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Article 24

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Britain's premier celebrity caricaturist Gary Smith sent me a shot of this fine Searle caricature. A 1970 rendering of Ginette Spanier, directrice of Paris fashion house Balmain

Reminiscent of Searle's theatre caricatures for Punch in the 50s but with certain drawing tics of the 70s TV Guide caricatures-it bridges the gap between the two eras.

I'm unable to establish exactly where it was published-Vogue perhaps?

Spring update 2012

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Chris Beetles Gallery, London has what promises to be a wide ranging exhibition of Searle's work. The catalogue is available to view on their website. It's an exciting publication for Searle fans featuring all the rare material Beetles has collated over the years-from sketchbooks, rough versions of well known pieces to private letters and drawings made for friends. For any Searle fans in London this show will be unmissable.

Leif Peng's essential Today's Inspiration rounds up a series of posts on reportage with Searle here

ECC have part 6 of their appreciation of Searle's career here
Attempted Bloggery marked Earth Day with a Searle image here and dissect plastic surgery here

I've updated the following sections

Chelsea Arts Ball
Festival of Britain
Self Portrait
Advertising
Lemon Hart Rum


The Penguin Ronald Searle

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Searle had a long-standing association with UK publishers Penguin Books. They commissioned him to illustrate a collection of paperback editions (some of which he had illustrated the hardback editions-see Book Covers section).





Of course Penguin also reprinted the essential collections of Searle's cartoons and St Trinians





Also a fine collection not published in the USA (reprinting some images made for American periodical Holiday magazine)


Searle finalized the 'penguin self-portrait' gag as a Searle-mask wearing bird!

(Thanks to Stephen Nadler for the above image)

Penguin also published the Molesworth books and Refugees

Searle in Hawaii

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In February 1965 Searle travelled to Hawaii on a reportage assignment for Holiday magazine.
Ronald would trade in his first class ticket (an expense covered by the magazine) for two economy class tickets allowing Monica to accompany him.
They stayed at the Hanekulani Hotel, Honolulu from 11th -24th Feb.


They related their impressions of Honolulu in a letter to his secretary at Perpetua Jean Elsmoore:

"About the only place you'll find the romance of the Sandwich Islands is on postcards like this.  It is really rather like Los Angeles and an awfully long way to come for the same sort of material.  However the people are nice and the climate is sunny and steadily in the 70's it has taken us just about a week to acclimatise and drag ourselves about.  This enervating air I suppose geared to flopping on the beach and not moving.  One thing they do have here is flowers and flowers and flowers. . . "

Monica added "Greetings from the most commercial paradise so far"

(Transcribed in Ronald Searle Remembered, Chris Beetles Gallery 2012)


On their adventures for Holiday magazine the Searles established a routine where, upon arriving, Ronald would find the nearest postcard shop and identify the major landmarks of a location that may feature in a Holiday article.  Through the day he would make observational sketches, thinking of gags and noting amusing characters.  Monica would cover the scene with a camera to capture any details Ronald missed out then back at their hotel in the evenings Ronald would work up a finished picture.  They would proceed like this daily before flying on to the next destination.

In the letter  it seems they took it slowly in the tropical heat and I recall them telling me that the climate exarcebated Ronald's health problems.  He was stricken with a return of symptoms of the diseases he suffered in the jungle as a POW. I believe this had an impact on his ability to work  effectively and some of the Hawaii drawings were finished back on mainland US soil.
However these Hawaii images are amongst some of my favourite of Searle's Holiday drawings.


With this raucous depiction of Waikiki Beach Searle elaborated on his location sketch below-playfully annotated "plus cast of thousands"! The gag concerning male tourists serenading their wives with ukeleles most likely sprung from the small sketch below.


I interpret this gag as an elderly tourist (or resident) painting a 'chocolate box' sunset.

'Hotel Street, Honolulu'

The waitress sketched in blue below made into the composition above.
These hula girls too it would seem?
And this couple?

In the following sketchbook drawing of 'Aala Street' we can see just how much Searle later embellished the scene in the final drawing.  This image and the previous finished picture were unpublished by Holiday as far as I know.


Always searching for a gag Searle notes that grass skirts are fire resistant

This devilish totem inspired the gag in the next image 
Again, these two remain, I believe, unpublished.

 After Oahu Searle's next assignment was to report from the Catskills which I'll get to in the next post . . .

(Thanks to Mark Stanleigh for the Holiday mag contributions, Chris Beetles Gallery for the letter transcription and Ronald for letting me photograph his sketchbooks.)

Catskills

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Directly following the Hawaii assignment Searle moved on to the Catskills between 13th-17th March, 1965. Searle spent the time 'guying the clientele at Grossinger's hotel' as biographer Russell Davies put it.   Published in the July 1965 issue of the magazine. Read the accompanying article by Mordecai Richler here









Article 19

S. J. Perelman

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American humourist and author Sidney Joseph Perlman had a well known creative partnership with cartoonist Al Hirschfeld.  Their Westward Ha! (1948) was an early example of an illustrated travelogue, matching a satirical writer with an illustrator of a similar sensibility.  Their globe-trotting trip was paid for by Holiday magazine and initially published as a series in the magazine.





