Shoveling Floral Shop Sidewalk

“It was cold in New York,” Post editors say of this John Falter (1910-1982) cover, “and the cagey artist did most of his investigating behind glass, riding up and down on a Madison Avenue bus.” Painting the scene, Falter figured the frozen-faced workers would get an ironic chuckle from the fact that inside the flower shop window it is spring. Or perhaps not. Editors also had to note that Falter delivered his picture to the Post “just before the first of the winter’s oversize snowstorms hit New York. Then the artist hauled out for Arizona, where you may enjoy scenes like this in comfort.”

Springtime, 1935 Boy with Bunny

“You can’t buy a straw hat and make it look old by rubbing dirt in it,” Norman Rockwell (1894-1978) wrote in My Adventures as an Illustrator. “A hat has to be worn in the sun and sweated in and sat on and rained on. Then it’ll be old. And look it.” In 1935 Rockwell was asked to illustrate Mark Twain’s The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn, and he took the costuming very seriously. Desperately needing the right hat for Huck, he found just the thing in, appropriately, Hannibal, Missouri, Twain’s hometown. He spotted “a man walking along the road wearing a straw hat in a beautiful state of decay” and managed to buy it from him. Before long he ended up with a carload of clothes, “all old and rotten, battered, tattered, and splotched.”

Folks around Hannibal no doubt talked for a long time about that crazy guy who paid good money for their old duds, but the book illustrations were done to everyone’s satisfaction. And, like the boy greeting spring (left) with his worn hat and raggedy pants, some Post covers reflected the “Huck Finn look.”

Reading Among the Blossoms

Despite the fact that F. Sands Brunner (1886-1954) was very much a rugged outdoorsman who enjoyed camping, canoeing, and mountain climbing, most of his paintings reflect domesticity with adorable children and lovely women. This 1936 work from Post sister publication Country Gentleman is a case in point. The rich color and skillful use of lighting are typical of Brunner’s work. The Boyertown, Pennsylvania, native painted three Country Gentleman and two Post covers.

Appalachian Rhododendrons

Nature took over on a grand scale in most of John Clymer’s (1907-1989) 80 Post covers, and people were secondary. In fact, the viewer almost has to squint to see the family consisting of Dad with baby on his back, Mom in straw hat, and daughter leading them along the trail to Craggy Pinnacle near Asheville, North Carolina. Clymer told Post editors, “Sections of the trail wind through 10-foot-high rhododendrons, and the ground is carpeted with the rich pink petals of the flowers that have fallen.”

“These floriferous slopes look their best in mid-June,” editors noted in 1961, “as they did when the Catawba and the Cherokee held sway in the Carolinas. But if the scenery of the area has not changed much, the people have. What self-respecting Indian brave would have toted a papoose on his back?”

Hardware Store at Springtime

Artist Stevan Dohanos (1907-1994) loved hardware stores, and editors informed us that “the store he has painted affectionately for this week’s cover is a composite of many where Dohanos himself has obeyed the impulse, very strong in the spring, to buy a lot of new garden tools.” They warned, however, “this equipment buying is by all odds the most popular phase of gardening, for on a bland spring day there is nothing like the feel of a good rake or hoe in your hand—in the hardware store.”

Ready to Garden

This gentleman has made his trip to the hardware store and is hauling those spring purchases, lawn mower and all, back by public transportation. Perhaps more surprising is that the illustration is by the great J.C. Leyendecker, the man responsible for those chiseled Arrow Collar men who “haunted several generations of less fortunate-mankind,” according to David Rowland in a 1973 issue of the Post. In Leyendecker’s 40-plus years with The Saturday Evening Post, he showed amazing versatility as an illustrator, depicting subjects varying from elegant to comical in more than 300 covers.

Edison Phonograph

In 1877, a machine that could record and play sound back was a fantasy. Thomas Edison developed the phonograph and gave a detailed sketch to his mechanic to build. What happened next changed the world. “Edison immediately tested the machine by speaking the nursery rhyme into the mouthpiece, ‘Mary Had a Little Lamb.’ To his amazement, the machine played his words back to him.” It had to be a magical moment.

