January/February 2018 Limerick Laughs Winner and Runners-Up

The students were taught by a master
But the dance class became a disaster
Cried one little mister,
“I’m paired with my sister!”
“So can’t we please dance any faster?”

Congratulations to Linda Neukrug of Walnut Creek, California! For her limerick describing Albert W. Hampson’s illustration Cotillion, which appeared as a Post cover on May 23, 1936, Linda wins $25 and our gratitude for a job well done.

If you’d like to enter the Limerick Laughs Contest for our upcoming issue, submit your limerick via our online entry form.

Linda’s was only one of a bunch of great limericks! Here are some of our favorites from our runners-up, in no particular order:

We’re lined up, all in our places
To practice polite social graces.
Some day this dance
May lead to romance,
But today we’d rather make faces.

—Christine Coates, New Berlin, New York

They went to the junior cotillion,
Where she wore a dress of vermillion.
But what are the chances
These kids have more dances?
I’d say about one in a million.

—Pat Cunningham, Cheektowaga, New York

They’ve probably practiced all day
To perform in this delicate way,
But the two kids in front
Add their own little stunt
To an otherwise perfect display.

—Chet Cutshall, Willowick, Ohio

Dad said, “Just so that we are clear,
You will dance with your sister this year,
Or lose, if you like,
The use of your bike,”
Which explains the real reason I’m here.

—Paul Desjardins, West Kelowna, British Columbia

The children’s performance was fine,
Their costumes and dancing divine.
One had to award ’em
High marks for decorum
… Except at the front of the line.

—Michelle Gordon, Airway Heights, Washington

The French master’s class in the dance
Quite often would spark a romance.
But Sally and Sonny
Are nobody’s honey!
Which shows in their combative stance.

—Lynn Johnson, Green Valley, Arizona

This girl who is dressed up in pink
Doesn’t know quite what to think:
Does this boy really hate her
Or wish he could date her?
She’ll obsess about this with her shrink.

—Neal Levin, Bloomfield Hills, Michigan

“Excuse me, there’s no time to laugh.
Bow and curtsy and straighten the calf.
This is a cotillion;
You will look like a million
Or my salary will likely be half.”

—Dolores M. Sahelian, Mission Viejo, California

In the ballroom, the young are taught graces
And how to trade spats for embraces,
But whether waltz or quadrille,
There are boys and girls still
Who wish only to trade nasty faces.

—Rebecca Shulman, New Hope, Pennsylvania

January/February 2018 Limerick Laughs Winner and Runners-Up

The students were taught by a master,
But the dance class became a disaster.
Cried one little mister,
“I’m paired with my sister!”
“So can’t we please dance any faster?”

Congratulations to Linda Neukrug of Walnut Creek, California! For her limerick describing Albert W. Hampson’s illustration Cotillion, which appeared as a Post cover on May 23, 1936, Linda wins $25 and our gratitude for a job well done.

If you’d like to enter the Limerick Laughs Contest for our upcoming issue, submit your limerick via our online entry form.

Linda’s was only one of a bunch of great limericks! Here are some of our favorites from our runners-up, in no particular order:

We’re lined up, all in our places
To practice polite social graces.
Some day this dance
May lead to romance,
But today we’d rather make faces.

—Christine Coates, New Berlin, New York

They went to the junior cotillion,
Where she wore a dress of vermillion.
But what are the chances
These kids have more dances?
I’d say about one in a million.

—Pat Cunningham, Cheektowaga, New York

They’ve probably practiced all day
To perform in this delicate way,
But the two kids in front
Add their own little stunt
To an otherwise perfect display.

—Chet Cutshall, Willowick, Ohio

Dad said, “Just so that we are clear,
You will dance with your sister this year,
Or lose, if you like,
The use of your bike,”
Which explains the real reason I’m here.

—Paul Desjardins, West Kelowna, British Columbia

The children’s performance was fine,
Their costumes and dancing divine.
One had to award ’em
High marks for decorum
… Except at the front of the line.

—Michelle Gordon, Airway Heights, Washington

The French master’s class in the dance
Quite often would spark a romance.
But Sally and Sonny
Are nobody’s honey!
Which shows in their combative stance.

