{"title":"Aubrey Beardsley","description":"\u003cdiv style=\"text-align: center; margin-top: 1.5rem;\"\u003e\u003ca style=\"display: inline-block; padding: 0.75rem 2rem; border: 1px solid currentColor; letter-spacing: 0.08em; text-decoration: none; font-size: 0.875rem; text-transform: uppercase;\" title=\"Firsts 2026\" href=\"https:\/\/library.sotherans.co.uk\/catalogues\/aubrey-beardsley-2026.pdf\"\u003e Browse the Catalogue as a PDF \u003c\/a\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eA celebration of all things grotesque in honour of the the 154th anniversary of the birth of illustrator Aubrey Beardsley (1892–1898). Although Beardsley died of tuberculosis at the age of just twenty-five, he left behind more than one thousand drawings, transforming the worlds of book illustration, graphic art, and poster design. Browse the catalogue to discover Beardsley's extraordinary legacy, ranging from some of his earliest schoolboy illustrations to editions of his work published almost a century later.\u003cbr\u003e\u003c\/p\u003e","products":[{"product_id":"beardsley-aubrey-grotesques-by-aubrey-beardsley-facsimile-platinum-prints-by-frederick-h-evans-from-the-twelve-original-drawings-in-his-collection","title":"BEARDSLEY, Aubrey ( illustrator ); Frederick H. EVANS Grotesques by Aubrey Beardsley. Facsimile Platinum Prints by Frederick H. Evans from the Twelve Original Drawings in his Collection with a Portrait Frontispiece. Twenty-Five Copies Privately Printed.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eWith Evans’s Most Famous Beardsley Portrait\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBEARDSLEY, Aubrey (\u003ci\u003eillustrator\u003ci\u003e); Frederick H. EVANS\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Grotesques by Aubrey Beardsley. Facsimile Platinum Prints by Frederick H. Evans from the Twelve Original Drawings in his Collection with a Portrait Frontispiece. Twenty-Five Copies Privately Printed. \u003ci\u003eS.l.: privately printed\u003c\/i\u003e. 1919.\u003c\/p\u003e\n\u003cp\u003e4to. Publisher’s printed wrappers, housed in a clamshell morocco-backed box with cloth sides, raised bands ruled in gilt; marbled edges, red gilt morocco lettering-pieces; ff. [13], comprising 12 platinum prints after drawings by Aubrey Beardsley and a portrait frontispiece within a handsome Art Nouveau woodcut border signed by Evans in pencil and dated 1919, the prints and frontispiece mounted on brown card, the last 4 ff. provided in facsimile and mounted on paper slightly warmer in colour; c. 60-mm split to spine, but holding, a few spots to wrappers; slight offsetting to blank versos; else very well preserved.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOne of twenty-five privately printed copies, extremely rare, of this collection of facsimile platinum prints after twelve original drawings by Beardsley from the collection of his friend, the Pictorialist photographer Frederick Evans (1853–1943), also including a photograph of Beardsley signed by Evans, perhaps the most famous portrait of the artist.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA friend of George Bernard Shaw, Evans was a proprietor of Jones’ and Evans’ Bookshop near the Guildhall in Cheapside until 1898, when he turned to photography full-time; a monumental photographer of architecture, he was a member of the Linked Ring photographic society and soon befriended Alfred Stieglitz; he was the first British photographer to have his work featured in Stieglitz’s seminal photographic journal \u003ci\u003eCamera Work\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eEvans met the seventeen-year-old Beardsley in 1889, when Beardsley was working as a clerk for an insurance company.\u003c\/p\u003e\n\u003cp\u003eThe shop was ‘but a minute’s walk for Beardsley within a twelvemonth of his coming to London town … Here Beardsley would turn in after his city work was done, as well as at the luncheon hour, to discuss the new books; and thereby won into the friendship of Frederick Evans who was early interested in him’ (MacFall, p. 39). Within a year, he was visiting daily. ‘Thus it came about that Beardsley made his first literary friendship in the great city. He would take a few drawings he made at this time and discuss them with Frederick Evans. Soon they were on so friendly a footing that Evans would “swap” the books for which the youth craved in exchange for drawings’ (ibid.). Indeed, it was Evans who secured Beardsley’s first commission, recommending him to J.M. Dent for Malory’s \u003ci\u003eMorte d’Arthur.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eThe portrait of Beardsley included here is one of two famous photographs Evans took of Beardsley around 1894: here, Beardsley gazes downwards, his head in his hands. The portrait frontispiece is here signed by Evans and dated 1919. The present illustrations, from original drawings of Beardsley from Evans’s collection, were first published in the 1893 \u003ci\u003eBon-Mots of Sydney Smith and Richard Brinsley Sheridan\u003c\/i\u003e, a small-format volume in which Beardsley’s illustrations appear as minute in-text illustrations or tailpieces, measuring not more than four centimetres; they can be appreciated in \u003ci\u003eGrotesques by Aubrey Beardsley\u003c\/i\u003e not as mere ornaments to the text, but as works of art in their own right. Beardsley died of tuberculosis on 16 March 1898, aged only twenty-five.\u003c\/p\u003e\n\u003cp\u003eThis collection was privately printed some two decades after Beardsley’s death and in the same year as the auction of Evans’s Beardsley drawings at Anderson Galleries in New York. It follows a larger-format edition of grotesques from Evans’s collection, limited to ten copies and published in 1913 under the title \u003ci\u003eGrotesques by Aubrey Beardsley. Enlarged Facsimiles in Platinotype\u003c\/i\u003e, comprising reproductions of the twelve drawings included here but issued without the portrait (we find only one copy, at Princeton).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eWe find a single copy in the UK, at the National Art Library, and one in the US (Metropolitan Museum of Art, the portrait of Beardsley unsigned).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eNot in Samuels Lasner (see no. 156, note).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124801\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":56909938983289,"sku":"2124801","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124801a.jpg?v=1776515566"},{"product_id":"wilde-oscar-lord-alfred-douglas-translator-salome-a-tragedy-in-one-act","title":"WILDE, Oscar; [Lord Alfred DOUGLAS ( translator ); Aubrey BEARDSLEY ( illustrator )]. Salome. A tragedy in one act.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eThe First Illustrated \u003ci\u003eSalomé\u003ci\u003e\u003c\/i\u003e\u003c\/i\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eWILDE, Oscar; [Lord Alfred DOUGLAS (\u003ci\u003etranslator\u003ci\u003e); Aubrey BEARDSLEY (\u003ci\u003eillustrator\u003ci\u003e)].\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Salome. A tragedy in one act. \u003ci\u003eLondon: Elkin Mathews \u0026amp; John Lane.\u003c\/i\u003e 1894.\u003c\/p\u003e\n\u003cp\u003eSmall 4to. Original blue-green woven cloth, gilt designs after Beardsley blocked to boards, spine lettered in gilt, fore- and tail-edges uncut; pp. [10], 67, [1], 14 (advertisements), [2], 10 plates including frontispiece, illustrated title-page, contents page, and tailpiece by Aubrey Beardsley, printed on glazed paper from line blocks engraved by Carl Hentschel; a few chips to joints and corners, small loss to head of spine affecting 2 letters of gilt text, spine sunned; internally very clean; a very good copy; bookplate of William Forbes Morgan (1841–1916) to front pastedown.