J.C. Leyendecker

“I began working for The Saturday Evening Post in 1916,” wrote Norman Rockwell, “and Leyendecker was my God.”

There are parallels between the two great illustrators, who later became friends. Both had very long careers with the Post: 45 years for Joseph Christian Leyendecker (from 1898 to 1943) and 47 years for Rockwell (from 1916 to 1963). Each artist created more than 300 Post covers.

“Hurdy-Gurdy Man”

Street or barrel organs were popular in the 19th and early 20th centuries. Although this century-old cover may be charming to us, the organs were not popular with everyone. According to Wikipedia, the organ grinders were often considered a nuisance and the cranking made some cranky. Charles Dickens complained that he couldn’t get a half hour’s writing in before one of those blasted organs disturbed him.

“To ask outright for money is a crime,” later echoed George Orwell, “yet it is perfectly legal to annoy ones’ fellow citizens by pretending to entertain them.” Be that as it may, the delightful little girls here are having a jolly time.

“Littlest Soldier”

Leyendecker did a dozen Post covers revolving around World War I, from the tragic to the fairly light, as in “The Littlest Soldier” from 1916. Although it really isn’t light fare, considering that the children are undoubtedly acting out a scene they have witnessed among grown-ups.

Like the cover above, Leyendecker designed this to be noticed on newsstands to carry “further because a good cover has a distinct silhouette,” he noted in a 1932 Post story. “It should, too, tell its story in pantomime. A cover that carries an explanatory legend defeats itself.”

“Knight in Shining Armor”

This is the kind of opulent illustration many think of when they hear the name Leyendecker. Milady has found her knight in shining armor on his lavishly bedecked steed. Leyendecker was born in 1874 and grew up in Montabaur, Germany, a tiny town that goes back to the year 959. A medieval town wall, Crusader influence, and ancient buildings surely fueled the artist’s fascination with the middle ages, in particular coats of arms and armor. We’re not sure what the coat of arms carried by our knight on this 1926 cover symbolizes, but the golden banner at the bottom says “lune de miel,” a French phrase that means honeymoon.

“Kuppenheimer Ad”

Leyendecker illustrated ads for Kuppenheimer men’s clothing, Arrow Shirts and others. Whether in ads or on Post covers, Leyendecker’s women and men tended to be beautifully dressed. The young lady in this 1929 ad was Phyllis Frederic. According to the book J.C. Leyendecker by Laurence S. Cutler and Judy Goffman Cutler, Phyllis “passed Joe’s (J.C.’s) studio almost daily on her way to meet her father at (Norman) Rockwell’s studio.” Her dad, William Frederic, better known as “Pops,” is familiar to you if you’re a Rockwell follower, as he posed for that artist for several Post covers (see below).” (The name is spelled “Frederic” in the Cutler book; other sources spell it “Fredericks”)

“George Washington on Horseback”

The first president was a popular theme with illustrators, especially for the Fourth of July, as in this 1927 cover. Leyendecker chose a heroic pose for Washington, who was a cover subject 10 times, 5 times by Leyendecker. Although we doubt the general had been blessed with such an elegant saddle, we agree with the artist—he should have been. Leyendecker portraits on Post covers included Kaiser Wilhelm II, and a delightful rendering of William Howard Taft (see presidential covers).

“Living Mannequin”

If you look up Leyendecker in a pricey, high-end art book, much of what you will see are his more elegant, lavish illustrations, such as the “Knight in Shining Armor” above. Often overlooked or forgotten are his comic renderings.

The bottom line is that Leyendecker had more diversity of illustrative work than almost any artist. Some are humorous or cute, like our 1932 “model” here. His 300 Post covers, depict more than four decades of the heartrending (a devastated WWI mother receiving “the dreaded telegram”), the practical (a current politician), the fun, and of course, the elegant.

“String Quartet”

As with many illustrators of the 1920s and ’30s, we were unable to unearth much information about Alan Foster. But we were able to find some of his irresistible covers!

“Sweet Adeline”

“Sweet Adeline” was a barbershop standard by the time of this 1924 cover -– and remains so. The song was written back in 1903, so if this hearty quartet wanted to try something trendier, they could belt out Al Jolson’s “California, Here I Come,” “It Had to be You,” or “Charleston” -– all top songs of 1924. It is intriguing the way the artist captured each face as the singer struck just the right note.

