Moms today may not have to reenact the American Indian Wars with junior in the store aisles, but that doesn’t mean multitasking with a grocery list and an active toddler is any easier than it was 50 years ago.

Popular artist Dick Sargent was a master of what art experts have come to call “sitcom covers.” Editors noted of this 1956 cover that Sargent, just to prove it could be done, borrowed a little boy to fit into a paper bag. “He let the boy’s father do it to assure that he himself would not get scalped.”

Sargent’s adeptness with facial expressions told the story: the mom’s weariness, the shell-shocked look of the grocer, and an expression on the boy’s face that says, “My work is done here.”

“Once upon a time a very small boy stood on the roof of the garage behind his home,” Post editors wrote of 1953′s Learning to Fly (at right). “He had made every reasonable arrangement to fly down. He had carefully studied the aerodynamics of the situation and met them with the most scientific equipment available.”

The cover was a flashback to a Nebraska afternoon when artist John Falter himself was on the roof of his boyhood home, as his own mother agonized below. And the boy, who grew up to recreate the comical events of his childhood for the enjoyment of Post readers everywhere, eventually found his wings.

“What is lovelier than the glow of carefree joy in the faces of happy children?” asked Post editors of this 1952 illustration. “Will the lady on the cover have the heart to defend her food and change those expressions to the pinched melancholy of starvation? She will if she can make it across the room in time.”

Sargent had set the scene for Crashing Mom’s Card Party in his dining room with real pastries, testing the self-restraint of his three sons. “The mouths of those sons began to water,” wrote the editors, “They watered for a week. Two weeks. Three. Then the sons were released at the pastry. They ate it so fast they apparently did not notice it was petrified, claims the fiendish father.”

There is much to be said about good intentions, besides the road to you-know-where being paved with them. Adding to the tension in this piece, an apple waits in the unsuspecting Mom’s path (no doubt left by one of her good-intentioned little helpers).

“My main concern in doing Post covers was trying to do something based on my own experiences,” illustrator John Falter said. “I found my niche as a painter of Americana with an accent on the Middle West. I brought out some of the homeliness and humor of Middle Western town life and home life.”

Like Learning to Fly, this Falter cover is fraught with enough anxiety to make the viewer cringe for Mom (and Dad). While the artist conveys enough despair for us to recognize that the situation is distressing, the overall effect is humorous.

In addition to childhood’s predicaments, Falter depicted a wide range of subjects, including nature’s beauty and intricate bird’s eye views of cities.

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.

Woman with Basketball

Very little is known today about Norwegian-born illustrator Carol Aus (1878-1934) except that she was known for portrait painting. That talent shines through in this 1909 basketball player.

The Post published seven of Aus’ portraits, all of which appeared on the cover.

Schoolgirl Primping

This pretty cover girl, whose only concern is looking good in a new hat, was created the same year Albert Einstein was lecturing about his new theory of relativity in Stahr’s home state, New York. As a longtime resident of Long Island, Stahr (1883-1953) was close to the East Coast’s publishing companies, and he took full advantage of it. He illustrated for Life and Colliers and was versatile enough to become known as a pulp magazine artist.

The pulps were inexpensive fiction magazines popular from the 1890s through the 1950s (they were printed on cheap paper from wood pulp, hence the name). From 1924 to 1934, Stahr created a number of covers for Argosy magazine, a pulp that boasted authors such as Upton Sinclair and Zane Grey.

Movie Star

The Saturday Evening Post had reached its 3-million-circulation milestone just before this cover was published. Rockwell liked to have fun with the familiar logo, and in this case, he obscured part of it with dormitory regulations. The rules state that male companions are not allowed in the dorm at any time, but with a stash of movie-star photos, these teenagers have found a loophole. The idol in hand is actor Robert Taylor, who made millions of female hearts beat faster in his starring role opposite Greta Garbo in Camille. Movie magazines were just then becoming a national pastime—at least among teenage girls, who were trading and swooning over glossy photos of the current heartthrobs.

Rockwell created several covers that included pictures within a picture. Another example of this is The Great Debate, where the newspapers in the illustration clearly show 1948 presidential candidates Truman and Dewey.

March Band at Football Game

Playing an energetic march while keeping a close eye on the game requires dexterity only a teenager can manage, but Stevan Dohanos made sure the rest of us could watch the game in the tuba’s reflection.

