The New Yorker

The New Yorker

The New Yorker Collection is sold in our Shops in Paris and retailers. Send a mail for any information on serviceclient@image-republic.com Founded in 1925, The New Yorker is a cosmopolitan...Show more
The New Yorker Collection is sold in our Shops in Paris and retailers. Send a mail for any information on serviceclient@image-republic.com Founded in 1925, The New Yorker is a cosmopolitan national magazine. Every week the magasine 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, 38x56 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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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.

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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.

It's all an art. It's hard to resist the pleading eyes of dogs innocently begging for a treat. This August 9, 2021 cover illustrates with tenderness our attachment to these furry "best friends." Artist Mark Ulriksen regularly depicts dogs in his work, fascinated by the biting world of their unique personalities and distinctive breeds. Here, he draws inspiration from Maggie, Ruby and Virgil, the dogs of his friends and neighbors, in remembrance of the comfort of their company during the pandemic, between opportunities to walk and cuddle on the couch without social distancing.

Showing color. This November 16, 2020 New Yorker cover, by French-American illustrator Pascal Campion, heralds Joe Biden's victory in the presidential election. Traditionally, the Empire State Building is colored to announce the party of the elected candidate, Democrat or Republican. The artist dares to represent a bright relief after a long week of waiting for the results of the states of Georgia, Pennsylvania and Arizona, which have made a sharp turn in the blue zone. This cover provides a knowing nod to Mark Ulriksen's 2012 cover, which anticipated Barack Obama's second victory. 

Ghost trains. In the midst of containment, illustrator Eric Dooker depicts Manhattan's Grand Central Station absolutely deserted for the March 30, 2020 cover of The New Yorker. Throughout the coronavirus pandemic, the magazine has told the story of the health crisis in words and pictures. Between the anguish of the present, the nostalgia of the past and the poetry of absence, the illustrator gives a new look to these places of routine hustle and bustle that we almost end up missing. 

Winter 2021 Containment Collection. After a year of confinement, the New Yorker's Style and Design issue questions our special pandemic wardrobe, between confined evening wear and pilou pajama uniform. On the cover, artist Reyna Noriega hijacks fashion codes to depict a model proudly posing in elegant homewear. This work is a culmination of the artist's reflections around the symbolism of clothing, the style we cultivate primarily for ourselves, and her search for a "whole new look of comfortable, coordinated clothing that [makes me] want to work, even when work is at home, even when no one will see it, even in the middle of a pandemic."

(P)repairing the future. Eric Drooker signs the front page of the New Yorker of May 19, 2014 dedicated to innovations, still utopian or already present. The illustrator imagines the future of the city where nature invites itself between sky and asphalt, with renewable energies and the beginnings of a city agriculture. A city that goes green and becomes a bit country, even bucolic, to inspire and let future generations breathe.

Nature painting. This poetic silhouette on the cover of the New Yorker Style issue of March 16, 2020 is signed by Tomer Hanuka. The artist prefigures a new breath on fashion, inspired by the plant. The dandelion flower becomes here an ephemeral outfit that dresses and (is) gradually revealed, then spreads like a trend. Accustomed to the world of comics, the artist plays with textures, contrasts and movement to illustrate a softness and freshness that renews our imagination of clothing and its field of possibilities.

A media exit (from Europe). Every week, artists take the front page of The New Yorker to bring their interpretation to the words (and evils) of the news. On March 25, 2019, two years and nine months after the referendum, the fervor and panic surrounding the Brexit has yet to be extinguished. Mark Ulriksen's challenge for this cover was then to illustrate the Brexit, to demystify it, to make it meaningful to the other side of the Atlantic. According to him, "the British icon that resonates most [with me] is Big Ben, in realizing this, a bell rang in my head... a cuckoo clock!"

Rebounding Hope. Artist Mark Ulriksen has been signing New Yorker covers for more than 25 years, including this May 21, 2021 cover. Passionate about sports, the artist likes to depict athletes as frozen in a decisive action where movement and time are suspended. Here, this game between the Brooklyn Nets and the New York Knicks heralds the next basketball season, when the stands can once again be filled with the fervor of the fans (sadly replaced by virtual fans on screen during the pandemic). A good omen to see Kevin Durant, Kyrie Irving and James Harden on the court, represented here in low angle to highlight the immensity of these giants who are on the verge of the sky and the net. 

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Le format 40x50 cm

Cadre 43x33 cm Papier : Classique

Summer is well and truly on the cover of The New Yorker of June 27, 2005, by Eric Drooker and his subtle and caustic perspective on the climate context. A fire hydrant is thus the object of an almost religious cult by all the dogs of the city, in search of water to cool down. Bell towers and other skyscrapers enhance it in the distance, like a call to rise, but it is only water, more vital than anything else, that interests and attracts them.