More Clothes to Clean

Although he was already a prominent illustrator by the late 1940s, George Hughes took his first crack at The Saturday Evening Post’s cover in 1948 (left)—and it was a smash hit right out of the ballpark! Reader response secured his position as one of the Post’s main illustrators alongside the likes of Norman Rockwell, John Falter, Stevan Dohanos, and Richard Sargent. “That copy arrived just as I have completed a washing much the same as pictured,” wrote one woman. “Only a blue-jeaned tomboy sister alongside junior is needed to get a complete story from my angle.”

Determined to be accurate, Hughes spent an entire day studying clothespins for the illustration. He knew if he didn’t get every detail right, there would be a barrage of letters to the editor telling him so. Employing a neighbor boy as the model, Hughes completed the painting. It was returned for a correction: “The editors asked me to ‘clean up the boy a bit, since he isn’t old enough to get that dirty.’ Actually, he was fully that dirty. But I pleased both the editors and his real mother by cleaning him up a little.” It was a fine line artists walked between pleasing, or at least not displeasing, Post readers and editors.

Good Guys Wear White Hats

“Young Sammy Sixgun, using the classic hat-over-the-rock routine, will now restore law and order to the old TV-West,” wrote Post editors of this 1957 cover (left). Blissfully unaware of the drama unfolding around him is artist John Falter’s own dog, Ralph, snoozing on the couch.

John Falter (1910-1982) was born in Plattsmouth, Nebraska, and began sketching at the ripe old age of two—on a chalkboard his mother gave him. “His first commission came from a local soda shop that paid the budding artist in chocolate milk shakes for a well executed mural,” according to a 1991 article in the Post. He continued “to draw, sketch, and paint at an inspired pace for the rest of his life, completing, by his own estimate, more than 5,000 paintings.”

Playing House

This January 1953 cover (left) shows that Santa’s recent visit left some perfect items for playing house. Though contemporary Post editors saw them as lessons in “learning how to boil water without forgetting it and melting the pot down into the stove, and other complex principles of homemaking.” The editors noted, “The only uneducational toys in sight are the dolls, for they are not sniveling or hollering.”

Stevan Dohanos (1907-1994) was born in Lorain, Ohio, the son of Hungarian immigrants. His artistic career began, uniquely enough, in a steel mill. Employed as an office boy, Dohanos would copy the artwork he found on calendars and sell them to co-workers for 50 cents. Encouraged by family and friends, he took a two-year home study course and then went on to Cleveland Art School. His style is classified as American Realist, depicting the design and form of everyday objects like fire hydrants and milk bottles. He illustrated 123 Post covers between 1942 and 1958.

Hat Bridge

It’s difficult to say whether this young man at left will grow up to be a fireman or an engineer, for the precocious one structured what Post editors termed “an overpass” through which “he is lickety-tooting down a through way to a conflagration,” adding, “Heaven help that poor fedora in his path.” While giving the lad points for ingenuity, they couldn’t help but speculate what would come to pass when the guests come to sort out their property. “Those without a rollicking sense of humor,” they concluded, “may become a bit indignant—mad hatters, let’s call ’em.”

Like many artists, Thronton Utz (1914-2000) began his Post career illustrating short stories. His first cover came seven years later in 1949, and soon his art was known for its humorous twist on everyday life.

A Day in the Life of a Boy

It’s a busy day for Charles Marsh Jr., the model for this cover: Get up; brush teeth; then, of course, there’s that bothersome school to deal with. Baseball and a charming lass provide diversions until it’s time to go home, do homework, and turn in.

Marsh modeled for Rockwell from the time he was a baby until he was 12 when Rockwell moved from Arlington, Vermont, to Stockbridge, Massachusetts. (Hear what it was like to work with America’s best-loved artist in “A Day in the Life of Norman Rockwell Model Chuck Marsh.”)

A good friend to him, Marsh considered the artist outgoing and community-minded. But no one knew just how community-minded until Rockwell donated the original painting A Day in the Life of a Boy to the Community Club for their annual raffle. Today, Rockwell’s Willie Gillis’ Package from Home, up for auction in Chicago, may fetch $3 to 5 million. But in the early 1950s, this particular painting went for a grand total of 50 cents.

