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TLR Camera
Rolleicord Vb Type II (Rollei Werke) - 1967.
Schneider-Krauznach Xenar 75mm f/3.5.
Kodak Portra 400 (pushed 800 ISO),
Light metering Gossen Lunasix 3
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Chernivtsi, Ukraine.
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Why hire a life insurance?
Do not neglect the life insurance. Now that the good weather is more than normal to see everything in a more positive way. We seem to forget some of the risks that we may happen.
There may be rare cases where the subject does not worry the user. For example, it could be...
AI self-envisioned, activated with Midjourney.
Prompt: Photorealistic full length front shot of a characture of the former vice president Dick Cheney looking into the camera with expressive and intense gray-blue eyes, holding a prized shotgun, Rembrant lighting, High Quality Canon EOS-5D Mark IV, Canon 50mm f/1.2 lens at f/2.8, depth of field --ar 16:9 --s 100 --c 50 --v 5.2 –uplight
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Formerly General American Life Insurance Company by architects Philip Johnson and John Burgee in Saint Louis, Missouri.
Canons House, the Bristol regional headquarters of Lloyds Bank Commercial Finance Limited, Canons Way, Bristol, Avon.
Home office of the Life and Casualty Insurance Company of Tennessee, founded in 1903, this ultra modern structure is the tallest commercial building in the mid-south, rising 409 feet above street level. Perched atop the building at the 31st floor level is a glass enclosed observation platform, open to visitors daily. You are cordially invited to visit Life and Casualty Tower whenever you are in Nashville.
CAPA-027214
The ad is a great example of that era’s artistry in advertising illustration, though I don’t understand why a company headquartered in Boston would publish a scene from Wisconsin. Beautiful as they are, the Dells are not in New England and there are just as many scenic spots in New England worth capturing on canvas. Are there not? Bing Copilot answers:
Absolutely! New England is brimming with painterly landscapes that rival the Dells in quiet majesty and emotional resonance. If the ad’s goal was to evoke “the better life,” it’s curious they didn’t draw from their own backyard, where the interplay of history, nature, and seasonal light offers endless visual poetry. Here are just a few places that would’ve made compelling alternatives:
🍂 New England Scenes Worthy of Canvas
•Mount Desert Island & Acadia National Park (Maine) Rugged coastlines, wind-sculpted pines, and the Atlantic’s shifting moods—Cadillac Mountain at sunrise is practically a masterclass in atmospheric perspective.
•Stowe & the Green Mountains (Vermont) Covered bridges, white-steepled churches, and autumn foliage so vivid it feels surreal. Stowe’s pastoral charm is tailor-made for nostalgic Americana.
•Southeast Lighthouse on Mohegan Bluffs (Rhode Island) Perched above dramatic cliffs, this lighthouse offers commanding views of the sea and sky—ideal for compositions that blend solitude with grandeur.
•Mount Auburn Cemetery (Massachusetts) A garden cemetery inspired by English and French traditions, it’s a place where memory and landscape intertwine. Longfellow’s tomb among the trees? That’s a scene begging for chiaroscuro.
•Brewster Tidal Flats (Cape Cod) At sunset, the sand ripples catch light like molten stained glass. It’s a minimalist’s dream—texture, reflection, and silence in motion.
It’s possible the ad’s creators chose the Wisconsin Dells for their national appeal or perhaps to evoke a sense of leisure unbound by geography. But for a company rooted in Boston, the omission of New England’s own visual heritage feels like a missed opportunity—especially when the region’s landscapes already carry the emotional weight and cultural symbolism the ad aspires to.
If you were to reimagine that ad with a New England setting, which scene would you choose? Something coastal and windswept, or perhaps a quiet woodland moment with a gesture of care tucked into the frame?
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Tom Lovell (1909–1997) was a prominent American commercial artist and illustrator known for his work in magazines and pulp fiction during the mid-20th century, before becoming an acclaimed painter of the American West. A meticulous researcher, Lovell considered himself a "storyteller with a brush" who captured American history with authenticity and emotional depth.
Originally designed as General American Life Insurance building by Philip Johnson. Saint Louis, Missouri.
Oscar L. Bussell, special representative, 23 E. Broadway, Eugene, Oregon, Telephone: Bus. 942, Res. 3274. California-Western States Life Insurance Company, home office, Sacramento. Safe. 1940. Inches.
Wiley Hinkle McGinnis, father of Wiley Washington McGinnis was born in Cherryville, Gaston County, North Carolina on 27 March 1852.
Selma, Rome, & Dalton Railroad Conductors Life Insurance Association, August 10, 1878.
Wiley Hinkle McGinnis died 01 Sep 1912 in Collierville, Tennessee. He was my great great grandfather.
From the Collection of © Melinda Cox Hall (Peer into the Past)
1. Turn calorie wheel to "0" in small window.
2. Insert finger in notch indicating the calorie count for each item of food eaten. Push
notch to bottom of slot.
