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When a black cat crosses... a black cat. In the humorous eye of Ian Falconer, on the cover of The New Yorker on October 30, 2006, to celebrate Halloween, the encounter in the mirror is explosive. Model and reflection are as frightening and threatening as each other, their black hair bristling. The work on the colours and frames makes it a jewel of precision.

Cover of The New Yorker signed C.E.M., Charles E. Martin, September 11, 1971. The diagonal slope of the roof, the horizontal walls and windows and the alignment of the seagulls. This artist always creates the detail that hits the mark and balances the design: the refractory seagull that does not follow the direction of the wind and looks away from its comrades. 

Istvan Banyai, a Hungarian-born American illustrator, puts New York under water on the cover of the New Yorker on April 23, 2005. Is this a nightmare about global warming or a poetic vision of a sunken city? A few weeks earlier, the Tokyo Protocol for the global reduction of greenhouse gases, put forward by the United Nations, came into force. There is still much to be done to prevent the waters from rising. 

"Hot Dogs" on the front page of The New Yorker August 13, 2007 by Mark Ulriksen. Portrait gallery of 11 dogs at their summer window, tongues hanging out, looking for the draught, while a single cat is lounging imperturbably on the air conditioner. Mark Ulriksen has designed more than 55 covers for the magazine since 1994, on which there are equal numbers of animals and sportsmen (baseball, basketball, skateboarding...).

Breathtaking view of the Chrysler Building and Manhattan's forest of buildings at nightfall. Isn't it said that a cat always finds the best spot? The Chrysler Buildind was inaugurated in 1930, it measures 319m up to its spire and is New Yorkers' favourite skyscraper. Mark Ulriksen honors it on the cover of The New Yorker on January 12, 2009. In 2002, Spider-man was clinging to one of his gargoyles. 

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Harry Bliss sketches a very strange vision seen from the sidewalks of Manhattan: dozens of rabbits drinking and chatting in a mundane cocktail party. On the cover of The New Yorker of April 13, 2009, in the heart of the purple night, the columns of the building, the red wine in the glasses and the warmth of the light, make up a world apart. Like a suspended vision… David Lynch-style. 

Two seaside conversations, two quartets that resonate, in this early summer under the pen of Mark Ulriksen for the cover of The New Yorker on July 11, 2011. Mark Ulriksen has designed more than 55 Unes for The New Yorker. He is also the regular illustrator for the San Francisco Jazz Festival, where he lives. His favorite subjects are animals, politics and sports. 

Peter de Sève has designed many covers for The New Yorker, often with animals. The cover for April 30, 2012 features a unique yard sale where his dog, Henry Biscuit, sells souvenirs of his dog's life. Peter de Sève created the characters for the famous cartoons "The Ice Age" (20th Century Fox) and "The World of Nemo" (Disney). 

According to Peter de Sève the cover of The New Yorker, April 7, 2014, depicts The New York Jungle. Lions, zebras, giraffes and antelopes have invaded the city, but does it really change things? As a regular contributor to The New Yorker, Peter De Sève has also created many animal characters in world-famous cartoons such as "The Ice Age" (20th Century Fox), "Mulan" and "The World of Nemo" produced by Disney. 

They say a lion never sleeps, even a statue in front of the famous New York Public Library (NYPL). Harry Bliss’s cover of the New Yorker of June 3, 2002, illustrates that the Lion King remains the master and the frightened pigeons just have to land elsewhere. The Public Library is one of the city's flagship structures. The famous American documentary filmmaker Frederick Wiseman dedicated a documentary to it in 2017: Ex Libris.