VIII.The Woman who Did, by Grant Allen.
IX.Women's Tragedies, by H. D. Lowry, 1895.
X.Grey Roses, by Henry Harland.
XI.At the First Corner, and other Stories, by H. B. Marriott Watson.
XII.Monochromes, by Ella D'Arcy.
XIII.At the Relton Arms, by Evelyn Sharp.
XIV.The Girl from the Farm, by Gertrude Dix.
XV.The Mirror of Music, by Stanley V. Makower.
XVI.Yellow and White, by W. Carlton Dawe.
XVII.The Mountain Lovers, by Fiona Macleod.
XVIII.The Woman who Didn't, by Victoria Crosse.
XIX.Nobody's Fault, by Netta Syrett.
XX.The Three Impostors, by Arthur Machen.
XXI.The British Barbarians, a hill-top novel, by Grant Allen.
XXII.Platonic Affections, by John Smith.
Design for wrapper of "Keynotes" series, John Lane, 1896.
(With the exception of No. 2 all the above Keynotes designs are the property of John Lane, Esq.)
70.The Barbarous Britishers, a tip-top novel, by H. D. Traill. Title-page design (the same employed for the cloth cover), comprising a portrait of Miss Ada Lundberg, the whole being a parody of the design for "The British Barbarians,"vide supra. John Lane, 1896. (Property of John Lane, Esq.) Reproduced in "Early Work."
71.Three Headpieces, two of which appeared inSt Paul's, April 2nd, 1898, the other in the same paper, April 9th, 1898. All three republished in "Early Work." (Property of Henry Reichardt, Esq.) 1893-4.
72.Women regarding a Dead Mouse.Three-quarter figure in leaden grey. Unfinished painting in oils, the only experiment the artist ever made in this medium; influenced by Walter Sickert.c.1894.
73.Menu of the Tenth Annual Dinner of the Playgoers' Club in London.Two drawings, one of them only reproduced in "Early Work." January 28th, 1894.
74.Lucian's True History.Laurence & Sullen, privately printed, 1894. Black and white illustrations to
I.A Snare of Vintage. Reproduced in "Later Work."
Another drawing of the same subject and title, but different rendering, 6 × 4-1/2 inches, was inserted loose in large paper copies only; not noted in "Contents" page of the book.
II.Dreams. Reproduced in "Later Work." This drawing was executed obviously at the same period as "Siegfried" and "The Achieving of the Sangreal."
III., IV.Two more drawings, intended for the same work, but not included in it. Twenty copies of each were printed privately. One of them is unpublished; of the other, the upper portion was published in "Later Work." These illustrations were the earliest of the Artist's designs not intended for public circulation.
Lucian's True History, translated by Francis Hickes, illustrated by William Strang, J. B. Clark, and Aubrey Beardsley, with an Introduction by Charles Whibley, was published by A. H. Bullen. London, 1902.
75.Quilp's Baron Verdigris.Black and white. Designed for Messrs Henry & Co. First published in "Second Book" and again in "Later Work." 1894.
76.Poster for "The Comedy of Sighs," by Dr John Todhunter, at the Avenue Theatre, March 29th, 1894. Three-quarter length figure of woman in deep blue, standing behind a gauze curtain with light green round spots powdered over it, 28-3/4 × 4-3/4 inches. The same has since been printed, the original size, in black and white. The same reduced, and printed in blue on light green paper for the programme sold in the theatre:also printed in black on toned paper for the programme of Mr G. Bernard Shaw's play, "Arms and the Man," April 21st, 1894. Also still further reduced, in black on pale mauve-pink paper for the wrapper of Mr W. B. Yeats's play, "The Land of Hearts' Desire." Reproduced inIdlermagazine, March 1897; again in "Fifty Drawings," also in "Later Work." This was Aubrey Beardsley's first poster design. 1894.
77.Poster for Mr Fisher Unwin's "Pseudonym Library."Female figure in salmon-pink dress standing on the opposite side of the road to a second-hand book-store. The scheme of colouring—salmon-pink, orange, green, and black—was suggested to Aubrey Beardsley by a French poster. 29-1/2 × 13 inches.
The same reduced, in colours, to form an advertisement slip for insertion in books and magazines.
The same reduced, printed in black, 6 copies only, on Japanese vellum. Reproduced in "Fifty Drawings" and "Later Work." Also used as cover-design for the "Dream and the Business," by John Oliver Hobbes.
Similar motif, black and white drawing; exhibited at the New English Art Club Exhibition at the New Gallery. (Property of T. Fisher Unwin, Esq.)
78.Poster for Mr Fisher Unwin's Children's Books.Woman reading while seated in a groaning-chair; black purple. Reproduced in black in "Fifty Drawings" and "Later Work."
