Search Artwork
After you make your selection within one, two, or all three categories for your search, click on FILTER ARTWORK. After each search, click on CLEAR FILTERS. The subject categories below present a small sampling of the many themes Steinberg developed in his long career. The whereabouts of some Steinberg drawings are presently unknown; they are recorded only in reproduction. For these works, publication details are provided.
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“Busti,” Bertoldo, April 27, 1937. “No, dear sir. It’s the other half you were supposed to make.”
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“Arte pura,” Bertoldo, August 27, 1937. “I’m telling you, madame, for my watercolors I use eau de Cologne.”
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“Mobili ultramoderni” (“Ultramodern Furniture”), Bertoldo, November 16, 1937. “This Novecento armchair is super comfortable. You can lie under it and be like a king.”
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“Panorami di Steinberg,” Bertoldo, February 11, 1938.
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“Persiflage from Paris,” Harper’s Bazaar, March 15, 1940, pp. 60
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“Persiflage from Paris,” Harper’s Bazaar, March 15, 1940, pp. 61
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“Disegno con battuta” (“Gag drawing”), Bertoldo, March 8, 1941. “That’s my husband, he has an inferiority complex.”
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“But it is half man and half horse,” The New Yorker, October 25, 1941, Steinberg’s first drawing in the magazine.
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Anti-Fascist cartoon in PM, February 8, 1942.
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Anti-Fascist cartoon in American Mercury, April 1942.
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Anti-Fascist cartoon in Liberty, August 8, 1942.
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Anti-Fascist cartoon in PM, August 23, 1942.
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Drawing in The New Yorker, October 17, 1942
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Painting and collage accompanying article “Who’ll Be Drafted When?” Fortune, November 1942.
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Strada Palas, 1942. Ink, watercolor, and pencil on paper, 14 7/8 x 21 ¾ in. Morgan Library & Museum, New York; Gift of The Saul Steinberg Foundation.
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Anti-Fascist cartoon in PM, February 17, 1943.
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Anti-Fascist cartoon in PM, March 23, 1943.
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Propaganda drawing (Hitler as a two-faced wolf), produced by Morale Operations, OSS, Rome, 1944.
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Drawing in The New Yorker, March 11, 1944.
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Toilet paper produced by Morale Operations, Rome, 1944, with Hitler portrait and instructions “Use This Side.”
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From the “Italy” portfolio, The New Yorker, June 10, 1944.
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Portrait of Bernard Rudofsky, c. 1944. Photostat, 11 ¾ x 8 ¼ in. The Bernard Rudofsky Estate, Vienna.
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Cover of The New Yorker, January 13, 1945.
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Drawing in The New Yorker, February 3, 1945.
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Head, 1945. Ink over pencil on paper, 14 ½ x 23 ¼ in. The Art Institute of Chicago; Gift of The Saul Steinberg Foundation
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Drawing and collage accompanying article “Soap Opera.” Fortune, March 1946.
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Drawing in The New Yorker, April 4, 1946.
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Advertisement for D’Orsay perfume, published in The New Yorker, May 4, 1946.
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Advertisement for D’Orsay Perfume, 1946.
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Drawing in The New Yorker, May 18, 1946.
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Original drawing for The New Yorker, October 12, 1946. Feet on Chair, ink over pencil on paper, 9 1/8 x 9 ¼ in. Private collection.
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Drawing in The New Yorker, December 9, 1946.
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Aldo in Paris, 1946. Ballpoint pen on paper, 12 ½ x 9 ½ in. Collection of Marina Marchesi and Franco Salghetti-Drioli.
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Portrait of Alexander Calder, 1946. Ink on paper, 14 ½ x 11 ½ in. Calder Foundation, New York.
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Sartre, 1946. Pencil on paper, 12 x 9 in. The New York Public Library; Gift of The Saul Steinberg Foundation.
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Views of Paris, 1946-49. Silk textile for Patterson Fabrics. Cooper Hewitt Smithsonian Design Museum, New York; Gift of The Saul Steinberg Foundation.
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Document for Henri Cartier-Bresson, 1947. Ink and collage on paper, 14 3/8 x 11 3/16 in. Fondation Henri Cartier-Bresson, Paris.
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Drawing for mural at Bonwit Teller’s department store, 1947. The Obelisk Rider, 1947. Watercolor and ink on paper, 14 ½ x 23 in. Collection of Carol and Douglas Cohen.
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From the “Berlin” portfolio, The New Yorker, March 29, 1947.
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Cover of Harper’s Bazaar, May 1947. Editorial note: “To symbolize the new French fashions shown in this issue, Steinberg’s four versions of the famous column of the Place Vendôme in Paris.”
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Drawing in The New Yorker, August 9, 1947
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Ruth Nivola, 1947. Ink on paper, 11 x 14 in. The Saul Steinberg Foundation.
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Self-Portrait with Hedda Sterne in Cadillac, 1947. Ink on paper, 11 ½ x 14 3/8 in. The Art Institute of Chicago; Gift of The Saul Steinberg Foundation.
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Drawing, c. 1947. Published in The Art of Living, 1949.
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Detail of the American Export Lines mural, 1948.
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One part of the mural of Cincinnati for the Terrace Plaza Hotel, as installed in the Cincinnati Art Museum, 2007.
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Detail of the mural of Cincinnati for the Terrace Plaza Hotel, 1948. Cincinnati Art Museum.
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Bar with Steinberg’s mural in one of the “Four Aces” ships of the American Export Lines, 1948.
