Sections

1950

In the March and September issues of Flair, publishes influential inset booklets of “photoworks”—images that combine photography and drawing.

Cover of inset booklet, “Portraits by Steinberg,” Flair (March 1950).
Cover of inset booklet, “Portraits by Steinberg,” Flair (March 1950).
One of the photoworks used in “Portraits by Steinberg,” Flair (March 1950). Gelatin silver print, 9 5/8 x 7 5/8 in. Private collection.
One of the photoworks used in “Portraits by Steinberg,” Flair (March 1950). Gelatin silver print, 9 5/8 x 7 5/8 in. Private collection.
Cover of inset booklet, “The City by Steinberg,” Flair (September 1950).
Cover of inset booklet, “The City by Steinberg,” Flair (September 1950).
One of the photoworks used in “The City by Steinberg,” Flair (September 1950). Later titled Chest of Drawers Cityscape. Gelatin silver print, 9 5/8 x 6 7/8 in. The Saul Steinberg Foundation.
One of the photoworks used in “The City by Steinberg,” Flair (September 1950). Later titled Chest of Drawers Cityscape. Gelatin silver print, 9 5/8 x 6 7/8 in. The Saul Steinberg Foundation.

Summer, is hired to play Gene Kelly’s painting-hand in the film An American in Paris. Goes to Los Angeles with Hedda, rents a house in Brentwood, but walks off the film set on the first day. “They summoned me with great promises of ‘a free hand, do what you want,’ but they turned out to be the usual pricks who make Technicolor musicals, stupid stuff.”

ST and Hedda remain in Los Angeles for the summer, socializing with Kelly, Billy Wilder, Oscar Levant, Igor Stravinsky, Christopher Isherwood, and Charles and Ray Eames. ST makes sketches of the LA scene, which will be published in a New Yorker portfolio “The Coast” (January 27, 1951). “I’m doing a series of drawings on California,” he writes to Aldo Buzzi. “Quite difficult because the reality is too peculiar, as hard to draw as the circus, you must keep making an effort not to fall into clichés.”

Original drawing for the portfolio “The Coast,” The New Yorker, January 27, 1951. Exterminator No. 9, 1950, ink on paper, 14 ½ x 11 ½ in. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Original drawing for the portfolio “The Coast,” The New Yorker, January 27, 1951. Exterminator No. 9, 1950, ink on paper, 14 ½ x 11 ½ in. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Original drawing for the portfolio “The Coast,” The New Yorker, January 27, 1951. Untitled, 1951, ink on paper, 14 ¾ x 11 ¾ in. Private collection.
Original drawing for the portfolio “The Coast,” The New Yorker, January 27, 1951. Untitled, 1951, ink on paper, 14 ¾ x 11 ¾ in. Private collection.
Original drawing for the portfolio “The Coast,” The New Yorker, January 27, 1951. Beverly Hills, 1950, ink on paper, 14 ½ x 23 1/8 in. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Original drawing for the portfolio “The Coast,” The New Yorker, January 27, 1951. Beverly Hills, 1950, ink on paper, 14 ½ x 23 1/8 in. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.

Eames proposes making a movie of an ST drawing (unrealized). ST visits the Eames Office in Venice, California, and adds drawn figures to Eames’s newly designed fiberglass armchairs and other chairs, the first in a series of such works.

Steinberg’s drawings on Eames chairs and on backdrop, Eames Office, Venice, California, 1950.
Steinberg’s drawings on Eames chairs and on backdrop, Eames Office, Venice, California, 1950.
Steinberg drawing on Eames fiberglass armchair, c. 1950-51. Vitra Design Museum, Weil am Rheim.
Steinberg drawing on Eames fiberglass armchair, c. 1950-51. Vitra Design Museum, Weil am Rhein.
Steinberg drawing on Eames fiberglass armchair, c. 1950-51. Vitra Design Museum, Weil am Rheim.
Steinberg drawing on Eames fiberglass armchair, c. 1950-51. Vitra Design Museum, Weil am Rhein.

Returns to New York in early September, via bus to Denver and the Plains states; gambles in Las Vegas. He describes the trip to Aldo Buzzi: “In Las Vegas, in various gambling dens, I won two thousand dollars at the climax of 24 hours of continuous gambling (separately or simultaneously I played roulette, dice, chemin-de-fer, poker, and horse racing)….[Las Vegas] is the freest place in the world, I think. Every house is a casinò [gambling den] or a casino [brothel] or both.”

Gamblers I and II, 1951. Ink, watercolor, and crayon on two sheets of paper, 22 ½ x 14 in. The Art Institute of Chicago; Gift of The Saul Steinberg Foundation.
Gamblers I and II, 1951. Ink, watercolor, and crayon on two sheets of paper, 22 ½ x 14 in. The Art Institute of Chicago; Gift of The Saul Steinberg Foundation.