79. Poster Design. A lady and large sunflower, scheme of colouring purple and yellow. Unpublished. Purchasedby Mr Fisher Unwin and destroyed accidentally in New York.
80.Sketch Portrait of the Artist, head and shoulders, three-quarter face to left; in imaginary costume with V-shaped opening to his coat and high-shouldered sleeves; in charcoal. First published inThe Sketch, April 14th, 1894, again in "Early Work."
81.Sketch Portrait of Henry Harland, head and shoulders, three-quarter face to right, in charcoal. First published inThe Sketch, April 11th, 1894, again in "Early Work." (Property of John Lane, Esq.)
82.Portrait of James M'neill Whistler.(Property of Walter Sickert, Esq.)
83.The Fat Woman(a caricature of Mrs Whistler). First published inTo-Day, May 12th, 1894, afterwards republished in "Fifty Drawings" and "Later Work"; also inLe Courrier Français, November 11th, 1894, with the title "Une Femme bien Nourrie." (Formerly the property of the late Mrs Cyril Martineau (Miss K. Savile Clarke)).
84.Waiting, a haggard, expectant woman, wearing V-necked bodice and large black hat, seated in a restaurant, with a half-emptied wine-glass on a small round table before her; black-ink drawing, 7-3/8 × 3-1/2 inches, unpublished. (Property of Pickford Waller, Esq.)
85.Masked Pierrot and Female Figure, water and gondolas in background, small square in black and white, published inTo-Day, May 12th, 1894.
86.Salome, A tragedy in one act. Translated by Lord Alfred Douglas from the French of Oscar Wilde. Elkin Mathews and John Lane, 1894. Pictured with the following designs by Aubrey Beardsley:——
I.The woman (or man) in the moon (Frontispiece).
Border Design for Title-page (two states, the first cancelled). (Property of John Lane, Esq.)
Border Design for List of Pictures. (Property of John Lane, Esq.)
II.The Peacock Skirt. (Property of John Lane, Esq.)
III.The Black Cape. A burlesque, substituted for a drawing of John and Salome, which was printed but withheld, and subsequently published in "Early Work." (Property of John Lane, Esq.)
IV.A Platonic Lament. (Property of John Lane, Esq.)
V.Enter Herodias (two states, the first cancelled). (The drawing in its original state the property of Herbert J. Pollit Esq.) A proof of this drawing in its first state, now the property of Frank Harris, Esq., is inscribed by the artist on the left-hand top corner:
"Because one figure was undressedThis little drawing was suppressed.It was unkind, but never mind,Perhaps it all was for the best."
"Because one figure was undressedThis little drawing was suppressed.It was unkind, but never mind,Perhaps it all was for the best."
"Because one figure was undressedThis little drawing was suppressed.It was unkind, but never mind,Perhaps it all was for the best."
"Because one figure was undressed
This little drawing was suppressed.
It was unkind, but never mind,
Perhaps it all was for the best."
VI.The Eyes of Herod. (Note one of Herod's white peacocks.) (Property of John Lane, Esq.)
VII.The Stomach Dance. (The author makes Salome dance, barefooted, the Dance of the Seven Veils.) (Property of John Lane, Esq.)
VIII.The Toilette of Salome. Substituted for a former drawing of the same subject, printed in two states but withheld, the second state subsequently published in "Early Work" (Property of Robert Ross, Esq.)
IX.The Dancer's Reward. (Property of John Lane, Esq.)
X.The Climax. This is a revised and simpler version of the design which had appeared in the first number ofThe Studio.
Tailpiece. The corpse of Salome being coffined in a puff-powder box. (Property of John Lane, Esq.)
Nos.I.,IV.,V., andVI.of the above contain caricatures of Oscar Wilde.
XI.Small design, printed in gold on cloth, front cover of "Salome"; another, consisting of an elaboration of the artist's device, for the under side of cover.
XII.Study of a design of peacock feathers for cover of "Salome," not used at the time, but subsequently reproduced for the first time in facsimile in "Early Work," and again as an illustration following the title-page in reissue of "Salome" (John Lane, 1907); also in gold on light green cloth for ornament of the binding, and in olive green on orange-red for the paper cap. Also in gold on blue cloth for binding of "Under the Hill," 1904. (Property ofJohn Lane, Esq.) This (1907) edition, moreover, contains the two illustrations suppressed in the original edition, viz., "John and Salome" (Property of John Lane, Esq.), now placed in order as No. 8, and "The Toilet of Salome, II.," now placed as No. 13 (Property of John Lane, Esq.) and an original title-page.
XIII.The Salome drawings were reproduced the actual size of the originals, and published in a portfolio. In this was included a design of Salome seated upon a settee. Described in "Early Work" as "Maitresse d'Orchestre." (John Lane, 1907.)