The phonograph manufacturer was well aware that the purchase was a major expense. This 1909 ad suggested that “if every member of the family would take the money he or she expects to use to buy presents for the other members of the family, and put it together, there will be enough not only to buy an Edison Phonograph, but also a large supply of Records.” This was perhaps optimistic. Despite Edison’s desire to see “a phonograph in every home,” the machine cost $12.50 to $200.00 (equivalent to between $300 and $5,000 today).

Interwoven Socks

“Get him a box for Christmas” says this 1921 ad for Interwoven Socks, a major contract for J.C. Leyendecker. Considered by many the 20th century’s greatest illustrator (he was Norman Rockwell’s mentor), the prolific Leyendecker kept up an almost frenetic pace. He was The Saturday Evening Post’s most prolific cover artist, with 322 covers between 1899 and 1943. For decades, he was as well known for his stunning advertising art as for his covers for The Saturday Evening Post and several other publications. His handsome Arrow Collar man was masculine ideal for more than 30 years. And of course, he drew what would become a timeless St. Nick for Post covers and ad work alike.

Campbell’s Soup

The Campbell’s Soup Kids came about almost by accident. In 1904, Grace Drayton’s husband, an advertising man, had an appointment with the Joseph Campbell Company. He asked Grace to add a few characters to his advertising copy that might work for Campbell’s soup. A children’s illustrator, she drew her typical tots with rosy cheeks, dimpled knees and all. Campbell’s loved the little cuties and, at a time when women weren’t encouraged to have careers, a career was born.

The kids went from magazine ads beginning in 1905 to radio in the 1930s to television in the 1950s. Merchandising also began in the 1930s and even today, an unbelievable amount of merchandise, from dolls to mugs and so forth, is available bearing the chubby-cheeked images. This 1932 ad shows the cherubs in full Christmas spirit with the poem:

If we could only have our wish
To give the truest wealth,
On every doorstep we would leave
The gift of glowing health!

Candy

From 1946 comes this ad promising what we all need during the holiday season: quick energy. It further notes that “candy is something the body can really use as well as something the heart and mind can really enjoy,” which is somewhat more eloquent than the slogan at the bottom: “Candy’s Dandy … Keep It Handy.” The ad was placed by The National Confectioners’ Association, an organization founded in Chicago in 1884 and which, yes, is still around today.

Cream of Wheat

American artist Edward V. Brewer (1883-1971) created distinctive advertising art for Cream of Wheat cereal. The iconic chef would appear in each ad, perhaps front and center and at times, as in this 1922 ad, more obscurely placed (in this case, in the newspaper on the floor). There are divergent views on the depiction of the chef: some see it as racist, a sort of Uncle Tom character; others see the chef as kind and trustworthy. This was a different era, after all, and we present it here as part of America’s cultural history. Because of their historical significance, and the quality of the artwork, the old Cream of Wheat ads are highly collectible today and originals often fetch between $7,000 and $10,000.

Rockwell Plymouth

We don’t need a picture of a gleaming new car, nor copy details about hydraulics, torque, or ease of handling. The simple text: “Oh, Boy! It’s Pop with a new PLYMOUTH!” and the faces of the family are enough. And it doesn’t hurt that the illustration is by Norman Rockwell. Yes, along with iconic covers for The Saturday Evening Post, America’s favorite artist sold everything from socks to mouthwash, as we’ve seen in “Norman Rockwell, Ad Man.” The Plymouth ad is from 1951.

Chrysler Plymouth

Click this image for a close-up and you’ll observe the family peeking from the doorway at the classic toys, such as Raggedy Ann and Andy. Post cover artist Worth Brehm created this illustration for Edison Mazda Lamps. Another artist who did quite a few ads for Edison was Norman Rockwell.

Teddy the Pumpkin

Theodore Roosevelt was the U.S. president from 1901-1909. Yet in 1912, when this J.C. Leyendecker cover (left) appeared, Roosevelt was still a force of nature. That same year, he had a falling out with former good friend and then-President William Howard Taft and decided to challenge him in the upcoming election. The Republican bigwigs favored Taft though people like this youngster said “Bully!” for Roosevelt.

