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 the
_Pall 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. Garcons de Cafe. (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original with scarlet and green, in which state it is unpublished.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 Rejane, 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, in _Le Courrier Francais_, December
23rd, 1894, with the title "Wagneriens et Wagneriennes."
XXI. La Dame aux Camelias. Reprinted in _St 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 REJANE wearing a broad-brimmed hat with dark bow in front,
head and shoulders, full face slightly to left, wash drawing.
Reproduced by Swan Electric Engraving Company for the "Yellow Book,"
but not used. Unpublished.
91. REJANE, 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 REJANE, full-length portrait sketch, ink and wash. First
published in "Second Book," again in "Later Work."
93. MADAME REJANE, profile to left; sitting, legs extended, on a sofa,
ink and wash. First published in "Pen Drawing and Pen Draughtsmen,"
by Joseph Pennell (Macmillan, 1894), again in "Fifty Drawings," and
in the _Idler_ Magazine, March 1897.
94. REJANE, portrait head in profile to left, in red crayon and black ink,
7-1/2 x 6 inches. First published in facsimile in _The 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 in
_The 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 the _Idler_ Magazine, 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 known for what they were intended. Published by James
Tregaskis, Caxton Head.
100. LES PASSADES, night scene, in pen-and-ink with ink wash, 10 x 5
inches. First published in _To-Day_, November 17, 1894, again in the
_Idler_ Magazine, March 1897.
101. VENUS BETWEEN TERMINAL GODS. Frontispiece for a version of the
Tannhaeuser 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."
_Circa_ 1894-5.
102. FRONTISPIECE AND TITLE-PAGE, together forming one complete design, for
"The Story of Venus and Tannhaeuser," to be published by John Lane,
but never completed. (_Cf._ "Under the Hill" in _The Savoy_, 1896.)
Reproduced in "Early Work." Dated 1895. (Property of John Lane, Esq.)
103. THE RETURN OF TANNHAeUSER 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 the _Idler_ Magazine for May 1898, and again, in
larger format and, as the initials in left hand corner show, reversed,
in "Second Book" and again in "Later Work." The _Idler_ version has
a slight effect of half-tone in the brambles in the foreground, but
the "Later Work" reproduction is pure black-and-white contrast.
104. VENUS. Design for title-page, in black-and-white. First published in
_The 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 ARTIST in profile to left; in imaginary
costume, with a lace ruff to the neck, and earrings in the ears.
Published in "Posters in Miniature," and again in "Early Work."
A half-tone block from variant of the same, the earring as well as
the button on lappel and waist of coat more pronounced, was published
in _The Hour_, March 27, 1895, and reproduced in _Magazine of Art_,
November 1896.
112. A CHILD STANDING BY ITS MOTHER'S BED, black-and-white, chiefly
outline. First published in _The 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 in _The 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.) _Circa_ 1895.
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
in _The Studio_, September 1895. (Property of John Lane, Esq.)
116. THREE DECORATIVE DESIGNS from the brown paper cover of Aubrey
Beardsley's own copy of "Tristan und Isolde." Two reproduced in
"Later Work." (Property of Frederick H. Evans, Esq.)
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 x 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 x 4-3/4 inches. First published in the _Critic_
(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 to _The 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 in _The 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 landscape has 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 in _The
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 LIND in "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 TALES by Count Hamilton, to be published
by Messrs H. Henry & Co., Ltd.
131. BALZAC'S "LA COMEDIE 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-PIECE to 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 Andre 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 with expurgated 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 in _St 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 the _Idler_,
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 it appears that the original intention
was to produce the first number in December 1895. Reproduced
in "Later Work." Latter part of 1895. (Property of John Lane,
Esq.)
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 the _Idler_ Magazine, March
1897, and again in "Later Work." (Property of Mrs Edmund Davis.)
XIII. The Abbe. 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 the _Idler_ Magazine, 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 Repetition of "Tristan und Isolde." Republished in "Later Work."
XXXV. Don Juan, Sganarelle and the Beggar; from Moliere'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." First published 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 the _Idler_, 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 in _Idler_ Magazine, 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 in _Idler_, May 1898, and again in "Later Work."
158. ATALANTA IN CALYDON. First published in "Fifty Drawings," 1897; also
in the _Idler_ Magazine, 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 (see _supra_),
two of Bathyllus, and one representing Juvenal scourging a woman
(this last, slightly altered, reproduced in "Later Work"), belongs
to a series of illustrations to the _Sixth Satire_ of Juvenal.
Leonard Smithers, privately printed, 1897.