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst English edition of Wilde’s one-act tragedy, the first with Beardsley’s illustrations (four of which contain caricatures of Oscar Wilde), one of only 500 copies, translated by and dedicated to Wilde’s lover, Lord Alfred Douglas.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThough Wilde tried to fix some of the errors, Douglas raged when he did, and wrote to the publishers that September, ‘as I cannot consent to have my work altered and edited, and thus to become a mere machine for doing the rough work of translation, I have decided to relinquish the affair altogether.’ (Daniel). Nevertheless, their relationship recovered, and the translation has since become the text most familiar to Anglophone audiences. Steven Berkoff used the Douglas translation for his critically acclaimed \u003ci\u003eSalomé\u003c\/i\u003e at the National Theatre in 1988, with all its archaisms and errors unabridged.\u003c\/p\u003e\n\u003cp\u003eSadly, Wilde never saw the play produced. Its only performance during his lifetime was a one-off presentation at the Théatre de la Comédie-Parisienne on 11 February 1896, by which time he was already in prison. It was not performed publicly in Britain until 1931.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 865–81; Mason 350; Reade 274–83; Samuels Lasner 59; Vallance 86. See Daniel, ‘Lost In Translation: Oscar, Bosie and Salome’, Princeton University Library Chronicle (2007).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124696\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":57122271494521,"sku":"2124696","price":4000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124696d.jpg?v=1776858538"},{"product_id":"jonson-ben-aubrey-beardsley-illustrator-volpone-or-the-foxe-a-new-edition-with-a-critical-essay-on-the-author-by-vincent-osullivan-and-a-frontispiece-five-initial-letters-and-a-cover-design-illustrative-and-decorative-by-aubrey-beardsley-togeth","title":"JONSON, Ben; Aubrey BEARDSLEY ( illustrator ); Vincent O'SULLIVAN. Volpone: or The Foxe. A new edition …","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e‘One of the Strongest Things I Have Ever Done’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eJONSON, Ben; Aubrey BEARDSLEY (\u003ci\u003eillustrator\u003ci\u003e); Vincent O'SULLIVAN.\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Volpone: or The Foxe. A new edition … \u003ci\u003eNew York: John Lane\u003c\/i\u003e. 1898.\u003c\/p\u003e\n\u003cp\u003e4to. Publisher’s green bevelled cloth, ornate gilt decoration and lettering to upper cover by Beardsley, gilt lettering to spine; pp. xlv, [1 (blank)], 193, [1]; 8 illustrations by Aubrey Beardsley comprising half-title (repeating cover design), frontispiece, and 6 inhabited initials, title-page printed in red and black; spine ends bumped, very slight wear to bevelled edges and corners, and minor rubbing to gilt decoration to upper board; endpapers a little browned; an excellent copy, largely unopened; early ink stamp of the Baragwanath family of Cornwall to front free endpaper.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNo. 193 of 100 copies of the American sub-issue of Beardsley’s final, uncompleted commission, published eight months after the artist’s death and poignantly dedicated to his mother, with a eulogy by Robert Ross.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis sub-issue lacks Beardsley’s ‘Puck on Pegasus’ device in gilt to the rear cover, although it does appear on the title-page. There are six initials in total, one of which repeated (pp. 55 and 116). Beardsley was commissioned by Leonard Smithers to illustrate this book, originally conceived as an \u003ci\u003eedition de luxe\u003c\/i\u003e with twenty four plates, frontispiece, initial letters and small drawings, in November 1897. His health was already failing due to tuberculosis, and when he died in March 1898 he had only produced the illustrations seen here. Despite his fading powers, Beardsley was excited about the project, finding that Jonson’s depiction of a greedy and depraved world chimed with his own artistic vision.\u003c\/p\u003e\n\u003cp\u003eHe wrote that ‘I carry Volpone about with me from dawn to dawn and dream of nothing else’ and considered his illustration for the frontispiece, ‘Volpone Adoring His Treasure’, to be ‘one of the strongest things I have ever done’ (cited in Nelson, p. 163). Such was the importance attached to this book as a monument to Beardsley’s talent that a number of his fellow Decadents were involved in the final publication. Robert Ross wrote an affectionate eulogy that formed the basis of his 1909 biography of Beardsley, Vincent O’Sullivan provided an essay on Jonson that tied him to the \u003ci\u003efin-de-siècle\u003c\/i\u003e sensibility, and Ernest Dowson anonymously edited the text.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 1080–1089r; Samuels Lasner 129. See Nelson, Publisher to the Decadents: Leonard Smithers in the Careers of Beardsley, Wilde and Dowson (2000).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125420\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":63823614968185,"sku":"2125420","price":400.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125420.jpg?v=1783345906"},{"product_id":"birnbaum-martin-introductions-painters-sculptors-and-graphic-artists","title":"BIRNBAUM, Martin. Introductions. Painters Sculptors and Graphic Artists.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003ePresented to the Curator of the Petit Palais\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBIRNBAUM, Martin.\u003c\/strong\u003e Introductions. Painters Sculptors and Graphic Artists. \u003ci\u003eNew York: Frederic Fairchild Sherman.\u003c\/i\u003e 1919.\u003c\/p\u003e\n\u003cp\u003e8vo. Original green cloth-backed boards, gilt lettering in panel to upper board, gilt lettering-piece to spine; pp. 137, [1], 30 plates; very good; presentation inscription to title ‘A Mons. Henry Lapauze | with my gratitude and regard | Martin Birnbaum | July 1921’ (\u003ci\u003esee below\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, limited to 500 copies, of this survey of the lives and works of fourteen noted designers including Aubrey Beardsley, this copy presented by the author to Henry Lapauze, art critic, collector, and head curator of the Musée des Beaux-Arts in Paris.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBorn Charles Lafause (1867–1925), Lapause was a noted collector of Ingres and was instrumental in expanding the collections of the newly established museum of fine art at the Petit Palais. He played a key role in establishing the core collection of the Musée de l’Estampe moderne (Museum of Modern Prints) within the Petit Palais in 1908, obtaining over three thousand prints in a matter of months by soliciting donations from artists, dealers, and collectors, including Théophile Steinlen, Henri Béraldi, and Henri de Toulouse-Lautrec.\u003cbr\u003eMartin Birnbaum was not only an art critic and dealer but also a highly skilled amateur violinist, hence his doodle. His essay on Beardsley is here ‘reprinted in slightly different form’ (Samuels Lasner) from his 1911 \u003ci\u003eAubrey Vincent Beardsley; Introductions\u003c\/i\u003e also features pieces on Leon Bakst, Edmund Dulac, and Kay Nielsen, amongst others.