Halloween, 1904

In the 1930s, Anne Estelle Rice (1877-1959) left illustration and began a career designing operatic sets and costumes in London. But her passion for theater was showcased in her illustrations, such as the 1904 cover (left). Rice often drew figures in theatrical costumes and settings. This cover is one of three she did for the Post; the contour lines and simple details shown in the uncomplicated silhouette are definitive of her style.

Woman in Masquerade Costume

An invalid as a child, Charles Allan Gilbert (1873-1929) drew pictures to entertain himself. He officially took up the study of art at age 16, and at 21 he studied for a year at the Académie Julian in Paris, where greats such as J.C. Leyendecker were trained.

Gilbert chose beautiful, buxom women as subjects, much like his contemporaries: Charles Dana Gibson and Howard Chandler Christy. Besides four covers for the Post, Gilbert illustrated books, posters, and calendars, but his work is often overlooked for the one image he is best remembered for: The intriguing 1892 double image called All is Vanity.

Looking for Future Husband

German-born Frederick Lowenheim (1870–1929) was a storybook illustrator in the early 1900s. Like his book illustrations, Lowenheim’s 15 covers for Country Gentleman were often scenes depicting children in amusing situations, such as the Halloween prank on the October 28, 1922, cover (left).

A poem from an early 1900s postcard explains the girl’s horrified expression: “On Hallowee’n look in the glass, Your future husband’s face will pass.”

Halloween Fiddler

Norman Rockwell painted 35 covers for Country Gentleman, which like The Saturday Evening Post, was published by Curtis Publishing Company. Known as “a journal for the farm, the garden, and the fireside,” Country Gentleman‘s content included farm news, gardening and canning advice, and fiction.

Most of Rockwell’s covers for the farm centric magazine centered around a character he created: city-slicker Reginald, who visits his country cousins frequently, only to be made the butt of their jokes.

In the 1921 Halloween cover (left), however, Rockwell shows us a more peaceable side to country living.

Sleeping Farmer

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

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

Surveying the Cow Pasture

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

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

Yakima River Cattle Roundup

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

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

Slow Mooving Traffic

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

Little Cowboy Takes a Licking

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

Shoo the Moos

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

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

Couple Kissing at Piano

It must have been like having a movie star for a sibling, being the “oh, yeah, you’re the brother” guy. Frank Xavier Leyendecker was born in Germany in 1879 (or ’76 or ’77, depending upon the source) and from boyhood, he seemed to be something of an afterthought. After enjoying early success, Frank’s demons of inferiority complex and substance abuse ruled.

This cover is from 1907.

Dancing at Dutch Pete’s

Although the family immigrated to America in 1882, primogeniture still held some sway to the Leyendecker parents, who were determined that older brother Joe (J.C.) receive the training required for future success. They were somewhat less concerned with their younger son’s prospects, but J.C. conscientiously worked to bring young Frank and his talent along with him, including to Paris in 1886 to study at the Acadèmie Julian.

This 1903 cover, Dancing at Dutch Pete’s, appears to have retained a bit of the Parisian influence the brothers enjoyed.

Girl Playing Piano

Paris was the heart of the international art world, and Laurence S. Cutler and Judy Goffman Cutler, authors of a book on J.C., write: “At 22 years of age, J.C. was already considered to be an upcoming art figure alongside such luminaries as … Alphonse Maria Mucha and Henri de Toulouse-Lautrec.” J.C. was considered the biggest talent to attend the academy in many years, which could be one reason that, while there, “J.C. studied diligently while F.X. tended to focus more on drinking, drugs and carousing with the other art students,” according to art blogger Donald Pittenger.

The little girl playing “The Maiden’s Prayer” is from 1911.

Ohio Electric Ad

Like his more successful brother, Frank did commercial work. J.C. was extremely successful in ad work; his Arrow Collar man became an icon and the account enjoyed a lucrative 25-year run. He was also industrious with elegant ads for Kuppenheimer men’s clothing and others. Younger brother Frank had a bit of an attitude about doing advertisements, feeling he was destined for fine arts. Michael Schau, author of another tome on J.C. Leyendecker, writes, “Whether or not he (Frank) lacked the vision or self-confidence to attempt such work is hard to tell”.