By December, still in the US Naval Reserve, fears being called up to serve in the Korean War.

1951

February, ST and Hedda leave for an extended trip to Europe. In late March, they are in Palermo and travel in southern Italy. Over the next three months, they travel extensively elsewhere in Italy and also frequent casinos in Monte Carlo and San Remo, among other places. By late June, ST is in Nice visiting his parents.

Monte Carlo, 1951. Collection of Barbara Civita.
Monte Carlo, 1951. Collection of Barbara Civita.
Postcard of Monte Carlo from Steinberg’s collection, c. 1950. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University
Postcard of Monte Carlo from Steinberg’s collection, c. 1950. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University

Date of one of his most oft-reproduced drawings on Italian subjects, the famous 19th-century Galleria Vittorio Emanuele II in Milan.

Galleria di Milano, 1951. Ink and watercolor on paper, 23 x 14 ½ in. Private collection.
Galleria di Milano, 1951. Ink and watercolor on paper, 23 x 14 ½ in. Private collection.
Photo of Steinberg in the Galleria di Milano, published in Settimo Giorno, September 23, 1954. From newspaper clipping in the Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Steinberg in the Galleria Vittorio Emanuele, c. 1951.

April-May, solo exhibition at the Galleria L’Obelisco, Rome.

Cover of the brochure for Steinberg’s exhibition at the Galleria L’Obelisco, Rome, 1951.
Cover of the brochure for Steinberg’s exhibition at the Galleria L’Obelisco, Rome, 1951.

July, travels in England, Scotland, and Ireland; late August, returns to New York.

Page from a sketchbook, Ireland, 1951. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Page from a sketchbook, Ireland, 1951. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.

October 3, in Washington, DC, still trying to avoid call-up for the Korean War: “I fear—they want me back in uniform. But I’m putting up a fight.”

November-December, Peter Watson, founder of the Institute of Contemporary Arts, London, discusses the possibility of an ST exhibition with Roland Penrose and Herbert Read.

December 6, death of New Yorker editor Harold Ross. William Shawn succeeds him.

In Florida and the South doing general pictorial research for New Yorker drawings.

Untitled [Florida Types], 1952. Ink and collage on paper, 30 x 24 in. The Art Institute of Chicago; Gift of The Saul Steinberg Foundation.
Untitled [Florida Types], 1952. Ink and collage on paper, 30 x 24 in. The Art Institute of Chicago; Gift of The Saul Steinberg Foundation.

1952

January 10, signs first contract with Hallmark for a series of annual Christmas and Valentine’s Day cards; is paid $10,000/year. Unlike the earlier Museum of Modern Art cards, Hallmark’s are in color.

Two Christmas cards for Hallmark, 1952 or later. The Saul Steinberg Foundation.

Two Christmas cards for Hallmark, 1952 or later. The Saul Steinberg Foundation.
Two Christmas cards for Hallmark, 1952 or later. The Saul Steinberg Foundation.

Mid-January, in Palm Beach, Florida, for pictorial research for a LIFE magazine article on Palm Beach.

One of Steinberg’s drawings for Cleveland Amory’s article “Palm Beach,” LIFE, January 21, 1952. Steinberg added his own commentaries. This one reads: “The resort’s formidable hostesses lean toward ‘Early Bastardian Spanish’ architecture.”
One of Steinberg’s drawings for Cleveland Amory’s article “Palm Beach,” LIFE, January 21, 1952. Steinberg added his own commentaries. This one reads: “The resort’s formidable hostesses lean toward ‘Early Bastardian Spanish’ architecture.”

Late January, ST and Hedda move into two floors of a brownstone owned by Frederick Stafford (formerly Stern), Hedda’s first husband, at 179 East 71st. ST rents space above as a studio. Stafford eventually transfers title of the building to Hedda, who receives rental income from two other apartments for the rest of her life.

Steinberg in the backyard of 179 East 71st St., c. 1954. Photo by Evelyn Hofer. © Estate of Evelyn Hofer.
Steinberg in the backyard of 179 East 71st St., c. 1954. Photo by Evelyn Hofer. © Estate of Evelyn Hofer.
Hedda Sterne in the backyard of 179 East 71st St., c. 1954. Photo by Evelyn Hofer. © Estate of Evelyn Hofer.
Hedda Sterne in the backyard of 179 East 71st St., c. 1954. Photo by Evelyn Hofer. © Estate of Evelyn Hofer.

January-February, solo exhibition at the Betty Parsons Gallery and Sidney Janis Gallery, New York; the first of the joint exhibitions the two galleries will mount (through 1976). The Parsons-Janis show initiates a three-year series of exhibitions in the US, South America, and Europe that will give ST wide national and international exposure, among them, shows at the Institute of Contemporary Arts, London, and the Museu de Arte de São Paulo. The Metropolitan Museum of Art prepurchases the 11-part drawing Parade from the Parsons segment of the show.

