illustrated by his art. A subject little understood, it belongs to the
dim ways of criticism. There is no canon or school, and the artist is
allowed to be wilful, untrammelled by rule or precedent. True grotesque
is not the art either of primitives or decadents, but that of skilled
and accomplished workmen who have reached the zenith of a peculiar
convention, however confined and limited that convention may be.
Byzantine art, one of our links with the East, should some day furnish
us with a key to a mystery which is now obscured by symbolists and
students of serpent worship. The Greeks, with their supreme sanity and
unrivalled plastic sense, afford us no real examples, though their
archaic art is often pressed into the category. Beardsley, who received
recognition for this side of his genius, emphasized the grotesque to
an extent that precluded any popularity among people who care only for
the trivial and "pretty." In him it was allied to a mordant humour, a
certain fescennine abstraction which sometimes offends: this, however,
does not excuse the use of the word "eccentric," more misapplied than
any word in the English language, except perhaps "grotesque" and
"picturesque." All great art is eccentric to the conservative multitude.
The decoration on the Parthenon was so eccentric that Pheidias was put
in prison. The works of Whistler and Burne-Jones, once derided as
eccentric, are now accepted as the commencement of great traditions.
All future art will be dubbed eccentric, trampled on, and despised;
even as the first tulip that blossomed in England was rooted out
and burnt for a worthless weed by the conscientious Scotch gardener.
[Illustration: A DESIGN FROM "LYSISTRATA"]
To compare Beardsley with any of his contemporaries would be unjust to
them and to him. He belonged to no school, and can leave no legend, in
the sense that Rossetti, Whistler, and Professor Legros have done; he
proclaimed no theory; he left no counsel of perfection to those who
came after him. In England and America a horde of depressing disciples
aped his manner with a singular want of success; while admirable and
painstaking artists modified their own convictions in the cause of
unpopularity with fatal results. The sensuous charm of Beardsley's
imagination and his mode of expression have only a superficial
resemblance to the foreign masters of black and white. He continued
no great tradition of the 'sixties; has nothing in common with the
inventive and various genius of Mr Charles Ricketts; nothing of the
pictorial propriety that distinguishes the work of his friend, Mr
Pennell, or the homogeneous congruity of Boyd Houghton, Charles Keene,
and Mr Frederic Sandys. He made use of different styles where other
men employed different mediums. Unperplexed by painting or etching
or lithography, he was satisfied with the simplest of all materials,
attaining therewith unapproachable executive power. Those who cavil
at his flawless technique ignore the specific quality of drawing
characterising every great artist. The grammar of art exists only to be
violated. Its rules can be learnt by anyone. Those who have no artistic
perception invariably find fault with the perspective, just as those
who cannot write a well-balanced sentence are always swift to detect
faults in grammar or spelling. There are, of course, weaknesses in
the extremities of Beardsley's figures--the hands and feet being
interruptions rather than continuations of the limbs. Occasional
carelessness in this respect is certainly noticeable, and the structure
of his figures is throughout capricious. It was no fault in his early
work; the hands and feet in the "_Joan of Arc_," if crude and
exaggerated, being carefully modelled. While the right hand of "Salome"
in "_The Dancer's Reward_," grasping the head of the Baptist, is
perfectly drawn, the left is feeble, when examined closely. For sheer
drawing nothing can equal the nude figure in the colophon to "Salome."
The outstretched, quivering hands of _Ali Baba_ are intentionally
rendered larger than proportion allows, to render dramatic expression,
not reality. For the purpose of effect he adapted proportions, realizing
that perfect congruity and reality are irreconcilable. None of the
figures in the dramatic "_Battle of Beaux and Belles_" could sit on
the fallen chair in the foreground.
There is no need to disturb ourselves with hopes and fears for the
estimation with which posterity will cherish his memory; art history
cannot afford to overlook him; it could hardly resist the pretext of
moralising, expatiating and explaining away so considerable a factor
in the book illustration of the nineties. As a mere comment on the
admirations of the last twenty years of the nineteenth century,
Beardsley is invaluable; he sums up all the delightful manias, all that
is best in modern appreciation--Greek vases, Italian primitives, the
"Hypnerotomachia," Chinese porcelain, Japanese Kakemonos, Renaissance
friezes, old French and English furniture, rare enamels, mediaeval
illumination, the _debonnaire_ masters of the eighteenth century, the
English pre-Raphaelites. There are differences of kind in aesthetic
beauty, and for Beardsley it was the marriage of arabesque to figures
and objects comely or fantastic, or in themselves ugly. For hitherto
the true arabesque abhorred the graven image made of artists' hands.
