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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!

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. 

Shadows and water on the surface of the East River, under the Brooklyn Bridge, on the cover of the New Yorker of May 27, 2019 by Malika Favre. The French illustrator and cartoonist based in Barcelona delicately slides a paddle into the shadow of the suspension bridge designed by John Augustis Roegling that links Manhattan to Brooklyn. He has been immortalized many times in the cinema, from "Once upon a time in America" by Sergio Leone to the Lumière brothers, via "Godzilla" and "Cloverfield".

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Summer twilight on the cover of The New Yorker on August 27, 1979. Arthur Getz, who designed more than 200 covers for the New Yorker between 1938 and 1988, captures the city as it literally catches fire, decked out in red as if it were on fire. Getz plays contrasts with the blue shadow that takes over the building's cornices in the foreground, accentuating the feeling of apocalypse and incandescence.

Building cut-outs and dotted reflections in the Central Park lake is the vision of Eugene Mihaesco, a Romanian cartoonist exiled in the United States in the 1960s and author of more than 70 covers for The New Yorker, including the August 18, 1975 cover. He has devoted much of his work to drawing against oppression and for world peace.

Colour magic and couple magic on the fall cover of The New Yorker for November 12, 2018 by Eric Drooker. The brown and red tones of autumn mingle with the blues of the lake water and the facades of the skyscrapers that line Central Park and cut into the evening sky. In the rowboat, the couple of lovers take up the same colour, blue for the rower, red for the red-headed woman on the back, whom they gently walk around. 

Christmas is approaching, under the brushes of Arthur Getz, on the cover of The New Yorker on December 18, 1965. The night sparkles with multiple colours, blue reflections of the night, red of the garlands, yellow of the headlights and the windows of the buildings, green of the puddles on the sidewalks. The night is plural, the work of an artist with an infinite palette, from Soho to Greenwich village, or Chelsea.