The Flickr Postcover Image Generatr

This Week’s Cover (by the Editor):

“To make a handsome sweater such as the unfinished job worn by artist Al Staehle’s spaniel, Butch, is simplicity itself if you follow the slightly unorthodox procedure used by Staehle and his assistant, Charley. Instead of starting with the yarn and a set of difficult directions about knitting one, purling one, they started with a finished, store-bought sweater. Buy one, unravel one, is the secret of this attractive garment. That’s why it fits so well at this stage of construction.

“It’s a nice sweater,” Charley said. “I wasn’t so good with the needles or you’d see that sweater getting good use this winter. On me.”

This Week’s Cover (by the Editor):

“In the course of becoming one of the most publicized dogs in the country, Albert Staehle’s cocker, Butch, has seen many a portrait of himself, and has observed these pictures in every state of progress. These permanent reflections, looking down from the easel or arrayed on the newsstands, never seem to surprise or mystify him. Staehle’s assistant, Charlie, is of the opinion that Butch understands every step of the process by which all these other Butches appear on canvas. Charlie’s opinion of Butch’s intelligence, indeed, stops just short of expecting the little spaniel to mix paint. If Butch balks at posing, Charlie wins obedience by a curious command. He adopts an I-knew-you-when tone of voice and says reproachfully, ‘Aw, quit being such a big shot.’”

This Week’s Cover (by the Editor);

“This business of being a hunting dog is something Artist Albert Staehle’s famous cover pup, Butch, can take or leave alone. If hounds want to go out and run their legs off, all of a frosty night, in pursuit of a possum or fox, that’s their business. If retrievers like to swim out in icy water and bring back a duck or goose, that’s up to them. If staghounds find enjoyment in chasing a stag, why, each to his own poison. Butch himself is not averse to getting out in the countryside around Tarrytown, New York, on a pleasant fall day, and throwing a scare into a rabbit or bullying a weak-kneed quail. But he has figured out the ideal way for a hunting dog to go hunting, which is to ride in one of the game pockets of his boss’ hunting jacket. The Butch Easy Riding With Lower Berth Method is demonstrated by its inventor on this week’s cover.”

Butch, artist Albert Staehle’s mischievous Cocker Spaniel, was incredibly popular during the 1940s and 1950s. Butch first appeared on the cover of “The Saturday Evening Post” on February 19, 1944, chewing up ration coupons—a relatable and humorous image during wartime. The cover was an instant hit, and Butch went on to feature on 25 covers of “The Saturday Evening Post” and 30 covers of “American Weekly.”

Butch's charm extended beyond magazine covers. He inspired figurines, stuffed toys, coloring books, and puzzles. He even made public appearances to support charitable causes and was once featured on a Navy re-enlistment poster, earning the title of official Navy mascot.

Staehle's ability to capture Butch's playful and endearing personality made the dog a beloved icon of the era.

[Source: AlbertStaehle.info]

Albert Staehle (1899-1974) is considered one of America's Greatest Animal illustrators. He was the creator of Smokey Bear and his beloved real-life dog, Butch, appeared on 55 Saturday Evening Post and American Weekly Magazine covers. He has also created many other ads and illustrations such as the Swan for Swan Soap. His work is now part of Americana.

Albert Staehle's "Butch," the mischievous Cocker Spaniel, was incredibly popular during the 1940s and 1950s. Butch first appeared on the cover of “The Saturday Evening Post” on February 19, 1944, chewing up ration coupons—a relatable and humorous image during wartime. The cover was an instant hit, and Butch went on to feature on 25 covers of “The Saturday Evening Post” and 30 covers of “American Weekly.”

Butch's charm extended beyond magazine covers. He inspired figurines, stuffed toys, coloring books, and puzzles. He even made public appearances to support charitable causes and was once featured on a Navy re-enlistment poster, earning the title of official Navy mascot.

Staehle's ability to capture Butch's playful and endearing personality made the dog a beloved icon of the era.

[Source: AlbertStaehle.info]

Jack Murray was a city kid who, very early in life, developed an interest in wildlife. Born in 1889, he grew up in Boston, where he began drawing animals while still in grade school. Murray would later graduate from the renowned Massachusetts School of Art, where he met his wife and fellow artist, Helena Feeny. The couple married in 1921 and, in lieu of a honeymoon, moved to New York that very day.