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSee Samuels Lasner 155, note.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125418\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":63823615066489,"sku":"2125418","price":90.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125418.jpg?v=1783345914"},{"product_id":"arrow-simon-pseud-i-e-george-granville-hope-johnstone-count-fannys-nuptials","title":"‘ARROW, Simon’ (pseud., i.e. George Granville HOPE-JOHNSTONE?). Count Fanny's Nuptials","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eDeath, Decay \u0026amp; Desire\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e‘ARROW, Simon’ (pseud., i.e. George Granville HOPE-JOHNSTONE?).\u003c\/strong\u003e Count Fanny's Nuptials [\u003ci\u003eLondon\u003c\/i\u003e:] \u003ci\u003ePrinted for private circulation, and published by G.G. Hope Johnstone.\u003c\/i\u003e [1907.]\u003c\/p\u003e\n\u003cp\u003e4to. Original navy blue bevelled cloth, spine lettered in gilt; pp. 68, [1], [3 (blank)]; 7 plates attributed to ‘Alastair’ (see below); extremities lightly rubbed; the odd spot; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of this anonymous erotic story, likely authored by the publisher, with illustrations thought to be by ‘Alastair’ (i.e. Hans Henning von Voight) frequently misattributed to Beardsley.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eCount Fanny’s Nuptials\u003c\/i\u003e describes the eponymous nobleman’s wooing of the young Lucy Birchman, set against a backdrop of decadent sensuality: he woos Lucy with gifts of ‘a cage of strange silk-worms that wove strange tapestries in two colours’, French erotic drawings, a copy of \u003ci\u003eLes Fleurs du mal\u003c\/i\u003e, ‘a rare pamphlet attributed to the Marquis de Sade upon the cover of which dwarfs engaged in unthinkable pleasantries’, a ‘pair of frail drawers [...] broidered in pink thread with a design of horned satyrs’, and much else. There are scenes at the Grand Ballet and discussions of Turner, Manet, and the shops of Burlington Arcade; all the while, Lucy’s mother flirts ‘in the most \u003ci\u003eoutrageous\u003c\/i\u003e manner with Erotion (Fanny’s manservant?), allowing ‘her bodice to slip aside with studied carelessness and display the ample zones of her bosom’.\u003c\/p\u003e\n\u003cp\u003eIn 1913 Hope-Johnstone appeared before the King’s Bench Division, having been brought to court by the Princess of Formosa for alleged slander and false imprisonment (Hope-Johnstone had turned her in to the police for purportedly stealing £6 from him).\u003c\/p\u003e\n\u003cp\u003eTheir relationship, which had started around 1911, was evidently tumultuous: the court case notes that Hope-Johnstone persuaded her to briefly run away with him to Ceylon (Sri Lanka), where they ‘lived as man and wife’, makes mention of several mercurial letters varying from desperate (‘In Paris after you left I kissed the cat instead of you’) to defamatory (calling her ‘the most despicable creature I have ever known’), and refers to an incident in which he turned up at her flat in Paris, pulled the tablecloth from the table, ‘moves the whole of the dinner, breaks a bottle of champagne against the wall, goes to the door and insults a lady who is coming in, strikes the lady’s escort in the face, and then shuts the door on them’. The case was settled for £500 (see ‘Sicilian Princess’ Suit’, in \u003ci\u003eThe Advertiser\u003c\/i\u003e, 28 July 1913, p. 19).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 221\u003c\/i\u003e (\u003ci\u003e‘The text has also been attributed—with little evidence—to Ronald Firbank’\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2126088\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326386549113,"sku":"2126088","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2126088b.jpg?v=1787324511"},{"product_id":"balzac-honore-de-ernest-dowson-translator-aubrey-beardsley-illustrator-the-girl-with-the-golden-eyes-la-fille-aux-yeux-d-or","title":"BALZAC, Honoré de; Ernest DOWSON ( translator ); Aubrey BEARDSLEY ( illustrator ). The Girl with the Golden Eyes (La Fille aux yeux d’or).","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eRetroactively Rectified Rivalry\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBALZAC, Honoré de; Ernest DOWSON (\u003ci\u003etranslator\u003ci\u003e); Aubrey BEARDSLEY (\u003ci\u003eillustrator\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e The Girl with the Golden Eyes (La Fille aux yeux d’or). [\u003ci\u003eLondon or New York?] Privately printed [for Herbert J. Williams\u003c\/i\u003e]. [1929.]\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s yellow silk-backed boards with pink paper sides, printed paper spine label; pp. xi, [1 (blank)], 145, [3], including frontispiece; frontispiece, 7 wood-engraved plates , and in-text- illustrations by Beardsley; slight fading and a few small dampstains to boards, corners worn, very light wear to spine ends; but a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUncommon first edition thus of Ernest Dowson’s translation of Balzac’s La Fille aux yeux d’or (The Girl with the Golden Eyes), with illustrations by Beardsley.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDowson’s translation of Balzac’s \u003ci\u003eLa Fille aux yeux d’or\u003c\/i\u003e (The Girl with the Golden Eyes) had first been published by Leonard Smithers in 1896 with illustrations by Charles Conder. Beardsley’s feelings of antipathy towards Conder (who once, at a party, publicly wiped the rim of his glass in a gesture of revulsion after Beardsley had accidentally drunk from it) ‘grew so strong that he was to refuse Smithers’ offer that he design the cover for \u003ci\u003eThe Girl with the Golden Eyes\u003c\/i\u003e. It was done by Conder, and later reproduced in the fourth volume of The Savoy […] Beardsley’s developing dislike of Conder was probably the reason he was not asked to contribute more to \u003ci\u003eThe Savoy\u003c\/i\u003e’ (Galbally, p. 143). This edition was privately published for Herbert J. Williams, editor and proprietor of the periodical The Critic, of which he appointed Dowson sub-editor in 1890. Eight of Beardsley’s drawings would appear in the article ‘Notes on the Literary Element in Beardsley’s Art’ by A.E. Gallatin, publishing ‘Katharina Klavsky, as Isolde’ for the first time.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC finds four copies in the US (Stanford, South Carolina, Temple, Tulsa); no copies traced on Library Hub.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eNot in Samuels Lasner. See Gertner Zatlin 1072; Galbally, Charles Conder: The Last Bohemian (2003).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2126087\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326393004409,"sku":"2126087","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2126087.jpg?v=1787324523"},{"product_id":"van-maanen-willem-compiler-noordhoff-s-select-series-nr-3-stories-and-poems-from-the-yellow-book","title":"VAN MAANEN, W[illem] ( compiler ). Noordhoff’s Select Series Nr. 3 … Stories and Poems from the Yellow Book.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eDutch Decadence\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eVAN MAANEN, W[illem] (\u003ci\u003ecompiler\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Noordhoff’s Select Series Nr. 3 … Stories and Poems from the Yellow Book. \u003ci\u003eGroningen: P. Noordhoff\u003c\/i\u003e. 1926.