“Faithful Friends”

Outside “Dist. School No. 4” these dogs wait for their best pals. Foster must have grown accustomed to drawing canines: For three years in the 40s he did a cartoon series for Collier’s called “Mr. Fala of the White House.” Fala, of course, was Franklin Roosevelt’s dog and something of a celebrity in his own right. Foster’s cartoons might show the little black terrier traveling with his master or running off with a senator’s hat.

“Traffic Cop”

This 1926 cover shows us a side of commuting we just don’t think much about these days: early traffic signals, manually operated by the local traffic cop. The signal is called a semaphore, and a version of it first appeared in London in 1868. Foster’s traffic official is apparently set for the day, with his lunch and water supply at the ready.

“Hot Tamale 5”

This rockin’ drummer from 1925 is bringing the house down. Grandma would be shocked…actually, even her photo is appalled! Well, it’s to be expected with a band named the “Hot Tamale Five.” The meager biographical information we were able to glean indicates that Foster illustrated for several magazines of the ’20s, including The New Yorker, and, in addition to painting great illustrations and cartooning, even had a brief acting career.

“I Was Tardy”

Many of Foster’s nearly 30 Post covers were Rockwellian in nature: kids playing sports, or, in this example, getting in trouble in school. But there were style differences, such as the way kids are dressed. We don’t see the holes in the sweaters and patches in the knees we often see on Rockwell’s children. Props, too, seem neater. Again, what we don’t see is a well-worn broom handle or piece of broken crockery. Even the boy’s writing is perfect!

Illustrator Alan Foster passed away in 1969 at the age of 76.

“Doe and Fawns” by Jack Murray

This beautiful Jack Murray deer cover is from 1933. Murray was born in Pittsburg on August 12, 1889, the son of two opera stars, J.K. Murray and his wife, the former Clara Lane. The Murrays received many invitations to sing in Europe. These were refused, as the family was not fond of ocean journeys, and for good reason. When Mr. Murray was a boy, his parents and siblings took a voyage across the Atlantic.

The ship ran into a storm, losing its rudder. For a full miserable month, it was tossed around mid-ocean until rescue arrived. Not surprisingly, the horrifying incident cast a long dark shadow on thoughts of travel for years to come.

“Bear Cubs in River” by Jack Murray

Legendary publisher George Horace Lorimer made The Saturday Evening Post a showplace for stunning wildlife paintings. A determination that makes us grateful today when we see covers like this one of bear cubs. At a time when the importance of conservation was a relatively new concept, it gladdens us to see the obvious respect the artist had for these splendid creatures.

Jack Murray “showed an early interest in wildlife art, making his first drawings when he was nine years old, and getting into taxidermy at fourteen,” according to the Russell Fink Gallery, of Lorton, Virginia, which specializes in wildlife art.

“Leopard” by Jack Murray

In the 1920s Murray began to get work drawing and painting for advertising agencies. (Most Post illustrators, including Norman Rockwell, did artwork for ads.) Again, from the Russell Fink Gallery: “In 1926 he and Mrs. Murray bought a farm outside the city to use as a summer place. Here he fixed up a studio where he could keep on with the major interest of his life, the painting of wildlife. It was work that had been relegated to spare moments over the years, but the turning point came when one of these “hobby” paintings was accepted as a cover by The Saturday Evening Post.” That was this leopard painting from 1931.

“Soaring Bald Eagle” by Jack Murray

The John Denver lyrics, “He’d be a poorer man if he never saw an eagle fly,” make perfect sense when you’ve been privileged to witness nature’s everyday wonders. In addition to a dozen Post covers, Murray illustrated for books and magazines such as Boys’ Life, Outdoors, Better Homes and Gardens, and several others, at the rate of at least a cover a month.

He declined an invitation for an exhibit of his work in Paris, either because of his demanding schedule or because of the ingrained family inclination to avoid ocean voyages.

“Polar Bear on Iceberg” by Jack Murray

Murray passed away in 1965.

Reprints of Murray’s Saturday Evening Post covers (with or without the masthead) can be obtained by contacting Curtis Publishing and will soon be available at Art.com.

