Sarah Stilwell-Weber

From 1904 to 1921, Sarah Stilwell-Webber (1878-1939) created 60 Saturday Evening Post covers, mostly of women and children. Her paintings of lavishly attired women tended toward the exotic and imaginative, like the lady with the leopard below. Her depictions of children, such as this 1911 cover, delightfully conveyed what fun it is to be a child. These depictions are perhaps why she was also a well-known children’s book illustrator.

Stilwell-Weber studied under the preeminent art instructor of the period, Howard Pyle. In addition to the Post, she illustrated for Country Gentleman, Collier’s, and Harper’s Bazaar. Stilwell-Weber remains a prominent name from the Golden Age of American illustration (1880s-1920s), when American periodicals were rich in artwork that could be mass-produced for the first time.

GALLERY:

Katharine Richardson Wireman

Lighting a party lantern for the 1924 Fourth of July celebration provides artist Katharine R. Wireman (1878-1966) an opportunity to work with soft light and shadows. Stilwell-Weber’s contemporary, Wireman created the first of her four Post covers in 1906. (Wiremen also painted 22 covers for sister publication, Country Gentleman.) Her works (below) emphasized carefree moments, and she often depicted her characters with rosy cheeks and joyful dispositions.

Wireman studied at the Drexel Institute under Howard Pyle in 1899. She then moved to Germantown, Pennsylvania, where she and a group of close-knit female artists, including Stilwell-Weber, began their illustration careers.

GALLERY:

Neysa McMein

By the Roaring ’20s, artist Neysa McMein (1890-1949) was very much a celebrity, mentioned or quoted in magazine articles, fiction, and in advertisements with some regularity. (A 1928 Post article on renowned violinist Jascha Heifetz tells how the musician and his entourage, stuck in a town where nothing for evening entertainment was open, made their way to Heifetz’s room, where he cleared the bed for a dice game and a cheerful shout came from Neysa McMein “whom one does meet in the oddest places,” according to the story.)

McMein was known to entertain other celebrities of the time, such as Irving Berlin, Richard Rodgers, and Dorothy Parker, note Walt and Roger Reed in The Illustrator in America 1880-1980. She lived in an apartment atop Carnegie Hall, writes drama critic David Finkle in an intriguing 2009 Huffington Post article, and she “was known for throwing open her digs to the rich or not-that-rich and famous.

“Furthermore, McMein had a reputation for being a libertine—or, at the very least, a very liberated lady,” writes Finkle. “…There’s an inherent irony here, too. In contrast with her free-spirit life, McMein’s women were the embodiment of innocence [as we see below in a few of her 62 Post covers]. … McMein was defining the American woman for McCall’s, The Saturday Evening Post, and other publications at the same time as chipping away at the image in her daily affairs.”

GALLERY:

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.

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.

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).