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.

Winter Wonderland

Of winter’s lifeless world each tree now seems a perfect part;
Yet each one holds summer’s secret deep down within its heart.
—Charles G. Slater

This scene with its impressionistic, stark, winter trees is an inside illustration from Country Gentleman, a sister magazine of The Saturday Evening Post. The artist, Walter Emerson Baum (1884-1956), was born in Sellersville, Pennsylvania, and painted many landscapes of his home state. He is particularly known for his rugged work ethic; he frequently painted outdoors, even as winter storms raged.

Baum, in addition to illustrating and producing fine art, was an art teacher in Allentown, Pennsylvania, from 1926 to 1956. He was also a writer, a columnist for the Sellersville Herald and eventually he became the paper’s editor. He wrote the book Two Hundred Years, a history of the Pennsylvania Germans in his hometown.

Tumble from Sled

This Dominice Cammerota illustration shows the fun side of winter. The artist painted two more Post covers, also of women enjoying seasonal pastimes: a summer sunbather reading the paper on her rooftop (August 3, 1940) and a springtime gardener in a wheelbarrow (May 10, 1941). If only there was a fall cover to complete the set.

Interestingly in this issue, which went to press while Gone With the Wind was captivating Americans in the theater, an editorial offered up the fate of a fraudulent manuscript purportedly written by Margaret Mitchell, whose book the movie was based on. The editorial included the first paragraph of the 50-page manuscript, noted that the editor had contacted the real Margaret Mitchell, and advised readers: “We’re holding the manuscript,” then asked, “Would the author like to collect it?” Not surprisingly, there were no takers.

No School Today

We don’t know how far this young man trudged through the snow to get to school, but it was all for naught. The sign on the door says it all. This 1923 cover was typical of the humorous, homespun style of Angus MacDonall (1876-1927) who did 21 covers for sister magazines, The Saturday Evening Post and Country Gentleman. He was a cartoonist and illustrator for Life for many years and contributed artwork to other publications such as Harper’s and Ladies’ Home Journal.

MacDonall came from St. Louis but eventually moved to the seaside town of Westport, Connecticut, where he helped establish it as an art colony. Among its list of famous residents throughout the 20th century are Post artist Stevan Dohanos, American author F. Scott Fitgerald, and actor Paul Newman.

Herding in Winter Storm

Matt Clark (1903-1972) and his brother Benton, also an illustrator of Western art, came from a Coshocton, Ohio, family whose lives revolved around horses. Both artists were inducted into the Society of Illustrators Hall of Fame in 2008. The society, in describing the brothers’ similar styles, summed up this 1944 cover aptly: “Not reliant on close-ups or facial expression to express the emotions of the characters, they used the attitudes or the actions of whole figures to describe their relationships. That also included the settings—letting the landscape play a role.”

The Clark brothers did more than 100 illustrations for fiction in The Saturday Evening Post, and Matt Clark created six Western or rural-themed covers for Country Gentleman magazine.

Snow on the Farm

“My approach was to look for human interest subjects and then try to place them in a proper setting to fit the idea,” illustrator John Clymer (1907-1989) said. The children (along with cat and dog) playing in the snow in this 1956 cover are all but overwhelmed by the beautiful landscape. Clymer could say what he liked about his human subjects, but his landscapes always dominated the 80 covers the artist did for the Post.

Painting covers for The Saturday Evening Post was a career highlight for any illustrator, but they often learned the hard way about accuracy, as Clymer told art historian Walt Reed in John Clymer, an Artist’s Rendezvous with the Frontier West: “There was only one drawback about doing covers for the Post. They went everywhere in the country, and because I picked and painted actual places, there would be several hundred people who lived nearby who’d scrutinize every detail to try to find something wrong. There would always be someone like a telephone lineman who’d write in and say, ‘I don’t think that was the kind of insulator they used in that area.’” But only once did Clymer have to correct a cover he submitted: “I sent in a picture that had an automobile in the foreground. I had completed everything, lights, chrome, trim, spokes, but forgot to paint the door handle.”

Fall Horseback Ride

Most of the 80-plus Post covers by John Clymer feature natural settings: a shimmering lake surrounded by summer greenery, a charming New England harbor enveloped by snow, and, of course, views like the one at left of Washington, the beautiful state from which the artist hailed.

The riders are passing through a forest of tamaracks, which possess a rare trait among conifers; the needles turn gold in the autumn and fall to the forest floor. The fallen needles reflect the light, giving the ground an almost luminescent quality.

“In fall, every tamarack forest byway becomes a yellow brick road down which you can skip in a haze of glowing splendor,” writes Lori Micken in an online column for Montana Outdoors. The tamarack is a common sight in Clymer’s home state, and in this Post cover he captured just such a yellow brick road in Wilson Canyon, Washington.

