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An Evening at the Larches
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New book!
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One more book plug!
Helen Walasek has put out another handsome collection of past cartoons from the Punch magazine archives -this time a fine selection of colour work including several Searle covers and his 'Heroes Of Our Time' series.
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It also contains glorious reproductions of cartoons by Fougasse, E H Shepard, Rowland Emett, H M Bateman, Arthur Watts, Anton, Russell Brockbank, Quentin Blake, Norman Thelwell, André François, Trog, With a foreword by Quentin Blake and over 400 cartoons it's available at a very decent price on Amazon uk![]()
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Off Piste
To mark the Thanksgiving holiday and the approaching ski season let's look at the various depictions Searle made over the years of those dedicated to flinging themselves down a mountain slope- an endeavour Searle himself avoided. He was content to observe and record the spindly figures, their poles and skis make perfect spidery members of the Searle universe.
This is from a much later series for an Aspen, Colorado Chamber of Commerce advertisement published in the autumn of 1991 where we see Searle gently ribbing the Aspen ski set.
'Aspen Nights'
"Sightings (It's Jack!')"
'Powder Skiing'
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'On Corkscrew Mountain'
18 x 14" image size on a 19.5 x 15 sheet
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'Ski School'
And the inevitable casualties . . .
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'I have never taken an interest in skiing. I am not a skier, and I can imagine nothing more unlike me than slipping down a slope with a board on each foot for the sheer pleasure of it. The sight of people deliberately setting off for ski resorts for the enjoyment of that sport had previously convinced me that a fair proportion of the population was seriously out of its mind. . . '
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'I still feel that I am not entirely wrong, but I have revised my thoughts about the sport from the visual point of view. I had never seen anyone ski until it was suggested that I make my way to New England, take along a sketchbook and, with it, a slightly less idiotic frame of mind . . .'![]()
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(Thanks to Stephen Nadler for additional info & pics)
18 x 14" image size on a 19.5 x 15 sheet
And the inevitable casualties . . .
'I have never taken an interest in skiing. I am not a skier, and I can imagine nothing more unlike me than slipping down a slope with a board on each foot for the sheer pleasure of it. The sight of people deliberately setting off for ski resorts for the enjoyment of that sport had previously convinced me that a fair proportion of the population was seriously out of its mind. . . '
'Bruegel has always been one of my favourite artists and he was the last person I had expected to be invoked on that trip. But he was there, with all his grotesquery, all his color, all his comicality and all his little people, animating and sporting themselves against crisp landscapes. . .'
'Visually ski slopes have captivated me, and I have decided that there are few things more beautiful than the colourfully packaged human frame silhouetted against the snowslopes- except the sight of a fair share of them falling flat on their colourfully packaged behinds!'
R.S. Vermont Life Magazine 1966
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Remembering Ronald Searle pt2
In February 2008 Ronald had agreed to meet me in a couple of months but the Searles' annual visit to Paris for health treatment postponed this to September. I was of course very excited to finally get the opportunity but it also impressed upon me just how frail they may be at this late stage of their lives.
The date in September came around and one Saturday morning (all meetings with Ronald were on Saturdays-he was busy with work during the week) I once again made the not un-pleasurable drive from the Cote d'Azur up to the Var.
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I arrived in Tourtour maybe an hour before our scheduled appointment and walked around the village rehearsing what to say to a legend when he opens his front door. In the event it wasn't Ronald who answered my knock but a French lady who I took to be the Searles' home help. She led me through to the kitchen in the back. The walls were modestly adorned with artwork-not too many pieces and not Searles' own. Just a small collection of historical caricatures by Gillray and Cruickshank.
I stood in the kitchen and waited. Chez Searle was a warren-like abode, expanded over decades by combining four adjoining properties. Ronald entered the kitchen descending a short flight of steps that dropped from the lounge area at a higher level. He was immaculately dressed, his head of silver hair neatly brushed and sporting his trademark beard, now silver. "Hello Mr Searle" I smiled and as we shook hands I noticed his hands twisted by age, years of drawing and injury sustained as a POW.