Less known is Perelman's collaboration with Ronald Searle. Like Perelman and Hirschfeld Searle had found success illustrating the satirical travelogues of Alex Atkinson published in Punch then later Holiday.
Punch editor Malcom Muggeridge introduced them in London in the early fifties and it seems they instantly clicked, remaining friends for the rest of their lives. 'Perelman had his irascible side. . . but he had a genuine affection for Ronald, triggered at an early meeting when the Enlishman asked his way to 'the cloakroom', a term which delighted Sid by transporting him instantly to his favourite literary territory, amid the rapiers and intrigues of Baroness Orczy.' (-Russell Davies)

'. . . we all went off to a party at Ronald Searle's. . . oddly enough this was practically a counterpart of an evening at the Hirschfelds', made even more uncanny by Searle's having a beard.  They live in a four-floor modernische house in Bayswater, top floor of which is his studio, like Al's.  It was one of those progressive parties, where waves of people had been piling up since five o'clock and it was now ten-thirty . . . a real bedlam.  Finally, though, Searle and I got a few minutes alone in his studio, inscribed books to each other, and had a short interval of sense.  He's an extremely talented man, as you know, and among other things I learned that he first learned to draw when he was a prisoner on the Burma-Siam frontier in a Japanese camp, being the only man in his company who ever got out alive . . . '
(Letter from Perelman to his wife Laura Dec 23rd 1953)

Peter Harrington Books is selling a 1st Edition copy of Westward Ha! inscribed to Searle by both Perelman and Hirschfeld in 1953. It's likely this is the book signed by Perelman for Searle in his loft studio in 1953. It's nice to see the esteem held by Hirschfeld for his fellow caroonist in this dedication.
Also, a copy of Perelman's 'The Beauty Part' (1963) 'Inscribed by the author to his friend and collaborator Ronald Searle on the front free endpaper, "For Monica and Ronald, this obstreporous [sic] vaudeville with love from its author, Sid. 14 February, 1968". Includes, loosely inserted, an envelope dated Feb 12 1986 to Searle from Perelman containing an autograph letter giving directions to the appropriate bus stop to reach him in his country residence in Frenchtown, New Jersey, and a bus schedule. A charming artefact of a close friendship.'





'Dear Ronnie, I must tell you at once how pleased I was to receive the books you sent us, Take One Toad and The Square Egg.  Take One Toad is a strikingly original job, I was much impressed with the way you handled the period costumes and the whole conception of the book.  This is not to downgradeThe Square Egg in any sense; you have some marvelous drawings in that, it goes without saying.  The first one, naturally, has a unity that the other as a collection doesn't.  At any rate, here's hoping that The Square Egg has more than the modest sale you foresaw in your note to me. . . 
(Letter from Perelman to Ronald Searle December 10th, 1968)

Searle's caricature of Perelman looks like an evolution of Mr. Lemon Hart in turn inspired by lanky Punch theatre columnist Eric Keown.



'My Life In Scotland Yard' Holiday Magazine April 1968
"It was piquant to learn that I resembled Dr. Crippen, the classic poisoner."
"The subject was murdered by renowned ghouls and I rather wanted to lie down"
"The Black Museum piece was tip-top, you caught every sinister possible facet"
(Letter from Perelman to Ronald & Monica Searle April 8th, 1968)


"The law was guilty of an anatomical booboo"

'Room and Bored' in haunted Irish manor Poltrooney
Holiday Magazine September

Following the decline of Holiday magazine Searle and Perelman sustained their collaboration in the pages of Travel & Leisure magazine, probably commissioned by Holiday's ex-Art Director Frank Zachary who had jumped to the new title. Searle provided lavish illustrations to compliment Perlman's equally exotic travel series 'Nostasia in Asia'.  I have the first in the series but if anyone has the rest please contact me at the email address in my Blogger profile.
'Dear Ronnie. . . thank you very much indeed for your drawing of myself being inducted into the Chinese tailor shop in Hong Kong that illustrated the fourth piece in that Travel & Leisure series.  As soon as it's framed, it goes up on the wall. . . it'll make a peachy companion pice to one of Andre (Francois)'s covers for The New Yorker, a cafe scene he did a couple years ago; and it will also be cheek by jowl with that marvelous photograph of Toulouse-Lautrec you once gave me.'
(Letter from Perelman to Ronald Searle November 4th, 1974)


A tropical encounter with W. Somerset Maugham

2. The Egg and Ainu 


3. Paradise-once over lightly


Perelman wrote the introduction to a Searle illustrated  'The Adventures of Baron Munchausen', published in 1969.  The adventures of the mustachioed  weaver of tall tales seems to perfectly portray Perelman himself!










