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.

Washington Crossing the Delaware

It is daunting to consider the work realist painter Stevan Dohanos put into this painting. Reproducing images of over a dozen students (and their teacher) with meticulous detail should have been artistic challenge enough, but duplicating Emanuel Leutze’s famous 1850 painting is mind-boggling.

Much has been criticized about Leutze’s Washington Crossing the Delaware: “The crossing was at night (not daytime)”; “That particular version of the flag came later”; and “Washington was only in his 40s and not the elderly man we see here”; to name a few. While the historical inconsistencies are worth noting, the huge 21-by-12-foot painting of that 1776 Christmas night is still a magnificent accomplishment and a tribute to a critical turning point in American history. The painting today is part of the collection of the Metropolitan Museum of Art in New York City.

From 1942 to 1958 Dohanos painted 123 Post covers, which can be viewed in our online gallery or at art.com.

First Farmer of the Land

N.C. Wyeth was described in a 2011 Post article by Edgar Allen Beem as “a larger-than-life figure, a swashbuckler of a man whose dramatic illustrations fired the imaginations of generations of readers.” This portrait of Washington was Wyeth’s last work. Country Gentleman editors noted in 1946, “He was working on it at the time of his tragic death at a grade [train] crossing last fall. It is, therefore, an unfinished work. We preferred to have you see it this way than let some lesser artist finish it.”

Wyeth, who had used George Washington as a subject several times, was a natural choice to illustrate the article about the farming habits of the former president. “Mr. Wyeth did exhaustive research on Washington’s farming operations so that this picture might be accurate in every detail,” editors noted. Those details clearly include the depiction of slave labor, a factor not addressed in the article, which concentrates on the minutiae of crops and agriculture. According to the article, Washington was so thorough in his farming procedures that he was determined to find out how many seeds of various cereals were in a pound in order to calculate how many pounds to sew per acre. He carefully counted 8,925 barley seeds per pound; 71,000 seeds of red clover; and 298,000 of timothy (this was before the days of grain estimates.)

George Washington and W.W.I Soldiers

Five of J.C. Leyendecker’s 322 Post covers were portraits of George Washington. His July 1927 cover (George Washington on Horseback) shows a magnificent Washington on horseback in full command of the Revolutionary forces.

This 1917 cover shows the general astride his horse for a latter-day conflict. The United States was involved in World War I and for the Fourth of July holiday, Leyendecker evoked the spirit of the Revolutionary War hero to guide modern-day soldiers through the latest conflict. It was a stirring patriotic scene at yet another critical time in U.S. history.

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.

Reduce to Music

Reduce to Music was the third of 17 covers Frederic Stanley (1892-1967) created for the Post. But his work might never have come to fruition if the self-taught artist hadn’t been willing to take a big risk.

Young Stanley, who worked as a mechanic by trade and created art in his free time, carried some of his paintings to New York with an ultimatum attached: If the paintings sold, he would devote his life to art; if they didn’t, he would remain a mechanic at his brother’s Massachusetts Buick agency. As it turned out, his brother soon had to post a vacancy. Not only did Stanley sell his work, he returned home with a contract for three more pieces.

In the mid-1940s, Stanley took a break from his successful career to recover from meningitis. Penicillin—only recently available to the public—saved his life, but the illness took its toll, and for a year he made no attempts to paint. When he returned to his canvas, he focused on portraiture of prominent citizens. His first client was H. Nelson Jackson, a wealthy physician, who along with Sewall K. Crocker became the first men to drive an automobile across the United States in 1903. Stanley was working on his final portrait of the Governor of Florida at the time of his death.

Former Figure

“Ah, the lighthearted, light everything-else years when Mrs. Portleigh was constructed like that!” wrote Post editors of this unforgettable 1957 cover. Since the editorial staff enjoyed noting foibles of cover illustrators, they added that artist Amos Sewell (1901-1983) “borrowed that dress form in Westport, Connecticut, and walked to his car with it under his arm, and nobody gave him the raspberry. In artist colonies people evidently become shockproof.”

At the time San Francisco-born Sewell painted this cover, he had been living in New York for more than 27 years. But he certainly took the long way from San Francisco to arrive in the Big Apple: via the Panama Canal, he worked on a lumber boat to pay his way to the big city where he would launch his career as a commercial artist. After arriving in New York, he studied at the Art Students League and at the Grand Central School of Art under renowned artist and instructor, Harvey Dunn.

