Ronald Searle 1920 Cambridge - 2011 Draguignan - "Everyman" - (1977) color lithograph/paper. 59/99. 50 x 65 cm, 57 x 72 cm (dimensions with frame). Titled, signed and dated lower left: Everyman. Ronald Searle. (19)77. Dry stamp lower right: Edition RS Paris. Dry stamp lower left: Michel Cassi / Litho. Paris. Framed under glass. Ronald Searle, CBE, born Ronald William Fordham Searle, was a British illustrator, cartoonist and medalist, who knew how to combine black humor with "lovable charm".
Ronald Searle CBE RDI, British 1920-2011 - The Hatley Man 34: Do not leave children to their own devices near a lion’s cage; ink, pencil and collage on paper, signed lower left 'Ronald Searle' and titled in ink and pencil lower left and to label attached lower centre, 41 x 30 cm (ARR) Provenance: The Estate of the Late Trevor Coldrey Note: the artist is best known as the creator of the 'St. Trinian's' comic strip series. Figures as varied as Matt Groening, Pat Oliphant and John Lennon have sited him as an influence on their work. The present piece is a study for Searle's set designs for the animated film 'The King's Breakfast' made in 1963 by director Wendy Toye, based on a poem by A.A. Milne.
Ronald Searle CBE RDI, British 1920-2011 - Ian Fleming...as the imagination sees them; ink and wash on paper, signed lower left 'Ronald Searle' and titled upper left, 32 x 25.3 cm (ARR) Provenance: Christie’s, London, British & Continental Watercolours and Drawings and Original Book Illustrations, 6th December 2001, lot 227; Bonhams, Bury St Edmunds, 11th December 2008, lot 369; with Abbott and Holder, London, 024052 (according to the inscribed label attached to the reverse); The Estate of the Late Trevor Coldrey Note: the artist is best known as the creator of the 'St. Trinian's' comic strip series. Figures as varied as Matt Groening, Pat Oliphant and John Lennon have sited him as an influence on their work. The present piece is a study for Searle's set designs for the animated film 'The King's Breakfast' made in 1963 by director Wendy Toye, based on a poem by A.A. Milne.
(Britain, 1920-2011) Original woodcut signed lower right framed nicely. Good condition. Framed: H10 1/2" W7" Sold from the personal collection of Andy Zalkin to benefit Beth Shalom Synagogue of Columbia, South Carolina.
Ronald Searle British, 1920-2011 Group of 4 Homage to Toulouse Lautrec Seated Woman hand signed bottom right inscribed bottom left H C (Hors Commerce) Approximate size: 12.75" H x 9.25" W Standing Woman hand signed bottom right inscribed bottom left H C (Hors Commerce) Approximate size: 12.75" H x 10.5" W Homage a T Lautrec, First time proof III, The Judgement of Paris Hand signed bottom right Approximate size: 19.75" H x 25.75" W Horizontal work Inscribed on verso in Blue marker: "Homage a Toulouse-Lautrec III The Judgement of Paris Copyright Ronald Searle 1969 Published by Edition Empreinte: Paris" Stamped twice in red inscribed" "Ronald Searle John Locke Studio 15 East 76th Street NEW YORK CITY, 10021 U.S.A Butterfield 8-8010" Homage a T Lautrec, First Proof, The Second Coming of Toulouse Lautrec Hand signed bottom right Approximate size: 19.75" H x 25.75" W Vertical work incscibed on verso in Blue marker: I : Hommage A Toulouse-Lautrec The Second Coming of Toulouse Lautrec Published by Edition Empreinte: Paris Stamped twice in red inscribed: "Ronald Searle John Locke Studio 15 East 76th Street NEW YORK CITY, 10021 U.S.A Butterfield 8-8010"
Searle (Ronald) What Already Searle at 90 [&] Kiss Kiss: More News from Provence, 2 vol., one of 96 copies signed by the author (out of series in manuscript in both vol.), housed in original slip-case, The Pensionable Parrot Press, 2010; The Face of War, Oxford, Previous Parrot Press, 1999, illustrations by Ronald Searle, original boards § Fuller (Henry) The Song of Songs Which is Solomon's, one of 29 copies signed by the artist and publisher, with colour plates and original pastel illustration signed by the artist housed in portfolio, 1995; and 2 others, illustrated 4to (6)
RONALD SEARLE (1920 – 2011) Apéritif Encre de chine et aquarelle Signé en bas à gauche 10,5 x 14,5 cm India ink and watercolor Signed lower left 4¼ × 5¾ in.
§ Ronald Searle C.B.E. (British, 1920-2011) Sketch for 'A Phoenix Too Frequent' signed 'Ronald Searle' (lower left) and inscribed 'Oxford/A Phoenix/too Frequent/19' (upper left beneath the mount) ink on paper Unframed: 24.4 x 36.9 cm. (9 5/8 x 14 7/8 in.) Framed: 40.9 x 45.2 cm. (16 1/8 x 17 3/4 in.)