Landing a Saturday Evening Post cover was the pinnacle of success for illustrators in the early to mid-1900s. But scoring a big advertising account was important to illustrators, too. Like most Post cover artists, Norman Rockwell painted a great deal of advertisements.

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.

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.

Rockwell’s turkey-hunting pilgrim from Thanksgiving 1922 is an ad for, of all things, Interwoven Socks. Our guess is that the pilgrims weren’t blessed with this brand of men’s hosiery. According to the ad, though, Interwoven Socks were something to be thankful for.

Like The Saturday Evening Post, Jell-O has been around for eons, and this adorable ad by Rockwell is from 1924. A master at depicting boys (see first ad above), Rockwell felt he wasn’t very good at painting little girls. We have to disagree: the girl, her dress, her Mary Jane shoes, and the pretty dolly combine to make this one a treasure.

Arrow Shirt ads were normally associated with artist J.C. Leyendecker, who was as famous for his elegant advertisements for the famous shirts as he was for his Post covers. Thus, we were surprised to find this Arrow Shirt ad from 1929 illustrated by Leyendecker’s friend, Norman Rockwell. If you think a female pilot is a bit fanciful, think again. There were women pilots as early as 1910.

A tow-headed boy, that faithful dog, and a kindly old doctor — it doesn’t get any more Rockwell than this. The artwork is worthy of a Post cover, but it’s an ad for Listerine mouthwash from 1931.

Daddy’s home! And dad was busy all day showing other dads “how to be certain there will be the money for college when his kids need it” and assisting in retirement planning. At retirement age himself, Norman Rockwell was still painting Post covers and churning out drawings for major advertising clients like Massachusetts Mutual Life Insurance Company.

“Men Arguing About Teddy Roosevelt”

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”

“Watching Airplanes With Binoculars”

“Cubist Painting”

“Subzero”

“Cool Drink”

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

“100th Anniversary of Baseball” by Norman Rockwell

It would appear that this cover is historically inaccurate. The Saturday Evening Post decided that since Abner Doubleday “invented” the game of baseball in 1839, who better to commemorate the event in 1939 than America’s favorite artist, Norman Rockwell? Apparently the Doubleday story has no basis in truth, and the beginnings of baseball are rather nebulous. All this aside, we have to agree that the combination of the all-American pastime and the all-American artist is a happy one.

“Baseball Catcher” by J.C. Leyendecker

Giving life to this cover is none other than Rockwell’s friend and mentor, artist J.C. Leyendecker. This 1909 cover is not typical of Leyendecker’s often lavish and “artsy” style.

“Baseball Catcher Looking Up” by Robert Robinson

Where did it go? We love the catcher’s mitt in this 1910 cover from Robert Robinson.

“Gramps at the Plate” by Norman Rockwell

In this 1916 Rockwell cover, grandpa is taking no prisoners. We’re not sure how good a batter he is, but he’s one of the few players around in spats.

“Dad at Bat” by Alan Foster

Dad gets into the act in this 1929 cover by artist Alan Foster. A littler overdressed, but good stance, pops.

“Island Game” by Stevan Dohanos

The U.S. Marine Corps did not let a world war get in the way of a good game. Okay, a contentious game. In the background to the left is Lt. Howard Munce who told artist Stevan Dohanos about this game when he was stationed in the South Pacific. Lt. Munce was an artist as well, and later fought at Iwo Jima. Notice the Corsair in the background getting patched up. We don’t know if the final call favored the Marine Air Corps or the South Pacific League.

Artist Harrison Fisher

Harrison Fisher was known as “Father of a Thousand Girls” for his paintings of beautiful women. He was also the father of over eighty Saturday Evening Post covers.

“Lady in Oversized Hat with Flowers” by Harrison Fisher

Where, oh where did he find these hats? Harrison Fisher (1875-1934) was the son and grandson of artists, and by the time he was six, his father was teaching him about art.

Still in his teens, Fisher became a newspaper illustrator. In the days before photography was commonplace, newspapers depicted current events and stories in black and white sketches. Soon, however, it was clear that paintings of beautiful women were his forte and he found his ladies described as successors to the Gibson Girls.