This 1912 ad for Ohio Electric shows elegantly attired folks (and one topiary-styled poodle) with “the only five passenger electric that can be driven from both the front and rear seats”. While we’re not sure why the electric car didn’t stick around in the early days, it is perhaps not surprising that that particular steering feature did not last.

November 1914 cover from Vanity Fair

Frank’s earliest success was with Collier’s magazine around the turn of the century. He also did work for Life magazine and, as we see in this stunning 1914 cover, Vanity Fair. The richness of color is a reminder that Frank was also a stained glass artist and designer. It is also a reminder that, like his brother J.C., Frank’s diversity of style was amazing. The fragment of his work shown here illustrates passionate, cute, romantic and elegant scenes. We’ll add one more style: the realistic and poignant (see below).

Soldier Writes Mother Letter

In this 1918 cover, a soldier writes by candlelight and in the background we see the sweet white-haired recipient of his letter. It is Frank’s only cover for Country Gentleman magazine, a sister publication to The Saturday Evening Post, for whom he did 17 covers. As we have indicated, the Post was by no means their only client, but it is illustrative of the hard-working nature of J.C. that he had done well over 130 covers for them by this time (he was to become the magazine’s most prolific artist, with 322 covers). Although the creative genius was there, Frank became more depressed and less productive as J.C.’s star continued to rise. After a dispute with J.C.’s partner, Charles Beach, J.C., who had always stayed with his brother, moved out. The Cutler book on J.C. Leyendecker states: “With nothing else left, no place in the fraternal relationship, a broken spirit, and overshadowed by J.C.’s successes, Frank lapsed further into his sad indulgences.” Depression, heavy drinking, smoking and drug use culminated in his death at 45 in April of 1924.

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.

“Arrow Collars and Shirts” by J.C. Leyendecker

It is striking that ads in the old issues of The Saturday Evening Post often boast artwork worthy of a cover on the finest magazines of the period. An exquisite example is this 1930 ad by the great J.C. Leyendecker for Arrow Collars and Shirts. Leyendecker was about as famous for these ads as for his prolific Post covers, and the “Arrow Collar Man” was the American ideal for 25 years.

“Fisk Tires” by Norman Rockwell

Although several great illustrators did ads for Fisk Tires, Norman Rockwell did artwork for the company from 1917 to 1925 that appeared in magazines such as Youth’s Companion, Boy’s Life and, of course, The Saturday Evening Post. This winter scene with the boys admiring the cool tires is from 1917. There was always a sign or billboard for Fisk Tires in the ad.

“Cadillac” by T.M. Cleland

Did you ever think you would call an advertisement “magnificent”? Artist T.M. Cleland (1880-1964) was a decorative designer, typographer, a well-known printer and, oh, yes, a wonderful illustrator. This 1928 ad for Cadillac is probably a depiction of Monte Carlo, suggesting how fun it would be to tool around Europe in your Caddy.

“Cream of Wheat” by Edward V. Brewer

We have come across dozens of great old Cream of Wheat ads. Artist Edward V. Brewer developed a series of these ads based on the black chef who appeared on the box (and still does today). The chef with the great smile would show up somewhere in the ad. In the case of this 1923 example, he appeared on the fancy new sign attracting the local children. The original paintings of vintage Cream of Wheat ads now sell for four to five figures.

“Bottles Ad”

This charming ad from 1926 is touting the health benefits of bottles for your carbonated beverages. “Every bubble holds a heaping measure of health,” claims the text, going so far as to quote a prominent chemist’s assurances that the “average bottle of soft drink has the energy value equivalent to 3 ounces mashed potatoes or ¾ pound tomatoes”. Well, we may question that, but a bottle of pop is certainly easier to consume on the golf course than those food items.

“Hosiery”

“Full fashioned, of course—giving that slender, trim ankled appearance that every woman wants.” How a pair of silk stockings achieves that is not clear, but no matter: this one is a charmer and a good example of late 1920s fashion and hairstyles. Like the artwork in so many of these ads, this one is not signed by the artist, but we have our suspicions. The lighting from below, as if by fireplace, and the large-eyed beauty is remarkably similar to a 1923 Post cover by artist Pearl L. Hill, who illustrated eight Post covers during the 20s (see below).

“Waiting” by Pearl Hill

One of eight Post covers by artist Pearl L. Hill.