Annoucement card for Steinberg’s show at the Betty Parsons and Sidney Janis galleries, New York, 1952.
Annoucement card for Steinberg’s show at the Betty Parsons and Sidney Janis galleries, New York, 1952.

Three panels from Parade, 1950. Ink, wash, crayon, gold paper on paper, 14 9/16 x 23 1/16 each. The Metrpolitan Museum of Art, New York; Purchase, Elihu Root, Jr. Gift and Rogers Fund.

Three panels from Parade, 1950. Ink, wash, crayon, gold paper on paper, 14 9/16 x 23 1/16 each. The Metrpolitan Museum of Art, New York; Purchase, Elihu Root, Jr. Gift and Rogers Fund.

Three panels from Parade, 1950. Ink, wash, crayon, gold paper on paper, 14 9/16 x 23 1/16 each. The Metropolitan Museum of Art, New York; Purchase, Elihu Root, Jr. Gift and Rogers Fund.
Three panels from Parade, 1950. Ink, wash, crayon, gold paper on paper, 14 9/16 x 23 1/16 each. The Metropolitan Museum of Art, New York; Purchase, Elihu Root, Jr. Gift and Rogers Fund.

March, ST and Sterne have simultaneous solo exhibitions at Gump’s Gallery, San Francisco.

Late April, sails to London for the May 1 opening of his show at the Institute of Contemporary Arts. On the occasion of the exhibition, the BBC produces a film, “Coast to Coast,” with the camera moving across and closing in on a series of ST drawings, accompanied by American jazz, marching, and Western/cowboy music.

Travels by train through England sketching Victorian structures, railway stations, and pavilions.

Two pages from a 1952 sketchbook with drawings of Brighton, England. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.

Two pages from a 1952 sketchbook with drawings of Brighton, England. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Two pages from a 1952 sketchbook with drawings of Brighton, England. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Untitled (Ironwork Pier), c. 1952. Ink on paper, 23 x 29 in. The Saul Steinberg Foundation. A pastiche of architecture seen in Brighton and Eastbourne.
Untitled (Ironwork Pier), c. 1952. Ink on paper, 23 x 29 in. The Saul Steinberg Foundation. A pastiche of architecture seen in Brighton and Eastbourne.

By May 3 is in Paris, then on to Nice for six-day stay, a brief trip to Rome, then back to Paris by the middle of the month. Returns to London on May 20; sets sail for New York on the 28th.

July, goes to Chicago to cover the Democratic and Republican presidential conventions for The New Yorker. Produces no drawings of the conventions, but fills a sketchbook with verbal and pictorial notations about Chicago domestic and commercial architecture.

Two pages from a 1952 Chicago sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.

Two pages from a 1952 Chicago sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Two pages from a 1952 Chicago sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Chicago, 1952. Ink, crayon, watercolor, and foil collage on paper, 14 ½ x 23 in. The Saul Steinberg Foundation.
Chicago, 1952. Ink, crayon, watercolor, and foil collage on paper, 14 ½ x 23 in. The Saul Steinberg Foundation.

September 9, flies to Rio with Hedda; they spend time there and in Buenos Aires before going to São Paulo for the opening of their respective exhibitions at the Museu de Arte on September 18. They visit with museum director Pietro Maria Bardi and his wife, architect Lina Bo Bardi, whom ST had known in Milan.

Steinberg and Sterne arriving at the airport in São Paulo, for their shows at the Museu de Arte, São Paulo, September, 1952. Archives, Museu de Arte, São Paulo.
Steinberg and Sterne arriving at the airport in São Paulo, for their shows at the Museu de Arte, São Paulo, September, 1952. Archives, Museu de Arte, São Paulo.
Sterne, Steinberg, Robert Burle Marx, and Lina Bo Bardi, in the Retiro dos Bandeirantes, Rio, September, 1952.
Sterne, Steinberg, Robert Burle Marx, and Lina Bo Bardi, in the Retiro dos Bandeirantes, Rio, September, 1952.
Installation of Steinberg’s show at the Museu de Arte, São Paulo, September,1952. Archives, Museu de Arte, São Paulo.
Installation of Steinberg’s show at the Museu de Arte, São Paulo, September, 1952. Archives, Museu de Arte, São Paulo.
Invitation to Steinberg’s 1952 exhibition at the Museu de Arte, São Paulo.
Invitation to Steinberg’s 1952 exhibition at the Museu de Arte, São Paulo.

After three weeks in São Paulo as well as Rio and Buenos Aires, Hedda returns to New York. ST journeys in Brazil, visiting Recife, Belém, and Manaus, among other places. October 21, returns to New York.