“Paisley Turban” by Harrison Fisher

Much like the Gibson Girls, the Fisher Girls were the epitome of the All-American beauty with hourglass figures, delicate facial features and rich, lustrous hair. If you could see any of this beyond those hats, that is. This gorgeous paisley turban is from a 1910 cover.

“Woman in Hat” by Harrison Fisher

She was the American Girl, and being a Fisher model was the hot job. Fisher’s models ran in high society circles, motoring with millionaires and staying at luxury mansions. But one model was especially interesting…

“Big Black Hat” by Harrison Fisher

Her name was Dorothy Gibson. The story begins with a brief career as a vaudeville singer and dancer and continues with being Harrison Fisher’s favorite model. She’ll be covered in a Post web piece next week for something else she is famed for: she was a survivor of the Titanic. Believe it or not, her story grows even more interesting.

“Coffee and Conversation” by Harrison Fisher

It may be 1912, but this hat is worthy of Lady Gaga.

It is said that with his newspapers and magazines, such as Cosmopolitan, publisher William Randolph tried to keep Fisher so busy he couldn’t work for other publications. Indeed, he did most Cosmopolitan covers — nearly 300 — between 1913 and his death in 1934. It was Cosmo that gave him his “Father of a Thousand Girls,” nickname.

“Woman in Turban” by Harrison Fisher

Fisher is reported in some sources to have an exclusive contract with Cosmopolitan magazine, which is either inaccurate, or the artist found a way around it, as he did over 80 Saturday Evening Post covers between 1900 and 1915.

“Queen of Spring”

We’re celebrating the spring birthday of our most prolific cover artist with three very different springtime covers. This 1931 cover we call “Queen of Spring” is what J.C. Leyendecker was known for: an elaborate tapestry of a painting, lush in detail.

“Ready for Spring Cleaning”

Leyendecker (March 23, 1874-July 25, 1951) also painted delightful character covers, such as this very different spring queen: a take-no-prisoners woman from 1937 ready for spring cleaning.

Norman Rockwell stopped at 321 Post covers out of deference to the artist he idolized, J.C. Leyendecker, who painted 322. “Between 1900 and 1945, Joe Leyendecker painted like a machine gun,” state Lawrence S. Cutler and Judy Goffman Cutler in their 2008 book about Leyendecker.

“Two Children with Easter Flowers”

Leyendecker was adept at sweet depictions of children, like these two from 1908, all dressed-up for Easter.

Leyendecker painted covers for a number of magazines in addition to the Post, but perhaps ironically, he is best remembered as the illustrator who created the handsome “Arrow Collar Man.” But from 1899 all the way through two world wars, he created a glorious body of work for The Saturday Evening Post for which we are most grateful.

Norman Rockwell “the Artist” – February 13, 1943

This photo of Rockwell appeared in the Post in 1943. By this time, the man at the easel had been doing Saturday Evening Post covers for twenty-seven years. The forties were a time of humor, anguish, the workplace, and kids being kids. This week: 1940s classics.

“The Gossips” From March 5, 1948

A great illustration tells a story, and we all know this tale. Don’t you hate when someone starts a rumor about you? Well, it happened to Rockwell and he didn’t like it one bit. But he had a weapon: a paintbrush and a platform viewed by millions: The Saturday Evening Post cover spot.

It’s fun to look at the expressions: some appalled, some relishing the scandal. Afraid he might offend his neighbors/models (love the lady in curlers and the guy in the bowler hat), Rockwell included his wife and himself among the rumor spreaders. Mary Rockwell is second and third in the middle row and Norman is at the end, first with a “Who? ME?!” expression, then giving what-for to the lady who started it all.

“Rosie the Riveter” From May 29, 1943

We’ll review Rockwell’s covers from the war years soon, but for now—what can be more classic than Rosie the Riveter? With the men fighting the war, women had to step up to the plate and keep factories, farms and offices going at home and this gal looks more than capable. She may have a dirty face, muscles and a crushed copy of Hitler’s “Mein Kampf” under her sensible shoe, but she’s still a girl at heart. A compact and ladylike hanky peak out from one pocket.

