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.

“Giant Clock on New Year’s Eve”– 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

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

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

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

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

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

At the age of sixty-two, a retiring Alajalov submitted his final Saturday Evening Post cover. The December 1, 1962 issue depicted a bridge player distressed over a game where she should have bid this or played that or should not have withheld the ace of diamonds.

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.

No Desserts by Constantin Alajalov

Probably the number one New Year’s resolution is to lose weight. That’s what this lady is working on and she’s obviously none too happy about it. This is from 1948, but we’ll tell you something, lady: dieting in 2011 is no more fun – and with all our pills, online programs and progress – no easier.

Reduce to Music by Frederick Stanley

This gentleman from 1924 is taking up an exercise program. It looks like early aerobics, before the days of “The Biggest Loser” and celebrity spokespeople looking svelte after losing weight due to the Brand “X” weight-loss program. With no such inspiration to spur him on, he’s trying it the roaring twenties way.

Saving for War Bonds by Preston Duncan

Resolution #2: I will save more money this year. Saving money is always a big New Year’s resolution. This is a photographic cover, rather than an artist illustration, which was rare for the 1940’s. But everyone was being encouraged to buy bonds for the war effort and this handsome young man was doing his part. We’ve really become soft…our goal now is to cut down on a few overpriced lattes.

Mom’s Helper by Norman Rockwell

Resolution #3: I will read more. I will improve my mind! This 1921 cover by Norman Rockwell shows a young man with two resolutions: to help mom with the chores and to be well-read. Actually, peeling potatoes was probably mom’s idea. Combining the tasks, however, is not safe, as the bandaged thumb indicates. Sometimes a good story is hard to put down. But, dude, when the chore involves a knife…

Fall Gab Session by Constantin Alajalov

Resolved: I will not gossip. Did you see the way that Smith boy and that Jones girl were looking at each other? Why, I wouldn’t be surprised if there were wedding bells ahead. This is strictly confidential, of course.

After Dinner Dishes by Stevan Dohanos

I will keep the house looking like something out of a magazine. Only not this magazine. What is more discouraging than a pile of dirty dishes? We’ll tell you what – a pile of dirty dishes and a husband who thinks it’s his time to relax with the papers. The editors thoughtfully suggested she close the door while she’s cleaning up so as not to disturb him. This was said tongue-in-cheek. We think.

Sleeping at Opera by Charles A. MacLellan

Last, but not least: I resolve to get more rest. This is a noble goal, since experts tell us that most Americans don’t get enough sleep. But perhaps not at the theater, mister. Wives are known to have sharp elbows. It doesn’t look as if the glaring technique is going to work. This cover is from 1923.

Centering the Christmas Tree by Steven Dohanos

I was delighted by an e-mail recently from Betsy Norfleet who said her parents were the models for this 1951 cover. This was by artist Stevan Dohanos, and the family would like to know what happened to the original painting. If you know, drop us a line and we’ll pass it on. The models were Betty and George Norfleet of Westport, Connecticut. Betsy and her siblings “all have framed copies of the cover in our homes and I keep mine front and center year-round!” Poor George: first he miscalculated the length and had to get out the saw, and now he’s being scratched alive trying to center this tree. And you know the darn thing will just lean again once it’s all decorated.

Tree Love by Constantin Alajalov

There seems to be a slight miscommunication here. The Mrs. decided to surprise hubby by getting a tree set up and hubby decided, “I know! I’ll surprise her by bringing home a tree.” I wonder what the neighbors will think when he takes a tree away before Christmas. Perhaps he can donate it to a family that hasn’t “surprised” each other yet.

Lighting Christmas Tree by JJ Gould and Guernsey Moore

The old German carol continues: “O Christmas Tree! O Christmas Tree! Thy candles shine so brightly!” Now we know what the lyrics mean. Christmas trees date to ancient times. Christmas trees on Saturday Evening Post covers date to around 1900. A 1902 cover shows a lady lighting the candles on the tree, a practice we definitely do not recommend. How did they keep the tree from catching fire? Well, never mind. It does make a lovely scene.

Topping the Tree by John Falter

Let’s hope dad doesn’t become an angel in his attempt to place one on the tree. This 1957 cover by artist John Falter should serve as a reminder as you’re looking for the perfect tree this season – not too tall!

Tree in Town Square by Steven Dohanos

A bigger project is the tree in the town square from artist Dohanos in 1948. People are aware that artists are rather, er, atypical, but the summer folks walking by in shorts on Martha’s Vineyard that summer must have been baffled when they peeked over the artist’s shoulder. The Edgartown Town Hall that Dohanos wanted has his backdrop was shimmering in the heat, but the artist was adding snow and a large Christmas tree to the scene.

Trimming the Tree by George Hughes

In June 1949, artist George Hughes tramped into the Vermont woods, cut down this tree, and dragged it home and decorated it. We told you artists were rather atypical. Although his children loved having Christmas in June, the artist had to work fast. Summer heat was causing the needles to drop and the tree was turning into a hat rack. The resulting painting, however, is one we can all identify with.

Turkey Loose Atop Truck by Constantin Alajalov

“When I wanted to sketch turkeys as they look in a crate,” said cover artist Constantin Alajalov, “I found a wholesaler who sells a lot of them. For the turkey on the lam…he said, ‘Take your pick’. Every time I started to sketch a model, somebody bought it and bang, it was a dead bird. I began to feel like an assassin.” Our artist got the delightful Thanksgiving cover done, but said, “For Thanksgiving I may skip turkey…and have hamburger that I’m sure I don’t know, socially.”

Squawking Turkey by Tony Sarg

This youngster managed to catch the turkey, but now what? The boy with arms full of squawking fowl is from 1915.

Cousin Reginald Catches the Thanksgiving Turkey by Norman Rockwell

Norman Rockwell painted a lad he called Cousin Reginald, a city slicker. As we’ve shown you before, his mischief-loving country cousins often made a fool of Reginald. Now, we just know those rural boys told Reggie that catching the turkey would be a breeze. They are in the background being royally entertained.

Where’s That Turkey? by Wm. Meade Prince

This is no dumb Tom Turkey. When someone with an ax is looking for you, hiding is a good option. This colorful cover was painted for the Post’s sister publication, Country Gentleman by artist William Mead Prince.

Pilgrim Stalking Tom Turkey by J.C. Leyendecker

Would you believe this beautiful cover is from 1907? Artist J.C. Leyendecker did much more than paint ridiculously handsome men for Arrow Shirt ads. He did more Saturday Evening Post covers than any other artist. One of the earliest, and smartest, acts of George Horace Lorimer after taking charge of the Post was to hire J.C. Leyendecker to do a cover in 1899. Between then and 1943, Leyendecker did 322 Post covers, one more than Norman Rockwell. To honor his mentor, Rockwell chose to do one fewer cover.

Thanksgiving by J.F. Kernan

There’s an old myth that if you sprinkle salt on a turkey’s tail, you can catch it. Also, if you sprinkle pepper on a hen’s tail, she will lead you to her nest. These tricks may work, but only because if you’re close enough to sprinkle salt on a turkey’s tail, you’re close enough to catch it anyway and if you pepper a hen’s tail, she’ll probably get disgusted with you and stalk off….back to her nest.