“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.

“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.

“Freedom from Want” by Norman Rockwell

Franklin Roosevelt outlined “four essential human freedoms” in 1941: “Freedom of speech and expression, freedom of worship, freedom from want, and freedom from fear.” An artist named Rockwell set out to depict these on canvas. “In six feverish months during the war days in 1942,” wrote Maynard Good Stoddard in the Post in 1995, Rockwell worked diligently on the “images of those freedoms, images destined to become enduring national symbols.”

The artist himself was more succinct about this classic depiction of a Thanksgiving turkey: “our cook, Mrs. Wheaton, roasted it, I painted it, and we ate it.”

“Boy Watching Grandmother Trim Pie” by JC Leyendecker

This cover by J.C. Leyendecker goes clear back to 1908 and will spawn memories of Thanksgivings in the 1940s, 50s, 60s and so on. In other words, it is timeless. Somewhere this Thanksgiving is a little boy who can’t wait for grandma’s pies to be done.

Leyendecker’s first Post cover was a dark black and white story illustration in May of 1899. The story began right on the front page in those days, when the issue was a cross between a newspaper and what we think of as a magazine today. He did 322 Post covers, ending with his final New Year’s baby in 1943. Norman Rockwell did 321 Post covers, not wanting to break his idol’s record.

“A Thankful Mother” by Norman Rockwell

Truly a painting to make us thankful for Norman Rockwell. The artist went to Maine for this 1945 cover, harboring the belief that that state boasted the most homelike kitchens to be found. Note that the table isn’t “cleaned up” or artfully arranged, but looks like it might for a big Thanksgiving meal preparation. The artist did his preliminary sketches in Maine and returned to Vermont for his model search. The result: Dick Hagelberg, who was a bombardier with sixty-five missions over Germany to his credit, is happily pulling K.P. duty with his real-life mother.

“Childhood Thanksgiving” by JC Leyendecker

What a treat rediscovering this obscure but delightful 1927 Leyendecker. The old gent dozes after perhaps reading something that triggers memories of his childhood Thanksgivings.

“Make a Wish” by Norman Rockwell

Make a wish! Whoever got the biggest piece of the wishbone after pulling it apart got their wish. The young lady is giving it a lot of thought. Perhaps she wishes to catch the eye of a special boy or is dreaming of something pretty for Christmas. The boy, and we’re just guessing here, is wishing for more turkey…or another slice of pie. This was a Rockwell cover in 1921 for The Country Gentleman, the Post‘s sister publication.

“After Turkey Nap” by J.C. Leyendecker

Ah, what we all wish for—an after turkey nap. But at least most of us make it up from the table first. This is a Leyendecker from 1938.

Bobbing for Apples by J.C. Leyendecker

Before there were Rockwell covers, there was the great J.C. Leyendecker (a mentor to Rockwell). Leyendecker dressed up these adorable tykes for a neighborhood Halloween party in 1913—apple bobbing and all. This cuteness is quite the contrast with his Halloween cover ten years later (below).

Witches Night Out by J.C. Leyendecker

A creepy witch on a chilly, windy night – and a full harvest moon to illuminate her. Looking at her creepy face (sorry, lady), it is a little difficult to remember that this is the same artist famous for that rakishly handsome, chiseled-featured Arrow Shirt man and the slinky, elegant ladies and gentlemen in the 1920s Kuppenheimer clothing advertisements.

Halloween Fiddler by Norman Rockwell

A rarely seen Norman Rockwell cover from 1921 shows a fiddler at a Halloween get-together. It must be a lively tune, judging by the way he’s keeping time with a high-stepping foot. Rockwell did 36 covers for the Post’s sister publication, The Country Gentleman.

Lighting the Pumpkin by Eugene Iverd

This charming cover is from 1934. These kids are ready, dressed in their Halloween best and lighting a giant jack-o’-lantern. Artist Eugene Iverd did many of our best covers of children – see Artist Eugene Iverd’s World of Children, here.

Halloween, 1926 by Edgar Franklin Wittmack

This well-dressed young man is regretting going to that Halloween party – there is something very scary out there! This creepy cover is from 1926.