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s beige buckram, upper board illustrated in yellow and black after Aubrey Beardsley, spine and upper board lettered in black, brown endpapers; pp. [iii], [1 (blank)], 160; with 5 black-and-white plates (the last in colour); boards lightly rubbed, hinges worn; very light foxing to first and final leaves; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition thus, very rare, of this anthology of stories from \u003ci\u003eThe Yellow Book\u003c\/i\u003e, produced by the largest educational publishing house in the Netherlands, with illustrations and a cover design by Beardsley.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWillem van Maanen, general editor of \u003ci\u003eNoordhoff’s Select Series\u003c\/i\u003e alongside W. van Doorn, had revised the sixth edition of Wilde’s \u003ci\u003eAn Ideal Husband\u003c\/i\u003e for the \u003ci\u003eStories and Sketches\u003c\/i\u003e (1932) and edited a 1937 compilation of works by Wilde, Stevenson, and Gissing. The Noordhoff firm, extant to this day, was established in Groningen by Popko Noordhoff in 1858 and later merged with J.B. Wolters’s educational publishing house. The plates depict Beardsley’s \u003ci\u003ePortrait of Himself\u003c\/i\u003e, his cover design for vol. IV of \u003ci\u003eThe Yellow Book\u003c\/i\u003e, his title-page design for vol. III of \u003ci\u003eThe Yellow Book\u003c\/i\u003e, and \u003ci\u003eAve atque valev (\u003c\/i\u003eCatullus, Carmen CI\u003ci\u003e), as well as a colour illustration of Max Beerbohm’s \u003c\/i\u003eThe Yellow Dwarf\u003ci\u003e. The Beardsley drawings are adapted from \u003c\/i\u003eThe Later Work of Aubrey Beardsley\u003ci\u003e (John Lane, 1920). There are also biographical notes on the author of each selected contributor to \u003c\/i\u003eThe Yellow Book\u003ci\u003e.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eOCLC finds copies in the Netherlands only.\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eNot in Samuels Lasner. See Studia Germanica Gandensia 8 (1966), p. 170n.~i~\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2126086\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326397854073,"sku":"2126086","price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2126086.jpg?v=1787324538"},{"product_id":"davidson-john-plays-being-an-unhistorical-pastoral-a-romantic-farce-bruce-a-chronicle-play-smith-a-tragic-farce-and-scaramouch-in-naxos-a-pantomime","title":"DAVIDSON, John. Plays. Being: An Unhistorical Pastoral. A Romantic Farce. Bruce a Chronicle Play. Smith a Tragic Farce. And Scaramouch in Naxos a Pantomime.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eAn Early Copy\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eDAVIDSON, John.\u003c\/strong\u003e Plays. Being: An Unhistorical Pastoral. A Romantic Farce. Bruce a Chronicle Play. Smith a Tragic Farce. And Scaramouch in Naxos a Pantomime. [\u003ci\u003eLondon: Ballantyne Press for\u003c\/i\u003e] \u003ci\u003eJohn Lane and Elkin Mathews and Chicago: Stone and Kimball\u003c\/i\u003e. 1894.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s bevelled plum cloth, spine lettered in gilt, gilt masked Pierrot by Beardsley to upper board; pp. [8], 294, 14 (advertisements), [2]; frontispiece by Beardsley; slight wear to spine ends; light browning at head; but a very good copy; contemporary Blackwell’s ticket to front pastedown, 1897 booklabel of W.A. Marsden to front pastedown, with manuscript key to the frontispiece (presumably by Marsden) loosely inserted.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, one of 500 copies printed for distribution in England, with a frontispiece and title-page vignette by Beardsley (repeated to upper board), from the library of W.A. Marsden, Keeper of Printed Books at the British Museum.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eScottish playwright, novelist, and translator John Davidson (1857–1909) was a member of the Rhymers’ Club, a friend of Bernard Shaw and W.B. Yeats, and an influence on T.S. Eliot, Hugh MacDiarmid, and Wallace Stevens. Davidson committed suicide by drowning and had expressed during his life that none of his unpublished works should be brought to light posthumously and that no biography should be written. Beardsley had also produced a frontispiece for Davidson’s 1895 \u003ci\u003eFull and True Account of the Wonderful Mission of Earl Lavender\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eLoosely inserted is a one-page manuscript key, with drawings, of individual figures represented in the frontispiece, thought to depict Mabel Beardsley, Henry Harland, Oscar Wilde, Sir Augustus Harris, Richard Le Gallienne, and the dancer Adeline Genée. The satyr-like figure on the left ‘partly conceals the figure of Mabel Beardsley, beside whom is Oscar Wilde with his legs thonged together. The innuendo may be that Mabel is interested in Wilde, or the reverse, but safe from him because his legs are tied together (in other words he has become heterosexually impotent) [...] The landscape details are remarkable for their date, being almost abstractions’ (Reade). ‘According to Reade and Dickinson, a small dot found on the back of Genée’s skirt is “part of the lineblock” and may denote an early copy of the book’ (Samuels Lasner).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eProvenance\u003c\/i\u003e: with the booklabel of Wilfred Alexander Marsden (1878–1949) of New College, Oxford, Keeper of Printed Books at the British Museum from 1930 to 1943. Marsden was the owner of the Johnson manuscript, an important eighteenth-century transcription of Rubens’s lost Italian sketchbook, sold at Sotheby’s (23–24 March 1970, lot 179), purchased by Maggs for Count Antoine Seilern, and subsequently bequeathed to the Courtauld.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 331–32; Reade 317–18; Samuels Lasner 58.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2126084\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326405685625,"sku":"2126084","price":300.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2126084b.jpg?v=1787324562"},{"product_id":"ross-robert-aymer-vallance-aubrey-beardsley-with-sixteen-full-page-illustrations-and-a-revised-iconography","title":"ROSS, Robert; Aymer VALLANCE. Aubrey Beardsley … with Sixteen Full-Page Illustrations and a Revised Iconography.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eAnnotated \u0026amp; Inscribed by Beardsley’s Patron\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eROSS, Robert; Aymer VALLANCE.\u003c\/strong\u003e Aubrey Beardsley … with Sixteen Full-Page Illustrations and a Revised Iconography. \u003ci\u003eLondon: John Lane, the Bodley Head and New York: John Lane Company.\u003c\/i\u003e 1909 (but November 1908).\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s red cloth, spine and upper board lettered in gilt, masked Pierrot by Beardsley gilt to upper board, top-edge gilt; pp. 112, [12 (advertisements)]; 16 plates by Beardsley including frontispiece; title-page by Beardsley adapted from Keynotes, advertisements printed in red and black; wanting the uncommon dust-jacket, spine sunned, corners bumped; light waterstaining to p. 50 and facing plate, else internally very good; gift inscription to front free endpaper ‘from Herbert Jerome Pollard’, dated December 1908 (\u003ci\u003esee below\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition thus of Ross’s biography of Beardsley, with a revised version of Vallance’s iconography of Beardsley’s works, this copy inscribed to an unknown recipient by Hubert ‘Jerome’ Pollitt (1872–1942), Beardsley’s patron and owner of most of the Lysistrata drawings.