Cover Gallery: Happy Father’s Day!

We’re celebrating dads and everything they teach us.

This father and daughter duo was painted by the Post’s most famous artist, Norman Rockwell. With their matching strides, these two are ready for their Spring walk.

 

This 1933 cover was done by Post artist Douglas Crockwell. If the name didn’t confuse readers, this cover certainly did. Many people thought it was a Rockwell because of its close attention to detail, like the mother’s patterned dress.

 

This cover was painted by Eugene Iverd. Iverd typically painted children or boys at play, like this father and son ready to go canoeing. He also painted landscapes, which he signed with his birth name, George Erickson.

 

These father and son sailors are the subjects of Charles Dye’s only cover for the Saturday Evening Post.

 

These two ranchers fit in perfectly with Fred Ludekens’ other Post covers. Horses were typically a major theme in his cover art, as well as people hard at work.

 

“That your baby you’re drawing?” a spectator asked artist Constantin Alajalov. “Yes,” said Alajalov, in a nice mixture of pride and modesty. He sketched another. “That one, too?” the onlooker asked in surprise. “Yes,” said Alajalov, and sketched in a third. The spectator wouldn’t ask about that one, and when the artist began sketching the fourth, the onlooker left.

 

Amos Sewell has set this theme for his first Post cover at the Shelter, a refuge for homeless dogs conducted in Jamaica. Long Island, by the S.P.C.A. After Sewell had finished sketching and photographing detailshe found himself thinking awfully hard about one particular dog in the ”for-adoption” pen. But he resolutely pulled himself together and went back home alone-to the four Sewell cats.

 

Sewell’s theory about this pleasant scene is that Shorty was adopted, not purchased, his previous home probably having been one of the SPCA’s shelters for homeless dogs. Shorty will hereafter have two homes, the big house where his favorite human beings live, and his own house, where he can retire when he wishes to be quite alone for unhindered rest or meditation.

 

While dad bares his lily-white flesh, little does he dream that presently a sun shower will invigorate him.

 

George Hughes painted this pre-New-Year party scene, where even the little one can participate in the celebration.

Cowpoke Covers

Our cover artists saddle up to capture the elusive cowpoke of the Wild West. Whether you played rodeo as a child or are a real-life bronco rider, this week’s cover collection is sure to please.

Boy on Horse — John Clymer
A good cowboy is a resourceful cowboy. And a good horse knows when to stand still.

Woman at Dude Ranch — Fred Ludekens
Saddle up, partner! This cowgirl looks like she can hold her own.

Playing Cowboy — Amos Sewell
These three little gunslingers may be the fastest hands in the neighborhood, but any make-believe cowboy worth his weight in cap guns knows that true grit is determined by how long you can play dead without opening an eye.

Gary Cooper as ‘The Texan’ — Norman Rockwell
Lights, camera, action! To play a cowboy, not only is it important to act the part, you have to look it, too. Bring on the lipstick.

Spring Styles — Tom Webb
Who doesn’t adore a good old-fashioned cowboy? Clearly, this cowpoke knows his duds will never go out of style.

Workhorse — Leslie Thrasher
Working hard or hardly working? Judging by that pool of water and the boy’s flushed face, we’re going with the former.

Little Cowboy Takes a Licking — J.C. Leyendecker
That little cowboy must taste as sweet as he looks — prior to the tears, of course.

ck out the September/October 2015 issue for a look at works of Howard Terpning, one of the today’s masters of Western art.