§ Ronald Searle (British, 1920-2011) Sketch for 'A Phoenix Too Frequent' signed with initials 'RS' (lower right) and inscribed 'A Pheonix too Frequent/14' (upper left) ink on paper Unframed: 26.4 x 38 cm. (10 3/8 x 15 in.) Framed: 42.8 x 47.2 cm. (16 7/8 x 18 1/2 in.)
Ronald Searle (1920-2011) Paysage de Chats Lithograph, 1967, signed and dated in pencil, numbered from the edition of 50, published by Éditions Empreinte, Lausanne, with their blindstamp, on Arches paper, with full margins, sheet 500 x 660mm (19 5/8 x 26in) (unframed) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Artist(s): Ronald Searle (English, 1920-2011). Medium: Lithograph on paper. Signature(s): Pencil signed and dated from 1967, lower right. Numbered 37/50, lower left. Paperwork/Provenance: N/A Condition: The print is in good overall condition. There are a few scratches to the frame. Measurement(s): 17 3/4" x 22 3/4" (sight), 25" x 30" (frame). In-house shipping is available. Please see our website regarding our in-house shipping procedures.
Ronald Searle (British, 1920-2011) Costume Designs, traditionally identified as being for a Chelsea Arts Club Ball Pencil and gouache on paper Dimensions: 21 in. (H) x 13.5 in. (W)
inscribed indistinctly with notes throughout the entire sheet; further titled 'MUSIC THROUGH THE YEARS 1910-1945: DESIGN FOR STAGE SET/THE PLAYHOUSE, CHANGI GAOL 1945' (according to gallery label on verso) pen, ink & coloured pencil Size:(14.5 x 20.4 cm. (5 3/4 x 8 in.)) Provenance:With Chris Beetles Gallery, London, where purchased by the present owner Exhibited: London, Chris Beetles Gallery, Ronald Searle: A Retrospective, October 2003
signed and dated 'Ronald Searle 1953' (lower left); titled 'Unarmed Combat' (lower left beneath the mount); titled and dated twice again 'Unarmed Combat/Souls in torment: London 1953/The St Trinians Story, London 1959' (verso) and stamped with artist's stamp (verso) pen & ink Size:(28 x 19.5 cm. (11 x 7 5/8 in.)) Provenance:With Chris Beetles Gallery, London, where purchased by the present owner Exhibited: London, Chris Beetles Gallery, The Illustrators: The British Art of Illustration 1800-1991, 16 Nov 2019-4 Jan 2020 cat.no.545
Searle (Ronald) Flying Catburger, signed, title, dated and numbered 55/99 by the artist, embossed "Michel Casse Litho-Paris" and "Edition RS Paris" in lower margin at opposite comers, 495 x 645mm., 1972. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Searle (Ronald).- Collection of the Complete Works of Ronald Searle, including Searle (Ronald) Ronald Searle's Big Fat Cat Book signed presentation inscription with ink drawing of a cat by the author to his long-term friend and journalist David Arkell, original pictorial boards, corners slightly bumped, 1982; The Female Approach, signed presentation inscription from the author to Jean Effel (pseudonym of Francois Lejeune), a well-known French painter and caricaturist and close friend of Searle, 1954 § 'How to be Topp', signed presentation inscription from the author to Nicholas Glass (Channel Four arts critic who interviewed Searle in 2010 for a programme celebrating Searle's 90th birthday), original pictorial boards, 1954; and others, all by or illustrated by Searle, some signed or with signed presentation inscriptions by the author to close friends, writers and journalists, generally near-fine, a few duplicates, v.s., 1939-[2020] (c.200) ⁂ A fantastic, comprehensive collection of the complete works of Ronald Searle. There is no official Searle bibliography and the most complete list is in the 2003 Russell Davies' biography of Searle. This collection includes everything in Davies's list and many which are not, including foreign publications and books where Searle designed the jacket only. A complete list is available on request. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Searle (Ronald) More Scraps in No Particular Order: Unpublished Sketchbooks [&] Watteau Revisited: Drawings, together 2 vol., one of 42 special copies, signed by the artist and with 6 additional hand-coloured prints signed by Searle and Annie Newnham (the colourist) in pencil, original morocco-backed pictorial boards, uncut, additional prints loose as issued in card folder, prospectus loosely inserted, Inky Parrot Press, 2008; What! Already? Searle at 90 [&] Kiss Kiss: More News from Provence, together 2 vol., one of 96 special copies signed by the artist, original cloth-backed pictorial boards, together in slip-case, Pensionable Parrot Press, 2010; The Predatory Bite of the Steel Nib. The Scrapbook Drawings, one of 296 copies signed by the artist, prospectus loosely inserted, original orange pictorial wrappers, uncut, Predatory Parrot Press, 2005, illustrations by Searle, Church Hanborough; and 4 others illustrated by the same, v.s. (9) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Ronald Searle British, (1920-2011) caricatures, 1967 Two lithographs on paper Both pencil signed, titled and numbered. Top: numbered 44/50 Bottom: numbered 49/50 Following is The New York Times obituary of the artist: Ronald Searle, Slyly Caustic Cartoonist, Dies at 91 By STEVEN HELLER Published: January 3, 2012 Ronald Searle, the British cartoonist and caricaturist whose outlandishly witty illustrations for books, magazine covers, newspaper editorial pages and advertisements helped define postwar graphic humor, died on Friday in Draguignan, in southeastern France, where he lived. He was 91. His family said in a statement that he had died in his sleep after a short illness. Lampooning the foibles of the English class system as well as clerics, politicians and even other artists, Mr. Searle was often described as a latter-day version of the 18th-century British graphic satirist William Hogarth. His cartoons combined an ear for linguistic nuance with a caustic pen and brush. With just a few well-placed lines, he pierced the facades of his targets