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRoss’s text had initially appeared as a eulogy to Beardsley, published in the first edition of Beardsley’s last major project, \u003ci\u003eVolpone\u003c\/i\u003e; Beardsley had died before completing the illustrations. Vallance’s iconography is a revised version of that which appeared in \u003ci\u003eA Book of Fifty Drawings\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eProvenance\u003c\/i\u003e: gift inscription from Herbert Charles ‘Jerome’ Pollitt (1871–1942), Beardsley’s major patron, for whom Beardsley adapted his own bookplate design, one of only three bookplates Beardsley completed during his lifetime. Pollitt, who had been president of Footlights during his time at Cambridge, was known for his cross-dressing performances as Diane de Rougy and for his friendships with Beardsley and Smithers.\u003c\/p\u003e\n\u003cp\u003eHe later entered into a relationship with Aleister Crowley, who ‘lived with Pollitt as his wife for some six months and he made a poet out of me’ (Crowley, quoted in \u003ci\u003eKaczynski, Perdurabo\u003c\/i\u003e (2012), p. 38). Pollitt owned many of Beardsley’s \u003ci\u003eLysistrata\u003c\/i\u003e drawings, and on his deathbed Beardsley implored Smithers ‘to destroy all copies of \u003ci\u003eLysistrata\u003c\/i\u003e and bad drawings. Show this to Pollitt and conjure him to do the same’.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIn this copy, thirty-two drawings in Vallance’s catalogue have been marked up, apparently indicating which works were in Pollitt’s collection.\u003c\/strong\u003e Amongst them are Aubrey Beardsley’s bookplate, all eight drawings listed for \u003ci\u003eLysistrata\u003c\/i\u003e, five drawings for \u003ci\u003eVolpone\u003c\/i\u003e (these explicitly listed as the property of ‘Herbert J. Pollit, Esq.’); one is attributed to the collection of ‘Walter Pollett Esq.’, likely erroneously. Pollitt adds in manuscript at the end ‘The Impatient Waiter’ (i.e. ‘The Impatient Adulterer’), Beardsley’s explicit drawing of a masturbating voyeur for Juvenal’s \u003ci\u003eSixth Satire\u003c\/i\u003e. ‘Beardsley had begun the drawing in August 1896, directly after completing his \u003ci\u003eLysistrata\u003c\/i\u003e series whilst staying at Boscombe, but left it incomplete at that time. Perhaps realising that it could not be printed, he offered it to his new friend and patron Herbert Pollitt, when the latter visited him at Bournemouth in late April 1897. Beardsley wrote to Pollitt on 3rd March to inform him “the little drawing for Juvenal VI 237–8 is done.”’ (V\u0026amp;A, \u003ci\u003eonline\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 1061 (for Pollitt’s ‘Impatient Adulterer’); Samuels Lasner 154.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2126082\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326407618937,"sku":"2126082","price":475.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2126082.jpg?v=1787324573"},{"product_id":"hobbes-john-oliver-pseud-i-e-pearl-mary-teresa-richards-the-dream-and-the-business","title":"HOBBES, John Oliver ( pseud ., i.e. Pearl Mary Teresa RICHARDS). The Dream and the Business.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eFirst Loves, Second Thoughts\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eHOBBES, John Oliver (\u003ci\u003epseud\u003ci\u003e., i.e. Pearl Mary Teresa RICHARDS).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e The Dream and the Business. \u003ci\u003eLondon: T. Fisher Unwin\u003c\/i\u003e. 1906.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s blue and white cloth, design by Beardsley blocked to upper board in yellow and orange, spine lettered in red; pp. vii, [1 (blank)], 444, [2 (advertisements)], with half-title; without the very rare dust-jacket, boards slightly rubbed, spine toned with pushing to ends; light spotting to half-title and browning to endpapers; a very good copy; contemporary booklabel of the Ardkinglas estate to front pastedown.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of the last published work by Anglo-American author Pearl Craigie (\u003ci\u003enée\u003c\/i\u003e Richards, 1867–1906), with a cover by Aubrey Beardsley reproducing his poster design for T. Fisher Unwin’s \u003ci\u003ePseudonym and Autonym Libraries\u003c\/i\u003e.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eT. Fisher Unwin had published Craigie’s first book, the wildly popular \u003ci\u003eSome Emotions and a Moral\u003c\/i\u003e, in 1891 as part of the \u003ci\u003ePseudonym Library\u003c\/i\u003e. Divided into four sections – ‘First Loves’, ‘Second Thoughts’, ‘The Compromise’, and ‘The Conflict’ – The Dream and the Business ‘contrasted the Roman Catholic with the nonconformist temper of mind’ (\u003ci\u003eDNB\u003c\/i\u003e). Set against the backdrop of upper-class English Society, it contrasts the ideal and the ordinary, reason and emotion, and Christianity and paganism, and follows the complex relationships amongst Catholic Lord and Lady Marlesfold, the ‘pagan’ artist Maurice Lessard, and the Nonconformists Jim and Sophy Firmalden.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eProvenance\u003c\/i\u003e: with the booklabel of the Ardkinglas estate on Loch Fyne in Argyllshire, likely that of the Scottish physicist Sir Andrew Noble, 1st Baronet (1831–1915).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 969; Samuels Lasner 76c.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2126081\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326408962425,"sku":"2126081","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2126081_0cc65043-d4b3-486f-8f0f-8a26646e5823.jpg?v=1787324599"},{"product_id":"jackson-holbrook-the-eighteen-nineties-a-review-of-art-and-ideas-at-the-close-of-the-nineteenth-century","title":"JACKSON, Holbrook. The Eighteen Nineties. A Review of Art and Ideas at the Close of the Nineteenth Century.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eOn Decadence and Dandyism\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eJACKSON, Holbrook.\u003c\/strong\u003e The Eighteen Nineties. A Review of Art and Ideas at the Close of the Nineteenth Century. \u003ci\u003eNew York: Alfred A. Knopf.\u003c\/i\u003e 1922.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s buckram-backed boards with marbled burgundy sides, printed spine label, top-edge stained black; pp. 304; frontispiece portrait of Beardsley after photograph by Frederick H. Evans and a further 23 plates (of which 7 by Beardsley); full-page illustration by Beardsley to pp. 6 and 8; spine lightly soiled, hinges cracked, very light wear to corners and extremities; nonetheless a very good copy; 1922 ownership inscription of James J. McManus to front free endpaper.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSecond edition (first 1913), revised and corrected, of this study of the literary and artistic culture of the 1890s by the bibliophile and journalist Holbrook Jackson (1874–1948).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis is the first edition of \u003ci\u003eThe Eighteen Nineties\u003c\/i\u003e to include the drawing ‘Britannia à la Beardsley’, by E.T. Reed, reproduced by permission of Punch. Beardsley accounts for nearly half of the illustrations, with other plates by the likes of William Nicholson, Max Beerbohm, Walter Crane, Charles Ricketts, and Charles Conder. We have found several variants of the publisher’s binding, all in buckram-backed boards with a printed spine label but with differing patterned paper.