87.Dancer, with Domino.(The property of His Honour Judge Evans.)
88.Plays, by John Davidson.Elkin Mathews and John Lane, 1894. Design on frontispiece to, containing portrait caricatures of Sir Augustus Harris, and Oscar Wilde and Henry Harland, black and white; the same design in gold on the cloth cover. Reproduced in "Early Work," and again, with Aubrey Beardsley's letter to theDaily Chronicleon the subject, in "Under the Hill," 1904. (Property of John Lane, Esq.)
Design for Title-Page of the above-named. Black and white; reproduced in "Early Work."
89.The Yellow Book, 1894 and 1895.
I.Design for prospectus of the "Yellow Book": a woman examining books in a box at a bookstall: black on yellow paper. Elkin Mathews and John Lane, 1894. (Property of John Lane, Esq.)
Vol. I., April 1894. Elkin Mathews and John Lane.
II.Design on front side of yellow cover. (Property of John Lane, Esq.)
III.Design on under side of cover; the same repeated in the later volumes. (Property of John Lane, Esq.)
IV.Design on title-page: a woman playing a piano in a meadow. Reproduced, with Aubrey Beardsley's letter on the subject, to thePall Mall Budget, in "Under the Hill" (1904). (Property of John Lane, Esq.)
V.L'Education Sentimentale: in line and wash.
VI.Night Piece.
VII.Portrait of Mrs Patrick Campbell in profile, to left in outline. Formerly in possession of Oscar Wilde, now in National Gallery at Berlin.
VIII.Bookplate (designed in 1893) for John Lumsden Propert, Esq.
Vol. II., July 1894. Elkin Mathews and John Lane.
IX.Design on front side of cover. (Property of John Lane, Esq.)
X.Design on title-page.
XI.The Comedy-Ballet of Marionettes. Three designs.
XII.Garçons de Café. (Property of A. W. King, Esq.)
XIII.The Slippers of Cinderella. The artist subsequently coloured the original with scarlet and green, in which state it is unpublished. (Property of Brandon Thomas, Esq.)
XIV.Portrait of Madame Réjane, full-length profile to left, in outline. (Property of Frederick H. Evans, Esq.)
Volume III., October 1894. John Lane.
XV.Design on front side of cover. (Property of John Lane, Esq.)
XVI.Design on title-page.
XVII.Portrait of Mantegna. Published, for a practical joke, in the name of Philip Broughton. (Property of G. Bernard Shaw, Esq.)
XVIII.Portrait of the artist; fancy portrait of himself in bed. (Property of John Lane, Esq.)
XIX.Lady Gold's Escort. (Property of Brandon Thomas, Esq.)
XX.The Wagnerites at the performance of "Tristan und Isolde." Reproduced, on large scale, inLe Courrier Français, December 23rd, 1894, with the title "Wagnériens et Wagnériennes."
XXI.La Dame aux Camélias. Reprinted inSt Paul's, April 2nd, 1894, with the title "Girl at her Toilet." (Formerly the property of the late Miss K. Savile Clarke [Mrs Cyril Martineau].)
XXII.From a pastel; half-length study of a woman in white cap, facing to left. (Published, for a practical joke, in the name of Albert Foschter.)
Volume IV., January 1895. John Lane.
XXIII.Design, on front side of cover.
XXIV.Design on title-page.
XXV.The Mysterious Rose Garden, burlesque Annunciation. (Property of John Lane, Esq.)
XXVI.The Repentance of Mrs ——. (The kneeling figure is a reminiscence of the principal one in "The Litany of Mary Magdalen.")
XXVII.Portrait of Miss Winifred Emery (outline). (Property of Mrs Cyril Maude.)
XXVIII.Frontispiece for Juvenal. Double-page supplement.
XXIX.Design for "Yellow Book" Cover, not used. First published in "Early Work." (Property of John Lane, Esq.)
XXX.Show-card to advertise "The Yellow Book"; female figure standing, her hat hanging from her right hand, and daffodils growing at her feet. Dark green on light yellow paper. Reproduced in black-and-white in "Early Work." (The property of John Lane, Esq.)
90.Portrait of Réjanewearing a broad-brimmed hat with dark bow in front, head and shoulders, full face slightly to left, wash drawing. Reproduced by Swan Electric Engraving Company for the "Yellow Book," but not used. Unpublished.
91.Réjane, black-and-white design of the actress standing, half length, fan in hand, against a white curtain with conspicuous tassel. First published in "Second Book," and again, in a reduced state, as "Title-page ornament, hitherto unpublished" in "Early Work." 1893-4.
92.Madame Réjane, full-length portrait sketch, ink and wash. First published in "Second Book," again in "Later Work."