Sewell produced hundreds of story illustrations for the Post and its sister publication, The Country Gentleman, often depicting children. Beginning in 1949, he did 45 Post covers until 1962, when the magazine turned to mostly photographic covers.

Soda Fountain Dieter

The life of Stevan Dohanos (1907-1944), the artist of this 1954 cover, reads like a classic American rags-to-riches success story. He was born third of nine children to Hungarian immigrants, and worked an odd number of jobs before settling into the steel mill where his father was employed.

In fact, it was at the steel mill where he began selling crayon-colored copies of famous artists’ work to fellow employees for $2 to $3 a piece. Copies of Norman Rockwell’s early Post covers quickly became his best sellers. Later Dohanos reflected on that time in his autobiography American Realist: “I did not know then that years later I would produce art for the famous Saturday Evening Post and Rockwell would become a personal friend.” Nor had he dreamed that, like Rockwell, he would become one of America’s most successful illustrators.

Working Out

“Every boy has a spell of yearning to resemble Hercules or Tarzan or some other bulging being,” wrote Post editors of this 1959 cover. “To accomplish this he yearns for fairly expensive gadgets, scorning his father’s theory that a superb body can be built with a snow shovel or a spade. … Kurt Ard purchased those awesome exercisers, but you needn’t feel sorry for his model—the expanded springs were fastened to the studio walls and all the lad had to exercise was his face.”

According to the editors, Danish artist Kurt Ard (1925-present) sought modeling volunteers “in the streets, parks, or by posting ads in the papers—and one day a lovely girl named Ulla answered an ad. She became his best model, then his best girl, then his wife.”

Working Out was one of seven covers Ard created for the Post. He sold his first magazine illustration in Scandinavia for $1.43 when he was 17. By age 31, he had more than 1,000 illustrations in Europe’s top-flight magazines.

NO Desserts

Russian-born artist Constantin Alajálov (1900-1987) was discussing cover ideas with a Post staffer while dining in a New York restaurant: “I was thinking of doing one about a stout lady in a cafeteria,” Alajálov said. “She’s on a strict reducing diet, see, and she has to carry her tray past a long line of fancy desserts.”

From concept to reality. The result of that dinner conversation was this entertaining 1949 cover accompanied by an amusing quip from the editors: “The plight of the stout lady is agonizing indeed, but not much more so than that of our representative as he ate with Alajálov that night. Our man was on a diet, and Alajálov is one of those slim people who can eat their way through the richest dishes on a menu without ever gaining a pound.”

Considering how brilliant and lighthearted Alajálov’s covers are, you may find it hard to believe that the illustrator began as a government artist, painting huge propaganda portraits and posters during the Russian Revolution. By age 21, he had made his way to Constantinople—at the time a refugee haven—where he sketched portraits in bars and created murals for nightclubs, managing to save enough money to pay his way to America in 1923. In New York, he was still painting murals, until he landed his first New Yorker cover and shortly after the first of many for the Post.

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.

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.

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.”

“Soldier on Motorbike” by Lawrence Toney

Yes, motorcycles were used in World War I, as this 1917 Post cover indicates. The U.S. military used mainly Harley-Davidson or Indian bikes, and not surprisingly, the British used Triumph, while Germany used BMW motorbikes.

“The Army used an estimated 20,000 motorcycles during the war,” wrote Lisa Gregory in a 2003 issue of Soldiers Magazine. “In fact, the first American to enter Germany after the ceasefire was reported to be motorcycle dispatch rider Cpl. Roy Holz.”

In the first world war era you’d see motorcycles, cars, trucks, and airplanes juxtaposed with cavalry!

“Indian Bike Ad” – September 7, 1918

This 1918 Indian ad confirms that thousands of bikes were placed in the service of the Allied armies.

Indian states: “our factories are working night and day to supply the needs of Uncle Sam. … We feel sure that our civilian customers who have suffered delay by this condition will be patient until such time as we can resume our regular deliveries.”

“Indian Police Motorcycles” – February 15, 1913

Very early in motorbike history, police departments learned the advantage of their maneuverability and convenience. And supplying police and military became a competitive business early in the 20th century.

Although Harley-Davidson delivered a bike to the Detroit Police Department in 1908, this ad from a February 1913 issue of the Post shows the Detroit police with squad of Indian bikes.

Click here for a virtual museum on the history of motor law enforcement.

“Indian Motorcycle With Side Car” – May 9, 1914

This 1914 ad shows that bikes were not just for work. The ad says this motorcycle with sidecar has all the touring comfort and efficiency of an automobile at the cost of trolley fares.

