Sergio García Sánchez is a cartoonist, illustrator and professor at the University of Granada, as well as co-author of the graphic novel “Lost in NYC: A Subway Adventure.”
For The New Yorker’s ninety-sixth anniversary, Sergio García Sánchez draws the magazine’s trademark dandy, Eustace Tilley, masked and with a vaccine dose in hand. We also see scenes of pandemic life, and the contours of a city waiting to reëmerge.
“With masks, social distancing, and vaccines, we’ll slowly recover life in the city,” Sánchez told us. “The chance encounters with people of all cultures; the thrill of eating outside at any hour. The city is a container for so many stories, and soon they’ll be out in the open again.”
This is Sánchez’s début cover, but he isn’t the first to reimagine our mascot. When Rea Irvin, the magazine’s inaugural art editor, drew a Regency dandy for the first issue, in February, 1925, he likely wanted readers to laugh—this self-serious gentleman was a caricature of the dour, bourgeois old guard. A year later, to celebrate The New Yorker still being afloat, Irvin and the magazine’s editor, Harold Ross, decided to republish the cover, establishing an anniversary tradition that endures to this day. Tilley, of course, has changed with the times, and we’ve collected, below, a few of the ways in which artists have remade him.
Dartmoor’s Baskerville Hall is one of the most famous country houses in English fiction. The arrival at its doors of Dr Watson, in the company of Sir Henry Baskerville, is a vivid piece of cinematic direction, artfully combining the Gothic horror tale with the more modern taste for detective thrillers.
Passing a ruined black-granite lodge, Watson and Baskerville go through the gates that are ‘a maze of fantastic tracery in wrought iron’ before reaching an avenue where ‘old trees shot their branches in a sombre tunnel’. The hall is a ‘heavy block’, with a projecting porch, its façade ‘draped in ivy’ within which the odd window or heraldic display can be seen.
Step inside the eye-popping studio of Icelandic illustrator Kristjana S. Williams. Kristjana’s work blends traditional Victorian engravings with digital collage techniques to create layered landscapes full of hidden details. Here, we see a sneak preview of her latest V&A commission: creating a series of original illustrations for a new book, accompanying the exhibition Alice: Curiouser and Curiouser.
The website is about the work of the designer, writer and illustrator Peter Campbell (1937‑2011). The intention is to present an archive of Peter’s illustration, design and editorial work, as well as occasional selections from his writing.
When asked what he did for a living, Peter would usually say he was a designer, or, a typographer. Designing for print – books, exhibition catalogues, magazines, posters – took up the most substantial part of his time, at the BBC in the 1960s and 1970s and thereafter as a freelance. He was also an illustrator, a journalist, an author of children’s books, an editor and a publisher. The great range of his professional work, and his encompassing interest in the work of others, made him a collaborator sought out by writers, publishers and artists.
Diana Souhami, who worked with Peter often, wrote in the Guardian after his death: “He had the ability to conceptualise what each publishing project needed and to get it right. He was hugely and diversely productive, but seldom hit a wrong note.”
Discussing his journalism in her appreciation in the London Review, Mary‑Kay Wilmers wrote: “There are people whom getting a grip doesn’t suit, who don’t want to be confined. One can honour the world in depth or across a wide range and there were few aspects of the world that Peter didn’t wish to honour.”
He probably would have been delighted by – and certainly modestly sceptical of – Alan Bennett’s appraisal, in the posthumous publication of a catalogue of his pictures in Artwork, that he was “an heir to Ardizzone, Bawden and Ravilious.”
Peter Campbell was born in Wellington, New Zealand in 1937. In 1960 he emigrated to London where he lived for the rest of his life. He died in 2011.
While its focus is on familiar backyard birds–blue jays, nuthatches, chickadees–it also examines certain species that can be fairly easily observed, such as the seashore-dwelling Atlantic puffin. David Sibley’s exacting artwork and wide-ranging expertise bring observed behaviors vividly to life.
The bird book for birders and nonbirders alike that will excite and inspire by providing a new and deeper understanding of what common, mostly backyard, birds are doing–and why.
“Can birds smell?” “Is this the same cardinal that was at my feeder last year?” “Do robins ‘hear’ worms?” In What It’s Like to Be a Bird, David Sibley answers the most frequently asked questions about the birds we see most often. This special, large-format volume is geared as much to nonbirders as it is to the out-and-out obsessed, covering more than two hundred species and including more than 330 new illustrations by the author.