To future draughtsmen he will have something of the value of an old
master, studied for that fastidious technique which critics believed to
be a trick; and collectors of his work may live to be rallied for their
taste; but the wheat and the chaff contrive to exist together through
the centuries.
A passing reference should be made to the Beardsley of popular
delusion. A student of Callot and Hogarth, he took suggestions from
the age in which he lived and from the literature of English and French
contemporaries, but with no implicit acceptance of the tenets of any
groups or schools which flutter the dove-cots of Fleet Street. He stood
apart, independent of the shibboleths of art and literature, with the
grim and sometimes mocking attention of a spectator. He revealed rather
than created a feminine type, offering no solution for the problems of
Providence.
[Illustration: D'ALBERT IN SEARCH OF IDEALS
_From "Mademoiselle de Maupin." Reproduced from the original in the
possession of Mrs. Bealby Wright_]
Applying the epithet "original" to an art so intensely reminiscent, so
ingeniously retrospective, might seem paradoxical to those unacquainted
with Beardsley's more elegant achievements. His is not the originality
of Corot and Whistler, with a new interpretation of nature, another
scheme of art and decoration, but rather the scholarly originality
of the Carracci--a scholarship grounded on a thousand traditions and
yet striking an entirely new note in art. In his imagination, his
choice of motive, his love for inanimate nature, his sentiment for
accessory,--rejected by many modern artists, still so necessary to the
modern temper,--his curious type, which quite overshadowed that of
the pre-Raphaelites, the singular technical qualities at his command,
Beardsley has no predecessors, no rivals. Who has ever managed to
suggest such colour in masses of black deftly composed? Reference to the
text is unnecessary to learn that the hair of Herodias was purple. His
style was mobile, dominating over, or subordinate to the subject, as his
genius dictated. He twisted human forms, some will think, into fantastic
peculiar shapes, becoming more than romantic--antinomian. He does not
appeal to experience but to expression. The tranquil trivialities of
what is usually understood by the illustration of books had no meaning
for him; and before any attempt is made to discriminate and interpret
the spirit, the poetical sequence, the literary inspiration which
undoubtedly existed throughout his work, side by side with technical
experiments, his exemption from the parallels of criticism must be
remembered duly.
LIST OF DRAWINGS BY AUBREY BEARDSLEY
COMPILED BY AYMER VALLANCE
LIST OF DRAWINGS BY AUBREY BEARDSLEY
JUVENILIA
1. A CARNIVAL. Long procession of many figures in fifteenth
and sixteenth century costume. Water-colour drawing. Unpublished.
Given by the artist to his grandfather, the late Surgeon-Major
William Pitt. _c._ 1880.
2. THE JACKDAW OF RHEIMS, set of illustrations to the poem.
Unpublished. _c._ 1884.
3. VIRGIL'S "AENEID," nine comic illustrations to Book II.
The title-page, written in rough imitation of printing, with the
Artist's naif and inaccurate spelling, is as follows:--ILLUSTRATIONES
DE | LIBER SECUNDUS | AENEIDOS | PUBLIUS WIRGIUS MARONIS | by |
Beardslius | de | Brightelmstoniensis. The illustrations are
entitled:----
I. Laocoon hurleth his spear against the horse.
II. Laocoon and son crunched up.
III. Little July tries to keep up with Papa. Old Father Anchises
sitteth on Papa's shoulders and keeps a good look-out.
IV. Parvi Iulus.
V. Helen.
VI. Panthus departs, bag and baggage.
VII. Sinon telleth his tale unto King Priam.
VIII. One of the cinders of Illim.
IX. (No title.) The drawing, to illustrate two comic verses written
at the top of the paper, represents AEneas being carried up into
the air by means of a balloon attached to his helmet.
All the above are drawn in ordinary ink upon plain white paper of
the kind used for rough work at the school, and all are of uniform
size, 7-1/4 x 5 inches, except No. 9, which is on a double-size
sheet, measuring 7-1/4 x 10 inches. Unpublished. (Property of H. A.
Payne, Esq.) September to December 1886.