I remember the Searles telling me over lunch of a spooky incident involving Perelman's death-in his biography of Searle, Russell Davies quotes Ronald:

'Suddenly an old friend appeared before, looking like a gently spotlit figure on a stage. . . Only one finger moved, to tap ash from an ashless cigarette. (She always tapped more than she smoked.) The apparition was Laura West Perelman. . . she had died in 1970.
But here she was, nearly ten years later, very much alive and looking me straight in the eye.  With her usual laconic American drawl, she spoke, coming directly to the point as usual:
'RAHnald, Sid's dead,' she said. Then she was no longer there.
In the morning, before I had even got to my coffee, the telephone rang. My sister-in-law was calling from London.
'Sad news, I'm afraid.  I've just heard on the radio that Sid Perelman has been found dead in his hotel room in New York . . . '
Sid had died at the Gramercy Park Hotel during the night of the 16-17 October.  Searle describes this as 'a very small ghost story: but it certainly impressed me at the time'. He still awaits Sid's explanation.'

'I Dreamt that I dwelt in Marble Halls'
Holiday Magazine September 1968


Sources:
Russell Davies' biography of Ronald Searle  
Dorothy Hermann's biography of S. J. Perelman
'Don't Tread On Me' Selected Letters of S. J. Perelman
Holiday Magazine1968
Travel & Leisure Magazine 1973
(Thanks to Josh Lieberman for contributing scans)

At home with the Searles

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Royal Institute of British Architects

During the early 50s Searle and his first wife Kaye Webb moved into a modernist home designed by architect Denys Lasdun.  In a style influenced by the early 'domino principle' villas of Le Corbusier, Lasdun built the house on his own in his mid twenties.
Jamie Barras' Flickr gallery

It was an ostentatious home befitting the profile of a young, successful and increasingly well known couple.  Searle's top floor studio had plenty of light and Kaye frequently threw parties for London's cultural community.  For example, as in the last post, this would've been where S.J. Perelman first met Ronald.
At their previous address on Moscow Road Searle had been walking every day to his studio space at 77 Bedford Gardens but here the family could all be under one roof.

Completed in 1938 the house at 32 Newton Road, just off Westbourne Grove was 'one of the first houses carried out in an absolutely uncompromising contemporary manner'.

'Built for a pair of bachelor artists, it was topped by a splendid studio favoured by north light, as the estate agents say, and a fine terrace overlooking half of Paddington.  As Searle remarked to his friend David Arkell, 'If one had to overlook half of Paddington, this was the way to do it.'
(Russell Davies)

Searle portrayed Lasdun for his 1953 book  'Looking At London'
The book also features a view from the back terrace of 32 Newton Rd with the hands of the Searles visible in the foreground; author and artist of the publication.




'Newton Road was not turning out to be a complete success.  Filled with gorgeously multifarious objets and the light admitted by vast horizontal windows, and even a wall of glass bricks in the hall, the house was ideal as a photographic backdrop for visiting cameramen.  








The Searles had many friends in journalism and underwent the 'ideal couple' treatment more often than most.  Their New Year Party came to be quite a celebrated event in the social calendar of London's artists, writers and performers during the 50s.  There are those who, with hindsight, remember these gatherings as 'entirely Kaye's thing', with Ronald a rather withdrawn and even embarassed presence.  
Others recall him as a perfectly willing accomplice.   The truth is that he was probably just tired.  Invitations and decorations were all his responsibility, and he could not bear to fall short of personalizing all the items so that everyone had something to take away.
But it was in the normal working day that the inadequacies of the house really showed themselves.  Sound travelled unobstructed-a switch turned on in the cellar could be heard at the top of the house-and the twins' playroom was directly beneath Ronald's studio.  Ronald would be trying to work, it seemed to Paul Hogarth, 'while the twins were fighting with T-squares'.  
Ronald's own preference was for a radio turned on very low, and meticulous tidiness, an aim in which none of the rest of the household was able to match him.
The house itself was famous-architectural-school pilgrims came in busloads to see it- and so was Ronald; the visiting graphics world seemed to expect him him to act as its host.  Nobody, not even the artist friends to whom he mentioned the problem, realized how seriously he wished to insist on his privacy.'   (Russell Davies)
'Ronald's routine was to walk to his studio each morning, returning for an early supper at Burnham Court, before leaving to meet Punch's critic Eric Keown for their work at the theatre.  But the winter of 1951 had been 'harder and more miserable than any I have known,' Kaye told her father.  The time had come to consolidate family life and studio in one place, so a search began.
'We were on our knees with pounding around Paddington and Bayswater for weeks' Ronald recalled.  The trek brought to a unique house in Bayswater, 32 newton Road, built in an uncompromisingly contemporary steel-and-concrete style.  'As soon as we went through the front gate we fell in love with with the house- as odd as it seemed in a street of early Victorian villas,'  Ronald says.  It had been designed in 1938 for two bachelor artists, 'unknown artistically, but extremely wealthy' (the sculptor Robert Conway and his friend), by the young architect Denys Lasdun.  There was a vast studio on top, where Ronald could work, with a north light and fine terrace. 
The wall by the front door was of glass bricks; upstairs was a thirty-foot stretch of plate-glass window.  The cellar was full of stuff left by the previous owners (including several Lucian Freuds, which they returned).
'The only problem was we had no money,' Ronald recalled. 'Well, just about enough to put down the deposit.  The price was unbelievably expensive for a couple of freelancers at that time' (it was £7,000), 'and the banks felt that it was an unsaleable modern horror-pity that it had no Elizabethan timber on the façade, or something.'  Eventually they got a £5,000 mortgage from Lloyds Bank, Notting Hill Gate, at 4.5 percent. . . 'and we did manage to pay it off, by agreeing to perpetrate untold rubbish over the years,' Ronald told me. 'It turned out to be perfect for all our working space and living needs.'

