Aubrey Beardsley Part 6

II. EVELINA AND HER GUARDIAN, design for ill.u.s.tration, pen and ink and wash, 6-7/8 4-7/8 (exclusive of marginal lines), not published.

III. Another ill.u.s.tration for the same, "Love for Love," a wash drawing, 7-1/2 5-1/4, unpublished. 1893.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 Bjornson's drama, "Over aevne." Longmans & Co., 1893.

A black and white design, in conscious imitation of Albert Durer, 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 s.h.i.+rley & Co., Paris.)

65. BON MOTS. 3 VOLUMES. DENT & CO., 1893.

I. t.i.tle-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 b.u.t.terflies in lower left-hand corner; with drawing 8 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. t.i.tle-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. t.i.tle-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 eyegla.s.s 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 G.o.d 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. s.h.i.+el.

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. n.o.body'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. t.i.tle-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 ill.u.s.trations to

I. A Snare of Vintage. Reproduced in "Later Work."

Another drawing of the same subject and t.i.tle, 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 ill.u.s.trations were the earliest of the Artist's designs not intended for public circulation.

LUCIAN'S TRUE HISTORY, translated by Francis Hickes, ill.u.s.trated 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.