In New York, Murray found work as a commercial artist, which soon provided the two of them the opportunity to buy a farm outside the city. There, he fixed up a studio where, in his spare time, he pursued his true passion, painting wildlife. Murray’s career reached a turning point when one of the paintings he had made purely for love — a majestic leopard — was bought by “The Saturday Evening Post.”

His discovery by the Post led to assignments for the American Museum of Natural History as well as books and magazines, including “The Country Gentleman” and “Boys' Life.” In 1947, his image of a pair of snow geese mid-flight was selected for the Federal Duck Stamp Program.

All told, Murray would paint twelve covers for the Post. His final one depicting two white wolves closing in on prey appeared on the March 8, 1941, issue — and once again on the January/February 2016 cover.

[Source: www.saturdayeveningpost.com/artists/jack-murray/]

Ellen Pyle’s artwork captures a delightful scene steeped in the charm of the early 1930s, when asking for directions was a common social interaction. The stylish lady in an open convertible on a chilly day, asking for directions, evokes a sense of nostalgia. Today, she’d be whizzing by, sealed up in an airconditioned auto and asking directions from her GPS.

The meticulous attention to fashion details, like the lady’s golden coat, the rakish tilt of her cloche hat, and bobbed hair juxtaposed with the gentleman’s leather vest and deerstalker hat, and the child’s checkered green scarf, bring the era’s clothing styles to life.

Ellen Bernard Thompson Pyle (1876 – 1936) was an American illustrator best known for the 40 covers she created for “The Saturday Evening Post” in the 1920s and 1930s under the guidance of Post editor-in-chief, George Horace Lorimer. She studied with Howard Pyle and later married Pyle’s brother Walter.

“From the age of four, Charles Livingston Bull (1847-1932) had a profound interest in animals and nature and a definitive talent for drawing. While in school at the Rochester Institute of Technology, he obtained an apprenticeship in taxidermy, learning the complete anatomy of many animals. Yet taxidermy was not entirely satisfying for Bull; after work he spent hours at the zoo sketching animals and took night classes at the Corcoran Gallery of Art. After seven years of sketching, Bull left for New York to pursue a career in illustration. Known chiefly as an animal illustrator, Bull literally drew from his experience as a taxidermist at the National Museum in Washington, D.C. He painted 19 covers for the Post over a span of 28 years. In his work, Bull displays strong elements of design, typically flat and decorative. His images, whether an eagle soaring in flight or a fox on the prowl, gave a majestic, even startling, life and grace to his wild subjects.” – The Saturday Evening Post Archives

Ellen Bernard Thompson Pyle (1876 – 1936) was an American illustrator best known for the 40 covers she created for “The Saturday Evening Post” in the 1920s and 1930s under the guidance of Post editor-in-chief, George Horace Lorimer. She studied with Howard Pyle and later married Pyle’s brother Walter.

“Penrhyn Stanlaws was born in 1877 in Dundee, Scotland. A prominent illustrator of the 1910s through 30s, his ladies would show up everywhere from cigarette ads to the covers of ‘Colliers,’ ‘The Ladies' Home Journal’ and ‘The Saturday Evening Post.’

“Typical of the thirty-seven Post covers Stanlaws painted was a stylishly dressed, rather haughty lady and a hat to die for. The artist frequently used props (in addition to the dazzling chapeaus) such as bouquets or coffee cups. Stanlaws was born Stanley Adamson. His brother, Sydney Adamson, was also an illustrator, so Stanley changed his name to avoid confusion.

“Stanlaws dabbled with more than just paint: he played a key role in building the historic Hotel des Artistes on West 67th Street in New York and even directed some silent Hollywood films in the ‘20s.

“Note his distinctive signature: the capital “S” is resting in a circle of contrasting color. The artist passed away in 1957.” – The Saturday Evening Post Archives

“The marine paintings of Anton Otto Fischer (1882-1962) capture the nuances of sea life that only an active participant could recreate. An orphan boy born in Germany, Fischer ran away to sea at the tender age of 16, spending eight years on a variety of sailing ships. Deciding to seek citizenship in the United States, he spent some time in the New York area as part of a hands-on crew racing yachts.