“The Babysitter” From November 8, 1947

No babies were harmed in the creation of this cover. In fact, the baby was too darned happy. After some search, Rockwell borrowed a big, strapping baby boy to paint from a neighbor. The artist wanted a big lusty wail, but Post editors inform us that “the baby was as good-natured as a kitten full of milk; he wouldn’t even frown.” The babysitter sat and waited. The artist sat and waited. They gave the boy a cookie and the uncooperative little sod was happier than ever.

Eventually, the tot dropped the cookie and let out a brief yell. Ready with his camera, Rockwell got the shot and had a photo of a squalling kid to paint from so he could finish his artwork. It was the only peep they had out of the baby the whole time.

This is a prime example of Rockwell’s enthusiasm for detail. The attention to the minutiae of the chair pattern and wallpaper is almost enough to make the viewer dizzy. It is easy to miss items like the open geometry book and soft drink the beleaguered lass may never get back to by the lamp. And ever the storyteller, the artist shows us that nearly everything has been tried: rattles, a bottle, a bear, a doll, a coloring book. Let’s hope her booklet, “Hints to the Babysitter,” has something useful to offer—and soon!

“The Three Umpires” From April 23, 1949

There is a game riding on the weather-related decision these umpires are making. The Pittsburgh Pirates are ahead 1-0 in the sixth inning. The Brooklyn Dodgers, at home here at Ebbets Field, stand to lose if the game is called on account of rain.

Post editors speculated on the conversation between the guys to the right. They figure Brooklyn coach, Clyde Sukeforth, pointing at the sky, is declaring, “You may be all wet, but it ain’t raining a drop!” Whereas the huddled figure of Pittsburgh manager Bill Meyer is probably saying, “For the love of Abner Doubleday, how can we play ball in this cloudburst?”

“The Correct Time” From November 3, 1945

The giant clocks at what was then Marshall Field and Company in Chicago suggested a cover idea to a visiting gentleman named Rockwell. The two massive bronze clocks were electric and controlled by a master, so it was only after a power outage that a workman had to get out the tall ladder, climb the 17 ½ feet and set the hands. It is probably artistic license that this gent is synchronizing the time with his trusty old pocket watch.

For many years, Chicagoans have depended on the time display as they scurry back and forth. Apparently, they weren’t the only ones. To the left and above the 9, Rockwell suggests that the intricate scrollwork was also convenient for birds to build nests.

“The Dugout” From September 4,1948

Rockwell wasn’t the only artist to paint memorable baseball covers. John Falter’s wonderful cover of Stan the Man and others can be seen in “Great Post Baseball Covers.” But “The Dugout” from 1948 has to be one of Rockwell’s classics. It wasn’t a good year for Chicago baseball, with both the Cubs and the White Sox having a dismal season. This Post cover did nothing to boost the morale of Windy City fans.

At a game in Boston, Rockwell and a Post art editor strode onto the field and chose people to sit above the Cubs’ dugout. The artist would point to a spectator and contort his face into a gleeful or disgusted look asking the fan to emulate him while a photographer snapped them. Later, Rockwell would paint them in, raspberries and all. The happy ones were, not surprisingly, Braves fans: the delighted woman to the left was the daughter of a Braves coach and the lady clutching her hands a few faces over was the wife of a Boston pitcher. (Yes, in 1948, it was the Boston Braves, before they became the Milwaukee Braves, and eventually, the Atlanta Braves.) The Cubbies were actual players (and their manager, second from left in the dugout, living up to his name: Charlie Grimm) and this was an actual Sunday afternoon double header.

“In Fellowship Lies Friendship”– August 27, 1960

This rather daunting edifice is the University Club of New York. The club’s motto was “In Fellowship Lies Friendship,” and the fellows inside seem to be interested in the “friendship” developing outside.

Also interested in the tall sailor chatting up the shapely blonde are a few bystanders. Two of those rather non-pedestrian pedestrians are in the lower left corner—Mr. Rockwell, we presume, walking alongside his daughter-in-law, Gail.

What appears to be a simple scene is actually quite detailed. I for one am amazed at the “texture” in the stone. The birds flying by are easy to miss, and leave it to Rockwell to be faithful to the Italian Renaissance details, including the unusual keystones above the windows. The building is still an architectural landmark today.