4. VIRGIL'S "AENEID," nineteen humorous sketches illustrative of Book II.,
entitled:----
I. AEneas relateth the tale to Dido.
II. Laocoon hurls the spear.
III. Sinon is brought before Priam.
IV. Calchas will not betray anyone.
V. "All night I lay hid in a weedy lake."
VI. The Palladium is snatched away.
VII. The Palladium jumpeth.
VIII. Laocoon sacrificeth on the sand.
IX. Sinon opens the bolt.
X. Hector's ghost.
XI. AEneas heareth the clash of arms.
XII. Panthus fleeth.
XIII. Pyrrhus exulteth.
XIV. Death of Priam.
XV. AEneas debateth whether he shall slay Helen.
XVI. Venus appeareth to AEneas.
XVII. Jupiter hurls the lightning.
XVIII. AEneas and company set out from Troy.
XIX. AEneas seeth Creusa's ghost.
The above drawings in ordinary ink are contained in a copy-book,
8 x 6-1/2 inches. Unpublished. Exhibited in London at Carfax
& Co.'s Galleries, October 1904. (Property of Harold Hartley,
Esq.) End of 1886.
5. THE POPE WEIGHS HEAVILY ON THE CHURCH. Pen-drawing contained in the
same copy-book with the last-named.
6. JOHN SMILES, a comic illustration to the school history book,
representing King John in the act of signing Magna Charta.
Pen-drawing on paper 7-1/4 x 5 inches. Unpublished. (Property
of H. A. Payne, Esq.)
7. SAINT BRADLAUGH, M.P., a caricature. Pen-drawing on a half
sheet of notepaper. Unpublished. (Property of H. A. Payne, Esq.)
8. AUTUMN TINTS. Caricature in black and white of the artist's
schoolmaster, Mr Marshall, expounding to his pupils the beauties
of nature. Unpublished. Given to Ernest Lambert, Esq., Brighton,
_c._ 1886-7.
Beside the above-named there must have been numbers of such drawings
belonging to this early period; for in his schooldays Aubrey
Beardsley was, to quote the words of Mr H. A. Payne, "constantly
doing these little, rough, humorous sketches, which he gave away
wholesale." Many have been destroyed or lost, others dispersed
abroad. Thus, for instance, one old Brighton Grammar School boy,
C. E. Pitt-Schenkel, told Mr Payne that he was in possession of
some, which he took out to South Africa.
9. THE JUBILEE CRICKET ANALYSIS. Eleven tiny pen-and-ink sketches,
entitled respectively:----
I. A good bowler.
II. Over.
III. Slip.
IV. Square leg.
V. Shooters.
VI. Caught.
VII. A block.
VIII. A demon bowler.
IX. Stumped.
X. Long leg.
XI. Cutting a ball.
All these subjects being represented, in humorous fashion, by literal
equivalents. These drawings, though they cannot pretend to any merit,
are notable as the earliest specimens to be published of the
artist's work. Together they formed a whole-page photo-lithographic
illustration in _Past and Present_, the Brighton Grammar School
Magazine, June 1887.
10. CONGREVE'S "DOUBLE DEALER," illustration of a scene from, comprising
Maskwell and Lady Touchwood. Pen drawing with sepia wash, on a sheet
of paper 13-1/2 x 11 inches. Unpublished. (Property of H. A. Payne,
Esq.) Signed and dated June 30, 1888.
11. HOLYWELL STREET. Wash drawing. First published in _The Poster_,
Aug.-Sept. 1898. Republished in "The Early Work of Aubrey Beardsley,
with a Prefatory Note by H. C. Marillier." John Lane, March 1899.
(Property of Charles B. Cochran, Esq., 1888.)
12. THE PAY OF THE PIED PIPER: A LEGEND OF HAMELIN TOWN. Eleven line
drawings in illustration of, as follows:----
I. Entrance of Councillors, headed by Beadle carrying a mace.
Reproduced in _The Westminster Budget_, March 25, 1898.
II. Rats feeding upon a cheese in a dish. Reproduced in _Westminster
Budget_, March 25, 1898.
III. Child climbing into an armchair to escape from the rats. Reproduced
in _The Poster_, Aug.-Sept. 1898.
IV. The Sitting of the Council, under the presidency of the Burgomaster.
V. Deputation of Ladies.
VI. Two rats on their hind legs, carrying off the Beadle's mace: behind
them are three rats running. Reproduced in _Westminster Budget_,
March 25, 1898.
