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diff --git a/33347-h/33347-h.htm b/33347-h/33347-h.htm new file mode 100644 index 0000000..17249c0 --- /dev/null +++ b/33347-h/33347-h.htm @@ -0,0 +1,4300 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> +<meta http-equiv="Content-Type" + content="text/html; charset=iso-8859-1" /> +<meta content="pg2html (binary v0.18)" name="generator" /> +<title>The Project Gutenberg eBook of + Aubrey Beardsley, + by Robert Ross. +</title> +<style type="text/css"> + body { margin-left: 10%; margin-right: 10%; } + p { text-indent: 1em; + margin-top: .75em; + font-size: 100%; + text-align: justify; + margin-bottom: .75em; } + h1,h2,h3,h4,h5,h6 { text-align: center; } + hr { width: 50%; } + .poem { margin-left: 10%; margin-right: 10%; margin-bottom: 1em; text-align: left; } + .poem .stanza { margin: 1em 0em 1em 0em; } + .poem p { margin: 0; padding-left: 3em; text-indent: -3em; } + .poem p.i2 { margin-left: 1.5em; } + .poem p.i4 { margin-left: 2.5em; } + .figure { margin-left: 10%; margin-right: 10%; text-indent: 0em; text-align: center; } + .sc { font-variant: small-caps; } + p.center { text-align: center; text-indent: 0; font-size: 90%; } + p.entry { margin-left: 6%; margin-right: 6%; text-indent: -2em; } + p.subentry { margin-left: 12%; margin-right: 20%; text-indent: -2em; padding: 0!important; margin-top:0; margin-bottom: 0;} + p.subentry2 { margin-left: 18%; margin-right: 20%; text-indent: -2em; padding: 0!important; margin-top:0; margin-bottom: 0;} + span.pagenum { position: absolute; left: 1%; right: 91%; font-size: 8pt; color: gray; background-color: inherit; display: none; } + a,img { border: none; text-decoration: none; } +</style> +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of Aubrey Beardsley, by Robert Ross + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Aubrey Beardsley + +Author: Robert Ross + +Contributor: Aymer Vallance + +Release Date: August 4, 2010 [EBook #33347] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK AUBREY BEARDSLEY *** + + + + +Produced by Lee Dawei, Bruce Albrecht, David Garcia and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + + + + + +</pre> + + +<p><span class="pagenum"><a id="pagei" name="pagei"></a>[i]</span></p> + +<a name="h2H_4_0002" id="h2H_4_0002"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h1> + AUBREY BEARDSLEY +</h1> + +<p><span class="pagenum"><a id="pageii" name="pageii"></a>[ii]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> +<!--<p>[Blank Page]</p>--> + +<p><span class="pagenum"><a id="page1" name="page1"></a>[1]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> +<!--<p>[Blank Page]</p>--> + +<p><span class="pagenum"><a id="page2" name="page2"></a>[2]</span></p> + +<a name="image-0001"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-01.jpg"><img src="images/i-01-s.png" width="300" height="470" +alt="MRS. PATRICK CAMPBELL" /></a> +<br /> +MRS. PATRICK CAMPBELL +<br /> +<i>Now in the Berlin National Gallery</i> +</div> + +<p><span class="pagenum"><a id="page3" name="page3"></a>[3]</span></p> + +<a name="image-0002"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-02.jpg"><img src="images/i-02-s.png" width="300" height="460" +alt="Title Page" /></a> +</div> + +<h1> +AUBREY<br /> +BEARDSLEY +</h1> +<h2> +BY ROBERT ROSS +</h2> +<p class="center"> +WITH SIXTEEN FULL-PAGE<br /> +ILLUSTRATIONS AND A<br /> +REVISED ICONOGRAPHY<br /> +BY AYMER VALLANCE +</p> +<p class="center"> +LONDON: JOHN LANE, THE BODLEY HEAD<br /> +NEW YORK: JOHN LANE COMPANY MCMIX +</p> + +<p><span class="pagenum"><a id="page4" name="page4"></a>[4]</span></p> + +<p class="center"> +TURNBULL AND SPEARS, PRINTERS, EDINBURGH. +</p> + +<p><span class="pagenum"><a id="page5" name="page5"></a>[5]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<p class="center"> +TO<br /> +<span class="sc">Sir</span> COLERIDGE ARTHUR FITZROY KENNARD,<br /> +<span class="sc">Bart</span>. +</p> + +<p><span class="pagenum"><a id="page6" name="page6"></a>[6]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> +<!--<p>[Blank Page]</p>--> + +<p><span class="pagenum"><a id="page7" name="page7"></a>[7]</span></p> + +<a name="h2H_ILL" id="h2H_ILL"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + Illustrations +</h2> + +<table border="0" align="center" width="90%" summary="Table of Contents"> +<tr><td><a href="#image-0001"><span class="sc">Mrs Patrick Campbell</span></a></td><td align="right"><i>Frontispiece</i></td></tr> +<tr><td> <i>Now in the Berlin National Gallery</i></td></tr> + +<tr><td> </td><td align="right"><i>facing page</i></td></tr> + +<tr><td><a href="#image-0003"><span class="sc">Siegfried</span></a></td><td align="right">12</td></tr> +<tr><td> <i>Reproduced from the original in the possession of Mrs Bealby Wright</i></td></tr> + +<tr><td><a href="#image-0004"><span class="sc">The Woman in the Moon</span></a></td><td align="right">14</td></tr> +<tr><td> <i>From "Salome"</i></td></tr> + +<tr><td><a href="#image-0005"><span class="sc">The Toilette of Salome</span></a></td><td align="right">18</td></tr> +<tr><td> <i>From "Salome"</i></td></tr> + +<tr><td><a href="#image-0006"><span class="sc">The Dancer's Reward</span></a></td><td align="right">20</td></tr> +<tr><td> <i>From "Salome"</i></td></tr> + +<tr><td><a href="#image-0007"><span class="sc">Tailpiece</span></a></td><td align="right">22</td></tr> +<tr><td> <i>From "Salome"</i></td></tr> + +<tr><td><a href="#image-0008"><span class="sc">Design for a Frontispiece</span></a></td><td align="right">26</td></tr> +<tr><td> <i>From "Plays" by John Davidson</i></td></tr> + +<tr><td><a href="#image-0009"><span class="sc">The Wagnerites</span></a></td><td align="right">28</td></tr> + +<tr><td><a href="#image-0010"><span class="sc">Atalanta</span></a></td><td align="right">32</td></tr> + +<tr><td><a href="#image-0011"><span class="sc">The Mysterious Rose Garden</span></a></td><td align="right">36</td></tr> + +<tr><td><span class="pagenum"><a id="page8" name="page8"></a>[8]</span> + <a href="#image-0012"><span class="sc">Illustration for "A Nocturne of Chopin"</span></a></td><td align="right">38</td></tr> + +<tr><td><a href="#image-0013"><span class="sc">Chopin, Ballade III. Op. 47</span></a></td><td align="right">42</td></tr> +<tr><td> <i>Reproduced by permission of Charles Holme, Esqre.</i></td></tr> + +<tr><td><a href="#image-0014"><span class="sc">The Baron's Prayer</span></a></td><td align="right">44</td></tr> +<tr><td> <i>From "The Rape of the Lock"</i></td></tr> + +<tr><td><a href="#image-0015"><span class="sc">The Battle of Beaux and Belles</span></a></td><td align="right">48</td></tr> +<tr><td> <i>From "The Rape of the Lock"</i></td></tr> + +<tr><td><a href="#image-0016"><span class="sc">A Design from "Lysistrata"</span></a></td><td align="right">50</td></tr> + +<tr><td><a href="#image-0017"><span class="sc">D'Albert in Search of Ideals</span></a></td><td align="right">54</td></tr> +<tr><td> <i>From "Mademoiselle de Maupin." Reproduced from the original in the possession of Mrs Bealby Wright</i></td></tr> +</table> + +<p><span class="pagenum"><a id="page9" name="page9"></a>[9]</span></p> + +<a name="h2H_4_0003" id="h2H_4_0003"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<p class="center"> + AUBREY BEARDSLEY +</p> + +<p><span class="pagenum"><a id="page10" name="page10"></a>[10]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> +<!--<p>[Blank Page]</p>--> + +<p><span class="pagenum"><a id="page11" name="page11"></a>[11]</span></p> + +<a name="h2H_4_0004" id="h2H_4_0004"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h1> + AUBREY BEARDSLEY +</h1> + +<p> +Aubrey Beardsley was born on August 21st, 1872, at Brighton. He was a +quiet, reserved child, caring little for lessons, though from an early +age he shewed an aptitude for drawing. He began his education at a +Kindergarten. He was seven years old when the first symptoms of delicacy +appeared, and he was sent to a preparatory school at Hurstpierpoint, +where he was remarkable for his courage and extreme reserve. Threatened +with tuberculosis, he was moved for his health to Epsom in 1881. In +March 1883 his family settled in London, and Beardsley made his first +public appearance as an infant musical phenomenon, playing at concerts +in company with his sister. He had a great knowledge of music, and +always spoke dogmatically on a subject, the only one he used to say, of +which he knew anything. He became attracted at this time by Miss Kate +Greenaway's picture + +<span class="pagenum"><a id="page12" name="page12"></a>[12]</span> + + books, and started illuminating menus and invitation +cards with coloured chalks, making by this means quite considerable sums +for a child. +</p> +<p> +In August 1884 he and his sister were sent back to Brighton, where +they resided with an old aunt. Their lives were lonely, and Beardsley +developed a taste for reading of a rather serious kind—the histories +of Freeman and Greene being his favourite works. He could not remain +a student without creating, so he started a history of the Armada! In +November of the same year he was sent to the Brighton Grammar School as +a day boy, becoming a boarder in January 1885. He was a great favourite +with Mr King, the house-master, who encouraged his tastes for reading +and drawing by giving him the use of a sitting-room and the run of +a library. This was one of the first pieces of luck that attended +Beardsley throughout life. The head-master, Mr Marshall, I am told, +would hold him up as an example to the other boys, on account of his +industry. His caricatures of the masters were fully appreciated by +them, a rare occurrence in the lives of artists. He cultivated besides +a talent for acting, and would often + +<span class="pagenum"><a id="page13" name="page13"></a>[13]</span> + + perform before large audiences at +the Pavilion. He organized weekly performances at the school, designing +and illustrating the programmes. He even wrote a farce called "A Brown +Study," which was played at Brighton, where it received serious +attention from the dramatic critics of the town. He would purchase +each volume of the Mermaid series of Elizabethan dramatists then being +issued, and with his sister gave performances during the holidays. From +the record of the "Brighton College Magazine," Beardsley appears to have +taken a leading rôle in all histrionic fêtes, and to "The Pied Piper of +Hamelin" he contributed some delightful and racy little sketches, the +first of his drawings, I believe, that were ever reproduced. +</p> + +<a name="image-0003"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-03.jpg"><img src="images/i-03-s.png" width="300" height="425" +alt="SIEGFRIED" /></a> +<br /> +SIEGFRIED +<br /> +<i>Reproduced from the original in the possession of Mrs. Bealby Wright</i> +</div> + +<p> +In July 1888 he left school, and almost immediately entered an +architect's office in London. In 1889 he obtained a post in the Guardian +Life and Fire Insurance. During the autumn of that year the fatal +hæmorrhages commenced; for two years he gave up his amateur theatricals +and did little in the way of drawing. In 1891, however, he recuperated; +a belief in his own powers revived. He now + +<span class="pagenum"><a id="page14" name="page14"></a>[14]</span> + + commenced a whole series +of illustrations to various plays, such as Marlowe's "Tamerlane," +Congreve's "Way of the World," and various French works which he was +able to enjoy in the original. He would often speak of the encouragement +and kindness he received at this period from the Rev. Alfred Gurney, who +had known his family at Brighton, and who was perhaps the earliest of +his friends to realize that Beardsley possessed something more than mere +cleverness or precocity. +</p> +<p> +Several people have claimed to discover Aubrey Beardsley, but I think it +truer to say that he revealed himself, when proper acknowledgment has +been made to Mr Aymer Vallance, Mr Joseph Pennell, Mr Frederick Evans, +Mr J. M. Dent, and Mr John Lane, with whom Beardsley's art will always be +associated in connection with the Yellow Book, that too early daffodil +that came before the swallow dared and could not take the winds of March +for beauty. To Mr Pennell belongs the credit of introducing Beardsley's +art to the public; and to Mr Dent is due the rare distinction of giving +him practical encouragement, by commissioning the illustrations to the +"Morte d'Arthur," long before + +<span class="pagenum"><a id="page15" name="page15"></a>[15]</span> + + critics had written anything about him, +or any but a few friends knew of his great powers. Beardsley was too +remarkable a personality to remain in obscurity. Though I remember +with some amusement how the editor of a well-known weekly mocked at a +prophecy that the artist was a coming man who would very shortly excite +discussion if not admiration. Fortunately Mr Pennell, a distinguished +artist himself, and a fearless critic, not only espoused the cause of +the new draughtsman, but became a personal friend for whom Beardsley +always evinced great affection, and to whom he dedicated his "Album of +Fifty Drawings." +</p> + +<a name="image-0004"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-04.jpg"><img src="images/i-04-s.png" width="300" height="435" +alt="THE WOMAN IN THE MOON" /></a> +<br /> +THE WOMAN IN THE MOON +<br /> +<i>From "Salome"</i> +</div> + +<p> +I shall never forget my first meeting with Aubrey Beardsley, on February +14th, 1892, at the rooms of Mr Vallance, the well-known disciple and +biographer of William Morris. Though prepared for an extraordinary +personality, I never expected the youthful apparition which glided into +the room. He was shy, nervous, and self-conscious, without any of the +intellectual assurance and ease so characteristic of him eighteen months +later when his success was unquestioned. He brought a portfolio of his +marvellous drawings, in themselves an + +<span class="pagenum"><a id="page16" name="page16"></a>[16]</span> + + earnest of genius; but I hardly +paid any attention to them at first, so overshadowed were they by the +strange and fascinating originality of their author. In two hours it was +not hard to discover that Beardsley's appearance did not belie him. He +was an intellectual Marcellus suddenly matured. His rather long brown +hair, instead of being "ébouriffé," as the ordinary genius is expected +to wear it, was brushed smoothly and flatly on his head and over part +of his immensely high and narrow brow. His face even then was terribly +drawn and emaciated. Except in his manner, I do not think his general +appearance altered very much in spite of the ill-health and suffering, +borne with such unparalleled resignation and fortitude: he always had +a most delightful and engaging smile both for friends and strangers. +He grew less shy after half an hour, becoming gayer and more talkative. +He was full of Molière and "Manon Lescaut" at the time; he seemed +disappointed that none of us was musical; but he astonished by his +knowledge of Balzac an authority on the subject who was also present. +He spoke much of the National Gallery and the British Museum, both of +which he knew + +<span class="pagenum"><a id="page17" name="page17"></a>[17]</span> + + with extraordinary thoroughness. He told me he had only +been once to the New Gallery, where he saw some pictures by Burne-Jones, +but had never been to the Royal Academy. As far as I know, he never +visited the spring shows of Burlington House. He always, however, +defended that institution with enthusiasm, saying he would rather be an +Academician than an artist, "as it takes only one man to make an artist, +but forty to make an Academician." +</p> +<p> +Our next meeting was a few weeks later, when he brought me a replica of +his "<i>Joan of Arc</i>." I was anxious to buy the first and better version, +now in the possession of Mr Frederick Evans, but he refused to part with +it at the time. He seemed particularly proud of the drawing; it was the +only work of this period he would allow to have any merit. +</p> +<p> +In the early summer of 1892 he visited Burne-Jones and Watts, receiving +from the former artist cordial recognition and excellent advice which +proved invaluable to him. He attributed to the same great painter the +criticism that "he had learnt too much from the old masters and would +benefit by the training of an art school." A few days afterwards he +produced + +<span class="pagenum"><a id="page18" name="page18"></a>[18]</span> + + a most amusing caricature of himself being kicked down the +stairs of the National Gallery by Raphael, Titian, and Mantegna, whilst +Michael Angelo dealt a blow on his head with a hammer. This entertaining +little record, I am sorry to say, was destroyed. Beardsley was always +sensible about friendly and intelligent criticism. When he reached a +position enjoyed by no artist of his own age, he was swift to remedy +any defect pointed out to him by artists or even by ordinary friends. +I never met anyone so receptive on all subjects; he would record what +Mr Pennell or Puvis de Chavannes said in praise or blame of a particular +drawing with equal candour and good humour. This was only one of his +many amiable qualities. When he afterwards became a sort of household +word and his fame, or notoriety as his enemies called it, was +established, he never changed in this respect. He made friends and +remained friends with many for whom his art was totally unintelligible. +Social charm triumphed over all differences. He would speak with +enthusiasm about writers and artists quite out of sympathy with his +own aims and aspirations. He never assumed that those to whom he was +introduced + +<span class="pagenum"><a id="page19" name="page19"></a>[19]</span> + + either knew or admired his work. His character was brisk +and virile to an extraordinary degree. He made enemies, I believe, +by refusing to revolve in mutual admiration societies or to support +literary and artistic cliques. With the shadow of death always over +him and conscious of the brief time before him, he never gave himself +up to morbid despair or useless complaints. He determined to enjoy life, +and, equipped with all the curiosity and gaiety of boyhood, he caught +at life's exquisite moments. There was always a very deep and sincere +religious vein in his temperament, only noticeable to very intimate +friends. With all his power of grasping the essential and absorbing +knowledge, he remained charmingly unsophisticated. He took people as +they came, never discriminating, perhaps, sufficiently the issues of +life. He was unspoiled by success, unburdened with worldly wisdom. +He was generous to a fault, spending his money lavishly on his friends +to an extent that became almost embarrassing. +</p> + +<a name="image-0005"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-05.jpg"><img src="images/i-05-s.png" width="300" height="430" +alt="THE TOILETTE OF SALOME" /></a> +<br /> +THE TOILETTE OF SALOME +<br /> +<i>From "Salome"</i> +</div> + +<p> +His love and knowledge of books increased rather than diminished even +after he devoted himself entirely to art. In early days he would +exchange his drawings for illustrated + +<span class="pagenum"><a id="page20" name="page20"></a>[20]</span> + + books and critical texts of the +English classics with Mr Frederick Evans, an early and enthusiastic +buyer of his work. His tastes were not narrow. Poetry, memoirs, history, +short stories, biography, and essays of all kinds appealed to him; but +he cared little for novels, except in French. I don't think he ever +read Dickens, Thackeray, and George Eliot, though he enjoyed Scott +during the last months of his life. He had an early predilection for +lives of the Saints. The scrap-book of sketches, containing drawings +done prior to 1892, indicates the range and extent of his taste. There +are illustrations to "Manon Lescaut," "Tartarin," "Madame Bovary," +Balzac ("Le Cousin Pons," the "Contes Drôlatiques"), Racine, Shelley's +"Cenci." He retained his love of the drama, and began to write a play in +collaboration with Mr Brandon Thomas. While dominated by pre-Raphaelite +influences, he read with great avidity "Sidonia the Sorceress," and "The +Shaving of Shagpat," a favourite book of Rossetti's; and it was with a +view to illustrate Mr Meredith's Arabian Night that he became introduced +to Mr John Lane, who divides with Mr Herbert Pollit the + +<span class="pagenum"><a id="page21" name="page21"></a>[21]</span> + + honour of +possessing the finest Beardsleys still in this country. He read Greek +and Latin authors in translations, and often astonished scholars by his +acute appreciation of their matter. He approached Dantesque mediævalism +through Rossetti and, later on, at the original source. Much of his +early work illustrated incidents in the "Divine Comedy." He was a +fervent admirer of the "Romance of the Rose" in the original, and +several mediæval French books, but he once told me that he found the +"Morte d'Arthur" very long-winded. +</p> + +<a name="image-0006"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-06.jpg"><img