without resorting to ridicule or rancor. "His ability to draw in a variety of styles allowed him to master all forms of graphic art," the caricaturist Edward Sorel said. Yet his signature method, a curious mix of minimalist detailing and rococo flourishes using a vibrant watercolor palette, exuded a modern air — sometimes realistic, other times abstract, occasionally phantasmagoric — more reminiscent of the German expressionist George Grosz than Hogarth and his other British antecedents. Mr. Searle's sensibility, though rooted in an English tradition, was decidedly universal, and not always overtly comic. In addition to creating humorous covers for The New Yorker and TV Guide from the 1960s through the '80s, as well as cartoons for the French newspaper Le Monde and illustrations for The New York Times and the International Herald Tribune, he recorded serious news events, including John F. Kennedy's presidential campaign in 1960 and the Nazi war criminal Adolf Eichmann's trial in Jerusalem in 1961, covering them for Life magazine. He also created pictorial travelogues for Holiday magazine, whose art director during the middle to late '60s, Frank Zachary, sent him to various corners of the world to report on the growth of postwar industrial Europe and other subjects. Many editorial cartoonists and illustrators who came of age in those years were influenced by Mr. Searle's approach and mimicked it. Ronald William Fordham Searle was born on March 3, 1920, in Cambridge, England. While his working-class parents, William and Nellie Searle, were not "poor in the needy sense," his biographer Russell Davies wrote, most of their money went to necessities. Still, recognizing their son's talent, they bought him a set of pastels, and by age 9 he was drawing credible portraits of his family and friends. At 15, Ronald paid for his own art school classes by working for a cartoonist at The Cambridge Daily News, where he also drew traditional continuous-panel strips with clever story lines in the graphic style of the early 20th-century cartoonist and humorist H. M. Bateman. Mr. Searle became a satirist, he once said, because "in the late '30s, things in general and politics in particular were no longer neatly divided into things black and white." "On top of this," he added, "there was the irresistible impulse to draw. I cannot remember wanting to be anything else other than an artist." In 1939 he passed a government drafting test and joined the Army as an architectural draftsman. On the side he made impressionistic watercolor sketches of fellow soldiers and cartoons poking fun at military conventions. His work was first published in the magazine Lilliput in 1941. In October of that year he was shipped off to Singapore, which soon fell to the Japanese. Captured, he spent the duration of the war in Changi prison, which provided forced labor for building the Burma railway, including the famous bridge over the River Kwai. But he continued to draw, using crude implements and scraps of paper, recording the deplorable conditions of his camp and the fates of fellow soldiers. After he was repatriated in 1945, his drawings were exhibited in Cambridge. (In 1986 he published a book of them, To the Kwai — and Back: War Drawings 1939-1945.) In 1948, Mr. Searle began writing and illustrating parodies about the impish, misbehaving students at a fictional English girls' school called St. Trinian's and publishing them in Lilliput. This led to a series of popular books, starting in 1948 with Hurrah for St. Trinian's. His St. Trinian's girls were warmly embraced by the English public and established him as one of Britain's leading cartoonists. Still, he began to complain of becoming a prisoner to his creations and the cottage industry of books and films that grew from them. To free himself from the burden of success, he blew up the school with an atomic bomb in 1952 in The Terror of St. Trinian's. But he could not kill the franchise; the characters were too popular. It continued until 1959, when he and his wife at the time, Kaye Webb, published The St. Trinian's Story, a compilation. (In 2007, it was revived as a film, St. Trinian's.) Mr. Searle began contributing work to the venerable satiric magazine Punch in 1953, at the invitation of its editor, Malcolm Muggeridge. He soon became the highest-paid cartoonist on its staff and was sought after as an author, illustrator and animator, especially in the United States, where he designed the title sequences for Those Magnificent Men in Their Flying Machines and other movies. In the mid-1950s he founded a publishing company, Perpetua Books. His work has been collected in albums like "Merry England, etc." and "The Rake's Progress" (an homage to Hogarth's famous portfolio of a similar name). As time went on, his work occasionally became surreal and his comedy darker, as in his books The Square Egg (1968) and The Secret Sketchbook (1970). He continued to focus on familiar themes, like overpopulation and religion, but with more angst; a 1972 drawing titled The Arrival of God shows a huge crescent moon falling with a thud onto a large city. In the late 1960s Mr. Searle and his second wife, the former Monica Koenig, moved from Paris to secluded country life in southeast France, near Cannes, where he continued to work. His marriage to Ms. Webb, an editor of Lilliput and Puffin Books, whom he married in 1948, ended in divorce in 1967. His second wife died in July. Mr. Searle is survived by a son, John; a daughter, Kate Searle, and a grandson. Despite his skeptical, satirical bent, Mr. Searle had a soft spot for animals, especially cats. The subjects of his books Searle's Cats (1967) and More Cats (1975), hyperactive and dour, were among his favorite creations. He was also fascinated by snails, and found a way to link them with terror, intrigue and even sex in his 1969 book Hello — Where Did All the People Go?