“Well!” (Jack Benny) –March 2, 1963

Well! What else can one say about Jack Benny? Okay, for you younger readers, the delightful Jack Benny had a way of saying, “Well!” that…well, you just had to be there. This painting could also be called, “I’m thinking, I’m thinking!” as in his standard response to the line “Your money or your life!” Really, this stuff wasn’t that corny at the time…

As we saw in the previous feature, Rockwell painted world figures in far-flung places, but, interestingly, he was nervous about meeting the beloved comedian. He called Bill Davidson of the Post and told him, “I’m really nervous about meeting this Benny fellow. Would you be good enough to help me over the hurdle?” Ironically, about a half an hour earlier, Benny, who was beloved by millions and the friend of presidents and kings, called Davidson with the same request. He was nervous about meeting the great Norman Rockwell. So Davidson was there for the meeting. Hey, world leaders come and go. Benny and Rockwell were classics!

“The Golden Rule”– April 1, 1961

Norman Rockwell, whose first Saturday Evening Post cover appeared in 1916, was still painting classics 45 years later in 1961. Taking a serious turn, he created “The Golden Rule,” which is, of course, “Do unto others as you would have them do unto you.”

Oddly enough, the models who depicted the humanity of many nations, all came from the general area of Rockwell’s studio. Rockwell had a passion for costumes and had collected many from his travels abroad. Of the rabbi, the artist chuckled, “he’s Mr. Lawless, our retired postmaster. I put whiskers on him, and I think he fits the part quite well, even if he is a Catholic.” Barely visible in the upper right corner is a face painted by memory: Rockwell’s late wife, holding their first grandson, a child she hadn’t lived to know.

Rockwell received the Interfaith Award from the National Conference of Christians and Jews for this cover.

“Stained Glass Artistry”– April 16, 1960

Among our Rockwells that don’t look like Rockwells, we have this Easter 1960 cover. The idea came from a trip Norman took to Westminster Abbey in London, where a craftsman was high on a scaffold repairing a stained glass window.

Oh how the artist toiled to capture that luminosity of the backlit stained glass. He just couldn’t do it. Finally, he found stained glass designers Rowan and Irene LeCompet of New York and they traveled to Rockwell’s studio bearing detailed plans of a window they had designed for a Washington church. That’s Rowan LeCompet up on the scaffold repairing a break. Rockwell studied church window after church window, inside and out, before he finally captured that radiant quality.

“Midnight Snack”– November 3, 1962

This cover is another example of Rockwell’s attention to minute detail, and an example of his wild sense of humor. The scene takes place at the Higgins Armory Museum in Worcester, Massachusetts, which must be a fascinating place to visit. The knight in shining armor atop the horse was a display that caught Rockwell’s fancy. The detail in the tapestry is wonderful. Not part of the collection, but a figment of Norman’s imagination, is the guard having a midnight snack. And we really, really hope the disapproving glare of the horse was part of Norman’s fancy, too!

“The Lifeguard and the Lady”

This luscious illustration from a 1955 story called “The Lifeguard and the Lady” was by artist Ben Stahl. Oh, my—behind those wholesome Saturday Evening Post covers lurked some juicy stories.

“I’ll Never Love Again”

This 1954 illustration was by Post cover artist Coby Whitmore and was accompanied by a real soap-opera caption: “’I’m afraid,’ she whispered, ‘it meant too much one time. I can’t let it happen again—ever, ever.’” (Does anyone else hear organ music?) The title of the tear-jerker story by Michael Foster: “I’ll Never Love Again.”

“A Wife for the Doctor”

“Since old Doctor West died, there had been no doctor at all in Clayton,” the 1951 story “A Wife for the Doctor” by Baird Hill states. The whole town agreed this was quite a pickle indeed, since “the uppity doctors” from a nearby burg had to be called in and “charged seven-fifty for the trip and acted as if were a favor besides.” The caption on this Roy Price illustration is: “Sandra entered. She and Julie looked at each other and at the doctor.” Oh, dear. One hopes medical attention is not required.

“The Artful Bride”

“Is she pliant, submissive, eager to please?” went the tagline to the 1949 story, “The Artful Bride” by Jay Wilson. “Then watch out—the lady’s about to get her own way.” This is another illustration by cover artist Coby Whitmore. The caption: “Doris sat down on his lap and closed her eyes—perhaps in order to hide the feline, hungry look.” Okay, so the MANipulative female isn’t politically correct these days… but she sure is fun!