VII. Meeting between the Beadle and the Piper.
VIII. The rats follow the Piper out of the town. Republished in
_Westminster Budget_, March 25, 1898, and in _The Poster_,
Aug.-Sept. 1898.
IX. Citizens rejoice at the departure of the rats.
X. The Piper is dismissed by the Beadle. Republished in _Westminster
Budget_, March 25, 1898, and also in _Magazine of Art_, May 1898.
XI. The Piper entices away the children.
The above illustrations vary in size from 3-1/4 x 2-1/2 to 6-1/2
x 4-1/2 inches. They are unsigned, but a prefatory note describes
them as being "the perfectly original designs and drawings of a
boy now in the school, A. V. Beardsley"; and adds: "Our regret is
that, lacking experience in the preparation of drawings for the
photo-engraver, the reproductions should fall so far short of the
original sketches." Published in the programme and book of words
of the Brighton Grammar School Annual Entertainment at the Dome,
on Wednesday, Dec, 19, 1888; bound up afterwards with _Past and
Present_, February 1889. Latter part of 1888.
13. A SCRAP-BOOK, size 9-1/2 x 7 inches, the fly-leaf inscribed, in his
own writing, _A. Beardsley_, 6/5/90, presented by the artist's
mother to Robert Ross, Esq. Contains the following drawings, mounted
as scraps:----
I. Manon Lescaut, three drawings to illustrate different scenes
from. Executed with very fine pen and ink, the latter having, as
compared with maturer works, a brownish tinge. One of them first
appeared in "A Second Book of Fifty Drawings by Aubrey Beardsley"
(Leonard Smithers, December 1898), and all three were included in
"The Later Work of Aubrey Beardsley" (John Lane, 1901).
II. La Dame aux Camelias. 4-3/8 inches square, pen and brownish
ink with wash. First published in "Second Book," and afterwards in
"Later Work." This is a totally different design from that which
afterwards appeared, with the same title, in "The Yellow Book."
See below.
III. Tartarin, two illustrations of, in pencil and colours, size
4-1/8 x 2-3/4 and 4-1/2 x 3-1/2 inches respectively.
IV. La Lecon (Madame Bovary). 5-1/4 x 6-3/4. Chinese white and dark
sepia wash. First published in "Second Book," and again in "Later
Work."
V. L'Abbe Birotteau (Cure de Tours). 3 x 2 inches. Pen-and-ink
with wash, on pale greenish paper.
VI. L'Abbe Troubert (Cure de Tours). 5 x 2-3/4 inches. Dark sepia wash.
VII. Madame Bovary. 5-5/8 x 3-1/8 inches. Pencil. First published in
"Second Book," and again in "Later Work."
VIII. Sapho (Daudet). Wanting. Over its place has been gummed another
drawing, also wanting, its title written at the foot,
_L'homme qui rit_.
IX. Le Cousin Pons. 5-1/8 x 2-3/8 inches. Indian ink.
X. Portrait of Alphonse Daudet. 2-3/4 x 2-3/16 inches. Indian ink on
pale blue paper.
XI. Watteau, Ma Cousine (Cousin Pons). 5-1/2 x 2-3/4 inches. Pen-and-ink
with wash on pale grey toned paper.
XII. Mademoiselle Gamard (Cure de Tours). 3-1/8 x 2-1/8 inches. Indian
ink wash.
XIII. Madame Cibot (Cousin Pons). 4 x 2-7/8 inches. Indian ink wash.
XIV. (Jack) Attendons! 3-5/8 inches high, irregular silhouette.
Dark sepia wash.
XV. Jeanne D'Arc, the childhood of. 9 x 3-3/8 inches. Sepia and madder
wash on toned paper. First published in "Second Book," again in
"Later Work."
XVI. Frontispiece to Balzac's "Contes Drolatiques." 6-3/4 x 4-1/8 inches.
Drawn after the manner of Richard Doyle. First published in
"Second Book," again in "Later Work."
XVII. Phedre (Act ii. scene 5). 3-7/8 x 3-1/2 inches. Pencil and colours.
First published in "Second Book," again in "Later Work."
XVIII. Manon Lescaut, three-quarter length, woman to left, with fan.
5-1/4 x 3-1/2 inches. Water-colour on grey paper. First published
in "Second Book," again in "Later Work."
XIX. Beatrice Cenci. 6-1/8 x 2-3/4 inches. Pencil and sepia wash. First
published in "Second Book," again in "Later Work."
