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This cover from July 9th, 1982 was designed by Arthur Getz. Prolific American artist, he made between 1938 and 1988 more than 200 covers for The New Yorker. On this illustration, the delicate curve of a white sailboat in New York's Upper Bay contrasts with the height of the buildings in Lower Manhattan dominated by the twin towers.

Abe Birnbaum has painted over 200 covers of The New Yorker in 37 years. He died a few weeks before this August 6, 1966 issue. On this cover, the ubiquitous green of the course contrasts with the white and tiny size of the golfer and his shadow on the lawn. Since 1995, the U.S. Open de Golf has been held 5 times at Shinnock Hills in Southampton, Long Island, a few miles from Manhattan. 

independence by inscribing on the bicycle frame part of the inscription on the Great Seal of the United States since 1782: "E Pluribus Unum" (one from many). From this symbol of unity, Steinberg chooses to highlight diversity above all. The bird of prey represented in place of the saddle, and which gives the bicycle its movement, is the Bald Eagle, a sacred bird of North American Indian cultures and symbol of the United States. 

The New Yorker of July 12, 1999 by Sempé. The author of the mythical Marcellin Caillou and Raoul Taburin made cycling one of his favourite topics. He sometimes includes himself on a bicycle in his drawings. For Sempé "France is the bicycle" he even drew one on a coin for the Monnaie de Paris: Fraternité 2014. 

Sprint of a breakaway on the Brooklyn Bridge, December 4, 2000, by Sempé for the New Yorker. This bridge was inaugurated in 1883! Many Hollywood disaster movies have tried to destroy it, from Godzilla to Independence Day, Armageddon, Deep Impact, I am a Legend or the Day After... but with its two levels, one for cars and one for pedestrians and bicycles, it is still the most beautiful way to cross the East River at sunset.

On August 1st 1983, the Tour de France is well and truly finished, the winning yellow jersey is put away for next year. As a cycling enthusiast, Sempé literally put (la petite reine)… the nickname for the Tour de France on the cover of the New Yorker, making his drawings a constant dialogue between the deepest France and the paradoxes of New York. Here he crowds the drawing with wheels and frames, as tight as the space between Manhattan's skyscrapers.

Birgit Schössow's cover of The New Yorker on February 3, 2013, illustrates a skier that tears the paper with a regular ‘schuss’ to reveal a few lines of text. This refers to the exclusive short story, published inside, "Susya on the roof" by the American writer Nicole Krauss, also author of L'Histoire de l'amour, which won the Best Foreign Book Award in 2006.