Norman Rockwell (American, 1894-1978) Our Heritage, 1950 Oil on canvas 42 x 32-1/4 inches (106.7 x 81.9 cm) Signed lower right: Norman / Rockwell Property from the BSA Settlement Trust, Sold for the Benefit of Survivors of Childhood Sexual Abuse EXHIBITED: National Scouting Museum, Murray State University, Murray, Kentucky, n.d. LITERATURE: Boy Scouts of America Calendar, Brown & Bigelow Co., Saint Paul, Minnesota, 1950, illustrated; Boys' Life Magazine, The Boy Scouts of America, New York, February 1950, cover; W. Hillcourt, Norman Rockwell's World of Scouting, New York, 1977, pp. 144-45, illustrated; M. Moline, Norman Rockwell Encyclopedia, Indianapolis, Indiana, 1979, pp. 14, 225, no. 8-32, illustrated; L.N. Moffatt, Norman Rockwell: A Definitive Catalogue, Vol. I, Stockbridge, Massachusetts, 1986, p. 279, no. A70, illustrated; J. Csatari, Norman Rockwell's Boy Scouts of America, New York, 2009, pp. 56-57, illustrated. The present work belongs to a group of his Norman Rockwell's most conceptually ambitious Scouting images, one rich in symbolism and historical meaning. At center, two Scouts stand closely aligned, their figures unified in posture and gaze as they look upward toward a monumental vision of George Washington, rendered in an ethereal, reverent presence above them. The Cub Scout unfolds the textbook American History by Wilson and Lamb, a widely used publication that was dispersed throughout classrooms in the mid-twentieth century. This easily recognizable text would be familiar to generations of American students, reinforcing the painting's emphasis on education, civic memory, and the transmission of national ideals. His companion's protective grasp reinforces the theme of guidance and continuity—the braided shoulder cord on the Scout's uniform signals his leadership within the troop. Rockwell's depiction of Washington recalls his treatment of the figure in earlier works such as A Scout is Loyal (1930), where the founding father appears as an almost visionary presence—part historical figure, part moral guide. Here, Washington is shown kneeling in prayer, his form emerging from shadow like a spiritual apparition, his bowed head and clasped hands suggesting humility, sacrifice, and devotion. The diagonal thrust of his figure draws the viewer's eye upward, while the boys' attentive expressions imply a moment of instruction or silent communion. This compositional structure reinforces the central tenet of Scouting that duty, to country and to one another, is learned through example. Across Rockwell's Scouting imagery, such moments are rarely solitary—they are shaped by mentorship, observation, and the transmission of values across generations. Rockwell further anchors the composition in a specific historical moment by depicting Washington kneeling in prayer during the winter encampment at Valley Forge. Commissioned for the Second National Boy Scout Jamboree held at Valley Forge, Pennsylvania, the present work directly connects the site's Revolutionary War legacy with the modern Scouting movement. In Our Heritage, Rockwell creates a symbolic bridge between American history and the ideals of Scouting. The Cub Scout's curiosity, expressed through his upward gaze and his grasp of the history book, suggests the beginning of that journey, while the older Scout's steady presence signals its continuation. Through this layered imagery, Rockwell transforms a simple grouping of figures into a meditation on national identity, education, and moral inheritance—one that aligns the growth of the individual Scout with the enduring legacy of the American past. HID12401132022 © 2026 Heritage Auctions | All Rights Reserved www.HA.com/TexasAuctioneerLicenseNotice

National Scouting Museum, Murray State University, Murray, Kentucky, n.d.

Condition report available upon request.
Framed Dimensions 47 X 37 Inches