Dohanos began this 1946 painting by filling his Westport, Connecticut, home with equipment borrowed from a local high school band. “The tough job,” he said, “was keeping my guests away from the instruments.” Post editors reported “almost everyone who dropped in while Dohanos was at work turned out to be a former musician, the kind who hasn’t laid lip to a trombone for 10 years, but is sure he hasn’t lost the old knack or wants to see if he can still play the second-coronet part from ‘Under the Double Eagle.’”

Fortunately for Post readers, Dohanos did get the job done, and he learned a lesson about his visitors in the process: “I never knew my friends had so much musical talent, or lacked so much.”

Father’s Homework

Of this 1960 cover Post editors asked the question, “If one furrow-browed father spends x hours failing to solve the quadratic equations of one boy, how long would it take two furrow-browed fathers to fail to solve the quadratic equation of two boys?”

Though artist John Falter (1910-1982), a self-proclaimed “dunce in algebra,” may have struggled to find a solution for x, he never struggled to find work as an artist.

He was described by the Post as a workhorse sketching six days a week from 3:00 a.m. to 5:30 p.m. When he entered the Navy during World War II, he found a way to continue his career: he designed more than 300 posters and other recruitment materials for the military. The same year he enlisted, he created his first of 125 covers for the Post.That prodigious output continued throughout his life; it is estimated that he completed more than 5,000 paintings.

More Clothes to Clean

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

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

Good Guys Wear White Hats

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

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

Playing House

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

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

Hat Bridge

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

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

A Day in the Life of a Boy

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

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

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

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

Jungle Gym

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

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.

Spring Storm Blowing In

In a contemporary description of this cover, Post editors wrote that artist John Falter remembered well the spring storms from his Midwestern childhood in Nebraska and the way trees turned up the undersides of their leaves and looked like phantoms.

His more than 125 Post covers depicted everyday life, and often its foibles. (See “John Falter’s August.”)

Falter was known for his masterful use of outdoor light, reflected here with quickly disappearing patches of light and just as rapidly darkening skies.

Brushing Their Teeth

According to a 1938 article in the Post, San Francisco-born artist Amos Sewell worked at a bank for several years, studying art in the evenings and spending vacations sketching up and down the Pacific coast. Then “in 1931, right in the middle of the depression, (Sewell) decided he was tired of the banking business and shipped out as a work-a-way on a lumber boat bound for New York, via the Panama Canal.”

In spite of his earlier vagabond lifestyle, many of Sewell’s 45 covers are notable for their homespun quality. Prime examples include this 1955 suburban toothbrushing scene, a father assembling a swing set (see “Thanks, Dad!”), and a little boy playing cowboy (see “Romance of the Cowboy”).

Date with the Television

It all says mid-1950s: the TV, the dress, the lamp, the ashtrays … we have everything but tailfins here in this portrait of teenage angst.

The urbane setting (note the glittering city lights in the window) seems far removed from John Falter’s corn-fed Nebraskan boyhood. But let us be reminded of the artist’s meticulously rendered cityscapes as featured in “Can You Guess the City?”

First Cake

Adept at drawing humor from everyday life, Stevan Dohanos’ covers include a toddler in a bedroom happily emptying purses as grown-ups gather in the next room and a woman “on vacation” at a beach cabin. (See “The Great Covers of Stevan Dohanos.”)

About this 1955 kitchen scene (left), Post editors wrote: “These newfangled kitchens certainly have helpful equipment, such as wall ovens with windows so one can watch a cake fall.”

Model Home

Artist George Hughes favored vibrant colors and upper-middle class settings. Because the family is fashionably attired, we might assume some level of affluence. Even so, the average home was around $18,000 in 1950, and the sign in this model home states: “This modern spacious split level: $29,995.00.” No question that the family breadwinner is feeling a degree of sticker shock.

On the inside cover of this issue, Post editors quipped that Hughes himself had just purchased a new, one-level home in Vermont “because he is too old a man to climb steps.” Hughes would have been in his 50s at this time, but this sort of teasing banter was typical of the artist/editor relationship.

Den Into Nursery

Post editors wrote that the wallpaper with whitewater fishing scenes in Dad’s den is going, and he would soon be a “displaced person.” As the father of two young girls, illustrator George Hughes could certainly identify with turning man caves into kid’s rooms.