Fall Harvest

The corn hanging on a neighbor’s barn in Arlington, Vermont, inspired John Atherton to begin sketching the harvest still life (left). “Knowing any harvest picture would need a pumpkin, he went into the garden and got one,” wrote Post editors in 1945. Deciding autumn leaves were needed, the artist gathered some along the road. Ferns would also add to the arrangement, so out he went to gather a few. The ferns died very quickly, and he gathered more. “By the time he had set his stage, Mr. Atherton had done quite a little of harvesting himself,” wrote the editors.

Between 1942 and 1961 Atherton painted 47 Post covers. His style was realism, known for its accurate, almost photographic portrayal of its subjects. This was a far cry from the idealized images depicted by his friend, Norman Rockwell. Atherton’s critical attitude to such sentimentality is noted in the feature, “Till the Cows Come Home.” But the painter was not completely immune to sentiment: Note the initials carved in the beam at left, presumably signifying the love between him and his wife Maxine Breeze.

Fall Leaves

“The making of a portrait is an imaginative work, because of the blending of two personalities, the sitter and the artist,” William Haskell Coffin (1878-1941) told Charleston, South Carolina, reporters upon returning to his hometown.

Coffin studied portraiture while at the Corcoran School of Art in Washington, D.C., and in Europe. But the formative years of his artistic career were spent in New York, where he won critical acclaim painting portraits of the chorus girls from Ziegfeld’s Follies—some of whom modeled for his 32 Post covers.

The attractive young women were often posed with a single object, such as a book or floral bouquet. In this 1927 illustration, the props are merely a few autumn leaves, some gray clouds, and the chill autumn breeze.

Apple Picking Time

“It has to be a love affair every time,” artist John Falter said about his work. “If you aren’t in love with what you are trying to put on canvas, you’d better quit.”

Falter started the painting at left by sketching the barns and rail fence at a farm near Weston, Missouri, and then completed it at his home in Pennsylvania. The trees, the apple pickers, and the farm woman were done from memory. As Post editors noted in 1947: “It wasn’t hard to recall similar scenes from his own boyhood (in Nebraska), although as he worked, the phase of apple picking Falter recalled most vividly was fresh apple pie.”

One of the Post’s most popular illustrators, Falter did more than 125 covers frequently employing a bird’s eye view of the scene. (See “Can You Guess the City?”)

Bring Home Pumpkins

“Falter’s masterful treatment of light stems from the fact that he is a nature lover, and happily gifted to reflect her moods,” wrote the Post in 1971. “Most of his paintings interrelate human and natural life, and Falter seems ever drawn to the sky.”

The sky in this 1952 cover is nearly black, allowing the artist to contrast the golden haystacks with light from an unknown source, be that parking lot lights or lanterns. The blues, greens, and reds from the family heading back with their trophies add a needed dash of color.

Girl Walking to School

In the heart of the Golden Age of Illustration, Sarah Stilwell-Weber (1878-1939) trained under the best: Howard Pyle. He and fellow students, such as Post illustrator N.C. Wyeth, greatly influenced her work.

A prolific artist, she illustrated over 65 Post covers between 1904 and 1925. During this period, she also worked for many other leading magazines, including Vogue, Collier’s, and Better Homes and Gardens.

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.”

“Cowboy and Setting Sun” by N.C. Wyeth

Great American artist N.C. Wyeth (1882-1945) was a realist, as this 1907 cover shows. His first commission was to paint a cover for The Saturday Evening Post in 1903, a heady success for the tender age of twenty-one. The Post then commissioned him to illustrate a Western story, and Howard Pyle, under whom he studied, encouraged his venture West to study the real thing. Already very much the outdoorsman, Wyeth worked as a cowboy and ranch hand, obtaining much more than a fancy art school education.

“Gary Cooper as the Texan” by Norman Rockwell

Twenty-five years or so later, an artist named Rockwell made his own trip out west, to a land called Hollywood. The artist thought it would be ironic to show a big, strapping “cowboy” getting his face made up. Hollywood was excited to have one of its stars appear on a Saturday Evening Post cover by the likes of Norman Rockwell, and the illustrator could have his pick. He selected a winner in handsome Gary Cooper. “He posed for me in Hollywood for three days and worked as conscientiously as any model I ever had,” Rockwell wrote. “Everyone at the set was crazy about him and I could see why.”

“Playing Cowboy” by Amos Sewell

From 1951, this youngster on the bucking two-wheeled bronco is determined to lasso that ornery, good-for-nothing fence post. Artist Amos Sewell did 45 Post covers from 1949-1962, mostly of kids being kids.

“Woman on Horse in Mountains” by W.H.D. Koerner

We’ll call this 1928 cover “Romance of the Cowgirl.” W.H.D. Koerner (1878-1938) was one of the great artists of the American West. Although he lived on the east coast, he made many trips to scenic Western sites like Yellowstone and the Big Horn Mountains of Wyoming. He illustrated many stories of Western fiction that appeared in the Post and Country Gentleman magazines.

“Tom Mix” by Rolf Armstrong

For most of us, Tom Mix (1880-1940) was before our time, but he set the standard for movie and TV cowboys to come. Starring in over 300 movies (mostly silent films), he is described as our “first Western megastar.” The films were more showmanship than authentic, but Americans became hooked on the romance of the West.

