with monogram A.V.B.; 14 x 7-3/4 inches; a reconstruction of
the Florentine painter's physiognomy from his extant works, to
illustrate Aubrey Beardsley's theory that every artist tends to
reproduce his own physical type. Presented by the artist to Aymer
Vallance, Esq. First published in the _Magazine of Art_, May 1898;
afterwards in "Early Work." _c._ 1892-3.
48. RAPHAEL SANZIO. Full-length figure, three-quarter face to left, a
decorative panel in pen-and-ink, 10-3/4 x 3-7/8 inches, exclusive
of border lines. Unpublished. (Property of Messrs Obach & Co.)
49. CEPHALUS AND PROCRIS. Pen-and-ink.
50. SMALL BOOKMARKER, woman undressing, a Turkish table in the foreground.
Pen-and-ink. First published in "Second Book," again in "Later Work."
(Property of Sir William Geary, Bart.) 1893.
51. HERMAPHRODITUS, seated figure, pencil and pale colour tints. Reproduced
in colour in "Later Work." (Property of Julian Sampson, Esq.)
52. L'APRES-MIDI D'UN FAUNE, par Mallarme; four designs extra-illustrating
a copy of. One of them, a pen-and-ink vignette of a faun, full face,
signed with monogram A.V.B., was published in "Second Book." The
others unpublished. 1893.
53. DECORATIVE SKETCH DESIGN OF A SAILING SHIP. 1-7/8 x 2-1/2 inches.
Pen-and-ink on white from the back of a letter to Aymer Vallance,
Esq. First published in _Magazine of Art_, May 1898; again in "Early
Work." _c._ 1893.
54. ANGEL PLAYING HAND-ORGAN. Pen-and-ink and slight wash, on pale grey
notepaper, from a letter to Aymer Vallance, Esq. First published in
_Magazine of Art_, May 1898; again in "Early Work." _c._ 1893.
55. THE PALL MALL BUDGET, 1893 and 1894.
I. MR H. A. JONES AND HIS BAUBLE; pen-and-ink. Feb. 2, 1893, p. 150.
II. THE NEW COINAGE. Four designs that were not sent in for
competition, p. 154. Another design, embodying a caricature of
Queen Victoria, was suppressed.
III. "BECKET" AT THE LYCEUM.
1. Mr Irving as Becket; wash drawing. Feb. 9th, front page.
2. Master Leo, p. 188.
3. Queen Eleanor, p. 188.
4. Margery, p. 188.
5. The King makes a Move on the Board, p. 188.
6. Miss Terry (as Rosamond), p. 188.
7. Mr Gordon Craig, p. 190.
8. The Composer, p. 190.
IV.
1. THE DISAPPOINTMENT OF EMILE ZOLA, p. 202.
2. EMILE ZOLA; a portrait, p. 204.
(Republished in "Pall Mall Pictures of the Year," 1893,
and in _The Studio_, June 1893.)
V. VERDI'S "FALSTAFF," AT MILAN, Feb. 16th.
Initial letter V; pen-and-ink, p. 236.
Portrait of Verdi; ink and wash, p. 236.
VI. POPE LEO XIII.'S JUBILEE, Feb. 23rd.
The Pilgrim (old style), p. 270.
The Pilgrim (new style), p. 270.
VII. THE REAPPEARANCE OF MRS BANCROFT.
1. Mr Arthur Cecil (Baron Stein), p. 281.
2. Mrs Bancroft (Lady Fairfax), p. 281.
3. Mr Forbes Robertson (Julian Beauclere), p. 281.
4. Mr Bancroft (Count Orloff), p. 281.
VIII. CARICATURE OF A GOLF PLAYER, in classical helmet, March 9th, p. 376.
IX. ORPHEUS AT THE LYCEUM, March 16th.
1. One of the Spirits, Act II., p. 395.
2. Orpheus (Miss Clara Butt), p. 395.
3. A Visitor at the Rehearsal, p. 395.
4. Some Dresses in the Chorus, p. 395.
X. PORTRAIT OF THE LATE JULES FERRY: wash drawing, March 23rd, p. 435.
XI. BULLET-PROOF UNIFORM: Tommy Atkins thinks it rather fun, March 30,
p. 491.