Ronald Searle British, (1920-2011) The Temple, 1972 Etching on paper with hand coloring Pencil signed, dated, titled, and numbered 39/99 lower margin. Following is The New York Times obituary of the artist: Ronald Searle, Slyly Caustic Cartoonist, Dies at 91 By STEVEN HELLER Published: January 3, 2012 Ronald Searle, the British cartoonist and caricaturist whose outlandishly witty illustrations for books, magazine covers, newspaper editorial pages and advertisements helped define postwar graphic humor, died on Friday in Draguignan, in southeastern France, where he lived. He was 91. His family said in a statement that he had died in his sleep after a short illness. Lampooning the foibles of the English class system as well as clerics, politicians and even other artists, Mr. Searle was often described as a latter-day version of the 18th-century British graphic satirist William Hogarth. His cartoons combined an ear for linguistic nuance with a caustic pen and brush. With just a few well-placed lines, he pierced the facades of his targets without resorting to ridicule or rancor. "His ability to draw in a variety of styles allowed him to master all forms of graphic art," the caricaturist Edward Sorel said. Yet his signature method, a curious mix of minimalist detailing and rococo flourishes using a vibrant watercolor palette, exuded a modern air — sometimes realistic, other times abstract, occasionally phantasmagoric — more reminiscent of the German expressionist George Grosz than Hogarth and his other British antecedents. Mr. Searle's sensibility, though rooted in an English tradition, was decidedly universal, and not always overtly comic. In addition to creating humorous covers for The New Yorker and TV Guide from the 1960s through the '80s, as well as cartoons for the French newspaper Le Monde and illustrations for The New York Times and the International Herald Tribune, he recorded serious news events, including John F. Kennedy's presidential campaign in 1960 and the Nazi war criminal Adolf Eichmann's trial in Jerusalem in 1961, covering them for Life magazine. He also created pictorial travelogues for Holiday magazine, whose art director during the middle to late '60s, Frank Zachary, sent him to various corners of the world to report on the growth of postwar industrial Europe and other subjects. Many editorial cartoonists and illustrators who came of age in those years were influenced by Mr. Searle's approach and mimicked it. Ronald William Fordham Searle was born on March 3, 1920, in Cambridge, England. While his working-class parents, William and Nellie Searle, were not "poor in the needy sense," his biographer Russell Davies wrote, most of their money went to necessities. Still, recognizing their son's talent, they bought him a set of pastels, and by age 9 he was drawing credible portraits of his family and friends. At 15, Ronald paid for his own art school classes by working for a cartoonist at The Cambridge Daily News, where he also drew traditional continuous-panel strips with clever story lines in the graphic style of the early 20th-century cartoonist and humorist H. M. Bateman. Mr. Searle became a satirist, he once said, because "in the late '30s, things in general and politics in particular were no longer neatly divided into things black and white." "On top of this," he added, "there was the irresistible impulse to draw. I cannot remember wanting to be anything else other than an artist." In 1939 he passed a government drafting test and joined the Army as an architectural draftsman. On the side he made impressionistic watercolor sketches of fellow soldiers and cartoons poking fun at military conventions. His work was first published in the magazine Lilliput in 1941. In October of that year he was shipped off to Singapore, which soon fell to the Japanese. Captured, he spent the duration of the war in Changi prison, which provided forced labor for building the Burma railway, including the famous bridge over the River Kwai. But he continued to draw, using crude implements and scraps of paper, recording the deplorable conditions of his camp and the fates of fellow soldiers. After he was repatriated in 1945, his drawings were exhibited in Cambridge. (In 1986 he published a book of them, To the Kwai — and Back: War Drawings 1939-1945.) In 1948, Mr. Searle began writing and illustrating parodies about the impish, misbehaving students at a fictional English girls' school called St. Trinian's and publishing them in Lilliput. This led to a series of popular books, starting in 1948 with Hurrah for St. Trinian's. His St. Trinian's girls were warmly embraced by the English public and established him as one of Britain's leading cartoonists. Still, he began to complain of becoming a prisoner to his creations and the cottage industry of books and films that grew from them. To free himself from the burden of success, he blew up the school with an atomic bomb in 1952 in The Terror of St. Trinian's. But he could not kill the franchise; the characters were too popular. It continued until 1959, when he and his wife at the time, Kaye Webb, published The St. Trinian's Story, a compilation. (In 2007, it was revived as a film, St. Trinian's.) Mr. Searle began contributing work to the venerable satiric magazine Punch in 1953, at the invitation of its editor, Malcolm Muggeridge. He soon became the highest-paid cartoonist on its staff and was sought after as an author, illustrator and animator, especially in the United States, where he designed the title sequences for Those Magnificent Men in Their Flying Machines and other movies. In the mid-1950s he founded a publishing company, Perpetua Books. His work has been collected in albums like "Merry England, etc." and "The Rake's Progress" (an homage to Hogarth's famous portfolio of a similar name). As time went on, his work occasionally became surreal and his comedy darker, as in his books The Square Egg (1968) and The Secret Sketchbook (1970). He continued to focus on familiar themes, like overpopulation and religion, but with more angst; a 1972 drawing titled The Arrival of God shows a huge crescent moon falling with a thud onto a large city. In the late 1960s Mr. Searle and his second wife, the former Monica Koenig, moved from Paris to secluded country life in southeast France, near Cannes, where he continued to work. His marriage to Ms. Webb, an editor of Lilliput and Puffin Books, whom he married in 1948, ended in divorce in 1967. His second wife died in July. Mr. Searle is survived by a son, John; a daughter, Kate Searle, and a grandson. Despite his skeptical, satirical bent, Mr. Searle had a soft spot for animals, especially cats. The subjects of his books Searle's Cats (1967) and More Cats (1975), hyperactive and dour, were among his favorite creations. He was also fascinated by snails, and found a way to link them with terror, intrigue and even sex in his 1969 book Hello — Where Did All the People Go?