Grand Hotel Belém, 1952. Ink, crayon, and pencil on paper, 14 ½ x 23 in. Victoria and Albert Museum, London; Gift of The Saul Steinberg Foundation.
Grand Hotel Belém, 1952. Ink, crayon, and pencil on paper, 14 ½ x 23 in. Victoria and Albert Museum, London; Gift of The Saul Steinberg Foundation.
Pernambuco (Recife), 1952. Blue ballpoint pen on paper, 23 x 29 in. The Saul Steinberg Foundation.
Pernambuco (Recife), 1952. Blue ballpoint pen on paper, 23 x 29 in. The Saul Steinberg Foundation.

1953

January, trip to the southern US; January 27, returns to New York from Charleston, South Carolina.

From Charleston to N.Y. by train, Jan 27, 1953. Page from a sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
From Charleston to N.Y. by train, Jan 27, 1953. Page from a sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.

March 1, flies to Paris to work on his show at the Galerie Maeght, his first transatlantic flight. Goes first to Nice; by early April in Rome to meet with Hedda, who is preparing her show at the Galleria L’Obelisco; then back to Paris.

April 17, opening of his first exhibition at the Galerie Maeght, Paris; Maeght will continue to represent ST in France into the 1980s. The Maeght show, with substitutions for sold works, goes to the Stedelijk Museum, Amsterdam, later in the year and makes at least six stops in Germany and Switzerland in 1954-early 1955.

May, trips to Athens and Istanbul; early June, files to Rome and then Paris. June 14, flies back to New York.

Athens, May 27, 1953. Page from a sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Athens, May 27, 1953. Page from a sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Athens, 1953. Drawing based on sketchbook study. Ink on paper, 14 ½ x 23 in. Smart Museum of Art, Chicago; Gift of The Saul Steinberg Foundation.
Athens, 1953. Drawing based on sketchbook study. Ink on paper, 14 ½ x 23 in. Smart Museum of Art, Chicago; Gift of The Saul Steinberg Foundation.
Istanbul, May 24, 1953. Page from a sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Istanbul, May 24, 1953. Page from a sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.

Provides drawings for a TV commercial for Jell-O Instant Pudding, commissioned by the Young & Rubicam advertising agency and directed by Gene Deitch.

Frame from "Busy Day," a TV commercial for Jell-O Instant Pudding by Gene Deitch, commissioned by Young & Rubicam, 1953.
Frame from “Busy Day,” a TV commercial for Jell-O Instant Pudding by Gene Deitch, commissioned by Young & Rubicam, 1953.

November 27, “Drawings by Steinberg” opens at the Virginia Museum of Fine Arts, Richmond. The show, with works from or similar to the 1952 Parsons-Janis exhibition, is then circulated to other museums in Virginia and, by the American Federation of Arts from July 1955 through May 1956, to nine venues throughout the US.

December 28, Aldo Buzzi arrives in New York for a three-month visit.

Steinberg and Aldo Buzzi in front of Steinberg’s home on East 71st Street, New York, 1953-54. Photo by Hedda Sterne. Collection of Marina Marchesi and Franco Salghetti-Drioli.
Steinberg and Aldo Buzzi in front of Steinberg’s home on East 71st Street, New York, 1953-54. Photo by Hedda Sterne. Collection of Marina Marchesi and Franco Salghetti-Drioli.

1954

February 8, ST and Buzzi begin a hectic two-week trip to the American South, stopping at 28 towns in Virginia and the Carolinas as well as the Civil War battlefield of Gettysburg. The sketches made on this and similar trips form the basis for finished drawings.

Gettysburg. Page from a 1954 sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Gettysburg. Page from a 1954 sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Greensboro N.C. Page from a 1954 sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Greensboro N.C. Page from a 1954 sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Columbia S.C. Page from a 1954 sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Columbia S.C. Page from a 1954 sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
North Carolina, 1955. Ink and watercolor on paper, 14 ¾ x 23 1/8 in. Private collection.
North Carolina, 1955. Ink and watercolor on paper, 14 ¾ x 23 1/8 in. Private collection.

Buzzi will later publish his account of this trip as Piccolo diario americano (1974), with 15 drawings by ST.

Untitled, c. 1954. Ink on paper, 9 x 12 5/8 in. Published in Aldo Buzzi, Piccolo diario americano, 1974. Collection of Marina Marchesi and Franco Salghetti-Drioli.
Untitled, c. 1954. Ink on paper, 9 x 12 5/8 in. Published in Aldo Buzzi, Piccolo diario americano, 1974. Collection of Marina Marchesi and Franco Salghetti-Drioli.
Untitled, c. 1954. Ink on paper, 8 ¾ x 11 in. Published in Aldo Buzzi, Piccolo diario americano, 1974. Collection of Marina Marchesi and Franco Salghetti-Drioli.
Untitled, c. 1954. Ink on paper, 8 ¾ x 11 in. Published in Aldo Buzzi, Piccolo diario americano, 1974. Collection of Marina Marchesi and Franco Salghetti-Drioli.

