Norman Rockwell (American, 1894-1978) Boy Showing off Badges, The Literary Digest cover, August 17, 1918 Oil on canvas 16-1/2 x 15 inches (41.9 x 38.1 cm) Signed lower right: Norman / Rockwell Bears inscription on the reverse Property from The Edward Arrigoni Collection of Illustration Art PROVENANCE: Marye Palmer and E. Osman Ban, III; Judy Goffman Fine Art, New York; Christie's, New York, December 4, 1997, lot 110; Acquired by the present owner from the above. EXHIBITED: Museo Ciasa de la Regoles, Cortina d'Ampezzo, Italy (and elsewhere), "Norman Rockwell in Italy," August-September 1990. LITERATURE: The Literary Digest, August 17, 1918, cover; Fourth Liberty Loan Poster, 1918, illustrated; M. Moline, Norman Rockwell Encyclopedia, Indianapolis, Indiana, 1979, p. 28; L.N. Moffatt, Norman Rockwell: A Definitive Catalogue, Vol. I, Stockbridge, Massachusetts, 1986, p. 47, no. C123, illustrated. In Boy Showing Off Badges, created for the August 17, 1918 cover of The Literary Digest, Norman Rockwell captures a defining theme of his early career: the celebration of youthful pride, civic duty, and the small but meaningful acts that connect individuals to a larger national purpose. Painted during the final year of World War I, the image reflects a moment when patriotism permeated every level of American life—not only on the battlefield, but on the home front, where even children found ways to contribute. The composition is deceptively simple: a young boy, standing against a neutral background, pulls open his shirt and jacket to reveal a chest adorned with badges. Yet within this restrained setting, Rockwell constructs a vivid psychological portrait. The boy's upward gaze, flushed cheeks, and slightly pursed lips suggest both pride and earnestness—an almost theatrical display of achievement. His pose, reminiscent of a performer unveiling a costume, transforms these small emblems into symbols of identity and belonging. The badges themselves are central to the narrative. Carefully rendered, they likely represent participation in wartime civic organizations such as the Red Cross, YMCA, Liberty Loan drives, and other patriotic youth efforts. The presence of insignia associated with volunteerism and public service speaks to the ways in which American children were encouraged to support the war effort—through fundraising, community work, and moral engagement. In this context, the boy becomes a stand-in for a generation raised to equate personal achievement with national contribution. Rockwell's genius lies in his ability to elevate such details into a broader cultural statement. Rather than depicting the violence or devastation of war, he focuses on its emotional and social dimensions. The boy is not a soldier, but he mirrors one: decorated, upright, and ready. His innocence is intact, yet he is already participating in the rituals of honor and recognition that define adulthood. In this way, the image bridges two worlds—the protected realm of childhood and the responsibilities of citizenship. This theme resonates across Rockwell's other Literary Digest covers of 1918. In the November 9, 1918 cover, Keep Them Smiling (fig. 1), Rockwell presents three servicemen—representing the Army, Navy, and Allied forces—linked arm in arm in a gesture of unity and optimism. The emphasis is not on conflict, but on camaraderie and morale. Similarly, in the December 14, 1918 cover, In Redeemed Belgium (fig. 2), Rockwell depicts a soldier returning home, surrounded by family in an intimate domestic scene. The focus shifts from service to reunion, from duty to emotional reward. Together, these works form a visual narrative of the American wartime experience: anticipation, participation, and return. Boy Showing Off Badges occupies a particularly poignant place within this sequence. It represents the beginning—the moment when ideals of service are first internalized, when the language of honor is learned through small, tangible tokens. If the later covers celebrate the fulfillment of duty, Boy Showing Off Badges captures its earliest expression. Rockwell's approach to wartime imagery during this period is notably distinct from that of many contemporaries. Rather than dramatizing battle, he offers what might be called a "human-scale" view of war—one that emphasizes continuity, family, and shared values. Indeed, Rockwell's body of work consistently sought to reassure rather than unsettle, presenting a vision of American life that remained stable even in times of upheaval. From a technical standpoint, the painting demonstrates Rockwell's early mastery of composition and characterization. The controlled palette—dominated by the bold red of the jacket and the crisp whites of the shirt—draws the viewer's eye directly to the badges, while the carefully modeled face reveals an artist already attuned to subtle emotional nuance. Though created when Rockwell was still in his twenties, the work anticipates the qualities that would define his later career: clarity of narrative, precision of detail, and an unparalleled ability to connect with a broad audience. Today, Boy Showing Off Badges stands as both a charming image of childhood and a sophisticated meditation on identity and belonging in wartime America. It reminds us that Rockwell's greatest subject was not simply American life, but the ideals that underlie it—pride, service, and the enduring desire to be part of something larger than oneself. HID12401132022 © 2026 Heritage Auctions | All Rights Reserved www.HA.com/TexasAuctioneerLicenseNotice

Museo Ciasa de la Regoles, Cortina d'Ampezzo, Italy (and elsewhere), "Norman Rockwell in Italy," August-September 1990.

Marye Palmer and E. Osman Ban, III; Judy Goffman Fine Art, New York; Christie's, New York, December 4, 1997, lot 110; Acquired by the present owner from the above.

Condition report available upon request.
Framed Dimensions 21.75 X 20 Inches