"Cover Girl"
from March 1, 1941

People often call after finding old issues of the Post, thinking they’ve uncovered a gold mine. They often forget that for many decades, it was printed by the millions, and then the would-be nouveau riche take our advice and troll the Internet for sites that sell vintage magazines. They are disappointed to find an issue they thought was old (1940s, for example) may go anywhere from $4.95 to $25.00. On occasion, up to $75.00. With the exception of this issue.

Sure it has an adorable Rockwell cover, but that isn’t why this is the most sought-after issue of the Post. If you can find it, be prepared to pay over $1,000 because of its rarity. And the rarity is because of the groundbreaking Jack Alexander story, “Alcoholics Anonymous.” AA had been showing striking success in the past six years (since its founding in 1935) in achieving sobriety for the “medically helpless.” Thousands of reprints were requested and the article was key to spreading the idea that alcoholism is a disease rather than a character flaw. (Read more about the “Alcoholics Anonymous” article here.)

Groundbreaking story and issue rarity aside, back to our man Rockwell with his Saturday Evening Post cover-within-a-Post-cover. Leave it to Norman to show how yellow socks and scuffed oxfords contrast with perfect make-up and a sophisticated chapeau.

“Rockwell Paints Nehru”– Feb 13, 1960

"Rockwell Paints Nehru"
from January 19, 1963

Forget freckle-faced boys, scruffy dogs and swimming holes. Rockwell was a seasoned traveler in the 1960s, often painting world leaders along the way.

“The Connoisseur”– January 13, 1962

"The Connoisseur"
from January 13, 1962

You can stare at the man staring at the Jackson Pollock-like picture all day and still not decide if he is thinking of whipping out his checkbook to buy it, or wondering, “What in blue blazes is going on here?”

Rockwell himself attended some classes “in modern art techniques. I learned a lot and loved it.” He had fun with this one. He put the canvas on the floor, dipping into paints and splashing them far and wide. It happened that a worker was washing the windows of his studio, so the artist invited him to help. The man climbed to the top of a ladder and obligingly dumped a can of white paint on the canvas below. One can’t help but wonder whatever happened to the laborer who actually helped Norman Rockwell paint a Post cover!

“Gamal Abdel Nasser”– May 15, 1963

"Gamal Abdel Nasser"
from May 15, 1963

Not what you think of as a “Rockwell,” is it? But Norman Rockwell was a great portrait painter (see the paintings he did of candidates Richard Nixon and John F. Kennedy in “Presidential Post Covers” from February 19, 2011). Nasser of Egypt was a pivotal figure in world politics since becoming president in 1954.

Nasser knew he was a handsome man and insisted on a frontal view with a toothpaste smile. Rockwell was just as insistent on a profile portrait. The artist would pose him the way he wished and begin sketching and Nasser would turn around and flash that big smile again. Now, clearly Norman was dealing with a powerful world figure, and not one to trifle with. This was a man who had helped organize the overthrow of the Egyptian royal family—a man with many guards around. Big guards. But Rockwell persisted in posing the President as he wanted, and, uncharacteristically, Nasser finally gave in.

“Nehru”– January 19, 1963

"Nehru"
from January 19 1960

Another day, another hot spot in the world. Rockwell accompanied Post Editor Robert Sherrod to India to report on “the epical struggle between China and India, which engages a third of mankind.” The article included photos of India of the early sixties, including one of college girls getting “emergency rifle training” from an army instructor.

Rockwell and his wife Molly enjoyed India and were invited to Nehru’s home. There they met Nehru’s daughter, Indira Ghandi, a future Prime Minister. The Rockwells were flattered and more than a little startled to find that Madame Gandhi had a room lined with Rockwell prints for her children.

“The Window Washer”– September 17, 1960

"The Window Washer"
from September 17, 1960

“Sakes alive! What ever has come over Norman Rockwell?” mused Post editors. “Does he hold with this sort of behavior?” Actually, Rockwell initially envisioned a different type of woman. He had in mind “a very prim girl, looking shocked,” he told us. “But the idea of youth calling to youth worked out more effectively. The girl isn’t going to date the fellow, however. You may assure the public of that.” Aw, Norman, that would have made a nice ending!

“Modernizing the Post”– September 16, 1961

"Modernizing the Post"
from September 16, 1961

The Pennsylvania Gazette was started in 1729 by an innovative young man named Benjamin Franklin. The Gazette is one of the many mastheads on display on the easel. Although it was the most successful newspaper in the colonies in 1815, long after Franklin’s death, it ceased publication and reportedly became a paper called The Saturday Evening Post. The connection is nebulous, but we remain determined to say we were started by Ben Franklin, so work with us here. Said paper was in dire financial straits by the 1890s and was purchased for $1,000 in 1897 by Cyrus Curtis, publisher of The Ladies’ Home Journal. From time to time, the Post changed its appearance; hence, the varied mastheads you see here.