\u003c\/p\u003e\n\u003cp\u003eDedicated to Max Beerbohm (the subject of the chapter ‘The Incomparable Max), \u003ci\u003eThe Eighteen Nineties\u003c\/i\u003e dedicates an entire chapter to Beardsley, also addressing Decadence, Oscar Wilde, ‘Shocking as a Fine Art’, the private press movement, George Bernard Shaw, and ‘The New Dandyism’, amongst others.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eNot in Samuels Lasner.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2126080\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326411256185,"sku":"2126080","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2126080.jpg?v=1787324608"},{"product_id":"boccaccio-giovanni-pasquerella-and-madonna-babetta","title":"BOCCACCIO, Giovanni. Pasquerella and Madonna Babetta.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eYiddish Pulp Fiction Disguised as Boccaccio?\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBOCCACCIO, Giovanni.\u003c\/strong\u003e Pasquerella and Madonna Babetta. \u003ci\u003eNew York: [Golden Hind Press for] the subscribers of the Biblion Society\u003c\/i\u003e. 1927.\u003c\/p\u003e\n\u003cp\u003e4to. Publisher’s black cloth, spine label printed in red; pp. 47, [1 (advertisements)], in the rare printed dust-jacket;  title-page and first page of text printed in pale blue and pink; slight soiling and a few marks to dust-jacket, spine ends and extremities lightly worn; a near-fine copy in a good jacket.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of these spurious translations of Boccaccio involving accidental mother–son incest and friendship between Catholics and Protestants (despite the fact that Boccaccio died a century before Luther’s birth), falsely claiming to be illustrated with ‘new sketches’ by Beardsley, this copy in the rare dust-jacket.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis edition was distributed by the Golden Hind Press for subscribers of the Biblion Society, both operated by notorious publisher Samuel Roth. He would later be the plaintiff in the landmark 1957 Supreme Court case Roth vs United States, which redefined what constituted obscene material unprotected by First Amendment rights. In 1930, he spent two months in prison for selling obscene material, including Joyce’s Ulysses, which he had published in serialised, bowdlerised form without Joyce’s permission two years earlier.The present edition claims to present several hitherto unpublished illustrations by Beardsley, each captioned ‘New Sketch’. All, in fact, had been previously published: they comprise ‘The Mirror of Love’, four illustrations from \u003ci\u003eLe Morte D’Arthur\u003c\/i\u003e, and ‘Lysistrata Haranguing the Athenian Woman’, from the 1896 edition of \u003ci\u003eLysistrata\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eThe phallic vignettes between paragraphs are the work of Hungarian illustrator Walter Pogany. Jonah Lubin and Maria Laurids Lazzarotti attribute this pseudo-translation to Romanian-born writer of Yiddish pulp fiction David Moses Hermalin (1865–1921), who had produced Yiddish adaptations of Shakespeare, Tolstoy, Conan Doyle, and, at the start of the twentieth century, Boccaccio, publishing \u003ci\u003ePaskarela\u003c\/i\u003e through B. Rabinovits and \u003ci\u003eMadam Babeta\u003c\/i\u003e through the Hebrew Publishing Company in New York City. ‘Paskarela and \u003ci\u003eMadam Babeta\u003c\/i\u003e are longer versions of those same stories that Roth printed in English twenty-seven years later. Unless some proto-version of these two stories surfaces, the most likely explanation seems to be that the tales were composed by Hermalin as pseudotranslations of Boccaccio, and that Roth (or someone close to him) translated these stories and passed them off once more as authentic, lost stories by Boccaccio.\u003cbr\u003e‘By birth a Galician Jew, Roth knew Yiddish, and used Yiddish sources to produce translations of Heinrich Heine, since he had no German. He was also an inveterate publisher of phony translations […] He had the means, the motivation, and the sheer brazenness necessary to take a pair of Yiddish fakes, translate them into English, and pass them off as genuine discoveries to an unsuspecting literary public’ (Lubin and Lazzarotti, \u003ci\u003eonline\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eLibrary Hub finds three copies in the UK (BL, CUL, Goldsmiths).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eNot in Samuels Lasner; Healey 4907, note (‘one assumes that both stories and drawings are pastiches and fakes’). See Lubin and Lazarotti, ‘Pseudo-Boccaccio, Yiddish Pulp Fiction, and the Man Who Ripped Off Joyce’, in The Public Domain Review (17 April 2024).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2126079\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326412042617,"sku":"2126079","price":500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2126079.jpg?v=1787324625"},{"product_id":"allen-grant-the-woman-who-did","title":"ALLEN, Grant. The Woman Who Did.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e‘For Women’s Sake I Would Be A Free Woman’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eALLEN, Grant.\u003c\/strong\u003e The Woman Who Did. \u003ci\u003eBoston: Roberts Bros and London: John Lane\u003c\/i\u003e. 1895\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s olive cloth, floral design by Beardsley to upper board in black, spine lettered in gilt, green floral endpapers; pp. [2 (half-title, Keynotes device)], 223, [1 (blank)], [10 (advertisements)]; title-page repeating design from upper board; spine darkened and gilt text faded, joints rubbed, small loss to head of spine; tissue guard foxed; else a very good copy; old catalogue clipping adhered to front pastedown; sporadic early twentieth-century pencil annotations.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst American edition, published simultaneously in Boston and London as part of John Lane’s \u003ci\u003eKeynotes\u003c\/i\u003e series, with a title-page and cover design by Aubrey Beardsley, of this progressive novel in which a Cambridge-educated, middle-class young woman defies social convention by having a child out of wedlock and raising her as a single mother.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHaving finished her studies at Girton, Herminia Barton moves to London on her own and falls in love with lawyer Alan Merrick, suggesting that they live together without getting married in the name of female emancipation. ‘She gives birth to a daughter, but after Merrick’s sudden death tragedy overwhelms her life with remorseless precision. Allen honestly intended the novel as a polemic on the position of women and dedicated it to his wife […] It caused a great sensation, and the public read it eagerly […] the notoriety of \u003ci\u003eThe Woman who Did\u003c\/i\u003e helped establish the “new woman” novel as a genre. The novel also claimed the notice of many late twentieth-century feminists for its outspoken analysis of the female dilemma’ (\u003ci\u003eODNB\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003eHerminia’s daughter, Dolly, previously unaware of her parentage, discovers the truth when her engagement is in danger of being called off, and declares that she cannot marry her fiancé while her mother lives. Unable to bear her daughter’s shame, Herminia commits suicide by poisoning. The work inspired two notable contemporary fictional responses: Victoria Crosse’s \u003ci\u003eThe Woman Who Didn’t\u003c\/i\u003e (1895, no. 18 in John Lane’s \u003ci\u003eKeynotes\u003c\/i\u003e series), and Mrs Lovetts Cameron’s \u003ci\u003eThe Man Who Didn’t\u003c\/i\u003e (1895).