We sat together at the kitchen table and started the type of conversation that comes easily between creative types; he knew I was a professional cartoonist and trusted me and indulged my sincere interest in his work and career. I was surprised that he was interested in my work and was happy to browse my portfolio-he was honest and held little regard for computer created design work! He much preferred the looser, hand drawn sketchbook work and drawings from life.
Introductions accomplished and aware of the short time frame I steered the conversation to his work-I had prepared questions and had a lot to get through. One hour turned into two and his already rasping voice became hoarse. As the clock ticked I felt guilty encouraging him to tell more wonderful tales and inevitably he called time saying that his wife Monica was ill upstairs and needed his attention.
I had brought a stack of his books with me that we had examined with my specific questions. I asked him to sign only one-trying to maintain a professional cartoonist stance and suppress the rabid fan! (There were instances while we talked where I squealed inside "I'm talking to Ronald Searle!!" but kept it checked knowing I must concentrate on memorising everything he says because I'd have to write it all down later).
As he led me to the front door I told him that I maintain a website dedicated to his artwork and he made a note of the address-I couldn't quite figure out at that point if was online or not. Being a very private individual and wanting no distraction from his work he was known to be only contactable by fax or written correspondence. Although he had said he finds dip pen nibs on Ebay. I would later realize he was entirely connected with the world via the internet.
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We waved good bye and I was regretting not being able to get a photo with him-if only to prove to myself that this meeting with a legend had occured. As I walked away from his house he touchingly said "I'm always here".
I had been living in France two years at that point and left a few months later. I wish that I had met Ronald earlier and been able to visit him more often when I lived 'locally'. However we continued our old fashioned correspondence by written letter and the day before I left for the UK I received a package from him. Knowing my interest in animation he had made duplicates of photos of him working on Energetically Yours and a vhs tape of animated spots he made with Ivor Wood. Gold!
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The exact details of that first encounter with Ronald Searle can be read here and here
Part 1 of Remembering Ronald is here
In part 3 I'll write about 'Lunch with the Searles'!![]()
The date in September came around and one Saturday morning (all meetings with Ronald were on Saturdays-he was busy with work during the week) I once again made the not un-pleasurable drive from the Cote d'Azur up to the Var.
I stood in the kitchen and waited. Chez Searle was a warren-like abode, expanded over decades by combining four adjoining properties. Ronald entered the kitchen descending a short flight of steps that dropped from the lounge area at a higher level. He was immaculately dressed, his head of silver hair neatly brushed and sporting his trademark beard, now silver. "Hello Mr Searle" I smiled and as we shook hands I noticed his hands twisted by age, years of drawing and injury sustained as a POW.
We sat together at the kitchen table and started the type of conversation that comes easily between creative types; he knew I was a professional cartoonist and trusted me and indulged my sincere interest in his work and career. I was surprised that he was interested in my work and was happy to browse my portfolio-he was honest and held little regard for computer created design work! He much preferred the looser, hand drawn sketchbook work and drawings from life.
Introductions accomplished and aware of the short time frame I steered the conversation to his work-I had prepared questions and had a lot to get through. One hour turned into two and his already rasping voice became hoarse. As the clock ticked I felt guilty encouraging him to tell more wonderful tales and inevitably he called time saying that his wife Monica was ill upstairs and needed his attention.
I had brought a stack of his books with me that we had examined with my specific questions. I asked him to sign only one-trying to maintain a professional cartoonist stance and suppress the rabid fan! (There were instances while we talked where I squealed inside "I'm talking to Ronald Searle!!" but kept it checked knowing I must concentrate on memorising everything he says because I'd have to write it all down later).
As he led me to the front door I told him that I maintain a website dedicated to his artwork and he made a note of the address-I couldn't quite figure out at that point if was online or not. Being a very private individual and wanting no distraction from his work he was known to be only contactable by fax or written correspondence. Although he had said he finds dip pen nibs on Ebay. I would later realize he was entirely connected with the world via the internet.
We waved good bye and I was regretting not being able to get a photo with him-if only to prove to myself that this meeting with a legend had occured. As I walked away from his house he touchingly said "I'm always here".
