The illustration above for a romance story in a women's magazine from 1959 (I'm not sure which one) was done by Coby Whitmore, who specialized in such stories and in magazine ads for women's products.

Whitmore was part of a new wave in magazine illustration in the late Forties that broke away from the Norman Rockwell school — but not too far.  The artists of this generation still relied on an almost photorealistic draftsmanship but began to get freer, more painterly, with the treatment of the surface of the image and moved towards bolder graphic effects in the overall design.  Backgrounds often became highly abstracted — a contrast to the meticulously rendered environments of Rockwell's most characteristic work.  The image below is an illustration for a romance story in a 1957 issue of Good Housekeeping:

The images of the new-wave artists still had a strong narrative element but it was more intimate, trying to capture fleeting moments and moods, focusing on the characters depicted with a view to glamorizing them.

The ninth page of “Serum To Codfish
Cove” by the legendary Carl Barks, found on Rodney Bowcock's Comics and Stories blog, which
Mr. Bowcock has sadly just abandoned.

I said in my comments on the previous page of this story that Donald's
repentance resolved the moral aspect of the fable — the boasting that led Donald into the mess he's in.  He's gotten his comeuppance and he knows it.  This wasn't the moral climax of the tale, though, which comes here, when the nephews decide to give all the credit for their actions to Donald.  This will lead to a final ironic twist in the next and concluding page.

Great cut between the third and fourth panels above.  As usual when the action gets intense, Barks plays with the panel borders to indicate dislocation.  Notice how the head of the spy in the third panel actually violates the border of the first panel, which suggests at first glance that the spy is within the nephews' line of sight, even though he isn't literally sharing the space depicted in the panel.

The eighth page of “Serum To Codfish
Cove” by the legendary Carl Barks, found on Rodney Bowcock's Comics and Stories blog, which
Mr. Bowcock has sadly just abandoned.

With the nephews on the case, Barks's story kicks into high gear.  Donald's repentance resolves the moral aspect of the fable — all that's left now is action and consequence.  We've come a long way from the first cozy scene in the house, with the snow piling up outside and Donald wanting to read about it in the newspaper — and yet, in the next to last panel above, Codfish Cove, finally in sight, seems farther away than ever.

The sixth page of “Serum To Codfish
Cove” by the legendary Carl Barks, found on Rodney Bowcock's Comics and Stories blog, which
Mr. Bowcock has sadly just abandoned.

More thrills and spills for Donald as Barks introduces a third line into his hurtling narrative.

The fifth page of “Serum To Codfish
Cove” by the legendary Carl Barks, found on Rodney Bowcock's Comics and Stories blog, which
Mr. Bowcock has sadly just abandoned.

Nice transition into the dynamic action sequence above, in which the panel borders get bent out of shape along with Donald.

The fourth page of “Serum To Codfish
Cove” by the legendary Carl Barks, found on Rodney Bowcock's Comics and Stories blog, which
Mr. Bowcock has sadly just abandoned.

The plot thickens in this third page of “Serum To Codfish
Cove” by the legendary Carl Barks, found on Rodney Bowcock's Comics and Stories blog, which
Mr. Bowcock has sadly just abandoned.

The one New York landmark that never failed to astonish and delight me, however many times it presented itself to my view in all the years I lived on the island of Manhattan, was the Brooklyn Bridge.