[KARASZ, Ilonka].
1934 The New Yorker Magazine Cover.
New York: Condé Nast , 1934.
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+$500
Rare 1934 The New Yorker Magazine Cover; Illustrated by Prolific Cover Designer Ilonka Karasz
Original July 1934 edition of The New Yorker magazine cover. Quarto, original illustrated wrappers featuring the main concourse of Grand Central Station in New York City. Illustrated by Ilonka Karasz (1896–1981), who was a Hungarian-American designer, illustrator, and visual artist whose career stands as one of the most expansive and underappreciated in the history of twentieth-century American modernism. Born in Budapest and trained at the Royal Academy of Arts and Crafts - where the reigning aesthetic owed much to the Wiener Werkstätte and where she was among the first women to be admitted - she emigrated to the United States in 1913 at the age of seventeen, settling in Greenwich Village and quickly establishing herself as an influential practitioner of modern art and design. In 1914 she co-founded, with Winold Reiss, the European-American artists' collective Society of Modern Art, and over the subsequent decades her practice expanded to encompass textiles, wallpaper, ceramics, furniture, silverware, and industrial design. She is best known, however, for her long and prolific association with The New Yorker: beginning in 1924 and continuing through 1973, she produced 186 covers for the magazine, many of them featuring animated vignettes of daily life rendered from an elevated perspective and distinguished by unexpected, inventive color combinations. Matted and framed. In near fine condition. The entire piece measures 13.5 inches by 17.5 inches.
The New Yorker is an American weekly magazine founded in 1925 by Harold Ross and his wife Jane Grant, and published continuously ever since - making it one of the most enduring and influential periodicals in the history of American letters. From its inception, the magazine established a distinctive editorial identity rooted in sophisticated humor, rigorous long-form journalism, literary fiction, and cultural criticism, positioning itself as the self-conscious voice of an educated, cosmopolitan readership while maintaining a tone that was witty rather than ponderous. Over its first century it has served as the primary venue of publication for an extraordinary range of writers - among them John Updike, J.D. Salinger, Mavis Gallant, John Cheever, Elizabeth Bishop, James Baldwin, and George Orwell - and its standards of fact-checking and editorial precision have long been regarded as a benchmark for the American publishing industry. Equally significant is its visual identity: the magazine's covers, produced by artists including Ilonka Karasz, Saul Steinberg, Charles Addams, and Art Spiegelman, constitute a sustained and serious body of American graphic art spanning nearly a century. Under successive editors - including William Shawn, whose forty-year stewardship from 1952 to 1987 defined the magazine's postwar character, and later Tina Brown and David Remnick - The New Yorker has navigated considerable cultural and commercial change while maintaining a reputation for editorial seriousness that few publications anywhere in the world have matched.
1934 The New Yorker Magazine Cover.
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