A few months after the cover was published, there was a follow-up called A Day in the Life of a Girl, which featured Marsh in what he called “the toughest time I had posing”—because he was supposed to kiss the girl. For that story and other Rockwell kids of the ’50s, see “Rockwell in the 1950s–Part I of III.”

Jungle Gym

At left, the upside-down boy on top may look foolish to adult eyes, but he is King of the Jungle (gym) to the little blonde he is trying to impress. Once George Hughes became an established artist, he was able to move to Arlington, Vermont, and away from his native city, New York. He liked the idea of raising his children in a small community; he and his wife had five girls. There was the added bonus of being in an artists’ community, where he befriended Norman Rockwell and other Post artists.

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).

“Lunchtime at the Grocery” by Albert W. Hampson

The grocery cart was only a three-year-old invention when this 1940 cover was painted. Invented in 1937, the “double basket” didn’t immediately catch on. People were used to carrying a woven basket, but to women the cart seemed a bit much. Older people were afraid they’d appear feeble and men wanted to appear manly, as if handling a few groceries were no big deal. The inventor of the cart, Sylvan Goldman, finally hired models of all ages and both sexes to shop, using the cart. It caught on enough by 1940, that a Saturday Evening Post cover featured the now ubiquitous baskets on wheels.

“Thoughtful Shopper” by Norman Rockwell

Before the days of the shopping cart, grocers went around the store fetching items according to your list. According to Norman Rockwell’s 1924 cover, sometimes they had to do so much more. The gentleman in this painting was J. L. Malone, who appeared in at least one other Rockwell cover. The artist appreciated Malone’s reading voice and the model sometimes read aloud for hours while Rockwell worked on an illustration such as this. The usual fare? Classic Dickens.

“Penny Candy” by Frances Tipton Hunter

No one promised the grocer an exciting career. Even the dog has fallen asleep while the children try to decide which candy to get. In 1939, a penny was a lot to a little kid. For more covers by Frances Tipton Hunter — guaranteed sweeter than penny candy — see The Art of Frances Tipton Hunter.

“Grocery Line” by Stevan Dohanos

As sure as you just want to pay a bite to eat and get on with your day, a slow-moving line looms ahead. Artist Stevan Dohanos had everything he needed in this painting except for just the right guy to portray the stalled shopper. To heck with it; the artist just went ahead with his summer vacation in Martha’s Vineyard. There he spotted a fellow vacationer in shorts and a fishing hat, yelled, “Hey, wait!” and proceeded to explain his Saturday Evening Post cover predicament. Sure, I’ll pose, the stranger said, and headed home to put on his city clothes. The man, H.R. Knickerbocker, was already known as an illustrious war correspondent, but now he was immortalized on a Post cover. The shopping carts are unique, quite different from the below cover from three years later.

“More Money, Honey” by George Hughes

This 1951 cover with the sleek metal cart looks more like today’s groceries, except perhaps for the milk bottles and the gentleman’s fedora. Oh, and the fact that she’s using a strange thing called cash rather than a credit or debit card.

“Babies and Bananas” by Stevan Dohanos

This is not an example of how a grocery store operates these days, but this 1952 cover is a fine example of why artist Stevan Dohanos is a Post favorite. Dohanos had done some farm scene murals for the grocery store and decided to use the actual grocer in a painting destined for The Saturday Evening Post. The artist just happened to have a cute baby to use for the cover — his own little tyke, Tony.

“A Christmas After-Dinner Dream” by Kate Greenaway

It’s 1875 and The Saturday Evening Post is more like an oversized newspaper than the slick magazine we’ve known in our lifetime. So imagine turning to the last page of the paper and seeing the page dominated by this Kate Greenaway drawing. If you’d like to know what all the craziness of the girl’s dream is about, we have a special Christmas gift for you: a PDF file of the story, “A Christmas After-Dinner Dream” in all its Victorian charm: Click Here

“Angels” by Charles Louis Hinton

“Full soon the midnight bells, that through the year tolled out the passing days, rang joyously, and all the East was radiant with the Star,” reads the 1898 Christmas story, “Legends of the Child Who is King” by none other than legendary publisher, George Horace Lorimer. The exquisite artwork was by Charles Louis Hinton.

“Is He Coming?” by Norman Rockwell

Yes, Virginia, Norman Rockwell did artwork for publications other than The Saturday Evening Post. These adorable children hoping for a glimpse of Santa were originally on the cover of Life magazine in 1920. In 1975, this was the cover of The Post. It would be interesting to know if there is other artwork out there that appeared on the covers of two different publications. But, wait! Is that…? It is! It’s the sound of reindeer hooves!