Norman Rockwell, himself a rather important piece of Post history, depicts art designer Herbert Lubalin deciding on a clean, streamlined “POST.”

“Giant Clock on New Year’s Eve”– January 1, 1949

"Giant Clock on New Year’s Eve"
From January 1, 1949

Not everyone has a fancy party to attend on New Year’s Eve. Some of us have to work, like this less-than-enthused office cleaner. The artist was visiting Gardone, Italy when he found a local to model as his scrubwoman and “invented a skyscraper to go around her neck,” according to Post editors.

Constantin Alajalov was born in 1900 to well-off Russian parents. They were able to give him the advantage of schooling, but his professional training did not last long; he had barely started at the University of Petrograd when the Russian Revolution broke out. He traveled around the country with a group of artists, painting posters and murals of Communist propaganda in order to survive.

“No Desserts”– March 12, 1949

"No Desserts"
From March 12, 1949

Ah, so begins the New Year for many of us. It would not do to spoof a “stout” lady these days, but it worked in 1949.

Alajalov became the court painter for a khan in Persia. The khan was hanged by his successor, so there went that position. He moved on to Constantinople and painted murals and posters before landing in New York in 1923. Within three years, he sold his first cover to The New Yorker.

“Sunday Paper”– February 21, 1948

"Sunday Paper"
From February 21, 1948

This late-sleeping Sunday slacker is one of my favorite Alajalov covers. The poor sinner really wants that Sunday paper and the milk for his coffee, but who is having a confab outside his door? None other than the minister, of course.

Alajalov eventually became the only person to do covers for both The New Yorker and The Saturday Evening Post, despite the fact that both magazines required exclusivity in their cover artists. He was naturalized in the United States and spent the rest of his life traveling and painting in and out of the country.

“Fall Gab Session”– November 7, 1953

"Fall Gab Session"
From November 7, 1953

This wonderful autumn cover from 1953 shows a gossip session in full force. It looks like the Smith boy is seeing the Jones girl and the ladies of the town will only be too happy to spread the rumor that they are in love—confidentially, of course.

“Trying on the Old Uniform”– 5/31/1958

"Trying on the Old Uniform"
From May 31, 1958

What a difference 10 or 15 years makes! It is now 1958, and slipping into her old WWII WAVE uniform for a Memorial Day parade is not as easy as the charming young matron thought. (WAVES was an acronym for Women Accepted for Volunteer Emergency Service, began in 1942. It was technically US Naval Reserves, but the term “WAVES” caught on.) What did the 1958 crop of WAVES think of Post cover? They loved it! The WAVES director asked for the painting to be hung permanently in Washington and a WAVE at the Anacostia Naval Air Station asked for 50 autographed reprints for her crew. The artist happily granted both requests.

“Alajalov Photo”– 10/06/45

"Alajalov Photo"
From October 6, 1945

The October 6, 1945 issue of the Post not only boasted Alajalov’s first cover for that magazine, but a playful photo in the “Keeping Posted” column. The artist is sitting in his comfy chair next to a charming piano. The piano, however, as with most of the room’s “furnishings,” is not real. “If a room seems to need a door,” Post editors noted, “Alajalov paints himself a door. If it needs a window and a view, he paints both window and view, and can thereby look out on anything he wants.”

Of course, the room has limitations as well as advantages. “Guests cannot sit down and stay,” editors noted, “which is a good thing, and Alajalov has furniture of any period…he fancies. He can have the throne Catherine of Russia sat in, if he likes—in fact, he can have Catherine of Russia, gazing at him in admiration and ardor.”

“Bridge Hand Disturbs Sleep” from 12/1/62

"Bridge Hand Disturbs Sleep"
From December 1, 1962

Roger T. Reed of Illustration House is quoted as saying, “When I met him in 1984, the artist was a refined and patrician figure, with reason to be proud of a rich body of work in fine illustrative art.” The artist passed away in New York at the age of eighty-seven.

Philadelphia Eagle

In Pennsylvania, Beever created “Philadelphia Eagle,” a huge drawing featuring a bald eagle landing triumphantly on an American Flag.

Meeting Mr. Frog

“Meeting Mr. Frog” was created in Salamanca, Spain, and features a realistic-looking frog sitting on a lily pad.