93.Madame Réjane, profile to left; sitting, legs extended, on a sofa, ink and wash. First published in "Pen Drawing and Pen Draughtsmen," by Joseph Pennell (Macmillan, 1894), again in "Fifty Drawings," and in theIdlerMagazine, March 1897.
94.Réjane, portrait head in profile to left, in red crayon and black ink, 7-1/2 × 6 inches. First published in facsimile inThe Studio, May 1898, again in "Later Work." (Property of Frederick H. Evans, Esq.) 1894.
95.A Poster Design.Back view of a woman, her face in profile to right, holding a pigmy in her right hand. First published in "Early Work." (Property of John Lane, Esq.)
96.A Poster Design(Singer). Woman seated at a piano. First reproduced inThe Poster, October 1898, again in "Second Book" and in "Later Work."
97.Lady to right gazing at a Hat on a Milliner's Bonnet Stand, headpiece for the "Idlers' Club" section in theIdlerMagazine, 1894.
98.Pierrot and Black Cat, small square in black-and-white for a book ornament.
99.Head and Shoulders of a Chinese Priest, together with the Head of a Satyr. 25 copies only printed on folio sheet, and 10 copies only in red. It is not knownfor what they were intended. Published by James Tregaskis, Caxton Head.
100.Les Passades, night scene, in pen-and-ink with ink wash, 10 × 5 inches. First published inTo-Day, November 17, 1894, again in theIdlerMagazine, March 1897.
101.Venus between Terminal Gods.Frontispiece for a version of the Tannhäuser legend, to be published by Messrs H. Henry & Co. Ltd., a project never completed. Design in black-and-white, showing, especially in the treatment of flying dove and of the background of rose-trellis, the influence of Charles Ricketts or Laurence Housman. Reproduced in "Second Book," and again in "Later Work."Circa1894-5.
102.Frontispiece and Title-page, together forming one complete design, for "The Story of Venus and Tannhäuser," to be published by John Lane, but never completed. (Cf."Under the Hill" inThe Savoy, 1896.) Reproduced in "Early Work." Dated 1895. (Property of John Lane, Esq.)
103.The Return of Tannhäuser to Venusberg.A design originally intended for the above-named book. Subsequently presented by the artist to J. M. Dent, Esq. First published, in illustration of an article by Max Beerbohm, in theIdlerMagazine for May 1898, and again, in larger format and, as the initials in left hand corner show, reversed, in "Second Book" and again in "Later Work." TheIdlerversion has a slight effect of half-tone in the brambles in the foreground, but the "Later Work" reproduction is pure black-and-white contrast.
104.Venus.Design for title-page, in black-and-white. First published inThe Studio, 1898, and afterwards in "Early Work," March 2, 1899, where it is described as "hitherto unpublished." (The property of John Lane, Esq.)
105.Design for Cover of "The Cambridge A, B, C."Reproduced in "Early Work."
106.Pierrot as Caddie, Golf Club Card, designed for the opening of The Prince's Ladies' Golf Club, Mitcham, pen-and-ink. Published in "Early Work." (Formerly the property of Mrs Falconer-Stuart, now of R. Hippesley Cox, Esq.) Dated 1894.
107.A Poster Design; two female figures drawn in black-and-white for Mr William Heinemann. Reproduced in "Early Work."
108.The London Garland, published by the Society of Illustrators, 1895. A pen-and-ink drawing of a female in very elaborated dress reaching from her neck to the ground, intended to represent a ballet-dancer with a costume as prescribed by Mrs Grundy. The original drawing, unfinished, contains another figure, not reproduced, on the left. The original title for this drawing was "At a Distance." Reproduced in "Second Book." (Property of Joseph Pennell, Esq.)
109.Autumn.Design in black-and-white for a calendar to be published by William Heinemann. Reproduced in "Early Work."
110.Tales of Mystery and Wonder, by Edgar Allen Poe(Stone & Kimball, Chicago, U.S.A., 1895); four designs in pen-and-ink for large paper edition of——
I.The Murders in the Rue Morgue.
II.The Black Cat.
III.The Masque of the Red Death. First published in the "Chap Book" (Chicago), Aug. 15, 1894, again in same, April 1, 1898.
IV.The Fall of the House of Usher.
111.Outline Portrait of the Artistin profile to left; in imaginary costume, with a lace ruff to the neck, and earrings in the ears. Published in "Posters in Miniature," and again in "Early Work." A half-tone block from variant of the same, the earring as well as the button on lappel and waist of coat more pronounced, was published inThe Hour, March 27, 1895, and reproduced inMagazine of Art, November 1896.
112.A Child Standing by its Mother's Bed, black-and-white, chiefly outline. First published inThe Sketch, April 10, 1895. Reproduced in "Early Work." Formerly in the possession of Max Beerbohm, Esq., but since lost.