“Choir Boys Will Be Boys” by Frances Tipton Hunter

Awww, aren’t they little angels? We didn’t say perfect little angels. But at least they can set aside their differences long enough to sing of the joy of the season. This is from 1938 by Frances Tipton Hunter. If you haven’t had your fill of cute today, see more covers by this delightful artist:
“The Art of Frances Tipton Hunter”

“All Wrapped Up in Christmas” by Richard Sargent

Some wrappers are all thumbs. Post editors suggested that he need not attach a tag: it will be obvious that Pops was the one who wrapped the gift. And it will be just as apparent that he would go through this ordeal for one person only—the one he loves best.

“Christmas in Hiding” – George Hughes

This 1960 cover from artist George Hughes is one of my favorites. Mom and Dad are hiding gifts…and they are not alone. It would appear a mole has infiltrated the jackets hanging in the closet, and not the four-legged kind. It is not clear whether the spy gets away clean or not.

“Home Showing” – George Hughes

She’s still in her robe and curlers trying to clean up while Junior and the cat make more messes. In other words, the real estate is in a real state. And here comes old Smiley, the real estate guy, with two perfectly turned out prospects. “Mrs. Smith, I know that we didn’t have an appointment, but we happened to be nearby and…” I don’t know the outcome of this 1962 visit, but I’m sure the refined lady of the house doesn’t end up shoving the vacuum nozzle up old Smiley’s nose. Pretty sure, anyway….

“Sunday Visitors” – George Hughes

I love the look on this man’s face. There’s no way he can avoid getting up for much longer. Artist George Hughes (1900-1990) worked as a fashion illustrator for Vanity Fair and other bastions of style while still very young. It wasn’t until 1942 that he landed his first Saturday Evening Post assignment, illustrating a fiction piece.

“Dog Walks Down Aisle of Church” – George Hughes

Here’s an unexpected visitor from a 1956 cover. The editors wondered: What the heck does Billy do now? Will an usher come and remove Towser? Will the dog hop into the empty space behind Billy? If so, what will the parishioner in that pew do? And if Billy gets up to walk Towser out, there’s no way his parents won’t turn and notice. A good Post cover engenders a lot of “what ifs.”

“Hitting the Buffet” – George Hughes

I laughed out loud when I first saw this 1961 cover. It took me a minute to find the unexpected visitor among the elegantly attired guests. Well, heck, it’s his house! After that 1942 fiction piece, Hughes was assigned to paint the top American Generals over wartime operations in Europe for a Post series called “These are the Generals.” Soon, he was considered as a potential cover artist.

“Bridge Party” – George Hughes

“Tough life, being a husband,” Post editors mused. “When, at breakfast, this one was warned about the bridge fest coming up, it didn’t sink in too well, because doesn’t a man have to concentrate on the morning paper?” This cover is kind of like the royal wedding: One can sit back and make fun of the hats. Having become more secure as an artist, Hughes moved to Arlington, Vermont, where he befriended other Post illustrators such as Mead Schaeffer and Norman Rockwell.

“No Chance to Be Alone” – George Hughes

“How unkind fate is to sweethearts,” Post editors complained, “how heartless painter George Fate Hughes was to bring this about.” And to whom is the guy at the top of the sand hill beckoning? No doubt his obnoxious brother-in-law and their six kids. This is from 1953.

“Sunday Visitors” – George Hughes

“Now we can relax with the paper,” Mr. Conner thinks as he finally bids adieu to the Jones family. Alas, as they say in the infomercials, “But wait, there’s more!” Once again, we plaster on smiles and exchange “good-to-see-yous!” It’s Sunday, so is it okay to pray that this is over before the entire afternoon is shot? Hughes did 115 great Saturday Evening Post covers. Reprints are available at curtispublishing.com

Water Fight by Thornton Utz

First on the agenda is to start an all-out water war with the neighborhood kids. Artist Thornton Utz knew that any of these munchkins would fight a bath, but tackle them with hoses and the game is on. Your report will say you coordinated neighborhood activities. The adults clearing the sidewalk may not be especially fond of this particular activity, but your report won’t reflect that. This cover is from 1951.