Ronald Searle British, (1920-2011) Accident Prone, 1973 etching on BFK Rives with hand coloring pencil signed, titled, and numbered 57/99. Following is The New York Times obituary of the artist: Ronald Searle, Slyly Caustic Cartoonist, Dies at 91 By STEVEN HELLER Published: January 3, 2012 Ronald Searle, the British cartoonist and caricaturist whose outlandishly witty illustrations for books, magazine covers, newspaper editorial pages and advertisements helped define postwar graphic humor, died on Friday in Draguignan, in southeastern France, where he lived. He was 91. His family said in a statement that he had died in his sleep after a short illness. Lampooning the foibles of the English class system as well as clerics, politicians and even other artists, Mr. Searle was often described as a latter-day version of the 18th-century British graphic satirist William Hogarth. His cartoons combined an ear for linguistic nuance with a caustic pen and brush. With just a few well-placed lines, he pierced the facades of his targets without resorting to ridicule or rancor. "His ability to draw in a variety of styles allowed him to master all forms of graphic art," the caricaturist Edward Sorel said. Yet his signature method, a curious mix of minimalist detailing and rococo flourishes using a vibrant watercolor palette, exuded a modern air — sometimes realistic, other times abstract, occasionally phantasmagoric — more reminiscent of the German expressionist George Grosz than Hogarth and his other British antecedents. Mr. Searle's sensibility, though rooted in an English tradition, was decidedly universal, and not always overtly comic. In addition to creating humorous covers for The New Yorker and TV Guide from the 1960s through the '80s, as well as cartoons for the French newspaper Le Monde and illustrations for The New York Times and the International Herald Tribune, he recorded serious news events, including John F. Kennedy's presidential campaign in 1960 and the Nazi war criminal Adolf Eichmann's trial in Jerusalem in 1961, covering them for Life magazine. He also created pictorial travelogues for Holiday magazine, whose art director during the middle to late '60s, Frank Zachary, sent him to various corners of the world to report on the growth of postwar industrial Europe and other subjects. Many editorial cartoonists and illustrators who came of age in those years were influenced by Mr. Searle's approach and mimicked it. Ronald William Fordham Searle was born on March 3, 1920, in Cambridge, England. While his working-class parents, William and Nellie Searle, were not "poor in the needy sense," his biographer Russell Davies wrote, most of their money went to necessities. Still, recognizing their son's talent, they bought him a set of pastels, and by age 9 he was drawing credible portraits of his family and friends. At 15, Ronald paid for his own art school classes by working for a cartoonist at The Cambridge Daily News, where he also drew traditional continuous-panel strips with clever story lines in the graphic style of the early 20th-century cartoonist and humorist H. M. Bateman. Mr. Searle became a satirist, he once said, because "in the late '30s, things in general and politics in particular were no longer neatly divided into things black and white." "On top of this," he added, "there was the irresistible impulse to draw. I cannot remember wanting to be anything else other than an artist." In 1939 he passed a government drafting test and joined the Army as an architectural draftsman. On the side he made impressionistic watercolor sketches of fellow soldiers and cartoons poking fun at military conventions. His work was first published in the magazine Lilliput in 1941. In October of that year he was shipped off to Singapore, which soon fell to the Japanese. Captured, he spent the duration of the war in Changi prison, which provided forced labor for building the Burma railway, including the famous bridge over the River Kwai. But he continued to draw, using crude implements and scraps of paper, recording the deplorable conditions of his camp and the fates of fellow soldiers. After he was repatriated in 1945, his drawings were exhibited in Cambridge. (In 1986 he published a book of them, To the Kwai — and Back: War Drawings 1939-1945.) In 1948, Mr. Searle began writing and illustrating parodies about the impish, misbehaving students at a fictional English girls' school called St. Trinian's and publishing them in Lilliput. This led to a series of popular books, starting in 1948 with Hurrah for St. Trinian's. His St. Trinian's girls were warmly embraced by the English public and established him as one of Britain's leading cartoonists. Still, he began to complain of becoming a prisoner to his creations and the cottage industry of books and films that grew from them. To free himself from the burden of success, he blew