“A spin on a summer’s evening. A weekend trip. A coast-to-coast tour,” the ad rhapsodizes. Well, I don’t see that last one happening on 1914 roads, but we get the idea.

“Yale Bike Ad” – November 2, 1907

The first motorcycle ads in the Post appeared in 1907—105 years ago! This ad appeared in November of that year for a 1908 Yale California advertised for $200. It is difficult to imagine how many folks could afford that kind of outlay, which would be around $5,000 in today’s dollars.

“Tex’s Motorcycle” by Stevan Dohanos

We showed this cover last year in a piece about illustrator Stevan Dohanos. See more of his work in The Great Covers of Stevan Dohanos.

Mil Blair, an expert at bike building, restored the Harley-Davidson. Blair saw the bike on the Post cover when he was 11 years old and fell in love with it, undoubtedly like every other boy who saw that issue. But wait until you see it today!

“Tex’s Motorcycle”

What are the chances of a long-time staffer for The Saturday Evening Post running across a motorcycle made famous by that 1951 Post cover…literally right down the street? The Post’s Dwight Lamb is a frequent visitor to the beautiful Eiteljorg Museum in Indianapolis. Although the Eiteljorg is known for a superb collection of Indian and Western art, the museum was having a display of classic, outlandish or otherwise unique motorcycles. Lamb was stunned when he turned a corner and saw this big, blue…and oddly familiar bike. And yes, motorcycle buffs, Mil Blair, who restored this beauty, rode this classic to the annual Sturgis Motorcycle Rally.

“Tex’s Motorcycle”

“When Stevan Dohanos said that he searched far and wide for a special type of motorcycle to paint,” wrote Post editors in 1951, “we got set for some fearfully technical details.” The artist’s specifications? “I just had to have a blue-and-silver one.” The object of pre-adolescent lust he found was owned by “Tex” Keeler of Georgetown, Connecticut (hence the name of the painting). Not surprisingly, motorcycle buffs love to buy reprints of this handsome cover.

“Wanted Posters”

Three young cowboys, six-shooters at the ready, are looking at the wanted posters in the local post office. Never mind the amusement of the postal employee observing the scene—the bad guys don’t stand a chance. Dohanos didn’t have to go far to find the young male models. They were his sons.

Dohanos, who painted 123 Post covers, was born in Lorain, Ohio, the son of Hungarian immigrants.

“Playing House”

If you were a child of the female variety in the 1950s, one of your favorite playtime activities was probably playing house. This was what girls did before girls’ soccer and computers. The refrigerator carton is dressed up to make a perfectly lovely domicile, and every considerate hostess made sure the dollies got their share of tea and goodies. Do little girls still play house? I suppose there’s now an app for that.

“Doing Dishes at the Beach”

This is called “Doing Dishes at the Beach,” but I prefer to call it “Whose Vacation?” Clearly Dad is relaxing, and the kids are enjoying themselves. Heck, even Rover is having fun. Looks like Mom got short shrift. I have to love Dohanos for seeing male/female inequities even in 1952.

“Lighthouse Keeper”

If a picture is worth a thousand words, this Dohanos cover tells a gentle story. The lighthouse keeper is trimming the weeds while the push lawnmower and the clothesline help define the times. The striking lighthouse on this 1945 cover was the West Quoddy Light, Lubec, Maine.

“Stop and Pay Toll”

Life’s little stories include life’s little irritations. Admit it, your blood pressure is rising a bit just looking at the woman holding up the line at the tollbooth. There’s change in here, somewhere. Well, we hope. Heaven help the people behind her if she left her change purse at home. But if they have a problem with that, they can take it up with the extra-large dog.

Unfortunately, by the 1960s photographs were taking the place of art on the covers of the Post. Dohanos shifted his considerable talent to a position as chairman of the National Stamp Advisory Committee. He is quoted as saying, “Artists are always interested in seeing their work reproduced. Imagine seeing your work reproduced 4½ billion times.”

“Toddler Empties Purses”

My favorite Dohanos cover has always been this toddler from 1952. Through the bedroom door, we can see the grown-ups having a pleasant get-together, but what they cannot see due to the stack of coats and fedoras on the bed is the toddler having his own rockin’ party. Unfortunately, he is having all this fun with the ladies’ purses, opening and scattering the contents: compacts, keys, cigarettes, sunglasses, money, and so on (click for close-up).

“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”?

