Above you see a beautiful paperback cover, both front and back, for Gerald Kersh’s classic drama Night and the City, basis for the famed 1950 film noir. We have a copy of the book, so we may get back to it later. We’re sharing the cover because it was painted by Sandro Symeoni. Back when we first stumbled upon this genius more than a decade ago there was little online about him. Now he has a Twitter page, a dedicated website currently in mid-build, plus a recent Facebook group. All of this means his profile is growing, which in turn means more attributed pieces appearing.
But attribution can be tricky. Symeoni was a chameleonic artist, with a style that evolved so much that even with the presence of his signature removing all doubt as to the provenance of the work, it’s still hard to imagination that he painted with such range. And of course, some of his pieces don’t have signatures, often because it was covered or cropped, and in those cases a little detective work is needed. The above cover is a good example. It’s not signed, and has not been attributed to Symeoni anywhere, but it’s him.
Note the background perspective on the left side, the chain of streetlights that draws the eye beyond the female figure. For a while this was Symeoni’s thing, and it appeared in much of his work. For example, 
check this section at right (or above if you’re using a mobile device) of his cover for the Peter Cheyney novel He Walked in Her Sleep (full cover here).
check this section at right (or above if you’re using a mobile device) of his cover for the Peter Cheyney novel He Walked in Her Sleep (full cover here).And directly below that example you see another, more subtle version of it in a crop we’ve made of his poster for La strada della vergogna (full poster here). Again you see a pretty chain of light receding from the viewer, plus a few impressionistic dots of nocturnal illumination. We have a few more examples below, but what you’ve already seen is probably convincing enough. These are all unmistakably by the same hand.
Simultaneously, Symeoni used another stylistic trademark on the Kersh cover—flourescent yellow. You see that in the first two posters of this group. Sorry to ask you click over there, but if we added those examples here the post would become a real mess. In any case, you see what we mean about the light. With both the perspective and dayglow yellow characteristics noted, plus the general similarity of style, there’s little doubt this is Symeoni’s work. The final piece of evidence is simply that he’s known to have produced pieces for Ace Books between 1958 and 1960, if not even a year or two later. This is an Ace cover, thus the case becomes open and shut. Well, maybe it wouldn’t hold up in court, but it’s good enough for here. Verdict reached: Symeoni.
Below we’ve uploaded a few movie posters, confirmed as Symeoni’s, in which he uses the perspective technique noted above. They’ll help to reinforce our conclusion. Again, stylistically he was wide ranging. In addition to what you see here he painted portraits, delved deeply into color blocking, painted with abstract and blank backgrounds, drew in ink, painted humorous pieces, and created scores of unique fonts. But of all his styles we like these nighttime masterpieces best. More from this virtuoso later.