“Herding Horses” by John Clymer

“How nice it is to be a Western horse and seldom come to a fence or the inside of a barn door,” reflected Post editors of this 1952 Wyoming scene. With the help of his pigtailed daughter behind him, this rancher moves a herd of horses across the river. The dog is assisting as well, even though we can only see his head barely above the water. Artist John Clymer (1907-1989) turned many American landscapes into beautiful Post covers.

“Cowboy Asleep in Beauty Salon” by Kurt Ard

Well, partner, this cowboy’s had a long day ropin’, shootin’ and riding the range. By the time he got to this here fixin’-up place, he was plumb tuckered out. This adorable 1961 cowboy is by artist Kurt Ard.

For more Western art, see “Native American Covers.”

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.

Gathering Wood by John Clymer

Ah, the deep, cold Minnesota winter as painted by wonderful landscape artist John Clymer. If you’re wondering what the large, egg-shaped structures in the background are, as I was, they are snow-covered bales of hay. The face of the boy we can see is still enjoying the winter and the dog seems content. But notice the felines at the bottom heading in. Where there’s firewood, there must be a fire to cozy up to. Cats are my kind of people.

Seated Woman with Big Cat in Her Lap by Harrison Fisher

Here’s a beauty from 1908. Artist Harrison Fisher did over eighty Saturday Evening Post covers of lovely ladies, and this one has a bonus gorgeous feline. We showed you many Harrison Fisher ladies in stunning hats in our April cover piece, “Kentucky Derby Fashion Tips”. He was so well known for his paintings of beautiful ladies that they were known as the Harrison Fisher girls, and yes, reprints are available at curtispublishing.com.

Passing the Blame by K.R. Wireman

I couldn’t resist showing this Country Gentleman cover once more. CG was a sister publication to the Post for many, many decades. This little tot by artist K.R. Wireman has learned early to pass the buck. Well, a case could be made that the cat is black from knocking over the coal bucket, but we think the evidence points elsewhere.

Kitty Cooldown by Parker Cushman

On a hot day, kitty needs a turn in front of the fan, too. This adorable cover was by an artist named Parker Cushman in 1916. I can find very little about his artist, but he did three cute covers of children for the Post.

Cat Fight by Charles Livingston Bull

The greatest cat lovers will admit that they aren’t always adorable. Charles Livingston Bull was a great wildlife painter, and it doesn’t get much wilder than two felines going at each other. I can hear the howls now!

Cat Guards Bowl of Milk by Robert L. Dickey

Give ‘em heck, kitty! No matter how adorable the dogs may be, this feisty kitten from 1926 is not sharing her bowl of milk. Cats are the original divas. Artist Robert L. Dickey was known for his animal paintings, particularly horses. He did six other covers for the Post, all of dogs. He certainly nailed this kitty’s attitude.

Girl and Three Cats by Sarah Stilwell-Weber

We’ve shown many Sarah Stilwell-Weber covers, but this is a nearly-forgotten one from 1910. This young lady has her hands full of cute. Stilwell-Weber was a popular artist of children and did sixty-five covers for the Post and Country Gentleman magazines between 1904-1925 (yes, each more adorable than the next).

Stan the Man – John Falter – 5/1/54

Not only did these St. Louis kids have to miss school (awww!), they had to sit and pose with Stan the Man Musial. What a rough life. The lucky youngsters wound up with forty Musial autographs. “Wow!” one said in awe. “Will we clean up selling these at school!” We’re sure at least one of them has wished he’d kept it.

Yogi Berra – Earl Mayan – 4/20/57

Who doesn’t love Yogi Berra? Long before he became famous for maiming the English language, Berra was catcher for the New York Yankees. Artist Earl Mayan got him to pose in Yankee Stadium for this cover. Love the fan faces! The editors informed us they were friends of the artist and “were real nice-looking people till he asked them to look like baseball fans.”

Family Baseball – John Falter – 9/2/50

While we admire the pros, there’s nothing like a family baseball game. It’s 1950 and Uncle Baldy can’t decide whether to pitch or throw to Aunt Sally in the yellow dress on second base and catch the guy out. We have to say Aunt Martha’s batter’s stance is interesting. The editors speculated that the umpire was selected “because he has a natural chest protector”. Well, a natural belly protector, anyway.

Sliding into Home Place – Fischer – 4/16/10

It’s no surprise that they played baseball in 1910, as we see in this cover. What surprised us was the artist – none other than Anton Otto Fischer. Mostly famous for his masted ships rolling over foaming waves, Fischer also was great at painting people. This slice-of-landlubber-life captures the action perfectly. Interesting catcher’s mitt!

Oregon Baseball – Clymer – 4/21/51

Artist John Clymer was known for his beautiful landscapes. Sure, he manages here to paint Oregon in all its spring glory, pink blooms, Mount Hood and all. But the eye is drawn here to the fine pitching form of Miss Pigtails and the concentration of the batter. The trees may be budding and the grass greening, but kids’ thoughts turn to baseball. It must be spring!