\u003c\/p\u003e\n\u003cp\u003eThis copy features several wry annotations. When Herminia tells Alan that she has chosen to remain unmarried, for example, our annotator writes: ‘You poor dear girl – don’t you know that the world is very old: all this has been tried before, and it didn’t work. Most of the restrictions under which we live are the outcome of the fact that man as a rule is not to be trusted. In other words he will Welsh, if he has the opportunity. If we were wise and honest the[re] would be no necessity for laws and regulations; until then it is advisable to obey the law’.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 837; Samuels Lasner 32; Vallance 69.viii.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2126050\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326414336377,"sku":"2126050","price":450.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2126050a.jpg?v=1787324649"},{"product_id":"pope-alexander-aubrey-beardsley-illustrator-the-rape-of-the-lock-an-heroi-comical-poem-in-five-cantos-embroidered-with-nine-drawings","title":"POPE, Alexander; Aubrey BEARDSLEY ( illustrator ). The Rape of the Lock. An Heroi-Comical Poem in Five Cantos … Embroidered with Nine Drawings.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eExperimental ‘Embroidered’ Illustrations\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003ePOPE, Alexander; Aubrey BEARDSLEY (\u003ci\u003eillustrator\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e The Rape of the Lock. An Heroi-Comical Poem in Five Cantos … Embroidered with Nine Drawings. \u003ci\u003eLondon: Leonard Smithers\u003c\/i\u003e. 1896.\u003c\/p\u003e\n\u003cp\u003e4to. Early twentieth-century green morocco, lettered in gilt to spine and front board, boards and spine tooled in gilt to a pattern of fan-shaped rays, turn-ins roll-tooled in gilt, floral patterned endpapers; pp. xiii, [1 (blank)], 47, [1 (colophon)]; 7 plates by Beardsley including frontispiece; 2 in-text illustrations by Beardsley, title-page printed in red and black; very subtly rejointed?, corners slightly rubbed, upper board lightly sunned at head; lightly toned, the odd marginal nick; a handsome copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of Pope’s mock-epic, illustrated by Aubrey Beardsley, this copy in a handsome morocco binding.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePublished by Leonard Smithers in the same year as Beardsley’s illustrations for \u003ci\u003eLysistrata, The Rape of the Lock\u003c\/i\u003e (first complete edition 1714) features nine illustrations characterised by the artist’s distinctive use of line, pattern, and elaborate ornament. Rather than illustrating Pope’s poem literally, Beardsley offered ‘graphic comments on the text’, an approach reflected in the word ‘embroidered’ on the title-page (Reade, p. 352). Beardsley’s ‘Rococo exaggeration’, his emphasis on ornate embroidery and lace which he mistakenly associated with the period of the poem, led critics to regard him as a ‘supreme decorator’ (ibid., p. 18).\u003c\/p\u003e\n\u003cp\u003eThe book is dedicated to the literary critic, translator, and poet Edmund Gosse (1849–1928), at whose suggestion Beardsley undertook the project. The most experimental of Beardsley’s illustrations to the present work is ‘The Cave of Spleen’, facing p. 24: ‘There is hardly a bare centimetre in Beardsley’s camp rococo style, all close sinuous lines and curlicures. Strange creatures, half-human, half-furniture abound, and the foetus [a motif frequently employed by Beardsley] crops up a couple of times’ (Lambirth, \u003ci\u003eAubrey Beardsley\u003c\/i\u003e (1997), p. 118).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 977–85; Samuels Lasner 105; see Reade, Aubrey Beardsley (1987).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2126044\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326415581561,"sku":"2126044","price":550.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2126044.jpg?v=1787324660"},{"product_id":"muther-richard-editor-rudolf-klein-die-kunst-aubrey-beardsley-mit-acht-vollbildern-in-strichatzung-zweite-unveranderte-auflage-half-title-die-kunst-sammlung-illustrierter-monographien-funfter-band","title":"MUTHER, Richard ( editor ); Rudolf KLEIN. Die Kunst … Aubrey Beardsley … mit acht Vollbildern in Strichätzung. Zweite unveränderte Auflage. [ Half-title :] Die Kunst. Sammlung illustrierter Monographien … fünfter Band.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eBeardsley in Berlin\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eMUTHER, Richard (\u003ci\u003eeditor\u003ci\u003e); Rudolf KLEIN.\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Die Kunst … Aubrey Beardsley … mit acht Vollbildern in Strichätzung. Zweite unveränderte Auflage. [\u003ci\u003eHalf-title\u003ci\u003e:] Die Kunst. Sammlung illustrierter Monographien … fünfter Band. [\u003ci\u003eWittenberg: Herrosé and Ziemsen for\u003c\/i\u003e] \u003ci\u003eBerlin: Julius Ward.\u003c\/i\u003e S.a. [1903?]\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e4to; Publisher’s dove-grey boards lettered in black and gilt and illustrated to a foliate design in gilt, neatly rebacked in pale grey cloth at an early date; pp. [6], 51, [3], lithographic frontispiece by Beardsley mounted to olive paper lettered in blue, and a further 7 lithographic plates, title and half-title lettered in red and black, publisher’s red and black woodcut ‘Ex Libris’ to front pastedown and printer’s device to front free endpaper verso, red woodcut initials.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSecond edition, a reprint of the first (1902), of this essay on Beardsley by the German art historian Rudolf Klein Diepold (1871–1925).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe frontispiece (Beardsley’s ‘Portrait of Himself), mounted to olive paper, was reproduced by permission of John Lane. German art critic and art historian Richard Muther (1860–1909) established \u003ci\u003eDie Kunst\u003c\/i\u003e in 1902, a series of artist monographs featuring contributors such as Rilke, who contributed a volume on Rodin in 1903, and Julius Meier-Graefe, who wrote on Manet in the same year.\u003c\/p\u003e\n\u003cp\u003eThe series profiled, amongst others, Lucas Cranach, Burne-Jones (by Malcolm Bell and translated by Rudolf Klein, the author of the present work on Beardsley), Max Klinger, Leonardo da Vinci, and Dante Gabriel Rossetti. Many of the early issues went through as many as five editions.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eBrummer IV, p. 7; Gallatin, p. 77; not in Samuels Lasner.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2126025\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326417449337,"sku":"2126025","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2126025.jpg?v=1787324678"},{"product_id":"macfall-haldane-aubrey-beardsley-the-clown-the-harlequin-the-pierrot-of-his-age","title":"MACFALL, Haldane. Aubrey Beardsley. The Clown, the Harlequin, the Pierrot of His Age.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eThe Pierrot of His Age\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eMACFALL, Haldane.\u003c\/strong\u003e Aubrey Beardsley. The Clown, the Harlequin, the Pierrot of His Age. \u003ci\u003eNew York: Simon and Schuster.\u003c\/i\u003e 1927.