Renovation may have also been on his mind because the artist had recently moved from New York City to Arlington, Vermont, in part, to be near other Post artists like Norman Rockwell and Mead Schaeffer.

The country air must have suited Hughes, as the ’50s saw 80 George Hughes covers, making him the most prolific Post artist of the decade. By comparison, other prominent cover illustrators like Richard Sargent and John Falter did 35 and 60 covers, respectively (Rockwell did 45).

Dalmatian and Pups

Illustrator Stevan Dohanos visited his local firehouse in Westport, Connecticut, to get a permit for burning brush. There he met Patch the dalmatian and got an idea for a Post cover. Patch is only on the cover in spirit, however. Being a guy, he would have no ambivalence about staying with the kids; he would have just gone to the fire. The dog pictured in this cover was a pretty female at a Long Island kennel, complete with pups.

As to why dalmatians are associated with firefighters, there are many theories, most of which involve the dogs guiding the horses pulling the firewagons. Some say dalmatians in particular had a calming effect on horses, and others say their spotted coats were easy to see as the fire horses went thundering through the streets en route to the blaze (as in the cover below).

Racing to the Fire

Maurice Bower illustrated numerous subjects for ads, books, and at least a dozen magazines, but he had a way of conveying the raw power and energy of horses. Even when this cover was published in 1935, it was a glimpse of firefighting efforts in a bygone era. Motorized fire trucks were becoming common by 1910.

To the Rescue

From time to time, Norman Rockwell experimented with technique. This particular one was called “dynamic symmetry” and was supposed to be scientific, or some such newfangled notion to that effect. After this one, he did one more attempt using the same method and was disappointed with the results. He gave that painting to a cousin and reverted to his time-tested formulas, vowing never to stray again. Nonetheless, the cover does convey excitement and urgency.

Chasing the Fire Truck

This was a scene from little Johnny Falter’s Nebraska childhood, recreated in 1956 by grown-up artist John Falter—albeit with a more modern fire engine sure to save the barn.

As much as we love our illustrators, we sometimes find ourselves wondering what they were thinking when painting a cover. According to Post editors, three young “volunteer firefighters,” two on bike, and one on horseback, repeatedly careened downhill in their efforts to assist the artist, much to the astonishment of onlookers. All turned out well, and they made it to the imaginary fire in time.

Boy on Fire Truck

Behind the wheel of a bright red firetruck—a boy’s dream in 1953. During the ’40s and ’50s, Stevan Dohanos illustrated about 125 Post covers. Dohanos and Rockwell both depicted Americana; however, Dohanos was a ‘realist,’ unlike his friend, who tended to romanticize and idealize. Rockwell painted life as he would like it to be, whereas Dohanos “always gloried in finding the beauty in the ordinary things of life.”

It looks as if Dad wouldn’t mind a turn at the wheel himself.

Republican Convention

The delegates are ready in this 1948 cover by artist John Falter. If you’re tying to make out the candidate’s face on those signs, save yourself the eyestrain; the image is purposely vague because … it wasn’t decided yet! And if you’re an aficionado of Post literature from this era, note the distinguished white-haired gentleman in the lower right-hand corner. Writer Clarence Budington Kelland was a long-time party leader.

The Great Debate

He’s for Dewey; she’s for Truman. The poor kid, the dog and the cat (on the back of her chair) are for peace. The Rockwell classic “was always one of my husband’s favorites,” said Bess Truman who spoke of the original painting that found its home, appropriately, in the Truman Library. “He enjoyed showing it to visitors when toured the library’s museum.”

1948 was not the first time Norman Rockwell showed a couple on either side of the great political divide—see below.

Election Debate

The election of 1920, in the aftermath of World War I, brought Warren G. Harding vs. James M. Cox. This time the wife is for the Republican (Harding) and hubby is sure he is right about Cox.

The newspaper she holds shows Rockwell’s talent for portraiture—that’s his depiction of Harding, not a photograph, as with his depictions of Dewey and Truman above. In later years his political portraits would include Humphrey, Goldwater, and on subsequent Saturday Evening Post covers, candidates Eisenhower and Stevenson in 1956, and Nixon and Kennedy in 1960 (see “Post Presidential Covers”).

As for these two Rockwell covers, it would be, well, impolitic, to point out that the woman was right both times. So we won’t.