113.The Scarlet Pastorale, pen-and-ink. First published inThe Sketch, April 10, 1895. Also printed in scarlet on white. Reproduced in "Fifty Drawings."
114.Portrait of Miss Ethel Devereux, pencil drawing. (Property of Mrs Roy Devereux.)Circa1895.
115.Design for an Invitation Card, ink outline; seated Pierrot smoking, a copy of the "Yellow Book," Vol. IV., on the couch at his side. Drawn for Mr John Lane's Sette of Odd Volumes Smoke. Reproduced inThe Studio, September 1895. (Property of John Lane, Esq.)
116.Three Decorative Designsfrom the brown paper cover of Aubrey Beardsley's own copy of "Tristan und Isolde." Two reproduced in "Later Work." (Property of Frederick H. Evans, Esq.)
117.Max Alvary as "Tristan"in Wagner's opera "Tristan und Isolde," half-length profile to left, pen-and-ink and wash with unusual monogram signature. 10 × 5-1/2 inches. First published in "Aubrey Beardsley's Drawings, a catalogue and a list of criticisms," by A. E. Gallatin (New York, 1903). (Formerly the property of Rev. G. H. Palmer, now of A. E. Gallatin, Esq.)
118.Frau Klafsky as "Isolde"in above-named opera, pen-and-ink and pale green water-colour, 13 × 4-3/4 inches. First published in theCritic(New York), December, 1902. (Formerly the property of Rev. G. H. Palmer, now of A. E. Gallatin, Esq.)
119.Isolde; autolithograph in scarlet, grey, green, and black on white; supplement toThe Studio, October 1895.
120.Woman reclining in a Meadow by the Border of a Lake, listening to a Faun reading out of a Book to Her.Oblong design in ink on white; a variant of the design for wrapper of Leonard Smithers' Catalogue, No. 3. First published inThe Studio, May 1898, again in "Early Work," where it is described as "hitherto unpublished." (Property of John Lane, Esq.) 1895.
121.Design for Wrapper of "Catalogue of Rare Books," No. 3.(Leonard Smithers, September 1895.) The same figures as in the last-named, but the landscapehas an urn and additional trees to adapt the design to upright shape. Black on pale blue-green paper.
122.Chopin Ballade III., illustration for. Woman rider, mounted on a prancing white horse to left. Wash drawing. First published inThe Studio, May 1898, in half tones of grey, with deep purplish black; again in "Second Book." (Property of Charles Holme, Esq.) 1895.
123.Chopin's Nocturnes, frontispiece to. Pen-and-ink and wash. First published in "Early Work." (Property of John Lane, Esq.)
124.Earl Lavender, by John Davidson (Ward & Downey, 1895), design for frontispiece to. Woman scourging a kneeling, barebacked figure. Pen-and-ink outline. Reproduced in "Early Work." (Property of John Lane, Esq.)
125.Young Ofeg's Ditties, by George Egerton (John Lane, 1895), title-page and cover design for.
126.Messalina, with another woman on her left, black-and-white, with black background. First published in "Second Book," again in "Early Work," where it is described as "hitherto unpublished." 1895.
127.Title-page Ornament, standing nude figure playing double-bass, black background. First published in "Early Work."
128.Portrait of Miss Letty Lindin "The Artist's Model." Pen-and-ink outline. Published in "Early Work." (Property of Miss Letty Lind.)
129.Atalanta in Calydon, full-length figure to right; pen-and-ink and wash. First published in "Early Work." (Property of John Lane, Esq.)
130.Cover Design for Fairy Talesby Count Hamilton, to be published by Messrs H. Henry & Co., Ltd.
131.Balzac's "La Comédie Humaine,"design (head, full face) for front side and another for the reverse of cover. Reproduced in "Later Work."
132.The Brook Trills of Pernicious by Richard le Philistienne, title-page to burlesque, that of "The Book Bills of Narcissus," by Richard le Gallienne. Unpublished. (Property of J. M. Dent, Esq.)
133.A Self-Portrait, grotesque outline profile to left, with diminutive silk hat, from the fly-leaf of an envelope in the possession of J. M. Dent, Esq. Unpublished.
134.The Shaving of Shagpat, by George Meredith, small sketch to illustrate, in pen-and-ink, contained in a letter to Frederick H. Evans, Esq. Unpublished.
135.An Evil Motherhood, by Walt Ruding (Elkin Mathews, 1896), frontispiece to. Pen-and-ink. Reproduced in "Early Work."
136.Cafe Noir. Another design for the frontispiece of the last-named book, pen-and-ink and wash; bound up in six review copies only, and then recalled. Reproduced in "Early Work." (Property of M. Jean Ruelle.)
137.Title-page, an architectonic design. First published as the title of "Early Work" (John Lane, 1899). (Property of John Lane, Esq.)
