William Steinberg

William Steinberg (August 1, 1899 – May 16, 1978), German-American conductor. Original, vintage, pen and ink, "on-the-spot" illustration by George 'Georges' Krishizki. The hand drawn illustration has been signed by Steinberg and additionally signed, dated and titled by Krishizki: "Georges / 1975 / William Steinberg conducting Symphony No. 103, E-flat major ny J. Haydn."

Steinberg emigrated to the United States in 1938. He conducted a number of concerts with the NBC Symphony Orchestra from 1938 to 1940. Steinberg conducted summer concerts at Lewisohn Stadium in New York (1940–41), led New York Philharmonic concerts in 1943-44, and also conducted at the San Francisco Opera. He became a US citizen in 1944, and was engaged as music director of the Buffalo Philharmonic Orchestra from 1945 to 1952. He is best known for his tenure as music director of the Pittsburgh Symphony Orchestra from 1952 to 1976. Steinberg's Pittsburgh appearances in January 1952 were so impressive that he was quickly both engaged as music director and signed to a contract with Capitol Records. Thereafter Pittsburgh was the center of his activity although he held other important positions. From 1958 to 1960 he also conducted the London Philharmonic Orchestra, but eventually resigned that post because the added workload led to problems with his arm. He led the New York Philharmonic for twelve weeks while on sabbatical leave from Pittsburgh in 1964-65, which led to his engagement as the Philharmonic's principal guest conductor from 1966 to 1968. From 1969 to 1972 Steinberg was music director of the Boston Symphony Orchestra (with which he had achieved earlier success as guest conductor) while maintaining his Pittsburgh post. He toured Europe with the Boston Symphony in April 1971.

George 'Georges' Krishizki (March 22, 1924 – December 20, 2001), Russian-Polish-American illustrator who came to the U.S. in 1949. While he earned acclaim for his renderings of the city’s architectural landmarks, it was his on-the-spot drawings of musicians in performance that attracted an especially appreciative audience. In a 1973 article published in conjunction with two simultaneous exhibitions, Georges explained the genesis of his long-running engagement with the concert hall: “I’ve always enjoyed going to concerts, and one day I decided it would be fun to combine my interests in music and art and make sketches of musicians during performances.”  Indeed, the most remarkable feature of Georges’ oeuvre, apart from the astounding range of performers who gladly expressed their approval and appreciation by signing, is the skill with which the drawings are accomplished.

This original pen and ink illustration, measuring approximately 9 x 12, on heavy-weight sketch paper, is in fine condition with some light overall toning. Its verso is blank and clean.