src="images/i-06-s.png" width="300" height="430" +alt="THE DANCER'S REWARD" /></a> +<br /> +THE DANCER'S REWARD +<br /> +<i>From "Salome"</i> +</div> + +<p> +For one so romantic in the expression of his art, I should say his +literary and artistic tastes were severely classic, though you would +have expected them to be bizarre. He was ambitious of literary success, +but any aspirations were wisely discouraged by his admirers. His +writings, however brilliant—and they often were brilliant—shewed a +dangerous cleverness, which on cultivation might have proved disastrous +to the realization of his true genius. "Under the Hill" is a delightful +experiment in a rococo style of literature, and it would be difficult to +praise sufficiently the rhythm and metrical adroitness of the two poems +in the Savoy Magazine. + +<span class="pagenum"><a id="page22" name="page22"></a>[22]</span> + + Though I cannot speak of his musical attainments, +it may be regarded as fortunate that so remarkable a genius was directed +to a more permanent form of executive power. +</p> +<p> +His knowledge of life, art, and literature seemed the result of instinct +rather than study; for no one has ever discovered where he found the +time or opportunity for assimilating all he did. Gregarious and sociable +by nature, he was amusingly secretive about his methods and times of +work. Like other industrious men, he never pretended to be busy or +pressed for time. He never denied his door to callers, nor refused to +go anywhere on the plea of "work." +</p> +<p> +He disliked anyone being in the room when he was drawing, and hastily +hid all his materials if a stranger entered the room. He would rarely +exhibit an unfinished sketch, and carefully destroyed any he was not +thoroughly satisfied with himself. He carried this sensitive spirit +of selection and self-criticism rather far. Calling on friends who +possessed primitives, he would destroy these early relics and leave a +more mature and approved specimen of his art, or the <i>édition de luxe</i> +of some book he had illustrated. Some of us were so annoyed that + +<span class="pagenum"><a id="page23" name="page23"></a>[23]</span> + + we were +eventually obliged to lock up all early examples. For though friends +thus victimized were endowed with a more valuable acquisition, they had +a natural sentiment and affection for the unsophisticated designs of +his earlier years. +</p> + +<a name="image-0007"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-07.jpg"><img src="images/i-07-s.png" width="300" height="265" +alt="TAILPIECE" /></a> +<br /> +TAILPIECE +<br /> +<i>From "Salome"</i> +</div> + +<p> +His life, though many-sided and successful, was outwardly uneventful. +In the early summer of 1892 he entered Professor Brown's night school +at Westminster, but during the day continued his work at the Guardian +Fire Insurance until August, when, by his sister's advice, he resigned +his post. In December he acquainted with Mr Pennell, from whose +encouragement and advice he reaped the fullest advantage. After +commencing the decorations to the "Morte d'Arthur," he ceased to attend +Professor Brown's classes. In February 1893 some of his drawings were +first published in London in the Pall Mall Budget under the editorship +of Mr Lewis Hind, but one of the most striking of his early designs +appeared in a little college magazine entitled The Bee. When The Studio +was started by Mr Charles Holme under the able direction of the late +Gleeson-White, Beardsley designed the first + +<span class="pagenum"><a id="page24" name="page24"></a>[24]</span> + + cover and Mr Pennell +contributed the well-known appreciation of the new artist. +</p> +<p> +Towards the end of 1893 he commenced working for Mr John Lane, who +issued his marvellous illustrations to "Salomé" in 1894. In April of the +same year appeared the Yellow Book. To the first four volumes Beardsley +contributed altogether about eighteen illustrations. From a pictorial +point of view this publication had no other <i>raison d'être</i> than as a +vehicle for the production of Beardsley's work, though Henry Harland, +in his capacity as literary editor, revealed the presence of many new +writers among us. Throughout 1894 Beardsley's health seemed to improve, +and his social success was considerable. In the previous year he had +been ridiculed, but now the world accepted him at Mr Pennell's +valuation. The Beardsley type became quite a fashion, and was burlesqued +at many of the theatres; his name and work were on everyone's lips. He +made friends with many of his contemporaries distinguished in art and +literature. At the house of one of his friends he delivered a very +amusing lecture on "Art" which created much discussion. +</p> + +<p><span class="pagenum"><a id="page25" name="page25"></a>[25]</span></p> + +<p> +A little later Beardsley was popularly supposed to have given pictorial +expression to the views and sentiments of a certain school, and his +drawings were regarded as the outward artistic sign of inward literary +corruption. This is not the place to discuss the invention of a mare's +nest. He suffered considerably by this premature attempt to classify his +art. Further efforts to ridicule his work and suppress its publication +were, however, among the most cheering failures of modern journalism. +In 1895 he ceased to contribute to the Yellow Book, and in January 1896 +The Savoy was started by Leonard Smithers, with Mr Arthur Symons as the +literary editor, who became the most subtle and discerning of all his +critics after Beardsley's death. Failing health was the only difficulty +with which he had to contend in the future. From March 1896, when he +caught a severe chill at Brussels, he became a permanent invalid. He +returned to England in May, and in August went to Bournemouth, where +he spent the autumn and winter. +</p> +<p> +Those who visited him at Bournemouth never expected he would live for +more than a few weeks. His courage, however, never failed + +<span class="pagenum"><a id="page26" name="page26"></a>[26]</span> + + him, and +he continued work even while suffering from lung hæmorrhage; but he +expressed a hope and belief, in which he was justified, that he might +be spared one more year. On March 31st, 1897, he was received into the +Catholic Church. The sincerity of his religious convictions has been +affirmed by those who were with him constantly; and, as I have suggested +before, the flippancy and careless nature of his conversation were +superficial: he was always strict in his religious observances. Among +his intimate friends through life were clergymen and priests who have +paid tribute to the reality and sincerity of his belief. +</p> +<p> +A week after being received, Beardsley rallied again, and moved to +Paris, but still required the attention and untiring devotion of his +mother, to whom he was deeply attached. He never returned to England +again. From time to time he was cheered by visits from Miss Mabel +Beardsley (Mrs Bealby Wright), who understood her brother as few sisters +have done. For some time he stayed at St Germain, and in July 1897 he +went to Dieppe, where he seemed almost to have recovered. It was only, +however, for a short time, and in the end of 1897 he + +<span class="pagenum"><a id="page27" name="page27"></a>[27]</span> + + was hurried to +Mentone. He never left his room after January 25th. The accounts of him +which reached London prepared his friends for the end. Almost one of his +last letters was to Mr Vincent O'Sullivan, the poet, congratulating him +on his Introduction to "Volpone," for which Beardsley was making the +illustrations. Beardsley had a considerable knowledge and appreciation +of Ben Jonson. +</p> + +<a name="image-0008"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-08.jpg"><img src="images/i-08-s.png" width="300" height="475" +alt="FRONTISPIECE" /></a> +<br /> +FRONTISPIECE +<br /> +<i>From "Plays" by John Davidson</i> +</div> + +<p> +On March 23rd, 1898, he received the last sacraments; and on the 25th, +with perfect resignation, in the presence of his mother and sister, to +whom he had confided messages of love and sympathy to his many friends, +Aubrey Beardsley passed away. +</p> + +<div class="poem"> +<div class="stanza"> +<p class="i2"> "Come back in sleep, for in the life </p> +<p class="i4"> Where thou art not </p> +<p class="i2"> We find none like thee. Time and strife </p> +<p class="i4"> And the world's lot </p> +</div> +<div class="stanza"> +<p class="i2"> Move thee no more: but love at least </p> +<p class="i4"> And reverent heart </p> +<p class="i2"> May move thee, royal and released </p> +<p class="i4"> Soul, as thou art." </p> +</div> +</div> + +<p> +No one could have wished him to live on in pain and suffering. I think +the only trials of his life were the periods in which he was + +<span class="pagenum"><a id="page28" name="page28"></a>[28]</span> + + unfitted +for work. His remarkable career was not darkened by any struggle for +recognition. Few artists have been so fortunate as Aubrey Beardsley. +His short life was remarkably happy—at all events during the six years +he was before the public. Everything he did met with success—a success +thoroughly enjoyed by him. He seemed indifferent to the idle criticism +and violent denunciation with which much of his art was hailed. I never +heard of anyone of importance who disliked him personally; on the other +hand, many who were hostile and prejudiced about his art ceased to +attack him after meeting him. This must have been due to the magnetism +and charm of his individuality, exercised quite unconsciously, for he +never tried to conciliate people, or "to work the oracle," but rather +gloried in shocking "the enemy," a boyish failing for which he may be +forgiven. +</p> + +<a name="image-0009"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-09.jpg"><img src="images/i-09-s.png" width="300" height="365" +alt="THE WAGNERITES" /></a> +<br /> +THE WAGNERITES +</div> + +<p> +He had considerable intellectual vanity, but it never relapsed into +common conceit. He was generous in recognizing the talent and genius of +others, but was singularly perverse in some of his utterances. He said +once that only four of his contemporaries interested him. He + +<span class="pagenum"><a id="page29" name="page29"></a>[29]</span> + + bore with +extraordinary patience the assertions of foolish persons who calmly +asserted that both in America and England other artists had anticipated +the peculiarities of his style and methods. I have seen the works of +these Lambert Simnels and Perkin Warbecks, and they proved, one and all, +crows in peacocks' feathers. Beardsley's style, nevertheless, influenced +(unfortunately, I think) many excellent artists both younger and older +than himself. In France his work was accepted without question: he was +always gratified by the cordiality which greeted him in a country where +he was more generally understood than in his own. He has illustrious +precedents in Constable and Bonnington. Italy, Austria, and Germany +recognized in him a master some time before his death. At Berlin his +picture of <i>Mrs Patrick Campbell</i>, the actress, is now in a place of +honour in the Museum. A portrait study of himself is in the British +Museum Print Room; a few examples are at South Kensington; but all his +important work is in private collections; much of it is in America and +Germany. In England, putting aside the notoriety and sensation caused +by his posters and the Yellow + +<span class="pagenum"><a id="page30" name="page30"></a>[30]</span> + + Book, appreciation of his work has been +confined rather to the few. He enjoyed, however, the friendship and +intimacy of great numbers of people, shewing that his amiable qualities, +no less than his art, received due recognition. His conversation was +vehement and witty rather than humorous. He had a remarkable talent for +mimicking, very rarely exercised. He loved argument, and supported +theories for the sake of argument in the most convincing manner, leaving +strangers with a totally wrong impression about himself, a deception to +which he was much addicted. He possessed what is called an artificial +manner, cultivated to an extent that might be mistaken for affectation. +He never could sit still for very long, and he made use of gesture for +emphasis. His peculiar gait has been very happily rendered in a portrait +of him by Mr Walter Sickert; he also sat to M. Blanche, the well-known +French portrait painter; the portrait by himself is tinged with +caricature. +</p> + +<hr /> + +<p> +To estimate the art of Aubrey Beardsley is not difficult. That his +drawings must excite discussion at all times is only a proof of their + +<span class="pagenum"><a id="page31" name="page31"></a>[31]</span> + + lasting worth. They can never be dismissed with unkindly comment, nor +shelved into the limbo of art criticism which waits for many blameless +and depressing productions of the eighteenth and nineteenth centuries. +Among artists and men of letters no less than with that great inartistic +body, "the art-loving public," Aubrey Beardsley's name will always call +forth wonder, admiration, speculation, and contempt. It should be +conceded, however, that his work cannot appeal to everyone; and that +many who have the highest perception of the beautiful see only the +repulsive and unwholesome in the troubled, exotic expression of his +genius. Fortunately, no reputation in art or letters rests on the +verdict of majorities—it is the opinion of the few which finally +triumphs. Artists and critics have already dwelt on the beauty of Aubrey +Beardsley's line, which in his early work too often resolved itself into +mere caligraphy; but the mature and perfect illustrations to "Salomé" +and "The Rape of the Lock" evince a mastery unsurpassed by any artist in +any age or country. No one ever carried a simple line to its inevitable +end with such sureness and firmness + +<span class="pagenum"><a id="page32" name="page32"></a>[32]</span> + + of purpose. And this is one of +the lessons which even an accomplished draughtsman may learn from +his drawings, in any age when scraggy execution masquerades under +impressionism. Aubrey Beardsley did not shirk a difficulty by leaving +lines to the imagination of critics, who might enlarge on the reticence +of his medium. Art cant and studio jargon do not explain his work. It +is really only the presence or absence of beauty in his drawing, and +his wonderful powers of technique which need trouble his admirers or +detractors. Nor are we confronted with any conjecture as to what Aubrey +Beardsley might have done—he has left a series of achievements. While +his early death caused deep sorrow among his personal friends, there +need be no sorrow for an "inheritor of unfulfilled renown." Old age +is no more a necessary complement to the realization of genius than +premature death. Within six years, after passing through all the +imitative stages of probation, he produced masterpieces he might have +repeated but never surpassed. His style would have changed. He was +too receptive and too restless to acquiesce in a single convention. +</p> + +<a name="image-0010"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-10.jpg"><img src="images/i-10-s.png" width="300" height="530" +alt="ATALANTA" /></a> +<br /> +ATALANTA +</div> + +<p><span class="pagenum"><a id="page33" name="page33"></a>[33]</span></p> + +<p> +This is hardly the place to dwell on the great strides which black and +white art made in the nineteenth century. It has been called the most +modern of the arts; for the most finished drawings of the old masters +were done with a view to serve as studies or designs to be transferred +to canvas, metal, and wood, not for frames at an expensive dealer's. +Vittore Pisano and Gentile Bellini would hardly have dared to mount +their delightful studies and offer them as pictures to the critics +and patrons of their day. At all events it were safer to say, that +appreciation of a drawing for itself, without relation to the book or +page it was intended to adorn or destroy, is comparatively modern. It is +necessary to keep this in mind, because the suitability of Beardsley's +work to the books he embellished was often accidental. His designs +must be judged independently, as they were conceived, without any view +of interpreting or even illustrating a particular author. He was too +subjective to be a mere illustrator. Profoundly interested in literature +for the purposes of his art, he only extracted from it whatever was +suggestive as pattern; he never professed to interpret for dull people, +unable to understand what they read, + +<span class="pagenum"><a id="page34" name="page34"></a>[34]</span> + + any more than the mediæval +illuminator and carver of grotesques attempted to explain the mysteries +of the Christian faith on the borders of missals and breviaries or +the miserere seats of the choir. His art was, of course, intensely +<i>literary</i>, to use the word hated of modern critics, but his expression +of it was the legitimate literature of the artist, not the art peculiar +to literature. He did not attempt, or certainly never succeeded in +giving, pictorial revision to a work of literature in the sense that +Blake has done for the book of Job, and Botticelli for the "Divine +Comedy." While hardly satisfying those for whom any work of art guilty +of "subject" becomes worthless, this immunity from the conventions of +the illustrator will secure for Beardsley a larger share of esteem among +artists pure and simple than has ever fallen to William Blake, who +appeals more to men of letters than to the artist or virtuoso. The +uncritical profess to find many terrible meanings in Aubrey Beardsley's +drawings; and he will probably never be freed from the charge of +symbolism. However morbid the sentiment in some of his work, and often +there was a <i>macabre</i>, an unholy insistence on the less beautiful + +<span class="pagenum"><a id="page35" name="page35"></a>[35]</span> + + side +of human things, the cabala of the symbolists was a sealed book to +him. Such things were entirely foreign to his lucid and vigorous +intelligence. There is hardly a drawing of his that does not explain +itself; the commentator will search in vain for any hieroglyphic or +symbolic intention. The hieratic archaism of his early work misled many +people, for whom pre-Raphaelitism means presupposition. Of mysticism, +that stumbling-block, he had none at all. "<i>The Initiation of a Neophyte +into the Black Art</i>" would seem to contradict such a statement. The +fantasy and grotesqueness of that lurid and haunting composition have +nothing in common with the symbolism of black magic, the ritual of +freemasonry, or all the fascinating magic to be found in the works of +Eliphaz Levi. The sumptuous accessories in which he revelled had no +other than a decorative intention, giving sometimes balance to a +drawing, or conveying a literary suggestion necessary for its +interpretation. +</p> +<p> +Artists are blamed for what they have not tried to do; or for the +absence of qualities distinguishing the work of an entirely different +order of intellect; for their indifference to the + +<span class="pagenum"><a id="page36" name="page36"></a>[36]</span> + + observations of +<i>others</i>. As who should ask from Reynolds a faithful reproduction of +textile fabrics; and from Carlo Crivelli the natural phenomena of nature +we expect from Turner and Constable? For nature as it should be, in +the works of Corot and Turner; for nature made easy, in modern English +landscape; for nature without tears, in the impressionist fashion, or as +popularly viewed through the camera, Aubrey Beardsley had no feeling. He +was frankly indifferent to picturesque peasants, the beauties of "lovely +spots," either in England or France. A devout Catholic, the ringing of +the Angelus did not lure him to present fields of mangel-wurzels in an +evening haze. The treatment of nature in the larger and truer sense of +the word had little attraction for him; he never tried, therefore, to +represent air, atmosphere, and light, as many clever modern artists have +done in black and white! Though Claude, that master of light and shadow, +was a landscape painter who really interested him. Beardsley's +landscape, therefore, is formal, primitive, conventional; a breath of +air hardly shakes the delicate leaves of the straight poplars and +willows that grow by his serpentine streams. + +<span class="pagenum"><a id="page37" name="page37"></a>[37]</span> + + The great cliffs, leaning +down in promontories to the sea, have that unreal, architectural +appearance so remarkable in the West of Cornwall, a place he had never +visited. Yet his love and observation of flowers, trees, and gardens +are very striking in the drawings for the "Morte d'Arthur" and the +Savoy Magazine, but it is the nature of the landscape gardener, +not the landscape painter. There is some truth in the half-playful, +half-unfriendly criticism, that his pictures were a form of romantic +map-making. Future experts, however, may be trusted to deal with +absence of chiaroscuro, values, tones, and the rest. In only one of his +drawings, conceived, curiously enough, in the manner of Burne-Jones (an +unlikely model), is there anything approaching what is usually termed +atmosphere. Eliminating, therefore, all that must not be expected from +his art—mere illustration, realism, symbolism and naturalism—in what, +may be asked, does his supreme achievement consist? He has decorated +white sheets of paper as they have never been decorated before; whether +hung on the wall, reproduced in a book, or concealed in a museum, they +remain among the most + +<span class="pagenum"><a id="page38" name="page38"></a>[38]</span> + + precious and exquisite works in the art of the +nineteenth century, resembling the designs of William Blake only—in +that they must be hated, misunderstood, and neglected, ere they are +recognized as works of a master. With more simple materials than those +employed by the fathers of black and white art, Beardsley has left +memorials no less wonderful than those of the Greek vase-painters, so +highly prized by artists and archæologists alike, but no less difficult +for the uninitiated to appreciate and understand. +</p> + +<a name="image-0011"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-11.jpg"><img src="images/i-11-s.png" width="300" height="540" +alt="THE MYSTERIOUS ROSE GARDEN" /></a> +<br /> +THE MYSTERIOUS ROSE GARDEN +</div> + +<p> +The astonishing fertility of his invention, and the amount of work he +managed to produce, were inconceivable; yet there is never any sign of +hurry: there is no scamping in his deft and tidy drawing. The neatness +of his most elaborate designs would suggest many sketches worked over +and discarded before deciding on the final form and composition. Strange +to say, this was not his method. He sketched everything in pencil, at +first covering the paper with apparent scrawls, constantly rubbed out +and blocked in again, until the whole surface became raddled from +pencil, indiarubber, and knife; over this incoherent surface he worked + +<span class="pagenum"><a id="page39" name="page39"></a>[39]</span> + + in Chinese ink with a gold pen, often ignoring the pencil lines, +afterwards carefully removed. So every drawing was invented, built up, +and completed on the same sheet of paper. And the same process was +repeated even when he produced replicas. At first he was indifferent to +process reproduction, but, owing to Mr Pennell's influence, he later on +always worked with that end in view; thereby losing, some will think, +his independence. But he had nothing to complain of—Mr Pennell's +contention about process was never so well proved as in Beardsley's +case. His experiments in colour were not always successful, two of +his most delightful designs he ruined by tinting. In the posters and +Studio lithograph, however, the crude colour is highly effective, and +"<i>Mademoiselle de Maupin</i>" shewed he might have mastered water-colour +had he chosen to do so. There are at present in the market many coloured +forgeries of his work: these have been contrived by tracing or copying +the reproductions; the colour is often used to conceal the paucity of +the drawing and hesitancy of line; they are nearly always versions of +well-known designs, and profess to be replicas. + +<span class="pagenum"><a id="page40" name="page40"></a>[40]</span> + + When there <i>is</i> any +doubt the history and provenance of the work should be carefully +studied. It is not difficult to trace the pedigree of any <i>genuine</i> +example. +</p> + +<a name="image-0012"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-12.jpg"><img src="images/i-12-s.png" width="300" height="325" +alt="FRONTISPIECE" /></a> +<br /> +FRONTISPIECE +<br /> +<i>From "A Nocturne of Chopin"</i> +</div> + +<p> +A good deal has been made out of Beardsley's love of dark rooms and lamp +light, but this has been grossly exaggerated. He had no great faith in +north lights and studio paraphernalia, so necessary for those who use +mediums other than his own. He would sometimes draw on a perfectly flat +table, facing the light, which would fall directly on the paper, the +blind slightly lowered. +</p> +<p> +The sources of Beardsley's inspiration have led critics into grievous +errors. He was accused of imitating artists, some of whose work he had +never seen, and of whose names he was ignorant at the time the alleged +plagiarism was perpetrated—Félicien Rops may be mentioned as an +instance. Beardsley contrived a style long before he came across any +modern French illustration. He was innocent of either Salon, the +Rosicrucians, and the Royal Academy alike; but his own influence on the +Continent is said to be considerable. That he borrowed freely and from +every imaginable master, old and new, + +<span class="pagenum"><a id="page41" name="page41"></a>[41]</span> + + is, of course, obvious. Eclectic +is certainly applicable to him. But what he took he endowed with a +fantastic and fascinating originality; to some image or accessory, +familiar to anyone who has studied the old masters, he added the touch +of modernity which brings them nearer to us, and reached refinements +never thought of by the old masters. Imagination is the great pirate +of art, and with Beardsley becomes a pretext for invention. +</p> +<p> +Prior to 1891 his drawings are interesting only for their precocity; +they may be regarded, as one of his friends has said, more as a presage +than a precedent. You marvel, on realizing the short interval which +elapsed between their production and the masterpieces of his maturity. +His first enthusiasm was for the work of the Italian primitives, as Mr +Charles Whibley says, distinguished "for its free and flowing line." +Even at a later time, when he devoted himself to eighteenth century +models and ideals, his love of Andrea Mantegna never deserted him. He +always kept reproductions from Mantegna at his side, and declared that +he never ceased to learn secrets from them. In the "<i>Litany of Mary +Magdalen</i>" and the two + +<span class="pagenum"><a id="page42" name="page42"></a>[42]</span> + + versions of "<i>Joan of Arc</i>" this influence +is very marked. A Botticelli phase followed, and though afterwards +discarded, was reverted to at a later period. The British Museum and the +National Gallery were at first his only schools of art. As a matter of +course, Rossetti and Burne-Jones, but chiefly through photographs and +prints, succeeded in their turn; the influence of Burne-Jones lasting +longer than any other. +</p> +<p> +Fairly drugged with too much observation of old and modern masters, he +entered Professor Brown's art school, where he successfully got rid +of much that was superfluous. The three months' training had the most +salutary effect. He now took the advice attributed to Burne-Jones, and +unlearned much of his acquired pedantry. The mere penmanship which +disfigured some of his early work entirely disappeared. His handling +became finer, his drawing less timid. The sketch of <i>Molière</i>, it may +be interesting to note, belongs to this period of his art. +</p> + +<a name="image-0013"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-13.jpg"><img src="images/i-13-s.png" width="300" height="395" +alt="Chopin. Ballade III. Op. 47" /></a> +<br /> +Chopin. Ballade III. Op. 47 +<br /> +<i>Reproduced by permission of Charles Holme, Esqre.</i> +</div> + +<p> +A few months afterwards, he commenced the "Morte d'Arthur." Suggested +and intended to rival the volumes of the Kelmscott Press, it is + +<span class="pagenum"><a id="page43" name="page43"></a>[43]</span> + + his most +popular and least satisfactory performance. Still the borders have +far more variety and invention than those of Morris; the intricate +splendours of mediæval manuscripts are intelligently imitated or +adapted. The initial- and tail-pieces are delightful in themselves, and +among the most exquisite of his grotesques and embellishments. But the +popularity of the book was due to its lack of originality, not to its +individuality. Mediævalism for the middle classes always ensures an +appreciative audience. Oddly enough, Morris was said to be annoyed by +the sincerest form of flattery. Perhaps he felt that every school of art +comes to an end with the birth of the founder, and that Beardsley was +only exercising himself in an alien field of which Morris himself owned +the tithe. At all events it is not unlikely that Beardsley aroused in +the great poet and decorator the same suspicion that he had undoubtedly +done in Watts. +</p> +<p> +The "Morte d'Arthur" may be said, for convenience, to close Aubrey +Beardsley's first period; but he modified his style during the progress +of the publication, and there is no unity of intention in his types or +scheme of + +<span class="pagenum"><a id="page44" name="page44"></a>[44]</span> + + decoration. He was gravitating Japanwards. He began, however, +his so-called Japanesques long before seeing any real Japanese art, +except what may be found in the London shop windows on cheap trays +or biscuit-boxes. He never thought seriously of borrowing from this +source until some one not conversant with Oriental art insisted on the +resemblance of his drawings to Kakemonos. It was quite accidental. +Beardsley was really studying with great care and attention the +Crivellis in the National Gallery; their superficial resemblance to +Japanese work occasioned an error from which Beardsley, quick to +assimilate ideas and modes of expression, took a suggestion, +unconsciously and ignorantly offered, and studied genuine examples. +"<i>Raphael Sanzio</i>" (first version) was produced prior to this incident, +and "<i>Madame Cigale's Birthday Party</i>" immediately afterwards. His +emulation of the Japanese never left him until the production of the +Savoy Magazine. In my view this was the only bad artistic influence +which ever threatened to endanger his originality, or permanently +vitiate his manner. The free use of Chinese ink, together with his +intellectual vitality, saved + +<span class="pagenum"><a id="page45" name="page45"></a>[45]</span> + + him from "succumbing to Japan," to use +Mr Pennell's excellent phrase. +</p> + +<a name="image-0014"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-14.jpg"><img src="images/i-14-s.png" width="300" height="440" +alt="THE BARON'S PRAYER" /></a> +<br /> +THE BARON'S PRAYER +<br /> +<i>From "The Rape of the Lock"</i> +</div> + +<p> +A series of grotesques to decorate some rather silly anthologies +produced in the same year as the "Morte d'Arthur" are marvels of +ingenuity, and far more characteristic. With them he began a new period, +throwing over the deliberate archaism and mediævalism, of which he began +to tire. In the illustrations to "Salomé," he reached the consummation +of the new convention he created for himself; they are, collectively, +his masterpiece. In the whole range of art there is nothing like them. +You can trace the origin of their development, but you cannot find +anything wherewith to compare them; they are absolutely unique. Before +commencing "Salomé" two events contributed to give Beardsley a fresh +impetus and stimulate his method of expression: a series of visits +to the collection of Greek vases in the British Museum (prompted by +an essay of Mr D. S. McColl), and to the famous Peacock Room of Mr +Whistler, in Prince's Gate—one the antithesis of Japan, the other +of Burne-Jones. Impressionable at all times to novel sensations, his +artistic perceptions vibrated with + +<span class="pagenum"><a id="page46" name="page46"></a>[46]</span> + + a new and inspired enthusiasm. +Critical appreciation under his pen meant creation. From the Greek +vase painting he learned that drapery can be represented effectually +with a few lines, disposed with economy, not by a number of unfinished +scratches and superfluous shading. If the "Salomé" drawings have any +fault at all, it is that the texture of the pictures suggests some other +medium than pen and ink, as Mr Walter Crane has pointed out in his other +work. They are wrought rather than drawn, and might be designs for the +panel of a cabinet, for Limoges or Oriental enamel. "The Rape of the +Lock" is, therefore, a more obvious example of black and white art. +Beardsley's second period lasted until the fourth volume of the Yellow +Book, in which the "<i>Wagnerites</i>" should be mentioned as one of the +finest. In 1896 Beardsley, many people think to the detriment of his +style, turned his attention to the eighteenth century, in the literature +of which he was always deeply interested. Eisen, Moreau, Watteau, +Cochin, Pietro Longhi, now became his masters. The alien romantic art of +Wagner often supplied the theme and subject. The level of excellence +sustained throughout the Savoy Magazine + +<span class="pagenum"><a id="page47" name="page47"></a>[47]</span> + + is extraordinary, in view of the +terrible state of his health. His unexampled precision of line hardly +ever falters; and while his composition gains in simplicity, his +capacity for detail has not flagged. It is, perhaps, an accident that +in his most pathetic drawing, "<i>The Death of Pierrot</i>," his hand seems +momentarily to have lost its cunning. The same year he gave us "The Rape +of the Lock," regarded by some artists as the testament of his genius; +and an even more astonishing set of drawings to the "Lysistrata" of +Aristophanes. These are grander than the "Rape of the Lock," and larger +in treatment than anything he ever attempted. Privately issued, +Beardsley was able to give full rein to a Rabelaisian fantasy, which he +sometimes cultivated with too great persistence. Irritated by what he +considered as over-niceness in some of his critics, he seemed determined +to frighten his public. There is nothing unwholesome or suggestive about +the "Lysistrata" designs: they are as as frank, free, and outspoken as +the text. For the countrymen of Chaucer to simulate indignation about +them can only be explained "because things seen are greater than things +heard." Yet, when an artist frankly deals + +<span class="pagenum"><a id="page48" name="page48"></a>[48]</span> + + with forbidden subjects, the +old canons regular of English art begin to thunder, the critics forget +their French accent; the old Robert Adam, which is in all of us, asserts +himself; we fly for the fig-leaves. A real artist, Beardsley has not +burdened himself with chronology or archæology. Conceived somewhat in +the spirit of the eighteenth century, the period of graceful indecency, +there is here, however, an Olympian air, a statuesque beauty, only +comparable to the antique vases. The illusion is enhanced by the absence +of all background, and this gives an added touch of severity to the +compositions. +</p> +<p> +Throughout 1896 the general tendency his style remains uniform, though +without sameness. He adapted his technique to the requirements of his +subject. Mindful of the essential, rejecting the needless, he always +realized his genius and its limitations. From the infinite variety +of the Savoy Magazine it is difficult to choose any of particular +importance: for his elaborate manner, the first plate to "<i>Under the +Hill</i>"; and in a simpler style, the fascinating illustration to his own +poem, "<i>The Barber</i>"; "<i>Ave Atque Vale</i>" and "<i>The Death of Pierrot</i>" +have, besides, a human interest + +<span class="pagenum"><a id="page49" name="page49"></a>[49]</span> + + over and above any artistic quality +they possess. For the "Volpone" drawings Beardsley again developed +his style, and seeking for new effects, reverted to pure pencil work. +The ornate, delicate initial letters, all he lived to finish, must be +seen in the originals before their sumptuous qualities, their solemn +melancholy dignity, their dexterous handling, can be appreciated. The +use of a camel's-hair brush for the illustrations to "<i>Mademoiselle de +Maupin</i>," one of his last works, should be noted, as he so rarely used +one. Beardsley's invention never failed him, so that it is almost +impossible to take a single drawing, or set of drawings, as typical of +his art. Each design is rather a type of his own intellectual mood. +</p> + +<a name="image-0015"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-15.jpg"><img src="images/i-15-s.png" width="300" height="440" +alt="THE BATTLE OF BEAUX AND BELLES" /></a> +<br /> +THE BATTLE OF BEAUX AND BELLES +<br /> +<i>From "The Rape of the Lock"</i> +</div> + +<p> +If the history of grotesque remains to be written, it is already +illustrated by his art. A subject little understood, it belongs to the +dim ways of criticism. There is no canon or school, and the artist is +allowed to be wilful, untrammelled by rule or precedent. True grotesque +is not the art either of primitives or decadents, but that of skilled +and accomplished workmen who have reached the zenith of a peculiar +convention, however confined and limited that convention + +<span class="pagenum"><a id="page50" name="page50"></a>[50]</span> + + may be. +Byzantine art, one of our links with the East, should some day furnish +us with a key to a mystery which is now obscured by symbolists and +students of serpent worship. The Greeks, with their supreme sanity and +unrivalled plastic sense, afford us no real examples, though their +archaic art is often pressed into the category. Beardsley, who received +recognition for this side of his genius, emphasized the grotesque to +an extent that precluded any popularity among people who care only for +the trivial and "pretty." In him it was allied to a mordant humour, a +certain fescennine abstraction which sometimes offends: this, however, +does not excuse the use of the word "eccentric," more misapplied than +any word in the English language, except perhaps "grotesque" and +"picturesque." All great art is eccentric to the conservative multitude. +The decoration on the Parthenon was so eccentric that Pheidias was put +in prison. The works of Whistler and Burne-Jones, once derided as +eccentric, are now accepted as the commencement of great traditions. +All future art will be dubbed eccentric, trampled on, and despised; +even as the first tulip that blossomed in England was + +<span class="pagenum"><a id="page51" name="page51"></a>[51]</span> + + rooted out +and burnt for a worthless weed by the conscientious Scotch gardener. +</p> + +<a name="image-0016"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-16.jpg"><img src="images/i-16-s.png" width="300" height="220" +alt="A DESIGN FROM 'LYSISTRATA'" /></a> +<br /> +A DESIGN FROM 'LYSISTRATA' +</div> + +<p> +To compare Beardsley with any of his contemporaries would be unjust to +them and to him. He belonged to no school, and can leave no legend, in +the sense that Rossetti, Whistler, and Professor Legros have done; he +proclaimed no theory; he left no counsel of perfection to those who +came after him. In England and America a horde of depressing disciples +aped his manner with a singular want of success; while admirable and +painstaking artists modified their own convictions in the cause of +unpopularity with fatal results. The sensuous charm of Beardsley's +imagination and his mode of expression have only a superficial +resemblance to the foreign masters of black and white. He continued +no great tradition of the 'sixties; has nothing in common with the +inventive and various genius of Mr Charles Ricketts; nothing of the +pictorial propriety that distinguishes the work of his friend, Mr +Pennell, or the homogeneous congruity of Boyd Houghton, Charles Keene, +and Mr Frederic Sandys. He made use of different styles where other +men employed different mediums. Unperplexed by painting + +<span class="pagenum"><a id="page52" name="page52"></a>[52]</span> + + or etching +or lithography, he was satisfied with the simplest of all materials, +attaining therewith unapproachable executive power. Those who cavil +at his flawless technique ignore the specific quality of drawing +characterising every great artist. The grammar of art exists only to be +violated. Its rules can be learnt by anyone. Those who have no artistic +perception invariably find fault with the perspective, just as those +who cannot write a well-balanced sentence are always swift to detect +faults in grammar or spelling. There are, of course, weaknesses in +the extremities of Beardsley's figures—the hands and feet being +interruptions rather than continuations of the limbs. Occasional +carelessness in this respect is certainly noticeable, and the structure +of his figures is throughout capricious. It was no fault in his early +work; the hands and feet in the "<i>Joan of Arc</i>," if crude and +exaggerated, being carefully modelled. While the right hand of "Salomé" +in "<i>The Dancer's Reward</i>," grasping the head of the Baptist, is +perfectly drawn, the left is feeble, when examined closely. For sheer +drawing nothing can equal the nude figure in the colophon to "Salomé." +The outstretched, quivering hands + +<span class="pagenum"><a id="page53" name="page53"></a>[53]</span> + + of <i>Ali Baba</i> are intentionally +rendered larger than proportion allows, to render dramatic expression, +not reality. For the purpose of effect he adapted proportions, realizing +that perfect congruity and reality are irreconcilable. None of the +figures in the dramatic "<i>Battle of Beaux and Belles</i>" could sit on +the fallen chair in the foreground. +</p> +<p> +There is no need to disturb ourselves with hopes and fears for the +estimation with which posterity will cherish his memory; art history +cannot afford to overlook him; it could hardly resist the pretext of +moralising, expatiating and explaining away so considerable a factor +in the book illustration of the nineties. As a mere comment on the +admirations of the last twenty years of the nineteenth century, +Beardsley is invaluable; he sums up all the delightful manias, all that +is best in modern appreciation—Greek vases, Italian primitives, the +"Hypnerotomachia," Chinese porcelain, Japanese Kakemonos, Renaissance +friezes, old French and English furniture, rare enamels, mediæval +illumination, the <i>débonnaire</i> masters of the eighteenth century, the +English pre-Raphaelites. There are differences of kind in æsthetic +beauty, and for Beardsley it + +<span class="pagenum"><a id="page54" name="page54"></a>[54]</span> + + was the marriage of arabesque to figures +and objects comely or fantastic, or in themselves ugly. For hitherto +the true arabesque abhorred the graven image made of artists' hands. +To future draughtsmen he will have something of the value of an old +master, studied for that fastidious technique which critics believed to +be a trick; and collectors of his work may live to be rallied for their +taste; but the wheat and the chaff contrive to exist together through +the centuries. +</p> +<p> +A passing reference should be made to the Beardsley of popular +delusion. A student of Callot and Hogarth, he took suggestions from +the age in which he lived and from the literature of English and French +contemporaries, but with no implicit acceptance of the tenets of any +groups or schools which flutter the dove-cots of Fleet Street. He stood +apart, independent of the shibboleths of art and literature, with the +grim and sometimes mocking attention of a spectator. He revealed rather +than created a feminine type, offering no solution for the problems of +Providence. +</p> + +<a name="image-0017"><!