Unless otherwise stated as above, the works in this collection are
unpublished; all were executed 1889-90.
LATER WORK.
14. FRANCESCA DI RIMINI (Dante). Head in profile, to left; pencil.
First published in "Later Work."
15. DANTE AT THE COURT OF CAN GRANDE DELLA SCALA. Circular design,
in pencil. (Property of Miss H. Glover.)
16. DANTE IN EXILE. Dante seated on the left, the words of the Sonnet
inscribed on the right, with decorations recalling some design of
William Blake's. Signed A.V.B. First published in "Later Work."
(Formerly the property of the late Hampden Gurney, Esq.)
17. "I SAW THREE SHIPS COME SAILING BY ON CHRISTMAS DAY IN THE MORNING."
Pencil. Designed as a Christmas card for the late Rev. Alfred Gurney.
Published in "Later Work." _c._ 1890-1.
18. HAIL MARY. Profile of a head to left. Pencil drawing, 4-1/2 x 5-1/4
inches. First published in _The Studio_, May 1898, again in "Early
Work." (Property of Frederick H. Evans, Esq.) 1891.
19. HEAD, three-quarter face to right, with a Wreath of Grapes and Vine
Leaves and background of tree trunks. Lead-pencil sketch 5-1/2 x 5-5/8
inches. Unpublished. (Property of John Lane, Esq.) _circa_ 1891.
20. THEL GATHERING THE LILY. Pen-and-ink with water-colour wash. (Formerly
the property of Robert Ross, Esq.)
21. TWO FIGURES IN A GARRET, both seated, a woman haranguing a young man.
Ink and wash sketch, 3-1/4 x 4-1/8 inches. Published in "Early Work."
(Property of Frederick H. Evans, Esq.)
22. E. BURNE-JONES. Portrait sketch in pen-and-ink, with slight wash.
A memorandum of Aubrey Beardsley's first call on Sir Edward
Burne-Jones, dated Sunday, 12th July 1891, and signed with monogram,
A.V.B. Size, 6-3/4 x 4-1/8 inches. Eight copies only. Printed on
India paper. Published by James Tregaskis, Caxton Head, High Holborn,
in 1899. July 1891.
23. THE WITCH OF ATLAS. Pen-and-ink and water-colour wash. First reproduced
(lacking ornamental border) in "Second Book," again in "Later Work."
(Formerly the property of Robert Ross, Esq.)
24. MOLIERE. Blue water-colour wash. First published in "Later Work."
(Formerly the property of Robert Ross, Esq.)
25. DIE GOeTTERDAeMMERUNG. Decorative composition in white and Indian ink,
influenced by Burne-Jones. First published in "Second Book," again in
"Later Work." (Formerly the property of Robert Ross, Esq.)
26. SOLEIL COUCHANT. Decorative composition in Indian ink. (The motif of
the central part was subsequently adapted for a vignette in the
"Morte Darthur," Book II. chap. xii.) First published in "Later
Work." (Formerly the property of the late Hampden Gurney, Esq.)
27. TANNHAUSER. Study for decorative composition, in Indian ink.
5-5/8 x 7-1/2 inches. First published in "Later Work." (Property of
Dr Rowland Thurnam.) 1891.
28. WITHERED SPRING. Decorative composition in Indian ink. Catalogued in
"Fifty Drawings" as "Lament of the Dying Year." (The motif of the
central part was subsequently adapted for a vignette in the "Morte
Darthur," Book I. chap. xii.) First published in "Later Work."
(Property of Dr Rowland Thurnam.)
29. I. PERSEUS. Pen-and-ink and light wash. Design for an upright panel,
with standing nude figure, above it a frieze of smaller figures.
18 x 6-3/4 inches. First published in "Early Work." (Property of
Frederick H. Evans, Esq.)
II. A pencil sketch of two figures, unfinished, on the reverse of the
preceding. Published in "Early Work."
30. L'ABBE MOURET. Decorative design for frontispiece of Zola's "La Faute
de l'Abbe Mouret." Ink and wash. First published in "Under the Hill."
John Lane. 1904. (Property of John Lane, Esq.)
31. HAMLET PATRIS PANEM SEQUITUR. Pencil drawing. Printed in red, as
frontispiece to _The Bee_, the Magazine of the Blackburn Technical
School, November 1891; reprinted, in black, in "Second Book," again
in "Early Work." Latter part 1891.
