Attended the 1913 Armory Show, the first international exhibition of modern art in America.
Worked for Rosenberg Art Service Studio, and other art service studios throughout the decade, where he did woodcut illustrations and pen and ink advertisements.
Received a copy of Das Holzschnittbuch, the first book to publish German Expressionist woodcuts. After seeing these images, Glankoff began carving woodcuts with the grain in the German Expressionist style.
At the invitation of Juliana Force, exhibited paintings and woodcuts in the annual group shows of the Whitney Studio Club at the Anderson Galleries, for which Glankoff (Glanckopf) received critical acclaim from The New York Times.
Unwilling to have his work judged by others, Glankoff refused to join the WPA. Throughout the decade, did illustrations for St. Nicholas, Scribners, The New Yorker and Family Circle Magazine. Created paintings in oil as well as woodcuts. Despite the fact that Glankoff was prolific both in his personal and professional work throughout this decade into the 1940s, few paintings from this period remain.
During this time Glankoff became more interested in using water-based inks for printing instead of oil-based. His woodcuts became less figurative and more abstract, a shift conveyed in small abstract collage monotypes and small casein paintings on paper. Symbolism and primitive ideas began to surface in his work.
Worked as head artist for True Comics.
Began designing toys full time for Kornblum’s toy import business Impulse Items. Over the course of fifteen years, Glankoff designed and fabricated over 200 new toy ideas. Glankoff produced the first Babar the Elephant stuffed toys and created the prototype of Dr. Seuss’ Cat in the Hat.
With Kornblum’s death, Glankoff walked away from their shared venture in the toy business, selling the Woodstock house and using the proceeds to work full-time on his art. During this time, Glankoff began to further develop his innovative paint-print-transfer technique, a method that he invented which combined painting, printing and woodcut to make multi-panel large-scale works.
Introduced by his brother to Elke Solomon and Berta Walker, curators at the Whitney Museum of American Art. Out of this meeting, the term print-painting, one that would be applied to his works of this period, emerged. Although offered an exhibition, Glankoff declined, saying he was not yet ready.
Glankoff signs and dates his previously unsigned boy of work. Agrees to be filmed for a documentary on his art-making process and life, entitled, Re-Arranging Short Dreams, the title taken from a collection of his writings.
One-person show, Graham Gallery, New York City. Included in Brooklyn Museum’s 22nd Annual Works on Paper exhibition.
Sam Glankoff Retrospective Exhibition, Jane Voorhees Zimmerli Museum, Rutgers University, New Jersey.
Lecture: "Sam Glankoff (1894-1982): A Retrospective Exhibition," Zimmerli Museum, New Jersey Assistant Director, Jeffrey Wechsler, September 15.
Sam Glankoff: Woodcuts, 1925-1960s, Associated American Artists Gallery, New York.
Lecture: "Sam Glankoff," Andrea Stretton, Minister on the Arts and Communication, Eileen Chanin, MacQuarie Galleries. The Rosenblum Museum, Sydney, Australia, August 4.