--IMG--></a> +<div class="figure"> +<a href="images/illo-17.jpg"><img src="images/i-17-s.png" width="300" height="360" +alt="D'ALBERT IN SEARCH OF IDEALS" /></a> +<br /> +D'ALBERT IN SEARCH OF IDEALS +<br /> +<i>From "Mademoiselle de Maupin." Reproduced from the original in the possession of Mrs. Bealby +Wright</i> +</div> + +<p> +Applying the epithet "original" to an art so intensely reminiscent, so +ingeniously retrospective, + +<span class="pagenum"><a id="page55" name="page55"></a>[55]</span> + + might seem paradoxical to those unacquainted +with Beardsley's more elegant achievements. His is not the originality +of Corot and Whistler, with a new interpretation of nature, another +scheme of art and decoration, but rather the scholarly originality +of the Carracci—a scholarship grounded on a thousand traditions and +yet striking an entirely new note in art. In his imagination, his +choice of motive, his love for inanimate nature, his sentiment for +accessory,—rejected by many modern artists, still so necessary to the +modern temper,—his curious type, which quite overshadowed that of +the pre-Raphaelites, the singular technical qualities at his command, +Beardsley has no predecessors, no rivals. Who has ever managed to +suggest such colour in masses of black deftly composed? Reference to the +text is unnecessary to learn that the hair of Herodias was purple. His +style was mobile, dominating over, or subordinate to the subject, as his +genius dictated. He twisted human forms, some will think, into fantastic +peculiar shapes, becoming more than romantic—antinomian. He does not +appeal to experience but to expression. The tranquil trivialities of +what is usually + +<span class="pagenum"><a id="page56" name="page56"></a>[56]</span> + + understood by the illustration of books had no meaning +for him; and before any attempt is made to discriminate and interpret +the spirit, the poetical sequence, the literary inspiration which +undoubtedly existed throughout his work, side by side with technical +experiments, his exemption from the parallels of criticism must be +remembered duly. +</p> + +<p><span class="pagenum"><a id="page57" name="page57"></a>[57]</span></p> + +<a name="h2H_LIST" id="h2H_LIST"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> +LIST OF DRAWINGS +<br /> +BY AUBREY BEARDSLEY +</h2> +<h3> +COMPILED BY AYMER VALLANCE +</h3> + +<p><span class="pagenum"><a id="page58" name="page58"></a>[58]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> +<!--<p>[Blank Page]</p>--> + +<p><span class="pagenum"><a id="page59" name="page59"></a>[59]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> +LIST OF DRAWINGS +<br /> +BY AUBREY BEARDSLEY +</h2> + +<h3> +JUVENILIA +</h3> + +<p class="entry"> +1. <span class="sc">A Carnival.</span> Long procession of many figures in fifteenth + and sixteenth century costume. Water-colour drawing. Unpublished. + Given by the artist to his grandfather, the late Surgeon-Major + William Pitt. <i>c.</i> 1880. +</p> + +<p class="entry"> +2. <span class="sc">The Jackdaw of Rheims</span>, set of illustrations to the poem. + Unpublished. <i>c.</i> 1884. +</p> +<p class="entry"> +3. <span class="sc">Virgil's "Æneid,"</span> nine comic illustrations to Book II. + The title-page, written in rough imitation of printing, with the + Artist's naïf and inaccurate spelling, is as follows:—<span class="sc">Illustrationes + de | liber Secundus | Æneidos | Publius Wirgius Maronis</span> | by | Beardslius + | de | Brightelmstoniensis. The illustrations are entitled:—— +</p> +<p class="subentry"> + <span class="sc">I.</span> Laocoon hurleth his spear against the horse. +</p> +<p class="subentry"> + <span class="sc">II.</span> Laocoon and son crunched up. +</p> +<p class="subentry"> + <span class="sc">III.</span> Little July tries to keep up with Papa. Old Father Anchises + sitteth on Papa's shoulders and keeps a good look-out. +</p> +<p class="subentry"> + <span class="sc">IV.</span> Parvi Iulus. +</p> +<p class="subentry"> + <span class="sc">V.</span> Helen. +</p> +<p class="subentry"> + <span class="sc">VI.</span> Panthus departs, bag and baggage. +</p> +<p class="subentry"> + <span class="sc">VII.</span> Sinon telleth his tale unto King Priam. +</p> + +<p><span class="pagenum"><a id="page60" name="page60"></a>[60]</span></p> + +<p class="subentry"> + VIII. One of the cinders of Illim. +</p> +<p class="subentry"> + IX. (No title.) The drawing, to illustrate two comic verses written + at the top of the paper, represents Æneas being carried up into + the air by means of a balloon attached to his helmet. +</p> +<p class="entry"> + All the above are drawn in ordinary ink upon plain white paper of + the kind used for rough work at the school, and all are of uniform + size, 7-1/4 × 5 inches, except No. 9, which is on a double-size + sheet, measuring 7-1/4 × 10 inches. Unpublished. (Property of H. A. + Payne, Esq.) September to December 1886. +</p> + +<p class="entry"> +4. <span class="sc">Virgil's "Æneid,"</span> nineteen humorous sketches illustrative +of Book II., entitled:—— +</p> +<p class="subentry"> + <span class="sc">I.</span> Æneas relateth the tale to Dido. +</p> +<p class="subentry"> + <span class="sc">II.</span> Laocoon hurls the spear. +</p> +<p class="subentry"> + <span class="sc">III.</span> Sinon is brought before Priam. +</p> +<p class="subentry"> + <span class="sc">IV.</span> Calchas will not betray anyone. +</p> +<p class="subentry"> + <span class="sc">V.</span> "All night I lay hid in a weedy lake." +</p> +<p class="subentry"> + <span class="sc">VI.</span> The Palladium is snatched away. +</p> +<p class="subentry"> + <span class="sc">VII.</span> The Palladium jumpeth. +</p> +<p class="subentry"> + <span class="sc">VIII.</span> Laocoon sacrificeth on the sand. +</p> +<p class="subentry"> + <span class="sc">IX.</span> Sinon opens the bolt. +</p> +<p class="subentry"> + <span class="sc">X.</span> Hector's ghost. +</p> +<p class="subentry"> + <span class="sc">XI.</span> Æneas heareth the clash of arms. +</p> +<p class="subentry"> + <span class="sc">XII.</span> Panthus fleeth. +</p> +<p class="subentry"> + <span class="sc">XIII.</span> Pyrrhus exulteth. +</p> +<p class="subentry"> + <span class="sc">XIV.</span> Death of Priam. +</p> +<p class="subentry"> + <span class="sc">XV.</span> Æneas debateth whether he shall slay Helen. +</p> +<p class="subentry"> + <span class="sc">XVI.</span> Venus appeareth to Æneas. +</p> +<p class="subentry"> + <span class="sc">XVII.</span> Jupiter hurls the lightning. +</p> +<p class="subentry"> +<span class="sc">XVIII.</span> Æneas and company set out from Troy. +</p> +<p class="subentry"> + <span class="sc">XIX.</span> Æneas seeth Creusa's ghost. +</p> + +<p><span class="pagenum"><a id="page61" name="page61"></a>[61]</span></p> + +<p class="entry"> + The above drawings in ordinary ink are contained in a copy-book, + 8 × 6-1/2 inches. Unpublished. Exhibited in London at Carfax + & Co.'s Galleries, October 1904. (Property of Harold Hartley, + Esq.) End of 1886. +</p> +<p class="entry"> +5. <span class="sc">The Pope weighs heavily on the Church.</span> Pen-drawing contained + in the same copy-book with the last-named. +</p> +<p class="entry"> +6. <span class="sc">John smiles</span>, a comic illustration to the school history book, + representing King John in the act of signing Magna Charta. + Pen-drawing on paper 7-1/4 × 5 inches. Unpublished. (Property of + H. A. Payne, Esq.) +</p> +<p class="entry"> +7. <span class="sc">Saint Bradlaugh</span>, M.P., a caricature. Pen-drawing on a half + sheet of notepaper. Unpublished. (Property of H. A. Payne, Esq.) +</p> +<p class="entry"> +8. <span class="sc">Autumn Tints.</span> Caricature in black and white of the artist's + schoolmaster, Mr Marshall, expounding to his pupils the beauties of + nature. Unpublished. Given to Ernest Lambert, Esq., Brighton, + <i>c.</i> 1886-7. +</p> +<p class="entry"> + Beside the above-named there must have been numbers of such drawings + belonging to this early period; for in his schooldays Aubrey + Beardsley was, to quote the words of Mr H. A. Payne, "constantly + doing these little, rough, humorous sketches, which he gave away + wholesale." Many have been destroyed or lost, others dispersed + abroad. Thus, for instance, one old Brighton Grammar School boy, + C. E. Pitt-Schenkel, told Mr Payne that he was in possession of + some, which he took out to South Africa. +</p> + +<p><span class="pagenum"><a id="page62" name="page62"></a>[62]</span></p> + +<p class="entry"> +9. <span class="sc">The Jubilee Cricket Analysis</span>. Eleven tiny pen-and-ink sketches, + entitled respectively:—— +</p> +<p class="subentry"> + <span class="sc">I.</span> A good bowler. +</p> +<p class="subentry"> + <span class="sc">II.</span> Over. +</p> +<p class="subentry"> + <span class="sc">III.</span> Slip. +</p> +<p class="subentry"> + <span class="sc">IV.</span> Square leg. +</p> +<p class="subentry"> + <span class="sc">V.</span> Shooters. +</p> +<p class="subentry"> + <span class="sc">VI.</span> Caught. +</p> +<p class="subentry"> + <span class="sc">VII.</span> A block. +</p> +<p class="subentry"> + <span class="sc">VIII.</span> A demon bowler. +</p> +<p class="subentry"> + <span class="sc">IX.</span> Stumped. +</p> +<p class="subentry"> + <span class="sc">X.</span> Long leg. +</p> +<p class="subentry"> + <span class="sc">XI.</span> Cutting a ball. +</p> +<p class="entry"> + All these subjects being represented, in humorous fashion, by literal + equivalents. These drawings, though they cannot pretend to any merit, + are notable as the earliest specimens to be published of the + artist's work. Together they formed a whole-page photo-lithographic + illustration in <i>Past and Present</i>, the Brighton Grammar School + Magazine, June 1887. +</p> +<p class="entry"> +10. <span class="sc">Congreve's</span> "<span class="sc">Double Dealer</span>," illustration of a scene from, comprising + Maskwell and Lady Touchwood. Pen drawing with sepia wash, on a sheet + of paper 13-1/2 × 11 inches. Unpublished. (Property of H. A. Payne, + Esq.) Signed and dated June 30, 1888. +</p> +<p class="entry"> +11. <span class="sc">Holywell Street.</span> Wash drawing. First published in <i>The Poster</i>, + Aug.-Sept. 1898. Republished in "The Early Work of Aubrey Beardsley, + with a Prefatory Note by H. C. Marillier." John Lane, March 1899. + (Property of Charles B. Cochran, Esq., 1888.) +</p> + +<p><span class="pagenum"><a id="page63" name="page63"></a>[63]</span></p> + +<p class="entry"> +12. <span class="sc">The Pay of the Pied Piper: A Legend of Hamelin Town.</span> Eleven line + drawings in illustration of, as follows:—— +</p> +<p class="subentry"> + <span class="sc">I.</span> Entrance of Councillors, headed by Beadle carrying a mace. + Reproduced in <i>The Westminster Budget</i>, March 25, 1898. +</p> +<p class="subentry"> + <span class="sc">II.</span> Rats feeding upon a cheese in a dish. Reproduced in <i>Westminster + Budget</i>, March 25, 1898. +</p> +<p class="subentry"> + <span class="sc">III.</span> Child climbing into an armchair to escape from the rats. Reproduced in + <i>The Poster</i>, Aug.-Sept. 1898. +</p> +<p class="subentry"> + <span class="sc">IV.</span> The Sitting of the Council, under the presidency of the Burgomaster. +</p> +<p class="subentry"> + <span class="sc">V.</span> Deputation of Ladies. +</p> +<p class="subentry"> + <span class="sc">VI.</span> Two rats on their hind legs, carrying off the Beadle's mace: behind + them are three rats running. Reproduced in <i>Westminster Budget</i>, + March 25, 1898. +</p> +<p class="subentry"> + <span class="sc">VII.</span> Meeting between the Beadle and the Piper. +</p> +<p class="subentry"> +<span class="sc">VIII.</span> The rats follow the Piper out of the town. Republished in <i>Westminster + Budget</i>, March 25, 1898, and in <i>The Poster</i>, Aug.-Sept. 1898. +</p> +<p class="subentry"> + <span class="sc">IX.</span> Citizens rejoice at the departure of the rats. +</p> +<p class="subentry"> + <span class="sc">X.</span> The Piper is dismissed by the Beadle. Republished in <i>Westminster + Budget</i>, March 25, 1898, and also in <i>Magazine of Art</i>, May 1898. +</p> +<p class="subentry"> + <span class="sc">XI.</span> The Piper entices away the children. +</p> +<p class="entry"> + The above illustrations vary in size from 3-1/4 × 2-1/2 to 6-1/2 + × 4-1/2 inches. They are unsigned, but a prefatory note describes + them as being "the perfectly original designs and drawings of a boy + now in the school, + +<span class="pagenum"><a id="page64" name="page64"></a>[64]</span> + + A. V. Beardsley"; and adds: "Our regret is that, + lacking experience in the preparation of drawings for the + photo-engraver, the reproductions should fall so far short of the + original sketches." Published in the programme and book of words + of the Brighton Grammar School Annual Entertainment at the Dome, + on Wednesday, Dec, 19, 1888; bound up afterwards with <i>Past and + Present</i>, February 1889. Latter part of 1888. +</p> +<p class="entry"> +13. <span class="sc">A Scrap-Book</span>, size 9-1/2 × 7 inches, the fly-leaf inscribed, in his + own writing, <i>A. Beardsley</i>, 6/5/90, presented by the artist's + mother to Robert Ross, Esq. Contains the following drawings, mounted + as scraps:—— +</p> +<p class="subentry"> + <span class="sc">I.</span> Manon Lescaut, three drawings to illustrate different scenes + from. Executed with very fine pen and ink, the latter having, as + compared with maturer works, a brownish tinge. One of them first + appeared in "A Second Book of Fifty Drawings by Aubrey Beardsley" + (Leonard Smithers, December 1898), and all three were included in + "The Later Work of Aubrey Beardsley" (John Lane, 1901). +</p> +<p class="subentry"> + <span class="sc">II.</span> La Dame aux Camélias. 4-3/8 inches square, pen and brownish + ink with wash. First published in "Second Book," and afterwards in + "Later Work." This is a totally different design from that which + afterwards appeared, with the same title, in "The Yellow Book." + See below. +</p> +<p class="subentry"> + <span class="sc">III.</span> Tartarin, two illustrations of, in pencil and colours, size + 4-1/8 × 2-3/4 and 4-1/2 × 3-1/2 inches respectively. +</p> +<p class="subentry"> + <span class="sc">IV.</span> La Leçon (Madame Bovary). 5-1/4 × 6-3/4. Chinese + +<span class="pagenum"><a id="page65" name="page65"></a>[65]</span> + + white and dark + sepia wash. First published in "Second Book," and again in "Later + Work." +</p> +<p class="subentry"> + <span class="sc">V.</span> L'Abbé Birotteau (Curé de Tours). 3 × 2 inches. Pen-and-ink + with wash, on pale greenish paper. +</p> +<p class="subentry"> + <span class="sc">VI.</span> L'Abbé Troubert (Curé de Tours). 5 × 2-3/4 inches. Dark sepia wash. +</p> +<p class="subentry"> + <span class="sc">VII.</span> Madame Bovary. 5-5/8 × 3-1/8 inches. Pencil. First published in + "Second Book," and again in "Later Work." +</p> +<p class="subentry"> + <span class="sc">VIII.</span> Sapho (Daudet). Wanting. Over its place has been gummed another + drawing, also wanting, its title written at the foot, + <i>L'homme qui rit</i>. +</p> +<p class="subentry"> + <span class="sc">IX.</span> Le Cousin Pons. 5-1/8 × 2-3/8 inches. Indian ink. +</p> +<p class="subentry"> + <span class="sc">X.</span> Portrait of Alphonse Daudet. 2-3/4 × 2-3/16 inches. Indian ink on + pale blue paper. +</p> +<p class="subentry"> + <span class="sc">XI.</span> Watteau, Ma Cousine (Cousin Pons). 5-1/2 × 2-3/4 inches. Pen-and-ink + with wash on pale grey toned paper. +</p> +<p class="subentry"> + <span class="sc">XII.</span> Mademoiselle Gamard (Curé de Tours). 3-1/8 × 2-1/8 inches. Indian + ink wash. +</p> +<p class="subentry"> + <span class="sc">XIII.</span> Madame Cibot (Cousin Pons). 4 × 2-7/8 inches. Indian ink wash. +</p> +<p class="subentry"> + <span class="sc">XIV.</span> (Jack) Attendons! 3-5/8 inches high, irregular silhouette. + Dark sepia wash. +</p> +<p class="subentry"> + <span class="sc">XV.</span> Jeanne D'Arc, the childhood of. 9 × 3-3/8 inches. Sepia and madder + wash on toned paper. First published in "Second Book," again in + "Later Work." +</p> +<p class="subentry"> + <span class="sc">XVI.</span> Frontispiece to Balzac's "Contes Drôlatiques." 6-3/4 × 4-1/8 inches. + Drawn after the manner of + +<span class="pagenum"><a id="page66" name="page66"></a>[66]</span> + + Richard Doyle. First published in + "Second Book," again in "Later Work." +</p> +<p class="subentry"> + <span class="sc">XVII.</span> Phèdre (Act ii. scene 5). 3-7/8 × 3-1/2 inches. Pencil and colours. + First published in "Second Book," again in "Later Work." +</p> +<p class="subentry"> +<span class="sc">XVIII.</span> Manon Lescaut, three-quarter length, woman to left, with fan. + 5-1/4 × 3-1/2 inches. Water-colour on grey paper. First published + in "Second Book," again in "Later Work." +</p> +<p class="subentry"> + <span class="sc">XIX.</span> Beatrice Cenci. 6-1/8 × 2-3/4 inches. Pencil and sepia wash. First + published in "Second Book," again in "Later Work." +</p> +<p class="entry"> + Unless otherwise stated as above, the works in this collection are + unpublished; all were executed 1889-90. +</p> + +<p><span class="pagenum"><a id="page67" name="page67"></a>[67]</span></p> + +<h3> +LATER WORK. +</h3> + +<p class="entry"> +14. <span class="sc">Francesca di Rimini</span> (Dante). Head in profile, to left; pencil. + First published in "Later Work." +</p> +<p class="entry"> +15. <span class="sc">Dante at the Court of Can Grande della Scala.</span> Circular design, + in pencil. (Property of Miss H. Glover.) +</p> +<p class="entry"> +16. <span class="sc">Dante in Exile.</span> Dante seated on the left, the words of the Sonnet + inscribed on the right, with decorations recalling some design of + William Blake's. Signed A.V.B. First published in "Later Work." + (Formerly the property of the late Hampden Gurney, Esq.) +</p> +<p class="entry"> +17. "<span class="sc">I saw three Ships come sailing by on Christmas Day in the Morning.</span>" + Pencil. Designed as a Christmas card for the late Rev. Alfred Gurney. + Published in "Later Work." <i>c.</i> 1890-1. +</p> +<p class="entry"> +18. <span class="sc">Hail Mary.</span> Profile of a head to left. Pencil drawing, 4-1/2 × 5-1/4 + inches. First published in <i>The Studio</i>, May 1898, again in "Early + Work." (Property of Frederick H. Evans, Esq.) 1891. +</p> +<p class="entry"> +19. <span class="sc">Head</span>, three-quarter face to right, with a Wreath of Grapes and Vine + Leaves and background of tree trunks. Lead-pencil sketch 5-1/2 × 5-5/8 + inches. Unpublished. (Property of John Lane, Esq.) <i>circa</i> 1891. +</p> +<p class="entry"> +20. <span class="sc">Thel Gathering the Lily.