May 18, by train to Milwaukee to travel with the Milwaukee Braves baseball team on assignment for LIFE magazine. Stays in several Midwest cities and describes the assignment as “an excellent pretext for visiting unattractive parts of town.” The baseball drawings are published the following summer in a full-color feature in LIFE, “Steinberg at the Bat,” July 11, 1955. This is ST’s first exposure to baseball; he concludes that the game is “an allegorical play about America.”

From “Steinberg at the Bat,” LIFE, July 11, 1955.
From “Steinberg at the Bat,” LIFE, July 11, 1955.
From “Steinberg at the Bat,” LIFE, July 11, 1955.
From “Steinberg at the Bat,” LIFE, July 11, 1955.

July, stays with New York City Ballet choreographer Jerome Robbins in Stonington, Connecticut.

July 15, honorable discharge from the US Naval Reserve with the rank of lieutenant.

Invited by architect Ernesto Rogers of the firm BBPR to design the sgraffito murals for the “Children’s Labyrinth” at the 10th Triennial of Milan.

August, in Milan to oversee the production of his four drawings for the “Children’s Labyrinth”; using enlarged photographs of the drawings, a team of assistants incises the lines into the walls. ST adds a few new sections himself.

“Children’s Labyrinth” at the 10th Milan Triennial, 1954. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
“Children’s Labyrinth” at the 10th Milan Triennial, 1954. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Assistants preparing to incise lines for The Line in the “Children’s Labyrinth.”
Steinberg adding the Castello Sforzesco to the wall of the “Children’s Labyrinth,” August 1954. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Steinberg adding the Castello Sforzesco to the wall of the “Children’s Labyrinth,” August 1954. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Wall of the “Children’s Labyrinth” with a section of The Line. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Wall of the “Children’s Labyrinth” with a section of The Line. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Wall of the “Children’s Labyrinth” with a section of Types of Architecture. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Wall of the “Children’s Labyrinth” with a section of Types of Architecture. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.

Director Alberto Lattuada enlists ST as an extra in a scene shot near the Galleria of Milan for his film Scuola elementare (Elementary School).

Frame from Alberto Lattuada’s film <em>Scuola elementare (Elementary School)</em>, with Steinberg, at right, as an extra in the Galleria of Milan.
Frame from Alberto Lattuada’s film Scuola elementare (Elementary School), with Steinberg, at right, as an extra in the Galleria of Milan.

Goes to Nice and Paris, then spends about ten days in London. September 23, flies back to New York.

October, publication of The Passport, his third compilation of drawings. Also published this year, Steinberg’s Umgang mit Menschen, a German anthology of drawings from The Passport and his two earlier books.

Spends Christmas with Alexander Calder and his family in Roxbury, Connecticut. In a later drawing, recalls seeing Calder dancing with a Labrador.

Ex-voto with Alexander Calder, 1983. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.The caption reads: “Xmas 1954. Sandy Calder dances with a Labrador. I too want to dance with that dog. After a few seconds he looks at me—not like a dog—then a very low growl. OK OK I say and let him go. He had just said: Not with you Mac!”
Ex-voto with Alexander Calder, 1983. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University. The caption reads: “Xmas 1954. Sandy Calder dances with a Labrador. I too want to dance with that dog. After a few seconds he looks at me—not like a dog—then a very low growl. OK OK I say and let him go. He had just said: Not with you Mac!”

1955

January 8-13, trip to the southern US; visits Oxford and Vicksburg, Mississippi; Memphis, Tennessee; Birmingham, Alabama; St. Petersburg and Tampa, Florida.

Beale St. Memphis. Page from a 1955 sketchook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Beale St. Memphis. Page from a 1955 sketchook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Vicksburg. Page from a 1955 sketchook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Vicksburg. Page from a 1955 sketchook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.

March 2, to Boston for the installation of his exhibition at Harvard’s Graduate School of Design, Robinson Hall, “Steinberg: De Architectura,” organized by José Luis Sert; first exhibition to focus on architectural themes in Steinberg’s work.

March 15, arrives in Paris; March 23, flies to Rome, then by train to Tortoreto to see the villa in which he was interned as an undesirable in 1941. “What I wanted in Tortoreto was to give myself a proof of maturity or courage… The truth is I ran away as soon as I looked at the [villa].”

For the next two weeks, travels through Italy; visits Ada Ongari, his old girlfriend in Milan, who is not in good health.

By April 7 in Nice to visit parents; back in Paris by April 11; Hedda arrives from New York on May 3.

Moritz and Rosa Steinberg, c. 1955. Collection of Daniela Roman.
Moritz and Rosa Steinberg, c. 1955. Collection of Daniela Roman.