138.Ornamental Title-page for "The Parade."Messrs H. Henry & Co., Ltd., 1896. Reproduced in "Later Work."
139.Tail-pieceto Catalogue of Lord Carnarvon's Library, 1896.
140.Sappho, by H. T. Wharton. (John Lane, 1896.) Design for cover in gold on blue. Reproduced in "Early Work." (Property of John Lane, Esq.)
141.Pierrot's Library.(John Lane, 1896.) Design for title-page of, two designs for end papers, printed in olive green; design for front cover and vignette for reserve cover, printed in gold on red cloth. Reproduced in "Early Work." (Property of John Lane, Esq.)
142.Love Enshrined in a Heart in the Shape of a Mirror, pen-and-ink. First published in "Aubrey Beardsley" by Arthur Symons. (Sign of the Unicorn, 1898.) (Property of André Raffalovich, Esq.)
143.The Lysistrata of Aristophanes.(Leonard Smithers, privately printed, 1896.) Eight pen-and-ink designs to illustrate——
I.Lysistrata.
II.The Toilet of Lampito.
III.Lysistrata haranguing the Athenian Women.
IV.Lysistrata defending the Acropolis.
V.Two Athenian Women in Distress.
VI.Cinesias soliciting Myrrhina.
VII.The Examination of the Herald.
VIII.The Lacedemonian Ambassadors.
An expurgated version of No. 3 was published in "Second Book," and was repeated together withexpurgated versions or fragments from the remainder of the set in "Later Work."
144.The Rape of the Lock, by Alexander Pope. An heroi-comical poem in five cantos, "embroidered with nine drawings by Aubrey Beardsley," 4to. Leonard Smithers, 1896. Now published by John Lane. (Property of Messrs Keppel, New York.)
I.The Dream.
II.The Billet-Doux (vignette). Reproduced inSt Paul's, April 2, 1898. (Property of Mrs Edmund Davis.)
III.The Toilet.
IV.The Baron's Prayer.
V.The Barge.
VI.The Rape of the Lock. (The property of Messrs Keppel, New York.)
VII.The Cave of Spleen.
VIII.The Battle of the Beaux and the Belles. Reproduced in theIdler, March 1897.
IX.The New Star (cul-de-lampe).
Cover design for the original edition.
Cover design for the Bijou edition. (John Lane.) Reproduced in "Later Work."
145.Design for Wrapper of Catalogue of Rare Books, No. 7. (Leonard Smithers, 1896.) A lady seated on a striped settee reading; a parrot on stand on the right. Black on leaden-grey paper. Reproduced in "Second Book," 1896, and "Later Work."
146.The Prospectus of The Savoy. Design for.
I.A burlesque Cupid on a stage with footlights, one hand holding a copy of the book, whence itappears that the original intention was to produce the first number in December 1895. Reproduced in "Later Work." Latter part of 1895. (Property of John Lane, Esq.)
II.A suppressed variant of the above, same motif reversed, only with John Bull substituted for the Cupid. Reproduced in "Later Work."
III.Initial letter A in the above Prospectus. Reproduced in "Later Work."
IV.Publisher's Trade-mark for Leonard Smithers. First published in "Savoy" Prospectus. The same, name omitted, appears in "Later Work" with the title of "Siegfried," 1895.
The Savoy, No. 1, January 1896. (Leonard Smithers.)
V.Cover design, in two states. The original was suppressed because it depicted too realistically the contempt of the child in the foreground for the "Yellow Book," with which the artist had recently ceased to be connected. The revised version was republished in "Fifty Drawings," and again in "Later Work." (Property of Mrs George Bealby Wright.)
VI.Title-page. Repeated as title-page in No. 2, and republished in "Later Work."
VII.Drawing to face Contents. Caricature of John Bull. Republished in "Later Work."
VIII.The Three Musicians. Illustration of the artist's poem, same title. Republished in "Fifty Drawings" and "Later Work."
IX.Another drawing to illustrate the above, but withheld.It appeared for the first time in "A Book of Fifty Drawings," 1897. Republished in "Later Work" and "Under the Hill."
X.Tailpiece to the above. Republished in "Later Work" and "Under the Hill."
XI.The Bathers (on Dieppe Beach). Republished in "Fifty Drawings" and "Later Work."
XII.The Moska. This subject was inspired by the children's dance at the Casino, Dieppe. Republished in theIdlerMagazine, March 1897, and again in "Later Work." (Property of Mrs Edmund Davis.)
XIII.The Abbé. This and the two designs which follow appeared as illustrations to "Under the Hill," a romantic novel, by Aubrey Beardsley. Republished in "Later Work." All the illustrations of "Under the Hill" reissued with text in a volume bearing same title. John Lane, 1904.