“The Passenger Hated Redheads”

“He knew how to handle the stewardess. ‘Go tend to your trays,’ he said.” Ooooh. That’s enough to make a gal say “I quit,” grab a couple of brews, and scuttle down the emergency chute. I really like the guy in the middle trying to hide and NOT get caught in the middle. Artist Joe De Mers did many of our leading lady illustrations. The story was Nord Riley’s “The Passenger Hated Redheads” from 1949. Methinks he’s simply hiding an overwhelming attraction for the lovely lady.

“Bait for a Bachelor”

In March of 1958, directly across from an article by Eleanor Roosevelt (“My Round-the-World Adventures”) was a story called “Bait for a Bachelor.” “He was fair game,” went the tagline, “and he seemed only too willing to play right into her hands.” The illustration by artist Ken Davies bore the caption, “‘I’ll be by at six,’ he said in a low tone. ‘Grace smiled with satisfaction.’” What ever did Mrs. Roosevelt think?

“Squaw Fever,” art by Paul Rabut

This dramatic painting by Paul Rabut appeared in the 1947 story “Squaw Fever” by Bill Gulick. The caption reads: “All you got to do is put wings on your wagons an’ fly ’em into the valley. Ain’t that right, captain?” Illustrations like this make us wonder where the original paintings ended up.

“Love and Alexander Botts,” art by Hy Rubin

“Only desperate measures, he saw, could keep this girl from marrying the wrong man. It was a challenge the greatest of salesmen couldn’t resist.”

I don’t remember the Alexander Botts stories in the Post, but I’ve heard from many readers who do. The hardworking salesman for the Earthworm Tractor Company was created by William Hazlett Upson, and readers couldn’t wait for his next adventure. This 1953 Hy Rubin illustration is captioned: “‘For every problem there is always a solution,’ (Botts) said. ‘I will start now looking for it.’”

It would be a bit irritating to have a boss that darned cheerful while one is nursing a broken heart, but that’s Botts for you.

“The Cold-War Blonde,” art by Robert G. Harris

It’s never good when there’s a Cold War raging, you’re rifling through a desk, and you get caught by the Russians–as this unfortunate young lady from the 1959 story “The Cold-War Blonde” by George Fielding Eliot did.

“She risked her honor for her country, and her methods were most unusual…” Whatever that means. The luscious artwork by Robert G. Harris bore the caption: “On the other side of the desk, ready to vault over it, crouched Zaspurov.” Can’t get anything by a danged Commie.

“Escapade,” art by Gilbert Bundy

“Gary walked onto the terrace just as she got near the bottom. He could see she was pretty in the face too.”

Too? Apparently she was pretty from, er, other angles. How did people get themselves into these situations? Something about … she threw a boot at the house detective and it went over the terrace … or something. She is rather brazen, as we’ll see below.

“Escapade,” art by Gilbert Bundy

“He was trapped in his fiancee’s apartment with a strange girl wearing his fiancee’s gown. Could you talk your way out of that?”

Well, I’d love to hear him try. It seems the young lady made herself at home. “I hope you’ll forgive me. I know I had a nerve, but I just couldn’t resist this,” reads the caption of her trying on the gown. Uh, yeah, nervy would be one word for you, toots.

Beware of young ladies who climb over your terrace. This was from a 1949 story called “Escapade” by George Marion Jr.

“Stolen Goods,” art by Perry Peterson

“She stared into the ladies’ dressing room and tried not to faint. It was terrifying to find a man in there—especially when he was dead.”

If three-way mirrors aren’t enough to put you off clothes shopping, this should do it. This is from a 1949 serial called “Stolen Goods” by Clarence Budington Kelland. The artwork was by Perry Peterson.

By Harold Von Schmidt

“The word that she was to have a new boss—name of Bullwinkle—almost drove Tugboat Annie crazy. And as someone said: ‘When Annie acts crazy, somebody’d better start ducking!’” Yes, that unsinkable character Tugboat Annie began in The Saturday Evening Post. This illustration by Harold Von Schmidt leads to the question: whatever happened to these great paintings? But that’s another story. The caption reads: “‘Hey, Bullwinkle, ye wind-geared jackass!’ was Annie’s unladylike greeting. ‘Whyn’t ye get out an’ push?’” Gotta love her.