Hedda leaves in mid-June for Wellfleet, Massachusetts, to spend the summer; ST returns to New York on July 10, then goes on to Wellfleet.

Returns to New York on September 9.

Panoramic drawing for the opening credits to Alfred Hitchcock’s film The Trouble with Harry. ST tells Aldo Buzzi that “Hitchcock showed up and begged me to make this drawing, which he considered very important: he feared that the public would be repelled by the sight of a corpse (oh, the good old days!). So I made a drawing for the opening sequence, which I’d call morto divertente”—“entertaining corpse,” a play on molto divertente, “very entertaining.”

 Opening credits for Alfred Hitchcock’s The Trouble with Harry, 1955.
Opening credits for Alfred Hitchcock’s The Trouble with Harry, 1955.
 Opening credits for Alfred Hitchcock’s The Trouble with Harry, 1955.
Opening credits for Alfred Hitchcock’s The Trouble with Harry, 1955.

1956

February 14, flies to Russia on assignment for The New Yorker; stopovers in Paris, Stockholm, and Helsinki; arrives in Leningrad, February 18. Spends five weeks in Russia, traveling to Moscow, Kiev, Odessa, Tbilisi, Kharkov, Samarkand, Tashkent. Fills sketchbooks with drawings and also takes photographs. The trip results in two portfolios of drawings, published in The New Yorker, May 12 and June 9, 1956.

Steinberg in Russia, possibly Moscow, 1956. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Steinberg in Russia, possibly Moscow, 1956. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Page from “Samarkand, U.S.S.R.,” The New Yorker, May 12, 1956.
Page from “Samarkand, U.S.S.R.,” The New Yorker, May 12, 1956.
Page from “Winter in Moscow,” The New Yorker, June 9, 1956.
Page from “Winter in Moscow,” The New Yorker, June 9, 1956.
Page from Moscow sketchbook, 1956. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Page from Moscow sketchbook, 1956. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Page from “Winter in Moscow,” The New Yorker, June 9, 1956.
Page from “Winter in Moscow,” The New Yorker, June 9, 1956.
Kharkov, March 7, 1956. Page from a Russia sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Kharkov, March 7, 1956. Page from a Russia sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Tashkent. Page from a Russia sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Tashkent. Page from a Russia sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Probably Kazakhstan. Page from a Russia sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Probably Kazakhstan. Page from a Russia sketchbook. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.

March 6, premier of Jerome Robbins’s ballet The Concert, at the New York City Ballet, with backdrop by ST; for a revision of the ballet at the Festival of Two Worlds in Spoleto, Italy, 1958, ST creates a new backdrop.

Steinberg’s backdrop for Jerome Robbins’s ballet The Concert, New York City Ballet, March 1956.
Steinberg’s backdrop for Jerome Robbins’s ballet The Concert, New York City Ballet, March 1956.

Summer, ST and Hedda make a cross-country road trip, spending time in Alaska (Anchorage, Ketchikan, Juneau, and Fairbanks); they return in mid-August and go to Wellfleet, Massachusetts, till the end of the month.

Publication of Dessins by Gallimard, a French compilation from ST’s three previous books of drawings.

1957

March, ST and Hedda leave for an extended trip to France, Italy, and Spain. After visiting his parents in Nice, they drive south through Italy, arriving in Rome in early April.

May, in Spain—Granada, Madrid, San Sebastián, and other seaside resorts. But he tires of playing the tourist, writing to Aldo Buzzi, “The big tour of Europe was a mistake. I’m still thinking of spending a year in Italy.”

Page from a sketchbook, Spain, 1957. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Page from a sketchbook, Spain, 1957. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Page from a sketchbook, Spain, 1957. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Page from a sketchbook, Spain, 1957. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.

June, ST and Hedda return to New York; by August they are in Wellfleet.

August 26, receives a telegram from his mother in Nice that his sister, Lica Roman, brother-in-law, Ilie (Rica) Roman, and their two children, Stéphane and Daniela, have secured permission to leave Bucharest with visas for Israel. Around September 1, ST flies to Italy.

Steinberg’s sister, Lica Roman, in Bucharest, c. 1955. Collection of Daniela Roman.
Steinberg’s sister, Lica Roman, in Bucharest, c. 1955. Collection of Daniela Roman.

The Romans arrive in Vienna, then travel by train to Genoa, where ST meets them on September 5. He now has to secure French visas for them before September 16, when they are scheduled to leave for Israel. Through many phone calls and cables, he calls in favors and manages to get the visas in time. By September 12, they are all in Nice, reunited with the parents. ST now supports six people.

September, begins correspondence with his friend, the architect, interior designer, and author Bernard Rudofsky, about a monumental mural commission for the US Pavilion at the 1958 Brussels World’s Fair. Rudofsky, along with his partner Peter G. Harnden, are the architects for the interior exhibitions. Mid-December, accepts the commission.