XIV.The Toilet of Helen. Republished in "Fifty Drawings" and "Later Work."
XV.The Fruit Bearers. Republished in "Later Work."
XVI.A large Christmas Card, in black-and-white. Madonna, with fur-edged, richly-flowered mantle. Issued together with, but not bound in, the book. Republished in "Fifty Drawings" and "Later Work."
The Savoy.No. 2. April 1896.
XVII.Cover Design. Republished in "Later Work."
XVIII.A Foot-note. (Fancy portrait of the artist.) Republished, with omissions, in "Later Work." Also adapted in gold on scarlet for cloth cover of "Second Book."
XIX.The Ecstasy of Saint Rose of Lima. Illustration of "Under the Hill." Republished in "Fifty Drawings" and "Later Work."
XX.The Third Tableau of "Das Rheingold." Republished in "Fifty Drawings" and "Later Work."
Scene reproduced from "The Rape of the Lock."
The Savoy.No. 3. July 1896.
XXI.Cover Design. Republished in "Later Work."
XXII.Title-page. Puck on Pegasus. Repeated for the title of all the succeeding numbers. Republished in "Later Work." Also, reduced, as design for title-page of "Fifty Drawings," and in gold on scarlet for the under side of cloth cover of same.
XXIII.The Coiffing. This and the following design accompanied Aubrey Beardsley's "Ballad of a Barber." The Coiffing was republished in theIdlerMagazine, March 1897, and in "Fifty Drawings" and "Later Work." (Property of Messrs Obach & Co.)
XXIV.A Cul-de-Lampe. Cupid carrying a gibbet. Republished in "Later Work."
The Savoy.No. 4. August 1896.
XXV.Cover Design. Republished in "Later Work."
The Savoy.No. 5. September 1896.
XXVI.Cover Design. (Signed, for a practical joke, Giulio Floriani.) Republished in "Fifty Drawings" and "Later Work."
XXVII.The Woman in White. A sketch in white on brown paper. Republished in "Fifty Drawings" and "Later Work."
The Savoy.No. 6. October 1896.
XXVIII.Cover Design; the Fourth Tableau of "Das Rheingold." Republished in "Fifty Drawings" and "Later Work."
XXIX.The Death of Pierrot. A pen-and-ink sketch. Reproduced in "Later Work." (Property of Messrs Obach & Co.)
The Savoy.No. 7. November 1896.
XXX.Cover Design. Republished in "Later Work."
XXXI.Ave atque Vale; Catullus, Carmen C.I. Republished in "Fifty Drawings" and "Later Work."
XXXII.Tristan und Isolde. Republished in "Later Work."
The Savoy.No. 8 (the last issued). December 1896.
XXXIII.Cover Design. Republished in "Later Work." The same adapted, with the addition of heavy black bands, and is printed in green and scarlet, for small poster to advertise the completed work.
XXXIV.A Répétition of "Tristan und Isolde." Republished in "Later Work."
XXXV.Don Juan, Sganarelle and the Beggar; from Molière's "Don Juan." Republished in "Later Work."
XXXVI.Mrs Margery Pinchwife, from William Wycherley's "Country Wife." Republished in "Later Work."
XXXVII.Frontispiece to "The Comedy of the Rheingold." Republished in "Later Work."
XXXVIII.Flosshilde, a Rhine Maiden; to illustrate "Das Rheingold." Republished in "Later Work." (Property of Herbert J. Pollit, Esq.)
XXXIX.Erda; to illustrate "Das Rheingold." Republished in "Later Work."
XL.Alberich; to illustrate "Das Rheingold." Republished in "Later Work." (Property of Herbert J. Pollit, Esq.)
XLI.Felix Mendelssohn Bartholdy. Republished in "Later Work." (Property of Herbert J. Pollit, Esq.)
XLII.Carl Maria von Weber. Republished in "Later Work."
XLIII.Count Valmont, from "Les Liaisons Dangereuses," by Choderlos de Laclos. Republished in "Later Work."
XLIV.Et in Arcadia Ego. Republished in "Later Work."
XLV.Small ornament for the cover of bound volumes of "The Savoy."
XLVI.Sketch of a Child(young girl), unfinished, in pencil, on the reverse of "A Foot-note." Firstpublished in "Early Work." (Property of Frederick H. Evans, Esq.)
147.A Seated Figure.Unpublished design for the Savoy, occurring as a grotesque in "Bon Mots." (Property of G. D. Hobson, Esq.)
148.Verses, by Ernest Dowson(Leonard Smithers, 1896), cover design for. Reproduced in "Later Work." (Property of John Lane, Esq.)
149.The Pierrot of the Minute.A Dramatic Phantasy in one act. By Ernest Dowson. Leonard Smithers, 1897. (Property of John Lane, Esq.) Four designs to illustrate:——
I.Frontispiece.