up the school with an atomic bomb in 1952 in The Terror of St. Trinian's. But he could not kill the franchise; the characters were too popular. It continued until 1959, when he and his wife at the time, Kaye Webb, published The St. Trinian's Story, a compilation. (In 2007, it was revived as a film, St. Trinian's.) Mr. Searle began contributing work to the venerable satiric magazine Punch in 1953, at the invitation of its editor, Malcolm Muggeridge. He soon became the highest-paid cartoonist on its staff and was sought after as an author, illustrator and animator, especially in the United States, where he designed the title sequences for Those Magnificent Men in Their Flying Machines and other movies. In the mid-1950s he founded a publishing company, Perpetua Books. His work has been collected in albums like "Merry England, etc." and "The Rake's Progress" (an homage to Hogarth's famous portfolio of a similar name). As time went on, his work occasionally became surreal and his comedy darker, as in his books The Square Egg (1968) and The Secret Sketchbook (1970). He continued to focus on familiar themes, like overpopulation and religion, but with more angst; a 1972 drawing titled The Arrival of God shows a huge crescent moon falling with a thud onto a large city. In the late 1960s Mr. Searle and his second wife, the former Monica Koenig, moved from Paris to secluded country life in southeast France, near Cannes, where he continued to work. His marriage to Ms. Webb, an editor of Lilliput and Puffin Books, whom he married in 1948, ended in divorce in 1967. His second wife died in July. Mr. Searle is survived by a son, John; a daughter, Kate Searle, and a grandson. Despite his skeptical, satirical bent, Mr. Searle had a soft spot for animals, especially cats. The subjects of his books Searle's Cats (1967) and More Cats (1975), hyperactive and dour, were among his favorite creations. He was also fascinated by snails, and found a way to link them with terror, intrigue and even sex in his 1969 book Hello — Where Did All the People Go?
A contemporary lithograph by Ronald Searle (British, 1920-2011) titled The Champions that depicts a large assembly of whimsical, anthropomorphic cats gathered around a central table with a trophy, with one cat resting in the foreground. Executed in black ink with sepia-toned washes on tan paper, the lithograph is numbered "2/99" and titled "The Champions" in the lower left. It bears the embossed marks "MICHEL CASSE LITHO - PARIS," and "EDITION R8 PARIS" indicating its printer and origin. The lower right features the signature and date "Ronald Searle 98." The artwork is presented within a thin metallic frame with a white mat. Artist: Louis Wain Dimensions: Artwork dimensions: 32"L x 1"W x 26.50"H; Sight size: 25.50"L x 19.50"H
RONALD SEARLE (BRITISH 1920 - 2011) A LATE 20TH CENTURY PEN AND INK MONOCHROME WATERCOLOUR titled ' Could you Tell Me The Time Please' depicting a prisoner and prison guard. Signed and titled. (36cm high and 24.5cm wide)
Ronald Searle (1920-2011) Study of a Lady in Purple watercolour and ink signed lower left 30cm x 23cm. Literature: Illustrated on page 37 of Ronald Searle 'Slightly Foxed, but still desirable', 1989. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Ronald Searle (1920-2011) A Bigger Slash - Hommage a David Hockney, 1984 lithograph, numbered 139/150 signed and dated in pencil lower right 65cm x 49cm. Literature: Illustrated in Russell Davies 'Ronald Searle A Biography' 1990. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Searle (Ronald) More Scraps in no particular order: unpublished sketchbooks [&] Watteau Revisited: Drawings, one of 42 copies, signed by the artist and with 6 additional hand-coloured prints signed by Searle and Annie Newnham (the colourist), illustrations by Searle, original morocco-backed pictorial boards, uncut, additional prints loose as issued in card folder, together in slip-case, 8vo, Church Hanborough, Inky Parrot Press, 2008. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Ronald Searle (British, 1920–2011) Snail & Rainbow Color lithograph on paper Image: 18 x 23½ in. (45.7 x 59.7 cm) Framed: 27¼ x 32½ in. (69.2 x 82.6 cm) Numbered 37/110 lower left, signed in pencil lower right Executed circa 1970s Playful yet tinged with irony, Snail & Rainbow exemplifies Ronald Searle’s singular blend of wit, elegance, and acerbic observation. Best known as the creator of St Trinian’s and a defining figure in postwar British satire, Searle brought to his fine prints the same expressive line and biting humor that marked his illustrations for Punch and The New Yorker. In this composition, the improbable pairing of a snail and a rainbow evokes Searle’s fascination with the absurd and the poetic—an allegory of persistence and beauty unfolding in the everyday. The lithographic medium amplifies his fluid draftsmanship and