,,aubrey ,,beardsley ,illustration3 ,,mrs4 ,,patrick ,,campbell ,now in the ,berlin ,national ,gallery ,illustration ,,aubrey ,,beardsley ,,by ,,robert ,,ross ,,with ,,sixteen ,,full-,,page ,,illustrations ,,and ,a ,,revised ,,iconography ,,by ,,aymer ,,vallance ,,london3 ,,john ,,lane1 ,,the ,,bodley ,,head ,,new ,,york3 ,,john ,,lane ,,company ,,mcmix ,,turnbull ,,and ,,spears1 ,,printers1 ,,edinburgh4 ,,to ,sir ,,coleridge ,,arthur ,,fitzroy ,,kennard1 ,bart4 ,illustrations ,,mrs ,,patrick ,,campbell ,frontispiece ,now in the ,berlin ,national ,gallery facing page ,,siegfried #ab ,reproduced from the original in the possession of ,mrs ,bealby ,wright ,,the ,,woman ,,in ,,the ,,moon #ad ,from ,salome ,,the ,,toilette ,,of ,,salome #ah ,from ,salome ,,the ,,dancer',s ,,reward #bj ,from ,salome ,,tailpiece #bb ,from ,salome ,,design ,,for ,a ,,frontispiece #bf ,from ,plays by ,john ,davidson ,,the ,,wagnerites #bh ,,atalanta #cb ,,the ,,mysterious ,,rose ,,garden #cf ,,illustration ,,for ,a ,,nocturne ,,of ,,chopin #ch ,,chopin1 ,,ballade ,,iii4 ,,op4 #dg #db ,reproduced by permission of ,charles ,holme1 ,esqre4 ,,the ,,baron',s ,,prayer #dd ,from ,the ,rape of the ,lock ,,the ,,battle ,,of ,,beaux ,,and ,,belles #dh ,from ,the ,rape of the ,lock ,a ,,design ,,from ,,lysistrata #ej ,d',,albert ,,in ,,search ,,of ,,ideals #ed ,from ,mademoiselle de ,maupin4 ,reproduced from the original in the possession of ,mrs ,bealby ,wright ,,aubrey ,,beardsley ,aubrey ,beardsley was born on ,august #bast1 #ahgb1 at ,brighton4 ,he was a quiet1 reserved child1 caring little for lessons1 though from an early age he shewed an aptitude for drawing4 ,he began his education at a ,kindergarten4 ,he was seven years old when the first symptoms of delicacy appeared1 and he was sent to a preparatory school at ,hurstpierpoint1 where he was remarkable for his courage and extreme reserve4 ,threatened with tuberculosis1 he was moved for his health to ,epsom in #ahha4 ,in ,march #ahhc his family settled in ,london1 and ,beardsley made his first public appearance as an infant musical phenomenon1 playing at concerts in company with his sister4 ,he had a great knowledge of music1 and always spoke dogmatically on a subject1 the only one he used to say1 of which he knew anything4 ,he became attracted at this time by ,miss ,kate ,greenaway's picture books1 and started illuminating menus and invitation cards with coloured chalks1 making by this means quite considerable sums for a child4 ,in ,august #ahhd he and his sister were sent back to ,brighton1 where they resided with an old aunt4 ,their lives were lonely1 and ,beardsley developed a taste for reading of a rather serious kind--the histories of ,freeman and ,greene being his favourite works4 ,he could not remain a student without creating1 so he started a history of the ,armada6 ,in ,november of the same year he was sent to the ,brighton ,grammar ,school as a day boy1 becoming a boarder in ,january #ahhe4 ,he was a great favourite with ,mr ,king1 the house-master1 who encouraged his tastes for reading and drawing by giving him the use of a sitting-room and the run of a library4 ,this was one of the first pieces of luck that attended ,beardsley throughout life4 ,the head-master1 ,mr ,marshall1 ,i am told1 would hold him up as an example to the other boys1 on account of his industry4 ,his caricatures of the masters were fully appreciated by them1 a rare occurrence in the lives of artists4 ,he cultivated besides a talent for acting1 and would often perform before large audiences at the ,pavilion4 ,he organized weekly performances at the school1 designing and illustrating the programmes4 ,he even wrote a farce called ,a ,brown ,study1 which was played at ,brighton1 where it received serious attention from the dramatic critics of the town4 ,he would purchase each volume of the ,mermaid series of ,elizabethan dramatists then being issued1 and with his sister gave performances during the holidays4 ,from the record of the ,brighton ,college ,magazine1 ,beardsley appears to have taken a leading role in all histrionic fetes1 and to ,the ,pied ,piper of ,hamelin he contributed some delightful and racy little sketches1 the first of his drawings1 ,i believe1 that were ever reproduced4 ,illustration3 ,,siegfried ,reproduced from the original in the possession of ,mrs4 ,bealby ,wright ,in ,july #ahhh he left school1 and almost immediately entered an architect's office in ,london4 ,in #ahhi he obtained a post in the ,guardian ,life and ,fire ,insurance4 ,during the autumn of that year the fatal haemorrhages commenced2 for two years he gave up his amateur theatricals and did little in the way of drawing4 ,in #ahia1 however1 he recuperated2 a belief in his own powers revived4 ,he now commenced a whole series of illustrations to various plays1 such as ,marlowe's ,tamerlane1 ,congreve's ,way of the ,world1 and various ,french works which he was able to enjoy in the original4 ,he would often speak of the encouragement and kindness he received at this period from the ,rev4 ,alfred ,gurney1 who had known his family at ,brighton1 and who was perhaps the earliest of his friends to realize that ,beardsley possessed something more than mere cleverness or precocity4 ,several people have claimed to discover ,aubrey ,beardsley1 but ,i think it truer to say that he revealed himself1 when proper acknowledgment has been made to ,mr ,aymer ,vallance1 ,mr ,joseph ,pennell1 ,mr ,frederick ,evans1 ,mr ,j4 ,m4 ,dent1 and ,mr ,john ,lane1 with whom ,beardsley's art will always be associated in connection with the ,yellow ,book1 that too early daffodil that came before the swallow dared and could not take the winds of ,march for beauty4 ,to ,mr ,pennell belongs the credit of introducing ,beardsley's art to the public2 and to ,mr ,dent is due the rare distinction of giving him practical encouragement1 by commissioning the illustrations to the ,morte d',arthur1 long before critics had written anything about him1 or any but a few friends knew of his great powers4 ,beardsley was too remarkable a personality to remain in obscurity4 ,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 admiration4 ,fortunately ,mr ,pennell1 a distinguished artist himself1 and a fearless critic1 not only espoused the cause of the new draughtsman1 but became a personal friend for whom ,beardsley always evinced great affection1 and to whom he dedicated his ,album of ,fifty ,drawings4 ,illustration3 ,,the ,,woman ,,in ,,the ,,moon ,from ,salome ,i shall never forget my first meeting with ,aubrey ,beardsley1 on ,february #adth1 #ahib1 at the rooms of ,mr ,vallance1 the well-known disciple and biographer of ,william ,morris4 ,though prepared for an extraordinary personality1 ,i never expected the youthful apparition which glided into the room4 ,he was shy1 nervous1 and self-conscious1 without any of the intellectual assurance and ease so characteristic of him eighteen months later when his success was unquestioned4 ,he brought a portfolio of his marvellous drawings1 in themselves an earnest of genius2 but ,i hardly paid any attention to them at first1 so overshadowed were they by the strange and fascinating originality of their author4 ,in two hours it was not hard to discover that ,beardsley's appearance did not belie him4 ,he was an intellectual ,marcellus suddenly matured4 ,his rather long brown hair1 instead of being ebouriffe1 as the ordinary genius is expected to wear it1 was brushed smoothly and flatly on his head and over part of his immensely high and narrow brow4 ,his face even then was terribly drawn and emaciated4 ,except in his manner1 ,i do not think his general appearance altered very much in spite of the ill-health and suffering1 borne with such unparalleled resignation and fortitude3 he always had a most delightful and engaging smile both for friends and strangers4 ,he grew less shy after half an hour1 becoming gayer and more talkative4 ,he was full of ,moliere and ,manon ,lescaut at the time2 he seemed disappointed that none of us was musical2 but he astonished by his knowledge of ,balzac an authority on the subject who was also present4 ,he spoke much of the ,national ,gallery and the ,british ,museum1 both of which he knew with extraordinary thoroughness4 ,he told me he had only been once to the ,new ,gallery1 where he saw some pictures by ,burne-,jones1 but had never been to the ,royal ,academy4 ,as far as ,i know1 he never visited the spring shows of ,burlington ,house4 ,he always1 however1 defended that institution with enthusiasm1 saying he would rather be an ,academician than an artist1 as it takes only one man to make an artist1 but forty to make an ,academician4 ,our next meeting was a few weeks later1 when he brought me a replica of his ,joan of ,arc4 ,i was anxious to buy the first and better version1 now in the possession of ,mr ,frederick ,evans1 but he refused to part with it at the time4 ,he seemed particularly proud of the drawing2 it was the only work of this period he would allow to have any merit4 ,in the early summer of #ahib he visited ,burne-,jones and ,watts1 receiving from the former artist cordial recognition and excellent advice which proved invaluable to him4 ,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 school4 ,a few days afterwards he produced a most amusing caricature of himself being kicked down the stairs of the ,national ,gallery by ,raphael1 ,titian1 and ,mantegna1 whilst ,michael ,angelo dealt a blow on his head with a hammer4 ,this entertaining little record1 ,i am sorry to say1 was destroyed4 ,beardsley was always sensible about friendly and intelligent criticism4 ,when he reached a position enjoyed by no artist of his own age1 he was swift to remedy any defect pointed out to him by artists or even by ordinary friends4 ,i never met anyone so receptive on all subjects2 he would record what ,mr ,pennell or ,puvis de ,chavannes said in praise or blame of a particular drawing with equal candour and good humour4 ,this was only one of his many amiable qualities4 ,when he afterwards became a sort of household word and his fame1 or notoriety as his enemies called it1 was established1 he never changed in this respect4 ,he made friends and remained friends with many for whom his art was totally unintelligible4 ,social charm triumphed over all differences4 ,he would speak with enthusiasm about writers and artists quite out of sympathy with his own aims and aspirations4 ,he never assumed that those to whom he was introduced either knew or admired his work4 ,his character was brisk and virile to an extraordinary degree4 ,he made enemies1 ,i believe1 by refusing to revolve in mutual admiration societies or to support literary and artistic cliques4 ,with the shadow of death always over him and conscious of the brief time before him1 he never gave himself up to morbid despair or useless complaints4 ,he determined to enjoy life1 and1 equipped with all the curiosity and gaiety of boyhood1 he caught at life's exquisite moments4 ,there was always a very deep and sincere religious vein in his temperament1 only noticeable to very intimate friends4 ,with all his power of grasping the essential and absorbing knowledge1 he remained charmingly unsophisticated4 ,he took people as they came1 never discriminating1 perhaps1 sufficiently the issues of life4 ,he was unspoiled by success1 unburdened with worldly wisdom4 ,he was generous to a fault1 spending his money lavishly on his friends to an extent that became almost embarrassing4 ,illustration3 ,,the ,,toilette ,,of ,,salome ,from ,salome ,his love and knowledge of books increased rather than diminished even after he devoted himself entirely to art4 ,in early days he would exchange his drawings for illustrated books and critical texts of the ,english classics with ,mr ,frederick ,evans1 an early and enthusiastic buyer of his work4 ,his tastes were not narrow4 ,poetry1 memoirs1 history1 short stories1 biography1 and essays of all kinds appealed to him2 but he cared little for novels1 except in ,french4 ,i don't think he ever read ,dickens1 ,thackeray1 and ,george ,eliot1 though he enjoyed ,scott during the last months of his life4 ,he had an early predilection for lives of the ,saints4 ,the scrap-book of sketches1 containing drawings done prior to #ahib1 indicates the range and extent of his taste4 ,there are illustrations to ,manon ,lescaut1 ,tartarin1 ,madame ,bovary1 ,balzac 7,le ,cousin ,pons1 the ,contes ,drolatiques71 ,racine1 ,shelley's ,cenci4 ,he retained his love of the drama1 and began to write a play in collaboration with ,mr ,brandon ,thomas4 ,while dominated by pre-,raphaelite influences1 he read with great avidity ,sidonia the ,sorceress1 and ,the ,shaving of ,shagpat1 a favourite book of ,rossetti's2 and it was with a view to illustrate ,mr ,meredith's ,arabian ,night that he became introduced to ,mr ,john ,lane1 who divides with ,mr ,herbert ,pollit the honour of possessing the finest ,beardsleys still in this country4 ,he read ,greek and ,latin authors in translations1 and often astonished scholars by his acute appreciation of their matter4 ,he approached ,dantesque mediaevalism through ,rossetti and1 later on1 at the original source4 ,much of his early work illustrated incidents in the ,divine ,comedy4 ,he was a fervent admirer of the ,romance of the ,rose in the original1 and several mediaeval ,french books1 but he once told me that he found the ,morte d',arthur very long-winded4 ,illustration3 ,,the ,,dancer',s ,,reward ,from ,salome ,for one so romantic in the expression of his art1 ,i should say his literary and artistic tastes were severely classic1 though you would have expected them to be bizarre4 ,he was ambitious of literary success1 but any aspirations were wisely discouraged by his admirers4 ,his writings1 however brilliant--and they often were brilliant--shewed a dangerous cleverness1 which on cultivation might have proved disastrous to the realization of his true genius4 ,under the ,hill is a delightful experiment in a rococo style of literature1 and it would be difficult to praise sufficiently the rhythm and metrical adroitness of the two poems in the ,savoy ,magazine4 ,though ,i cannot speak of his musical attainments1 it may be regarded as fortunate that so remarkable a genius was directed to a more permanent form of executive power4 ,his knowledge of life1 art1 and literature seemed the result of instinct rather than study2 for no one has ever discovered where he found the time or opportunity for assimilating all he did4 ,gregarious and sociable by nature1 he was amusingly secretive about his methods and times of work4 ,like other industrious men1 he never pretended to be busy or pressed for time4 ,he never denied his door to callers1 nor refused to go anywhere on the plea of work4 ,he disliked anyone being in the room when he was drawing1 and hastily hid all his materials if a stranger entered the room4 ,he would rarely exhibit an unfinished sketch1 and carefully destroyed any he was not thoroughly satisfied with himself4 ,he carried this sensitive spirit of selection and self-criticism rather far4 ,calling on friends who possessed primitives1 he would destroy these early relics and leave a more mature and approved specimen of his art1 or the edition de luxe of some book he had illustrated4 ,some of us were so annoyed that we were eventually obliged to lock up all early examples4 ,for though friends thus victimized were endowed with a more valuable acquisition1 they had a natural sentiment and affection for the unsophisticated designs of his earlier years4 ,illustration3 ,,tailpiece ,from ,salome ,his life1 though many-sided and successful1 was outwardly uneventful4 ,in the early summer of #ahib he entered ,professor ,brown's night school at ,westminster1 but during the day continued his work at the ,guardian ,fire ,insurance until ,august1 when1 by his sister's advice1 he resigned his post4 ,in ,december he acquainted with ,mr ,pennell1 from whose encouragement and advice