XII. MR FREDERICK HARRISON'S "IDEAL NOVELIST," April 20, p. 620.
XIII. A NEW YEAR'S DREAM, after studying Mr Pennell's "Devils of Notre
Dame." Republished in "Early Work." Jan. 4th, 1894, p. 8.
56. MR PARNELL, sketch portrait of the Irish party leader, head and
shoulders, three quarters face to left, pencil, half tone reproduction,
4-3/4 x 3-1/2 inches.
57. I. THE STUDIO. Design for wrapper in two states, the original
design containing a seated figure of Pan, omitted in the later
version. First state on brown paper. The same, reduced, in black
on green, for prospectus, republished in _The Studio_, May 1898,
and again in "Early Work."
Second state, black on green, also in gold on rough white paper for
presentation to Royalty (Nov. 15th, 1893). The same, reduced, and
printed in dark green on white, for a prospectus, republished in
"Early Work." The same, enlarged and printed in black on light
green, for a poster.
THE STUDIO, NO. I, April 1893, accompanying an article entitled "A New
Illustrator: Aubrey Beardsley," by Joseph Pennell, contained:----
II. Reduced reproduction of the pen-and-ink replica of Jeanne d'Arc
procession. Republished as large folding supplement in No. 2.
III. Siegfried, Act II., from the original drawing in line and wash,
signed A.V.B., presented by the artist to Sir Edward Burne-Jones,
after whose death it was given back by Lady Burne-Jones, to the
artist's mother, Mrs Beardsley. Republished in "Early Work."
IV. The Birthday of Madame Cigale, line and wash, 15 inches long by
9-1/2 inches high, influenced by Japanese models. Reproduced in
"Early Work." (Property of Charles Holme, Esq.)
V. Les Revenants de Musique, line and wash. Reproduced in "Early
Work." (Property of Charles Holme, Esq.)
VI. Salome with the head of St John the Baptist. Upright panel in
Chinese ink on white, 10-1/8 by 5-1/8 inches, exclusive of framing
lines. This was the first design suggested to the artist by Oscar
Wilde's French play of "Salome." It differs from the later version
of the same subject in being richer and more complex. It contains
the legend, omitted in the later version, _j'ai baise ta bouche
Iokanaan, j'ai baise ta bouche_. The treatment is obviously
influenced by Japanese work, and also by that of the French
Symboliste school, _e.g._ Carlos Schwabe. Republished in "Early
Work." Subsequently to its appearance in _The Studio_, the artist
experimentally tinted it with green colour washes. In its final
state it has not been published. (Formerly the property of Mrs
Ernest Leverson, now of Miss K. Doulton.)
VII. Reduced reproduction of the second version of the Jeanne d'Arc
procession. The same appeared, full size, as a folding plate
supplement, in No. 2 of _The Studio_, May 1893.
In the first number of _The Studio_ (April) also were published,
by anticipation, four designs from the "Morte Darthur," due to
begin its serial appearance in the following June, viz.:--
VIII. Initial letter I.
IX. Merlin taketh the child Arthur into his keeping (full page,
including border).
X. Ornamental border for full page.
XI. Frieze for chapter-heading; six men fighting, on foot, three of
them panoplied. Reproduced in _Magazine of Art_, November 1896,
"Fifty Drawings," _Idler_, March 1897, and _St Paul's_, April 9th,
1898. The original drawing is 13-3/4 inches long by 4-1/2 inches.
As may be seen, even in the reduced reproduction, one inch
at either end was added by the artist at the request of his
publisher, so as to increase the proportionate length of the
ornament. Subsequently Mr Frederick H. Evans photographed the
drawing, full size, and produced fifteen platinotype copies,
of which twelve only were for sale, and the plate destroyed.
58. DESIGN OF DANDELIONS, for publishers' trade mark for Dent & Co.
59. LE MORTE DARTHUR, by Sir Thomas Malory. J. M. Dent & Co. 300 copies on
Dutch hand-made paper and 1500 ordinary copies. Issued in Parts,
beginning June 1893.
I. Vol. I., 1893. Frontispiece--"How King Arthur saw the Questing
Beast, and thereof had great marvel." Photogravure.
Full-page illustrations:--
II. Merlin taketh the child Arthur into his keeping. (Reduced
reproduction in _Idler_, May 1898.)