By Sam Bates

I wish I could count all the western stories that appeared in the Post over the years. This was “Gunslick” by Richard Wormser from 1954. The caption to artist Sam Bates’ illustration reads “Jack Gannon brought his hand too close to his gun, and Mel’s own iron was out and pointing. ‘You were saying, Mr. Gannon?’”

By Bob Hilbert

Sometimes I don’t know if it’s the artwork or the captions that grab me. The story is “Larcenous Lady” by William Fay from 1953 and the caption to the sexy illustration by artist Bob Hilbert says, “When he kissed her gently, she clung to him, murmured his name. He didn’t know she was also picking his pocket.” For more steamy images from romance fiction, see our Featured Artist piece on “Leading Ladies.” I’ll do more of these in the future.

By Amos Sewell

I have to show two illustrations from the 1953 story “The Dangerous Angel” by Clarence Budington Kelland. This lovely illustration has the caption: “‘Madam,’ said the young man, ‘nothing could make you more conspicuous than God and nature already have done.’” Oh, brother. As pick-up lines go, that one stinks. And… did he throw his jacket down for her?

By Amos Sewell

The artwork here and above from “The Dangerous Angel” was by Post cover artist Amos Sewell. His covers tended to be a bit more wholesome. This caption reports, “Hephzibah said, ‘A woman that’s built like you be is sure to come to a bad end.’”

By James Bingham

Yes, boys and girls, the decades of the 1940s through ’60s brought many a Perry Mason story to Saturday Evening Post readers. This 1959 Erle Stanley Gardner serial was “The Case of The Waylaid Wolf.” Perry, at least according to the caption, is losing patience: “Mason came bolt upright. ‘Wait a minute!’ he snapped. ‘Try and remember just what he said about O.K.’”

“It’s Me Darling—Your Husband!” – Joe De Mers

“He woke to see his wife looking at him in horror. It seemed she had no recollection of getting married.” Don’t you hate when that happens? From a 1949 story called, “It’s Me Darling—Your Husband!” this is one of the many enticing illustrations by artist Joe De Mers. We like to call them our “leading ladies.”

“Clever Women Are Dangerous Too” – Joe De Mers 

“The door opened, and Imogene made her entrance.” Did she ever! Move over, Beyoncé—this is the quintessential 1950′s hottie. “He was afraid of being trapped by some gorgeous birdbrain. He forgot that (here comes the title): ‘Clever Women Are Dangerous Too.’” Another lady by Joe De Mers, who looks like she might be a handful.

“The Lady and the Lion” – Perry Peterson

This dark-haired hunk is demonstrating a lion’s moves—for her own safety, of course. “He gets his paws on the cow’s back like this, and closes in like this,’” he says to the stunning blond. Looks like the lion’s paws aren’t the only ones to fear. This is from 1954′s story “The Lady and the Lion,” and the artist was Perry Peterson.

“Second Class Marriage” – Coby Whitmore

“How soon, Mary Jo?” Shelby was saying. “How soon can you do something about—him?” What the heck was going on in the ’50s? A folksy, down-home magazine cover, but inside… steam heat! Like many Post cover artists, Coby Whitmore did inside illustrations, too. This one comes from the story “Second Class Marriage” in 1955.

“Girl Shy” – Bob Hilbert 

The title of the story was “Girl Shy” from 1955. Well, he may be shy, but she definitely isn’t! Pinning him down with a kiss, she says “Oh, for heaven’s sake, Willy Teeden—here!” Geeze, a guy couldn’t even eat his lunch without some blond nailing him.

“A Man In Her Room” – Edwin Georgi

When her fiance and his mother walked in, they were scandalized. They obviously didn’t expect to find “A Man In Her Room.” Her future mother-in-law was not appeased with her assertion, “It’s only Clary.” This illustration ran with the story in 1950. I can guarantee if this ran in the magazine today, we would get letters of complaint from some of our older readers. I don’t know if that means we’ve progressed or regressed. But if these temptresses are getting to you, you can get reprints of these sassy sirens. They’re eye-catching and fun in any room. Contact www:curtispublishing.com for details, or just to browse through more “Leading Ladies.” Click Here