he reaped the fullest advantage4 ,after commencing the decorations to the ,morte d',arthur1 he ceased to attend ,professor ,brown's classes4 ,in ,february #ahic some of his drawings were first published in ,london in the ,pall ,mall ,budget under the editorship of ,mr ,lewis ,hind1 but one of the most striking of his early designs appeared in a little college magazine entitled ,the ,bee4 ,when ,the ,studio was started by ,mr ,charles ,holme under the able direction of the late ,gleeson-,white1 ,beardsley designed the first cover and ,mr ,pennell contributed the well-known appreciation of the new artist4 ,towards the end of #ahic he commenced working for ,mr ,john ,lane1 who issued his marvellous illustrations to ,salome in #ahid4 ,in ,april of the same year appeared the ,yellow ,book4 ,to the first four volumes ,beardsley contributed altogether about eighteen illustrations4 ,from a pictorial point of view this publication had no other raison d'etre than as a vehicle for the production of ,beardsley's work1 though ,henry ,harland1 in his capacity as literary editor1 revealed the presence of many new writers among us4 ,throughout #ahid ,beardsley's health seemed to improve1 and his social success was considerable4 ,in the previous year he had been ridiculed1 but now the world accepted him at ,mr ,pennell's valuation4 ,the ,beardsley type became quite a fashion1 and was burlesqued at many of the theatres2 his name and work were on everyone's lips4 ,he made friends with many of his contemporaries distinguished in art and literature4 ,at the house of one of his friends he delivered a very amusing lecture on ,art which created much discussion4 ,a little later ,beardsley was popularly supposed to have given pictorial expression to the views and sentiments of a certain school1 and his drawings were regarded as the outward artistic sign of inward literary corruption4 ,this is not the place to discuss the invention of a mare's nest4 ,he suffered considerably by this premature attempt to classify his art4 ,further efforts to ridicule his work and suppress its publication were1 however1 among the most cheering failures of modern journalism4 ,in #ahie he ceased to contribute to the ,yellow ,book1 and in ,january #ahif ,the ,savoy was started by ,leonard ,smithers1 with ,mr ,arthur ,symons as the literary editor1 who became the most subtle and discerning of all his critics after ,beardsley's death4 ,failing health was the only difficulty with which he had to contend in the future4 ,from ,march #ahif1 when he caught a severe chill at ,brussels1 he became a permanent invalid4 ,he returned to ,england in ,may1 and in ,august went to ,bournemouth1 where he spent the autumn and winter4 ,those who visited him at ,bournemouth never expected he would live for more than a few weeks4 ,his courage1 however1 never failed him1 and he continued work even while suffering from lung haemorrhage2 but he expressed a hope and belief1 in which he was justified1 that he might be spared one more year4 ,on ,march #cast1 #ahig1 he was received into the ,catholic ,church4 ,the sincerity of his religious convictions has been affirmed by those who were with him constantly2 and1 as ,i have suggested before1 the flippancy and careless nature of his conversation were superficial3 he was always strict in his religious observances4 ,among his intimate friends through life were clergymen and priests who have paid tribute to the reality and sincerity of his belief4 ,a week after being received1 ,beardsley rallied again1 and moved to ,paris1 but still required the attention and untiring devotion of his mother1 to whom he was deeply attached4 ,he never returned to ,england again4 ,from time to time he was cheered by visits from ,miss ,mabel ,beardsley 7,mrs ,bealby ,wright71 who understood her brother as few sisters have done4 ,for some time he stayed at ,st ,germain1 and in ,july #ahig he went to ,dieppe1 where he seemed almost to have recovered4 ,it was only1 however1 for a short time1 and in the end of #ahig he was hurried to ,mentone4 ,he never left his room after ,january #beth4 ,the accounts of him which reached ,london prepared his friends for the end4 ,almost one of his last letters was to ,mr ,vincent ,o',sullivan1 the poet1 congratulating him on his ,introduction to ,volpone1 for which ,beardsley was making the illustrations4 ,beardsley had a considerable knowledge and appreciation of ,ben ,jonson4 ,illustration3 ,,frontispiece ,from ,plays by ,john ,davidson ,on ,march #bcrd1 #ahih1 he received the last sacraments2 and on the #beth1 with perfect resignation1 in the presence of his mother and sister1 to whom he had confided messages of love and sympathy to his many friends1 ,aubrey ,beardsley passed away4 ,come back in sleep1 for in the life ,where thou art not ,we find none like thee4 ,time and strife ,and the world's lot ,move thee no more3 but love at least ,and reverent heart ,may move thee1 royal and released ,soul1 as thou art4 ,no one could have wished him to live on in pain and suffering4 ,i think the only trials of his life were the periods in which he was unfitted for work4 ,his remarkable career was not darkened by any struggle for recognition4 ,few artists have been so fortunate as ,aubrey ,beardsley4 ,his short life was remarkably happy--at all events during the six years he was before the public4 ,everything he did met with success--a success thoroughly enjoyed by him4 ,he seemed indifferent to the idle criticism and violent denunciation with which much of his art was hailed4 ,i never heard of anyone of importance who disliked him personally2 on the other hand1 many who were hostile and prejudiced about his art ceased to attack him after meeting him4 ,this must have been due to the magnetism and charm of his individuality1 exercised quite unconsciously1 for he never tried to conciliate people1 or to work the oracle1 but rather gloried in shocking the enemy1 a boyish failing for which he may be forgiven4 ,illustration3 ,,the ,,wagnerites ,he had considerable intellectual vanity1 but it never relapsed into common conceit4 ,he was generous in recognizing the talent and genius of others1 but was singularly perverse in some of his utterances4 ,he said once that only four of his contemporaries interested him4 ,he 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 methods4 ,i have seen the works of these ,lambert ,simnels and ,perkin ,warbecks1 and they proved1 one and all1 crows in peacocks' feathers4 ,beardsley's style1 nevertheless1 influenced 7unfortunately1 ,i think7 many excellent artists both younger and older than himself4 ,in ,france his work was accepted without question3 he was always gratified by the cordiality which greeted him in a country where he was more generally understood than in his own4 ,he has illustrious precedents in ,constable and ,bonnington4 ,italy1 ,austria1 and ,germany recognized in him a master some time before his death4 ,at ,berlin his picture of ,mrs ,patrick ,campbell1 the actress1 is now in a place of honour in the ,museum4 ,a portrait study of himself is in the ,british ,museum ,print ,room2 a few examples are at ,south ,kensington2 but all his important work is in private collections2 much of it is in ,america and ,germany4 ,in ,england1 putting aside the notoriety and sensation caused by his posters and the ,yellow ,book1 appreciation of his work has been confined rather to the few4 ,he enjoyed1 however1 the friendship and intimacy of great numbers of people1 shewing that his amiable qualities1 no less than his art1 received due recognition4 ,his conversation was vehement and witty rather than humorous4 ,he had a remarkable talent for mimicking1 very rarely exercised4 ,he loved argument1 and supported theories for the sake of argument in the most convincing manner1 leaving strangers with a totally wrong impression about himself1 a deception to which he was much addicted4 ,he possessed what is called an artificial manner1 cultivated to an extent that might be mistaken for affectation4 ,he never could sit still for very long1 and he made use of gesture for emphasis4 ,his peculiar gait has been very happily rendered in a portrait of him by ,mr ,walter ,sickert2 he also sat to ,m4 ,blanche1 the well-known ,french portrait painter2 the portrait by himself is tinged with caricature4 99 99 99 99 99 ,to estimate the art of ,aubrey ,beardsley is not difficult4 ,that his drawings must excite discussion at all times is only a proof of their lasting worth4 ,they can never be dismissed with unkindly comment1 nor shelved into the limbo of art criticism which waits for many blameless and depressing productions of the eighteenth and nineteenth centuries4 ,among artists and men of letters no less than with that great inartistic body1 the art-loving public1 ,aubrey ,beardsley's name will always call forth wonder1 admiration1 speculation1 and contempt4 ,it should be conceded1 however1 that his work cannot appeal to everyone2 and that many who have the highest perception of the beautiful see only the repulsive and unwholesome in the troubled1 exotic expression of his genius4 ,fortunately1 no reputation in art or letters rests on the verdict of majorities--it is the opinion of the few which finally triumphs4 ,artists and critics have already dwelt on the beauty of ,aubrey ,beardsley's line1 which in his early work too often resolved itself into mere caligraphy2 but the mature and perfect illustrations to ,salome and ,the ,rape of the ,lock evince a mastery unsurpassed by any artist in any age or country4 ,no one ever carried a simple line to its inevitable end with such sureness and firmness of purpose4 ,and this is one of the lessons which even an accomplished draughtsman may learn from his drawings1 in any age when scraggy execution masquerades under impressionism4 ,aubrey ,beardsley did not shirk a difficulty by leaving lines to the imagination of critics1 who might enlarge on the reticence of his medium4 ,art cant and studio jargon do not explain his work4 ,it is really only the presence or absence of beauty in his drawing1 and his wonderful powers of technique which need trouble his admirers or detractors4 ,nor are we confronted with any conjecture as to what ,aubrey ,beardsley might have done--he has left a series of achievements4 ,while his early death caused deep sorrow among his personal friends1 there need be no sorrow for an inheritor of unfulfilled renown4 ,old age is no more a necessary complement to the realization of genius than premature death4 ,within six years1 after passing through all the imitative stages of probation1 he produced masterpieces he might have repeated but never surpassed4 ,his style would have changed4 ,he was too receptive and too restless to acquiesce in a single convention4 ,illustration3 ,,atalanta ,this is hardly the place to dwell on the great strides which black and white art made in the nineteenth century4 ,it has been called the most modern of the arts2 for the most finished drawings of the old masters were done with a view to serve as studies or designs to be transferred to canvas1 metal1 and wood1 not for frames at an expensive dealer's4 ,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 day4 ,at all events it were safer to say1 that appreciation of a drawing for itself1 without relation to the book or page it was intended to adorn or destroy1 is comparatively modern4 ,it is necessary to keep this in mind1 because the suitability of ,beardsley's work to the books he embellished was often accidental4 ,his designs must be judged independently1 as they were conceived1 without any view of interpreting or even illustrating a particular author4 ,he was too subjective to be a mere illustrator4 ,profoundly interested in literature for the purposes of his art1 he only extracted from it whatever was suggestive as pattern2 he never professed to interpret for dull people1 unable to understand what they read1 any more than the mediaeval 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 choir4 ,his art was1 of course1 intensely literary1 to use the word hated of modern critics1 but his expression of it was the legitimate literature of the artist1 not the art peculiar to literature4 ,he did not attempt1 or certainly never succeeded in giving1 pictorial revision to a work of literature in the sense that ,blake has done for the book of ,job1 and ,botticelli for the ,divine ,comedy4 ,while hardly satisfying those for whom any work of art guilty of subject becomes worthless1 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 ,blake1 who appeals more to men of letters than to the artist or virtuoso4 ,the uncritical profess to find many terrible meanings in ,aubrey ,beardsley's drawings2 and he will probably never be freed from the charge of symbolism4 ,however morbid the sentiment in some of his work1 and often there was a macabre1 an unholy insistence on the less beautiful side of human things1 the cabala of the symbolists was a sealed book to him4 ,such things were entirely foreign to his lucid and vigorous intelligence4 ,there is hardly a drawing of his that does not explain itself2 the commentator will search in vain for any hieroglyphic or symbolic intention4 ,the hieratic archaism of his early work misled many people1 for whom pre-,raphaelitism means presupposition4 ,of mysticism1 that stumbling-block1 he had none at all4 ,the ,initiation of a ,neophyte into the ,black ,art would seem to contradict such a statement4 ,the fantasy and grotesqueness of that lurid and haunting composition have nothing in common with the symbolism of black magic1 the ritual of freemasonry1 or all the fascinating magic to be found in the works of ,eliphaz ,levi4 ,the sumptuous accessories in which he revelled had no other than a decorative intention1 giving sometimes balance to a drawing1 or conveying a literary suggestion necessary for its interpretation4 ,artists are blamed for what they have not tried to do2 or for the absence of qualities distinguishing the work of an entirely different order of intellect2 for their indifference to the observations of others4 ,as who should ask from ,reynolds a faithful reproduction of textile fabrics2 and from ,carlo ,crivelli the natural phenomena of nature we expect from ,turner and ,constable8 ,for nature as it should be1 in the works of ,corot and ,turner2 for nature made easy1 in modern ,english landscape2 for nature without tears1 in the impressionist fashion1 or as popularly viewed through the camera1 ,aubrey ,beardsley had no feeling4 ,he was frankly indifferent to picturesque peasants1 the beauties of lovely spots1 either in ,england or ,france4 ,a devout ,catholic1 the ringing of the ,angelus did not lure him to present fields of mangel-wurzels in an evening haze4 ,the treatment of nature in the larger and truer sense of the word had little attraction for him2 he never tried1 therefore1 to represent air1 atmosphere1 and light1 as many clever modern artists have done in black and white6 ,though ,claude1 that master of light and shadow1 was a landscape painter who really interested him4 ,beardsley's landscape1 therefore1 is formal1 primitive1 conventional2 a breath of air hardly shakes the delicate leaves of the straight poplars and willows that grow by his serpentine streams4 ,the great cliffs1 leaning down in promontories to the sea1 have that unreal1 architectural appearance so remarkable in the ,west of ,cornwall1 a place he had never visited4 ,yet his love and observation of flowers1 trees1 and gardens are very striking in the drawings for the ,morte d',arthur and the ,savoy ,magazine1 but it is the nature of the landscape gardener1 not the landscape painter4 ,there is some truth in the half-playful1 half-unfriendly criticism1 that his pictures were a form of romantic map-making4 ,future experts1 however1 may be trusted to deal with absence of chiaroscuro1 values1 tones1 and the rest4 ,in only one of his drawings1 conceived1 curiously enough1 in the manner of ,burne-,jones 7an unlikely