Politics by a Potbelly Stove

It was politics by a potbellied stove in 1910. Dang that dad-burned Teddy Roosevelt, anyhow. This cover is by Robert Robinson, whom we know little about today, except that he was great at painting old geezers. It shows us one thing: folks will argue about politics even when no one is listening (much as politicians will keep speaking).

Post-Convention Clean-up

“Ladies and gentlemen of this great nation, if elected I promise to clean up—and I’ve got the broom to do it!”

This 1956 view of the “after-party” was by Constantin Alajalov. It is a cover that inspires and gives hope: soon this will all be over!

Post cover artist John Falter

“Nothing ever quenches the artist in him. … The world is his studio,” wrote The Saturday Evening Post in 1971 when artist John Falter came to visit.

While the Post‘s art director was preparing a portfolio of Falter paintings for that profile, intent over his drawing board, “he turned to find John scrunched down behind him, pencil in hand, sketching swiftly and surely.”

“Covered Bridge”

Unlike the art of Rockwell, Leyendecker and most Post artists, John Falter’s work was less about people and more about settings. It was all about perspective, and the paintings seemed to be from the viewpoint of a bird in a nearby tree.

The lettering on the bridge warned: “$5 Fine for Any Person Riding or Driving Over this Bridge Faster Than a Walk or Smoking Segars On.”

Hey, the artist didn’t write it, he just painted it.

Post editors speculated that maybe Falter should be fined $5 for letting that kid walk on the wall. We’ll not fine him this time, since we love how he captured this 1954 Pennsylvania scene, which makes the viewer long to be a kid on a lazy summer day, riding his bike and wading in the creek.

“Home From Vacation”

Our bird is looking down at a family returning from vacation in August 1952—and perhaps wishing they hadn’t. Not only is the lawn in desperate need of attention, but that little bird forgot to tell them to cancel the newspapers and milk (oh dear, how old is that milk?). While dragging out the mower, mister, you might want to get the ladder—it appears a couple of newspapers landed on the roof. But, be it ever so neglected, there’s no place like home.

An interesting tidbit from the Post article noted above was that Falter always painted from the south, so we are looking north. In this instance, the ominous northern sky greets the weary travelers with the news that they probably need not get the mower out just yet. One can only hope the house key isn’t at the bottom of a suitcase.

“Country Auction”

It looks like everything from farm implements to household goods are going in this country auction, including the neglected Victorian loveseat in the foreground, much to the dismay of the offended hen who was using it for nesting. This cheerful cover was surely a treat in 1944, when war news was everywhere, including inside this issue.

Born in 1910, Falter succeeded at a young age. He was landing prestigious assignments at magazines like McCall’s, Cosmopolitan and Life when he interrupted his career to enter the Navy during World War II. Promoted from boatswain to lieutenant, he designed over 300 posters and other materials for the Navy recruitment program.

It is interesting to compare these bucolic covers with Falter’s cityscapes, again from the bird’s eye view, which were covered in “Can You Guess the City?”

“Eighteenth Hole”

It is estimated that John Falter completed over 5,000 paintings. This is not all that surprising, said a 1991 Post article, considering that “Falter awoke every morning at 3 o’clock to concentrate on the work in progress, and that he painted until 5:30 p.m. six days a week.”

It is doubtful he had much time for such pastimes as golf. As much as he enjoyed the outdoors, clearly his passion was art. “It has to be a love affair every time,” Falter said. “If you aren’t in love with what you are trying to put on that canvas, you better quit”.

“Evening Picnic”

“Sometimes Nature rains on a picnic; sometimes she is just neutral; and sometimes, as in this mood caught by John Falter’s brush, she glories in the occasion herself, painting a magic sunset, smoothing the waterways into mirrors, tempering the temperature, even arranging for the watermelons to be at their most luscious ripeness.” Post editors in 1951 waxed poetic over this cover of an evening picnic.

The 1971 Post profile echoed, “Falter’s masterful treatment of light stems from the fact that he is a nature lover and happily gifted to reflect her moods.”

Nature continued to be a focus after his Post years (the magazine covers went from illustrations to photos in the 1960s). A 1991 Post article noted that one of his projects was “190 canvases of scenes depicting the western migration from the Missouri River to the Rocky Mountains.”

That love of nature lasted until his death in 1982, noted the article. “His ashes were cast into the mouth of the Platte River where they would flow down the Missouri—the setting of many of his historical paintings.”