</span> Pen-and-ink with water-colour wash. (Formerly + the property of Robert Ross, Esq.) +</p> + +<p><span class="pagenum"><a id="page68" name="page68"></a>[68]</span></p> + +<p class="entry"> +21. <span class="sc">Two Figures in a Garret</span>, both seated, a woman haranguing a young man. + Ink and wash sketch, 3-1/4 × 4-1/8 inches. Published in "Early Work." + (Property of Frederick H. Evans, Esq.) +</p> +<p class="entry"> +22. <span class="sc">E. Burne-Jones.</span> Portrait sketch in pen-and-ink, with slight wash. + A memorandum of Aubrey Beardsley's first call on Sir Edward + Burne-Jones, dated Sunday, 12th July 1891, and signed with monogram, + A.V.B. Size, 6-3/4 × 4-1/8 inches. Eight copies only. Printed on + India paper. Published by James Tregaskis, Caxton Head, High Holborn, + in 1899. July 1891. +</p> +<p class="entry"> +23. <span class="sc">The Witch of Atlas.</span> Pen-and-ink and water-colour wash. First reproduced + (lacking ornamental border) in "Second Book," again in "Later Work." + (Formerly the property of Robert Ross, Esq.) +</p> +<p class="entry"> +24. <span class="sc">Molière.</span> Blue water-colour wash. First published in "Later Work." + (Formerly the property of Robert Ross, Esq.) +</p> +<p class="entry"> +25. <span class="sc">Die Götterdämmerung.</span> Decorative composition in white and Indian ink, + influenced by Burne-Jones. First published in "Second Book," again in + "Later Work." (Formerly the property of Robert Ross, Esq.) +</p> +<p class="entry"> +26. <span class="sc">Soleil Couchant.</span> Decorative composition in Indian ink. (The motif of + the central part was subsequently adapted for a vignette in the + "Morte Darthur," Book II. chap. xii.) First published in "Later + Work." (Formerly the property of the late Hampden Gurney, Esq.) +</p> + +<p><span class="pagenum"><a id="page69" name="page69"></a>[69]</span></p> + +<p class="entry"> +27. <span class="sc">Tannhâuser.</span> Study for decorative composition, in Indian ink. + 5-5/8 × 7-1/2 inches. First published in "Later Work." (Property of + Dr Rowland Thurnam.) 1891. +</p> +<p class="entry"> +28. <span class="sc">Withered Spring.</span> Decorative composition in Indian ink. Catalogued in + "Fifty Drawings" as "Lament of the Dying Year." (The motif of the + central part was subsequently adapted for a vignette in the "Morte + Darthur," Book I. chap. xii.) First published in "Later Work." + (Property of Dr Rowland Thurnam.) +</p> +<p class="entry"> +29. <span class="sc">I.</span> <span class="sc">Perseus.</span> Pen-and-ink and light wash. Design for an upright panel, + with standing nude figure, above it a frieze of smaller figures. + 18 × 6-3/4 inches. First published in "Early Work." (Property of + Frederick H. Evans, Esq.) +</p> +<p class="subentry"> + <span class="sc">II.</span> A pencil sketch of two figures, unfinished, on the reverse of the + preceding. Published in "Early Work." +</p> +<p class="entry"> +30. <span class="sc">L'Abbé Mouret.</span> Decorative design for frontispiece of Zola's "La Faute + de l'Abbé Mouret." Ink and wash. First published in "Under the Hill." + John Lane. 1904. (Property of John Lane, Esq.) +</p> +<p class="entry"> +31. <span class="sc">Hamlet patris panem Sequitur.</span> Pencil drawing. Printed in red, as + frontispiece to <i>The Bee</i>, the Magazine of the Blackburn Technical + School, November 1891; reprinted, in black, in "Second Book," again + in "Early Work." Latter part 1891. +</p> +<p class="entry"> +32. <span class="sc">Perseus and the Monstre.</span> Pencil design, 5-1/2 × 7-1/2 inches. First + appeared in illustration of an article + +<span class="pagenum"><a id="page70" name="page70"></a>[70]</span> + + entitled, "The Invention of + Aubrey Beardsley," by Aymer Vallance, in <i>The Magazine of Art</i>, May + 1898; again in "Early Work," (Property of Aymer Vallance, Esq.) 1891. +</p> +<p class="entry"> +33. <span class="sc">The Procession of Jeanne d'Arc.</span> Pencil outline, treatment inspired by + Mantegna, 19-1/2 long by 6-1/2 inches high. First published in + <i>Magazine of Art</i>, May 1898; again as double page in "Second Book"; + again, reduced, in collotype, in "Early Work." (Property of Frederick + H. Evans, Esq.) 1891-2. +</p> +<p class="entry"> + A pen-and-ink version of the Procession, 30 inches long by 7 high, + was made subsequently, about the Spring of 1892, for Robert Ross, + Esq. Published in <i>The Studio</i>; see below. +</p> +<p class="entry"> +34. <span class="sc">The Litany of Mary Magdalen.</span> Pencil drawing. First published in + "Second Book," again in "Later Work." (Formerly Property of More + Adey, Esq.) 1892. +</p> +<p class="entry"> +35. <span class="sc">The Virgin and Lily.</span> Madonna standing in front of a Renaissance niche + and surrounded by Saints, among them St John Baptist kneeling. + Pencil outline. Reproduced in photogravure in "Later Work." + (Formerly the property of the late Rev. Alfred Gurney, afterwards + in the possession of his son, the late Hampden Gurney, Esq.) +</p> +<p class="entry"> +36. <span class="sc">Children Decorating a Terminal God.</span> Pen-and-ink. (Formerly the + property of M. Puvis de Chavannes.) +</p> +<p class="entry"> +37. <span class="sc">Fred Brown</span>, N.E.A.C. Pen-and-ink sketch of the art-master in studio. + Signed with monogram A.V.B. + +<span class="pagenum"><a id="page71" name="page71"></a>[71]</span> + + First published in "Under the Hill." + (Property of Miss Nellie Syrett.) +</p> +<p class="entry"> +38. <span class="sc">Study of Figures</span>, horizontal fragment from, containing five heads and + parts of two more. Pencil. Published in "Under the Hill." (Property + of Miss Nellie Syrett.) +</p> +<p class="entry"> +39. <span class="sc">Portrait of the Artist.</span> Full face. Pen-and-ink. First published in + "Second Book," again in "Later Work." (Presented by Robert Ross, + Esq., to the British Museum.) +</p> +<p class="entry"> +40. <span class="sc">Sidonia the Sorceress.</span> A design to illustrate Meinhold's Romance, + representing Sidonia, not in religious habit, with the demon-cat, + Chim. William Morris's criticism that the face of Sidonia was not + pretty enough, and another suggested improvement on the part of + a friend of Aubrey Beardsley's, induced him to try to better the + picture by altering the hair. The result was so far from satisfactory + that it is almost certain that the drawing was destroyed by the + artist. First half of 1892. +</p> +<p class="entry"> +41. <span class="sc">Le Débris d'un Poete.</span> Pen-and-ink. First published in "Aubrey + Beardsley," by Arthur Symons (Sign of the Unicorn, London, 1898). + (Property of André Raffalovich, Esq.) +</p> +<p class="entry"> +42. <span class="sc">Incipit Vita Nova.</span> Chinese, white, and Indian ink on brown paper. + First published in "Second Book," again in "Later Work." (Property + of Messrs Carfax & Co.) 1892. +</p> +<p class="entry"> +43. <span class="sc">Head of an Angel</span>, in profile, to left, flaming heart held in left hand. + Pencil, on a half-sheet of grey notepaper, + +<span class="pagenum"><a id="page72" name="page72"></a>[72]</span> + + signed with monogram + A.V.B. 5-3/4 × 3-7/8 inches. First published in photogravure "Second + Book," again in "Later Work"; also printed in 4-inch square form on + card for private distribution, Christmas 1905. (Property of the + artist's sister, Mrs George Bealby Wright [Miss Mabel Beardsley].) + <i>c.</i> 1892. +</p> +<p class="entry"> +44. <span class="sc">Adoramus Te.</span> Four angels in a circle (7 inches in diameter) playing + musical instruments, pencil and coloured chalks. Signed A.V.B. + monogram. Designed as a Christmas card for the late Rev. Alfred + Gurney. First published in photogravure in "Second Book," again in + "Later Work." (Property of Mrs George Bealby Wright.) +</p> +<p class="entry"> +45. <span class="sc">A Christmas Carol.</span> Two angels, one of them playing a hand-organ, in a + circle (7-3/4 inches diameter), pencil, and coloured chalks. + Designed as a Christmas card for the late Rev. Alfred Gurney. + First published in photogravure in "Second Book," again in "Later + Work." Also in photogravure, 3 inches diameter, for private + circulation. (Property of Mrs George Bealby Wright.) Christmas, 1892. +</p> +<p class="entry"> +46. <span class="sc">La Femme Incomprise.</span> Pen-and-ink and wash. First published in the + spring number of <i>To-Day</i>, 1895; again in the <i>Idler</i> magazine, + March 1897. +</p> +<p class="entry"> +47. <span class="sc">Sandro Botticelli</span>, three-quarter face to left, pencil, signed with + monogram A.V.B.; 14 × 7-3/4 inches; a reconstruction of the + Florentine painter's physiognomy from his extant works, to + illustrate Aubrey Beardsley's theory that every artist tends to + reproduce his own physical type. Presented by the artist to Aymer + +<span class="pagenum"><a id="page73" name="page73"></a>[73]</span> + + Vallance, Esq. First published in the <i>Magazine of Art</i>, May 1898; + afterwards in "Early Work." <i>c.</i> 1892-3. +</p> +<p class="entry"> +48. <span class="sc">Raphael Sanzio.</span> Full-length figure, three-quarter face to left, a + decorative panel in pen-and-ink, 10-3/4 × 3-7/8 inches, exclusive + of border lines. Unpublished. (Property of Messrs Obach & Co.) +</p> +<p class="entry"> +49. <span class="sc">Cephalus and Procris.</span> Pen-and-ink. +</p> +<p class="entry"> +50. <span class="sc">Small Bookmarker</span>, woman undressing, a Turkish table in the foreground. + Pen-and-ink. First published in "Second Book," again in "Later Work." + (Property of Sir William Geary, Bart.) 1893. +</p> +<p class="entry"> +51. <span class="sc">Hermaphroditus</span>, seated figure, pencil and pale colour tints. Reproduced + in colour in "Later Work." (Property of Julian Sampson, Esq.) +</p> +<p class="entry"> +52. <span class="sc">L'après-midi d'un Faune</span>, par Mallarmé; four designs extra-illustrating + a copy of. One of them, a pen-and-ink vignette of a faun, full face, + signed with monogram A.V.B., was published in "Second Book." The + others unpublished. 1893. +</p> +<p class="entry"> +53. <span class="sc">Decorative Sketch Design of a Sailing Ship.</span> 1-7/8 × 2-1/2 inches. + Pen-and-ink on white from the back of a letter to Aymer Vallance, + Esq. First published in <i>Magazine of Art</i>, May 1898; again in "Early + Work." <i>c.</i> 1893. +</p> +<p class="entry"> +54. <span class="sc">Angel Playing Hand-Organ.</span> Pen-and-ink and slight wash, on pale grey + notepaper, from a letter to Aymer Vallance, Esq. First published in + <i>Magazine of Art</i>, May 1898; again in "Early Work." <i>c.</i> 1893. +</p> + +<p><span class="pagenum"><a id="page74" name="page74"></a>[74]</span></p> + +<p class="entry"> +55. <span class="sc">The Pall Mall Budget</span>, 1893 and 1894. +</p> +<p class="subentry"> + <span class="sc">I.</span> <span class="sc">Mr H. A. Jones and his Bauble</span>; pen-and-ink. Feb. 2, 1893, p. 150. +</p> +<p class="subentry"> + <span class="sc">II.</span> <span class="sc">The New Coinage.</span> Four designs that were not sent in for + competition, p. 154. Another design, embodying a caricature of + Queen Victoria, was suppressed. +</p> +<p class="subentry"> + <span class="sc">III.</span> <span class="sc">"Becket" at the Lyceum.</span> +</p> +<p class="subentry2"> + 1. Mr Irving as Becket; wash drawing. Feb. 9th, front page. +</p> +<p class="subentry2"> + 2. Master Leo, p. 188. +</p> +<p class="subentry2"> + 3. Queen Eleanor, p. 188. +</p> +<p class="subentry2"> + 4. Margery, p. 188. +</p> +<p class="subentry2"> + 5. The King makes a Move on the Board, p. 188. +</p> +<p class="subentry2"> + 6. Miss Terry (as Rosamond), p. 188. +</p> +<p class="subentry2"> + 7. Mr Gordon Craig, p. 190. +</p> +<p class="subentry2"> + 8. The Composer, p. 190. +</p> +<p class="subentry"> + <span class="sc">IV.</span> +</p> +<p class="subentry2"> + 1. <span class="sc">The Disappointment of Emile Zola</span>, p. 202. +</p> +<p class="subentry2"> + 2. <span class="sc">Emile Zola</span>; a portrait, p. 204. + (Republished in "Pall Mall Pictures of the Year," 1893, + and in <i>The Studio</i>, June 1893.) +</p> +<p class="subentry"> + <span class="sc">V.</span> <span class="sc">Verdi's "Falstaff," at Milan</span>, Feb. 16th. +</p> +<p class="subentry2"> + Initial letter V; pen-and-ink, p. 236. +</p> +<p class="subentry2"> + Portrait of Verdi; ink and wash, p. 236. +</p> +<p class="subentry"> + <span class="sc">VI.</span> <span class="sc">Pope Leo XIII.'s Jubilee</span>, Feb. 23rd. +</p> +<p class="subentry2"> + The Pilgrim (old style), p. 270. +</p> +<p class="subentry2"> + The Pilgrim (new style), p. 270. +</p> +<p class="subentry"> + <span class="sc">VII.</span> <span class="sc">The Reappearance of Mrs Bancroft.</span> +</p> +<p class="subentry2"> + 1. Mr Arthur Cecil (Baron Stein), p. 281. +</p> +<p class="subentry2"> + 2. Mrs Bancroft (Lady Fairfax), p. 281. +</p> +<p class="subentry2"> + 3. Mr Forbes Robertson (Julian Beauclere), p. 281. +</p> +<p class="subentry2"> + 4. Mr Bancroft (Count Orloff), p. 281. +</p> + +<p><span class="pagenum"><a id="page75" name="page75"></a>[75]</span></p> + +<p class="subentry"> + <span class="sc">VIII.</span> <span class="sc">Caricature of a Golf Player</span>, in classical helmet, March 9th, p. 376. +</p> +<p class="subentry"> + <span class="sc">IX.</span> <span class="sc">Orpheus at the Lyceum</span>, March 16th. +</p> +<p class="subentry2"> + 1. One of the Spirits, Act II., p. 395. +</p> +<p class="subentry2"> + 2. Orpheus (Miss Clara Butt), p. 395. +</p> +<p class="subentry2"> + 3. A Visitor at the Rehearsal, p. 395. +</p> +<p class="subentry2"> + 4. Some Dresses in the Chorus, p. 395. +</p> +<p class="subentry"> + <span class="sc">X.</span> <span class="sc">Portrait of the Late Jules Ferry</span>: wash drawing, March 23rd, p. 435. +</p> +<p class="subentry"> + <span class="sc">XI.</span> <span class="sc">Bullet-Proof Uniform</span>: Tommy Atkins thinks it rather fun, March 30, p. 491. +</p> +<p class="subentry"> + <span class="sc">XII.</span> <span class="sc">Mr Frederick Harrison's "Ideal Novelist,"</span> April 20, p. 620. +</p> +<p class="subentry"> + <span class="sc">XIII.</span> <span class="sc">A New Year's Dream</span>, after studying Mr Pennell's "Devils of Notre Dame." + Republished in "Early Work." Jan. 4th, 1894, p. 8. +</p> +<p class="entry"> +56. <span class="sc">Mr Parnell</span>, sketch portrait of the Irish party leader, head and + shoulders, three quarters face to left, pencil, half tone reproduction, + 4-3/4 × 3-1/2 inches. +</p> +<p class="entry"> +57. <span class="sc">I.</span> <span class="sc">The Studio.</span> Design for wrapper in two states, the original + design containing a seated figure of Pan, omitted in the later + version. First state on brown paper. The same, reduced, in black + on green, for prospectus, republished in <i>The Studio</i>, May 1898, + and again in "Early Work." +</p> +<p class="subentry"> + Second state, black on green, also in gold on rough white paper for + presentation to Royalty (Nov. 15th, 1893). The same, reduced, and + printed in dark green on white, for a prospectus, republished in + "Early Work." The same, enlarged and printed in black on light + green, for a poster. +</p> + +<p><span class="pagenum"><a id="page76" name="page76"></a>[76]</span></p> + +<p class="entry"> + <span class="sc">The Studio, No. I</span>, April 1893, accompanying an article entitled "A New + Illustrator: Aubrey Beardsley," by Joseph Pennell, contained:—— +</p> +<p class="subentry"> + <span class="sc">II.</span> Reduced reproduction of the pen-and-ink replica of Jeanne d'Arc + procession. Republished as large folding supplement in No. 2. +</p> +<p class="subentry"> + <span class="sc">III.</span> Siegfried, Act II., from the original drawing in line and wash, + signed A.V.B., presented by the artist to Sir Edward Burne-Jones, + after whose death it was given back by Lady Burne-Jones, to the + artist's mother, Mrs Beardsley. Republished in "Early Work." +</p> +<p class="subentry"> + <span class="sc">IV.</span> The Birthday of Madame Cigale, line and wash, 15 inches long by + 9-1/2 inches high, influenced by Japanese models. Reproduced in + "Early Work." (Property of Charles Holme, Esq.) +</p> +<p class="subentry"> + <span class="sc">V.</span> Les Revenants de Musique, line and wash. Reproduced in "Early + Work." (Property of Charles Holme, Esq.) +</p> +<p class="subentry"> + <span class="sc">VI.</span> Salome with the head of St John the Baptist. Upright panel in + Chinese ink on white, 10-1/8 by 5-1/8 inches, exclusive of framing + lines. This was the first design suggested to the artist by Oscar + Wilde's French play of "Salome." It differs from the later version + of the same subject in being richer and more complex. It contains + the legend, omitted in the later version, <i>j'ai baisé ta bouche + Iokanaan, j'ai baisé ta bouche</i>. The treatment is obviously + influenced by Japanese work, and also by that of the French + Symboliste school, <i>e.g.</i> Carlos Schwabe. Republished in "Early + Work." Subsequently to its appearance in <i>The + +<span class="pagenum"><a id="page77" name="page77"></a>[77]</span> + + Studio</i>, the artist + experimentally tinted it with green colour washes. In its final + state it has not been published. (Formerly the property of Mrs + Ernest Leverson, now of Miss K. Doulton.) +</p> +<p class="subentry"> + <span class="sc">VII.</span> Reduced reproduction of the second version of the Jeanne d'Arc + procession. The same appeared, full size, as a folding plate + supplement, in No. 2 of <i>The Studio</i>, May 1893. +</p> +<p class="entry"> + In the first number of <i>The Studio</i> (April) also were published, + by anticipation, four designs from the "Morte Darthur," due to + begin its serial appearance in the following June, viz.:— +</p> +<p class="subentry"> + <span class="sc">VIII.</span> Initial letter I. +</p> +<p class="subentry"> + <span class="sc">IX.</span> Merlin taketh the child Arthur into his keeping (full page, + including border). +</p> +<p class="subentry"> + <span class="sc">X.</span> Ornamental border for full page. +</p> +<p class="subentry"> + <span class="sc">XI.</span> Frieze for chapter-heading; six men fighting, on foot, three of + them panoplied. Reproduced in <i>Magazine of Art</i>, November 1896, + "Fifty Drawings," <i>Idler</i>, March 1897, and <i>St Paul's</i>, April 9th, + 1898. The original drawing is 13-3/4 inches long by 4-1/2 inches. + As may be seen, even in the reduced reproduction, one inch + at either end was added by the artist at the request of his + publisher, so as to increase the proportionate length of the + ornament. Subsequently Mr Frederick H. Evans photographed the + drawing, full size, and produced fifteen platinotype copies, + of which twelve only were for sale, and the plate destroyed. +</p> +<p class="entry"> +58. <span class="sc">Design of Dandelions</span>, for publishers' trade mark for Dent & Co. +</p> + +<p><span class="pagenum"><a id="page78" name="page78"></a>[78]</span></p> + +<p class="entry"> +59. <span class="sc">Le Morte Darthur</span>, by Sir Thomas Malory. J. M. Dent & Co. 300 copies on + Dutch hand-made paper and 1500 ordinary copies. Issued in Parts, + beginning June 1893. +</p> +<p class="subentry"> + <span class="sc">I.</span> Vol. I., 1893. Frontispiece—"How King Arthur saw the Questing + Beast, and thereof had great marvel." Photogravure. +</p> +<p class="entry"> + Full-page illustrations:— +</p> +<p class="subentry"> + <span class="sc">II.</span> Merlin taketh the child Arthur into his keeping. (Reduced + reproduction in <i>Idler</i>, May 1898.) +</p> +<p class="subentry"> + <span class="sc">III.</span> The Lady of the Lake telleth Arthur of the sword Excalibur. +</p> +<p class="subentry"> + <span class="sc">IV.</span> Merlin and Nimue. +</p> +<p class="subentry"> + <span class="sc">V.</span> Arthur and the strange mantle. +</p> +<p class="subentry"> + <span class="sc">VI.</span> How four queens found Launcelot sleeping. (Property of A. E. + Gallatin, Esq.) +</p> +<p class="subentry"> + <span class="sc">VII.</span> Sir Launcelot and the witch Hellawes. (Property of A. E. + Gallatin, Esq.) +</p> +<p class="subentry"> + <span class="sc">VIII.</span> How la Beale Isoud nursed Sir Tristram. +</p> +<p class="subentry"> + <span class="sc">IX.</span> How Sir Tristram drank the love drink. +</p> +<p class="subentry"> + <span class="sc">X.</span> How la Beale Isoud wrote to Sir Tristram. +</p> +<p class="subentry"> + <span class="sc">XI.</span> How King Mark found Sir Tristram sleeping. +</p> +<p class="subentry"> + <span class="sc">XII.</span> How Morgan le Fay gave a sword to Sir Tristram. +</p> +<p class="subentry"> + <span class="sc">XIII.</span> Vol. II., 1894. Frontispiece—"The achieving of the Sangreal." + Photogravure. (This was the first design executed for the work.) +</p> +<p class="entry"> + Full page and double page illustrations:— +</p> +<p class="subentry"> + <span class="sc">XIV.