Milton Glaser

Year: 1983.

Size: 24 x 36 inches

Glaser places his haunting image over a quote celebrating the snow leopard's magnificent nature. Barely tamed by the art of the portrait, the vibrant colors evoke the cat's glowing eyes and fiery freedom.

Year: 1987.

Size: 23 x 36 inches

Although most of Glaser's posters are for cultural events or institutions, this commission was occasioned by the bicentennial of the United States Constitution. A blocky profile of blind justice dominates the design. The panel below it has a vague flavor of Grecian columns, suggesting classical virtues and Parthenon-style courthouse architecture.

Year: 1967.

Size: 25 x 38 inches

Glaser has remarked that the way he illustrated the well-known folk-rock composer-singers here was, in a reverse of the usual process, influenced by the appearance of the typeface he used-his own "Babyfat" alphabet.

Year: 1982.

Size: 24 x 46 inches

Glaser represented the illustrator's twin talents through a series of signing hands with a stylized eye drawn in each palm. Against the black background, the rainbow striations of color vibrate and shimmer.

Year: 1979.

Size: 30 x 45 inches

Glaser has been on the teaching faculty and board of directors of the School of Visual Arts in New York City since 1961.

Year: 1972.

Size: 24 x 37 inches

In a witty riff on the well-known Thomas Gainsborough portrait, Glaser portrays this pop-rock group responsible for such hits as "Do You Believe in Magic" and "Summer In The City" as a quartet of Blue Boys with their eponymous spoons instead of heads.

Year: 1983

Size: 24 x 36 inches

A suit-and-sandal clad bear heralds this Pacific Coast event with a serenade at dusk. Several favorite Glaserisms show up here: the swirling contours, the loose cross-hatching and the sax.

Year: 1983.

Size: 24 x 36 inches

Glaser titles this pastel-colored mini-movie "Mozart Sneezes." The irreverent nine-frame sequence captures the bad-boy genius of Leipzig in a personal, nonmusical moment. Truly inspired.

Year: 1989.

Size: 24 x 36 inches

A handsomely-colored contemporary harlequin announces the anniversary season of this prestigious theater company in New Haven, Connecticut.

Author: Milton Glaser, Mirko Ilic. Foreword by Tony Kushner.

Year: 2017

Size: 9 1/4 x 11 in. / 23.5 x 28 cm. Softcover.

This is the "Expanded Edition" of 2017 with more than 300 illustrations of "socially and politically driven graphics" from 1990's to 2017. 296 pages.

Year: 1980.

Size: 30 x 45 inches

Using a theme line created by Sony's adverting agency at the time, Glaser designs a shell-shaped ear in glorious colors to suggest the rich aural experience of listening to Sony audio tape. Its background: the profile of a 19th-century listener silhouetted against music notation paper. The poster pleased sufficiently to earn Glaser a follow-up commission in 1981.

Year: 1981

Size: 24 x 36 inches

The poster for the inaugural season of this event focuses on the opening work: the American premiere of Aribert Reimann's Lear directed by Jean-Pierre Ponnelle. Glaser's profile of the raging king is lit by the hellish fire in his eye—the face of his daughter Cordelia who he thinks has betrayed him. Type placed on the diagonal echoes the contours of the emotional design.

Year: 1972

Size: 24 x 37 inches

Glaser's relationship with the Russian Tea Room, a landmark haunt next to New York's Carnegie Hall, began when owner Faith Gordon Stewart asked him to redesign the restaurant's logo and menus. A memorable program of graphic communications followed. This example celebrates the arrival of the Newport Jazz Festival-a summer series of jazz concerts, originally held in Newport, Rhode Island, that moved its venue to New York City around this time. Against a background of psychedelically-striped and checked candy pastels, the silhouetted figure of a Russian Cossack pours vodka into the throat of a saxophone to lubricate the player's performance.

Year: 1992.

Size: 27 x 39 inches

In keeping with its aims of supporting and fostering the appreciation of contemporary graphics while celebrating the lithographic traditions from which these designs sprung, Poster Auctions International commissioned a series of original poster designs to commemorate their twice-yealy sales from 1992 through 1997, at which point economic realities prevailed over artistic sentiments. The participating graphic artists comprise a who's who of the world's most-distinguished posterists, and each poster is a limited-edition of 200 numbered copies-all hand-signed-on special stock. Note that the design was also printed in an edition on regular stock to be pasted on the walls of Manhattan prior to each sale. The fact that these posters were papered over or torn down only days after they went up is another reason why these are so rare. Glaser focuses on the art of seeing with this design of a witty face in profile. The bright eye focuses our attention and suggests the visual treasures to be had.

Year: 1968.

Size: 24 x 37 inches

Poppy was an unconventional '60s record company that Glaser had introduced with an image of a bright flower breaking through a stone monolith. Ironically, the company was so successful that it was ultimately sold to one of the established big companies it had positioned itself against. For this almost free concert of poppy recording artists (Townes Van Zandt, The Mandrake, Dick Gregory) taking place on Thanksgiving Eve at New York's Carnegie Hall ("$2.50-first come, first served"), Glaser continued the poppy motif with an engaging blossom-brained gobbler. The typeface-Neo-Futura-a stencil variation on the classic Bauhaus Futura alphabet-is only one of the many that he has created.

Year: 1982.

Size: 24 x 36 inches

In this exhibition poster for a retrospective of the Impressionist master’s works, much of the paper is unused, the upper part of the face is in shadow and the lower part is obscured by a beard—yet the image is definitive. Writing about a drawing of Whitman, Glaser notes, "Over a period of years I discovered that my best portraits

Year: 1990.

Size: 24 x 36 inches

Beginning in 1987, the audio-tape manufacturer TDK underwrote a series of annual posters for the Juilliard School of Music at New York’s Lincoln Center. Glaser has designed them all. Here, in the fourth, the lightning power of music brings a carefully-painted Dutch floral still life into three-dimensional bloom.