model71 is there anything approaching what is usually termed atmosphere4 ,eliminating1 therefore1 all that must not be expected from his art--mere illustration1 realism1 symbolism and naturalism--in what1 may be asked1 does his supreme achievement consist8 ,he has decorated white sheets of paper as they have never been decorated before2 whether hung on the wall1 reproduced in a book1 or concealed in a museum1 they remain among the most precious and exquisite works in the art of the nineteenth century1 resembling the designs of ,william ,blake only--in that they must be hated1 misunderstood1 and neglected1 ere they are recognized as works of a master4 ,with more simple materials than those employed by the fathers of black and white art1 ,beardsley has left memorials no less wonderful than those of the ,greek vase-painters1 so highly prized by artists and archaeologists alike1 but no less difficult for the uninitiated to appreciate and understand4 ,illustration3 ,,the ,,mysterious ,,rose ,,garden ,the astonishing fertility of his invention1 and the amount of work he managed to produce1 were inconceivable2 yet there is never any sign of hurry3 there is no scamping in his deft and tidy drawing4 ,the neatness of his most elaborate designs would suggest many sketches worked over and discarded before deciding on the final form and composition4 ,strange to say1 this was not his method4 ,he sketched everything in pencil1 at first covering the paper with apparent scrawls1 constantly rubbed out and blocked in again1 until the whole surface became raddled from pencil1 indiarubber1 and knife2 over this incoherent surface he worked in ,chinese ink with a gold pen1 often ignoring the pencil lines1 afterwards carefully removed4 ,so every drawing was invented1 built up1 and completed on the same sheet of paper4 ,and the same process was repeated even when he produced replicas4 ,at first he was indifferent to process reproduction1 but1 owing to ,mr ,pennell's influence1 he later on always worked with that end in view2 thereby losing1 some will think1 his independence4 ,but he had nothing to complain of--,mr ,pennell's contention about process was never so well proved as in ,beardsley's case4 ,his experiments in colour were not always successful1 two of his most delightful designs he ruined by tinting4 ,in the posters and ,studio lithograph1 however1 the crude colour is highly effective1 and ,mademoiselle de ,maupin shewed he might have mastered water-colour had he chosen to do so4 ,there are at present in the market many coloured forgeries of his work3 these have been contrived by tracing or copying the reproductions2 the colour is often used to conceal the paucity of the drawing and hesitancy of line2 they are nearly always versions of well-known designs1 and profess to be replicas4 ,when there is any doubt the history and provenance of the work should be carefully studied4 ,it is not difficult to trace the pedigree of any genuine example4 ,illustration3 ,,frontispiece ,from ,a ,nocturne of ,chopin ,a good deal has been made out of ,beardsley's love of dark rooms and lamp light1 but this has been grossly exaggerated4 ,he had no great faith in north lights and studio paraphernalia1 so necessary for those who use mediums other than his own4 ,he would sometimes draw on a perfectly flat table1 facing the light1 which would fall directly on the paper1 the blind slightly lowered4 ,the sources of ,beardsley's inspiration have led critics into grievous errors4 ,he was accused of imitating artists1 some of whose work he had never seen1 and of whose names he was ignorant at the time the alleged plagiarism was perpetrated--,felicien ,rops may be mentioned as an instance4 ,beardsley contrived a style long before he came across any modern ,french illustration4 ,he was innocent of either ,salon1 the ,rosicrucians1 and the ,royal ,academy alike2 but his own influence on the ,continent is said to be considerable4 ,that he borrowed freely and from every imaginable master1 old and new1 is1 of course1 obvious4 ,eclectic is certainly applicable to him4 ,but what he took he endowed with a fantastic and fascinating originality2 to some image or accessory1 familiar to anyone who has studied the old masters1 he added the touch of modernity which brings them nearer to us1 and reached refinements never thought of by the old masters4 ,imagination is the great pirate of art1 and with ,beardsley becomes a pretext for invention4 ,prior to #ahia his drawings are interesting only for their precocity2 they may be regarded1 as one of his friends has said1 more as a presage than a precedent4 ,you marvel1 on realizing the short interval which elapsed between their production and the masterpieces of his maturity4 ,his first enthusiasm was for the work of the ,italian primitives1 as ,mr ,charles ,whibley says1 distinguished for its free and flowing line4 ,even at a later time1 when he devoted himself to eighteenth century models and ideals1 his love of ,andrea ,mantegna never deserted him4 ,he always kept reproductions from ,mantegna at his side1 and declared that he never ceased to learn secrets from them4 ,in the ,litany of ,mary ,magdalen and the two versions of ,joan of ,arc this influence is very marked4 ,a ,botticelli phase followed1 and though afterwards discarded1 was reverted to at a later period4 ,the ,british ,museum and the ,national ,gallery were at first his only schools of art4 ,as a matter of course1 ,rossetti and ,burne-,jones1 but chiefly through photographs and prints1 succeeded in their turn2 the influence of ,burne-,jones lasting longer than any other4 ,fairly drugged with too much observation of old and modern masters1 he entered ,professor ,brown's art school1 where he successfully got rid of much that was superfluous4 ,the three months' training had the most salutary effect4 ,he now took the advice attributed to ,burne-,jones1 and unlearned much of his acquired pedantry4 ,the mere penmanship which disfigured some of his early work entirely disappeared4 ,his handling became finer1 his drawing less timid4 ,the sketch of ,moliere1 it may be interesting to note1 belongs to this period of his art4 ,illustration3 ,chopin4 ,ballade ,,iii4 ,op4 #dg ,reproduced by permission of ,charles ,holme1 ,esqre4 ,a few months afterwards1 he commenced the ,morte d',arthur4 ,suggested and intended to rival the volumes of the ,kelmscott ,press1 it is his most popular and least satisfactory performance4 ,still the borders have far more variety and invention than those of ,morris2 the intricate splendours of mediaeval manuscripts are intelligently imitated or adapted4 ,the initial- and tail-pieces are delightful in themselves1 and among the most exquisite of his grotesques and embellishments4 ,but the popularity of the book was due to its lack of originality1 not to its individuality4 ,mediaevalism for the middle classes always ensures an appreciative audience4 ,oddly enough1 ,morris was said to be annoyed by the sincerest form of flattery4 ,perhaps he felt that every school of art comes to an end with the birth of the founder1 and that ,beardsley was only exercising himself in an alien field of which ,morris himself owned the tithe4 ,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 ,watts4 ,the ,morte d',arthur may be said1 for convenience1 to close ,aubrey ,beardsley's first period2 but he modified his style during the progress of the publication1 and there is no unity of intention in his types or scheme of decoration4 ,he was gravitating ,japanwards4 ,he began1 however1 his so-called ,japanesques long before seeing any real ,japanese art1 except what may be found in the ,london shop windows on cheap trays or biscuit-boxes4 ,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 ,kakemonos4 ,it was quite accidental4 ,beardsley was really studying with great care and attention the ,crivellis in the ,national ,gallery2 their superficial resemblance to ,japanese work occasioned an error from which ,beardsley1 quick to assimilate ideas and modes of expression1 took a suggestion1 unconsciously and ignorantly offered1 and studied genuine examples4 ,raphael ,sanzio 7first version7 was produced prior to this incident1 and ,madame ,cigale's ,birthday ,party immediately afterwards4 ,his emulation of the ,japanese never left him until the production of the ,savoy ,magazine4 ,in my view this was the only bad artistic influence which ever threatened to endanger his originality1 or permanently vitiate his manner4 ,the free use of ,chinese ink1 together with his intellectual vitality1 saved him from succumbing to ,japan1 to use ,mr ,pennell's excellent phrase4 ,illustration3 ,,the ,,baron',s ,,prayer ,from ,the ,rape of the ,lock ,a series of grotesques to decorate some rather silly anthologies produced in the same year as the ,morte d',arthur are marvels of ingenuity1 and far more characteristic4 ,with them he began a new period1 throwing over the deliberate archaism and mediaevalism1 of which he began to tire4 ,in the illustrations to ,salome1 he reached the consummation of the new convention he created for himself2 they are1 collectively1 his masterpiece4 ,in the whole range of art there is nothing like them4 ,you can trace the origin of their development1 but you cannot find anything wherewith to compare them2 they are absolutely unique4 ,before commencing ,salome two events contributed to give ,beardsley a fresh impetus and stimulate his method of expression3 a series of visits to the collection of ,greek vases in the ,british ,museum 7prompted by an essay of ,mr ,d4 ,s4 ,mc,coll71 and to the famous ,peacock ,room of ,mr ,whistler1 in ,prince's ,gate--one the antithesis of ,japan1 the other of ,burne-,jones4 ,impressionable at all times to novel sensations1 his artistic perceptions vibrated with a new and inspired enthusiasm4 ,critical appreciation under his pen meant creation4 ,from the ,greek vase painting he learned that drapery can be represented effectually with a few lines1 disposed with economy1 not by a number of unfinished scratches and superfluous shading4 ,if the ,salome drawings have any fault at all1 it is that the texture of the pictures suggests some other medium than pen and ink1 as ,mr ,walter ,crane has pointed out in his other work4 ,they are wrought rather than drawn1 and might be designs for the panel of a cabinet1 for ,limoges or ,oriental enamel4 ,the ,rape of the ,lock is1 therefore1 a more obvious example of black and white art4 ,beardsley's second period lasted until the fourth volume of the ,yellow ,book1 in which the ,wagnerites should be mentioned as one of the finest4 ,in #ahif ,beardsley1 many people think to the detriment of his style1 turned his attention to the eighteenth century1 in the literature of which he was always deeply interested4 ,eisen1 ,moreau1 ,watteau1 ,cochin1 ,pietro ,longhi1 now became his masters4 ,the alien romantic art of ,wagner often supplied the theme and subject4 ,the level of excellence sustained throughout the ,savoy ,magazine is extraordinary1 in view of the terrible state of his health4 ,his unexampled precision of line hardly ever falters2 and while his composition gains in simplicity1 his capacity for detail has not flagged4 ,it is1 perhaps1 an accident that in his most pathetic drawing1 ,the ,death of ,pierrot1 his hand seems momentarily to have lost its cunning4 ,the same year he gave us ,the ,rape of the ,lock1 regarded by some artists as the testament of his genius2 and an even more astonishing set of drawings to the ,lysistrata of ,aristophanes4 ,these are grander than the ,rape of the ,lock1 and larger in treatment than anything he ever attempted4 ,privately issued1 ,beardsley was able to give full rein to a ,rabelaisian fantasy1 which he sometimes cultivated with too great persistence4 ,irritated by what he considered as over-niceness in some of his critics1 he seemed determined to frighten his public4 ,there is nothing unwholesome or suggestive about the ,lysistrata designs3 they are as as frank1 free1 and outspoken as the text4 ,for the countrymen of ,chaucer to simulate indignation about them can only be explained because things seen are greater than things heard4 ,yet1 when an artist frankly deals with forbidden subjects1 the old canons regular of ,english art begin to thunder1 the critics forget their ,french accent2 the old ,robert ,adam1 which is in all of us1 asserts himself2 we fly for the fig-leaves4 ,a real artist1 ,beardsley has not burdened himself with chronology or archaeology4 ,conceived somewhat in the spirit of the eighteenth century1 the period of graceful indecency1 there is here1 however1 an ,olympian air1 a statuesque beauty1 only comparable to the antique vases4 ,the illusion is enhanced by the absence of all background1 and this gives an added touch of severity to the compositions4 ,throughout #ahif the general tendency his style remains uniform1 though without sameness4 ,he adapted his technique to the requirements of his subject4 ,mindful of the essential1 rejecting the needless1 he always realized his genius and its limitations4 ,from the infinite variety of the ,savoy ,magazine it is difficult to choose any of particular importance3 for his elaborate manner1 the first plate to ,under the ,hill2 and in a simpler style1 the fascinating illustration to his own poem1 ,the ,barber2 ,ave ,atque ,vale and ,the ,death of ,pierrot have1 besides1 a human interest over and above any artistic quality they possess4 ,for the ,volpone drawings ,beardsley again developed his style1 and seeking for new effects1 reverted to pure pencil work4 ,the ornate1 delicate initial letters1 all he lived to finish1 must be seen in the originals before their sumptuous qualities1 their solemn melancholy dignity1 their dexterous handling1 can be appreciated4 ,the use of a camel's-hair brush for the illustrations to ,mademoiselle de ,maupin1 one of his last works1 should be noted1 as he so rarely used one4 ,beardsley's invention never failed him1 so that it is almost impossible to take a single drawing1 or set of drawings1 as typical of his art4 ,each design is rather a type of his own intellectual mood4 ,illustration3 ,,the ,,battle ,,of ,,beaux ,,and ,,belles ,from ,the ,rape of the ,lock ,if the history of grotesque remains to be written1 it is already illustrated by his art4 ,a subject little understood1 it belongs to the dim ways of criticism4 ,there is no canon or school1 and the artist is allowed to be wilful1 untrammelled by rule or precedent4 ,true grotesque is not the art either of primitives or decadents1 but that of skilled and accomplished workmen who have reached the zenith of a peculiar convention1 however confined and limited that convention may be4 ,byzantine art1 one of our links with the ,east1 should some day furnish us with a key to a mystery which is now obscured by symbolists and students of serpent worship4 ,the ,greeks1 with their supreme sanity and unrivalled plastic sense1 afford us no real examples1 though their archaic art is often pressed into the category4 ,beardsley1 who received recognition for this side of his genius1 emphasized the grotesque to an extent that precluded any popularity among people who care only for the trivial and pretty4 ,in him it was allied to a mordant humour1 a certain fescennine abstraction which sometimes offends3 this1 however1 does not excuse the use of the word eccentric1 more misapplied than any word in the ,english language1 except perhaps grotesque and picturesque4 ,all great art is eccentric to the conservative multitude4 ,the decoration on the ,parthenon was so eccentric that ,pheidias was put in prison4 ,the works of ,whistler and ,burne-,jones1 once derided as eccentric1 are now accepted as the commencement of great traditions4 ,all future art will be dubbed eccentric1 trampled on1 and despised2 even as the first tulip that blossomed in ,england was rooted out and burnt for a worthless weed by the conscientious ,scotch gardener4 ,illustration3 ,a ,,design ,,from ,,lysistrata ,to compare ,beardsley with any of his contemporaries would be unjust to them and to him4 ,he belonged to no school1 and can leave no legend1 in the sense that ,rossetti1 ,whistler1 and ,professor ,legros have done2 he proclaimed no theory2 he left no counsel of perfection to those who came after him4 ,in ,england and ,america a horde of depressing disciples aped his manner with a singular want of success2 while admirable and painstaking artists modified their own convictions in the cause of unpopularity with fatal results4 ,the sensuous charm of ,beardsley's imagination and his mode of expression have only a superficial resemblance to the foreign masters of black and white4 ,he continued no great tradition of the 'sixties2 has nothing in common with the inventive and various genius of ,mr ,charles ,ricketts2 nothing of the pictorial propriety that distinguishes the work of his friend1 ,mr ,pennell1 or the homogeneous congruity of ,boyd ,houghton1 ,charles ,keene1 and ,mr ,frederic ,sandys4 ,he made use of different styles where other men employed different mediums4 ,unperplexed by painting or etching or lithography1 he was satisfied with the simplest of all materials1 attaining therewith unapproachable executive power4 ,those who cavil at his flawless technique ignore the specific quality of drawing characterising every great artist4 ,the grammar of art exists only to be violated4 ,its rules can be learnt by anyone4 ,those who have no artistic perception invariably find fault with the perspective1 just as those who cannot write a well-balanced sentence are always swift to detect faults in grammar or spelling4 ,there are1 of course1 weaknesses in the extremities of ,beardsley's figures--the hands and feet being interruptions rather than continuations of the limbs4 ,occasional carelessness in this respect is certainly noticeable1 and the structure of his figures is throughout capricious4 ,it was no fault in his early work2 the hands and feet in the ,joan of ,arc1 if crude and exaggerated1 being carefully modelled4 ,while the right hand of ,salome in ,the ,dancer's ,reward1 grasping the head of the ,baptist1 is perfectly drawn1 the left is feeble1 when examined closely4 ,for sheer drawing nothing can equal the nude figure in the colophon to ,salome4 ,the outstretched1 quivering hands of ,ali ,baba are intentionally rendered larger than proportion allows1 to render dramatic expression1 not reality4 ,for the purpose of effect he adapted proportions1 realizing that perfect congruity and reality are irreconcilable4 ,none of the figures in the dramatic ,battle of ,beaux and ,belles could sit on the fallen chair in the foreground4 ,there is no need to disturb ourselves with hopes and fears for the estimation with which posterity will cherish his memory2 art history cannot afford to overlook him2 it could hardly resist the pretext of moralising1 expatiating and explaining away so considerable a factor in the book illustration of the nineties4 ,as a mere comment on the admirations of the last twenty years of the nineteenth century1 ,beardsley is invaluable2 he sums up all the delightful manias1 all that is best in modern appreciation--,greek vases1 ,italian primitives1 the ,hypnerotomachia1 ,chinese porcelain1 ,japanese ,kakemonos1 ,renaissance friezes1 old ,french and ,english furniture1 rare enamels1 mediaeval illumination1 the debonnaire masters of the eighteenth century1 the ,english pre-,raphaelites4 ,there are differences of kind in aesthetic beauty1 and for ,beardsley it was the marriage of arabesque to figures and objects comely or fantastic1 or in themselves ugly4 ,for hitherto the true arabesque abhorred the graven image made of artists' hands4 ,to future draughtsmen he will have something of the value of an old master1 studied for that fastidious technique which critics believed to be a trick2 and collectors of his work may live to be rallied for their taste2 but the wheat and the chaff contrive to exist together through the centuries4 ,a passing reference should be made to the ,beardsley of popular delusion4 ,a student of ,callot and ,hogarth1 he took suggestions from the age in which he lived and from the literature of ,english and ,french contemporaries1 but with no implicit acceptance of the tenets of any groups or schools which flutter the dove-cots of ,fleet ,street4 ,he stood apart1 independent of the shibboleths of art and literature1 with the grim and sometimes mocking attention of a spectator4 ,he revealed rather than created a feminine type1 offering no solution for the problems of ,providence4 ,illustration3 ,d',,albert ,,in ,,search ,,of ,,ideals ,from ,mademoiselle de ,maupin4 ,reproduced from the original in the possession of ,mrs4 ,bealby ,wright ,applying the epithet original to an art so intensely reminiscent1 so ingeniously retrospective1 might seem paradoxical to those unacquainted with ,beardsley's more elegant achievements4 ,his is not the originality of ,corot and ,whistler1 with a new interpretation of nature1 another scheme of art and decoration1 but rather the scholarly originality of the ,carracci--a scholarship grounded on a thousand traditions and yet striking an entirely new note in art4 ,in his imagination1 his choice of motive1 his love for inanimate nature1 his sentiment for accessory1--rejected by many modern artists1 still so necessary to the modern temper1--his curious type1 which quite overshadowed that of the pre-,raphaelites1 the singular technical qualities at his command1 ,beardsley has no predecessors1 no rivals4 ,who has ever managed to suggest such colour in masses of black deftly composed8 ,reference to the text is unnecessary to learn that the hair of ,herodias was purple4 ,his style was mobile1 dominating over1 or subordinate to the subject1 as his genius dictated4 ,he twisted human forms1 some will think1 into fantastic peculiar shapes1 becoming more than romantic--antinomian4 ,he does not appeal to experience but to expression4 ,the tranquil trivialities of what is usually understood by the illustration of books had no meaning for him2 and before any attempt is made to discriminate and interpret the spirit1 the poetical sequence1 the literary inspiration which undoubtedly existed throughout his work1 side by side with technical experiments1 his exemption from the parallels of criticism must be remembered duly4 ,,list ,,of ,,drawings ,,by ,,aubrey ,,beardsley ,,compiled ,,by ,,aymer ,,vallance ,,list ,,of ,,drawings ,,by ,,aubrey ,,beardsley ,,juvenilia #a4 ,a ,,carnival4 ,long procession of many figures in fifteenth and sixteenth century costume4 ,water-colour drawing4 ,unpublished4 ,given by the artist to his grandfather1 the late ,surgeon-,major ,william ,pitt4 c4 #ahhj4 #b4 ,,the ,,jackdaw ,,of ,,rheims1 set of illustrations to the poem4 ,unpublished4 c4 #ahhd4 #c4 ,,virgil',s ,,aeneid1 nine comic illustrations to ,book ,,ii4 ,the title-page1 written in rough imitation of printing1 with the ,artist's naif and inaccurate spelling1 is as follows3--,,illustrationes ,,de ,,liber ,,secundus ,,aeneidos ,,publius ,,wirgius ,,maronis by ,beardslius de ,brightelmstoniensis4 ,the illustrations are entitled3---- ,i4 ,laocoon hurleth his spear against the horse4 ,,ii4 ,laocoon and son crunched up4 ,,iii4 ,little ,july tries to keep up with ,papa4 ,old ,father ,anchises sitteth on ,papa's shoulders and keeps a good look-out4 ,,iv4 ,parvi ,iulus4 ,v4 ,helen4 ,,vi4 ,panthus departs1 bag and baggage4 ,,vii4 ,sinon telleth his tale unto ,king ,priam4 ,,viii4 ,one of the cinders of ,illim4 ,,ix4 7,no title47 ,the drawing1 to illustrate two comic verses written at the top of the paper1 represents ,a,eneas being carried up into the air by means of a balloon attached to his helmet4 ,all the above are drawn in ordinary ink upon plain white paper of the kind used for rough work at the school1 and all are of uniform size1 #g-a_/d x #e inches1 except ,no4 #i1 which is on a double-size sheet1 measuring #g-a_/d x #aj inches4 ,unpublished4 7,property of ,h4 ,a4 ,payne1 ,esq47 ,september to ,december #ahhf4 #d4 ,,virgil',s ,,aeneid1 nineteen humorous sketches illustrative of ,book ,,ii41 entitled3---- ,i4 ,a,eneas relateth the tale to ,dido4 ,,ii4 ,laocoon hurls the spear4 ,,iii4 ,sinon is brought before ,priam4 ,,iv4 ,calchas will not betray anyone4 ,v4 ,all night ,i lay hid in a weedy lake4 ,,vi4 ,the ,palladium is snatched away4 ,,vii4 ,the ,palladium jumpeth4 ,,viii4 ,laocoon sacrificeth on the sand4 ,,ix4 ,sinon opens the bolt4 ,x4 ,hector's ghost4 ,,xi4 ,a,eneas heareth the clash of arms4 ,,xii4 ,panthus fleeth4 ,,xiii4 ,pyrrhus exulteth4 ,,xiv4 ,death of ,priam4 ,,xv4 ,a,eneas debateth whether he shall slay ,helen4 ,,xvi4 ,venus appeareth to ,a,eneas4 ,,xvii4 ,jupiter hurls the lightning4 ,,xviii4 ,a,eneas and company set out from ,troy4 ,,xix4 ,a,eneas seeth ,creusa's ghost4 ,the above drawings in ordinary ink are contained in a copy-book1 #h x #f-a_/b inches4 ,unpublished4 ,exhibited in ,london at ,carfax ,co4's ,galleries1 ,october #aijd4 7,property of ,harold ,hartley1 ,esq47 ,end of #ahhf4 #e4 ,,the ,,pope ,,weighs ,,heavily ,,on ,,the ,,church4 ,pen-drawing contained in the same copy-book with the last-named4 #f4 ,,john ,,smiles1 a comic illustration to the school history book1 representing ,king ,john in the act of signing ,magna ,charta4 ,pen-drawing on paper #g-a_/d x #e inches4 ,unpublished4 7,property of ,h4 ,a4 ,payne1 ,esq47 #g4 ,,saint ,,bradlaugh1 ,m4,p41 a caricature4 ,pen-drawing on a half sheet of notepaper4 ,unpublished4 7,property of ,h4 ,a4 ,payne1 ,esq47 #h4 ,,autumn ,,tints4 ,caricature in black and white of the artist's schoolmaster1 ,mr ,marshall1 expounding to his pupils the beauties of nature4 ,unpublished4 ,given to ,ernest ,lambert1 ,esq41 ,brighton1 c4 #ahhf-g4 ,beside the above-named there must have been numbers of such drawings belonging to this early period2 for in his schooldays ,aubrey ,beardsley was1 to quote the words of ,mr ,h4 ,a4 ,payne1 constantly doing these little1 rough1 humorous sketches1 which he gave away wholesale4 ,many have been destroyed or lost1 others dispersed abroad4 ,thus1 for instance1 one old ,brighton ,grammar ,school boy1 ,c4 ,e4 ,pitt-,schenkel1 told ,mr ,payne that he was in possession of some1 which he took out to ,south ,africa4 #i4 ,,the ,,jubilee ,,cricket ,,analysis4 ,eleven tiny pen-and-ink sketches1 entitled respectively3---- ,i4 ,a good bowler4 ,,ii4 ,over4 ,,iii4 ,slip4 ,,iv4 ,square leg4 ,v4 ,shooters4 ,,vi4 ,caught4 ,,vii4 ,a block4 ,,viii4 ,a demon bowler4 ,,ix4 ,stumped4 ,x4 ,long leg4 ,,xi4 ,cutting a ball4 ,all these subjects being represented1 in humorous fashion1 by literal equivalents4 ,these drawings1 though they cannot pretend to any merit1 are notable as the earliest specimens to be published of the artist's work4 ,together they formed a whole-page photo-lithographic illustration in ,past and ,present1 the ,brighton ,grammar ,school ,magazine1 ,june #ahhg4 #aj4 ,,congreve',s ,,double ,,dealer1 illustration of a scene from1 comprising ,maskwell and ,lady ,touchwood4 ,pen drawing with sepia wash1 on a sheet of paper #ac-a_/b x #aa inches4 ,unpublished4 7,property of ,h4 ,a4 ,payne1 ,esq47 ,signed and dated ,june #cj1 #ahhh4 #aa4 ,,holywell ,,street4 ,wash drawing4 ,first published in ,the ,poster1 ,aug4-,sept4 #ahih4 ,republished in ,the ,early ,work of ,aubrey ,beardsley1 with a ,prefatory ,note by ,h4 ,c4 ,marillier4 ,john ,lane1 ,march #ahii4 7,property of ,charles ,b4 ,cochran1 ,esq41 #ahhh47 #ab4 ,,the ,,pay ,,of ,,the ,,pied ,,piper3 ,a ,,legend ,,of ,,hamelin ,,town4 ,eleven line drawings in illustration of1 as follows3---- ,i4 ,entrance of ,councillors1 headed by ,beadle carrying a mace4 ,reproduced in ,the ,westminster ,budget1 ,march #be1 #ahih4 ,,ii4 ,rats feeding upon a cheese in a dish4 ,reproduced in ,westminster ,budget1 ,march #be1 #ahih4 ,,iii4 ,child climbing into an armchair to escape from the rats4 ,reproduced in ,the ,poster1 ,aug4-,sept4 #ahih4 ,,iv4 ,the ,sitting of the ,council1 under the presidency of the ,burgomaster4 ,v4 ,deputation of ,ladies4 ,,vi4 ,two rats on their hind legs1 carrying off the ,beadle's mace3 behind them are three rats running4 ,reproduced in ,westminster ,budget1 ,march #be1 #ahih4 ,,vii4 ,meeting between the ,beadle and the ,piper4 ,,viii4 ,the rats follow the ,piper out of the town4 ,republished in ,westminster ,budget1 ,march #be1 #ahih1 and in ,the ,poster1 ,aug4-,sept4 #ahih4 ,,ix4 ,citizens rejoice at the departure of the rats4 ,x4 ,the ,piper is dismissed by the ,beadle4 ,republished in ,westminster ,budget1 ,march #be1 #ahih1 and also in ,magazine of ,art1 ,may #ahih4 ,,xi4 ,the ,piper entices away the children4 ,the above illustrations vary in size from #c-a_/d x #b-a_/b to #f-a_/b x #d-a_/b inches4 ,they are unsigned1 but a prefatory note describes them as being the perfectly original designs and drawings of a boy now in the school1 ,a4 ,v4 ,beardsley2 and adds3 ,our regret is that1 lacking experience in the preparation of drawings for the photo-engraver1 the reproductions should fall so far short of the original sketches4 ,published in the programme and book of words of the ,brighton ,grammar ,school ,annual ,entertainment at the ,dome1 on ,wednesday1 ,dec1 #ai1 #ahhh2 bound up afterwards with ,past and ,present1 ,february #ahhi4 ,latter part of #ahhh4 #ac4 ,a ,,scrap-,,book1 size #i-a_/b x #g inches1 the fly-leaf inscribed1 in his own writing1 ,a4 ,beardsley1 #f_/e_/ij1 presented by the artist's mother to ,robert ,ross1 ,esq4 ,contains the following drawings1 mounted as scraps3---- ,i4 ,manon ,lescaut1 three drawings to illustrate different scenes from4 ,executed with very fine pen and ink1 the latter having1 as compared with maturer works1 a brownish tinge4 ,one of them first appeared in ,a ,second ,book of ,fifty ,drawings by ,aubrey ,beardsley 7,leonard ,smithers1 ,december #ahih71 and all three were included in ,the ,later ,work of ,aubrey ,beardsley 7,john ,lane1 #aija74 ,,ii4 ,la ,dame aux ,camelias4 #d-c_/h inches square1 pen and brownish ink with wash4 ,first published in ,second ,book1 and afterwards in ,later ,work4 ,this is a totally different design from that which afterwards appeared1 with the same title1 in ,the ,yellow ,book4 ,see below4 ,,iii4 ,tartarin1 two illustrations of1 in pencil and colours1 size #d-a_/h x #b-c_/d and #d-a_/b x #c-a_/b inches respectively4 ,,iv4 ,la ,lecon 7,madame ,bovary74 #e-a_/d x #f-c_/d4 ,chinese white and dark sepia wash4 ,first published in ,second ,book1 and again in ,later ,work4 ,v4 ,l',abbe ,birotteau 7,cure de ,tours74 #c x #b inches4 ,pen-and-ink with wash1 on pale greenish paper4 ,,vi4 ,l',abbe ,troubert 7,cure de ,tours74 #e x #b-c_/d inches4 ,dark sepia wash4 ,,vii4 ,madame ,bovary4 #e-e_/h x #c-a_/h inches4 ,pencil4 ,first published in ,second ,book1 and again in ,later ,work4 ,,viii4 ,sapho 7,daudet74 ,wanting4 ,over its place has been gummed another drawing1 also wanting1 its title written at the foot1 ,l'homme qui rit4 ,,ix4 ,le ,cousin ,pons4 #e-a_/h x #b-c_/h inches4 ,indian ink4 ,x4 ,portrait of ,alphonse ,daudet4 #b-c_/d x #b-c_/af inches4 ,indian ink on pale blue paper4 ,,xi4 ,watteau1 ,ma ,cousine 7,cousin ,pons74 #e-a_/b x #b-c_/d inches4 ,pen-and-ink with wash on pale grey toned paper4 ,,xii4 ,mademoiselle ,gamard 7,cure de ,tours74 #c-a_/h x #b-a_/h inches4 ,indian ink wash4 ,,xiii4 ,madame ,cibot 7,cousin ,pons74 #d x #b-g_/h inches4 ,indian ink wash4 ,,xiv4 7,jack7 ,attendons6 #c-e_/h inches high1 irregular silhouette4 ,dark sepia wash4 ,,xv4 ,jeanne ,d',arc1 the childhood of4 #i x #c-c_/h inches4 ,sepia and madder wash on toned paper4 ,first published in ,second ,book1 again in ,later ,work4 ,,xvi4 ,frontispiece to ,balzac's ,contes ,drolatiques4 #f-c_/d x #d-a_/h inches4 ,drawn after the manner of ,richard ,doyle4 ,first published in ,second ,book1 again in ,later ,work4 ,,xvii4 ,phedre 7,act ii4 scene #e74 #c-g_/h x #c-a_/b inches4 ,pencil and colours4 ,first published in ,second ,book1 again in ,later ,work4 ,,xviii4 ,manon ,lescaut1 three-quarter length1 woman to left1 with fan4 #e-a_/d x #c-a_/b inches4 ,water-colour on grey paper4 ,first published in ,second ,book1 again in ,later ,work4 ,,xix4 ,beatrice ,cenci4 #f-a_/h x #b-c_/d inches4 ,pencil and sepia wash4 ,first published in ,second ,book1 again in ,later ,work4 ,unless otherwise stated as above1 the works in this collection are unpublished2 all were executed #ahhi-ij4 ,,later ,,work4 #ad4 ,,francesca ,,di ,,rimini 7,dante74 ,head in profile1 to left2 pencil4 ,first published in ,later ,work4 #ae4 ,,dante ,,at ,,the ,,court ,,of ,,can ,,grande ,,della ,,scala4 ,circular design1 in pencil4 7,property of ,miss ,h4 ,glover47 #af4 ,,dante ,,in ,,exile4 ,dante seated on the left1 the words of the ,sonnet inscribed on the right1 with decorations recalling some design of ,william ,blake's4 ,signed ,a4,v4,b4 ,first published in ,later ,work4 7,formerly the property of the late ,hampden ,gurney1 ,esq47 #ag4 ,i ,,saw ,,three ,,ships ,,come ,,sailing ,,by ,,on ,,christmas ,,day ,,in ,,the ,,morning4 ,pencil4 ,designed as a ,christmas card for the late ,rev4 ,alfred ,gurney4 ,published in ,later ,work4 c4 #ahij-a4 #ah4 ,,hail ,,mary4 ,profile of a head to left4 ,pencil drawing1 #d-a_/b x #e-a_/d inches4 ,first published in ,the ,studio1 ,may #ahih1 again in ,early ,work4 7,property of ,frederick ,h4 ,evans1 ,esq47 #ahia4 #ai4 ,,head1 three-quarter face to right1 with a ,wreath of ,grapes and ,vine ,leaves and background of tree trunks4 ,lead-pencil sketch #e-a_/b x #e-e_/h inches4 ,unpublished4 7,property of ,john ,lane1 ,esq47 circa #ahia4 #bj4 ,,thel ,,gathering ,,the ,,lily4 ,pen-and-ink with water-colour wash4 7,formerly the property of ,robert ,ross1 ,esq47 #ba4 ,,two ,,figures ,,in ,a ,,garret1 both seated1 a woman haranguing a young man4 ,ink and wash sketch1 #c-a_/d x #d-a_/h inches4 ,published in ,early ,work4 7,property of ,frederick ,h4 ,evans1 ,esq47 #bb4 ,e4 ,,burne-,,jones4 ,portrait sketch in pen-and-ink1 with slight wash4 ,a memorandum of ,aubrey ,beardsley's first call on ,sir ,edward ,burne-,jones1 dated ,sunday1 #abth ,july #ahia1 and signed with monogram1 ,a4,v4,b4 ,size1 #f-c_/d x #d-a_/h inches4 ,eight copies only4 ,printed on ,india paper4 ,published by ,james ,tregaskis1 ,caxton ,head1 ,high ,holborn1 in #ahii4 ,july #ahia4 #bc4 ,,the ,,witch ,,of ,,atlas4 ,pen-and-ink and water-colour wash4 ,first reproduced 7lacking ornamental border7 in ,second ,book1 again in ,later ,work4 7,formerly the property of ,robert ,ross1 ,esq47 #bd4 ,,moliere4 ,blue water-colour wash4 ,first published in ,later ,work4 7,formerly the property of ,robert ,ross1 ,esq47 #be4 ,,die ,g,oe,t,t,e,r,d,ae,m,m,e,r,u,n,g4 ,decorative composition in white and ,indian ink1 influenced by ,burne-,jones4 ,first published in ,second ,book1 again in ,later ,work4 7,formerly the property of ,robert ,ross1 ,esq47 #bf4 ,,soleil ,,couchant4 ,decorative composition in ,indian ink4 7,the motif of the central part was subsequently adapted for a vignette in the ,morte ,darthur1 ,book ,,ii4 chap4 xii47 ,first published in ,later ,work4 7,formerly the property of the late ,hampden ,gurney1 ,esq47 #bg4 ,,tannhauser4 ,study for decorative composition1 in ,indian ink4 #e-e_/h x #g-a_/b inches4 ,first published in ,later ,work4 7,property of ,dr ,rowland ,thurnam47 #ahia4 #bh4 ,,withered ,,spring4 ,decorative composition in ,indian ink4 ,catalogued in ,fifty ,drawings as ,lament of the ,dying ,year4 7,the motif of the central part was subsequently adapted for a vignette in the ,morte ,darthur1 ,book ,i4 chap4 xii47 ,first published in ,later ,work4 7,property of ,dr ,rowland ,thurnam47 #bi4 ,i4 ,,perseus4 ,pen-and-ink and light wash4 ,design for an upright panel1 with standing nude figure1 above it a frieze of smaller figures4 #ah x #f-c_/d inches4 ,first published in ,early ,work4 7,property of ,frederick ,h4 ,evans1 ,esq47 ,,ii4 ,a pencil sketch of two figures1 unfinished1 on the reverse of the preceding4 ,published in ,early ,work4 #cj4 ,l',,abbe ,,mouret4 ,decorative design for frontispiece of ,zola's ,la ,faute de l',abbe ,mouret4 ,ink and wash4 ,first published in ,under the ,hill4 ,john ,lane4 #aijd4 7,property of ,john ,lane1 ,esq47 #ca4 ,,hamlet ,,patris ,,panem ,,sequitur4 ,pencil drawing4 ,printed in red1 as frontispiece to ,the ,bee1 the ,magazine of the ,blackburn ,technical ,school1 ,november #ahia2 reprinted1 in black1 in ,second ,book1 again in ,early ,work4 ,latter part #ahia4 #cb4 ,,perseus ,,and ,,the ,,monstre4 ,pencil design1 #e-a_/b x #g-a_/b inches4 ,first appeared in illustration of an article entitled1 ,the ,invention of ,aubrey ,beardsley1 by ,aymer ,vallance1 in ,the ,magazine of ,art1 ,may #ahih2 again in ,early ,work1 7,property of ,aymer ,vallance1 ,esq47 #ahia4 #cc4 ,,the ,,procession ,,of ,,jeanne ,d',,arc4 ,pencil outline1 treatment inspired by ,mantegna1 #ai-a_/b long by #f-a_/b inches high4 ,first published in ,magazine of ,art1 ,may #ahih2 again as double page in ,second ,book2 again1 reduced1 in collotype1 in ,early ,work4 7,property of ,frederick ,h4 ,evans1 ,esq47 #ahia-b4 ,a pen-and-ink version of the ,procession1 #cj inches long by #g high1 was made subsequently1 about the ,spring of #ahib1 for ,robert ,ross1 ,esq4 ,published in ,the ,studio2 see below4 #cd4 ,,the ,,litany ,,of ,,mary ,,magdalen4 ,pencil drawing4 ,first published in ,second ,book1 again in ,later ,work4 7,formerly ,property of ,more ,adey1 ,esq47 #ahib4 #ce4 ,,the ,,virgin ,,and ,,lily4 ,madonna standing in front of a ,renaissance niche and surrounded by ,saints1 among them ,st ,john ,baptist kneeling4 ,pencil outline4 ,reproduced in photogravure in ,later ,work4 7,formerly the property of the late ,rev4 ,alfred ,gurney1 afterwards in the possession of his son1 the late ,hampden ,gurney1 ,esq47 #cf4 ,,children ,,decorating ,a ,,terminal ,,god4 ,pen-and-ink4 7,formerly the property of ,m4 ,puvis de ,chavannes47 #cg4 ,,fred ,,brown1 ,n4,e4,a4,c4 ,pen-and-ink sketch of the art-master in studio4 ,signed with monogram ,a4,v4,b4 ,first published in ,under the ,hill4 7,property of ,miss ,nellie ,syrett47 #ch4 ,,study ,,of ,,figures1 horizontal fragment from1 containing five heads and parts of two more4 ,pencil4 ,published in ,under the ,hill4 7,property of ,miss ,nellie ,syrett47 #ci4 ,,portrait ,,of ,,the ,,artist4 ,full face4 ,pen-and-ink4 ,first published in ,second ,book1 again in ,later ,work4 7,presented by ,robert ,ross1 ,esq41 to the ,british ,museum47 #dj4 ,,sidonia ,,the ,,sorceress4 ,a design to illustrate ,meinhold's ,romance1 representing ,sidonia1 not in religious habit1 with the demon-cat1 ,chim4 ,william ,morris's criticism that the face of ,sidonia was not pretty enough1 and another suggested improvement on the part of a friend of ,aubrey ,beardsley's1 induced him to try to better the picture by altering the hair4 ,the result was so far from satisfactory that it is almost certain that the drawing was destroyed by the artist4 ,first half of #ahib4 #da4 ,,le ,,debris ,d',,un ,,poete4 ,pen-and-ink4 ,first published in ,aubrey ,beardsley1 by ,arthur ,symons 7,sign of the ,unicorn1 ,london1 #ahih74 7,property of ,andre ,raffalovich1 ,esq47 #db4 ,,incipit ,,vita ,,nova4 ,chinese1 white1 and ,indian ink on brown paper4 ,first published in ,second ,book1 again in ,later ,work4 7,property of ,messrs ,carfax ,co47 #ahib4 #dc4 ,,head ,,of ,,an ,,angel1 in profile1 to left1 flaming heart held in left hand4 ,pencil1 on a half-sheet of grey notepaper1 signed with monogram ,a4,v4,b4 #e-c_/d x #c-g_/h inches4 ,first published in photogravure ,second ,book1 again in ,later ,work2 also printed in #d-;inch square form on card for private distribution1 ,christmas #aije4 7,property of the artist's sister1 ,mrs ,george ,bealby ,wright ,miss ,mabel ,beardsley47 c4 #ahib4 #dd4 ,,adoramus ,,te4 ,four angels in a circle 7#g inches in diameter7 playing musical instruments1 pencil and coloured chalks4 ,signed ,a4,v4,b4 monogram4 ,designed as a ,christmas card for the late ,rev4 ,alfred ,gurney4 ,first published in photogravure in ,second ,book1 again in ,later ,work4 7,property of ,mrs ,george ,bealby ,wright47 #de4 ,a ,,christmas ,,carol4 ,two angels1 one of them playing a hand-organ1 in a circle 7#g-c_/d inches diameter71 pencil1 and coloured chalks4 ,designed as a ,christmas card for the late ,rev4 ,alfred ,gurney4 ,first published in photogravure in ,second ,book1 again in ,later ,work4 ,also in photogravure1 #c inches diameter1 for private circulation4 7,property of ,mrs ,george ,bealby ,wright47 ,christmas1 #ahib4 #df4 ,,la ,,femme ,,incomprise4 ,pen-and-ink and wash4 ,first published in the spring number of ,to-,day1 #ahie2 again in the ,idler magazine1 ,march #ahig4 #dg4 ,,sandro ,,botticelli1 three-quarter face to left1 pencil1 signed with monogram ,a4,v4,b42 #ad x #g-c_/d inches2 a reconstruction of the ,florentine painter's physiognomy from his extant works1 to illustrate ,aubrey ,beardsley's theory that every artist tends to reproduce his own physical type4 ,presented by the artist to ,aymer ,vallance1 ,esq4 ,first published in the ,magazine of ,art1 ,may #ahih2 afterwards in ,early ,work4 c4 #ahib-c4 #dh4 ,,raphael ,,sanzio4 ,full-length figure1 three-quarter face to left1 a decorative panel in pen-and-ink1 #aj-c_/d x #c-g_/h inches1 exclusive of border lines4 ,unpublished4 7,property of ,messrs ,obach ,co47 #di4 ,,cephalus ,,and ,,procris4 ,pen-and-ink4 #ej4 ,,small ,,bookmarker1 woman undressing1 a ,turkish table in the foreground4 ,pen-and-ink4 ,first published in ,second ,book1 again in ,later ,work4 7,property of ,sir ,william ,geary1 ,bart47 #ahic4 #ea4 ,,hermaphroditus1 seated figure1 pencil and pale colour tints4 ,reproduced in colour in ,later ,work4 7,property of ,julian ,sampson1 ,esq47 #eb4 ,l',,apres-,,midi ,d',,un ,,faune1 par ,mallarme2 four designs extra-illustrating a copy of4 ,one of them1 a pen-and-ink vignette of a faun1 full face1 signed with monogram ,a4,v4,b41 was published in ,second ,book4 ,the others unpublished4 #ahic4 #ec4 ,,decorative ,,sketch ,,design ,,of ,a ,,sailing ,,ship4 #a-g_/h x #b-a_/b inches4 ,pen-and-ink on white from the back of a letter to ,aymer ,vallance1 ,esq4 ,first published in ,magazine of ,art1 ,may #ahih2 again in ,early ,work4 c4 #ahic4 #ed4 ,,angel ,,playing ,,hand-,,organ4 ,pen-and-ink and slight wash1 on pale grey notepaper1 from a letter to ,aymer ,vallance1 ,esq4 ,first published in ,magazine of ,art1 ,may #ahih2 again in ,early ,work4 c4 #ahic4 #ee4 ,,the ,,pall ,,mall ,,budget1 #ahic and #ahid4 ,i4 ,,mr ,h4 ,a4 ,,jones ,,and ,,his ,,bauble2 pen-and-ink4 ,feb4 #b1 #ahic1 p4 #aej4 ,,ii4 ,,the ,,new ,,coinage4 ,four designs that were not sent in for competition1 p4 #aed4 ,another design1 embodying a caricature of ,queen ,victoria1 was suppressed4 ,,iii4 ,,becket ,,at ,,the ,,lyceum4 #a4 ,mr ,irving as ,becket2 wash drawing4 ,feb4 #ith1 front page4 #b4 ,master ,leo1 p4 #ahh4 #c4 ,queen ,eleanor1 p4 #ahh4 #d4 ,margery1 p4 #ahh4 #e4 ,the ,king makes a ,move on the ,board1 p4 #ahh4 #f4 ,miss ,terry 7as ,rosamond71 p4 #ahh4 #g4 ,mr ,gordon ,craig1 p4 #aij4 #h4 ,the ,composer1 p4 #aij4 ,,iv4 #a4 ,,the ,,disappointment ,,of ,,emile ,,zola1 p4 #bjb4 #b4 ,,emile ,,zola2 a portrait1 p4 #bjd4 7,republished in ,pall ,mall ,pictures of the ,year1 #ahic1 and in ,the ,studio1 ,june #ahic47 ,v4 ,,verdi',s ,,falstaff1 ,,at ,,milan1 ,feb4 #afth4 ,initial letter ,v2 pen-and-ink1 p4 #bcf4 ,portrait of ,verdi2 ink and wash1 p4 #bcf4 ,,vi4 ,,pope ,,leo ,,xiii4',s ,,jubilee1 ,feb4 #bcrd4 ,the ,pilgrim 7old style71 p4 #bgj4 ,the ,pilgrim 7new style71 p4 #bgj4 ,,vii4 ,,the ,,reappearance ,,of ,,mrs ,,bancroft4 #a4 ,mr ,arthur ,cecil 7,baron ,stein71 p4 #bha4 #b4 ,mrs ,bancroft 7,lady ,fairfax71 p4 #bha4 #c4 ,mr ,forbes ,robertson 7,julian ,beauclere71 p4 #bha4 #d4 ,mr ,bancroft 7,count ,orloff71 p4 #bha4 ,,viii4 ,,caricature ,,of ,a ,,golf ,,player1 in classical helmet1 ,march #ith1 p4 #cgf4 ,,ix4 ,,orpheus ,,at ,,the ,,lyceum1 ,march #afth4 #a4 ,one of the ,spirits1 ,act ,,ii41 p4 #cie4 #b4 ,orpheus 7,miss ,clara ,butt71 p4 #cie4 #c4 ,a ,visitor at the ,rehearsal1 p4 #cie4 #d4 ,some ,dresses in the ,chorus1 p4 #cie4 ,x4 ,,portrait ,,of ,,the ,,late ,,jules ,,ferry3 wash drawing1 ,march #bcrd1 p4 #dce4 ,,xi4 ,,bullet-,,proof ,,uniform3 ,tommy ,atkins thinks it rather fun1 ,march #cj1 p4 #dia4 ,,xii4 ,,mr ,,frederick ,,harrison',s ,,ideal ,,novelist1 ,april #bj1 p4 #fbj4 ,,xiii4 ,a ,,new ,,year',s ,,dream1 after studying ,mr ,pennell's ,devils of ,notre ,dame4 ,republished in ,early ,work4 ,jan4 #dth1 #ahid1 p4 #h4 #ef4 ,,mr ,,parnell1 sketch portrait of the ,irish party leader1 head and shoulders1 three quarters face to left1 pencil1 half tone reproduction1 #d-c_/d x #c-a_/b inches4 #eg4 ,i4 ,,the ,,studio4 ,design for wrapper in two states1 the original design containing a seated figure of ,pan1 omitted in the later version4 ,first state on brown paper4 ,the same1 reduced1 in black on green1 for prospectus1 republished in ,the ,studio1 ,may #ahih1 and again in ,early ,work4 ,second state1 black on green1 also in gold on rough white paper for presentation to ,royalty 7,nov4 #aeth1 #ahic74 ,the same1 reduced1 and printed in dark green on white1 for a prospectus1 republished in ,early ,work4 ,the same1 enlarged and printed in black on light green1 for a poster4 ,,the ,,studio1 ,,no4 ,i1 ,april #ahic1 accompanying an article entitled ,a ,new ,illustrator3 ,aubrey ,beardsley1 by ,joseph ,pennell1 contained3---- ,,ii4 ,reduced reproduction of the pen-and-ink replica of ,jeanne d',arc procession4 ,republished as large folding supplement in ,no4 #b4 ,,iii4 ,siegfried1 ,act ,,ii41 from the original drawing in line and wash1 signed ,a4,v4,b41 presented by the artist to ,sir ,edward ,burne-,jones1 after whose death it was given back by ,lady ,burne-,jones1 to the artist's mother1 ,mrs ,beardsley4 ,republished in ,early ,work4 ,,iv4 ,the ,birthday of ,madame ,cigale1 line and wash1 #ae inches long by #i-a_/b inches high1 influenced by ,japanese models4 ,reproduced in ,early ,work4 7,property of ,charles ,holme1 ,esq47 ,v4 ,les ,revenants de ,musique1 line and wash4 ,reproduced in ,early ,work4 7,property of ,charles ,holme1 ,esq47 ,,vi4 ,salome with the head of ,st ,john the ,baptist4 ,upright panel in ,chinese ink on white1 #aj-a_/h by #e-a_/h inches1 exclusive of framing lines4 ,this was the first design suggested to the artist by ,oscar ,wilde's ,french play of ,salome4 ,it differs from the later version of the same subject in being richer and more complex4 ,it contains the legend1 omitted in the later version1 j'ai baise ta bouche ,iokanaan1 j'ai baise ta bouche4 ,the treatment is obviously influenced by ,japanese work1 and also by that of the ,french ,symboliste school1 e4g4 ,carlos ,schwabe4 ,republished in ,early ,work4 ,subsequently to its appearance in ,the ,studio1 the artist experimentally tinted it with green colour washes4 ,in its final state it has not been published4 7,formerly the property of ,mrs ,ernest ,leverson1 now of ,miss ,k4 ,doulton47 ,,vii4 ,reduced reproduction of the second version of the ,jeanne d',arc procession4 ,the same appeared1 full size1 as a folding plate supplement1 in ,no4 #b of ,the ,studio1 ,may #ahic4 ,in the first number of ,the ,studio 7,april7 also were published1 by anticipation1 four designs from the ,morte ,darthur1 due to begin its serial appearance in the following ,june1 viz43-- ,,viii4 ,initial letter ,i4 ,,ix4 ,merlin taketh the child ,arthur into his keeping 7full page1 including border74 ,x4 ,ornamental border for full page4 ,,xi4 ,frieze for chapter-heading2 six men fighting1 on foot1 three of them panoplied4 ,reproduced in ,magazine of ,art1 ,november #ahif1 ,fifty ,drawings1 ,idler1 ,march #ahig1 and ,st ,paul's1 ,april #ith1 #ahih4 ,the original drawing is #ac-c_/d inches long by #d-a_/b inches4 ,as may be seen1 even in the reduced reproduction1 one inch at either end was added by the artist at the request of his publisher1 so as to increase the