Watering Father by Richard Sargent

“I thought of eco-friendly ways to help keep everyone cool,” your report will state. The shower will invigorate Dad, right? This 1955 cover shows why Dick Sargent was one of our favorite artists. What it doesn’t show is what happens seconds after this scene, for which we are thankful.

Bicycle Tricks by Thornton Utz

Your teacher will be impressed you made time for healthy exercise. You may need to click on the cover for a close-up, but basically, people are clearing a path for Hurricane Harry—not that he’s giving them much choice. But your report will show you took proper safety precautions—for yourself. In this 1955 cover, at least he’s wearing a helmet. It’s the safety of everyone else that is in question.

Dog Days of Summer by John Clymer

And it’s really nice you took time out on a lovely June day for watching the youngsters. This beautiful cover was by John Clymer, who dressed up dozens of Post covers with gorgeous landscapes. Thoughts of school are as far away as the farthest blue hills in this painting. But keep up the notes. Free babysitting will look good in your report.

Boy in Inner Tube by Eugene Iverd

“I kept it ‘green’ by finding uses for old items,” you’ll note. In this case, an old inner tube becomes a flotation device. This is from 1936 by artist Eugene Iverd, who did wonderful paintings of boys. For more of his great covers, enter “Iverd” in the search box. “Not only a serious student of art,” the Post noted in an August 2000 feature on the artist, “Iverd was also a teacher of art, first to wounded soldiers after the first world war and then to high school students.”

Piano Practice by George Hughes

“I faithfully kept up my music lessons,” your report will proudly conclude. It probably won’t mention that your mind was on swimming as you went through your Mozart exercises. Sure, Mozart had mastered minuets by the age of 4, but did he have a swimming pool waiting for him on a hot day? I think not. Practicing in your swim gear still counts.

Painting the Patio Green – Thornton Utz

The way Harry figures it, you can spend all summer planting, mowing, and watering—or you can just paint the dadgum patio green and relax in your hammock for the duration of nice weather. Admit it, you wish you had thought of it. This was by cover artist Thornton Utz, who apparently had a thing about yardwork.

Spring Yardwork – Thornton Utz

Thornton Utz, the artist who painted the above cover, has yet another option to yardwork. Just let the darn thing go. While industrious neighbors are raking, shoveling, planting, and so forth, Joe just sits back, communing with nature and catching the game on his portable TV. Well, communing with crabgrass. If you click on the cover for a close-up view, you’ll see he even has a fan rigged up to blow cool air from a large block of ice. Hey, when watching the game in living black and white, no comfort is overlooked.

The Tuba Next Door – George Hughes

“I’m all for free spirits,” thinks the blonde lady leaning out her window, “until one moves in next door!” What’s moving in next door is a big bass drum and tuba. What, you got something against music, lady?

Violin Practice – Richard Sargent

Perhaps nosy blonde lady above can learn something from the kid down the street. Billy is not yet enamored by the sounds of the violin, but was told he has to practice an hour a day. According to the timer on the chair, he has so far gotten in about five minutes. The ear muffs should help.

I’d Rather Be Golfing – Thornton Utz

I’d Rather Be Golfing shows us a neighbor saying to heck with yardwork by, guess who? Yes, apparently cover artist Thornton Utz used much of his artistic creativity in devising ways to avoid lawn maintenance. One has to admire a man like that.

Cold Water Swimmer – Richard Sargent

The water temperature is 50 degrees and even the lifeguard is bundled up. But there’s always one guy, isn’t there? Otherwise, there would be no need for a lifeguard on this nippy day. I’m thinking old Smiley here was the same kid who, just before the bell rang to dismiss class, would remind the teacher she hadn’t assigned homework yet.

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.

Boyfriend’s Baby Pictures by George Hughes

1953 Post editors speculated that the girl might be thinking, “Oh my gosh, if Bill and I got married, would we have funny-looking babies like that?” Aw, come on guys – she’s thinking he was sooo cute! I think this is payback for the way Bill behaved at the grocery when he was little (cover below).

Sack Full of Trouble by Richard Sargent

The redheaded Indian in the grocery bag has that look – what my folks used to call “pure orneriness”. Mom looks like she’s been through the wringer today with Big Chief Billy and his bow and arrow. But be careful, junior; Mom always has ammo of her own – remember the photo album.