“Woman Gets Bob at Barbershop” – E.M. Jackson

Females these days think they can waltz into a man’s territory and get their hair bobbed! What next? In this case the cover is from Country Gentleman (a sister publication to the Post) from 1925. Waiting impatiently (notice the pocket watch) is a disapproving customer.

“Couple in Barber Chairs” – E.M. Jackson

The same artist, E.M. Jackson, did this charming cover for the Post five years later. Seems as though they’re examining their new dos, but look at their mirrors. They’re checking each other out!

“Bernice Bobs Her Hair” – Coles Phillips

Alas, this lovely lass is having haircut remorse. Artist Coles Phillips worked mostly for Life magazine, but a few of his lithe beauties graced the covers of The Saturday Evening Post.

“Comical Haircut” – Howard Scott

Talk about haircut remorse! Really, the client can get carried away with comics, but the barber is another matter altogether. The style and humor of this 1943 cover suggests Norman Rockwell, but it was by an artist named Howard Scott. However, this was the issue that introduced Rockwell’s famous Four Freedoms paintings.

“Barber Getting Haircut” – Stevan Dohanos

Stevan Dohanos was a great artist who did over 120 Post covers, and this was his barbershop in Westport, Connecticut. “A half dozen other well-known illustrators get their hair cut” in this shop, the editors noted, “which will surprise a good many, who might suppose that a barber in an artist’s colony would starve to death.” How would the local barbers like the cover, speculated our sassy editors? “Dohanos’ next haircut will tell.”

“Butch’s Haircut” – Albert Staehle

For us kiddies who don’t remember the 40s, let me explain something: This adorable cocker spaniel named Butch appeared on about 25 Saturday Evening Post covers. Readers couldn’t wait to see what the pooch would be up to next. The artist, Albert Staehle, got the idea for this cover from a little girl in the park. “I have a picture on my wall of a dog just like that,” she said. “He is chewing on a slipper.” The artist explained that this was the same dog. “The dog in the picture is neat,” the little art critic observed. “This dog is all rough on top.” Unperturbed, the artist said, “Well, maybe Butch needs a haircut.” The rest is Saturday Evening Post history.

No Desserts by Constantin Alajalov

Probably the number one New Year’s resolution is to lose weight. That’s what this lady is working on and she’s obviously none too happy about it. This is from 1948, but we’ll tell you something, lady: dieting in 2011 is no more fun – and with all our pills, online programs and progress – no easier.

Reduce to Music by Frederick Stanley

This gentleman from 1924 is taking up an exercise program. It looks like early aerobics, before the days of “The Biggest Loser” and celebrity spokespeople looking svelte after losing weight due to the Brand “X” weight-loss program. With no such inspiration to spur him on, he’s trying it the roaring twenties way.

Saving for War Bonds by Preston Duncan

Resolution #2: I will save more money this year. Saving money is always a big New Year’s resolution. This is a photographic cover, rather than an artist illustration, which was rare for the 1940’s. But everyone was being encouraged to buy bonds for the war effort and this handsome young man was doing his part. We’ve really become soft…our goal now is to cut down on a few overpriced lattes.

Mom’s Helper by Norman Rockwell

Resolution #3: I will read more. I will improve my mind! This 1921 cover by Norman Rockwell shows a young man with two resolutions: to help mom with the chores and to be well-read. Actually, peeling potatoes was probably mom’s idea. Combining the tasks, however, is not safe, as the bandaged thumb indicates. Sometimes a good story is hard to put down. But, dude, when the chore involves a knife…

Fall Gab Session by Constantin Alajalov

Resolved: I will not gossip. Did you see the way that Smith boy and that Jones girl were looking at each other? Why, I wouldn’t be surprised if there were wedding bells ahead. This is strictly confidential, of course.

After Dinner Dishes by Stevan Dohanos

I will keep the house looking like something out of a magazine. Only not this magazine. What is more discouraging than a pile of dirty dishes? We’ll tell you what – a pile of dirty dishes and a husband who thinks it’s his time to relax with the papers. The editors thoughtfully suggested she close the door while she’s cleaning up so as not to disturb him. This was said tongue-in-cheek. We think.

Sleeping at Opera by Charles A. MacLellan

Last, but not least: I resolve to get more rest. This is a noble goal, since experts tell us that most Americans don’t get enough sleep. But perhaps not at the theater, mister. Wives are known to have sharp elbows. It doesn’t look as if the glaring technique is going to work. This cover is from 1923.