III. The Lady of the Lake telleth Arthur of the sword Excalibur.
IV. Merlin and Nimue.
V. Arthur and the strange mantle.
VI. How four queens found Launcelot sleeping. (Property of A. E.
Gallatin, Esq.)
VII. Sir Launcelot and the witch Hellawes. (Property of A. E.
Gallatin, Esq.)
VIII. How la Beale Isoud nursed Sir Tristram.
IX. How Sir Tristram drank the love drink.
X. How la Beale Isoud wrote to Sir Tristram.
XI. How King Mark found Sir Tristram sleeping.
XII. How Morgan le Fay gave a sword to Sir Tristram.
XIII. Vol. II., 1894. Frontispiece--"The achieving of the Sangreal."
Photogravure. (This was the first design executed for the work.)
Full page and double page illustrations:--
XIV. How King Mark and Sir Dinadan heard Sir Palomides making great
sorrow and mourning for la Beale Isoud (double page).
XV. La Beale Isoud at Joyous Gard (double page).
XVI. How Sir Launcelot was known by Dame Elaine (full page).
XVII. How a devil in woman's likeness would have tempted Sir Bors (double
page).
XVIII. How Queen Guenever rode on maying (double page).
XIX. How Sir Bedivere cast the sword Excalibur into the water (full
page).
XX. How Queen Guenever made her a nun (full page).
In the two volumes there are altogether 548 ornaments,
chapter-headings, borders, initials, tail-pieces, etc.; but some of
them are repetitions of the same design, others reproductions of
the same design in two different sizes. (Two of these are in the
Victoria and Albert Museum. Eight belong to Pickford Waller, Esq.
Others are the property of Hon. Gerald Ponsonby, R. C. Greenleaf,
Esq., W. H. Jessop, Esq., M. H. Sands, Esq., Robert Ross, Esq.,
and Messrs Carfax & Co.)
XXI. Chapter-heading, a dragon, with conventional foliage spray
branching into marginal ornaments; printed, but not published
in the book.
XXII. Initial letter J with guardian griffins; pen-and-ink, 5-1/2 x 3-1/2
inches.
XXIII. Unfinished border design, first published in "Whistler's Art Dicta
and Other Essays" by A. E. Gallatin (Boston, U.S.A., and London,
1903). (Property of A. E. Gallatin, Esq.)
XXIV. Original study, approved by the publisher, for wrappers of serial
issue of the "Morte Darthur," yellowish green water-colour on
white paper, 10-1/4 x 8-1/4 inches. This design, comprising
lilies, differs from that which was finally produced by the
artist and published (next item). (Property of Aymer Vallance,
Esq.) 1893.
Design for wrappers of serial issue, in black on grey paper, in
two states, the earlier or trial-state, having blank spaces for
the lettering, only the title being given as "La Mort Darthure."
XXV. Design in gold on cream-white cloth cases of the bound volumes.
Nineteen of the above designs were republished in "A Book of
Fifty Drawings," and again in "Later Work," including full-size
reproductions of the following, which had suffered through
excessive reduction in the published "Morte Darthur."
XXVI. Merlin (in a circle), facing list of illustrations in Vol. I. The
same reproduced in _The Idler_, March 1897.
XXVII. Vignette of Book I., chapter xiv. Landscape with piper in a meadow
and another figure in the sky.
XXVIII. Vignette of Book III., chapter iii. Three swans swimming.
XXIX. Vignette of Book V., chapter x. Nude woman rising out of the sea,
holding in one hand a sword, in the other a rose.
60. PALL MALL MAGAZINE, JUNE 1893.
I. Of a Neophyte, and how the Black Art was revealed unto him by the
Fiend Asomuel. Full-page illustration in pen and ink. Asomuel,
meaning insomnia, was a neologism of the artist's own devising,
made up of the Greek _alpha_ privative, the Latin _somnus_, and
the Hebrew _el_, for termination analogous to that of other
spirits' names, such as Gabriel, Raphael, Azrael, etc.,
reproduced in "Early Work," July 1893.
II. The Kiss of Judas. Full-page illustration in pen-and-ink. Reproduced
in "Early Work."