32. PERSEUS AND THE MONSTRE. Pencil design, 5-1/2 x 7-1/2 inches. First
appeared in illustration of an article entitled, "The Invention of
Aubrey Beardsley," by Aymer Vallance, in _The Magazine of Art_, May
1898; again in "Early Work," (Property of Aymer Vallance, Esq.) 1891.
33. THE PROCESSION OF JEANNE D'ARC. Pencil outline, treatment inspired by
Mantegna, 19-1/2 long by 6-1/2 inches high. First published in
_Magazine of Art_, May 1898; again as double page in "Second Book";
again, reduced, in collotype, in "Early Work." (Property of Frederick
H. Evans, Esq.) 1891-2.
A pen-and-ink version of the Procession, 30 inches long by 7 high,
was made subsequently, about the Spring of 1892, for Robert Ross,
Esq. Published in _The Studio_; see below.
34. THE LITANY OF MARY MAGDALEN. Pencil drawing. First published in
"Second Book," again in "Later Work." (Formerly Property of More
Adey, Esq.) 1892.
35. THE VIRGIN AND LILY. Madonna standing in front of a Renaissance niche
and surrounded by Saints, among them St John Baptist kneeling.
Pencil outline. Reproduced in photogravure in "Later Work."
(Formerly the property of the late Rev. Alfred Gurney, afterwards
in the possession of his son, the late Hampden Gurney, Esq.)
36. CHILDREN DECORATING A TERMINAL GOD. Pen-and-ink. (Formerly the
property of M. Puvis de Chavannes.)
37. FRED BROWN, N.E.A.C. Pen-and-ink sketch of the art-master in studio.
Signed with monogram A.V.B. First published in "Under the Hill."
(Property of Miss Nellie Syrett.)
38. STUDY OF FIGURES, horizontal fragment from, containing five heads and
parts of two more. Pencil. Published in "Under the Hill." (Property
of Miss Nellie Syrett.)
39. PORTRAIT OF THE ARTIST. Full face. Pen-and-ink. First published in
"Second Book," again in "Later Work." (Presented by Robert Ross,
Esq., to the British Museum.)
40. SIDONIA THE SORCERESS. A design to illustrate Meinhold's Romance,
representing Sidonia, not in religious habit, with the demon-cat,
Chim. William Morris's criticism that the face of Sidonia was not
pretty enough, and another suggested improvement on the part of
a friend of Aubrey Beardsley's, induced him to try to better the
picture by altering the hair. The result was so far from satisfactory
that it is almost certain that the drawing was destroyed by the
artist. First half of 1892.
41. LE DEBRIS D'UN POETE. Pen-and-ink. First published in "Aubrey
Beardsley," by Arthur Symons (Sign of the Unicorn, London, 1898).
(Property of Andre Raffalovich, Esq.)
42. INCIPIT VITA NOVA. Chinese, white, and Indian ink on brown paper.
First published in "Second Book," again in "Later Work." (Property
of Messrs Carfax & Co.) 1892.
43. HEAD OF AN ANGEL, in profile, to left, flaming heart held in left
hand. Pencil, on a half-sheet of grey notepaper, signed with monogram
A.V.B. 5-3/4 x 3-7/8 inches. First published in photogravure "Second
Book," again in "Later Work"; also printed in 4-inch square form on
card for private distribution, Christmas 1905. (Property of the
artist's sister, Mrs George Bealby Wright [Miss Mabel Beardsley].)
_c._ 1892.
44. ADORAMUS TE. Four angels in a circle (7 inches in diameter) playing
musical instruments, pencil and coloured chalks. Signed A.V.B.
monogram. Designed as a Christmas card for the late Rev. Alfred
Gurney. First published in photogravure in "Second Book," again in
"Later Work." (Property of Mrs George Bealby Wright.)
45. A CHRISTMAS CAROL. Two angels, one of them playing a hand-organ, in a
circle (7-3/4 inches diameter), pencil, and coloured chalks.
Designed as a Christmas card for the late Rev. Alfred Gurney.
First published in photogravure in "Second Book," again in "Later
Work." Also in photogravure, 3 inches diameter, for private
circulation. (Property of Mrs George Bealby Wright.) Christmas, 1892.
46. LA FEMME INCOMPRISE. Pen-and-ink and wash. First published in the
spring number of _To-Day_, 1895; again in the _Idler_ magazine,
March 1897.