'. . . Domestic life in the 1950s was simple.  Entertaining was rarely lavish, decor was unexciting.  So the Searles' distinctive home was much written about.  ('Their marriage is a model of domestic happiness enriched by professional collaboration,' wrote the Sunday Times's Atticus.)  Unusual objets trouvés were displayed everywhere - a Webb toy theatre, a model of an old steam engine, a rocking-horse, a row of marionettes, a ladder painted with stars and diamonds, an American wall clock  with an enormous winking eye painted by Ronald on its pendulum.  
The curved fireplace wall was hung with Japanese masks, costumed dolls, prints and drawings, and plastered with invitation cards.  There was imaginative use of colour, even on radiators.  Their bedroom was lime-green and maroon.  The back door was candy-striped in pale blue and white, with sunbursts of of yellow and black.  The bathroom had curtains of striped towelling. . . Ronald had even painted the light-switches: one was disguised as an eye with heavily fringed lashes and an arched eyebrow; another had a cow's head with switches in eye and nostril; another had a bird perched on it.  Any corner was embellished with a mural-a simpering mermaid brandishing a frying pan and a fork; a tricorn-hatted military figure with twirling moustache, on a bicycle.  
Photo by Madame Yvonde
Ronald's sprawling studio on the top floor had a sky-blue ceiling, its white walls covered in drawings and posters, shelves of art books, with concealed lighting, and a Berber rug on the parquet floor.  The crimson and white striped curtains were of deckchair canvas.  The playroom had one wall coated in blackboard paint, and a glass-topped table displayed the children's paintings.
from 'So Much To Tell' Valerie Grove's biography of Kaye Webb published in 2010 by Viking



If you look at the house on Google Street View you can observe just what a modern design it was for that street.




The Alexander Technique

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Frederick Matthias Alexander (20 January 1869 – 10 October 1955) was an Australian actor who developed the educational process that is today called the Alexander Technique – a form of education that is applied to recognize and overcome reactive, habitual limitations in movement and thinking.
(Wikipedia)

Searle inscribed his portrait of Alexander "from the reconstituted artist, with thanks"-presumably alluding to the health problems incurred as a prisoner of the Japanese during WWII.  Ronald was asthmatic, smoked for years and had throat surgery late in life so perhaps Alexander's theories on respiration helped him?


'He teaches the way back to Health'


Half a century ago a hansom cab arrived in great haste at a house in Ashley Place, Victoria.  The driver had instructions from Sir Henry Irving to "fetch Mr. Alexander to the theatre immediately" as he was in need of help.
More than 25 years later George Bernard Shaw crept up the same steps suffering from angina.  (After three weeks he was again taking his jaunty way to the club for his morning swim!)
Some years before the war a newspaper report of an all-night sitting in the House of Lords ended by stating that at "4am the only person sitting up straight was the Earl of Lytton."  The next morning Lord Lytton sent the cutting to "F.M. with thanks."
There are enough of these stories, studded with illustrious names, to fill a book, but it wouldn't give frederick Matthias Alexander very much pleasure.
For he dislikes any suggestions that he is a healer, or a miracle man.  The statement that he 'cures' makes him angry and he accepts no patients, only 'pupils'.  He is, he says, an educator.
For sixty years he has been trying to pass on to mankind the lessons he has learnt on hos own body-discoveries which caused the American philosopher Professor JohnDewey to write, "It is a revolution in thought and action".

Ronald Searle & Kaye Webb quoted in The Alexander Technique As I See It By Patrick MacDonald-probably originally part of their 'People Worth Meeting' column for the Saturday News Chronicle (but not included in Looking At London)

Francesca Greenoak wrote this profile of Searle for the Alexander Journal in 2010.




This article was first published in the Alexander Journal 23, republished here with the kind permission of the Society of Teachers of the Alexander Technique (STAT).

Wine Speak

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It's no secret that Ronald loved wine! In the Channel 4 news footage of him around his 90th birthday he delighted in admitting 'bubbles give me ideas" and I can attest from lunching with him that copious glasses, bottles even, were consumed.  A different bottle accompanied each course- a light rosé, champagne, a chilled red- it was a pleasure to see a connoisseur indulging his guests and a task to keep up!
On my last visit chez Searle I was amused to see his shopping list consisted of only one item. . .