I had been living in France two years at that point and left a few months later. I wish that I had met Ronald earlier and been able to visit him more often when I lived 'locally'. However we continued our old fashioned correspondence by written letter and the day before I left for the UK I received a package from him. Knowing my interest in animation he had made duplicates of photos of him working on Energetically Yours and a vhs tape of animated spots he made with Ivor Wood. Gold!
The exact details of that first encounter with Ronald Searle can be read here and here
Part 1 of Remembering Ronald is here
In part 3 I'll write about 'Lunch with the Searles'!
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Beastly Books
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Happy Holidays!
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Happy New Year 2013!
Welcome to 2013 folks! As a special New Year treat for all you Searle fans I'll post one month a day from Searle's 1960 calendar . . .
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Poland 1948
The year after their trip around Yugoslavia Searle and fellow illustrator Paul Hogarth visited Poland to record the post war devastation.
-ECC
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'In the summer of 1948 I arranged a trip to Poland. Besides Ronald Searle, I invited the art historian, Millicent Rose. Ronald again displayed incredible versatility in tackling a wide variety of subject matter. We stayed in Prague en route for several days and drew the picturesque lanes of the Mala Strana below Hradcany Castle. We visited in succession Warsaw, Gdansk, Cracow, Zakopane and Katowice, ending our stay in Wroclaw' -Paul Hogarth
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'The offer of another trip to Eastern Europe came as a most welcome interruption. Czechoslovakia and Poland were the destinations this time. To Searle it was a revelation just to get as far as Nuremberg and form, in the ruins of the city, some idea of the European conflict he had missed. Czechoslovakia proved frustrating. Searle did meet the sculptor Franta Belsky there, and made another great friend, but the queues for Polish visas in Prague were impossibly long. Searle and Hogarth might have spent their whole time waiting had they not met a film-maker called Ludwik Perski - a friend of their common acquaintance, Feliks Topolski - who happened to be shooting some footage inside the Polish Embassy. He inventively proposed to the bureaucrats a flattering scene wherein the visas of some distinguished visiting artists would be stamped; and so Searle made his European film debut in the act of 'being offered a cigarette, being shaken warmly by the hand, and miming the reception of a visa from the hand of the Vice-Consul'. The real visa came two days later, and Searle and Hogarth continued on their way. . . ' (-Russell Davies)
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'. . . they both worked very hard on this journey. Hogarth had an assignment from Coal magazine, so they went down the mines in Silesia. They toured Krakow and Gdansk, and witnessed a Warsaw that 'didn't exist'; and they were sneaked in, along with a small army of sketchers, to witness the Intellectuals' Congress at Wroclaw, an event attended by an odd troupe of international talents, from Picasso to Ehrenburg, Fadeyev to A.J.P.Taylor. Since the Soviet Union was at that moment breaking off relations with the United States over an extradition matter, the proceedings were more notable for controversy than enlightenment, but the sensation of standing on a political and philosophical borderline was exciting. Searle returned to England feeling that the journey had been the most important thing to happen to him intellectually since his imprisonment, an experience he could now place in a fuller cultural context. Having visited Auschwitz and seen what intelligent, cultured members of the European tradition were capable of, he came to distinguish in his own mind between excusable and inexcusable barbarity. 'Scientific elimination,' he decided, 'is quite different from someone beating a thousand people to death because they can't communicate. It's not the same attitude. And so the preference was there: I'd rather have Japanese fascists than Nazis.' (-Russell Davies)
'The extent of the destruction in Poland stunned us. In Warsaw, the Old Town's once-exquisite churches and grandiose palaces - indeed, any buildings of distinction - lay in ruins. Yet Ronald executed a series of dramatic scenes drawn on the spot in his famous 'ink', which wasn't ink at all but Stephen's Liquid Stain! He may have sounded like the British actor, David Niven, but ih his company I witnessed at first hand the degree of creative interpretation that only the artist can bring to pictorial reporting. ' -Paul Hogarth
'You and Ronald Searle went to Poland in 1948 and were astounded by the extent of the destruction. At the Congress of Intellectuals for Peace, you drew luminaries ‘making fools of themselves by siding with the Soviets against the Americans’ – as you put it. Did you write that with hindsight or had disillusionment with Communism begun even then?