And while the text is aimed at adults–including fascinating new scientific research on the myriad ways birds have adapted to environmental changes–it is nontechnical, making it the perfect occasion for parents and grandparents to share their love of birds with young children, who will delight in the big, full-color illustrations of birds in action. Unlike any other book he has written, What It’s Like to Be a Bird is poised to bring a whole new audience to David Sibley’s world of birds.
DAVID ALLEN SIBLEY is the author and illustrator of the series of successful guides to nature that bear his name, including The Sibley Guide to Birds. He has contributed to Smithsonian, Science, The Wilson Journal of Ornithology, Birding, BirdWatching, North American Birds, and The New York Times. He is a recipient of the Roger Tory Peterson Award for Promoting the Cause of Birding from the American Birding Association and the Linnaean Society of New York’s Eisenmann Medal. He lives and birds in Massachusetts.
“God wants, Man dreams, work is born”
Jose Gourmet combs the coasts of Portugal and Spain to find seafood of distinction. They believe in the principles of fair trade, often paying in advance and never negotiating for better pricing. The artwork of Luis Mendonça on the packaging is meant to pay homage to the these fishermen and canneries who rely on manpower and life long dedication to their trade.
Adriano Casal Ribeiro, aircraft pilot, dreamed! The work was born!
JOSE Gourmet was born when Adriano Casal Ribeiro, lived in Macau and dreamed of Portuguese delicacies that he was unable to buy.
Portugal lived written in markets of longing, without shine, and ACR dreamed of selling our country on the front line. Together with his wife, Sofia Almeida Santos, flight attendant, a designer friend, Luís Mendonça, reinvented the iconic products of Portugal!
Canned foods, olive oils, jams, Port wine, cherry and brandy. They chose the best producers in Portugal, encouraged good fair trade practices and created very attractive and sophisticated packaging to sell the best we produce.
They are passionate about human nature and their ability to create, cooperate and involve a society that aims to be more attentive, sustainable, diverse and socially responsible. That was how JOSE GOURMET was born!
From Daikanyama Tsutaya Books in Tokyo to Kosmos Buchsalon in Zurich, Do You Read Me? travels the globe to discover these gems and some of the people behind them, who turn an ordinary trip to the bookstore into an extraordinary experience.
Bookstores are more than just places that sell books. They are focal points of communities, a warm welcome to a city, a place for first-time visitors and longtime residents alike to gather in a shared love of the written word. They are places where time moves a little slower, where customers can get lost in the pages of a book, or enjoy readings, concerts, and events that bring together like-minded individuals with a thirst for knowledge.
Each bookstore is as unique as the diverse customers who frequent them. There are the secret ones tucked away with stacks reaching floor to ceiling; there are minimalist concept stores; there are dazzling book temples. There are ones in apartments, on boats, and in Gothic cathedrals.
Travel writer Marianne Julia Strauss has scoured the globe for the past decade in search of the top bookstores. In Do You Read Me? she has collected a selection of the ones you need to include in your next itinerary.
From an Art Daily online article (March 19, 2020):
“I love eating suits of arms, in fact I love all shell fish… food that only a battle to peel makes it vulnerable to the conquest of our palate.”
This reprint features all 136 recipes over 12 chapters, specially illustrated by Dalí, and organized by meal courses, including aphrodisiacs. The illustrations and recipes are accompanied by Dalí’s extravagant musings on subjects such as dinner conversation: “The jaw is our best tool to grasp philosophical knowledge.”
NEW YORK, NY.- “Les diners de Gala is uniquely devoted to the pleasures of taste … If you are a disciple of one of those calorie-counters who turn the joys of eating into a form of punishment, close this book at once; it is too lively, too aggressive, and far too impertinent for you.”—Salvador Dalí
Food and surrealism make perfect bedfellows: sex and lobsters, collage and cannibalism, the meeting of a swan and a toothbrush on a pastry case. The opulent dinner parties thrown by Salvador Dalí (1904–1989) and his wife and muse, Gala (1894–1982) were the stuff of legend. Luckily for us, Dalí published a cookbook in 1973, Les diners de Gala, which reveals some of the sensual, imaginative, and exotic elements that made up their notorious gatherings.