“He worked as a model and handyman for the illustrator, A.B. Frost, which sparked Fischer’s interest in a career as an artist. He enrolled in the Académie Julian in Paris under Jean Paul Laurens. Upon returning to the U.S., he painted pictures based upon his sailing career and was quickly offered an assignment from ‘Harper’s Weekly.’ From that point forward he was in constant demand with his longest and most fruitful association being with ‘The Saturday Evening Post,’ where he illustrated the ‘Tugboat Annie’ stories by Norman Reilly Raines.

“In 1942 he was given the rank of Lieutenant Commander as ‘Artist Laureate’ for the United States Coast Guard. Fischer’s dramatic series of pictures portraying his experience aboard the cutter ‘Campbell’ was published in ‘Life’ magazine and gained him great renown.” [Source: The Saturday Evening Post Archive]

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The title of the cover painting is from a well-known seamen's proverb: “Red sky at night, sailor’s delight; red sky at morning, sailor’s warning.” This saying is based on the observation that a reddish sunrise often indicates that a storm is on the way. In North American latitudes, where weather generally moves from west to east, a red sky at sunrise suggests that dry, dusty air has already passed, making way for a storm to move in, which is not good for sailing. Conversely, a reddish sunset means that dry weather is moving in, which is good for sailing.

This proverb has been used for centuries and is surprisingly accurate, as it’s based on the science of how weather systems move and how particles in the atmosphere scatter light. It’s a piece of traditional wisdom that has stood the test of time and is still used by sailors today.

Ellen Bernard Thompson Pyle (1876 – 1936) was an American illustrator best known for the 40 covers she created for “The Saturday Evening Post” in the 1920s and 1930s under the guidance of Post editor-in-chief, George Horace Lorimer. She studied with Howard Pyle and later married Pyle’s brother Walter.

Along with the Post covers, Ellen Pyle completed illustrations for “Parents’ Magazine,” “Literary Digest,” “Pictorial Review,” and “Everybody’s Magazine,” and 10 dust jackets for books by author Berta Ruck. Ellen Bernard Thompson Pyle died of a heart condition on August 1, 1936, at the peak of her career as a working artist.

Today, many of her illustrations remain housed in private collections including those built by her living relatives. In 2006, an original “Saturday Evening Post” illustration was rediscovered through the television series “Antiques Roadshow,” where the work was appraised with a value between $25,000-$30,000. In 2009, her great-grandchildren organized a “career retrospective” show at the Delaware Art Museum.

[Source: The Saturday Evening Post Archives]

“Joseph Francis Kernan (1878-1958) was a sportsman all his life and the majority of his subjects featured, as he described it, ‘the human side of outdoor sports, hunting, fishing and dogs.’ These were the ideal subjects for magazine covers and his work appeared on all the major – and some minor – magazines, including ‘The Saturday Evening Post,’ ‘Collier’s,’ ‘Liberty,’ ‘The Country Gentleman,’ ‘Outdoor Life,’ and ‘Capper’s Farmer.’ His work was also commissioned for calendars, and advertisers such as Fisk Tires, International Harvester and Pratt & Lambert.” – The Illustrated Gallery.

“Russell Sambrook (1891–1956) painted charming pictures of everyday life in the vein of Norman Rockwell. He created illustrations for many magazines, including ‘The Saturday Evening Post,’ ‘The People's Home Journal,’ and ‘The American Boy.’ Sambrook created four covers for the Post.” – The Saturday Evening Post Archives.

Jack Murray was a city kid who, very early in life, developed an interest in wildlife. Born in 1889, he grew up in Boston, where he began drawing animals while still in grade school. Murray would later graduate from the renowned Massachusetts School of Art, where he met his wife and fellow artist, Helena Feeny. The couple married in 1921 and, in lieu of a honeymoon, moved to New York that very day.

In New York, Murray found work as a commercial artist, which soon provided the two of them the opportunity to buy a farm outside the city. There, he fixed up a studio where, in his spare time, he pursued his true passion, painting wildlife. Murray’s career reached a turning point when one of the paintings he had made purely for love — a majestic leopard — was bought by “The Saturday Evening Post.”

His discovery by the Post led to assignments for the American Museum of Natural History as well as books and magazines, including “The Country Gentleman” and “Boys' Life.” In 1947, his image of a pair of snow geese mid-flight was selected for the Federal Duck Stamp Program.

All told, Murray would paint twelve covers for the Post. His final one depicting two white wolves closing in on prey appeared on the March 8, 1941, issue — and once again on the January/February 2016 cover.