That’s hindsight. What I did see and what I remember feeling was that these people who were communists has so much vanity, the same amount of vanity and egotism as anybody else, and that was quite a revelation.
You speak of Searle with admiration as by far the superior craftsman, and you hoped that travel would bring out the artist in you. You say at one point: ‘Like a Christian pilgrim of old, i sought spiritual adventure.’ Can you explain what you meant by ‘spiritual’ in that context?
I tried to find things that would move me. I tried to find issues that I could draw, and dramatize, but it wasn’t until I went to Greece during the general’s regime that I found a theme which I could interpret – the scenes of suffering outside the prisons in Athens, the political prisoners, and the lines of women carrying food parcels. Communists had done terrible things in Greece, but the generals were also very harsh and I only saw that one side. Experience of life, that’s what I was seeking, so that I could develop as an artist.'
'At Janov, near Katowice, we entered the grimy world of the Silesian coalfield, where fiercely mustached miners hacked and shoveled in almost total darkness. The air was thick with coal dust and the temperature well above 80°F.'-Paul Hogarth
View of Wieczack Mine, near Silesia, Poland
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Searle told me they didn't quite get to meet their idol Picasso although Feliks Topolski was able to get close enough to dash out some sketches of the artist.
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Auction
Ralph Spurrier of Post Mortem Books informs me of an upcoming auction of original Searle artwork that readers may be interested in.
"I knew Ronald for very many years via his wife Mo who was a customer of mine – she was an avid reader of crime fiction – and I was invited down to Tourtour to visit with them. The occasion was MOST convivial! A few years later,when I opened a bookshop in London I approached Ronald to ask him if he would produce a colophon for me. Well, he not only produced a colophon but a whole slew of alphabet letters consisting of figures in the shape of letters, daggers, guns, gravestones (the letter T) which he suggested I could mix and match to use for whatever purpose (shop sign, letterhead etc etc) I wanted. Well, my business partner - to cut a long story short – didn’t like them at all and they never got used. They were consigned to the portfolio and shoved away for over 20 years. Eventually I resigned from the shop (some years later it went bust) and returned back to the country a wiser – if slightly poorer - man."
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"I knew Ronald for very many years via his wife Mo who was a customer of mine – she was an avid reader of crime fiction – and I was invited down to Tourtour to visit with them. The occasion was MOST convivial! A few years later,when I opened a bookshop in London I approached Ronald to ask him if he would produce a colophon for me. Well, he not only produced a colophon but a whole slew of alphabet letters consisting of figures in the shape of letters, daggers, guns, gravestones (the letter T) which he suggested I could mix and match to use for whatever purpose (shop sign, letterhead etc etc) I wanted. Well, my business partner - to cut a long story short – didn’t like them at all and they never got used. They were consigned to the portfolio and shoved away for over 20 years. Eventually I resigned from the shop (some years later it went bust) and returned back to the country a wiser – if slightly poorer - man."
". . . I had forgotten all about the RS material until a house move a couple of years ago unearthed them. With some reluctance I have now decided to auction the material. I don’t desperately need the money but if I should die prematurely then this material could be lost for all time which would be a great shame. You may be interested yourself and perhaps your readers may well be interested..."
To view the catalogue go to the website of Dominic Winter Auctions
{item 374 on page 118 of the 6th February catalogue}
{item 374 on page 118 of the 6th February catalogue}
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Searle in Colour
Searle made his name of course with his inky, scratchy black and white drawings but from his early career he demonstrated a unique command of colour too. The palettes he used were often unusual but very striking.
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Searle mastered these intricate tableau colour spreads. It's a joy to scrutinize the details of these pictures.
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The 'red sky at night' of the Punch cover above contrasts beautifully with the almost turquoise grass.
It may have inspired the colour palette of the next piece but it was actually published the year after so unlikely. Compare this seaside image with the Lilliput piece a decade earlier-Searle's stylistic range is remarkable.