Here's an interview from 2007 where Ronald indulges in some winespeak.  It's a revealing read; we see even in his eighties Ronald's joie de vivre was matched only by his prodigious work ethic and his distaste for wine snobbery and the Riviera set is hinted at too.

One of the world’s most brilliant cartoonists is also an impassioned wine lover. Jeff Cox meets a man who loves wine and hates pretensions.

'You may not recognise his name, but you’ll instantly recognise Ronald Searle’s wickedly energetic style. Scratch this cartoonist and you’ll also reveal one of the world’s most impassioned wine lovers.


Searle minces neither words nor images, but his barbs are so witty they cause as much delight to his audience as discomfort to his subjects. In the prologue to his 1983 book, The Illustrated Winespeak, he calls the majority of wine writers ‘that grotesque international band of snobbish inarticulate sponges, incapable of thinking beyond their incestuous little circles, [and who] do as much harm to the world of wine as they do to the language’. This fills me with confidence for our encounter.


If Searle comes equipped with sharp words and pens that bite hard, he’s earned the right to use them. He was born into a working class family in Cambridge in 1920, was drawing fairly well at five, and earning his living with his drawings at 15. Income from his drawings put him through art school. World War II intervened, and in October 1941, he shipped out for Singapore. One month later, Singapore fell to the Japanese and for almost the next four years, he managed to stay alive in a Japanese prison camp despite unimaginable horrors, beatings, malaria, beri beri, and a guard’s pickaxe in the back. (His memoir of the time, To the Kwai and Back, has just been reissued by Souvenir Press.) During those horrible years, he never stopped drawing.


‘When I returned to England in 1945, my first ambition was to indulge,’ he says. ‘Since then, I think I’ve eaten in virtually every restaurant of interest, standing, quality and value in London, Paris, Berlin and New York. After scanning some 60 years of wine lists at a certain level, it’s inevitable that some understanding of perfection in wine would brush off. I’ve drunk my way through some remarkable bottles and am still standing.’


Like all great artists, his work (pictured right) embodies the seemingly disparate qualities of careful control coupled with total freedom, never more evident than in his books on wine, Winespeak and Something in the Cellar... His quivering tipplers, buxom ladies and caricatures of wine drinkers are immersed not only in wine, but in explosions of mayhem, joy, and desperation. He pokes fun at everyone in the world of wine – straight to the nose of the pretentious. He achieves this with only one eye – his left. ‘And I am notoriously left-handed,’ he says. ‘With that hand I manipulate my steel-nibbed pens, my brushes and my sculpting tools.’


After many years living on the Left Bank in Paris, he and his wife Monica ‘settled in Provence some 30 or more years ago in a tiny village 2,000 feet up in the mountains – as far away as possible from the Cote d’Azur and its repellant so-called people.
‘Our village is almost entirely medieval, and our house has a vaulted cellar from the 11th or 12th century where the temperature remains constant throughout the year. The 400–500 bottles ranged in it contain little exotica. Deliberately. We can no longer face entertaining at home and stick to local restaurants. So the wines we have are for daily drinking. Of course there are a few great-year Yquems, some Krug, and Roederer Cristal. But most are for short-term enjoyment.


‘Here in the south we tend to drink cool. We have a lovely Rhône rosé that goes with anything: Domaine Remejeanne from Cadignac/Sabran.’ Other favourites he cites are Henri Bourgeois’ Sancerre rouge and blanc , plus his ‘remarkable’ Pouilly-Fumé.’


For someone aged 86, Searle’s workdays are long, a testimony to his love of drawing – or perhaps his inability not to draw. ‘I drink quite a lot of Champagne. My daily dose is an extremely delicate, delicious, quite cold Billecart-Salmon brut rosé around noon. Otherwise – as I am working more or less from 9am to 6.30pm – I don’t drink until dinner.’




His irreverent attitude towards wine and the people who love it is so refreshing that his friend of 20 years, John Goelet of Clos Du Val in the Napa Valley and Taltarni in Australia, uses Searle’s drawings in winery promotions and even on labels of special bottlings. ‘Sure,’ Searle says, ‘there are those who think wine is God-like and shouldn’t be sent up. But wine is all things to all men, and the basis is that of love of the grape.’


Asked to elaborate, he continues, ‘Every wine drinker has his own exclusive – and to him or her unique – insight into perfection in the bottle. It’s all very egotistic in that wine drinkers/snobs/connoisseurs are totally convinced that their special bottle is the One and Only, into which they have the insight.’




As a child in a modest family in East Anglia, wine was not in Searle’s world. But long ensconced in Provence, it is part of the rhythm of life. ‘In our small village, wine is drunk as an essential part of the meal, without pretension. At noon the village is silent. Everyone is at table: the masons, the gardeners, the workers in the fields, the labourers, the children, the postman, the drain cleaner. The chat, if any, is about food or crooked politicians. A table wine from the local minuscule ‘Superette’, a wild boar stew, bread, cheese – that’s it. Wine here – and probably all over the French countryside – is a part of life. And after all, isn’t that the root and the basics of the grape and the natural enjoyment of it?’