“Inn in Ogunquit” – John Falter

Post cover artist John Falter spent many vacations at this inn in Ogunquit, Maine, and we are told he painted it very true to life. The older folks have prime seats in their porch rockers for watching the parade of characters heading to the beach.

“4-H Fair” – Stevan Dohanos

It wouldn’t be summer without the 4-H fair. This 1948 scene is also set in Maine, but by another great cover artist, Stevan Dohanos. The editors informed readers it was “the Skowhegan State Fair, a time-tested Maine recreation which claims to be the oldest fair in the land. Founded in 1819, the fair has been held every year since, without a break,” even in wartime. Here’s a pop quiz: What are the 4 “Hs”? (Answer at the end.)

“On Leave” – Norman Rockwell

This is my favorite summer cover. A lot of returning WWII soldiers were happily pulling hammock duty as in Rockwell’s 1945 cover. The artist borrowed the house from one neighbor, the hammock from another, and the dog from his son. An idyllic sun-dappled day of pure relaxation—and we wish many such blissful days for our troops returning today.

“Rainy Day at Beach Rental” – Stevan Dohanos

Alas, not every summer day is sun-dappled; some are rain-drenched. Artist Dohanos had his friends pose for him with the sun shining brightly in Martha’s Vineyard. He took the painting home to Connecticut, sure that the whole summer would be sunny and bright. But “I had a marvelous break,” he said. “It rained for three days straight. I could go out any hour of the day and get rain research.” One man’s nuisance is another man’s “rain research.”

“Tan Lines” – Albert W. Hampson

The pretty lady in this 1941 cover is learning a lesson relearned summer after summer. Tan lines and party dresses don’t mix. I love the pretty details on the vanity table.

“Housepainter and Bird’s Nest” – Stevan Dohanos

This is one of those situations where you’re an artist and you hire a guy to paint your house—and the guy ends up posing for you as a house painter. You know, one of those situations. The idea of the bird’s nest was the artist’s, but the house painter confirmed he had run into the situation many times. The painter (house painter, not the cover painter) said he always tried to give the birds as much leeway as possible, carefully returning the nest to it’s proper spot. The artist, Stevan Dohanos, noted: “I found out that the overalls he was wearing had just escaped being washed the day before. That would have been tragic, because it would have made them spotless and taken away that typical bag in the seat.” Well, what do you expect from a guy who does “rain research”?

“Seated Woman” – Coles Phillips

This gorgeous cover from 1923 was by artist Coles Phillips, a friend of Norman Rockwell’s. Phillips was an illustrator for Life magazine, but his lithe ladies also adorned about ten Post covers. Here, he found an exquisite backdrop for his lovely model.

“Seated Woman, Adoring Dog at Her Feet” – Harrison Fisher

Years ago, I fell in love with an antique corner chair similar to this one. Alas, it was out of my price range. I’ll just have to be content with admiring this one from a 1909 Post cover. Artist Harrison Fisher did many covers of beautiful ladies, but this one is from a particularly interesting angle.

“New Chair” – Gene Pelham

Where there’s a chair, there’s a woman deciding where best to place it. For the sake of the deliveryman, let’s hope she decides soon. This is from 1942 by an artist named Gene Pelham.

“Decorator” – Norman Rockwell

The master of the house is viewing the situation with trepidation. Can’t a guy read his paper and smoke his pipe in peace without some female wanting to change things? This 1940 cover is modern and pretty—a very “un-Rockwellian” Norman Rockwell.

“Broken Antique Chair” – John Falter

Beware of trying out chairs in antique stores! “After years of observing ancient chairs tremble and sway and utter squeaks of alarm,” noted the editors, “we’re relieved to see one of them (with somebody else in it) go ahead and decompose.” Well, that’s not a very noble sentiment, is it? One wonders if the shop has a sign posted that says, “If You Break It, You Buy It.”

“Candy” – Norman Rockwell

So many features argue against this 1925 cover being by Norman Rockwell—but it is. Rockwell liked faces with “character” over pretty models, but he seems to have chosen beauty in this case. The artist kept a supply of well-worn clothing and scuffed shoes for his models, but this lady is nicely attired. And Rockwell was also known to scrounge around town for the scruffiest looking mutts for a painting rather than this uncharacteristically well-cared-for cutie. So maybe it’s not a group of ragged urchins getting into mischief—at least the lovely wing chair is authentic and makes for a delightful cover!