Witch’s Mask by Charles Kaiser

In this 1942 cover by artist Charles Kaiser, a little girl is frightened by the view of this witch’s mask through the window – which begs the question: was the witch winking before?

Miserable Golfer by Lawrence Toney

The look on this poor guy’s face says it all. If it didn’t, the busted golf club would be clue number two. Artist Lawrence Toney’s 1925 cover shows us all that a bad day golfing may not “be better than a good day at work”. The same artist shows us a golfer having a better day in the next cover.

Hole in One by Lawrence Toney

Is that a…it can’t be…it is! A hole in one! This 1926 golfer has a witness to the feat and the caddy is just as astonished as the player. Great facial expressions and body language – note the boy’s clenched fist. Artist Toney did a dozen Post covers.

Stinky Putt by J.C. Leyendecker

J.C. Leyendecker, the artist who painted more Saturday Evening Post covers than any other (322!) shows us a caddy with a different opinion. We take it the shot stinks. One of my favorite golf covers was done by Leyendecker’s protégé, what’s-his-name (below).

Important Business by Norman Rockwell

“Gone on Important Business”, says the note on the door. The inspirational saying above the desk proclaims “Do It Now”, so the gentleman is doing just that. Out of deference to Leyendecker, Norman Rockwell painted one less Post cover.

Eighteenth Hole by John Falter

We’re not sure if the man in the yellow sweater is studying the green or smelling it, but apparently the putt was thaaaat close. We are sure this is from 1955 by terrific Post cover artist John Falter.

Woman in Sandtrap by Penrhyn Stanlaws

She may be in the dreaded sandtrap, but this is one stylish lady. If you love covers of pretty, fashionable ladies, the artist named Penrhyn Stanlaws did thirty-seven of them between 1913 and 1934. Although this looks like a blazer I might have worn in 1969 or 1970, this lovely cover is from 1928.

Young Suffragette by Violet Moore Higgins

It is 1913 and about darn time for equal rights for women! This “young suffragette” is putting aside her dolls and taking her brother’s turn at bat. Alas, many of our terrific covers were by artists long forgotten. Violet Moore Higgins was an illustrator for children’s books and magazines, and for one memorable Saturday Evening Post cover.

Girl Playing Piano by Frank X. Leyendeck

Well, some girls are sugar and spice and everything nice. This adorable 1911 cover was done by Frank X. Leyendecker, who painted sixteen Post covers. His more famous brother, J.C. did more Post covers than anyone – well over three hundred, including the next one.

April Showers by J.C. Leyendecker

J.C. Leyendecker was famous for more than doing more Post covers than anyone else (including his protégé, Norman Rockwell). Leyendecker ads for Arrow Shirts and Kuppenheimer men’s clothing epitomized elegance in the early part of the 20th century.
Here he turns his considerable talents to depicting a sweet little waif, made all the more tiny and fragile with the use of an oversized umbrella.

No Peeking by Norman Rockwell

Speaking of Rockwell, it has been said, by himself among others, that he didn’t paint little girls well. I beg to differ, and this prim and proper young lady is a fine example. Passing the “No Swimming” sign bedecked with the clothes of skinny-dipping boys, she is determined to see no evil – and certainly no unclothed boys! After such a trying journey, let’s hope she remembers what she was supposed to get at the market. Rockwell dogs are always so expressive – this one looks guilty, like he knows they are where they aren’t supposed to be.

Shiner by Norman Rockwell

Nothing prim and proper about this Rockwell beauty! The young lady, oh, let’s call her Joan, seems right proud of herself for the way she handled a conflict. There seems to be a discussion in the Principal’s office as to how to handle the troublemaker. This is a Rockwell classic from 1953. Rockwell quickly learned that painting a shiner was more complicated than first imagined: the coloring, the puffiness. He set out to find a kid with a black eye, but even the local hospitals were fresh out. A Massachusetts photographer heard of the problem and ran an ad for youngsters with shiners. The search quickly went viral, as we would say today, and the famous artist heard from all over the country. A boy in Worcester, Massachusetts had somehow acquired two black eyes ( we don’t want to know how),and his Dad drove him right to Rockwell’s studio in Vermont. The artist transferred one he declared “a beauty” to a favorite girl model, and the rest is American illustration history.

