Thursday, April 25, 2013
I'm working on an exciting book project that will collate all of Searle's 'Holiday' era reportage work of the late 50s through the late 60s. I've made considerable progress tracking down original art, relevant sketches and the books and magazines where the drawings were first published BUT I don't have everything! Ideally I'd like to get high quality scans of as many originals as possible and publish them large format, uncropped so Searle fans can appreciate all the glorious detail and modern colour reproduction.
If there's anyone out there who would like to contribute scans or photos of their Searle originals please contact me at the email address in my Blogger profile here or in the comments section. Anything that Searle did while in America or on America will fit the theme of the book: early American reportage for Punch, Holiday mag, LIFE magazine, TV Guide artwork etc.
(I don't have many New Yorker mags so scans of Searle's covers would help immensely too).
I hope to hear from the owners of the artwork that appeared on the first Punch magazine spreads in 1957. Also anyone who owns original TV Guide artwork, sketches, New Yorker, Time magazine etc.
Thanks in advance!
Tuesday, April 16, 2013
Vanity Fair are celebrating HOLIDAY magazine and Searle gets a brief mention, quoted here before, on the subject of the magazine's legendary art director Frank Zachary. It's an interesting read of the 'Mad Men'-like heyday of travel magazines, high profile article writers and reportage photography/illustration. There's also a slideshow of classic Holiday covers.
Zachary pictured in the Holiday magazine offices in 1956
Zachary at Town & Country Magazine in 1984 (he apparently preferred to be photographed leaning!)
Also focused on is Zachary's famously well connected address book. The page that may contain Searle isn't available but we can see illustrators Rowland Emett and Al Hirschfeld were included.
Monday, April 08, 2013
Following on from the last post on the New Yorker cartoons here's a batch of editorial pieces mainly from the 90s
(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
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.
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
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.
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.
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.
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.
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.
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.
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
Friday, March 29, 2013
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'
In the introduction to 'Marquis de Sade meets Goody Two Shoes' Searle expands on the genesis of the project:
'The theme of this collection, that of crossing a few unlikely paths, first emerged a year or two back, while I was re-dipping into the murky life of Edgar Allan Poe and re-encountering, that same afternoon, some of the worst of E. Hemingway's macho prose. Suddenly I had this distressing vision of Hemingway blasting the brains out of Poe's quothing raven, so that nevermore would the gloomy bird go on about doom, fate and the shocking price of bird seed in New York. From then on it was only a short trot to other fanciful encounters. Donatien Alphonse Francois, Marquis de Sade, for example. His sheer bad luck in crossing the path of the unspeakable Goody Two-Shoes, who was capable of crushing the spirit of men more monstrous and certainly less readable than he, was startling, to say the least of it.
Is it not likely that one such numbing encounter - with or without skipping-rope - resulted in his incarceration and, finally, death in the lunatic asylum at Charenton? Such unlikely pairing opened up a world of nightmarish possibilities. Take old Omar Khayyám's brief encounter while he was lolling about with a loaf, a jug of wine and his girlfriend Thou, under a desert palm. If only he had enrolled in the Charles Atlas Biceps Course before T. E. Lawrence kicked sand in his face, the Rubáiyát might have been less soppy.
Crosssed paths, like crossed legs, can conceal an awful lot of surprises. Had impetuous Caesar, for example, listened more carefully, would he still have chopped de Gaulle into three parts?
Well, maybe . . . '
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
obituary for Searle