proportionate length of the ornament4 ,subsequently ,mr ,frederick ,h4 ,evans photographed the drawing1 full size1 and produced fifteen platinotype copies1 of which twelve only were for sale1 and the plate destroyed4 #eh4 ,,design ,,of ,,dandelions1 for publishers' trade mark for ,dent ,co4 #ei4 ,,le ,,morte ,,darthur1 by ,sir ,thomas ,malory4 ,j4 ,m4 ,dent ,co4 #cjj copies on ,dutch hand-made paper and #aejj ordinary copies4 ,issued in ,parts1 beginning ,june #ahic4 ,i4 ,vol4 ,i41 #ahic4 ,frontispiece--,how ,king ,arthur saw the ,questing ,beast1 and thereof had great marvel4 ,photogravure4 ,full-page illustrations3-- ,,ii4 ,merlin taketh the child ,arthur into his keeping4 7,reduced reproduction in ,idler1 ,may #ahih47 ,,iii4 ,the ,lady of the ,lake telleth ,arthur of the sword ,excalibur4 ,,iv4 ,merlin and ,nimue4 ,v4 ,arthur and the strange mantle4 ,,vi4 ,how four queens found ,launcelot sleeping4 7,property of ,a4 ,e4 ,gallatin1 ,esq47 ,,vii4 ,sir ,launcelot and the witch ,hellawes4 7,property of ,a4 ,e4 ,gallatin1 ,esq47 ,,viii4 ,how la ,beale ,isoud nursed ,sir ,tristram4 ,,ix4 ,how ,sir ,tristram drank the love drink4 ,x4 ,how la ,beale ,isoud wrote to ,sir ,tristram4 ,,xi4 ,how ,king ,mark found ,sir ,tristram sleeping4 ,,xii4 ,how ,morgan le ,fay gave a sword to ,sir ,tristram4 ,,xiii4 ,vol4 ,,ii41 #ahid4 ,frontispiece--,the achieving of the ,sangreal4 ,photogravure4 7,this was the first design executed for the work47 ,full page and double page illustrations3-- ,,xiv4 ,how ,king ,mark and ,sir ,dinadan heard ,sir ,palomides making great sorrow and mourning for la ,beale ,isoud 7double page74 ,,xv4 ,la ,beale ,isoud at ,joyous ,gard 7double page74 ,,xvi4 ,how ,sir ,launcelot was known by ,dame ,elaine 7full page74 ,,xvii4 ,how a devil in woman's likeness would have tempted ,sir ,bors 7double page74 ,,xviii4 ,how ,queen ,guenever rode on maying 7double page74 ,,xix4 ,how ,sir ,bedivere cast the sword ,excalibur into the water 7full page74 ,,xx4 ,how ,queen ,guenever made her a nun 7full page74 ,in the two volumes there are altogether #edh ornaments1 chapter-headings1 borders1 initials1 tail-pieces1 etc42 but some of them are repetitions of the same design1 others reproductions of the same design in two different sizes4 7,two of these are in the ,victoria and ,albert ,museum4 ,eight belong to ,pickford ,waller1 ,esq4 ,others are the property of ,hon4 ,gerald ,ponsonby1 ,r4 ,c4 ,greenleaf1 ,esq41 ,w4 ,h4 ,jessop1 ,esq41 ,m4 ,h4 ,sands1 ,esq41 ,robert ,ross1 ,esq41 and ,messrs ,carfax ,co47 ,,xxi4 ,chapter-heading1 a dragon1 with conventional foliage spray branching into marginal ornaments2 printed1 but not published in the book4 ,,xxii4 ,initial letter ,j with guardian griffins2 pen-and-ink1 #e-a_/b x #c-a_/b inches4 ,,xxiii4 ,unfinished border design1 first published in ,whistler's ,art ,dicta and ,other ,essays by ,a4 ,e4 ,gallatin 7,boston1 ,u4,s4,a41 and ,london1 #aijc74 7,property of ,a4 ,e4 ,gallatin1 ,esq47 ,,xxiv4 ,original study1 approved by the publisher1 for wrappers of serial issue of the ,morte ,darthur1 yellowish green water-colour on white paper1 #aj-a_/d x #h-a_/d inches4 ,this design1 comprising lilies1 differs from that which was finally produced by the artist and published 7next item74 7,property of ,aymer ,vallance1 ,esq47 #ahic4 ,design for wrappers of serial issue1 in black on grey paper1 in two states1 the earlier or trial-state1 having blank spaces for the lettering1 only the title being given as ,la ,mort ,darthure4 ,,xxv4 ,design in gold on cream-white cloth cases of the bound volumes4 ,nineteen of the above designs were republished in ,a ,book of ,fifty ,drawings1 and again in ,later ,work1 including full-size reproductions of the following1 which had suffered through excessive reduction in the published ,morte ,darthur4 ,,xxvi4 ,merlin 7in a circle71 facing list of illustrations in ,vol4 ,i4 ,the same reproduced in ,the ,idler1 ,march #ahig4 ,,xxvii4 ,vignette of ,book ,i41 chapter xiv4 ,landscape with piper in a meadow and another figure in the sky4 ,,xxviii4 ,vignette of ,book ,,iii41 chapter iii4 ,three swans swimming4 ,,xxix4 ,vignette of ,book ,v41 chapter x4 ,nude woman rising out of the sea1 holding in one hand a sword1 in the other a rose4 #fj4 ,,pall ,,mall ,,magazine1 ,,june #ahic4 ,i4 ,of a ,neophyte1 and how the ,black ,art was revealed unto him by the ,fiend ,asomuel4 ,full-page illustration in pen and ink4 ,asomuel1 meaning insomnia1 was a neologism of the artist's own devising1 made up of the ,greek alpha privative1 the ,latin somnus1 and the ,hebrew el1 for termination analogous to that of other spirits' names1 such as ,gabriel1 ,raphael1 ,azrael1 etc41 reproduced in ,early ,work1 ,july #ahic4 ,,ii4 ,the ,kiss of ,judas4 ,full-page illustration in pen-and-ink4 ,reproduced in ,early ,work4 #fa4 ,,la ,,comedie ,,aux ,,enfers1 pen and ink1 published in ,modern ,illustration1 by ,joseph ,pennell4 7,g4 ,bell ,sons1 #ahie47 ,imp4 #afmo4 #ahic4 #fb4 ,i4 ,,evelina1 by ,frances ,burney4 7,dent ,co41 #ahid47 ,design in outline for title-page4 ,,ii4 ,,evelina ,,and ,,her ,,guardian1 design for illustration1 pen and ink and wash1 #f-g_/h x #d-g_/h 7exclusive of marginal lines71 not published4 ,,iii4 ,another illustration for the same1 ,love for ,love1 a wash drawing1 #g-a_/b x #e-a_/d1 unpublished4 #ahic4 #fc4 ,,virgilius ,,the ,,sorcerer4 ,david ,nutt1 #ahic4 ,frontispiece to the large paper copies only4 ,reproduced in ,early ,work4 #fd4 ,,the ,,landslip1 frontispiece to ,pastor ,sang1 being ,william ,wilson's translation of ,bjoernson's drama1 ,over ,a,evne4 ,longmans ,co41 #ahic4 ,a black and white design1 in conscious imitation of ,albert ,duerer1 as the peculiar form of the signature ,a4 ,b4 shows1 the only occasion on which the artist employed this device4 ,reproduced in ,early ,work4 7,property of ,messrs ,shirley ,co41 ,paris47 #fe4 ,,bon ,,mots4 #c ,,volumes4 ,,dent ,,co41 #ahic4 ,i4 ,title-page reproduced in ,later ,work4 ,,ii4 ,figure with fool's bauble1 and another small ornament for the cover4 ,,iii4 #bjh grotesques and other ornaments in the three volumes4 ,some of these1 however1 are repeated1 and some printed in different sizes4 ,three of them reproduced in ,later ,work4 ,in an article by ,max ,beerbohm in the ,idler1 ,may #ahih1 accompanied by some drawings that have never before been reproduced1 are nine small vignettes of the ,bon ,mots type1 of which number three only are explicitly ascribed to ,bon ,mots 7,a sheet of them belongs to ,w4 ,h4 ,jessop1 ,esq4 ,nineteen are the property of ,pickford ,waller1 ,esq47 #ff4 ,,folly1 intended for ,bon ,mots1 but not used in the book4 ,the figure is walking along a branch of hawthorn1 the left hand upraised1 and holding the fool's baton2 a flight of butterflies in lower left-hand corner2 with drawing #h x #e-a_/d inches4 7,property of ,littleton ,hay1 ,esq47 #fg4 ,,pagan ,,papers1 a volume of ,essays by ,kenneth ,grahame4 ,elkin ,mathews and ,john ,lane1 #ahic4 ,title-page1 design for4 #fh4 ,,ada ,,lundberg1 head and shoulders to right1 coloured crayons on brown paper4 ,reproduced in colour in ,later ,work4 7,property of ,julian ,sampson1 ,esq47 #fi4 ,,keyholes ,,series ,,of ,,novels ,,and ,,short ,,stories4--7,the publication of this series was begun by ,messrs ,elkin ,mathews and ,john ,lane1 and afterwards continued by ,mr ,john ,lane alone47 ,i4 ,keynotes by ,george ,egerton1 #ahic4 ,title-page design 7the same employed for the cloth cover74 ,ornamental key1 embodying the author's monogram1 on back of ,contents page 7the same device on the back of the book74 ,this plan was adopted for each volume of the series4 ,,ii4 ,the ,dancing ,faun1 by ,florence ,farr 7the ,faun in the design has the eyeglass and features of ,j4 ,mc,neill ,whistler74 ,,iii4 ,poor ,folk4 ,translated from the ,russian of ,f4 ,dostoievsky1 by ,lena ,milman4 ,,iv4 ,a ,child of the ,age1 by ,francis ,adams4 ,v4 ,the ,great ,god ,pan and the ,inmost ,light1 by ,arthur ,machen1 also unfinished sketch in pencil upon the back of the finished design4 ,,vi4 ,discords1 by ,george ,egerton4 ,,vii4 ,prince ,zaleski1 by ,m4 ,p4 ,shiel4 ,,viii4 ,the ,woman who ,did1 by ,grant ,allen4 ,,ix4 ,women's ,tragedies1 by ,h4 ,d4 ,lowry1 #ahie4 ,x4 ,grey ,roses1 by ,henry ,harland4 ,,xi4 ,at the ,first ,corner1 and other ,stories1 by ,h4 ,b4 ,marriott ,watson4 ,,xii4 ,monochromes1 by ,ella ,d',arcy4 ,,xiii4 ,at the ,relton ,arms1 by ,evelyn ,sharp4 ,,xiv4 ,the ,girl from the ,farm1 by ,gertrude ,dix4 ,,xv4 ,the ,mirror of ,music1 by ,stanley ,v4 ,makower4 ,,xvi4 ,yellow and ,white1 by ,w4 ,carlton ,dawe4 ,,xvii4 ,the ,mountain ,lovers1 by ,fiona ,macleod4 ,,xviii4 ,the ,woman who ,didn't1 by ,victoria ,crosse4 ,,xix4 ,nobody's ,fault1 by ,netta ,syrett4 ,,xx4 ,the ,three ,impostors1 by ,arthur ,machen4 ,,xxi4 ,the ,british ,barbarians1 a hill-top novel1 by ,grant ,allen4 ,,xxii4 ,platonic ,affections1 by ,john ,smith4 ,design for wrapper of ,keynotes series1 ,john ,lane1 #ahif4 7,with the exception of ,no4 #b all the above ,keynotes designs are the property of ,john ,lane1 ,esq47 #gj4 ,,the ,,barbarous ,,britishers1 a tip-top novel1 by ,h4 ,d4 ,traill4 ,title-page design 7the same employed for the cloth cover71 comprising a portrait of ,miss ,ada ,lundberg1 the whole being a parody of the design for ,the ,british ,barbarians1 vide supra4 ,john ,lane1 #ahif4 7,property of ,john ,lane1 ,esq47 ,reproduced in ,early ,work4 #ga4 ,,three ,,headpieces1 two of which appeared in ,st ,paul's1 ,april #bnd1 #ahih1 the other in the same paper1 ,april #ith1 #ahih4 ,all three republished in ,early ,work4 7,property of ,henry ,reichardt1 ,esq47 #ahic-d4 #gb4 ,,women ,,regarding ,a ,,dead ,,mouse4 ,three-quarter figure in leaden grey4 ,unfinished painting in oils1 the only experiment the artist ever made in this medium2 influenced by ,walter ,sickert4 c4 #ahid4 #gc4 ,,menu ,,of ,,the ,,tenth ,,annual ,,dinner ,,of ,,the ,,playgoers' ,,club ,,in ,,london4 ,two drawings1 one of them only reproduced in ,early ,work4 ,january #bhth1 #ahid4 #gd4 ,,lucian',s ,,true ,,history4 ,laurence ,sullen1 privately printed1 #ahid4 ,black and white illustrations to ,i4 ,a ,snare of ,vintage4 ,reproduced in ,later ,work4 ,another drawing of the same subject and title1 but different rendering1 #f x #d-a_/b inches1 was inserted loose in large paper copies only2 not noted in ,contents page of the book4 ,,ii4 ,dreams4 ,reproduced in ,later ,work4 ,this drawing was executed obviously at the same period as ,siegfried and ,the ,achieving of the ,sangreal4 ,,iii41 ,,iv4 ,two more drawings1 intended for the same work1 but not included in it4 ,twenty copies of each were printed privately4 ,one of them is unpublished2 of the other1 the upper portion was published in ,later ,work4 ,these illustrations were the earliest of the ,artist's designs not intended for public circulation4 ,,lucian',s ,,true ,,history1 translated by ,francis ,hickes1 illustrated by ,william ,strang1 ,j4 ,b4 ,clark1 and ,aubrey ,beardsley1 with an ,introduction by ,charles ,whibley1 was published by ,a4 ,h4 ,bullen4 ,london1 #aijb4 #ge4 ,,quilp',s ,,baron ,,verdigris4 ,black and white4 ,designed for ,messrs ,henry ,co4 ,first published in ,second ,book and again in ,later ,work4 #ahid4 #gf4 ,,poster ,,for ,,the ,,comedy ,,of ,,sighs1 by ,dr ,john ,todhunter1 at the ,avenue ,theatre1 ,march #bith1 #ahid4 ,three-quarter length figure of woman in deep blue1 standing behind a gauze curtain with light green round spots powdered over it1 #bh-c_/d x #d-c_/d inches4 ,the same has since been printed1 the original size1 in black and white4 ,the same reduced1 and printed in blue on light green paper for the programme sold in the theatre3 also printed in black on toned paper for the programme of ,mr ,g4 ,bernard ,shaw's play1 ,arms and the ,man1 ,april #bast1 #ahid4 ,also still further reduced1 in black on pale mauve-pink paper for the wrapper of ,mr ,w4 ,b4 ,yeats's play1 ,the ,land of ,hearts' ,desire4 ,reproduced in ,idler magazine1 ,march #ahig2 again in ,fifty ,drawings1 also in ,later ,work4 ,this was ,aubrey ,beardsley's first poster design4 #ahid4 #gg4 ,,poster ,,for ,,mr ,,fisher ,,unwin',s ,,pseudonym ,,library4 ,female figure in salmon-pink dress standing on the opposite side of the road to a second-hand book-store4 ,the scheme of colouring--salmon-pink1 orange1 green1 and black--was suggested to ,aubrey ,beardsley by a ,french poster4 #bi-a_/b x #ac inches4 ,the same reduced1 in colours1 to form an advertisement slip for insertion in books and magazines4 ,the same reduced1 printed in black1 #f copies only1 on ,japanese vellum4 ,reproduced in ,fifty ,drawings and ,later ,work4 ,also used as cover-design for the ,dream and the ,business1 by ,john ,oliver ,hobbes4 ,similar motif1 black and white drawing2 exhibited at the ,new ,english ,art ,club ,exhibition at the ,new ,gallery4 7,property of ,t4 ,fisher ,unwin1 ,esq47 #gh4 ,,poster ,,for ,,mr ,,fisher ,,unwin',s ,,children',s ,,books4 ,woman reading while seated in a groaning-chair2 black purple4 ,reproduced in black in ,fifty ,drawings and ,later ,work4 #gi4 ,poster ,design4 ,a lady and large sunflower1 scheme of colouring purple and yellow4 ,unpublished4 ,purchased by ,mr ,fisher ,unwin and destroyed accidentally in ,new ,york4 #hj4 ,,sketch ,,portrait ,,of ,,the ,,artist1 head and shoulders1 three-quarter face to left2 in imaginary costume with ,v-shaped opening to his coat and high-shouldered sleeves2 in charcoal4 ,first published in ,the ,sketch1 ,april #adth1 #ahid1 again in ,early ,work4 #ha4 ,,sketch ,,portrait ,,of ,,henry ,,harland1 head and shoulders1 three-quarter face to right1 in charcoal4 ,first published in ,the ,sketch1 ,april #aath1 #ahid1 again in ,early ,work4 7,property of ,john ,lane1 ,esq47 #hb4 ,,portrait ,,of ,,james ,m',,neill ,,whistler4 7,property of ,walter ,sickert1 ,esq47 #hc4 ,,the ,,fat ,,woman 7a caricature of ,mrs ,whistler74 ,first published in ,to-,day1 ,may #abth1 #ahid1 afterwards republished in ,fifty ,drawings and ,later ,work2 also in ,le ,courrier ,francais1 ,november #aath1 #ahid1 with the title ,une ,femme bien ,nourrie4 7,formerly the property of the late ,mrs ,cyril ,martineau 7,miss ,k4 ,savile ,clarke774 #hd4 ,,waiting1 a haggard1 expectant woman1 wearing ,v-necked bodice and large black hat1 seated in a restaurant1 with a half-emptied wine-glass on a small round table before her2 black-ink drawing1 #g-c_/h x #c-a_/b inches1 unpublished4 7,property of ,pickford ,waller1 ,esq47 #he4 ,,masked ,,pierrot ,,and ,,female ,,figure1 water and gondolas in background1 small square in black and white1 published in ,to-,day1 ,may #abth1 #ahid4 #hf4 ,,salome1 ,a tragedy in one act4 ,translated by ,lord ,alfred ,douglas from the ,french of ,oscar ,wilde4 ,elkin ,mathews and ,john ,lane1 #ahid4 ,pictured with the following designs by ,aubrey ,beardsley3---- ,i4 ,the woman 7or man7 in the moon 7,frontispiece74 ,border ,design for ,title-page 7two states1 the first cancelled74 7,property of ,john ,lane1 ,esq47 ,border ,design for ,list of ,pictures4 7,property of ,john ,lane1 ,esq47 ,,ii4 ,the ,peacock ,skirt4 7,property of ,john ,lane1 ,esq47 ,,iii4 ,the ,black ,cape4 ,a burlesque1 substituted for a drawing of ,john and ,salome1 which was printed but withheld1 and subsequently published in ,early ,work4 7,property of ,john ,lane1 ,esq47 ,,iv4 ,a ,platonic ,lament4 7,property of ,john ,lane1 ,esq47 ,v4 ,enter ,herodias 7two states1 the first cancelled74 7,the drawing in its original state the property of ,herbert ,j4 ,pollit ,esq47 ,a proof of this drawing in its first state1 now the property of ,frank ,harris1 ,esq41 is inscribed by the artist on the left-hand top corner3 ,because one figure was undressed ,this little drawing was suppressed4 ,it was unkind1 but never mind1 ,perhaps it all was for the best4 ,,vi4 ,the ,eyes of ,herod4 7,note one of ,herod's white peacocks47 7,property of ,john ,lane1 ,esq47 ,,vii4 ,the ,stomach ,dance4 7,the author makes ,salome dance1 barefooted1 the ,dance of the ,seven ,veils47 7,property of ,john ,lane1 ,esq47 ,,viii4 ,the ,toilette of ,salome4 ,substituted for a former drawing of the same subject1 printed in two states but withheld1 the second state subsequently published in ,early ,work 7,property of ,robert ,ross1 ,esq47 ,,ix4 ,the ,dancer's ,reward4 7,property of ,john ,lane1 ,esq47 ,x4 ,the ,climax4 ,this is a revised and simpler version of the design which had appeared in the first number of ,the ,studio4 ,tailpiece4 ,the corpse of ,salome being coffined in a puff-powder box4 7,property of ,john ,lane1 ,esq47 ,,nos4 ,i41 ,,iv41 ,v41 ,,and ,,vi4 of the above contain caricatures of ,oscar ,wilde4 ,,xi4 ,small design1 printed in gold on cloth1 front cover of ,salome2 another1 consisting of an elaboration of the artist's device1 for the under side of cover4 ,,xii4 ,study of a design of peacock feathers for cover of ,salome1 not used at the time1 but subsequently reproduced for the first time in facsimile in ,early ,work1 and again as an illustration following the title-page in reissue of ,salome 7,john ,lane1 #aijg72 also in gold on light green cloth for ornament of the binding1 and in olive green on orange-red for the paper cap4 ,also in gold on blue cloth for binding of ,under the ,hill1 #aijd4 7,property of ,john ,lane1 ,esq47 ,this 7#aijg7 edition1 moreover1 contains the two illustrations suppressed in the original edition1 viz41 ,john and ,salome 7,property of ,john ,lane1 ,esq471 now placed in order as ,no4 #h1 and ,the ,toilet of ,salome1 ,,ii41 now placed as ,no4 #ac 7,property of ,john ,lane1 ,esq47 and an original title-page4 ,,xiii4 ,the ,salome drawings were reproduced the actual size of the originals1 and published in a portfolio4 ,in this was included a design of ,salome seated upon a settee4 ,described in ,early ,work as ,maitresse d',orchestre4 7,john ,lane1 #aijg47 #hg4 ,,dancer1 ,,with ,,domino4 7,the property of ,his ,honour ,judge ,evans47 #hh4 ,,plays1 ,,by ,,john ,,davidson4 ,elkin ,mathews and ,john ,lane1 #ahid4 ,design on frontispiece to1 containing portrait caricatures of ,sir ,augustus ,harris1 and ,oscar ,wilde and ,henry ,harland1 black and white2 the same design in gold on the cloth cover4 ,reproduced in ,early ,work1 and again1 with ,aubrey ,beardsley's letter to the ,daily ,chronicle on the subject1 in ,under the ,hill1 #aijd4 7,property of ,john ,lane1 ,esq47 ,design for ,title-,page of the above-named4 ,black and white2 reproduced in ,early ,work4 #hi4 ,,the ,,yellow ,,book1 #ahid ,,and #ahie4 ,i4 ,design for prospectus of the ,yellow ,book3 a woman examining books in a box at a bookstall3 black on yellow paper4 ,elkin ,mathews and ,john ,lane1 #ahid4 7,property of ,john ,lane1 ,esq47 ,vol4 ,i41 ,april #ahid4 ,elkin ,mathews and ,john ,lane4 ,,ii4 ,design on front side of yellow cover4 7,property of ,john ,lane1 ,esq47 ,,iii4 ,design on under side of cover2 the same repeated in the later volumes4 7,property of ,john ,lane1 ,esq47 ,,iv4 ,design on title-page3 a woman playing a piano in a meadow4 ,reproduced1 with ,aubrey ,beardsley's letter on the subject1 to the ,pall ,mall ,budget1 in ,under the ,hill 7#aijd74 7,property of ,john ,lane1 ,esq47 ,v4 ,l',education ,sentimentale3 in line and wash4 ,,vi4 ,night ,piece4 ,,vii4 ,portrait of ,mrs ,patrick ,campbell in profile1 to left in outline4 ,formerly in possession of ,oscar ,wilde1 now in ,national ,gallery at ,berlin4 ,,viii4 ,bookplate 7designed in #ahic7 for ,john ,lumsden ,propert1 ,esq4 ,vol4 ,,ii41 ,july #ahid4 ,elkin ,mathews and ,john ,lane4 ,,ix4 ,design on front side of cover4 7,property of ,john ,lane1 ,esq47 ,x4 ,design on title-page4 ,,xi4 ,the ,comedy-,ballet of ,marionettes4 ,three designs4 ,,xii4 ,garcons de ,cafe4 7,property of ,a4 ,w4 ,king1 ,esq47 ,,xiii4 ,the ,slippers of ,cinderella4 ,the artist subsequently coloured the original with scarlet and green1 in which state it is unpublished4 7,property of ,brandon ,thomas1 ,esq47 ,,xiv4 ,portrait of ,madame ,rejane1 full-length profile to left1 in outline4 7,property of ,frederick ,h4 ,evans1 ,esq47 ,volume ,,iii41 ,october #ahid4 ,john ,lane4 ,,xv4 ,design on front side of cover4 7,property of ,john ,lane1 ,esq47 ,,xvi4 ,design on title-page4 ,,xvii4 ,portrait of ,mantegna4 ,published1 for a practical joke1 in the name of ,philip ,broughton4 7,property of ,g4 ,bernard ,shaw1 ,esq47 ,,xviii4 ,portrait of the artist2 fancy portrait of himself in bed4 7,property of ,john ,lane1 ,esq47 ,,xix4 ,lady ,gold's ,escort4 7,property of ,brandon ,thomas1 ,esq47 ,,xx4 ,the ,wagnerites at the performance of ,tristan und ,isolde4 ,reproduced1 on large scale1 in ,le ,courrier ,francais1 ,december #bcrd1 #ahid1 with the title ,wagneriens et ,wagneriennes4 ,,xxi4 ,la ,dame aux ,camelias4 ,reprinted in ,st ,paul's1 ,april #bnd1 #ahid1 with the title ,girl at her ,toilet4 7,formerly the property of the late ,miss ,k4 ,savile ,clarke ,mrs ,cyril ,martineau47 ,,xxii4 ,from a pastel2 half-length study of a woman in white cap1 facing to left4 7,published1 for a practical joke1 in the name of ,albert ,foschter47 ,volume ,,iv41 ,january #ahie4 ,john ,lane4 ,,xxiii4 ,design1 on front side of cover4 ,,xxiv4 ,design on title-page4 ,,xxv4 ,the ,mysterious ,rose ,garden1 burlesque ,annunciation4 7,property of ,john ,lane1 ,esq47 ,,xxvi4 ,the ,repentance of ,mrs ----4 7,the kneeling figure is a reminiscence of the principal one in ,the ,litany of ,mary ,magdalen47 ,,xxvii4 ,portrait of ,miss ,winifred ,emery 7outline74 7,property of ,mrs ,cyril ,maude47 ,,xxviii4 ,frontispiece for ,juvenal4 ,double-page supplement4 ,,xxix4 ,design for ,yellow ,book ,cover1 not used4 ,first published in ,early ,work4 7,property of ,john ,lane1 ,esq47 ,,xxx4 ,show-card to advertise ,the ,yellow ,book2 female figure standing1 her hat hanging from her right hand1 and daffodils growing at her feet4 ,dark green on light yellow paper4 ,reproduced in black-and-white in ,early ,work4 7,the property of ,john ,lane1 ,esq47 #ij4 ,,portrait ,,of ,,rejane wearing a broad-brimmed hat with dark bow in front1 head and shoulders1 full face slightly to left1 wash drawing4 ,reproduced by ,swan ,electric ,engraving ,company for the ,yellow ,book1 but not used4 ,unpublished4 #ia4 ,,rejane1 black-and-white design of the actress standing1 half length1 fan in hand1 against a white curtain with conspicuous tassel4 ,first published in ,second ,book1 and again1 in a reduced state1 as ,title-page ornament1 hitherto unpublished in ,early ,work4 #ahic-d4 #ib4 ,,madame ,,rejane1 full-length portrait sketch1 ink and wash4 ,first published in ,second ,book1 again in ,later ,work4 #ic4 ,,madame ,,rejane1 profile to left2 sitting1 legs extended1 on a sofa1 ink and wash4 ,first published in ,pen ,drawing and ,pen ,draughtsmen1 by ,joseph ,pennell 7,macmillan1 #ahid71 again in ,fifty ,drawings1 and in the ,idler ,magazine1 ,march #ahig4 #id4 ,,rejane1 portrait head in profile to left1 in red crayon and black ink1 #g-a_/b x #f inches4 ,first published in facsimile in ,the ,studio1 ,may #ahih1 again in ,later ,work4 7,property of ,frederick ,h4 ,evans1 ,esq47 #ahid4 #ie4 ,a ,,poster ,,design4 ,back view of a woman1 her face in profile to right1 holding a pigmy in her right hand4 ,first published in ,early ,work4 7,property of ,john ,lane1 ,esq47 #if4 ,a ,,poster ,,design 7,singer74 ,woman seated at a piano4 ,first reproduced in ,the ,poster1 ,october #ahih1 again in ,second ,book and in ,later ,work4 #ig4 ,,lady ,,to ,,right ,,gazing ,,at ,a ,,hat ,,on ,a ,,milliner',s ,,bonnet ,,stand1 headpiece for the ,idlers' ,club section in the ,idler ,magazine1 #ahid4 #ih4 ,,pierrot ,,and ,,black ,,cat1 small square in black-and-white for a book ornament4 #ii4 ,,head ,,and ,,shoulders ,,of ,a ,,chinese ,,priest1 together with the ,head of a ,satyr4 #be copies only printed on folio sheet1 and #aj copies only in red4 ,it is not known for what they were intended4 ,published by ,james ,tregaskis1 ,caxton ,head4 #ajj4 ,,les ,,passades1 night scene1 in pen-and-ink with ink wash1 #aj x #e inches4 ,first published in ,to-,day1 ,november #ag1 #ahid1 again in the ,idler ,magazine1 ,march #ahig4 #aja4 ,,venus ,,between ,,terminal ,,gods4 ,frontispiece for a version of the ,tannhaeuser legend1 to be published by ,messrs ,h4 ,henry ,co4 ,ltd41 a project never completed4 ,design in black-and-white1 showing1 especially in the treatment of flying dove and of the background of rose-trellis1 the influence of ,charles ,ricketts or ,laurence ,housman4 ,reproduced in ,second ,book1 and again in ,later ,work4 ,circa #ahid-e4 #ajb4 ,,frontispiece ,,and ,,title-,,page1 together forming one complete design1 for ,the ,story of ,venus and ,tannhaeuser1 to be published by ,john ,lane1 but never completed4 7,cf4 ,under the ,hill in ,the ,savoy1 #ahif47 ,reproduced in ,early ,work4 ,dated #ahie4 7,property of ,john ,lane1 ,esq47 #ajc4 ,,the ,,return ,,of ,t,a,n,n,h,ae,u,s,e,r ,,to ,,venusberg4 ,a design originally intended for the above-named book4 ,subsequently presented by the artist to ,j4 ,m4 ,dent1 ,esq4 ,first published1 in illustration of an article by ,max ,beerbohm1 in the ,idler ,magazine for ,may #ahih1 and again1 in larger format and1 as the initials in left hand corner show1 reversed1 in ,second ,book and again in ,later ,work4 ,the ,idler version has a slight effect of half-tone in the brambles in the foreground1 but the ,later ,work reproduction is pure black-and-white contrast4 #ajd4 ,,venus4 ,design for title-page1 in black-and-white4 ,first published in ,the ,studio1 #ahih1 and afterwards in ,early ,work1 ,march #b1 #ahii1 where it is described as hitherto unpublished4 7,the property of ,john ,lane1 ,esq47 #aje4 ,,design ,,for ,,cover ,,of ,,the ,,cambridge ,a1 ,b1 ,c4 ,reproduced in ,early ,work4 #ajf4 ,,pierrot ,,as ,,caddie1 ,golf ,club ,card1 designed for the opening of ,the ,prince's ,ladies' ,golf ,club1 ,mitcham1 pen-and-ink4 ,published in ,early ,work4 7,formerly the property of ,mrs ,falconer-,stuart1 now of ,r4 ,hippesley ,cox1 ,esq47 ,dated #ahid4 #ajg4 ,a ,,poster ,,design2 two female figures drawn in black-and-white for ,mr ,william ,heinemann4 ,reproduced in ,early ,work4 #ajh4 ,,the ,,london ,,garland1 published by the ,society of ,illustrators1 #ahie4 ,a pen-and-ink drawing of a female in very elaborated dress reaching from her neck to the ground1 intended to represent a ballet-dancer with a costume as prescribed by ,mrs ,grundy4 ,the original drawing1 unfinished1 contains another figure1 not reproduced1 on the left4 ,the original title for this drawing was ,at a ,distance4 ,reproduced in ,second ,book4 7,property of ,joseph ,pennell1 ,esq47 #aji4 ,,autumn4 ,design in black-and-white for a calendar to be published by ,william ,heinemann4 ,reproduced in ,early ,work4 #aaj4 ,,tales ,,of ,,mystery ,,and ,,wonder1 by ,edgar ,allen ,poe 7,stone ,kimball1 ,chicago1 ,u4,s4,a41 #ahie72 four designs in pen-and-ink for large paper edition of---- ,i4 ,the ,murders in the ,rue ,morgue4 ,,ii4 ,the ,black ,cat4 ,,iii4 ,the ,masque of the ,red ,death4 ,first published in the ,chap ,book 7,chicago71 ,aug4 #ae1 #ahid1 again in same1 ,april #a1 #ahih4 ,,iv4 ,the ,fall of the ,house of ,usher4 #aaa4 ,,outline ,,portrait ,,of ,,the ,,artist in profile to left2 in imaginary costume1 with a lace ruff to the neck1 and earrings in the ears4 ,published in ,posters in ,miniature1 and again in ,early ,work4 ,a half-tone block from variant of the same1 the earring as well as the button on lappel and waist of coat more pronounced1 was published in ,the ,hour1 ,march #bg1 #ahie1 and reproduced in ,magazine of ,art1 ,november #ahif4 #aab4 ,a ,,child ,,standing ,,by ,,its ,,mother',s ,,bed1 black-and-white1 chiefly outline4 ,first published in ,the ,sketch1 ,april #aj1 #ahie4 ,reproduced in ,early ,work4 ,formerly in the possession of ,max ,beerbohm1 ,esq41 but since lost4 #aac4 ,,the ,,scarlet ,,pastorale1 pen-and-ink4 ,first published in ,the ,sketch1 ,april #aj1 #ahie4 ,also printed in scarlet on white4 ,reproduced in ,fifty ,drawings4 #aad4 ,,portrait ,,of ,,miss ,,ethel ,,devereux1 pencil drawing4 7,property of ,mrs ,roy ,devereux47 ,circa #ahie4 #aae4 ,,design ,,for ,,an ,,invitation ,,card1 ink outline2 seated ,pierrot smoking1 a copy of the ,yellow ,book1 ,vol4 ,,iv41 on the couch at his side4 ,drawn for ,mr ,john ,lane's ,sette of ,odd ,volumes ,smoke4 ,reproduced in ,the ,studio1 ,september #ahie4 7,property of ,john ,lane1 ,esq47 #aaf4 ,,three ,,decorative ,,designs from the brown paper cover of ,aubrey ,beardsley's own copy of ,tristan und ,isolde4 ,two reproduced in ,later ,work4 7,property of ,frederick ,h4 ,evans1 ,esq47 #aag4 ,,max ,,alvary ,,as ,,tristan in ,wagner's opera ,tristan und ,isolde1 half-length profile to left1 pen-and-ink and wash with unusual monogram signature4 #aj x #e-a_/b inches4 ,first published in ,aubrey ,beardsley's ,drawings1 a catalogue and a list of criticisms1 by ,a4 ,e4 ,gallatin 7,new ,york1 #aijc74 7,formerly the property of ,rev4 ,g4 ,h4 ,palmer1 now of ,a4 ,e4 ,gallatin1 ,esq47 #aah4 ,,frau ,,klafsky ,,as ,,isolde in above-named opera1 pen-and-ink and pale green water-colour1 #ac x #d-c_/d inches4 ,first published in the ,critic 7,new ,york71 ,december1 #aijb4 7,formerly the property of ,rev4 ,g4 ,h4 ,palmer1 now of ,a4 ,e4 ,gallatin1 ,esq47 #aai4 ,,isolde2 autolithograph in scarlet1 grey1 green1 and black on white2 supplement to ,the ,studio1 ,october #ahie4 #abj4 ,,woman ,,reclining ,,in ,a ,,meadow ,,by ,,the ,,border ,,of ,a ,,lake1 ,,listening ,,to ,a ,,faun ,,reading ,,out ,,of ,a ,,book ,,to ,,her4 ,oblong design in ink on white2 a variant of the design for wrapper of ,leonard ,smithers' ,catalogue1 ,no4 #c4 ,first published in ,the ,studio1 ,may #ahih1 again in ,early ,work1 where it is described as hitherto unpublished4 7,property of ,john ,lane1 ,esq47 #ahie4 #aba4 ,,design ,,for ,,wrapper ,,of ,,catalogue ,,of ,,rare ,,books1 ,,no4 #c4 7,leonard ,smithers1 ,september #ahie47 ,the same figures as in the last-named1 but the landscape has an urn and additional trees to adapt the design to upright shape4 ,black on pale blue-green paper4 #abb4 ,,chopin ,,ballade ,,iii41 illustration for4 ,woman rider1 mounted on a prancing white horse to left4 ,wash drawing4 ,first published in ,the ,studio1 ,may #ahih1 in half tones of grey1 with deep purplish black2 again in ,second ,book4 7,property of ,charles ,holme1 ,esq47 #ahie4 #abc4 ,,chopin',s ,,nocturnes1 frontispiece to4 ,pen-and-ink and wash4 ,first published in ,early ,work4 7,property of ,john ,lane1 ,esq47 #abd4 ,,earl ,,lavender1 by ,john ,davidson 7,ward ,downey1 #ahie71 design for frontispiece to4 ,woman scourging a kneeling1 barebacked figure4 ,pen-and-ink outline4 ,reproduced in ,early ,work4 7,property of ,john ,lane1 ,esq47 #abe4 ,,young ,,ofeg',s ,,ditties1 by ,george ,egerton 7,john ,lane1 #ahie71 title-page and cover design for4 #abf4 ,,messalina1 with another woman on her left1 black-and-white1 with black background4 ,first published in ,second ,book1 again in ,early ,work1 where it is described as hitherto unpublished4 #ahie4 #abg4 ,,title-,,page ,,ornament1 standing nude figure playing double-bass1 black background4 ,first published in ,early ,work4 #abh4 ,,portrait ,,of ,,miss ,,letty ,,lind in ,the ,artist's ,model4 ,pen-and-ink outline4 ,published in ,early ,work4 7,property of ,miss ,letty ,lind47 #abi4 ,,atalanta ,,in ,,calydon1 full-length figure to right2 pen-and-ink and wash4 ,first published in ,early ,work4 7,property of ,john ,lane1 ,esq47 #acj4 ,,cover ,,design ,,for ,,fairy ,,tales by ,count ,hamilton1 to be published by ,messrs ,h4 ,henry ,co41 ,ltd4 #aca4 ,,balzac',s ,,la ,,comedie ,,humaine1 design 7head1 full face7 for front side and another for the reverse of cover4 ,reproduced in ,later ,work4 #acb4 ,,the ,,brook ,,trills ,,of ,,pernicious ,,by ,,richard ,,le ,,philistienne1 title-page to burlesque1 that of ,the ,book ,bills of ,narcissus1 by ,richard le ,gallienne4 ,unpublished4 7,property of ,j4 ,m4 ,dent1 ,esq47 #acc4 ,a ,,self-,,portrait1 