Jump Rope by Sarah Stilwell-Weber

Oh, my, there are so many beautiful covers by Sarah Stilwell-Weber, where do I begin? How about this darling 1915 cover of two cuties jumping rope? Stilwell-Weber did over sixty Post covers, mostly of irresistible little girls.

Secret Valentine by Harry Hintermeister

Sometimes it’s best to remain a secret valentine. Case in point: when you’re sending a valentine to a special boy and he’s sending valentines to every girl in town! The little girl’s face is priceless – she doesn’t know whether to cry or jump up and strangle him. This is from our then-sister magazine, Country Gentleman from 1938.

Lady buying Valentine Card by Ethyl Franklin Betts

One of our earliest Valentine’s Day covers shows a lady shopping for a card in 1904.This cover was done by an artist named Ethel Franklin Betts. Is the gentleman behind the shopper wishing the card was for him? Betts was a student of the illustrious (in every sense of the word) Howard Pyle, and did mostly illustrations for children’s books. Luckily for us, she also did four Saturday Evening Post covers.

First Valentine by Richard Sargent

More than fifty years later, this lad is picking out just the right card for someone special. Cover artist Dick Sargent did forty-seven covers in the 1950’s and early sixties. This is a typical slice-of-life example, with a boy clearly not wanting to be seen doing what he’s doing. Let’s hope his buddies don’t catch him while he’s at it – poor kid will never hear the end of it.

Giant Valentine by Tom Webb

The things we do for love. Tom Webb is another mostly forgotten artist, but he did six Post covers. This one is from 1937. One wonders about the lady’s reaction.

Couple in Heart by Bradshaw Crandall

Artist Crandall did nine Post covers of pretty girls or handsome couples. I love the thirties hairstyles and fashions here. Crandall was known for painting romantic ladies…along with pin-ups too risqué for the likes of The Saturday Evening Post.

Older Woman Casing Cupid by J.C. Leyendecker

When it came to romance in the 19th century, men did all the pursuing. A “loophole” was Leap Year, when ladies were supposedly permitted to propose to a man. So watch out, Cupid! This lady (I’ll kindly refrain from calling her a spinster) is on a mission. This crazy 1908 cover was by J.C. Leyendecker.

Making Faces by Frances Tipton Hunter

Oddly enough, these adorable little girls seem charmed by the goofy face the boy is making. Hint #1 guys: ladies adore a sense of humor. Artist Frances Tipton Hunter did eighteen Post covers, mostly of kids so darn cute you want to pinch their little cheeks. If you haven’t had your quota of cute for the week, look this artist up at curtispublishing.com.

Hockey Waits, Tying Skates by Alan Foster

Okay, now I get it: boys just act like they hate girls because their friends will razz them otherwise. At least that was the case in 1927. That’s the price this young man is paying for being the gentleman and helping milady tie her skates. Second hint, fellows: ignore the guys and just go for it. Many of artist Alan Foster’s nearly thirty covers look a great deal like Rockwell’s.

She’s My Girl! by J.C. Leyendecker

She’s my girl! Barely past the toddler stage, this young lady is already breaking hearts. This tip must be to fight for what you want, but couldn’t they both just walk her to school? This is from 1935 by J.C. Leyendecker.

Schoolboy Crush by Charles A. MacLellan

Next hint: don’t put your heart out there too soon. If you can’t read it, his chalkboard says “I Love You”. We dug clear back to 1914 for this cover by artist Charles A. MacLellan. Personally, Red, I think you’re too nice for a snooty girl like her, anyway. MacLellan is another artist I’ve often mistaken for Rockwell.

No Money for her Soda by Frances Tipton Hunter

Two tips here, gentlemen: DO take her out and show her a good time, like treating her to an ice cream soda. However, DO NOT forget your money. I never know whether to laugh or cry at the look on the boy’s face as he digs in his pocket. This was another cover by Frances Tipton Hunter that I can never resist.

Little Spooners by Norman Rockwell

Leave it to Norman Rockwell to give guys the best tip of all: do romance the lady. A fine example of that is this mutual admiration of the sunset. The poor little pup would rather go fishing, but a man has to have his priorities. This is a Rockwell classic from 1926.