Tasting Notes


What did you drink last night? 
With the remains of a cold chicken and a tomato salad, half a bottle of Beaujolais (Juliénas 2002 from Domaine Gérard et Nathalie Margerand), sent by a friend.


What’s the most you’ve ever spent on a bottle? 
This family does not go in for exotica. The most it has ever spent was on two bottles of Yquem 1967 which, I am often told, was a year of years. It was also the year we were married. I can’t tell you how much was paid because it was a present from Monica.


What’s your Desert Island wine?
The above, naturally'

Cru Café Capetown, South Africa has a Searle 'WineSpeak' mural. According to Grape'the Castelein brothers went so far as to fly to France and pay handsomely to obtain the rights to display Ronald Searle's wonderfully abandoned and imbibing characters in their new Cru Café wine bar and restaurant.'
WOSA elaborates on the story: 'the artist is notoriously reclusive - and "dangerous with his pen" according to fellow artists and corporations foolish enough to commission work. He's fiercely private, "his bite and bark are equally ferocious", he doesn't use email or a cell but does have a post box in London - which is how the owners of Cru Café tracked him down to a village in Haute Provence.

Two South African restaurateurs, brothers Jacques and Tom Castelein (former owners of Tasca de Belem at the V&A Waterfront), were determined to exhibit Searle's caricatures - so Tom flew over to France to talk to him. Living up to his quirky reputation, Searle idiosyncratically granted reproduction rights in exchange for a rare vintage of Chateau Mouton Rothschild 1961 (with artwork by Georges Mathieu) - an appropriate deal for Cru Café, a wine bar named after a vineyard of superior quality. Tom flew back to London, sourced the wine, then, several thousand pounds the poorer, returned to France to present the highly-prized bottle to Searle. '

Anatomies & Decapitations

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After moving to Paris from London in 1961 Searle made a series of abstract expressionist works he titled 'Anatomies and Decapitations'. Of course it's impossible to speculate on the artist's state of mind but it was perhaps an effort to express the anguish over the situation he left behind -the decision to leave a faultered marriage with two children. The series could also have been a bid to achieve more respect from the art world as a 'serious' artist. It seems Searle wanted to be taken more seriously by the public and cultural arena after 15 years of  commercial success in England.  It's well known that Searle felt pigeon-holed at home and the 'Anatomies' could be seen as an attempt to re-invent himself.
UKJarry interprets the images thus: 'Largely unknown to the general public, Searle had been making extreme investigations into how far he could go in abstract representations of human beings. In 1962-63, he had worked on a series of ink and wash compositions he titled “Anatomies and Decapitations”. Exhibited in only a few galleries, they disturbed many of Searle’s firmest admirers and have never been published. They are the most abstract work Searle has ever done. 
They almost all either huge heads or a few distracted skeletal figures reminiscent of late period Picassos. Some are just splayed slashes of lines, others are circular or oval stains with blotches or sequences of scratches for features. A rejection of his apparently perfected professional style, they resemble nothing Searle had done before. Yet in each Searle is able to find a means of presenting a figure who looks beatific, moronic, anxious, prim, or explosive. It is tempting to detect the influence of Andre Francois in these works (as Francois’s work in“Punch” was a similarly intense influence on emerging graphic artists like Ralph Steadman, Gerald Scarfe, and Quentin Blake). 
In 1960, Searle’s Perpetua Press had published a collection of Francois’s work, “The Biting Eye”. Francois drawing style was scratchy, messy, blotchy. His deliberately rudimentary and scribbly figures were not the standard blocky cartoony figures. Despite being highly non-representative, Francois’s work captured something essential about humans and their behaviour. Likewise, “Anatomies and Decapitations” shows Searle discovering how he could convey complex emotions freed of the restraints of human particularity or the contexts of social customs. 

The first real product of these investigations intended for a popular audience was Searle’s Cats (1967). Searle had previously worked with animals, illustrating Geoffrey Willans’s The Dog’s Ear Book (1958), but those had been cartoonish animals, akin to the trotting figures of the Molesworth books, shaggy human actors in human situations with human responses. Searle’s cats would be much more abstract in composition. As Searle’s humans become less figuratively real, so he uses his cats to represent human states without relying on reductive realism. . . 
Devoid of any background, through the shape of the cats’ bodies and arrangement of the minimum of facial elements, Searle embodies mournful, complacent, persevering, avaricious, or aghast expressions to match his titles. Searle would later redraw many of the works in his first Cat book, but in the earliest edition, their origin in “Anatomies and Decapitations” is apparent. These were much messier creations in blobby inks, with rather splashy harsh gray washes like the blotchy faces of “Anatomies and Decapitations” spread out to occupy a theoretical cat-space with slashes for whiskers. . . 
The scenery of The Adventures of Baron Munchausen are typical of Searle but Searle’s figure of the Baron is an abstract bristling detonation of ink.For all that his facial features present a recognisable goggle-eyed, manic grinning buffoon, his body is an almost indecipherable sequence of blobs, dribbles, slashes and angles – yet evidently tightly conceived and executed since the figure is always consistently recognisable in each illustration.'
Searle confirmed to me that the style of 'Munchausen' was directly informed by the experimental 'Anatomies'
'In 1963, in New York's Bianchini Gallery, he launched a series of 73 ink, wash and watercolour 'Anatomies and Decapitations', anguished anatomical deconstructions never seen in Britain and still languishing in store.'    The Guardian 