grotesque outline profile to left1 with diminutive silk hat1 from the fly-leaf of an envelope in the possession of ,j4 ,m4 ,dent1 ,esq4 ,unpublished4 #acd4 ,,the ,,shaving ,,of ,,shagpat1 by ,george ,meredith1 small sketch to illustrate1 in pen-and-ink1 contained in a letter to ,frederick ,h4 ,evans1 ,esq4 ,unpublished4 #ace4 ,,an ,,evil ,,motherhood1 by ,walt ,ruding 7,elkin ,mathews1 #ahif71 frontispiece to4 ,pen-and-ink4 ,reproduced in ,early ,work4 #acf4 ,,cafe ,,noir4 ,another design for the frontispiece of the last-named book1 pen-and-ink and wash2 bound up in six review copies only1 and then recalled4 ,reproduced in ,early ,work4 7,property of ,m4 ,jean ,ruelle47 #acg4 ,,title-,,page1 an architectonic design4 ,first published as the title of ,early ,work 7,john ,lane1 #ahii74 7,property of ,john ,lane1 ,esq47 #ach4 ,,ornamental ,,title-,,page ,,for ,,the ,,parade4 ,messrs ,h4 ,henry ,co41 ,ltd41 #ahif4 ,reproduced in ,later ,work4 #aci4 ,,tail-,,piece to ,catalogue of ,lord ,carnarvon's ,library1 #ahif4 #adj4 ,,sappho1 by ,h4 ,t4 ,wharton4 7,john ,lane1 #ahif47 ,design for cover in gold on blue4 ,reproduced in ,early ,work4 7,property of ,john ,lane1 ,esq47 #ada4 ,,pierrot',s ,,library4 7,john ,lane1 #ahif47 ,design for title-page of1 two designs for end papers1 printed in olive green2 design for front cover and vignette for reserve cover1 printed in gold on red cloth4 ,reproduced in ,early ,work4 7,property of ,john ,lane1 ,esq47 #adb4 ,,love ,,enshrined ,,in ,a ,,heart ,,in ,,the ,,shape ,,of ,a ,,mirror1 pen-and-ink4 ,first published in ,aubrey ,beardsley by ,arthur ,symons4 7,sign of the ,unicorn1 #ahih47 7,property of ,andre ,raffalovich1 ,esq47 #adc4 ,,the ,,lysistrata ,,of ,,aristophanes4 7,leonard ,smithers1 privately printed1 #ahif47 ,eight pen-and-ink designs to illustrate---- ,i4 ,lysistrata4 ,,ii4 ,the ,toilet of ,lampito4 ,,iii4 ,lysistrata haranguing the ,athenian ,women4 ,,iv4 ,lysistrata defending the ,acropolis4 ,v4 ,two ,athenian ,women in ,distress4 ,,vi4 ,cinesias soliciting ,myrrhina4 ,,vii4 ,the ,examination of the ,herald4 ,,viii4 ,the ,lacedemonian ,ambassadors4 ,an expurgated version of ,no4 #c was published in ,second ,book1 and was repeated together with expurgated versions or fragments from the remainder of the set in ,later ,work4 #add4 ,,the ,,rape ,,of ,,the ,,lock1 by ,alexander ,pope4 ,an heroi-comical poem in five cantos1 embroidered with nine drawings by ,aubrey ,beardsley1 #dto4 ,leonard ,smithers1 #ahif4 ,now published by ,john ,lane4 7,property of ,messrs ,keppel1 ,new ,york47 ,i4 ,the ,dream4 ,,ii4 ,the ,billet-,doux 7vignette74 ,reproduced in ,st ,paul's1 ,april #b1 #ahih4 7,property of ,mrs ,edmund ,davis47 ,,iii4 ,the ,toilet4 ,,iv4 ,the ,baron's ,prayer4 ,v4 ,the ,barge4 ,,vi4 ,the ,rape of the ,lock4 7,the property of ,messrs ,keppel1 ,new ,york47 ,,vii4 ,the ,cave of ,spleen4 ,,viii4 ,the ,battle of the ,beaux and the ,belles4 ,reproduced in the ,idler1 ,march #ahig4 ,,ix4 ,the ,new ,star 7cul-de-lampe74 ,cover design for the original edition4 ,cover design for the ,bijou edition4 7,john ,lane47 ,reproduced in ,later ,work4 #ade4 ,,design ,,for ,,wrapper ,,of ,,catalogue ,,of ,,rare ,,books1 ,no4 #g4 7,leonard ,smithers1 #ahif47 ,a lady seated on a striped settee reading2 a parrot on stand on the right4 ,black on leaden-grey paper4 ,reproduced in ,second ,book1 #ahif1 and ,later ,work4 #adf4 ,,the ,,prospectus ,,of ,,the ,,savoy4 ,,design ,,for4 ,i4 ,a burlesque ,cupid on a stage with footlights1 one hand holding a copy of the book1 whence it appears that the original intention was to produce the first number in ,december #ahie4 ,reproduced in ,later ,work4 ,latter part of #ahie4 7,property of ,john ,lane1 ,esq47 ,,ii4 ,a suppressed variant of the above1 same motif reversed1 only with ,john ,bull substituted for the ,cupid4 ,reproduced in ,later ,work4 ,,iii4 ,initial letter ,a in the above ,prospectus4 ,reproduced in ,later ,work4 ,,iv4 ,publisher's ,trade-mark for ,leonard ,smithers4 ,first published in ,savoy ,prospectus4 ,the same1 name omitted1 appears in ,later ,work with the title of ,siegfried1 #ahie4 ,,the ,,savoy1 ,no4 #a1 ,january #ahif4 7,leonard ,smithers47 ,v4 ,cover design1 in two states4 ,the original was suppressed because it depicted too realistically the contempt of the child in the foreground for the ,yellow ,book1 with which the artist had recently ceased to be connected4 ,the revised version was republished in ,fifty ,drawings1 and again in ,later ,work4 7,property of ,mrs ,george ,bealby ,wright47 ,,vi4 ,title-page4 ,repeated as title-page in ,no4 #b1 and republished in ,later ,work4 ,,vii4 ,drawing to face ,contents4 ,caricature of ,john ,bull4 ,republished in ,later ,work4 ,,viii4 ,the ,three ,musicians4 ,illustration of the artist's poem1 same title4 ,republished in ,fifty ,drawings and ,later ,work4 ,,ix4 ,another drawing to illustrate the above1 but withheld4 ,it appeared for the first time in ,a ,book of ,fifty ,drawings1 #ahig4 ,republished in ,later ,work and ,under the ,hill4 ,x4 ,tailpiece to the above4 ,republished in ,later ,work and ,under the ,hill4 ,,xi4 ,the ,bathers 7on ,dieppe ,beach74 ,republished in ,fifty ,drawings and ,later ,work4 ,,xii4 ,the ,moska4 ,this subject was inspired by the children's dance at the ,casino1 ,dieppe4 ,republished in the ,idler ,magazine1 ,march #ahig1 and again in ,later ,work4 7,property of ,mrs ,edmund ,davis47 ,,xiii4 ,the ,abbe4 ,this and the two designs which follow appeared as illustrations to ,under the ,hill1 a romantic novel1 by ,aubrey ,beardsley4 ,republished in ,later ,work4 ,all the illustrations of ,under the ,hill reissued with text in a volume bearing same title4 ,john ,lane1 #aijd4 ,,xiv4 ,the ,toilet of ,helen4 ,republished in ,fifty ,drawings and ,later ,work4 ,,xv4 ,the ,fruit ,bearers4 ,republished in ,later ,work4 ,,xvi4 ,a large ,christmas ,card1 in black-and-white4 ,madonna1 with fur-edged1 richly-flowered mantle4 ,issued together with1 but not bound in1 the book4 ,republished in ,fifty ,drawings and ,later ,work4 ,,the ,,savoy4 ,no4 #b4 ,april #ahif4 ,,xvii4 ,cover ,design4 ,republished in ,later ,work4 ,,xviii4 ,a ,foot-note4 7,fancy portrait of the artist47 ,republished1 with omissions1 in ,later ,work4 ,also adapted in gold on scarlet for cloth cover of ,second ,book4 ,,xix4 ,the ,ecstasy of ,saint ,rose of ,lima4 ,illustration of ,under the ,hill4 ,republished in ,fifty ,drawings and ,later ,work4 ,,xx4 ,the ,third ,tableau of ,das ,rheingold4 ,republished in ,fifty ,drawings and ,later ,work4 ,scene reproduced from ,the ,rape of the ,lock4 ,,the ,,savoy4 ,no4 #c4 ,july #ahif4 ,,xxi4 ,cover ,design4 ,republished in ,later ,work4 ,,xxii4 ,title-page4 ,puck on ,pegasus4 ,repeated for the title of all the succeeding numbers4 ,republished in ,later ,work4 ,also1 reduced1 as design for title-page of ,fifty ,drawings1 and in gold on scarlet for the under side of cloth cover of same4 ,,xxiii4 ,the ,coiffing4 ,this and the following design accompanied ,aubrey ,beardsley's ,ballad of a ,barber4 ,the ,coiffing was republished in the ,idler ,magazine1 ,march #ahig1 and in ,fifty ,drawings and ,later ,work4 7,property of ,messrs ,obach ,co47 ,,xxiv4 ,a ,cul-de-,lampe4 ,cupid carrying a gibbet4 ,republished in ,later ,work4 ,,the ,,savoy4 ,no4 #d4 ,august #ahif4 ,,xxv4 ,cover ,design4 ,republished in ,later ,work4 ,,the ,,savoy4 ,no4 #e4 ,september #ahif4 ,,xxvi4 ,cover ,design4 7,signed1 for a practical joke1 ,giulio ,floriani47 ,republished in ,fifty ,drawings and ,later ,work4 ,,xxvii4 ,the ,woman in ,white4 ,a sketch in white on brown paper4 ,republished in ,fifty ,drawings and ,later ,work4 ,,the ,,savoy4 ,no4 #f4 ,october #ahif4 ,,xxviii4 ,cover ,design2 the ,fourth ,tableau of ,das ,rheingold4 ,republished in ,fifty ,drawings and ,later ,work4 ,,xxix4 ,the ,death of ,pierrot4 ,a pen-and-ink sketch4 ,reproduced in ,later ,work4 7,property of ,messrs ,obach ,co47 ,,the ,,savoy4 ,no4 #g4 ,november #ahif4 ,,xxx4 ,cover ,design4 ,republished in ,later ,work4 ,,xxxi4 ,ave atque ,vale2 ,catullus1 ,carmen ,c4,i4 ,republished in ,fifty ,drawings and ,later ,work4 ,,xxxii4 ,tristan und ,isolde4 ,republished in ,later ,work4 ,,the ,,savoy4 ,no4 #h 7the last issued74 ,december #ahif4 ,,xxxiii4 ,cover ,design4 ,republished in ,later ,work4 ,the same adapted1 with the addition of heavy black bands1 and is printed in green and scarlet1 for small poster to advertise the completed work4 ,,xxxiv4 ,a ,repetition of ,tristan und ,isolde4 ,republished in ,later ,work4 ,,xxxv4 ,don ,juan1 ,sganarelle and the ,beggar2 from ,moliere's ,don ,juan4 ,republished in ,later ,work4 ,,xxxvi4 ,mrs ,margery ,pinchwife1 from ,william ,wycherley's ,country ,wife4 ,republished in ,later ,work4 ,,xxxvii4 ,frontispiece to ,the ,comedy of the ,rheingold4 ,republished in ,later ,work4 ,,xxxviii4 ,flosshilde1 a ,rhine ,maiden2 to illustrate ,das ,rheingold4 ,republished in ,later ,work4 7,property of ,herbert ,j4 ,pollit1 ,esq47 ,,xxxix4 ,erda2 to illustrate ,das ,rheingold4 ,republished in ,later ,work4 ,,xl4 ,alberich2 to illustrate ,das ,rheingold4 ,republished in ,later ,work4 7,property of ,herbert ,j4 ,pollit1 ,esq47 ,,xli4 ,felix ,mendelssohn ,bartholdy4 ,republished in ,later ,work4 7,property of ,herbert ,j4 ,pollit1 ,esq47 ,,xlii4 ,carl ,maria von ,weber4 ,republished in ,later ,work4 ,,xliii4 ,count ,valmont1 from ,les ,liaisons ,dangereuses1 by ,choderlos de ,laclos4 ,republished in ,later ,work4 ,,xliv4 ,et in ,arcadia ,ego4 ,republished in ,later ,work4 ,,xlv4 ,small ornament for the cover of bound volumes of ,the ,savoy4 ,,xlvi4 ,,sketch ,,of ,a ,,child 7young girl71 unfinished1 in pencil1 on the reverse of ,a ,foot-note4 ,first published in ,early ,work4 7,property of ,frederick ,h4 ,evans1 ,esq47 #adg4 ,a ,,seated ,,figure4 ,unpublished design for the ,savoy1 occurring as a grotesque in ,bon ,mots4 7,property of ,g4 ,d4 ,hobson1 ,esq47 #adh4 ,,verses1 ,,by ,,ernest ,,dowson 7,leonard ,smithers1 #ahif71 cover design for4 ,reproduced in ,later ,work4 7,property of ,john ,lane1 ,esq47 #adi4 ,,the ,,pierrot ,,of ,,the ,,minute4 ,a ,dramatic ,phantasy in one act4 ,by ,ernest ,dowson4 ,leonard ,smithers1 #ahig4 7,property of ,john ,lane1 ,esq47 ,four designs to illustrate3---- ,i4 ,frontispiece4 ,,ii4 ,headpiece4 ,,iii4 ,initial letter ,p4 ,,iv4 ,cul-de-,lampe4 ,reproduced in ,second ,book and ,later ,work4 ,cover design for the same4 #aej4 ,,apollo ,,pursues ,,daphne4 7,property of ,herbert ,j4 ,pollit1 ,esq47 #aea4 ,,the ,,souvenirs ,,of ,,leonard1 ,cover design for4 ,printed in gold on purple4 ,reproduced in ,later ,work4 #ahig4 #aeb4 ,,the ,,life ,,and ,,times ,,of ,,madame ,,du ,,barry1 by ,douglas4 ,leonard ,smithers1 #ahig4 ,cover design for4 ,reproduced in ,later ,work4 #ahig4 #aec4 ,,frontispiece ,,to ,a ,,book ,,of ,,bargains1 by ,vincent ,o',sullivan4 ,leonard ,smithers1 #ahig4 ,reproduced in the ,idler1 ,march #ahig4 #aed4 ,,cover ,,design ,,for ,a ,,book ,,of ,,fifty ,,drawings1 ,,by ,,aubrey ,,beardsley4 ,leonard ,smithers1 #ahig4 ,reproduced in gold on scarlet cloth4 ,republished on a reduced scale1 in black-and-white1 in ,later ,work4 #aee4 ,,silhouette ,,of ,,the ,,artist4 ,first published as a tailpiece at the end of ,fifty ,drawings4 ,also in ,idler ,magazine1 ,march #ahig1 and in ,later ,work4 #aef4 ,,book-,,plate ,,of ,,the ,,artist4 ,first published in ,fifty ,drawings1 #ahig1 also in ,later ,work4 #aeg4 ,,ali ,,baba4 ,,cover ,,design ,,for ,,the ,,forty ,,thieves4 ,i4 ,first published in ,second ,book1 again in ,later ,work1 #aija4 7,property of ,messrs ,robson ,co47 ,,ii4 ,,ali ,,baba ,,in ,,the ,,wood4 ,first published in ,fifty ,drawings1 #ahig4 ,also in ,idler1 ,may #ahih1 and again in ,later ,work4 #aeh4 ,,atalanta ,,in ,,calydon4 ,first published in ,fifty ,drawings1 #ahig2 also in the ,idler ,magazine1 ,march #ahig1 and again in ,later ,work4 7,this drawing was exhibited at the ,carfax ,exhibition1 ,october #aijd1 under the title of ,diana1 #gg47 #aei4 ,,messalina ,,returning ,,from ,,the ,,bath4 ,pen-and-ink and water colours4 ,first published in ,second ,book1 again in ,later ,work4 ,this drawing1 together with the other one of ,messalina1 drawn in #ahie 7see supra71 two of ,bathyllus1 and one representing ,juvenal scourging a woman 7this last1 slightly altered1 reproduced in ,later ,work71 belongs to a series of illustrations to the ,sixth ,satire of ,juvenal4 ,leonard ,smithers1 privately printed1 #ahig4 #afj4 ,,the ,,houses ,,of ,,sin1 by ,vincent ,o',sullivan4 ,leonard ,smithers1 #ahig4 ,cover design for4 ,reproduced in ,second ,book1 again in ,later ,work4 #afa4 ,,la ,,dame ,,aux ,,camelias4 ,sketch in water colour to right4 ,on the fly-leaf of a copy of the book given to the artist by ,m4 ,alexandre ,dumas1 fils4 ,first published in ,second ,book1 again in ,later ,work4 #ahig4 #afb4 ,,book-,,plate ,,for ,,miss ,,olive ,,custance 7,lady ,alfred ,douglas74 ,reproduced in photogravure in ,early ,work4 #afc4 ,,arbuscula4 ,drawing in line and wash1 for the edition de luxe of ,vuillier's ,history of ,dancing4 ,william ,heinemann1 #ahig4 ,reproduced in photogravure2 also an early impression of the same printed in a green tint4 7,property of ,john ,lane1 ,esq47 #afd4 ,,mademoiselle ,,de ,,maupin1 by ,theophile ,gautier4 ,leonard ,smithers1 #ahih4 ,designs to illustrate3---- ,i4 ,mademoiselle de ,maupin1 frontispiece1 water colour4 ,reproduced in facsimile by ,messrs ,boussod1 ,valadon ,co41 for limited edition1 and1 like the rest1 in photogravure for ordinary edition4 ,reproduced as frontispiece to ,later ,work4 ,,ii4 ,d',albert 7small design74 ,,iii4 ,d',albert in search of ,ideals4 7,property of ,mrs ,george ,bealby ,wright47 ,,iv4 ,the ,lady at the ,dressing ,table4 7,property of ,walter ,pollett1 ,esq47 ,v4 ,the ,lady with the ,rose4 ,,vi4 ,the ,lady with the ,monkey4 ,all the above reproduced in photogravure in ,later ,work4 #afe4 ,,ben ,,jonson ,,his ,,volpone3 ,,or ,,the ,,foxe4 #dto4 ,leonard ,smithers1 #ahih4 ,i4 ,design in gold on blue for the cloth cover4 ,same in black-and-white for opening page4 ,frontispiece1 design in pen-and-ink4 ,,ii4 ,vignette to the ,argument4 ,initial letter ,v1 with column and tasselled attachments to the capital4 ,this and the remaining designs were executed in pen and crayon4 ,,iii4 ,vignette to ,act ,i4 ,initial letter ,v1 with an elephant1 having a basket of fruits on his back4 7,property of ,herbert ,j4 ,pollit1 ,esq47 ,,iv4 ,vignette to ,act ,,ii4 ,initial letter ,s1 with a monster bird1 having a pearl chain attached to its head4 7,property of ,herbert ,j4 ,pollit1 ,esq47 ,v4 ,vignette to ,act ,,iii4 ,initial letter ,m1 with seated ,venus and ,cupid under a canopy1 between two fantastic gynaecomorphic columns4 7,property of ,herbert ,j4 ,pollit1 ,esq47 ,vignette to ,act ,,iv4 7,the same as the design for ,act ,,ii4 repeated47 ,,vi4 ,vignette to ,act ,v4 ,initial letter ,v1 with a horned terminal figure of a man or satyr4 7,property of ,herbert ,j4 ,pollit1 ,esq47 ,all these ,volpone designs were reproduced in ,later ,work4 ,drawn at the close of #ahig and early part of #ahih1 they constitute the latest designs produced by ,aubrey ,beardsley before his death4 ,in his published ,list1 ,mr ,a4 ,e4 ,gallatin mentions several sketches and other drawings in private letters which1 for lack of detailed information1 ,i have not included in my ,list4 ,many of ,aubrey ,beardsley's drawings are constantly changing hands4 ,in each case the name of the last known owner is given4 ,where no owner's name appears1 no information has been obtainable4 ,some of the finest drawings1 ,i am informed upon good authority1 have now passed into the collection of ,herr ,waerdofer of ,vienna4 ,i desire to acknowledge my indebtedness to the artist's mother and sister1 to ,mr ,g4 ,r4 ,halkett1 ,mr ,h4 ,c4 ,marillier1 ,mr ,h4 ,a4 ,payne1 and ,mr ,pickford ,waller4 ,to ,mr ,frederick ,h4 ,evans1 who kindly placed his collection at my disposal1 ,i am under special obligations4 ,,aymer ,,vallance