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'A Trip to the Seaside' for Lilliput Magazine 1947
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'Festival of Britain' for Punch magazine 1951
Fortune magazine 1956
Fortune magazine 1961
It may have inspired the colour palette of the next piece but it was actually published the year after so unlikely. Compare this seaside image with the Lilliput piece a decade earlier-Searle's stylistic range is remarkable.
Punch 14th August 1957
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Valentine
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'Beast Friends Forever'
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More Winespeak
The drawings were later published in the collections titled 'The Illustrated Winespeak' and 'Something In the Cellar'
Republished in 1987 as 'Ozzie Winespeak' to promote Taltarni and the Americas Cup.
Ivor Wood animates Searle's Winespeak drawings for the Clos du Val winery. In the video online here you'll see Searle's Bacchus & his kangaroo steed animated in stop-motion! The drawn animation is some of the best examples of Searle's style animated in 2-D.
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Ireland
The Emerald Isle as seen through Searle's eyes. Drawn in 1962 but published in 'Holiday' magazine April 1963
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At Trinity College this rebellious student reads Brendan Behan while the others are engrossed with Shaw, Wilde et al.
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'The human traffic on O'Connell Street, watched over by an angelic harp'.
At Trinity College this rebellious student reads Brendan Behan while the others are engrossed with Shaw, Wilde et al.
'Often, in Dublin, it is considered more sporting to loose your shirt than to keep it on. Hence the popularity of horses.'
'Tears flow easy in a Dublin pub, but not even the heartbreaking songs from a brendanbehanish bard can truly water the beer.'
"It's Guinness!" O'Connell Bridge and the Liffey June 1962
The Quays
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Merrion Square
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'Ireland is poor because it is infested by tricky thieves called leprechauns, who diligently hold up the exchequer in broad fairy light. As greedy as their four-footed helpers, they bury their loot in crocks at the rainbow's end.'
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'With his head not quite tucked underneath his arm, Dublin's logomachic chronicler, James Joyce, haunts the Martello tower at Sandycove. As everyone recalls, the opening scene of his 783-page ulyssiad unravels here-a conversation of sorts between stately, plump Black Mulligan and moody, broody Stephen Dadalus.'
This drawing recently sold at auction was not published as part of the article.
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Searle illustrated this report by S. J. Perelman on 'the haunted manor of Poltrooney'.
Searle illustrated this report by S. J. Perelman on 'the haunted manor of Poltrooney'.
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Pigs!
Stephen Nadler at the ever reliable Attempted Bloggery reminds me today is Ronald Searle's birthday!
See a celebration of swines over at Stephen's top knotch blog on cartooning and illustration here
See a celebration of swines over at Stephen's top knotch blog on cartooning and illustration here
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NYC exhibition
'This exhibition features the poetry of Robert Forbes and the drawings of Ronald Searle, featured in three books, BEASTLY FEASTS! A Mischievous Menagerie in Rhyme; LET’S HAVE A BITE! A Banquet of Beastly Rhymes, and the latest, BEAST FRIENDS FOREVER! Animal Lovers in Rhyme.
Robert Forbes writes:
All the drawings are done by the great Ronald Searle, and I think you will agree that they bring magic to the poems. When I first had enough poems to think about doing a book, I asked myself, who is the top, who is the best illustrator I could possibly get to do these? The answer for me was Ronald Searle, so I just asked. I have learned in life that if you don’t try, you will never know what could have been.
I am very grateful to him for interpreting all my creatures so brilliantly, with such zest and wit. By the way, if you look closely at each drawing you will see a mouse who shows up in every one! See if you can spot him
How does a book like this come together? What I did was write a bunch of poems and then I send them to Ronald.
A few months later, a large package arrives. I felt like a little boy at Christmas opening a highly anticipated present! Imagine my delight and wonder as my creatures sprang to life under his pens and inks, pastels and paints.
The key to these books, then, is imagination. When I read in schools and libraries, that is what I tell the children right away, that we are entering this world created by imagination but they must remember that they too have imaginations as good as mine or anybody else’s. So do you! .'
Through August 3, 2013
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"They're over here . . ."
