The New Yorker

The New Yorker

THE NEW YORKER COLLECTION IS SOLD EXCLUSIVELY IN OUR BOUTIQUES OR AT OUR RETAILERS. IT IS NO LONGER AVAILABLE ONLINE. Founded in 1925, The New Yorker is a cosmopolitan national magazine. Every...Show more
THE NEW YORKER COLLECTION IS SOLD EXCLUSIVELY IN OUR BOUTIQUES OR AT OUR RETAILERS. IT IS NO LONGER AVAILABLE ONLINE. Founded in 1925, The New Yorker is a cosmopolitan national magazine. Every week the maga- sine publishes reporting about and analysis of American and international politics. The New Yorker also covers the worlds of business, science, and technology. The magazine devotes a considerable amount of space to popular culture, the arts, poetry and fiction. Right from its launch it has attracted attention with its humorous cartoons. The New Yorker publishes the best writers of the time and has received numerous awards for the rigor of its jour nalists, its deep reporting and lively commentary and the quality of the writing. Eagerly awaited each week, The New Yorker covers are famous worldwide. They are the magazine’s true trademark and are devoted to artists of every nationality as Getz, Drooker, Steinberg, Malika Favre, Chris Ware, Christoph Niemann ou Ulriksen … The New Yorker Collection published by Image Republic is exclusive, it consists of illustrations by about forty different designers, and is available in 30x40 cm, 40x50 cm and 56x76 cm prints and postcards.  Read less
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Saul Steinberg drew 87 covers for The New Yorker! The March 29th of 1976 cover is ranked 4th largest magazine cover of the second half of the 20th century by the American Society of Magazine Editors. On this "View of the World from 9th Avenue", Steinberg captures in a few tasty details the perception that New Yorkers at the time had of the rest of the United States and the world: desert, rock, Kansas City, Nebraska, Las Vegas, and beyond the Pacific, the silhouettes of Japan, China and Russia!

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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.

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The American Artist Charles E. Martin signs his drawings with a C.E.M. This cover from January 22th 1972 represents a view of New York in snowy New York, tinged with purple. The moon cuts the silhouette of a tree in Central Park, under the eye of the towers of the "San Remo Apartments" in Central Park West, on the Upper West Side of Manhattan. 

Saul Steinberg, the New Yorker's took up his pencil to compose the first cover of 1976, the year of the US presidential election. On January 5th, he drew the 50 stars and 13 stripes, including 7 red ones, of the famous Stars and Stripes, the American flag. Almost 200 years after its creation in 1777. Two years after the resignation of Richard Nixon, Jimmy Carter was elected 39th President in November 1977.

After Paris, New York is the city of predilection for Jean-Jacques Sempé's drawings. Unique for a Frenchman, he drew 101 covers of The New Yorker, fulfilling his teenage dream. Who can capture the poetry and irony of the megalopolis with such subtlety, if not this detail artist with a humorous look? With Sempé New York is a festival of colors and styles, through its communities, its rites and its incessant movement.

New Year's Day 1987 by Sempé, the most French of the New Yorker's cartoonists. For this cover of 5th January, the party isn't over yet, four couples dance and toast the New Year against all odds, amidst cotillions and confetti. Outside the snow falls on Central Park and the black Lincolns (or sedans) turning on 5th Avenue. 

Long before tablets and smartphones, it is in front of their briefcases and paper documents that New Yorkers take their lunch break under Sempé's pen, on this cover of The New Yorker of May 5, 1987. On the menu according to Sempé: crowded sidewalks, monster traffic jams, potted shrubs, but rays of sunshine and mythical Hot-Dogs, to be eaten alone... or in groups!

"Welcome back Dodgers! " proclaimed the cover designed by Bruce McCall on March 5th, 1994. In 1957, the Dodgers baseball team had moved to Los Angeles, much to the chagrin of its Brooklyn fans and their bar, the Brooklyn Dodger Sports Bar. In the early 90s, when the Los Angeles Dodgers tried to defeat the place of its fetish name, all of Brooklyn became involved in David's fight against Goliath. The little bar will win its revenge in court and keep its name! In the aftermath, McCall's front page lists everything that could become possible in New York: polite taxi drivers, harmony between communities and maintenance workers on every street corner...

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Since 1978, Sempé has designed 101 covers of The New Yorker. For the 20th anniversary of this collaboration, on May 18th, 1998, he landed in Central Park. A young New Yorker couple lying down enjoy the coolness on the lawn of the "Great Lawn". The curve of the trees and the expanse of grass contrast with the saturated verticals of the skyscrapers that surround this place of mythical gatherings and concerts: Simon and Garfunkel, Elton John, Diana Ross and even John Paul II in 1995. 

Bruce McCall is a satirical cartoonist who has been collaborating with The New Yorker since the 1990s. With more than 71 covers to his credit, he is dedicated to painting portraits of his city. On the cover of May 31th, 2004, he points with acidity and poetry to the dizzying real estate bubble, and does not hesitate to slip into his drawings unequivocal messages ("Rich and White, unaffordable property") about what he observes on a daily basis, both at street level and on the highest floors.