Kitchen Haircut by Harold Anderson

In 1933 you didn’t take your kid to the mall (what mall?) for a haircut. It was a mom duty. My memories are of Mom haircuts and home perms in the 1960’s. I didn’t say they were good memories. Moms may not often be good stylists, but they got the job done.

Removing the Splinter by George Alsop

Going barefoot is fun – until you get a splinter. We went clear back to 1917 for this one from The Country Gentleman magazine, a sister publication to the Post for many decades.

New Woolies by Frances Tipton Hunter

Shopping is not Billy’s strong suit – it’s a good thing it is Mom’s. Artist Frances Tipton Hunter did eighteen Saturday Evening Post covers, each cuter than the next.

Spirit of Education by Norman Rockwell

You would think we’d be grateful Mother buys us warm underwear and sews our costume for the school pageant. But, noooo. All we care about is having to wear a dumb ol’ sheet and our friends snickering at us. Hopefully, Norman Rockwell’s lad will get into the spirit.

Tipping the Scales by Leslie Thrasher

We’ve used this classic 1936 cover on one of our cookbooks, and people tend to think it’s a Rockwell. Yes, they look like Rockwell-type characters, but no, it isn’t a Rockwell. It was done by artist Leslie Thrasher, who did twenty-five Saturday Evening Post covers. Alas, I’ve had people insist that it was a Rockwell, even though the signature says otherwise. What’s an archivist to do?

“Sick Pooch” by Russel Sambrook

A surprising number of people think all Saturday Evening Post covers were by Rockwell. That’s kind of like thinking all classical music was composed by Beethoven. Although Norman was a prodigious worker and quite prolific, it would have been a physical impossibility to come up with the thousands of weekly covers that would have involved. A couple of things hint to me that this is not a Rockwell. The boy is too dapper for one. Rockwell liked weather-beaten clothing, especially hats (except when showing a “dressed-up” occasion). The wagon is clearly homemade, but maybe a little too neat and “unworn”. This was by Russell Sambrook, who only did 4 Post covers. The Rockwell version? See below.

Sick Puppy by Norman Rockwell

Here is Norman Rockwell’s version from 1923. Most artists wouldn’t be inspired by a piece of broken crockery, but a dog dish that was far from perfect was right up Rockwell’s alley. This may have inspired the later version above – note the big safety pin holding the blanket around the dog in both paintings and the expression on the dogs faces – let’s hope they weren’t as ill as they were painted.

In the Dentist’s Chair by Kurt Ard

Rockwell did great covers of boys, and this one at the dentist’s office…is not one of them. It has the attention to detail (love the socks), the humor and pathos of a Rockwell, but no, it was by Kurt Ard. A reader purchased this, thinking it was a Rockwell because it had been a Post cover. And it did look like Rockwell’s style. If it’s any consolation, having been a Saturday Evening Post cover often adds value to a piece of art, even if not a Rockwell.

Readying for First Date by George Hughes

There’s more than one reason this cover by artist George Hughes looks like a Rockwell. The models! That young man getting ready for his first date was Tommy Rockwell, son of the artist. And trying to figure out the tie was Mrs. Rockwell. This was even Tommy’s room in Arlington, Vermont. Artists and their families often posed for each other. Who knew better how hard it was to get good models?

Height Comparison by Douglas Crockwell

Artist Douglass Crockwell did several covers for the Post, including this one. Rockwell-type characters are comparing height from son to dad. As with Rockwell, there is a lot of attention to detail (the pattern in mom’s dress, for example) but it’s a Crockwell, not a Rockwell (sorry – I always wanted to say that). It was hard enough to compete with an artist of Rockwell’s stature, but with the last name Crockwell, it was doubly hard. Poor Douglass Crockwell took to signing his work simply “Douglass”.

Cousin Reginald Under the Mistletoe by Norman Rockwell

Norman Rockwell featured a city slicker named Reginald on several Country Gentleman covers (a sister publication to the Post for many years). Here’s an embarrassed Cousin Reginald under the mistletoe from 1917. Compare it to the one below.

Cutting In by Alan Foster

Again, showing the boy in glasses to indicate geekiness. Some of us who wear glasses beg to differ. This was done in 1923 by artist Alan Foster, who did thirty Post covers. As to clues on how to tell the Rockwell from the other artist? In all honesty, sometimes I just have to look at the signature.