'In 1962 he began work on his new satirical drawings, which were exhibited for the first time in the fall of 1963 in the Bianchini Gallery, New York. These ink-and-wash compositions, which are 291/8 X 20 1/2 inches in size and bear no titles, are the harvest of a long contemplative process: the mature commentary of an extremely sensitive observer upon human frailty in this day and age.'

Graphis magazine 109





Some of Searle's American audience viewed the series as a parade of Rorshach ink-blot tests, more suitable for psychological than artistic analysis, and it is true that difficulties with women are suggested by the occasional violence of the treatment.'    -Russell Davies
'
'Anatomies and Decapitations, premiered at the Bianchini Gallery, NYC, in October 1963, were never exhibited in England or collected in book form.  Over the previous couple of years, he had produced seventy-three of these large, disturbing explorations in ink, wash and watercolour, in which he was aiming to 'unmask' the human personality in a new way.'   -Russell Davies
'Some of his friends found the technique he adopted shocking, and stlll shake their heads over it. It is as if they feared the loss of control implicit in the runny textures, the sheet anatomical marshiness and capilloried bloat of these figures, which though evidently human - and even in odd cases mistakenly proud of it - look most alive when revelling in a sub-human grotesqueness. They are both dissolute and dissolving. Such frankly stated horrors of the body - the watery female body predominated in the collection - defeated many observers at the time. Graphis properly hailed the 'Anatomies' as 'un aspect nouveau de son art', but the accompanying essay by Ben Shahn, though eloquent, came in the nature of an endorsement of all Searle's gifts, rather than an excited reaction to this new form of comment. Perhaps even Searle himself was perplexed by what he had done.'   
-Russell Davies















'I know I am only on the fringe,' he wrote, when the exhibition was later transferred to Bremen, 'but for me it is the most exciting personal development in all the years I have spent exploring the medium of graphic art . . .It is the curse of the satirist that satire is basically a parasitical art-only thriving where there is weakness. The frailty of human character is the mushroom bed.' It seems a pity that these first fruits of his liberation from 'popular' fame did not meet a better fate'  
-Russell Davies


'The accompanying reproductions are a token of the large pen and wash drawings that have been done in the past year. I saw them in Paris last October and was completely set alight by them. The artist regards them as a culminating point of the years of exploring in graphic work from which they developed 'quite naturally and normally' (sic)! He says: 'I had been seeking a way of "anatomizing" the character and behaviour of people in our own curious and suspended times; after a period of fumbling I feel I am beginning to state a little of what those feelings are. 
'They are meant to be satirical and, in the best sense, rather uncompromising. As satire is basically a parasitical art- only thriving where there is weakness-the frailty of human character is my mushroom bed, or occasionally my mistletoe bough.' The artist's prose abounds in such visual imagery
.


'In some cases, the drawings could be described not so much as "anatomies" as "decapitations". Size has a good deal to do with the strength of these drawings. Their slightly monumental scale enables them to speak a little louder than some of my other work. But whatever they say - I still like people!'

G.S. Whittet 'The Studio' magazine




A much softer, colour feminine anatomy appeared in 'Carnet de Croquis' published in 1992


Digger's Story

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David 'Digger' Barrett, Thai-Burma railway survivor, has passed away at the age of 90. His story is told in depth on Diggers Story and includes a section on Ronald Searle.  Digger possessed two drawings by Searle reflecting their experiences in the jungle.



Digger was an Australian like Searle's friend and life-saving jungle nurse Lofty Cannon 

Deadline!

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Ronald was fastidious about annotating and cataloguing his work.  Every original I've seen has been marked in pencil with subject or title, date and often the client. No other artist I've encountered has been so meticulous about recording their output-those charged with organizing his archive have most of the work done for them!