Swimming Pool On High Street

My personal favorite is “Swimming Pool in the High Street” from Brussels, which portrays a woman relaxing in a swimming pool—a swimming pool sunk into the middle of the street, that is! (Considering the hot weather lately, I’d like to jump right in.)

Paul Newman by Gene Boyer, October 1977

Paul NewmanOctober 1977Illustration by Gene Boyer

Was there ever a cooler celebrity? His interests were as varied as auto-racing and large-scale philanthropy. And oh, yes, he was a darn fine actor. “Newman’s attraction as an actor has by now taken on some of the characteristics of a mythologically immortalized shrine where everyone wants to stand for a moment just to feel the magic,” wrote Erin James in the cover story. We in Indy know the mythological magic of a Newman spotting at the race track, sunglasses not quite eclipsing his handsome visage. This beautiful cover in 1977 was by artist Gene Boyer, who also did a Post cover of another famous actor and Newman pal earlier in the year (below).

Robert Redford by Gene Boyer, June 1977

Robert RedfordJune 1977Illustration by Gene Boyer

The same artist captured not only the tousled blonde hair (sigh) and blue eyes in this 1977 cover, but the charm and intelligence as well. The baseball player in The Natural, the bearded mountain man in Jeremiah Johnson, the ambitious reporter in All the President’s Men—all worthy of another look. But combining him with Newman in Butch Cassidy and the Sundance Kid (1969) and The Sting (1973) was casting serendipity to be savored over and over again. Redford, of course, also gained renown as a director.

Marlon Brando by Eric Carpenter, photographer, June 16, 1962

Marlon BrandoJune 16, 1962Photo: Eric Carpenter

Billy Wilder, the noted writer-director, was having dinner with President Kennedy. “Wilder,” our article states, “prides himself on his knowledge of world affairs” and was prepared to intelligently discuss Laos or Berlin. “Instead the President devoted himself to the burning question: ‘When in the world are they going to finish Mutiny on the Bounty?’” The Brando cover had an accompanying story of how he was acting like a Hollywood brat. Gee, we’re glad that never happens anymore – well, except for Lohan. And Gibson. And…well, we digress. The director was quoted as saying the picture “should have been called The Mutiny of Marlon Brando.” Okay, in Brando’s defense, the film’s producer said “…with a modern actor like him, he’s got to feel the part and you must allow him to make his contributions to the script and the directing. Otherwise he can’t work.” We’re not advising you try to tell your boss that you’re just not “feeling” it, but that’s up to you.

Sean Connery by Pierluigi & Loomis Dean, photographers, July 17, 1965

Sean ConneryJuly 17, 1965Photo: Pierluigi & Loomis Dean

The Bond phenomena did not escape The Saturday Evening Post. In July 1965, Sean Connery stands out against a background of Bond stills depicting “Girls, Guns and Gadgets.” There were photographers capturing Connery, all right: French, German, Swedes, English, Australian, and Canadian. “It was the biggest story I’ve ever been on,” wrote William K. Zinsser, “and it wasn’t any mere Dominican uprising or Cuba blockade. It was even bigger than that—the new James Bond movie was being filmed in the Bahamas!” The movie was Thunderball.

Richard Burton by Paul Ronald, photographer, December 3, 1966

Richard BurtonDecember 3, 1966Photo: Paul Ronald

“Richard Burton as the triumphant lover” read the caption. The lover in question was the lead in director Franco Zeffirelli’s The Taming of the Shrew. The Post cover was actually of Burton’s stunning wife Elizabeth Taylor as the shrew to be tamed (as we saw last week), and the cover cleverly folded out to show the male lead, full of all the bravado and magnetism of Shakespeare’s Petruchio…or of Richard Burton, come to that.

Cary Grant by Peter C. Borsari, photographer, March 1978

Cary GrantMarch 1978Photo: Peter C. Borsari

“He’s the only actor,” wrote a Hollywood columnist, “whom other actors will turn around to see when he enters a room.” Even at age seventy-four, at the time of this 1978 cover, he was dashing and charismatic. The Post article attributed his youthfulness to “a regimen of exercise, moderation in food and drink and a penchant for enthusiasm (‘Marvelous!’ is his favorite response)”. The fact that he had a pretty thirty-two-year-old “companion” probably assisted as well. To quote actress Suzy Parker: “Who else goes to drive-in movies in a Rolls and totes champagne for refreshment?” How he managed to be charming, distinguished and funny was a conundrum we never solved, but always enjoyed. “The drama in a Cary Grant movie,” our article states, quoting critic Richard Schickel, “always lies in seeing if the star can be made to lose his wry, elegant and habitual aplomb. The joke likes in the fact that no matter what assaults and indignities the writer and director visit upon his apparently ageless person, he never does.”