On the cover of the New Yorker of November 15th, 2004, designed by Bruce McCall, a sign announces "long delays to be expected" to cars entering the Lincoln Tunnel, after enjoying the view of the Manhattan Skyline. Meanwhile from the other tunnel, old cars are exiting the tunnel, only exiting New York to New Jersey. The 71 covers of Bruce McCall's The New Yorker are full of written messages and point out with humour and poetry the daily absurdities of New York. 

Chris Ware is the author of the iconic cover of The New Yorker's October 3, 2005, "Hold Still", on which the iconic clamshell phone offers a mini twin tower to the Empire State Building, between two silhouettes of tanks. Ware is the author of "Jimmy Corrigan, the smartest kid in the world", the only comic strip to have received both the Alph'Art award for best album and the Critics' Prize at the Angoulême International Comics Festival. 

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The American Artist Charles E. Martin signs his drawings with a C.E.M. This cover dated January 22th 1972 represents a view of New York in snowy New York, tinged with purple. A resident of Brooklyn, Tomine is a tenderly humorous bite on the daily paradoxes of the Big Apple. Here the curious mix of styles between tourists, in a double-decker bus, in front of the Radio City Music Hall, at the Rockefeller Center, on the Avenue of the Americas. 

On January 26th, 2009, for the beginning of Barack Obama's second term, Drew Friedman drew him for the New Yorker as George Washington. "The First" is the title of this drawing which celebrates the first black President, linking him to the very first President of the United States, elected on January 10, 1789. 

Bob Staake has been drawing for The New Yorker since 2006. For the April 27th 2009 cover, he was asked to paint the portrait of a dog... Not just any dog, but Bo, the dog of Sasha and Malia, daughters of Barack and Michelle Obama, the "First" dog of the United States. Alone sitting in the middle of the lawn in front of the glowing white house, Bo also reminds us of the loneliness of her master's power.

Finger Painting: New Day - A new day dawns with a new painting technique for Jorge Colombo. He uses his finger and the Brushes phone application. The vaporous, impressionistic dawn both detaches and blurs, the rooftop reservoirs, chimneys and windows lit up from New York when he wakes up, with even a plane languidly crossing the sky on this September 21th, 2009 cover. 

At the corner of 5th Avenue and 42nd Street, Jorge Colombo continues to capture the heart of Manhattan with his finger and the Brushes application, which is becoming a new outdoor painting technique. On the cover of January 24th 2011, snow has invaded the streets, fashion boutiques are lighting up, passers-by are black silhouettes that the wind is blowing through. The city is wrapped in fog, in successive layers. 

10 years after September 11th 2001, the Spanish artist Ana Juan created the commemorative cover of the attacks, mirroring the one Art Spiegelman had drawn at the time. On the 12th of September 2011, the twin towers are no longer black on a black background at Ground Zero. They are now in everyone's memory, along with those who were there, their lights linger in the depths of the Hudson River and in the heart of the city that never sleeps. In 2015, she too will produce the cover tribute to the victims of the Charlie Hebdo attacks. 

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On the cover of May 21, 2012, Bob Staake goes through architecture to talk about the world. He colours the columns of the white house with "the spectrum of light" after President Obama's stand in favour of gay marriage. The rainbow flag has become a symbol of LGBT pride since its creation by artist Gilbert Baker in 1978. For some it also pays tribute to Judy Graland and the famous "Over the rainbow" she sang in The Wizard of Oz. 

The Lady of New York, according to the illustrator Ian Falconer, is a lady of a certain age, elegant whatever the moment, dark glasses, Chanel suit, chic, but often struggling with the paradoxes of a modern world that is a little beyond her. She is a recurring character on the covers of The New Yorker. On the September 10 th, 2012 cover, she is struggling with an optimized model of Lady: taller, thinner, with more bags, more leopard and a shorter cut Chanel! 

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Mark Ulriksen designed this coverage in anticipation of the color given to the mythical Empire State Building by CNN on the night of Barack Obama's re-election on November 6th, 2012. That's how many New Yorkers who were without power during the recent Sandy storm learned the election result that night. Had his Republican opponent Mitt Romney been elected, he would have been red. 

This cover of Saul Steinberg published on December 10, 2012 is posthumous. It is a tribute to the artist who died in 1999. "Union Square, 1973" is part of his Drawing Table Reliefs series. In the 1970s, the draftsman began to create compositions in relief, paper glued on pieces of wood, trompe l'oeil perspective, sculpted wood. Each time he represents his work table, filled with objects, pen holders, pictures, and even dialogue bubbles as in a comic book. 

Bert and Ernie are two puppets from The Muppets and "1 Sesame Street", the popular children's series in the United States. They live together and do almost everything together. On July 8 th 2013, the artist Jack Hunter has the idea to hijack them to celebrate with them the Supreme Court's decision that paves the way for future same-sex marriage. The nine justices appear on the television screen. First published on Tumblr, this image was then chosen by The New Yorker for its coverage, provoking many reactions. 

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.