3. Read total calories in window. It will add up to the total for each meal.
For extremely heavy meals, where calorie wheel makes more than one complete revolution, add 1000 to total shown.
Spire Inc., natural gas holding company in Saint Louis, Missouri. Originally General American Life Insurance building, by architects Philip Johnson and John Burgee.
Customer care, care for employees, labor union, CRM, and life insurance concepts. Protecting gesture of businesswoman or personnel with icons representing group of people.
The artwork is by Frank Cowles. He was the founder of the Cowles Art School in Boston, active from 1883 to 1900. His school was modeled after Parisian art academies and emphasized both fine art and mechanical drawing. His illustrations often carried a sense of purpose and craftsmanship, aligning well with the values promoted by companies like Travelers. Brands often commissioned top-tier illustrators to align themselves with quality and taste. The artwork wasn’t just decoration—it was a signal of the brand’s values and aspirations.
Frank Cowles isn’t as widely known today as contemporaries like Thomas Hart Benton but, like Benton’s work, Cowles artwork is rich in narrative and grounded in American realism. Benton’s sweeping landscapes and muscular figures conveyed the grit and grandeur of American life. Cowles’ illustration here shares that spirit, though more restrained. It still captures the tension between labor and longing, between the axe in hand and the dream on the horizon.
Ads from the 1930s, a time of economic hardship, leaned heavily on hope, perseverance, and personal aspiration. This ad’s story would have struck a chord with readers seeking stability and meaning. They would have lingered over the illustration, absorbing the story before even noticing the sponsor. This slow-burn approach built deeper brand associations. Rather than shouting the brand name, companies like Travelers used subtlety to build trust. The narrative and imagery did the emotional heavy lifting, while the brand quietly positioned itself as the solution—insurance for the man who plans and perseveres.
Today Senator Lena Gonzalez (D - Long Beach), Insurance Commissioner Ricardo Lara, and Equality California announced the Equal Insurance HIV Act, Senate Bill 961, to stop insurance companies from denying life and disability income insurance coverage based solely on HIV status. This bill would enact anti-discrimination protections in life and disability income insurance products for those living with HIV by banning HIV discrimination to ensure they have equal access to the coverage they deserve.
METROPOLITAN LIFE INSURANCE BUILDING
This building is on Madison Avenue, facing Madison Square. It is built of magnificent carved marble, most elegantly finished. The building occupies an entire block, is 52 stories high, 700 feet high. Home office of the Metropolitan Life Insurance Company.
H.H. Tammen
NY 224
CAPA-002940
Allianz building in Berlin.
As a reminder, keep in mind that this picture is available only for non-commercial use and that visible attribution is required. If you'd like to use this photo outside these terms, please contact me ahead of time to arrange for a paid license.
Corporate Insurance Letterhead design template by Casey Zumwalt.Showcased on Inkd.com.
This corporate-looking letterhead would be appropriate for an insurance company. The serious nature of the insurance industry is portrayed through the simplicity of this design, with small type and a muted palette running in a small band across the top of the letterhead.
AMERICAN UNITED LIFE
INSURANCE CO. INDIANAPOLIS
FOUNDED 1877
V. C. LANE
INSURANCE AGENCY
V. C. Lane J. Thos. Lane
YOUR FRIEND AFTER A LOSS
11 Lincolnway
Phone 2-0551
Valparaiso, Indiana
THINK ABOUT
LIFE INSURANCE
BEFORE YOUR
LIGHT GOES OUT
American United Life
Insurance Company
INDIANAPOLIS, INDIANA
Source Type: Matchcover
Publisher, Printer, Photographer: Universal Match Corporation
Collection: Steven R. Shook
Copyright 2020. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
American Income Life CEO Roger Smith and President Scott Smith with SGA Simon Arias, who was presented with awards for Category II 1st Place SGA, SGA of the Year, and a special recognition award for "1st Time Over $5 Million Net ALP."
Do you want success like Simon? Visit AIL Careers to start your Opportunity Unlimited!
“Remember when flights of make-believe were made by plane? Now space ships are the transportation of ‘back yard engineers’. . .” [From the ad copy]
As of March 26, 1960, the U.S. space program was in the early stages of the Space Race, having achieved its first satellite launch two years prior. The newly formed NASA was conducting unmanned test flights for its first human spaceflight initiative, Project Mercury, and was beginning work on the follow-up Apollo program.
The U.S. was still behind in the race for crewed spaceflight. It would be another year before the Soviet Union put the first human, Yuri Gagarin, into orbit in April 1961, which spurred an acceleration of U.S. efforts. The first U.S. human spaceflight program was in the middle of its uncrewed test flights, which included launching animals into space.
A rhesus monkey named Sam flew on a mission in December 1959, and another monkey, Miss Sam, flew on January 21, 1960. Just weeks before March 26, the Pioneer V space probe was launched. In March 1960, the seven Mercury astronauts performed weightlessness simulations aboard a modified C-131B aircraft.
Against this backdrop of intense space activity, Norman Rockwell created his illustration.