By the Fire – Walter Humphrey

This was the last of seven Post covers by artist Walter Humphrey from 1921 through 1934. Although he was known for his beautiful paintings of the colonial era, his Post illustrations show more modern topics, such as his 1923 covers of a boy practicing his putting and a young lady speeding in her roadster. This cozy cover of man and best friend by the fire makes me want to build a fire and veg out.

Snowy Night – E.M. Jackson

This lady is also warming herself by the fire while the weather outside is frightful. Her lovely fringed shawl is a treat. Artist E.M. Jackson did nearly fifty-eight covers for the Post and Country Gentleman, often with an architectural feature such as this beautiful window. There was a reason for that: the artist graduated from Georgia Tech with a degree in architecture.

Rain and Melting Snow – George Hughes

The people looking out this window regret that it is NOT snowing. Instead of the ten-inch base with an anticipated two inches of new powder, the thermometer took a turn for the warmer, melting the snow instead of adding to it. Artist George Hughes was a big name in Saturday Evening Post covers, doing 115 great ones. If you’re into skiing history, another big name was Austrian skier, Sig Buchmayr. He’s the dark-haired man in the red sweater among the would-be skiers here.

Birdtalk – Gyo Fujikawa

Is the budgie in the cage longing to be out or is the wren out in the winter weather thinking that cozy cage looks good? Well, the grass is always greener…even if it is covered with snow. In spite of her Japanese name, Gyo Fujikawa (1908-1998) was an American artist well known for children’s book illustrations and one lovely Saturday Evening Post cover. Another claim to fame: she was the artist behind the adorable round-faced Eskimo child on Eskimo Pies (which sounds darn good right now, even if it is cold outside). When this cover ran in 1962, Post editors noted that the original had been stolen. I haven’t been able to find out if it was ever recovered, so if anyone out there knows, e-mail me! (d.denny@satevepost.org). And yes, reprints are available at www.curtispublishing.com.

Snow Birds – Charles A. MacLellan

In spite of the fact that artist Charles A. MacLellan did over fifty colorful covers for The Saturday Evening Post between 1912 and 1936, I can find virtually no information on him. Until someone kindly enlightens me about this artist, I’ll just enjoy covers like this pretty lady making sure the snow birds have enough to eat. If you have a question on a Post cover, drop me an e-mail or comment below.

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.

Flat and Chat – May 21, 1949

The irritated tire-changer? Why, that’s artist George Hughes himself. The editors mused that he served as his own model because he was tired of waiting for Rockwell to insert him into a Post cover. Several Post cover artists lived near each other in Arlington, Vermont, and they used each other (and their families) as subjects. Rockwell had used fellow artists Atherton, Schaeffer and even himself as Post cover boys. Well, if you want something done, you’d better do it yourself.

Missed Exit – June 15, 1957

“High-speed pikes are wonderful inventions,” Post editors noted in 1957, “except for a few bugs that need to be ironed out, such as exit signs moving by too fast.” What do you do in this situation? One can imagine the conversation inside the blue convertible. We’d rather not.

Fork in the Road – July 7, 1956

Yogi Berra says, “when you come to a fork in the road, take it.” That advice isn’t helping the couple in this 1956 cover. He says “that way,” but no, she insists, “this way.” The editors suggested perhaps they should flip a coin. Or perhaps he should just let the wife navigate because “nobody can think clearly under a cap like that.” Editors are such wise guys.

Ticket for Roadster – April 27, 1957

If you drive a snappy Roadster, be careful with your speed. And if worse should come to worse and you do get pulled over, be sure it isn’t where there’s a group of snarky kids hanging out. Rough trip – not only costing in monetary terms, but in terms of mental anguish.

Gas Money – March 26, 1960

These boys had a bit of a problem. “Big Ron” gassed up the jalopy and is finding himself in the embarrassing position of being short on funds. His buddies are not coming up with the dough either and Lou (it says “Lou” on the attendant’s shirt) wants his $4.07 and he wants it now. Looks like Big Ron will have to call his dad, Bigger Ron, and hope for the best.

Out of Gas – September 2, 1961

Is there a worse scenario? Leave it to artist Hughes to find it. “The setting of this depressing encounter is not fifty miles from nowhere,” the editors noted. “This is nowhere.” A mile or two in either direction will take you to a car that’s out of gas. The unanswered question, of course, is how the heck did they get out of this one? One can only hope Big Ron got his gas money and happens by.