1958

January, begins working on Brussels mural commission, now titled The Americans—8 themed sections, 10 feet high and 240 feet in total length.

February 27, sends the first drawings to Bernard Rudofsky.

March, buys a Jaguar with money received for the Brussels mural. It is delivered to him in Brussels and later shipped back to the US.

March 16, arrives in Brussels to work on The Americans. He has made drawings for the backgrounds, which are photographically enlarged and affixed to the 8 sections. He now has to add cutouts, collaged figures, and other elements. The project is beset by technical problems, especially with glue that doesn’t hold. Finds that he has to make 100 more figures than anticipated.

Steinberg at work on The Americans, US Pavilion, Brussels World’s Fair, March-April, 1958.
Steinberg at work on The Americans, US Pavilion, Brussels World’s Fair, March-April, 1958.
Steinberg at work on The Americans, US Pavilion, Brussels World’s Fair, March-April, 1958.
Steinberg at work on The Americans, US Pavilion, Brussels World’s Fair, March-April, 1958.
Installation view of The Americans, US Pavilion, Brussels World’s Fair.
Installation view of The Americans, US Pavilion, Brussels World’s Fair.
Installation view of The Americans, US Pavilion, Brussels World’s Fair.
Installation view of The Americans, US Pavilion, Brussels World’s Fair.
Background drawing for <em>The Road—South and West</em>, 1958. Ink and colored pencil on cardboard, 30 1/8 x 22 1/8 in. Centre Pompidou, Musée national d’art moderne/CCI, París; Gift of The Saul Steinberg Foundation to the American Friends of the Centre Pompidou (2017), gifted to the Centre Pompidou (2022).
Background drawing for The Road—South and West, 1958. Ink and colored pencil on cardboard, 30 1/8 x 22 1/8 in. Centre Pompidou, Musée national d’art moderne/CCI, París; Gift of The Saul Steinberg Foundation to the American Friends of the Centre Pompidou (2017), gifted to the Centre Pompidou (2022).
Background drawing for The Road—South and West, 1958. Ink on paper, 30 x 22 in. Centre Pompidou, Musée national d’art moderne/CCI, París; Gift of The Saul Steinberg Foundation to the American Friends of the Centre Pompidou (2017), gifted to the Centre Pompidou (2022).
Background drawing for The Road—South and West, 1958. Ink on paper, 30 x 22 in. Centre Pompidou, Musée national d’art moderne/CCI, París; Gift of The Saul Steinberg Foundation to the American Friends of the Centre Pompidou (2017), gifted to the Centre Pompidou (2022).
The Road—South and West, from The Americans, 1958. Brussels, Musée Royaux des Beaux-Arts de Belgique.
The Road—South and West, from The Americans, 1958. Brussels, Musée Royaux des Beaux-Arts de Belgique.
Detail from Downtown—Big City, from The Americans, 1958. Brussels, Musée Royaux des Beaux-Arts de Belgique.
Detail from Downtown—Big City, from The Americans, 1958. Brussels, Musée Royaux des Beaux-Arts de Belgique.
Detail from Main Street—Small Town, from The Americans, 1958. Brussels, Musée Royaux des Beaux-Arts de Belgique.
Detail from Main Street—Small Town, from The Americans, 1958. Brussels, Musée Royaux des Beaux-Arts de Belgique.

April 16, the day before the pavilion opens to the public, he drives to Paris; a week later, to Nice to visit parents. Then on to Rome and Milan; leaves on May 12 for another stay in Nice.

May 16, visits Picasso at his villa “La Californie” in Nice. Together, they do four “exquisite corpse” drawings. ST keeps two and frames them. On July 8, he sends Picasso a diploma with faux calligraphy and, in December, a Christmas card.

Exquisite Corpse drawing made with Picasso, May 16, 1958. Crayon and pencil on paper, 10 ¼ x 6 ¾ in. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Exquisite Corpse drawing made with Picasso, May 16, 1958. Crayon and pencil on paper, 10 ¼ x 6 ¾ in. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Exquisite Corpse drawing made with Picasso, May 16, 1958. Ink on paper, 10 ¼ x 6 ¾ in. Private collection.
Exquisite Corpse drawing made with Picasso, May 16, 1958. Ink on paper, 10 ¼ x 6 ¾ in. Private collection.

Back in New York by the end of May.

June 5, first performance of the revised version of Jerome Robbins’s The Concert with new ST backdrop at the Festival of Two Worlds, Spoleto, directed by Gian Carlo Menotti.

Steinberg’s revised backdrop for Jerome Robbins’s ballet The Concert, 1958, as installed at the festival "The Diaghilev Seasons: Perm-Petersburg-Paris," 2011.
Steinberg’s revised backdrop for Jerome Robbins’s ballet The Concert, 1958, as installed at the festival “The Diaghilev Seasons: Perm-Petersburg-Paris,” 2011.