[Source: www.saturdayeveningpost.com/artists/jack-murray/]

Samuel Nelson Abbott was born in 1874 in Iowa. He studied art at the Art Institute of Chicago and the Art Students League of New York. He became known for his illustrations of men's clothing for Hart Schaffner & Marx, a prominent suit manufacturer. He also created cover art for popular magazines such as “Saturday Evening Post,” “Woman's Home Companion,” and “Ladies' Home Journal.” His style was influenced by Art Nouveau and American realism. He often depicted scenes of everyday life, historical figures, and exotic locations. He died in 1953 in New York.

Maurice L. Bower (1889-1980) depicted horses doing everything from urgently pulling the fire engine to a blaze (January 12, 1935) or performing at a circus complete with pretty lady on top (April 6, 1935) to pulling the getaway stagecoach for fellows clearly up to no good (February 6, 1937).

The energy Bower brought to his art began at an early age when he attended the School of Industrial Art in Philadelphia. Magazine work quickly followed, and his art was published while he was still a student there. Later he became a medical illustrator in the U.S. Army during World War I.

Bower moved to Paris around 1926, living a "glorious life" on the Left Bank with many artistic types, from choreographers to writers to artists like himself. Sadly, this charmed lifestyle ended with the stock market crash of 1929. Maurice Lincoln Bower died at the age of 91 on October 4, 1980, one month to the day after the death of his beloved sister, Trudi. [A brief bio based on information in The Saturday Evening Post Archives]

Jack Murray was a city kid who, very early in life, developed an interest in wildlife. Born in 1889, he grew up in Boston, where he began drawing animals while still in grade school. Murray would later graduate from the renowned Massachusetts School of Art, where he met his wife and fellow artist, Helena Feeny. The couple married in 1921 and, in lieu of a honeymoon, moved to New York that very day.

In New York, Murray found work as a commercial artist, which soon provided the two of them the opportunity to buy a farm outside the city. There, he fixed up a studio where, in his spare time, he pursued his true passion, painting wildlife. Murray’s career reached a turning point when one of the paintings he had made purely for love — a majestic leopard — was bought by “The Saturday Evening Post.”

His discovery by the Post led to assignments for the American Museum of Natural History as well as books and magazines, including “The Country Gentleman” and “Boys' Life.” In 1947, his image of a pair of snow geese mid-flight was selected for the Federal Duck Stamp Program.

All told, Murray would paint twelve covers for the Post. His final one depicting two white wolves closing in on prey appeared on the March 8, 1941, issue — and once again on the January/February 2016 cover.

[Source: The Saturday Evening Post Archives]

Gene Holtan (1930-2016) illustrated books ranging from history to bird watching to children’s books. His illustrations and particularly his caricatures garnered notice by “The Saturday Evening Post,” “Ladies Home Journal,” “Good Housekeeping,” “Ramparts,” and “The New York Times.” He lived in Santa Cruz, California for many years where he created beautiful ink drawings of local buildings and other sites such as the Boardwalk Casino and the Santa Cruz Municipal Pier. The Santa Cruz Museum of Art and History has a collection of 49 ink drawings and one watercolor by Holtan of buildings throughout Santa Cruz County rendered in 1975-76. [Source: The Santa Cruz Museum of Art and History Archives]

The 1936 Summer Olympics was held in Berlin, Germany on August 1-16, 1936. To outdo the 1932 Los Angeles Games, Reich Fuhrer Adolf Hitler had a new 100,000 seat track and field stadium built, as well as six gymnasiums and other smaller arenas. The Games were the first to be televised, with radio broadcasts reaching 41 countries. Filmmaker Leni Riefenstahl was commissioned by the German Olympic Committee to film the Games for $7 million. Her film, titled “Olympia,” pioneered many of the techniques now common in the filming of sports.

The Berlin Games are best remembered for Adolf Hitler’s failed attempt to use them to prove his theories of Aryan racial superiority. As it turned out, the most popular hero of the Games was the African-American sprinter and long jumper Jesse Owens, who won four gold medals in the 100m, 200m, 4x100m relay and long jump.

A gold medal awarded to Jesse Owens in the 1936 Olympics sold for $1,466,574 in 2013, then the highest price ever paid for a piece of Olympic memorabilia.

[Source: Wikipedia]