61. LA COMEDIE AUX ENFERS, pen and ink, published in "Modern Illustration,"
by Joseph Pennell. (G. Bell & Sons, 1895.) Imp. 16mo. 1893.
62. I. EVELINA, by Frances Burney. (Dent & Co., 1894.) Design in outline
for title-page.
II. EVELINA AND HER GUARDIAN, design for illustration, pen and ink and
wash, 6-7/8 x 4-7/8 (exclusive of marginal lines), not published.
III. Another illustration for the same, "Love for Love," a wash drawing,
7-1/2 x 5-1/4, unpublished. 1893.
63. VIRGILIUS THE SORCERER. David Nutt, 1893. Frontispiece to the large
paper copies only. Reproduced in "Early Work."
64. THE LANDSLIP, frontispiece to "Pastor Sang," being William Wilson's
translation of Bjoernson's drama, "Over AEvne." Longmans & Co., 1893.
A black and white design, in conscious imitation of Albert Duerer,
as the peculiar form of the signature A. B. shows, the only occasion
on which the artist employed this device. Reproduced in "Early Work."
(Property of Messrs Shirley & Co., Paris.)
65. BON MOTS. 3 VOLUMES. DENT & CO., 1893.
I. Title-page reproduced in "Later Work."
II. Figure with fool's bauble, and another small ornament for the cover.
III. 208 grotesques and other ornaments in the three volumes. Some of
these, however, are repeated, and some printed in different sizes.
Three of them reproduced in "Later Work." In an article by Max
Beerbohm in the _Idler_, May 1898, accompanied by "some drawings
that have never before been reproduced," are nine small vignettes
of the "Bon Mots" type, of which number three only are explicitly
ascribed to "Bon Mots" (A sheet of them belongs to W. H. Jessop,
Esq. Nineteen are the property of Pickford Waller, Esq.)
66. FOLLY, intended for "Bon Mots," but not used in the book. The figure
is walking along a branch of hawthorn, the left hand upraised, and
holding the fool's baton; a flight of butterflies in lower left-hand
corner; with drawing 8 x 5-1/4 inches. (Property of Littleton Hay,
Esq.)
67. PAGAN PAPERS, a volume of Essays by Kenneth Grahame. Elkin Mathews
and John Lane, 1893. Title-page, design for.
68. ADA LUNDBERG, head and shoulders to right, coloured crayons on brown
paper. Reproduced in colour in "Later Work." (Property of Julian
Sampson, Esq.)
69. KEYHOLES SERIES OF NOVELS AND SHORT STORIES.--(The publication
of this series was begun by Messrs Elkin Mathews and John Lane, and
afterwards continued by Mr John Lane alone.)
I. Keynotes by George Egerton, 1893. Title-page design (the same
employed for the cloth cover). Ornamental key, embodying the
author's monogram, on back of "Contents" page (the same device
on the back of the book). This plan was adopted for each volume
of the series.
II. The Dancing Faun, by Florence Farr (the Faun in the design has
the eyeglass and features of J. McNeill Whistler).
III. Poor Folk. Translated from the Russian of F. Dostoievsky, by Lena
Milman.
IV. A Child of the Age, by Francis Adams.
V. The Great God Pan and the Inmost Light, by Arthur Machen, also
unfinished sketch in pencil upon the back of the finished design.
VI. Discords, by George Egerton.
VII. Prince Zaleski, by M. P. Shiel.
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 in _St 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 x 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 x 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 in _Idler_ magazine, 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 x 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. Purchased by 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 in _The 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 in _The 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 in
_To-Day_, May 12th, 1894, afterwards republished in "Fifty Drawings"
and "Later Work"; also in _Le Courrier Francais_, 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 x 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 in _To-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 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 of _The Studio_.
Tailpiece. The corpse of Salome being coffined in a puff-powder
box. (Property of John Lane, Esq.)
NOS. I., IV., V., AND VI. 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 of
John Lane, Esq.) This (1907) edition, moreover, contains the two
illustrations suppressed in the original edition, viz., "John and
Salome" (Property of John Lane, Esq.), now placed in order as
No. 8, and "The Toilet of Salome, II.," now placed as No. 13
(Property of John Lane, Esq.) and an original title-page.
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 the _Daily Chronicle_ on
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.