A humorous and observational narrative illustration by Norman Rockwell, depicting the exhaustion of a campaign worker alongside the optimism of a political poster.

First published as a cover for The Saturday Evening Post on 11 October 1958, this work captures a humorous, dual-narrative scene common in Rockwell's observational style. The composition is split into two distinct temporal moments, presented simultaneously within the same frame. On the left, a man sits in a state of complete exhaustion, his posture slumped and his tie undone, surrounded by the debris of a campaign office. Behind him, a large poster of the candidate, Casey, beams with an optimistic, polished smile that contrasts sharply with the dishevelled reality of the campaign worker. To the right, the scene shifts to a queue of men waiting to cast their votes, their backs turned to the viewer. This juxtaposition creates a commentary on the distance between political marketing and the physical toll of the democratic process. Rockwell employs a warm, muted palette dominated by ochre and cream tones, which grounds the scene in a mid-century office environment. The checkerboard floor adds a sense of structure, while the discarded telephone and scattered papers provide specific, tactile details that suggest the frantic nature of the work that preceded this moment of collapse. Rockwell's ability to convey complex human emotions through posture and facial expression is evident here. The man's wide-eyed, vacant stare communicates a sense of relief mixed with total depletion. By focusing on the mundane, behind-the-scenes labour of an election, the artist shifts the focus away from the candidate and onto the individual. This print offers a clear view into the mid-twentieth-century American experience, documenting the social rituals of the era with precision and wit. The work remains a recognisable example of the artist's capacity to find narrative depth in the everyday lives of ordinary people.