sensitivity to color, balancing whimsy with refinement. From an edition of 110, this work is hand-signed and numbered in pencil by the artist. Condition is overall good, with minimal wear consistent with age and framing. Have a similar item to sell? Contact us at info@marketauctionsinc.com Please review all photos closely. The non-appearance of a condition report does not mean that the lot is in perfect condition, does not show wear due to age and use, or is free from damage. Market Auctions Inc. strongly suggests that you request a condition report before placing a bid. You may request one from us via this auction platform. Please note that any condition reports are given as strictly as a courtesy to interested parties and should not be considered a statement of fact. Market Auctions Inc. bears no responsibility for any error or omission. All sales are final and sold as is. Measurements are approximated. Please note shipping is not included. All collectibles, silver, antiques, and paintings please contact our third party shipper listed below: Juniors Auction Services 561-510-0345 / juniorsauctionservices@gmail.com UPS Store 1226 (561) 835-9791 / store1226@theupsstore.com For furniture and very large items, please contact an appropriate freight / transport company for shipment. SALES TAX NOTICE PLEASE TAKE NOTICE that Market Auction, Inc., only collects and remits sales tax on items purchased by Florida residents. ALL OUT OF STATE purchasers are required to pay sales tax to their respective States. Purchasers holding valid resale certificates must provide proof of same prior to purchase. Market Auctions, Inc. takes no responsibility for purchaser failure to remit sales tax to the proper non-Florida taxing authority and for any fines or penalties that may result.
Ronald Searle. Der Sammler beim Antiquar. Aquarell über Tuschfeder. 1973. 23 : 30,5 cm. Signiert, datiert und gewidmet. Satirische Darstellung vom Besuch eines Sammlers beim Antiquar. - Der britische Karikaturist besuchte in den 1970er Jahren mehrfach den Zürcher Antiquar Jörg Schäfer (1935-1997). Angelegentlich eines dieser Besuche im Jahr 1978 dedizierte Searle seine Zeichnung »for Jörg Schäfer from Ronald Searle May 1978«. - Ein Großteil der Karikaturen-Sammlung des britischen Künstlers (1920-2011) wurde 2001 vom Wilhelm-Busch-Museum in Hannover erworben. - Provenienz: Nachlass Jörg Schäfer. - Hamburger Privatsammlung. [Keywords: Modern Art ]
signed 'Ronald Searle' (lower right) pen & ink (unframed) Size:(24.8 x 33 cm. (9 7/8 x 13 in.)) Provenance:Sale; Theodore Bruce, New South Wales, 14 April 2025, lot 6041, where purchased by the present owner
Ronald Searle (English 1920-2011) Sporting Print - Signed lower margin identified and editioned 68/99 lithograph on paper 19 x 25" 26 x 32" as framed. Searle was an English artist and satirical cartoonist, comics artist, sculptor, medal designer and illustrator. He is perhaps best remembered as the creator of St Trinian's School and for his collaboration with Geoffrey Willans on the Molesworth series
Ronald Searle (1920-2011) Avoriaz: Le Ski The complete set of nine lithographs, 1967, each signed and dated in pencil, each numbered from the edition of 50, printed by Michel Cassé, published by Éditions Empreinte, Paris, the sheets loose within the original red slipcase with the justification label, each on Arches paper, with full margins, each sheet 505 x 660mm (19 3/4 x 26 1/8in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Ronald Searle. Original illustrations for The Terror of St Trinian's, comprising: (i) "Recognised, with a light shudder, by the Board of Education" (ii) "She twisted her arm with skilful vigour..." (iii) "'You are still a Liberal?' asked Miss Umbrage interested (iv) "In the open doorway stood Angela Menace with the battle-light in her eyes" (v) "Slow-footed Nemesis had caught up with Mr. H. Richmond Weisenheim" (vi) "As she stood on the west steps of St. Trinians [sic]" each executed in pen and ink on thick card, each window-mounted on card mounts, framed, and glazed, each 502 x 401mm framed, each c.375 x 275mm unframed, each captioned on typed paper label pasted to verso, each stamped to verso "PLEASE RETURN THIS DRAWING AFTER PUBLICATION TO RONALD SEARLE... 4 APRIL 1952", each with marginal annotations in ink and pencil, some light soiling, mounts faded A GROUP OF ORIGINAL DRAWINGS FROM THE FOURTH ST TRINIAN'S BOOK, PENNED BY SEARLE IN HIS INIMITABLE STYLE. The adventures set at St Trinian's, the unorthodox boarding school for girls where the pupils are juvenile delinquents, are undoubtedly Searle's most famous works—responsible for cementing his reputation as pre-eminent postwar satirist. The present drawings were reproduced in The Terror of St Trinian's or Angela's Prince Charming (1952), which Searle co-authored with D.B. Wyndham-Lewis (see pp. 14, 21, 59, 71, 117, 121).