</span> How King Mark and Sir Dinadan heard Sir Palomides making great + sorrow and mourning for la Beale Isoud (double page). +</p> +<p class="subentry"> + <span class="sc">XV.</span> La Beale Isoud at Joyous Gard (double page). +</p> + +<p><span class="pagenum"><a id="page79" name="page79"></a>[79]</span></p> + +<p class="subentry"> + <span class="sc">XVI.</span> How Sir Launcelot was known by Dame Elaine (full page). +</p> +<p class="subentry"> + <span class="sc">XVII.</span> How a devil in woman's likeness would have tempted Sir Bors (double + page). +</p> +<p class="subentry"> +<span class="sc">XVIII.</span> How Queen Guenever rode on maying (double page). +</p> +<p class="subentry"> + <span class="sc">XIX.</span> How Sir Bedivere cast the sword Excalibur into the water (full page). +</p> +<p class="subentry"> + <span class="sc">XX.</span> How Queen Guenever made her a nun (full page). +</p> +<p class="entry"> + In the two volumes there are altogether 548 ornaments, + chapter-headings, borders, initials, tail-pieces, etc.; but some of + them are repetitions of the same design, others reproductions of + the same design in two different sizes. (Two of these are in the + Victoria and Albert Museum. Eight belong to Pickford Waller, Esq. + Others are the property of Hon. Gerald Ponsonby, R. C. Greenleaf, + Esq., W. H. Jessop, Esq., M. H. Sands, Esq., Robert Ross, Esq., + and Messrs Carfax & Co.) +</p> +<p class="subentry"> + <span class="sc">XXI.</span> Chapter-heading, a dragon, with conventional foliage spray + branching into marginal ornaments; printed, but not published + in the book. +</p> +<p class="subentry"> + <span class="sc">XXII.</span> Initial letter J with guardian griffins; pen-and-ink, 5-1/2 × 3-1/2 + inches. +</p> +<p class="subentry"> +<span class="sc">XXIII.</span> Unfinished border design, first published in "Whistler's Art Dicta + and Other Essays" by A. E. Gallatin (Boston, U.S.A., and London, + 1903). (Property of A. E. Gallatin, Esq.) +</p> +<p class="subentry"> + <span class="sc">XXIV.</span> Original study, approved by the publisher, for wrappers of serial + issue of the "Morte Darthur," yellowish green water-colour on + +<span class="pagenum"><a id="page80" name="page80"></a>[80]</span> + + white paper, 10-1/4 × 8-1/4 inches. This design, comprising lilies, + differs from that which was finally produced by the artist and + published (next item). (Property of Aymer Vallance, Esq.) 1893. +</p> +<p class="entry"> + Design for wrappers of serial issue, in black on grey paper, in + two states, the earlier or trial-state, having blank spaces for + the lettering, only the title being given as "La Mort Darthure." +</p> +<p class="subentry"> + <span class="sc">XXV.</span> Design in gold on cream-white cloth cases of the bound volumes. +</p> +<p class="entry"> + Nineteen of the above designs were republished in "A Book of + Fifty Drawings," and again in "Later Work," including full-size + reproductions of the following, which had suffered through + excessive reduction in the published "Morte Darthur." +</p> +<p class="subentry"> + <span class="sc">XXVI.</span> Merlin (in a circle), facing list of illustrations in Vol. I. The + same reproduced in <i>The Idler</i>, March 1897. +</p> +<p class="subentry"> +<span class="sc">XXVII.</span> Vignette of Book I., chapter xiv. Landscape with piper in a meadow + and another figure in the sky. +</p> +<p class="subentry"> +<span class="sc">XXVIII.</span> Vignette of Book III., chapter iii. Three swans swimming. +</p> +<p class="subentry"> + <span class="sc">XXIX.</span> Vignette of Book V., chapter x. Nude woman rising out of the sea, + holding in one hand a sword, in the other a rose. +</p> +<p class="entry"> +60. <span class="sc">Pall Mall Magazine, June 1893.</span> +</p> +<p class="subentry"> + <span class="sc">I.</span> Of a Neophyte, and how the Black Art was revealed unto him by the + Fiend Asomuel. Full-page + +<span class="pagenum"><a id="page81" name="page81"></a>[81]</span> + + illustration in pen and ink. Asomuel, + meaning insomnia, was a neologism of the artist's own devising, + made up of the Greek <i>alpha</i> privative, the Latin <i>somnus</i>, and + the Hebrew <i>el</i>, for termination analogous to that of other + spirits' names, such as Gabriel, Raphael, Azrael, etc., + reproduced in "Early Work," July 1893. +</p> +<p class="subentry"> + <span class="sc">II.</span> The Kiss of Judas. Full-page illustration in pen-and-ink. Reproduced + in "Early Work." +</p> +<p class="entry"> +61. <span class="sc">La Comédie aux Enfers</span>, pen and ink, published in "Modern Illustration," + by Joseph Pennell. (G. Bell & Sons, 1895.) Imp. 16mo. 1893. +</p> +<p class="subentry"> +62. <span class="sc">I.</span> <span class="sc">Evelina</span>, by Frances Burney. (Dent & Co., 1894.) Design in outline + for title-page. +</p> +<p class="subentry"> + <span class="sc">II.</span> <span class="sc">Evelina and her Guardian</span>, design for illustration, pen and ink and + wash, 6-7/8 × 4-7/8 (exclusive of marginal lines), not published. +</p> +<p class="subentry"> + <span class="sc">III.</span> Another illustration for the same, "Love for Love," a wash drawing, + 7-1/2 × 5-1/4, unpublished. 1893. +</p> +<p class="entry"> +63. <span class="sc">Virgilius the Sorcerer</span>. David Nutt, 1893. Frontispiece to the large + paper copies only. Reproduced in "Early Work." +</p> +<p class="entry"> +64. <span class="sc">The Landslip</span>, frontispiece to "Pastor Sang," being William Wilson's + translation of Björnson's drama, "Over Ævne." Longmans & Co., 1893. + A black and white design, in conscious imitation of Albert Dürer, + as the peculiar form of the signature A. B. shows, the only occasion + on which the artist employed this device. Reproduced in "Early Work." + (Property of Messrs Shirley & Co., Paris.) +</p> + +<p><span class="pagenum"><a id="page82" name="page82"></a>[82]</span></p> + +<p class="entry"> +65. <span class="sc">Bon Mots. 3 Volumes. Dent & Co., 1893.</span> +</p> +<p class="subentry"> + <span class="sc">I.</span> Title-page reproduced in "Later Work." +</p> +<p class="subentry"> + <span class="sc">II.</span> Figure with fool's bauble, and another small ornament for the cover. +</p> +<p class="subentry"> + <span class="sc">III.</span> 208 grotesques and other ornaments in the three volumes. Some of + these, however, are repeated, and some printed in different sizes. + Three of them reproduced in "Later Work." In an article by Max + Beerbohm in the <i>Idler</i>, May 1898, accompanied by "some drawings + that have never before been reproduced," are nine small vignettes + of the "Bon Mots" type, of which number three only are explicitly + ascribed to "Bon Mots" (A sheet of them belongs to W. H. Jessop, + Esq. Nineteen are the property of Pickford Waller, Esq.) +</p> +<p class="entry"> +66. <span class="sc">Folly</span>, intended for "Bon Mots," but not used in the book. The figure + is walking along a branch of hawthorn, the left hand upraised, and + holding the fool's baton; a flight of butterflies in lower left-hand + corner; with drawing 8 × 5-1/4 inches. (Property of Littleton Hay, + Esq.) +</p> +<p class="entry"> +67. <span class="sc">Pagan Papers</span>, a volume of Essays by Kenneth Grahame. Elkin Mathews + and John Lane, 1893. Title-page, design for. +</p> +<p class="entry"> +68. <span class="sc">Ada Lundberg</span>, head and shoulders to right, coloured crayons on brown + paper. Reproduced in colour in "Later Work." (Property of Julian + Sampson, Esq.) +</p> +<p class="entry"> +69. <span class="sc">Keyholes Series of Novels and Short Stories.</span>—(The publication + of this series was begun by Messrs + +<span class="pagenum"><a id="page83" name="page83"></a>[83]</span> + + Elkin Mathews and John Lane, and + afterwards continued by Mr John Lane alone.) +</p> +<p class="subentry"> + <span class="sc">I.</span> Keynotes by George Egerton, 1893. Title-page design (the same + employed for the cloth cover). Ornamental key, embodying the + author's monogram, on back of "Contents" page (the same device + on the back of the book). This plan was adopted for each volume + of the series. +</p> +<p class="subentry"> + <span class="sc">II.</span> The Dancing Faun, by Florence Farr (the Faun in the design has + the eyeglass and features of J. M<sup>c</sup>Neill Whistler). +</p> +<p class="subentry"> + <span class="sc">III.</span> Poor Folk. Translated from the Russian of F. Dostoievsky, by Lena + Milman. +</p> +<p class="subentry"> + <span class="sc">IV.</span> A Child of the Age, by Francis Adams. +</p> +<p class="subentry"> + <span class="sc">V.</span> The Great God Pan and the Inmost Light, by Arthur Machen, also + unfinished sketch in pencil upon the back of the finished design. +</p> +<p class="subentry"> + <span class="sc">VI.</span> Discords, by George Egerton. +</p> +<p class="subentry"> + <span class="sc">VII.</span> Prince Zaleski, by M. P. Shiel. +</p> +<p class="subentry"> + <span class="sc">VIII.</span> The Woman who Did, by Grant Allen. +</p> +<p class="subentry"> + <span class="sc">IX.</span> Women's Tragedies, by H. D. Lowry, 1895. +</p> +<p class="subentry"> + <span class="sc">X.</span> Grey Roses, by Henry Harland. +</p> +<p class="subentry"> + <span class="sc">XI.</span> At the First Corner, and other Stories, by H. B. Marriott Watson. +</p> +<p class="subentry"> + <span class="sc">XII.</span> Monochromes, by Ella D'Arcy. +</p> +<p class="subentry"> + <span class="sc">XIII.</span> At the Relton Arms, by Evelyn Sharp. +</p> +<p class="subentry"> + <span class="sc">XIV.</span> The Girl from the Farm, by Gertrude Dix. +</p> +<p class="subentry"> + <span class="sc">XV.</span> The Mirror of Music, by Stanley V. Makower. +</p> +<p class="subentry"> + <span class="sc">XVI.</span> Yellow and White, by W. Carlton Dawe. +</p> +<p class="subentry"> + <span class="sc">XVII.</span> The Mountain Lovers, by Fiona Macleod. +</p> +<p class="subentry"> +<span class="sc">XVIII.</span> The Woman who Didn't, by Victoria Crosse. +</p> +<p class="subentry"> + <span class="sc">XIX.</span> Nobody's Fault, by Netta Syrett. +</p> + +<p><span class="pagenum"><a id="page84" name="page84"></a>[84]</span></p> + +<p class="subentry"> + <span class="sc">XX.</span> The Three Impostors, by Arthur Machen. +</p> +<p class="subentry"> + <span class="sc">XXI.</span> The British Barbarians, a hill-top novel, by Grant Allen. +</p> +<p class="subentry"> + <span class="sc">XXII.</span> Platonic Affections, by John Smith. +</p> +<p class="entry"> + Design for wrapper of "Keynotes" series, John Lane, 1896. +</p> +<p class="entry"> + (With the exception of No. 2 all the above Keynotes designs are + the property of John Lane, Esq.) +</p> +<p class="entry"> +70. <span class="sc">The Barbarous Britishers</span>, a tip-top novel, by H. D. Traill. Title-page + design (the same employed for the cloth cover), comprising a portrait + of Miss Ada Lundberg, the whole being a parody of the design for + "The British Barbarians," <i>vide supra</i>. John Lane, 1896. (Property + of John Lane, Esq.) Reproduced in "Early Work." +</p> +<p class="entry"> +71. <span class="sc">Three Headpieces</span>, two of which appeared in <i>St Paul's</i>, April 2nd, 1898, + the other in the same paper, April 9th, 1898. All three republished + in "Early Work." (Property of Henry Reichardt, Esq.) 1893-4. +</p> +<p class="entry"> +72. <span class="sc">Women regarding a Dead Mouse.</span> Three-quarter figure in leaden grey. + Unfinished painting in oils, the only experiment the artist ever made + in this medium; influenced by Walter Sickert. <i>c.</i> 1894. +</p> +<p class="entry"> +73. <span class="sc">Menu of the Tenth Annual Dinner of the Playgoers' Club in London.</span> Two + drawings, one of them only reproduced in "Early Work." January 28th, + 1894. +</p> +<p class="entry"> +74. <span class="sc">Lucian's True History.</span> Laurence & Sullen, privately printed, 1894. + Black and white illustrations to +</p> +<p class="subentry"> + <span class="sc">I.</span> A Snare of Vintage. Reproduced in "Later Work." +</p> + +<p><span class="pagenum"><a id="page85" name="page85"></a>[85]</span></p> + +<p class="entry"> + Another drawing of the same subject and title, but different + rendering, 6 × 4-1/2 inches, was inserted loose in large paper + copies only; not noted in "Contents" page of the book. +</p> +<p class="subentry"> + <span class="sc">II.</span> Dreams. Reproduced in "Later Work." This drawing was executed + obviously at the same period as "Siegfried" and "The Achieving + of the Sangreal." +</p> +<p class="subentry"> + <span class="sc">III., IV.</span> Two more drawings, intended for the same work, but not included + in it. Twenty copies of each were printed privately. One of them + is unpublished; of the other, the upper portion was published + in "Later Work." These illustrations were the earliest of the + Artist's designs not intended for public circulation. +</p> +<p class="subentry"> + <span class="sc">Lucian's True History</span>, translated by Francis Hickes, illustrated by + William Strang, J. B. Clark, and Aubrey Beardsley, with an + Introduction by Charles Whibley, was published by A. H. Bullen. + London, 1902. +</p> +<p class="entry"> +75. <span class="sc">Quilp's Baron Verdigris.</span> Black and white. Designed for Messrs Henry + & Co. First published in "Second Book" and again in "Later Work." + 1894. +</p> +<p class="entry"> +76. <span class="sc">Poster for "The Comedy of Sighs</span>," by Dr John Todhunter, at the Avenue + Theatre, March 29th, 1894. Three-quarter length figure of woman in + deep blue, standing behind a gauze curtain with light green round + spots powdered over it, 28-3/4 × 4-3/4 inches. The same has since + been printed, the original size, in black and white. The same reduced, + and printed in blue on light green paper for the programme sold in + the theatre: + +<span class="pagenum"><a id="page86" name="page86"></a>[86]</span> + + also printed in black on toned paper for the programme + of Mr G. Bernard Shaw's play, "Arms and the Man," April 21st, 1894. + Also still further reduced, in black on pale mauve-pink paper for + the wrapper of Mr W. B. Yeats's play, "The Land of Hearts' Desire." + Reproduced in <i>Idler</i> magazine, March 1897; again in "Fifty Drawings," + also in "Later Work." This was Aubrey Beardsley's first poster design. + 1894. +</p> +<p class="entry"> +77. <span class="sc">Poster for Mr Fisher Unwin's "Pseudonym Library."</span> Female figure in + salmon-pink dress standing on the opposite side of the road to a + second-hand book-store. The scheme of colouring—salmon-pink, orange, + green, and black—was suggested to Aubrey Beardsley by a French + poster. 29-1/2 × 13 inches. +</p> +<p class="entry"> + The same reduced, in colours, to form an advertisement slip for + insertion in books and magazines. +</p> +<p class="entry"> + The same reduced, printed in black, 6 copies only, on Japanese + vellum. Reproduced in "Fifty Drawings" and "Later Work." Also used + as cover-design for the "Dream and the Business," by John Oliver + Hobbes. +</p> +<p class="entry"> + Similar motif, black and white drawing; exhibited at the New English + Art Club Exhibition at the New Gallery. (Property of T. Fisher Unwin, + Esq.) +</p> +<p class="entry"> +78. <span class="sc">Poster for Mr Fisher Unwin's Children's Books.</span> Woman reading while + seated in a groaning-chair; black purple. Reproduced in black in + "Fifty Drawings" and "Later Work." +</p> +<p class="entry"> +79. Poster Design. A lady and large sunflower, scheme of colouring purple + and yellow. Unpublished. Purchased + +<span class="pagenum"><a id="page87" name="page87"></a>[87]</span> + + by Mr Fisher Unwin and destroyed + accidentally in New York. +</p> +<p class="entry"> +80. <span class="sc">Sketch Portrait of the Artist</span>, head and shoulders, three-quarter face + to left; in imaginary costume with V-shaped opening to his coat and + high-shouldered sleeves; in charcoal. First published in <i>The Sketch</i>, + April 14th, 1894, again in "Early Work." +</p> +<p class="entry"> +81. <span class="sc">Sketch Portrait of Henry Harland</span>, head and shoulders, three-quarter + face to right, in charcoal. First published in <i>The Sketch</i>, April + 11th, 1894, again in "Early Work." (Property of John Lane, Esq.) +</p> +<p class="entry"> +82. <span class="sc">Portrait of James M'neill Whistler.</span> (Property of Walter Sickert, Esq.) +</p> +<p class="entry"> +83. <span class="sc">The Fat Woman</span> (a caricature of Mrs Whistler). First published in + <i>To-Day</i>, May 12th, 1894, afterwards republished in "Fifty Drawings" + and "Later Work"; also in <i>Le Courrier Français</i>, November 11th, + 1894, with the title "<i>Une Femme bien Nourrie</i>." (Formerly the + property of the late Mrs Cyril Martineau (Miss K. Savile Clarke)). +</p> +<p class="entry"> +84. <span class="sc">Waiting</span>, a haggard, expectant woman, wearing V-necked bodice and large + black hat, seated in a restaurant, with a half-emptied wine-glass on + a small round table before her; black-ink drawing, 7-3/8 × 3-1/2 + inches, unpublished. (Property of Pickford Waller, Esq.) +</p> +<p class="entry"> +85. <span class="sc">Masked Pierrot and Female Figure</span>, water and gondolas in background, + small square in black and white, published in <i>To-Day</i>, May 12th, 1894. +</p> + +<p><span class="pagenum"><a id="page88" name="page88"></a>[88]</span></p> + +<p class="entry"> +86. <span class="sc">Salome</span>, A tragedy in one act. Translated by Lord Alfred Douglas from + the French of Oscar Wilde. Elkin Mathews and John Lane, 1894. + Pictured with the following designs by Aubrey Beardsley:—— +</p> +<p class="subentry"> + <span class="sc">I.</span> The woman (or man) in the moon (Frontispiece). +</p> +<p class="subentry2"> + Border Design for Title-page (two states, the first cancelled). + (Property of John Lane, Esq.) +</p> +<p class="subentry2"> + Border Design for List of Pictures. (Property of John Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">II.</span> The Peacock Skirt. (Property of John Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">III.</span> The Black Cape. A burlesque, substituted for a drawing of John + and Salome, which was printed but withheld, and subsequently + published in "Early Work." (Property of John Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">IV.</span> A Platonic Lament. (Property of John Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">V.</span> Enter Herodias (two states, the first cancelled). (The drawing + in its original state the property of Herbert J. Pollit Esq.) + A proof of this drawing in its first state, now the property of + Frank Harris, Esq., is inscribed by the artist on the left-hand + top corner: +</p> +<div class="subentry2"> +<div class="poem"> +<div class="stanza"> + <p class="i2"> "Because one figure was undressed</p> + <p class="i2"> This little drawing was suppressed.</p> + <p class="i2"> It was unkind, but never mind,</p> + <p class="i2"> Perhaps it all was for the best."</p> +</div> +</div> +</div> +<p class="subentry"> + <span class="sc">VI.</span> The Eyes of Herod. (Note one of Herod's white peacocks.) (Property + of John Lane, Esq.) +</p> + +<p><span class="pagenum"><a id="page89" name="page89"></a>[89]</span></p> + +<p class="subentry"> + <span class="sc">VII.</span> The Stomach Dance. (The author makes Salome dance, barefooted, the + Dance of the Seven Veils.) (Property of John Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">VIII.</span> The Toilette of Salome. Substituted for a former drawing of the + same subject, printed in two states but withheld, the second state + subsequently published in "Early Work" (Property of Robert Ross, + Esq.) +</p> +<p class="subentry"> + <span class="sc">IX.</span> The Dancer's Reward. (Property of John Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">X.</span> The Climax. This is a revised and simpler version of the design + which had appeared in the first number of <i>The Studio</i>. +</p> +<p class="subentry2"> + Tailpiece. The corpse of Salome being coffined in a puff-powder + box. (Property of John Lane, Esq.) +</p> +<p class="entry"> + Nos. <span class="sc">I.</span>, <span class="sc">IV.</span>, <span class="sc">V.</span>, and <span class="sc">VI.</span> of the above contain caricatures of Oscar Wilde. +</p> +<p class="subentry"> + <span class="sc">XI.</span> Small design, printed in gold on cloth, front cover of "Salome"; + another, consisting of an elaboration of the artist's device, + for the under side of cover. +</p> +<p class="subentry"> + <span class="sc">XII.</span> Study of a design of peacock feathers for cover of "Salome," not + used at the time, but subsequently reproduced for the first time + in facsimile in "Early Work," and again as an illustration + following the title-page in reissue of "Salome" (John Lane, 1907); + also in gold on light green cloth for ornament of the binding, + and in olive green on orange-red for the paper cap. Also in gold + on blue cloth for binding of "Under the Hill," 1904. (Property of + +<span class="pagenum"><a id="page90" name="page90"></a>[90]</span> + + John Lane, Esq.) This (1907) edition, moreover, contains the two + illustrations suppressed in the original edition, viz., "John and + Salome" (Property of John Lane, Esq.), now placed in order as + No. 8, and "The Toilet of Salome, II.," now placed as No. 13 + (Property of John Lane, Esq.) and an original title-page. +</p> +<p class="subentry"> + <span class="sc">XIII.