American supermarket chains come to Italy - illustration for an article on 'The Americanisation of Europe' (1965)
"A critical view of American conduct abroad is expressed in this drawing . . . of U. S. visitors in an Italian town. Villagers watch, fascinated, from stairways as the strangely clad members of a tourist party, just disgorged from a huge American automobile, disport themselves about a fountain while one of a group of lounging GIs gives a wolf-whistle at a passing girl."
LIFE magazine 23 Dec 1957
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New Yorker cartoons
Not only did Searle illustrate dozens of fine covers for the New Yorker but also contributed interior cartoons. The magazine ran several series by Searle including a delightful collection of historical what ifs entitled 'Crossed Paths'. (Later published in a book collection 'Marquis De Sade meets Goody Two Shoes')
'Daisy Ashford meets Concise Oxford'
Searle even interpreted the magazine's famous mascot Eustace Tilley . . .
. . . and sometimes contributed 'The Back Page'
This 'Angel of Inspiration' is, I believe, a New Yorker commission
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Editorial Illustration
Following on from the last post on the New Yorker cartoons here's a batch of editorial pieces mainly from the 90s
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'Glyndebourne re-opens'
(lower left) mixed media, unframed 20¾ x 17¼in.
Cover drawing for Telegraph Magazine, 7 May, 1994
'The hand of authority'
pencil, black ink and watercolour, unframed13 x 7 in. (33 x 17.8 cm.)
Harper's magazine, New York.
'Savile Row - In all its glory'
pencil, pen and black ink and watercolour, unframed 19 x 16in.
An original illustration for Town and Country Magazine, published New York, April 1989
'Le Glorious 12th'
pencil, pen and black ink and watercolour, unframed 12 x 19in.
An original illustration for Forbes FYI Magazine, published New York, 1992
'Butler School'
pencil, pen and black ink and watercolour, unframed 19 x 16in.
An original illustration for Forbes FYI Magazine, published in New York, November 1992
'Children's cooking classes at the Ritz'
pencil and black ink, 16½ x 15 3/8 in.
International Herald Tribune, Paris, 29th March, 1997.
'Perpetual motion'
pencil, pen and black ink and watercolour, 18 x 18in. (45.6 x 45.6cm.)
An original illustration for an article on house exchanging in Yankee Magazine, September 1991
'Bacchus & Co'
mixed media, 19½ x 18¼in.
An original illustration for Forbes Magazine, New York, 8th May, 1995
'Senior citizen crossing'
pencil and pen and black ink, 14¾ x 19½in.
An original illustration for International Herald Tribune, published Paris, 5 July, 1997
'Computer deity'
pen and black ink and watercolour 16¼ x 12¼ in.
Harvard Business Review, U.S.A., March 1984 issue.
'The Gods are angry'
signed 'Ronald Searle' (lower right)
pencil and black ink, 15 x 19 in. (38 x 48 cm.)
Le Monde, Paris 25 July 1996.
'Computer bug'
signed and inscribed 'Ronald Searle/Computer bug' (lower left)
pencil, pen and black ink and watercolour, 16¾ x 7 in. (42.6 x 17.8 cm.)
Harvard Business Review, U.S.A., March, 1984 issue.
'Superwoman'
signed and inscribed 'Ronald Searle/Superwoman' (lower left)
pencil and black ink, 18½ x 16 in. (47 x 40.5 cm.)
International Herald Tribune, Paris, 11 October 1997.
'Waiting for walkies'
signed 'Ronald Searle' and inscribed as title (lower left)
pen, black ink and watercolour, 12¼ x 18 in. (31 x 46 cm.)
An original illustration for the International Herald Tribune, Paris, 13 January 2001.
'Get me the zoo, please, Miss Winterton'
signed, dated and inscribed 'Ronald searle/1955./'Get me the Zoo, please, Miss Winterton'
pencil, pen and ink and grey wash, 11¾ x 8¾in. (29.9 x 22.2cm.)
An original illustration for "Figaro", Paris 1955
'Pleasures of Golf'
signed and dated 'Ronald Searle 1992' (lower left) and inscribed 'Pleasures of golf' (lower right)
pencil, pen and black ink and watercolour, 17 x 17in. (43.7 x 44.5cm.)