He kept a daily journal and was an inveterate correspondent, mostly by mail, then in later life with fax and email. During the 1950s to keep track of the insane, over-lapping deadlines for all the jobs he took on, he maintained carefully plotted charts.
The example below gives us an idea of just how many projects he had on the go at any one time- it never fails to surprise me how prolific Searle was!
'Nobody who visited the Bedford Gardens studio could fail to be impressed by Ronald's 'Deadlines' chart, a thing of terrible and complex beauty involving the interests of Punch, Tribune and the Sunday Express; Lilliput, where the Patrick Campbell series continued (there were Campbell books, too); a sequence of ephemeral magazines of the Left (Circus, Seven, Our Time), in which Paul Hogarth was involved; and any number of more or less specialist publications, from The Bookseller to W. H. Smith's trade circular.'      - Russell Davies

Animation

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On YouTube I found a couple of the animated spots Searle made in collaboration with UK animator Ivor Wood. They met in the 60s while both working at La Comète studio in Paris which led to a fruitful partnership over the years. Wood was known in the UK for stop-motion TV series such as Postman Pat but was also a classically trained draughtsman and was one of only a handful who could animate Searle's line. (In fact Ronald deemed Wood his favourite animator of his style)
A couple of years ago Ronald sent me a tape of all the spots they collaborated on.  I've added some screen shots and the relevant storyboards made by Searle.  Searle fans will recognise most of these ideas  re-work older print gags.


  
Ronald told me they pitched these as artistic spots between commercials- but of course not being commercial themselves the idea never found success with TV networks.



























































Here we see 'The Addict' animated-I'm not sure if the book was published first or whether the storyboards inspired the book?
























I'd love to hear from anyone with more info on Searle and Wood's work at La Comete studio, Paris.

Falstaff!

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Thanks to contributor Steph for sending me the scan of this wonderful drawing of Anthony Quayle as Falstaff in the 1951 Stratford season.

See more of Searle's work in the theatre here.

Update

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I've updated the Film Titles & Posters section here.

I also added artwork from the title sequences & promotional campaigns for the original St Trinians films over on Uli Meyer's 'Animated St. Trinians' blog here.

Also added new images to the TV Guide section

The Hunchback of Notre Dame

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'For Reader’s Digest, Searle illustrated an abridged version of Victor Hugo’s Notre Dame de Paris which was first published as The Hunchback of Notre-Dame in the USA in 1966, and then republished by the French branch in 1968'







Tourtour

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Tourtour, the Provençal village where the Searles lived, is currently hosting an exhibition 'La Dolce Vita a Tourtour'.  This poster is all I could find online-if anyone has more info please contact me at the email
address in my Blogger profile.
I suspect it may be a collection of the cartoons Ronald made for the village magazine 'Lou Troumpetoun' depicting the bucolic Tourtour way of life . . .




For 12 years Searle contributed a back-page cartoon to the village magazine-I saw copies of the whole lot in the village tourism office but they only had one issue available for me to take away. 

Last year Galerie Vision in the village had a small exhibition of Searle originals, apparently the only exhibition of his work in the village during his lifetime.







An animation friend Mark Stanleigh was in Tourtour last year and saw the exhibition.  He left a message for Ronald at the gallery and received a typically generous response.

'This past summer I went on a trip to France and visited the small and beautiful village where Ronald Searle lived. Although I inevitably did not run in to him, I met a friend of his who was kind enough to agree to pass on a letter I wrote for Mr. Searle. In the letter I thanked him for inspiring me so much and included a sketch that I did for him. A
 mere few weeks later I received this bittersweet postcard in the mail in which he thanked me for my letter and informed me that while I was visiting, sadly his wife had passed away. I am still in disbelief that he took the time to write me despite such horrible circumstances. I feel very lucky to have heard from him and thought that I would share his note to me. Thank you Mr. Searle and Rest in Peace.'
From Mark's photographs it looks like the drawings on display were those made for Le Monde through the nineties.





PoW Memorial

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"A new memorial to PoWs in the Far East has just been unveiled in London, it features a drawing by Searle."  Anita O'Brien of the London Cartoon Museum informs me.

Read about it in the Camden New Journal here
There's also a piece by Valerie Grove who interviewed Searle on his 90th birthday for the Times.
















Tribute

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Cartoonist Nick Galifiniakis is a huge Searle fan and created this fantastic tribute to his friend Richard Thompson and all the great cartoonists who came before him. He explains the piece thus:

Less than a year ago, I created this drawing as a tribute to my now shaved-head, brain-electrodes implanted pal, Richard Thompson, a genius who can now also jump-start my car. 

The piece was for the very worthy book by Chris Sparks, "Team Cul de Sac." Proceeds go to fight Parkinson's.


The concept (abbreviated so I don't bore you) is simple: the greatest cartoonist that ever lived, Ronald Searle, surrounded by a pantheon of great illustrators, is anointing his heir, Richard Thompson.

If you don't see your favorite cartoonist up there, don't worry, he or she is represented by the anonymous cherub touching Searle's shoulder.

(Strange, sad, side note: Ronald Searle passed away a month after I made this picture. My heart is still broken and daily I tell myself that, cosmically, I had nothing to do with accelerating the death my 92 year old hero)

So here is, "The Anointing of the Heir":


A beautiful tribute I'm sure you'll agree. Richard  Thompson is an accomplished cartoonist and creator of the popular Cul de Sac strip-he is bravely battling Parkinson's Disease- see his blog post on drawing while being operated on-you can't keep a good cartoonist down!



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