</span> The Salome drawings were reproduced the actual size of the + originals, and published in a portfolio. In this was included a + design of Salome seated upon a settee. Described in "Early Work" + as "Maitresse d'Orchestre." (John Lane, 1907.) +</p> +<p class="entry"> +87. <span class="sc">Dancer, with Domino.</span> (The property of His Honour Judge Evans.) +</p> +<p class="entry"> +88. <span class="sc">Plays, by John Davidson.</span> Elkin Mathews and John Lane, 1894. Design on + frontispiece to, containing portrait caricatures of Sir Augustus + Harris, and Oscar Wilde and Henry Harland, black and white; the same + design in gold on the cloth cover. Reproduced in "Early Work," and + again, with Aubrey Beardsley's letter to the <i>Daily Chronicle</i> on + the subject, in "Under the Hill," 1904. (Property of John Lane, Esq.) +</p> +<p class="entry"> + Design for Title-Page of the above-named. Black and white; + reproduced in "Early Work." +</p> +<p class="entry"> +89. <span class="sc">The Yellow Book, 1894 and 1895.</span> +</p> +<p class="subentry"> + <span class="sc">I.</span> Design for prospectus of the "Yellow Book": a woman examining books + in a box at a bookstall: black on yellow paper. Elkin Mathews + and John Lane, 1894. (Property of John Lane, Esq.) +</p> + +<p><span class="pagenum"><a id="page91" name="page91"></a>[91]</span></p> + +<p class="entry"> + Vol. I., April 1894. Elkin Mathews and John Lane. +</p> +<p class="subentry"> + <span class="sc">II.</span> Design on front side of yellow cover. (Property of John Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">III.</span> Design on under side of cover; the same repeated in the later + volumes. (Property of John Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">IV.</span> Design on title-page: a woman playing a piano in a meadow. + Reproduced, with Aubrey Beardsley's letter on the subject, to the + <i>Pall Mall Budget</i>, in "Under the Hill" (1904). (Property of John + Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">V.</span> L'Education Sentimentale: in line and wash. +</p> +<p class="subentry"> + <span class="sc">VI.</span> Night Piece. +</p> +<p class="subentry"> + <span class="sc">VII.</span> Portrait of Mrs Patrick Campbell in profile, to left in outline. + Formerly in possession of Oscar Wilde, now in National Gallery + at Berlin. +</p> +<p class="subentry"> + <span class="sc">VIII.</span> Bookplate (designed in 1893) for John Lumsden Propert, Esq. +</p> +<p class="entry"> + Vol. II., July 1894. Elkin Mathews and John Lane. +</p> +<p class="subentry"> + <span class="sc">IX.</span> Design on front side of cover. (Property of John Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">X.</span> Design on title-page. +</p> +<p class="subentry"> + <span class="sc">XI.</span> The Comedy-Ballet of Marionettes. Three designs. +</p> +<p class="subentry"> + <span class="sc">XII.</span> Garçons de Café. (Property of A. W. King, Esq.) +</p> +<p class="subentry"> + <span class="sc">XIII.</span> The Slippers of Cinderella. The artist subsequently coloured the + original with scarlet and green, in which state it is unpublished. + (Property of Brandon Thomas, Esq.) +</p> + +<p><span class="pagenum"><a id="page92" name="page92"></a>[92]</span></p> + +<p class="subentry"> + <span class="sc">XIV.</span> Portrait of Madame Réjane, full-length profile to left, in outline. + (Property of Frederick H. Evans, Esq.) +</p> +<p class="entry"> + Volume III., October 1894. John Lane. +</p> +<p class="subentry"> + <span class="sc">XV.</span> Design on front side of cover. (Property of John Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">XVI.</span> Design on title-page. +</p> +<p class="subentry"> + <span class="sc">XVII.</span> Portrait of Mantegna. Published, for a practical joke, in the name + of Philip Broughton. (Property of G. Bernard Shaw, Esq.) +</p> +<p class="subentry"> +<span class="sc">XVIII.</span> Portrait of the artist; fancy portrait of himself in bed. (Property + of John Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">XIX.</span> Lady Gold's Escort. (Property of Brandon Thomas, Esq.) +</p> +<p class="subentry"> + <span class="sc">XX.</span> The Wagnerites at the performance of "Tristan und Isolde." + Reproduced, on large scale, in <i>Le Courrier Français</i>, December + 23rd, 1894, with the title "Wagnériens et Wagnériennes." +</p> +<p class="subentry"> + <span class="sc">XXI.</span> La Dame aux Camélias. Reprinted in <i>St Paul's</i>, April 2nd, 1894, + with the title "Girl at her Toilet." (Formerly the property of + the late Miss K. Savile Clarke [Mrs Cyril Martineau].) +</p> +<p class="subentry"> + <span class="sc">XXII.</span> From a pastel; half-length study of a woman in white cap, facing + to left. (Published, for a practical joke, in the name of Albert + Foschter.) +</p> +<p class="entry"> + Volume IV., January 1895. John Lane. +</p> +<p class="subentry"> +<span class="sc">XXIII.</span> Design, on front side of cover. +</p> +<p class="subentry"> + <span class="sc">XXIV.</span> Design on title-page. + </p> + +<p><span class="pagenum"><a id="page93" name="page93"></a>[93]</span></p> + +<p class="subentry"> + <span class="sc">XXV.</span> The Mysterious Rose Garden, burlesque Annunciation. (Property of + John Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">XXVI.</span> The Repentance of Mrs ——. (The kneeling figure is a reminiscence + of the principal one in "The Litany of Mary Magdalen.") +</p> +<p class="subentry"> +<span class="sc">XXVII.</span> Portrait of Miss Winifred Emery (outline). (Property of Mrs Cyril + Maude.) +</p> +<p class="subentry"> +<span class="sc">XXVIII.</span> Frontispiece for Juvenal. Double-page supplement. +</p> +<p class="subentry"> + <span class="sc">XXIX.</span> Design for "Yellow Book" Cover, not used. First published in "Early + Work." (Property of John Lane, Esq.) +</p> +<p class="subentry"> + <span class="sc">XXX.</span> Show-card to advertise "The Yellow Book"; female figure standing, + her hat hanging from her right hand, and daffodils growing + at her feet. Dark green on light yellow paper. Reproduced in + black-and-white in "Early Work." (The property of John Lane, Esq.) +</p> +<p class="entry"> +90. <span class="sc">Portrait of Réjane</span> wearing a broad-brimmed hat with dark bow in front, + head and shoulders, full face slightly to left, wash drawing. + Reproduced by Swan Electric Engraving Company for the "Yellow Book," + but not used. Unpublished. +</p> +<p class="entry"> +91. <span class="sc">Réjane</span>, black-and-white design of the actress standing, half length, + fan in hand, against a white curtain with conspicuous tassel. First + published in "Second Book," and again, in a reduced state, as + "Title-page ornament, hitherto unpublished" in "Early Work." 1893-4. +</p> + +<p><span class="pagenum"><a id="page94" name="page94"></a>[94]</span></p> + +<p class="entry"> +92. <span class="sc">Madame Réjane</span>, full-length portrait sketch, ink and wash. First + published in "Second Book," again in "Later Work." +</p> +<p class="entry"> +93. <span class="sc">Madame Réjane</span>, profile to left; sitting, legs extended, on a sofa, + ink and wash. First published in "Pen Drawing and Pen Draughtsmen," + by Joseph Pennell (Macmillan, 1894), again in "Fifty Drawings," and + in the <i>Idler</i> Magazine, March 1897. +</p> +<p class="entry"> +94. <span class="sc">Réjane</span>, portrait head in profile to left, in red crayon and black ink, + 7-1/2 × 6 inches. First published in facsimile in <i>The Studio</i>, May + 1898, again in "Later Work." (Property of Frederick H. Evans, Esq.) + 1894. +</p> +<p class="entry"> +95. <span class="sc">A Poster Design.</span> Back view of a woman, her face in profile to right, + holding a pigmy in her right hand. First published in "Early Work." + (Property of John Lane, Esq.) +</p> +<p class="entry"> +96. <span class="sc">A Poster Design</span> (Singer). Woman seated at a piano. First reproduced in + <i>The Poster</i>, October 1898, again in "Second Book" and in "Later Work." +</p> +<p class="entry"> +97. <span class="sc">Lady to right gazing at a Hat on a Milliner's Bonnet Stand</span>, headpiece + for the "Idlers' Club" section in the <i>Idler</i> Magazine, 1894. +</p> +<p class="entry"> +98. <span class="sc">Pierrot and Black Cat</span>, small square in black-and-white for a book + ornament. +</p> +<p class="entry"> +99. <span class="sc">Head and Shoulders of a Chinese Priest</span>, together with the Head of a + Satyr. 25 copies only printed on folio sheet, and 10 copies only in + red. It is not known + +<span class="pagenum"><a id="page95" name="page95"></a>[95]</span> + + for what they were intended. Published by James + Tregaskis, Caxton Head. +</p> + +<p class="entry"> +100. <span class="sc">Les Passades</span>, night scene, in pen-and-ink with ink wash, 10 × 5 inches. + First published in <i>To-Day</i>, November 17, 1894, again in the <i>Idler</i> + Magazine, March 1897. +</p> +<p class="entry"> +101. <span class="sc">Venus between Terminal Gods.</span> Frontispiece for a version of the + Tannhäuser legend, to be published by Messrs H. Henry & Co. Ltd., + a project never completed. Design in black-and-white, showing, + especially in the treatment of flying dove and of the background + of rose-trellis, the influence of Charles Ricketts or Laurence + Housman. Reproduced in "Second Book," and again in "Later Work." + <i>Circa</i> 1894-5. +</p> +<p class="entry"> +102. <span class="sc">Frontispiece and Title-page</span>, together forming one complete design, for + "The Story of Venus and Tannhäuser," to be published by John Lane, + but never completed. (<i>Cf.</i> "Under the Hill" in <i>The Savoy</i>, 1896.) + Reproduced in "Early Work." Dated 1895. (Property of John Lane, Esq.) +</p> +<p class="entry"> +103. <span class="sc">The Return of Tannhäuser to Venusberg.</span> A design originally intended + for the above-named book. Subsequently presented by the artist to + J. M. Dent, Esq. First published, in illustration of an article by + Max Beerbohm, in the <i>Idler</i> Magazine for May 1898, and again, in + larger format and, as the initials in left hand corner show, reversed, + in "Second Book" and again in "Later Work." The <i>Idler</i> version has + a slight effect of half-tone in the brambles in the foreground, but + the "Later Work" reproduction is pure black-and-white contrast. +</p> + +<p><span class="pagenum"><a id="page96" name="page96"></a>[96]</span></p> + +<p class="entry"> +104. <span class="sc">Venus.</span> Design for title-page, in black-and-white. First published in + <i>The Studio</i>, 1898, and afterwards in "Early Work," March 2, 1899, + where it is described as "hitherto unpublished." (The property of + John Lane, Esq.) +</p> +<p class="entry"> +105. <span class="sc">Design for Cover of "The Cambridge A, B, C."</span> Reproduced in "Early + Work." +</p> +<p class="entry"> +106. <span class="sc">Pierrot as Caddie</span>, Golf Club Card, designed for the opening of The + Prince's Ladies' Golf Club, Mitcham, pen-and-ink. Published in "Early + Work." (Formerly the property of Mrs Falconer-Stuart, now of R. + Hippesley Cox, Esq.) Dated 1894. +</p> +<p class="entry"> +107. <span class="sc">A Poster Design</span>; two female figures drawn in black-and-white for Mr + William Heinemann. Reproduced in "Early Work." +</p> +<p class="entry"> +108. <span class="sc">The London Garland</span>, published by the Society of Illustrators, 1895. + A pen-and-ink drawing of a female in very elaborated dress reaching + from her neck to the ground, intended to represent a ballet-dancer + with a costume as prescribed by Mrs Grundy. The original drawing, + unfinished, contains another figure, not reproduced, on the left. + The original title for this drawing was "At a Distance." Reproduced + in "Second Book." (Property of Joseph Pennell, Esq.) +</p> +<p class="entry"> +109. <span class="sc">Autumn.</span> Design in black-and-white for a calendar to be published by + William Heinemann. Reproduced in "Early Work." +</p> +<p class="entry"> +110. <span class="sc">Tales of Mystery and Wonder</span>, by Edgar Allen Poe + +<span class="pagenum"><a id="page97" name="page97"></a>[97]</span> + + (Stone & Kimball, + Chicago, U.S.A., 1895); four designs in pen-and-ink for large paper + edition of—— +</p> +<p class="subentry"> + <span class="sc">I.</span> The Murders in the Rue Morgue. +</p> +<p class="subentry"> + <span class="sc">II.</span> The Black Cat. +</p> +<p class="subentry"> + <span class="sc">III.</span> The Masque of the Red Death. First published in the "Chap Book" + (Chicago), Aug. 15, 1894, again in same, April 1, 1898. +</p> +<p class="subentry"> + <span class="sc">IV.</span> The Fall of the House of Usher. +</p> +<p class="entry"> +111. <span class="sc">Outline Portrait of the Artist</span> in profile to left; in imaginary + costume, with a lace ruff to the neck, and earrings in the ears. + Published in "Posters in Miniature," and again in "Early Work." + A half-tone block from variant of the same, the earring as well as + the button on lappel and waist of coat more pronounced, was published + in <i>The Hour</i>, March 27, 1895, and reproduced in <i>Magazine of Art</i>, + November 1896. +</p> +<p class="entry"> +112. <span class="sc">A Child Standing by its Mother's Bed</span>, black-and-white, chiefly + outline. First published in <i>The Sketch</i>, April 10, 1895. Reproduced + in "Early Work." Formerly in the possession of Max Beerbohm, Esq., + but since lost. +</p> +<p class="entry"> +113. <span class="sc">The Scarlet Pastorale</span>, pen-and-ink. First published in <i>The Sketch</i>, + April 10, 1895. Also printed in scarlet on white. Reproduced in + "Fifty Drawings." +</p> +<p class="entry"> +114. <span class="sc">Portrait of Miss Ethel Devereux</span>, pencil drawing. (Property of Mrs + Roy Devereux.) <i>Circa</i> 1895. +</p> +<p class="entry"> +115. <span class="sc">Design for an Invitation Card</span>, ink outline; seated Pierrot smoking, + a copy of the "Yellow Book," Vol. IV., on the couch at his side. + Drawn for Mr John Lane's Sette of Odd Volumes Smoke. Reproduced + in <i>The Studio</i>, September 1895. (Property of John Lane, Esq.) +</p> + +<p><span class="pagenum"><a id="page98" name="page98"></a>[98]</span></p> + +<p class="entry"> +116. <span class="sc">Three Decorative Designs</span> from the brown paper cover of Aubrey + Beardsley's own copy of "Tristan und Isolde." Two reproduced in + "Later Work." (Property of Frederick H. Evans, Esq.) +</p> +<p class="entry"> +117. <span class="sc">Max Alvary as "Tristan"</span> in Wagner's opera "Tristan und Isolde," + half-length profile to left, pen-and-ink and wash with unusual + monogram signature. 10 × 5-1/2 inches. First published in "Aubrey + Beardsley's Drawings, a catalogue and a list of criticisms," by + A. E. Gallatin (New York, 1903). (Formerly the property of Rev. + G. H. Palmer, now of A. E. Gallatin, Esq.) +</p> +<p class="entry"> +118. <span class="sc">Frau Klafsky as "Isolde"</span> in above-named opera, pen-and-ink and pale + green water-colour, 13 × 4-3/4 inches. First published in the <i>Critic</i> + (New York), December, 1902. (Formerly the property of Rev. G. H. + Palmer, now of A. E. Gallatin, Esq.) +</p> +<p class="entry"> +119. <span class="sc">Isolde</span>; autolithograph in scarlet, grey, green, and black on white; + supplement to <i>The Studio</i>, October 1895. +</p> +<p class="entry"> +120. <span class="sc">Woman reclining in a Meadow by the Border of a Lake, listening to a Faun + reading out of a Book to Her.</span> Oblong design in ink on white; a variant + of the design for wrapper of Leonard Smithers' Catalogue, No. 3. + First published in <i>The Studio</i>, May 1898, again in "Early Work," + where it is described as "hitherto unpublished." (Property of John + Lane, Esq.) 1895. +</p> +<p class="entry"> +121. <span class="sc">Design for Wrapper of "Catalogue of Rare Books," No. 3.</span> (Leonard + Smithers, September 1895.) The same figures as in the last-named, + but the landscape + +<span class="pagenum"><a id="page99" name="page99"></a>[99]</span> + + has an urn and additional trees to adapt the + design to upright shape. Black on pale blue-green paper. +</p> +<p class="entry"> +122. <span class="sc">Chopin Ballade III.</span>, illustration for. Woman rider, mounted on a + prancing white horse to left. Wash drawing. First published in <i>The + Studio</i>, May 1898, in half tones of grey, with deep purplish black; + again in "Second Book." (Property of Charles Holme, Esq.) 1895. +</p> +<p class="entry"> +123. <span class="sc">Chopin's Nocturnes</span>, frontispiece to. Pen-and-ink and wash. First + published in "Early Work." (Property of John Lane, Esq.) +</p> +<p class="entry"> +124. <span class="sc">Earl Lavender</span>, by John Davidson (Ward & Downey, 1895), design for + frontispiece to. Woman scourging a kneeling, barebacked figure. + Pen-and-ink outline. Reproduced in "Early Work." (Property of John + Lane, Esq.) +</p> +<p class="entry"> +125. <span class="sc">Young Ofeg's Ditties</span>, by George Egerton (John Lane, 1895), title-page + and cover design for. +</p> +<p class="entry"> +126. <span class="sc">Messalina</span>, with another woman on her left, black-and-white, with black + background. First published in "Second Book," again in "Early Work," + where it is described as "hitherto unpublished." 1895. +</p> +<p class="entry"> +127. <span class="sc">Title-page Ornament</span>, standing nude figure playing double-bass, black + background. First published in "Early Work." +</p> +<p class="entry"> +128. <span class="sc">Portrait of Miss Letty Lind</span> in "The Artist's Model." Pen-and-ink + outline. Published in "Early Work." (Property of Miss Letty Lind.) +</p> + +<p><span class="pagenum"><a id="page100" name="page100"></a>[100]</span></p> + +<p class="entry"> +129. <span class="sc">Atalanta in Calydon</span>, full-length figure to right; pen-and-ink and + wash. First published in "Early Work." (Property of John Lane, Esq.) +</p> +<p class="entry"> +130. <span class="sc">Cover Design for Fairy Tales</span> by Count Hamilton, to be published + by Messrs H. Henry & Co., Ltd. +</p> +<p class="entry"> +131. <span class="sc">Balzac's "La Comédie Humaine,"</span> design (head, full face) for front side + and another for the reverse of cover. Reproduced in "Later Work." +</p> +<p class="entry"> +132. <span class="sc">The Brook Trills of Pernicious by Richard le Philistienne</span>, title-page + to burlesque, that of "The Book Bills of Narcissus," by Richard le + Gallienne. Unpublished. (Property of J. M. Dent, Esq.) +</p> +<p class="entry"> +133. <span class="sc">A Self-Portrait</span>, grotesque outline profile to left, with diminutive + silk hat, from the fly-leaf of an envelope in the possession of + J. M. Dent, Esq. Unpublished. +</p> +<p class="entry"> +134. <span class="sc">The Shaving of Shagpat</span>, by George Meredith, small sketch to + illustrate, in pen-and-ink, contained in a letter to Frederick + H. Evans, Esq. Unpublished. +</p> +<p class="entry"> +135. <span class="sc">An Evil Motherhood</span>, by Walt Ruding (Elkin Mathews, 1896), frontispiece + to. Pen-and-ink. Reproduced in "Early Work." +</p> +<p class="entry"> +136. <span class="sc">Cafe Noir</span>. Another design for the frontispiece of the last-named book, + pen-and-ink and wash; bound up in six review copies only, and then + recalled. Reproduced in "Early Work." (Property of M. Jean Ruelle.) +</p> +<p class="entry"> +137. <span class="sc">Title-page</span>, an architectonic design. First published as the title of + "Early Work" (John Lane, 1899). (Property of John Lane, Esq.) +</p> + +<p><span class="pagenum"><a id="page101" name="page101"></a>[101]</span></p> + +<p class="entry"> +138. <span class="sc">Ornamental Title-page for "The Parade."</span> Messrs H. Henry & Co., Ltd., + 1896. Reproduced in "Later Work." +</p> +<p class="entry"> +139. <span class="sc">Tail-piece</span> to Catalogue of Lord Carnarvon's Library, 1896. +</p> +<p class="entry"> +140. <span class="sc">Sappho</span>, by H. T. Wharton. (John Lane, 1896.) Design for cover in gold + on blue. Reproduced in "Early Work." (Property of John Lane, Esq.) +</p> +<p class="entry"> +141. <span class="sc">Pierrot's Library.</span> (John Lane, 1896.) Design for title-page of, two + designs for end papers, printed in olive green; design for front + cover and vignette for reserve cover, printed in gold on red cloth. + Reproduced in "Early Work." (Property of John Lane, Esq.) +</p> +<p class="entry"> +142. <span class="sc">Love Enshrined in a Heart in the Shape of a Mirror</span>, pen-and-ink. + First published in "Aubrey Beardsley" by Arthur Symons. (Sign of the + Unicorn, 1898.) (Property of André Raffalovich, Esq.) +</p> +<p class="entry"> +143. <span class="sc">The Lysistrata of Aristophanes.