—Lynn Johnson, Green Valley, Arizona

This girl who is dressed up in pink
Doesn’t know quite what to think:
Does this boy really hate her
Or wish he could date her?
She’ll obsess about this with her shrink.

—Neal Levin, Bloomfield Hills, Michigan

“Excuse me, there’s no time for laugh.
Bow and curtsy and straighten the calf.
This is a cotillion;
You will look like a million
Or my salary will likely be half.”

—Dolores M. Sahelian, Mission Viejo, California

In the ballroom, the young are taught graces
And how to trade spats for embraces,
But whether waltz or quadrille,
There are boys and girls still
Who wish only to trade nasty faces.

—Rebecca Shulman, New Hope, Pennsylvania

Cover Gallery: Bridal Wave

June means the start of wedding season. These Post covers show beautiful brides of the twentieth century.

 

In this painting by prolific artist J.C. Leyendecker, he shows a solemn couple having their photograph taken. Leyendecker illustrated the nuptial moments of other pairs, including Romeo and Juliet and Henry V and Catherine Valois. It appears this couple has got the “wedded” part down, if not the “bliss.”

 

 

Catherine of Valois married Henry V in June of 1420 and later gave birth to Henry VI. Henry V died shortly after his son’s birth, leaving the young Catherine a widow and her infant son the King of England.

 

 

The groom doesn’t look too happy about this scenario. Given the line of enthusiastic groomsmen, the bride may not have enough energy for the honeymoon.

 

 

LaGatta had an uncanny knack for translating from model to canvas an appreciation and sensual perspective of the female figure. LaGatta began his artistic process by sketching the models in charcoal and pastels and then would almost always refine his interpretation into an oil painting. His subjects were sophisticated, upper-class men and women with long graceful figures and with classic clothing designs. His images  gave the impression that the models didn’t have a care in the world, as in this 1939 cover of a couple running off after their wedding ceremony.

 

 

This 1940 bridal photograph was Wynn Richards’ one and only cover for the Saturday Evening Post. Richards was born “Martha Kinman Wynn” before marrying Dorsey Eugene Richards, according to her biography.. She opened her own photography studio in 1919, but left the business to a friend after a social scandal that involved her taking nude portraits of a local school teacher. Richards divorced her husband and left their son with his grandmother before opening a new portrait studio a few years later. Initially signing her work “Matsy Wynn Richards,” she learned that revealing her gender could hinder her career, and changed her signature to “Wynn Richards.” Richard’s work mostly appeared in Vogue, Harper’s Bazaar, and Mademoiselle magazine.

 

 

[From the editors of the June 1, 1946 issue of the Post] Just after Constantin Alajalov finished his kid-sister painting, he set out from New York for Florida, to work on other cover assignments. The artist went by automobile, and sent back a short report on his three-day journey. The highways are full of displaced persons at the moment, sorting themselves out after the great disruption of war, and we think Alajalov’s account is a thumbnail picture of America in Transition. “The first day,” he wrote, “I picked up a corporal just back from Tokyo, hitch-hiking to Alabama to marry a girl there. The second day I picked up a marine hitch-hiking to Jacksonville, Florida, to get his wife. The third day I picked up a sailor who was going to Miami for any girl he could get.”

 

 

[From the editors of the May 29, 1954 Post] Away go the newly-marrieds into their brave new world and thank heaven it isn’t raining. John Clymer is nice about weather; on his covers it hardly ever rains. That church, says Clymer, is located in one state and the landscape in another state, and the honeymoon will take place in the state of bliss always visited on such trips.

 

 

[From the editors of the May 17, 1958 Post] Here come the bride and groom to carve the cake. Two-handed carving isn’t an efficient way to dismember food, but He and She have just become One and this is the tender symbol of their unity. They probably aren’t hungry; in a day or two food will become attractive, but right now they are not of this world, they are up in the clouds, in a state of bliss where folks subsist on love alone. Conversely, those youngsters have their feet on the ground and their eyes on the cake. Oh, the girls may save a few crumbs to put under their pillows to incite romantic dreaming, but the boys will put their cake where it belongs, and let’s hope they don’t consume enough to turn dreams into nightmares. Well, a toast to artist Ben Prins’ newlyweds: bon voyage, all the way through life!