“Early Morning Feeding” by Howard Scott

Sydney Field, copywriter for an ad agency and a short story writer, was having lunch with Post artist Howard Scott one day. It struck the artist that his friend would make a great befuddled dad on a Post cover. As his soup grew cold, he studied and sketched his lunch companion, and the next thing we knew, the writer was on the cover of our favorite magazine in January 1945 having a bad “heir” day.

“Swing Set” by Amos Sewell

Another Post cover artist, Amos Sewell, saw a father struggling to put together a swing set—and another Saturday Evening Post cover was born. We can understand the impatience of the kids, but for safety’s sake and the sake of their innocent little ears, perhaps they should stand farther back. This is from 1956.

“Sleepy Inning” by Earl Mayan

I love this cover from 1955. It’s tied up at the top of the ninth, but the game is called for Dad on account of a conked-out kid. Well, pops, there’s always the radio. Artist Earl Mayan did ten Post covers depicting life in the suburban 1950s, including the next one.

“Amusement Park Carousel” by Earl Mayan

In an amusement park in 1958, Dad is anything but amused. That string of tickets he’s wearing declares this is only the beginning. As he risks whiplash on the Whip or tries not to toss his cookies on the Screamer, he dreams of what a great day this would be on the golf course. Face it; you owe him for this one.

“First Prom Dress” by Kurt Ard

Speaking of owe… is that the going price for a prom dress these days? Poor pops—he not only has to foot the bill, he probably had to sit through the modeling of sixteen frocks… before mother and daughter decided on the first one after all.

“Fathers’ Homework” by John Falter

“If one furrow-browed parent spends x hours failing to solve the quadratic equations of one boy,” asked the editors of the Post in 1960, “how long would it take two furrow-browed fathers to fail to solve the quadratic equation of two boys?” Hey, you, kid in the red sweater—the smirk is not helping. Artist John Falter admitted to being hopeless at algebra. No matter. He solved the problem of what to do for a Saturday Evening Post cover 129 times.

“Brushing Their Teeth” by Amos Sewell

Dad seems to be waiting patiently in this 1955 cover—but if he doesn’t get in to shave soon so he can get to work, there will be no toothpaste for anybody. So, dads, for your patience, attempts at homework, baseball games, and prom dresses… we humbly thank you and wish you the best ever Father’s Day!

Worried Rental Agent by Richard Sargent

While potential renters are checking out the closet space, the rental agent is checking out the child. A little boy with a big slingshot is scoping out possible new targets. Did we mention lots of nice windows? Definitely bears watching. This is from 1953.

Public Aquarium by George Hughes

Okay, which little boy came up with this bright idea? “Swimming with the fishes” does not normally have a good connotation, but it sounds cool to these kids. Maybe they’re thinking of diving for buried treasure. The security guard is having one of those “uh oh” moments. This is from 1954 by artist George Hughes.

Dr. and the Dog by Richard Sargent

Talk about a guard! Little Billy is tensed up for a shot and the dog isn’t sure the doctor should proceed. Maybe. We can’t exactly tell the dog’s mood because we can’t see his eyes. But the prognosis for the doctor doesn’t look good. Like the cover with the worried real estate agent above, this cover was by Richard Sargent.

Automobile Showroom by Amos Sewell

Wow! A cool new 1957 something-or-other! Teen One is dying to drive this baby to see how fast she can go. Teen Two is daydreaming about how hot Mary Ellen would look in the seat next to him. And Teen Three is underneath the car soon to emerge with a mechanical question that will stump the watchful dealer. Artist Amos Sewell painted this cover, so the editors dubbed the vehicle the Amos Sewell Super-whiz. That’s the cool thing about being an artist; if you want a hot new car you can just manufacture it yourself.

Saturday Rain by Earl Mayan

The raindrops bear watching, but it looks like the happy gardener is going to win this round. Artist Earl Mayan painted himself as the chagrined golfer, and a friend of his posed for the role of happy flower guy. But will the clouds pass and produce fine golfing weather after all? Well, there’s always next weekend.

Kittens in the Basement by John Falter

When Harry the Cat turns out to be Harriett, it is definitely an uh-oh moment. Let’s hope the kids don’t get too attached to the little cuties because while they’re thinking up names for them, Mom and Pop are trying to figure out ways to get rid of them. That will make the dog happy, because right now he looks like he’s lost his best friends.

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.