</span> (Leonard Smithers, privately + printed, 1896.) Eight pen-and-ink designs to illustrate—— +</p> +<p class="subentry"> + <span class="sc">I.</span> Lysistrata. +</p> +<p class="subentry"> + <span class="sc">II.</span> The Toilet of Lampito. +</p> +<p class="subentry"> + <span class="sc">III.</span> Lysistrata haranguing the Athenian Women. +</p> +<p class="subentry"> + <span class="sc">IV.</span> Lysistrata defending the Acropolis. +</p> +<p class="subentry"> + <span class="sc">V.</span> Two Athenian Women in Distress. +</p> +<p class="subentry"> + <span class="sc">VI.</span> Cinesias soliciting Myrrhina. +</p> +<p class="subentry"> + <span class="sc">VII.</span> The Examination of the Herald. +</p> +<p class="subentry"> + <span class="sc">VIII.</span> The Lacedemonian Ambassadors. +</p> +<p class="entry"> + An expurgated version of No. 3 was published in "Second Book," + and was repeated together with + +<span class="pagenum"><a id="page102" name="page102"></a>[102]</span> + + expurgated versions or fragments + from the remainder of the set in "Later Work." +</p> +<p class="entry"> +144. <span class="sc">The Rape of the Lock</span>, by Alexander Pope. An heroi-comical poem in five + cantos, "embroidered with nine drawings by Aubrey Beardsley," 4to. + Leonard Smithers, 1896. Now published by John Lane. (Property of + Messrs Keppel, New York.) +</p> +<p class="subentry"> + <span class="sc">I.</span> The Dream. +</p> +<p class="subentry"> + <span class="sc">II.</span> The Billet-Doux (vignette). Reproduced in <i>St Paul's</i>, April 2, + 1898. (Property of Mrs Edmund Davis.) +</p> +<p class="subentry"> + <span class="sc">III.</span> The Toilet. +</p> +<p class="subentry"> + <span class="sc">IV.</span> The Baron's Prayer. +</p> +<p class="subentry"> + <span class="sc">V.</span> The Barge. +</p> +<p class="subentry"> + <span class="sc">VI.</span> The Rape of the Lock. (The property of Messrs Keppel, New York.) +</p> +<p class="subentry"> + <span class="sc">VII.</span> The Cave of Spleen. +</p> +<p class="subentry"> + <span class="sc">VIII.</span> The Battle of the Beaux and the Belles. Reproduced in the <i>Idler</i>, + March 1897. +</p> +<p class="subentry"> + <span class="sc">IX.</span> The New Star (cul-de-lampe). +</p> +<p class="entry"> + Cover design for the original edition. +</p> +<p class="entry"> + Cover design for the Bijou edition. (John Lane.) Reproduced in + "Later Work." +</p> +<p class="entry"> +145. <span class="sc">Design for Wrapper of Catalogue of Rare Books</span>, No. 7. (Leonard + Smithers, 1896.) A lady seated on a striped settee reading; a parrot + on stand on the right. Black on leaden-grey paper. Reproduced in + "Second Book," 1896, and "Later Work." +</p> +<p class="entry"> +146. <span class="sc">The Prospectus of The Savoy. Design for.</span> +</p> +<p class="subentry"> + <span class="sc">I.</span> A burlesque Cupid on a stage with footlights, one hand holding a + copy of the book, whence it + +<span class="pagenum"><a id="page103" name="page103"></a>[103]</span> + + appears that the original intention + was to produce the first number in December 1895. Reproduced + in "Later Work." Latter part of 1895. (Property of John Lane, + Esq.) +</p> +<p class="subentry"> + <span class="sc">II.</span> A suppressed variant of the above, same motif reversed, only with + John Bull substituted for the Cupid. Reproduced in "Later Work." +</p> +<p class="subentry"> + <span class="sc">III.</span> Initial letter A in the above Prospectus. Reproduced in "Later Work." +</p> +<p class="subentry"> + <span class="sc">IV.</span> Publisher's Trade-mark for Leonard Smithers. First published in + "Savoy" Prospectus. The same, name omitted, appears in "Later + Work" with the title of "Siegfried," 1895. +</p> +<p class="entry"> + <span class="sc">The Savoy</span>, No. 1, January 1896. (Leonard Smithers.) +</p> +<p class="subentry"> + <span class="sc">V.</span> Cover design, in two states. The original was suppressed because it + depicted too realistically the contempt of the child in the + foreground for the "Yellow Book," with which the artist had + recently ceased to be connected. The revised version was + republished in "Fifty Drawings," and again in "Later Work." + (Property of Mrs George Bealby Wright.) +</p> +<p class="subentry"> + <span class="sc">VI.</span> Title-page. Repeated as title-page in No. 2, and republished in + "Later Work." +</p> +<p class="subentry"> + <span class="sc">VII.</span> Drawing to face Contents. Caricature of John Bull. Republished + in "Later Work." +</p> +<p class="subentry"> + <span class="sc">VIII.</span> The Three Musicians. Illustration of the artist's poem, same title. + Republished in "Fifty Drawings" and "Later Work." +</p> +<p class="subentry"> + <span class="sc">IX.</span> Another drawing to illustrate the above, but withheld. + +<span class="pagenum"><a id="page104" name="page104"></a>[104]</span> + + It appeared for the first time in "A Book of Fifty Drawings," + 1897. Republished in "Later Work" and "Under the Hill." +</p> +<p class="subentry"> + <span class="sc">X.</span> Tailpiece to the above. Republished in "Later Work" and "Under + the Hill." +</p> +<p class="subentry"> + <span class="sc">XI.</span> The Bathers (on Dieppe Beach). Republished in "Fifty Drawings" + and "Later Work." +</p> +<p class="subentry"> + <span class="sc">XII.</span> The Moska. This subject was inspired by the children's dance at + the Casino, Dieppe. Republished in the <i>Idler</i> Magazine, March + 1897, and again in "Later Work." (Property of Mrs Edmund Davis.) +</p> +<p class="subentry"> + <span class="sc">XIII.</span> The Abbé. This and the two designs which follow appeared as + illustrations to "Under the Hill," a romantic novel, by Aubrey + Beardsley. Republished in "Later Work." All the illustrations + of "Under the Hill" reissued with text in a volume bearing same + title. John Lane, 1904. +</p> +<p class="subentry"> + <span class="sc">XIV.</span> The Toilet of Helen. Republished in "Fifty Drawings" and "Later Work." +</p> +<p class="subentry"> + <span class="sc">XV.</span> The Fruit Bearers. Republished in "Later Work." +</p> +<p class="subentry"> + <span class="sc">XVI.</span> A large Christmas Card, in black-and-white. Madonna, with fur-edged, + richly-flowered mantle. Issued together with, but not bound in, + the book. Republished in "Fifty Drawings" and "Later Work." +</p> +<p class="entry"> + <span class="sc">The Savoy.</span> No. 2. April 1896. +</p> +<p class="subentry"> + <span class="sc">XVII.</span> Cover Design. Republished in "Later Work." +</p> + +<p><span class="pagenum"><a id="page105" name="page105"></a>[105]</span></p> + +<p class="subentry"> +<span class="sc">XVIII.</span> A Foot-note. (Fancy portrait of the artist.) Republished, with + omissions, in "Later Work." Also adapted in gold on scarlet for + cloth cover of "Second Book." +</p> +<p class="subentry"> + <span class="sc">XIX.</span> The Ecstasy of Saint Rose of Lima. Illustration of "Under the + Hill." Republished in "Fifty Drawings" and "Later Work." +</p> +<p class="subentry"> + <span class="sc">XX.</span> The Third Tableau of "Das Rheingold." Republished in "Fifty + Drawings" and "Later Work." +</p> +<p class="subentry"> + Scene reproduced from "The Rape of the Lock." +</p> +<p class="entry"> + <span class="sc">The Savoy.</span> No. 3. July 1896. +</p> +<p class="subentry"> + <span class="sc">XXI.</span> Cover Design. Republished in "Later Work." +</p> +<p class="subentry"> + <span class="sc">XXII.</span> Title-page. Puck on Pegasus. Repeated for the title of all the + succeeding numbers. Republished in "Later Work." Also, reduced, + as design for title-page of "Fifty Drawings," and in gold on + scarlet for the under side of cloth cover of same. +</p> +<p class="subentry"> +<span class="sc">XXIII.</span> The Coiffing. This and the following design accompanied Aubrey + Beardsley's "Ballad of a Barber." The Coiffing was republished + in the <i>Idler</i> Magazine, March 1897, and in "Fifty Drawings" + and "Later Work." (Property of Messrs Obach & Co.) +</p> +<p class="subentry"> + <span class="sc">XXIV.</span> A Cul-de-Lampe. Cupid carrying a gibbet. Republished in "Later Work." +</p> +<p class="entry"> + <span class="sc">The Savoy.</span> No. 4. August 1896. +</p> +<p class="subentry"> + <span class="sc">XXV.</span> Cover Design. Republished in "Later Work." +</p> + +<p><span class="pagenum"><a id="page106" name="page106"></a>[106]</span></p> + +<p class="entry"> + <span class="sc">The Savoy.</span> No. 5. September 1896. +</p> +<p class="subentry"> + <span class="sc">XXVI.</span> Cover Design. (Signed, for a practical joke, Giulio Floriani.) + Republished in "Fifty Drawings" and "Later Work." +</p> +<p class="subentry"> +<span class="sc">XXVII.</span> The Woman in White. A sketch in white on brown paper. Republished + in "Fifty Drawings" and "Later Work." +</p> +<p class="entry"> + <span class="sc">The Savoy.</span> No. 6. October 1896. +</p> +<p class="subentry"> +<span class="sc">XXVIII.</span> Cover Design; the Fourth Tableau of "Das Rheingold." Republished + in "Fifty Drawings" and "Later Work." +</p> +<p class="subentry"> + <span class="sc">XXIX.</span> The Death of Pierrot. A pen-and-ink sketch. Reproduced in "Later + Work." (Property of Messrs Obach & Co.) +</p> +<p class="entry"> + <span class="sc">The Savoy.</span> No. 7. November 1896. +</p> +<p class="subentry"> + <span class="sc">XXX.</span> Cover Design. Republished in "Later Work." +</p> +<p class="subentry"> + <span class="sc">XXXI.</span> Ave atque Vale; Catullus, Carmen C.I. Republished in "Fifty + Drawings" and "Later Work." +</p> +<p class="subentry"> +<span class="sc">XXXII.</span> Tristan und Isolde. Republished in "Later Work." +</p> +<p class="entry"> + <span class="sc">The Savoy.</span> No. 8 (the last issued). December 1896. +</p> +<p class="subentry"> +<span class="sc">XXXIII.</span> Cover Design. Republished in "Later Work." The same adapted, with + the addition of heavy black bands, and is printed in green and + scarlet, for small poster to advertise the completed work. +</p> +<p class="subentry"> +<span class="sc">XXXIV.</span> A Répétition of "Tristan und Isolde." Republished in "Later Work." +</p> + +<p><span class="pagenum"><a id="page107" name="page107"></a>[107]</span></p> + +<p class="subentry"> + <span class="sc">XXXV.</span> Don Juan, Sganarelle and the Beggar; from Molière's "Don Juan." + Republished in "Later Work." +</p> +<p class="subentry"> +<span class="sc">XXXVI.</span> Mrs Margery Pinchwife, from William Wycherley's "Country Wife." + Republished in "Later Work." +</p> +<p class="subentry"> +<span class="sc">XXXVII.</span> Frontispiece to "The Comedy of the Rheingold." Republished in + "Later Work." +</p> +<p class="subentry"> +<span class="sc">XXXVIII.</span> Flosshilde, a Rhine Maiden; to illustrate "Das Rheingold." + Republished in "Later Work." (Property of Herbert J. Pollit, Esq.) +</p> +<p class="subentry"> +<span class="sc">XXXIX.</span> Erda; to illustrate "Das Rheingold." Republished in "Later Work." +</p> +<p class="subentry"> + <span class="sc">XL.</span> Alberich; to illustrate "Das Rheingold." Republished in "Later + Work." (Property of Herbert J. Pollit, Esq.) +</p> +<p class="subentry"> + <span class="sc">XLI.</span> Felix Mendelssohn Bartholdy. Republished in "Later Work." (Property + of Herbert J. Pollit, Esq.) +</p> +<p class="subentry"> + <span class="sc">XLII.</span> Carl Maria von Weber. Republished in "Later Work." +</p> +<p class="subentry"> +<span class="sc">XLIII.</span> Count Valmont, from "Les Liaisons Dangereuses," by Choderlos de + Laclos. Republished in "Later Work." +</p> +<p class="subentry"> + <span class="sc">XLIV.</span> Et in Arcadia Ego. Republished in "Later Work." +</p> +<p class="subentry"> + <span class="sc">XLV.</span> Small ornament for the cover of bound volumes of "The Savoy." +</p> +<p class="subentry"> + <span class="sc">XLVI.</span> <span class="sc">Sketch of a Child</span> (young girl), unfinished, in pencil, on + the reverse of "A Foot-note." First + +<span class="pagenum"><a id="page108" name="page108"></a>[108]</span> + + published in "Early Work." + (Property of Frederick H. Evans, Esq.) +</p> +<p class="entry"> +147. <span class="sc">A Seated Figure.</span> Unpublished design for the Savoy, occurring as a + grotesque in "Bon Mots." (Property of G. D. Hobson, Esq.) +</p> +<p class="entry"> +148. <span class="sc">Verses, by Ernest Dowson</span> (Leonard Smithers, 1896), cover design for. + Reproduced in "Later Work." (Property of John Lane, Esq.) +</p> +<p class="entry"> +149. <span class="sc">The Pierrot of the Minute.</span> A Dramatic Phantasy in one act. By Ernest + Dowson. Leonard Smithers, 1897. (Property of John Lane, Esq.) Four + designs to illustrate:—— +</p> +<p class="subentry"> + <span class="sc">I.</span> Frontispiece. +</p> +<p class="subentry"> + <span class="sc">II.</span> Headpiece. +</p> +<p class="subentry"> + <span class="sc">III.</span> Initial letter P. +</p> +<p class="subentry"> + <span class="sc">IV.</span> Cul-de-Lampe. +</p> +<p class="entry"> + Reproduced in "Second Book" and "Later Work." Cover design for the + same. +</p> +<p class="entry"> +150. <span class="sc">Apollo pursues Daphne.</span> (Property of Herbert J. Pollit, Esq.) +</p> +<p class="entry"> +151. <span class="sc">The Souvenirs of Leonard</span>, Cover design for. Printed in gold on + purple. Reproduced in "Later Work." 1897. +</p> +<p class="entry"> +152. <span class="sc">The Life and Times of Madame du Barry</span>, by Douglas. Leonard Smithers, + 1897. Cover design for. Reproduced in "Later Work." 1897. +</p> +<p class="entry"> +153. <span class="sc">Frontispiece to A Book of Bargains</span>, by Vincent O'Sullivan. Leonard + Smithers, 1897. Reproduced in the <i>Idler</i>, March 1897. +</p> + +<p><span class="pagenum"><a id="page109" name="page109"></a>[109]</span></p> + +<p class="entry"> +154. <span class="sc">Cover Design for A Book of Fifty Drawings, by Aubrey Beardsley.</span> + Leonard Smithers, 1897. Reproduced in gold on scarlet cloth. + Republished on a reduced scale, in black-and-white, in "Later Work." +</p> +<p class="entry"> +155. <span class="sc">Silhouette of the Artist.</span> First published as a tailpiece at the end + of "Fifty Drawings." Also in <i>Idler</i> Magazine, March 1897, and in + "Later Work." +</p> +<p class="entry"> +156. <span class="sc">Book-Plate of the Artist.</span> First published in "Fifty Drawings," 1897, + also in "Later Work." +</p> +<p class="entry"> +157. <span class="sc">Ali Baba. Cover Design for The Forty Thieves.</span> +</p> +<p class="subentry"> + <span class="sc">I.</span> First published in "Second Book," again in "Later Work," 1901. + (Property of Messrs Robson & Co.) +</p> +<p class="subentry"> + <span class="sc">II.</span> <span class="sc">Ali Baba in the Wood.</span> First published in "Fifty Drawings," 1897. + Also in <i>Idler</i>, May 1898, and again in "Later Work." +</p> +<p class="entry"> +158. <span class="sc">Atalanta in Calydon.</span> First published in "Fifty Drawings," 1897; also + in the <i>Idler</i> Magazine, March 1897, and again in "Later Work." + (This drawing was exhibited at the Carfax Exhibition, October 1904, + under the title of "Diana," 77.) +</p> +<p class="entry"> +159. <span class="sc">Messalina returning from the Bath.</span> Pen-and-ink and water colours. + First published in "Second Book," again in "Later Work." This drawing, + together with the other one of Messalina, drawn in 1895 (see <i>supra</i>), + two of Bathyllus, and one representing Juvenal scourging a woman + (this last, slightly altered, reproduced in "Later Work"), belongs + to a series of illustrations to the <i>Sixth Satire</i> of Juvenal. + Leonard Smithers, privately printed, 1897. +</p> + +<p><span class="pagenum"><a id="page110" name="page110"></a>[110]</span></p> + +<p class="entry"> +160. <span class="sc">The Houses of Sin</span>, by Vincent O'Sullivan. Leonard Smithers, 1897. + Cover design for. Reproduced in "Second Book," again in "Later Work." +</p> +<p class="entry"> +161. <span class="sc">La Dame aux Camélias.</span> Sketch in water colour to right. On the fly-leaf + of a copy of the book given to the artist by M. Alexandre Dumas, fils. + First published in "Second Book," again in "Later Work." 1897. +</p> +<p class="entry"> +162. <span class="sc">Book-Plate for Miss Olive Custance</span> (Lady Alfred Douglas). Reproduced + in photogravure in "Early Work." +</p> +<p class="entry"> +163. <span class="sc">Arbuscula.</span> Drawing in line and wash, for the <i>édition de luxe</i> of + Vuillier's "History of Dancing." William Heinemann, 1897. Reproduced + in photogravure; also an early impression of the same printed in a + green tint. (Property of John Lane, Esq.) +</p> +<p class="entry"> +164. <span class="sc">Mademoiselle de Maupin</span>, by Théophile Gautier. Leonard Smithers, 1898. + Designs to illustrate:—— +</p> +<p class="subentry"> + <span class="sc">I.</span> Mademoiselle de Maupin, frontispiece, water colour. Reproduced in + facsimile by Messrs Boussod, Valadon & Co., for limited edition, + and, like the rest, in photogravure for ordinary edition. + Reproduced as frontispiece to "Later Work." +</p> +<p class="subentry"> + <span class="sc">II.</span> D'Albert (small design). +</p> +<p class="subentry"> + <span class="sc">III.</span> D'Albert in search of Ideals. (Property of Mrs George Bealby Wright.) +</p> +<p class="subentry"> + <span class="sc">IV.</span> The Lady at the Dressing Table. (Property of Walter Pollett, Esq.) +</p> +<p class="subentry"> + <span class="sc">V.</span> The Lady with the Rose. +</p> +<p class="subentry"> + <span class="sc">VI.</span> The Lady with the Monkey. All the above reproduced in photogravure + in "Later Work." +</p> + +<p><span class="pagenum"><a id="page111" name="page111"></a>[111]</span></p> + +<p class="entry"> +165. <span class="sc">Ben Jonson his Volpone: or the Foxe.</span> 4to. Leonard Smithers, 1898. +</p> +<p class="subentry"> + <span class="sc">I.</span> Design in gold on blue for the cloth cover. Same in black-and-white + for opening page. Frontispiece, design in pen-and-ink. +</p> +<p class="subentry"> + <span class="sc">II.</span> Vignette to the Argument. Initial letter V, with column and tasselled + attachments to the capital. This and the remaining designs were + executed in pen and crayon. +</p> +<p class="subentry"> + <span class="sc">III.</span> Vignette to Act I. Initial letter V, with an elephant, having a basket + of fruits on his back. (Property of Herbert J. Pollit, Esq.) +</p> +<p class="subentry"> + <span class="sc">IV.</span> Vignette to Act II. Initial letter S, with a monster bird, having + a pearl chain attached to its head. (Property of Herbert J. + Pollit, Esq.) +</p> +<p class="subentry"> + <span class="sc">V.</span> Vignette to Act III. Initial letter M, with seated Venus and Cupid + under a canopy, between two fantastic gynæcomorphic columns. + (Property of Herbert J. Pollit, Esq.) +</p> +<p class="subentry2"> + Vignette to Act IV. (The same as the design for Act II. repeated.) +</p> +<p class="subentry"> + <span class="sc">VI.</span> Vignette to Act V. Initial letter V, with a horned terminal figure + of a man or satyr. (Property of Herbert J. Pollit, Esq.) +</p> +<p class="entry"> + All these Volpone designs were reproduced in "Later Work." Drawn at + the close of 1897 and early part of 1898, they constitute the latest + designs produced by Aubrey Beardsley before his death. +</p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<p> + In his published List, Mr A. E. Gallatin mentions several sketches + and other drawings in private letters which, for lack of detailed + information, I have not included + +<span class="pagenum"><a id="page112" name="page112"></a>[112]</span> + + in my List. Many of Aubrey + Beardsley's drawings are constantly changing hands. In each case + the name of the last known owner is given. Where no owner's name + appears, no information has been obtainable. Some of the finest + drawings, I am informed upon good authority, have now passed into + the collection of Herr Wärdofer of Vienna. +</p> +<p> + I desire to acknowledge my indebtedness to the artist's mother and + sister, to Mr G. R. Halkett, Mr H. C. Marillier, Mr H. A. Payne, + and Mr Pickford Waller. To Mr Frederick H. Evans, who kindly placed + his collection at my disposal, I am under special obligations. +</p> +<p> +<span class="sc">Aymer Vallance</span> +</p> + +<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Aubrey Beardsley, by Robert Ross + +*** END OF THIS PROJECT GUTENBERG EBOOK AUBREY BEARDSLEY *** + +***** This file should be named 33347-h.htm or 33347-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/3/3/4/33347/ + +Produced by Lee Dawei, Bruce Albrecht, David Garcia and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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