July 2, ST’s sister and her family move to Paris. His parents remain in Nice.

July, a travel sketchbook records a driving tour through the American South—“Aberdeen, MD, South Hill, VA, Greensboro, NC, Greensville, SC, Chattanooga, Ten., Athens, GA, Motel 119 Toler KY, Middlesboro KY—Belfry—near Williamstown W Va. Uniontown PA.” He writes to Buzzi, “I’ve seen poor coal-mining localities in Kentucky and West Virginia. An old America, religion, violence, horrible landscapes, miners living in African villages. Here’s where they ought to make a film.”

Three pages from a sketchbook with drawings of the American South, 1958. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University. Three pages from a sketchbook with drawings of the American South, 1958. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.

Three pages from a sketchbook with drawings of the American South, 1958. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.
Three pages from a sketchbook with drawings of the American South, 1958. Saul Steinberg Papers, Beinecke Rare Book and Manuscript Library, Yale University.

December 1, flies to Copenhagen. Mathematician Piet Hein introduces him to Danish film director Carl Theodore Dreyer. Agrees to contact William Faulkner with Dreyer’s proposal to turn several Faulkner novels into films.

December 9, flies to Hamburg, then goes to Paris by train; December 21, flies back to New York.

Publication of the first, Paris edition of Robert Frank’s photo book Les Américains by Delpire Éditeur, with a cover drawing by Steinberg. In the subsequent US edition, the drawing is replaced by a Frank photo.

Cover of the Paris edition of Robert Frank’s The Americans, published by Delpire Éditeur, 1958.
Cover of the Paris edition of Robert Frank’s The Americans, published by Delpire Éditeur, 1958.

1959

January-February, through his friend, violinist Alexander Schneider, meets photographer Inge Morath, recently arrived in New York.

Makes first paper-bag masks with brown supermarket bags. These are self-portrait masks, which Morath photographs ST wearing in early 1959. In 1961-62, he creates masks of a variety of social types. He and Morath collaborate on a series of photos with people wearing other ST masks—“different people,” she said, “adapting their bodies and gestures to the Steinbergian persona they wore as a mask.”

Mask, 1961-62. Ink over pencil and oil on brown paper bag, 13 x 7 ½ in. The Art Institute of Chicago; Gift of The Saul Steinberg Foundation.
Mask, 1961-62. Ink over pencil and oil on brown paper bag, 13 x 7 ½ in. The Art Institute of Chicago; Gift of The Saul Steinberg Foundation.
Untitled (from the Mask Series with Saul Steinberg), 1962. Photograph by Inge Morath © The Inge Morath Foundation.
Untitled (from the Mask Series with Saul Steinberg), 1962. Photograph by Inge Morath © The Inge Morath Foundation.

January 17, his third New Yorker cover, The Pursuit of Happiness (also known as Prosperity), marks the beginning of his years as a regular cover contributor; it is also the first of his covers with a sociopolitical theme.

Cover of The New Yorker, January 17, 1959.
Cover of The New Yorker, January 17, 1959.

March 13, The Count Ory, a comic opera by Gioachino Rossini, opens at the Juilliard Opera Theater, New York, with backdrops by ST.

Drawing for one of the backdrops for Rossini’s comic opera, The Count Ory at the Juilliard Opera Theater, New York, 1959. Ink, watercolor, and colored pencil on paper, 14 ½ x 23 in. The Saul Steinberg Foundation.
Drawing for one of the backdrops for Rossini’s comic opera, The Count Ory at the Juilliard Opera Theater, New York, 1959. Ink, watercolor, and colored pencil on paper, 14 ½ x 23 in. The Saul Steinberg Foundation.

May 22, completes purchase of house on Old Stone Highway in Springs, within the district of Amagansett, on the eastern end of Long Island. The house is across the road from Costantino and Ruth Nivola, who remain among his closest friends. It will become his refuge from the busy life of New York.

Steinberg’s house in Amagansett. The taller structure at left is the original house purchased in 1959.
Steinberg’s house in Amagansett. The taller structure at left is the original house purchased in 1959.

August, trip to Utah, Nevada, Colorado, Arizona, and Texas by plane, car, train, and bus. Of Las Vegas, he reports: “I’m disgusted. Even the cigarette machines are crooked here. Most of the time they take money & give you nothing.” Describing a visit to cousins in Denver: “They live in a ranch-type house in a block with a ranch-type synagogue.”

Agrees to design full-color calendars for Hallmark instead of Christmas cards. The first one appears in 1960, the last in 1969.

Mailing envelope for Steinberg’s first calendar for Hallmark, 1960.
Mailing envelope for Steinberg’s first calendar for Hallmark, 1960.

Is rereading all of James Joyce, “which now I understand—in part. A great loss of time not to have understood it years ago.”

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