Centering the Christmas Tree by Steven Dohanos

I was delighted by an e-mail recently from Betsy Norfleet who said her parents were the models for this 1951 cover. This was by artist Stevan Dohanos, and the family would like to know what happened to the original painting. If you know, drop us a line and we’ll pass it on. The models were Betty and George Norfleet of Westport, Connecticut. Betsy and her siblings “all have framed copies of the cover in our homes and I keep mine front and center year-round!” Poor George: first he miscalculated the length and had to get out the saw, and now he’s being scratched alive trying to center this tree. And you know the darn thing will just lean again once it’s all decorated.

Tree Love by Constantin Alajalov

There seems to be a slight miscommunication here. The Mrs. decided to surprise hubby by getting a tree set up and hubby decided, “I know! I’ll surprise her by bringing home a tree.” I wonder what the neighbors will think when he takes a tree away before Christmas. Perhaps he can donate it to a family that hasn’t “surprised” each other yet.

Lighting Christmas Tree by JJ Gould and Guernsey Moore

The old German carol continues: “O Christmas Tree! O Christmas Tree! Thy candles shine so brightly!” Now we know what the lyrics mean. Christmas trees date to ancient times. Christmas trees on Saturday Evening Post covers date to around 1900. A 1902 cover shows a lady lighting the candles on the tree, a practice we definitely do not recommend. How did they keep the tree from catching fire? Well, never mind. It does make a lovely scene.

Topping the Tree by John Falter

Let’s hope dad doesn’t become an angel in his attempt to place one on the tree. This 1957 cover by artist John Falter should serve as a reminder as you’re looking for the perfect tree this season – not too tall!

Tree in Town Square by Steven Dohanos

A bigger project is the tree in the town square from artist Dohanos in 1948. People are aware that artists are rather, er, atypical, but the summer folks walking by in shorts on Martha’s Vineyard that summer must have been baffled when they peeked over the artist’s shoulder. The Edgartown Town Hall that Dohanos wanted has his backdrop was shimmering in the heat, but the artist was adding snow and a large Christmas tree to the scene.

Trimming the Tree by George Hughes

In June 1949, artist George Hughes tramped into the Vermont woods, cut down this tree, and dragged it home and decorated it. We told you artists were rather atypical. Although his children loved having Christmas in June, the artist had to work fast. Summer heat was causing the needles to drop and the tree was turning into a hat rack. The resulting painting, however, is one we can all identify with.

Sweating Man Reading Thermometer – Robert Robinson – July 9, 1910

A turn-of-the-century artist named Robert Robinson did many Post covers, a number of them featuring delightful old codgers like Mr. Sweltering here. The notice board from the Weather Bureau he’s reading says it’s going to be a “hot Thursday,” and he is a believer. Robinson is one of those artists we are unable to find information on, so if you have info on him, do share!

Swimming in Fountain – E. M. Jackson – July 24, 1926

You probably wouldn’t get away with it today, but in the roaring twenties, cooling down in a public fountain was a cover idea for artist E. M. Jackson. It’s no swimming pool, but it sure looks refreshing. We’re not responsible for those of you who choose this method of seeking relief from the heat (not that we’d blame you).

Three Bathing Beauties – John LaGatta – July 8, 1933

A wonderful artist named John LaGatta did over twenty Saturday Evening Post covers, usually of willowy, elegant ladies. These bathing beauties grace a July 1933 cover. You can view John LaGatta covers (and those of many Post artists) at curtispublishing.com.

Joys of Summer – Norman Rockwell – July 13, 1940

This doesn’t strike me as a typical Norman Rockwell cover, but it is a typical July dilemma – how to get the ice cream where it needs to go before it melts! Okay, which umbrella is sis under?

Billboard Painters – Stevan Dohanos – July 13, 1957

The billboard of polar bears and icebergs looks nice and cool, but the temperature is still 95 degrees for these hard-working painters. Too bad the air conditioner is just a painting and they can’t turn it on. Dohanos must have loved irony: In February of 1948, he did a Post cover of a billboard painter standing in the snow, trying vainly to warm up over a makeshift fire. The billboard? A tropical vacation advertisement with a lady in a swimsuit.

Unwelcome Pool Guests – Thornton Utz – July 22, 1961

Ah, a nice, peaceful Sunday morning breakfast by the pool with my newspaper. Until Uncle Obnoxious and his station wagon full of kids (I count eight!) invade the scene. Artist Thornton Utz did about forty-five covers for the Post, and this is a prime example of a guy we can identify with. Maybe tomorrow morning at work will be peaceful…