Music / Opera

Year: 1966.

Size: 25 x 37 7/8 in./63.5 x 96.2 cm

Eula was a good friend of Bobby Short, so much so that he designed the invitations for the cabaret star’s 80th birthday party not to long ago. Here, he creates a vivacious and dynamic image of the entertainer’s stint at New York’s popular Living Room.

Year: 1965.

Size: 25 x 38 1/8 inches

While best known for his fashion plates, Eula also created a variety of nightlife and concert images. Here, he depicts the legendary Supremes for their sold-out show at Lincoln Center.

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: 1966

Size: 33 x 47 in./83.8 x 119.4 cm

Year: 1976.

Size: 30 x 45 inches

In Israel, the land where David sang on his harp, Reisinger's abstraction of the instrument being played is another example of his ability to distill an idea to abstraction without losing any meaning. Dan Reisinger is Israel's top graphic artist. He established his own design studio in Tel Aviv in 1961 and began a prolific career as a poster artist and painter. In step with his country's dynamic development, Reisinger's design activities have expanded to include corporate entities, packaging, sign systems, supergraphics, exhibition and environmental design.

Year: 1973

Size: 24 x 33 inches

This poster advertises the Japanese electronics manufacturer Sansui's QS Vario Matrix. "Sansui developed the QS Regular Matrix system, which made it possible to transmit four channel Quadraphonic sound from a standard LP. The channel separation was only 3 dB, but because of the human way of hearing it sounded relatively good. In 1973, Sansui introduced the more advanced QS Vario Matrix decoder with 20 dB separation." - Wikipedia

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: 1968

Size: 23 x 37 inches

In this announcement for a concert at Lincoln Center's Philharmonic Hall, Glaser's stylized portrait of the revered rock-and-roll singer features his trademark wide smile and his name on the diagonal over his dark shades. Glaser also created a poster for jazz musician Masakela's solo appearance at Philharmonic Hall around the same time.

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: 1991.

Size: 24 x 36 inches

Rarely has Cubism looked so engaging as in this image of a cello fellow bowing away—the fifth and final poster in Glaser’s TDK-sponsored series for Juilliard. The artist loves music, loves educational institutions, loves the shape of the cello—and it all shows

Year: 1969.

Size: 46 3/4 x 33 inches

Year: 1930

Size: 31 3/8 x 46 1/2 in./79.7 x 118 cm

Condition: A

This archetype of high Art Deco was created for the 1930 opening of an operetta by Manuel Rosenthal which involved intrigues in the silk department of a clothing store. Most of the design is black and white, but some of the lengths of fabric hanging from the figure’s arm are tinged with the most exquisitely pale shades of pink and yellow. Dufrène also created the operetta’s sets and costumes.

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: 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: 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: 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.

Year: 1984.

Size: 24 x 36 in./60.9 x 91.4 cm

To celebrate the 30th anniversary of this cultural institution, Glaser creates music and dance incarnate: A colorful headless figure, its torso formed by a cello, casts a lyrical shadow on the stage.