An original illustration for Yankee Magazine, published June 1992
'Zeus & Co.'
signed 'Ronald Searle' (lower right) and inscribed as title (lower left)
pencil, pen and black ink and watercolour heightened with white, 21 x 16½ in. (53 x 42 cm.)
An original illustration for Town and Country Magazine, published New York, June, 1994.
'Something in the cellar'
pencil and pen and black ink, 17½ x 15in. (44.5 x 38.5cm.)
International Herald Tribune, published Paris, 18 October, 1997
'St George and the Euro Dragon'
signed 'Ronald Searle' (lower left) and inscribed 'L'Eurosceptique' (lower left)
pencil and pen and black ink, 16½ x 19¾in. (41.8 x 50.2cm.)
An original illustration for Le Monde, Paris, 26 March 1997.
'Ice hockey'
signed, inscribed and dated 'Ronald Searle/1972. Madison Square Gardens NYC/NY Rangers v Buffalo Sabres' (lower right) and 'Sports Illustrated: Ice Hockey' (lower left)
pencil, watercolour and bodycolour, 16¾ x 12¾ in. (42.6 x 32.4 cm.)
Sports Illustrated Magazine, New York.
'The gourmand'
signed, inscribed and dated 'Ronald Searle/1995/Le Gourmand' (lower left)
pencil, pen and ink, watercolour and coloured crayon, 18¾ x 16½in. (47.6 x 42cm.)
An original illustration for Yankee Magazine, USA, summer issue, 1995.
'Tackling the problem'
signed and inscribed 'Ronald Searle/Tackling the problem' (lower left) and dated '1999' (lower right)
pencil and pen and black ink, 19¼ x 15 3/8in. (49 x 39.1cm.)
An original illustration for C.N.R.S., Paris (National Centre for Scientific Research)
'Quiet day at the office'
signed and inscribed 'Ronald Searle' (lower right) and 'Quiet day at the office' (lower left)
pencil and black ink, 16½ x 19½ in. (41.9 x 49.5 cm.)
This was a project design for a New York agency.
'Girlpower!'
signed 'Ronald Searle' (lower right)
pencil and pen and black ink, 15¾ x 13in.
An original illustration for International Herald Tribune, Paris, 16 March 1996.
'Weight Watcher'
signed 'Ronald Searle' and inscribed as title
pencil and pen and black ink, 10¾ x 17½in.
An illustration for the New York Times, 3 February 1996
'Thoughts by Nigel M: 'Ye English (Well, some ready to be stuffed)'
pencil, pen and black ink, 6¾ x 12 in.
Ronald Searle, Thoughts by Nigel - Young Elizabethan Magazine.
'Nigel dreams: 'Oo gosh! Babe Nigel make the home run'
pencil, black ink and bodycolour, 11¾ x 16 in. (30 x 40.7 cm.)
Sports Illustrated Magazine, New York, 1963.
'The Rolling Stones/are still at it./Lapidation.'
signed and dated 'Ronald Searle/1993' (lower right) and inscribed
pencil, pen and black ink, watercolour and coloured crayon, 14 5/8 x 12¼in.
An original illustration for the New Yorker series 'Great Moments in Music'
'Comment apprendre une Langue Etrangere'
signed 'Ronald Searle', inscribed as title and further inscribed 'Mon Dieu! and its raining cats et dogs'
pencil, pen and black ink, watercolour and crayon, 19½ x 15in.
An illustration for Le Temps Retrouve magazine, Paris, July 1994
'Stately homes of England - for rent'
pencil and black ink, 15 x 15 in.
New York Times, 22 August 1971 issue.
An original illustration for Forbes FYI Magazine New York, May 1995
Happy Birthday to you
pencil, pen and black ink, watercolour and coloured crayon, 18 x 12¾in.
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'Adam and Eve and the Flaming Sword of P.C.'
Published: Saturday Review, New York, July 1972
'Adam and Eve and the Flaming Sword of P.C.'
Published: Saturday Review, New York, July 1972
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