Ronald Searle (1920-2011) 'Merry Monarch', signed, pen and ink, 24.5 x 18cm This work depicts Anthony Quayle playing King Henry VIII, and Henry Andrews as Cardinal Wolsey, for the production of Shakespeare's 'Henry VIII' by the RSC in 1949. Inscribed verso 'Tony with love from Karen & George, Stratford 1949'
"The Poet", Ronald Searle, lithograph, no. 15/99, pencil signed at the lower right. Dimensions: sheet is 30" x 22 1/4" Provenance: From a Main Line collection.
Ronald Searle (British, 1920-2011) For the Toothache signed 'Ronald Searle' (lower left) gouache, watercolour, pen and ink, ink and pencil on paper 37 x 52cm (14 9/16 x 20 1/2in). Executed in circa 1968
Ronald Searle CBE RDI, British 1920-2011 - The Hatley Man; ink on paper, signed lower right 'Ronald Searle', titled lower left 'The Hatley Man 24', 41 x 29.8 cm (ARR)
Ronald Searle (1920 - 2011) Homage to Toulouse-Lautrec, Two Works Each pencil signed, dated for 1969 and an artist's proof. Dimensions: the frames are 14in x 12 1/2in and 15in x 12in. Provenance: Collection of Madge Goldman, Bryn Mawr, Pennsylvania
Ronald Searle (1920 - 2011) Hommage a Toulouse Lautrec A pencil signed lithograph, dated for 1969 and numbered 49/70. Dimensions: 19 3/4in x 25 1/2in, the frame 22in x 28in. Provenance: Collection of Madge Goldman, Bryn Mawr, Pennsylvania
λ RONALD SEARLE (BRITISH 1920-2011)BUT YOU'RE FORGETTING -I'M ONLY NINETEEN!InkSigned (lower left), titled and inscribed (to sheet mount)15.5 x 10.5cm (6 x 4 in.)From The Female Approach, published 1956.
▲ Ronald Searle (1920-2011) 'Whatever Happened to the Empire?' signed 'Ronald Searle' l.r., inscribed with title in pencil l.l., pen and ink 47 x 32.5cm Provenance: The Collection of David and Sandy Fuller. David was a director of the National Horseracing Museum and a successful fine art consultant. He offered his expertise to leading galleries and auction houses, including Sotheby's and Christie's, and was a regular visitor and friend of Sworders for many years. Condition Report: Framed: 51.5 x 37cm Presents well overall. Not viewed out of glazed frame.
Searle (Ronald) & Kaye Webb. Paris Sketchbook, first edition, signed presentation inscription from the authors "John with all good wishes for Christmas, Kaye & Ronald Searle Dec 1950" on front free endpaper, illustrations by the authors, jacket toned, short tears and nicks to extremities, 1950 § Burroughs (Edgar Rice) Tarzan and the Foreign Legion, first English edition, light spotting on endpapers, jacket with loss to spine head and lower panel, some tears to joints, retouching to joints, 1949 § Cheyney (Peter) Your Deal, My Lovely, first edition, jacket with loss to spine head, corners and spine tail chipped and creased, 1941 § Steinbeck (John) Cannery Row, first edition, bookplate, jacket rubbed at extremities, New York, 1945, original boards or cloth, dust-jackets; and 18 others, mixed modern literature, including second impression copies of David's French Country Cooking and Raymond Chandler's The Little Sister, v.s. (24) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Ronald Searle (1920 - 2011) Homage to Toulouse-Lautrec, Two Works Each pencil signed, dated for 1969 and an artist's proof. Dimensions: the frames are 14in x 12 1/2in and 15in x 12in. Provenance: Collection of Madge Goldman, Bryn Mawr, Pennsylvania
Ronald Searle, (American, b. 1920), Swing Time An artist's proof, pencil signed and dated for 1974. Dimensions: 19 1/2in x 25in, the frame 23 1/2in x 29in. Provenance: Collection of Madge Goldman, Bryn Mawr, Pennsylvania
![Searle (Ronald) What Already Searle at 90 [&] Kiss Kiss: More News from Provence, 2 vol., one of 96 copies signed by the author, The Pensionable Parrot Press, 2010; and 4 others, illustrated (6)](https://image.invaluable.com/housePhotos/Forum-Auctions/06/816206/H20198-L442476141.jpg)
![Searle (Ronald).- Collection of the Complete Works of Ronald Searle, some signed or with signed presentation inscriptions by the author, 1939-[2020] (c.200)](https://image.invaluable.com/housePhotos/Forum-Auctions/32/809732/H20198-L431972986.jpg)
![Searle (Ronald) More Scraps in No Particular Order: Unpublished Sketchbooks [&] Watteau Revisited: Drawings, together 2 vol., one of 42 special copies, signed by the artist and with 6 additional ...](https://image.invaluable.com/housePhotos/Forum-Auctions/32/809732/H20198-L431972802.jpg)
![Searle (Ronald) More Scraps in no particular order: unpublished sketchbooks [&] Watteau Revisited: Drawings, one of 42 copies, signed by the artist andwith 6 additional hand-coloured prints signe...](https://image.invaluable.com/housePhotos/Forum-Auctions/81/805181/H20198-L424424318.jpg)
