Saturday, May 07, 2022

Jazz Man

Sketches of 'The King of New Orleans Jazz' Al Hirt found during research on my book 'Ronald Searle's America'.

Sketchbook pages courtesy of Chris Beetles Gallery, London.

Searle was on assignment in New Orleans for HOLIDAY magazine.

 I found the original in the collection of the National Portrait Gallery at the Smithsonian and they kindly provided a hi-res image for the book. The reproduction in HOLIDAY magazine omitted Searle's notation 'Al Hirt at Dan's Pier 600, New Orleans'.

Friday, April 22, 2022

Early Searle


'Self Portrait' 1949 (Tate museum)

Photograph by Wolfgang Suschitzky, 1946

I'd love to identify the artwork on the easel; looks like a depiction of horses.

Sunday, April 03, 2022

TV guide

Interior spot illustration added to the TV guide section here

(Offensive stereotypes portraying offensive TV shows published Dec. 10th, 1977)

Monday, February 14, 2022

l'amour c'est...

Poster signed by Searle for the 1971 film 'L'amour c'est gai, l'amour c'est triste'  directed by Jean-Daniel Pollet with dialogue by Remo Forlani. Distributed by Argos Films who presumably engaged the artist to create the poster or perhaps Searle was friends with the film-makers since he was living in Paris during this period.

Hand-written credits by Searle.

Réal : Jean-Daniel Pollet
Scén : Rémo Forlani
Scén+ :J.D. Pollet
Genre : Comédie
Producteur :  Anatole Dauman
Musique de :  Jean-Jacques Debout
Photo de :  Jean-Jacques Rochut
Distributeur :  Argos Films
Dialogue de :  Rémo Forlani

Sunday, January 09, 2022

It Must Be True

IT MUST BE TRUE "It was all in the papers" 
Written by Denys Parsons & illustrated by Searle
Published by Macdonald, London, 1952 (fourth imp. March 1953

'Denys Parsons was the undisputed king of the misprint and over the years he compiled many best-selling volumes. It Must Be True brings together the very best of these timeless clangers dredged from the daily press across the English-speaking universe from the Berkhamsted Gazette to the Bulawayo Chronicle. Including both bizarre accidents of typesetting and delightful editorial bungles, most of the mishaps bring a hilarious unintentional new meaning, while others allow an inspired breed of nonsense to reign for a brief but glorious moment.'

It seems these books by Parsons proved popular and the publisher, Macdonald, put out several collections with illustrations by the best of the day including Haro and Anton (whose early influence on Searle's style can be detected).

Before the Parsons books Searle illustrated 'This England' published by Turnstile Press in 1949 -'a collection of newspaper cuttings, submitted by readers and published each week in The New Statesman and Nation'.