II.Headpiece.
III.Initial letter P.
IV.Cul-de-Lampe.
Reproduced in "Second Book" and "Later Work." Cover design for the same.
150.Apollo pursues Daphne.(Property of Herbert J. Pollit, Esq.)
151.The Souvenirs of Leonard, Cover design for. Printed in gold on purple. Reproduced in "Later Work." 1897.
152.The Life and Times of Madame du Barry, by Douglas. Leonard Smithers, 1897. Cover design for. Reproduced in "Later Work." 1897.
153.Frontispiece to A Book of Bargains, by Vincent O'Sullivan. Leonard Smithers, 1897. Reproduced in theIdler, March 1897.
154.Cover Design for A Book of Fifty Drawings, by Aubrey Beardsley.Leonard Smithers, 1897. Reproduced in gold on scarlet cloth. Republished on a reduced scale, in black-and-white, in "Later Work."
155.Silhouette of the Artist.First published as a tailpiece at the end of "Fifty Drawings." Also inIdlerMagazine, March 1897, and in "Later Work."
156.Book-Plate of the Artist.First published in "Fifty Drawings," 1897, also in "Later Work."
157.Ali Baba. Cover Design for The Forty Thieves.
I.First published in "Second Book," again in "Later Work," 1901. (Property of Messrs Robson & Co.)
II.Ali Baba in the Wood.First published in "Fifty Drawings," 1897. Also inIdler, May 1898, and again in "Later Work."
158.Atalanta in Calydon.First published in "Fifty Drawings," 1897; also in theIdlerMagazine, March 1897, and again in "Later Work." (This drawing was exhibited at the Carfax Exhibition, October 1904, under the title of "Diana," 77.)
159.Messalina returning from the Bath.Pen-and-ink and water colours. First published in "Second Book," again in "Later Work." This drawing, together with the other one of Messalina, drawn in 1895 (seesupra), two of Bathyllus, and one representing Juvenal scourging a woman (this last, slightly altered, reproduced in "Later Work"), belongs to a series of illustrations to theSixth Satireof Juvenal. Leonard Smithers, privately printed, 1897.
160.The Houses of Sin, by Vincent O'Sullivan. Leonard Smithers, 1897. Cover design for. Reproduced in "Second Book," again in "Later Work."
161.La Dame aux Camélias.Sketch in water colour to right. On the fly-leaf of a copy of the book given to the artist by M. Alexandre Dumas, fils. First published in "Second Book," again in "Later Work." 1897.
162.Book-Plate for Miss Olive Custance(Lady Alfred Douglas). Reproduced in photogravure in "Early Work."
163.Arbuscula.Drawing in line and wash, for theédition de luxeof Vuillier's "History of Dancing." William Heinemann, 1897. Reproduced in photogravure; also an early impression of the same printed in a green tint. (Property of John Lane, Esq.)
164.Mademoiselle de Maupin, by Théophile Gautier. Leonard Smithers, 1898. Designs to illustrate:——
I.Mademoiselle de Maupin, frontispiece, water colour. Reproduced in facsimile by Messrs Boussod, Valadon & Co., for limited edition, and, like the rest, in photogravure for ordinary edition. Reproduced as frontispiece to "Later Work."
II.D'Albert (small design).
III.D'Albert in search of Ideals. (Property of Mrs George Bealby Wright.)
IV.The Lady at the Dressing Table. (Property of Walter Pollett, Esq.)
V.The Lady with the Rose.
VI.The Lady with the Monkey. All the above reproduced in photogravure in "Later Work."
165.Ben Jonson his Volpone: or the Foxe.4to. Leonard Smithers, 1898.
I.Design in gold on blue for the cloth cover. Same in black-and-white for opening page. Frontispiece, design in pen-and-ink.
II.Vignette to the Argument. Initial letter V, with column and tasselled attachments to the capital. This and the remaining designs were executed in pen and crayon.
III.Vignette to Act I. Initial letter V, with an elephant, having a basket of fruits on his back. (Property of Herbert J. Pollit, Esq.)
IV.Vignette to Act II. Initial letter S, with a monster bird, having a pearl chain attached to its head. (Property of Herbert J. Pollit, Esq.)
V.Vignette to Act III. Initial letter M, with seated Venus and Cupid under a canopy, between two fantastic gynæcomorphic columns. (Property of Herbert J. Pollit, Esq.)
Vignette to Act IV. (The same as the design for Act II. repeated.)
VI.Vignette to Act V. Initial letter V, with a horned terminal figure of a man or satyr. (Property of Herbert J. Pollit, Esq.)
All these Volpone designs were reproduced in "Later Work." Drawn at the close of 1897 and early part of 1898, they constitute the latest designs produced by Aubrey Beardsley before his death.