\u003c\/p\u003e\n\u003cp\u003e4to. Publisher’s black cloth, gilt vignette by Beardsley to upper board, spine and upper board lettered in gilt, in the publisher’s black paper slipcase, gilt paper spine label printed in black; pp. 270, [2 (colophon, blank)]; tipped-in photographic frontispiece and 53 illustrations by Beardsley, of which 8 tipped in; small mark to foot of upper board, very slight wear to spine ends, slipcase chipped and somewhat worn to extremities; else a near-fine copy in the scarce publisher’s slipcase; limitation page signed and numbered by MacFall in ink.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, no. 15 of 300 large-paper copies signed and numbered by the author, of this monumental biography featuring fifty-three drawings by Beardsley, uncommon in the slipcase.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eArt critic, illustrator, and British Army officer Haldane MacFall (1860–1928) was also the author of \u003ci\u003eAubrey Beardsley. The Man and his Work\u003c\/i\u003e (1928). The work is dedicated to Wisconsin-born bibliophile, insurance agent, and casual literary agent Earl E. Fisk, prominent collector of works by Max Beerbohm, Holbrook Jackson, A. Edward Newton, and others. ‘Although Fisk lived in Wisconsin for all of his adult life, he maintained a connection to the British literary scene. He actively promoted the work of authors whom he enjoyed, and he helped to place books by Haldane MacFall and Holbrook Jackson with American publishers. He also wrote many articles for \u003ci\u003eThe Bookman\u003c\/i\u003e’ (Archives at Yale, \u003ci\u003eonline\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003eThis large-paper issue is thought by Gallatin to precede the ordinary issue.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 179.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2126014\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326419317113,"sku":"2126014","price":400.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2126014.jpg?v=1787324696"},{"product_id":"beardsley-aubrey-sale-number-1411-forty-three-original-drawings-by-aubrey-beardsley-the-collection-of-frederick-h-evans-of-london","title":"[BEARDSLEY, Aubrey.] Sale Number 1411 … Forty-Three Original Drawings by Aubrey Beardsley. The Collection of Frederick H. Evans of London","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eEvans’s Beardsleys at Auction\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e[BEARDSLEY, Aubrey.]\u003c\/strong\u003e Sale Number 1411 … Forty-Three Original Drawings by Aubrey Beardsley. The Collection of Frederick H. Evans of London \u003ci\u003eNew York: The Anderson Galleries.\u003c\/i\u003e 1919.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s printed self-wrappers, stapled as issued; pp. 10, [2 (blank)]; light central creasing, short split to wrappers at head; pencil or charcoal staining to rear inner cover and a few smudges to previous page of text; a good copy; contemporary pencil markings throughout with a few prices to p. 8.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExhibition catalogue for the 20 March 1919 sale of forty-three original drawings by Beardsley from the collection of photographer Frederick H. Evans.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e‘Beardsley drawings are very rarely offered for sale, and it is believed that Mr. John Lane’s large collection was destroyed by fire at Leipzig; in which case such an opportunity as the present cannot again occur. With each of these drawings there is a written guarantee signed by Mr. Evans’ (p. 5).\u003c\/p\u003e\n\u003cp\u003eA friend of George Bernard Shaw, Evans was a proprietor of Jones’ and Evans’ Bookshop near the Guildhall in Cheapside until 1898, when he turned to photography full-time. The shop was ‘but a minute’s walk for Beardsley within a twelvemonth of his coming to London town …\u003c\/p\u003e\n\u003cp\u003e‘Here Beardsley would turn in after his city work was done, as well as at the luncheon hour, to discuss the new books; and thereby won into the friendship of Frederick Evans who was early interested in him […] [Beardsley] would take a few drawings he made at this time and discuss them with Frederick Evans. Soon they were on so friendly a footing that Evans would “swap” the books for which the youth craved in exchange for drawings’ (MacFall, p. 39.). Indeed, it was Evans who secured Beardsley’s first commission, recommending him to J.M. Dent for Malory’s \u003ci\u003eMorte d’Arthur.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC and Library Hub find no copies in the UK.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 164. See MacFall, Aubrey Beardsley: the Clown, the Harlequin, the Pierrot of His Age (1927).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125994\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326421250425,"sku":"2125994","price":50.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125994.jpg?v=1787324714"},{"product_id":"lucian-francis-hickes-translator-lucians-true-history","title":"LUCIAN; Francis HICKES ( translator ). Lucian's True History.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eExtraordinary – \u0026amp; Indecent\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eLUCIAN; Francis HICKES (\u003ci\u003etranslator\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Lucian's True History. \u003ci\u003eLondon: A.H. Bullen\u003c\/i\u003e. 1902.\u003c\/p\u003e\n\u003cp\u003e4to. Publisher’s vellum-backed boards with blue paper sides, printed spine label ruled in red; pp. [2], xxix, [1 (blank)], 117, [3]; 16 plates, of which 2 by Beardsley; some soiling and spotting to spine, corners worn; browning and spotting to endpapers, occasional light marginal spotting to fore-edge, else internally very good; a good, uncut copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSecond edition thus, no. 57 of 500 copies, of this sixteenth-century translation of Lucian’s satirical work of proto-science fiction, with two illustrations by Beardsley, an early commission.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLucian’s \u003ci\u003eAlēthē diēgēmata,\u003c\/i\u003e or \u003ci\u003eVera Historia,\u003c\/i\u003e written in the second century AD, is the earliest work of fiction to involve travel to outer space, interplanetary conflict, and interactions with extraterrestrials. This edition is entirely in English; the first edition to feature these illustrations had appeared in 1894 with facing Greek and English text, privately printed by Lawrence \u0026amp; Bullen. The firm had been established in 1891 by A.H. Bullen and H.W. Lawrence. This edition was published two years after the publishers split; A.H. Bullen then operated independently from Cecil Court (as here) before co-founding the Shakespeare’s Head Press with Frank Sidgwick in 1904.\u003c\/p\u003e\n\u003cp\u003eBeardsley wrote to G.F. Scotson-Clark around 15 February 1893 that even ‘better than the \u003ci\u003eMorte Darthur\u003c\/i\u003e is the book that Lawrence and Bullen have given me, the Vera Historia of Lucian. I am illustrating this entirely in my new manner, or, rather, a development of it. The drawings are certainly the most extraordinary things that have ever appeared in a book both in respect to technique and conception. They are also the most indecent’ (Letters, p. 44). Beardsley’s drawings are ‘A Snare of Vintage’, facing p. 13, and ‘Dreams’, facing p. 99.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 270–71; Samuels Lasner 78, note; Vallance 74, note.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125993\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326423019897,"sku":"2125993","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125993.jpg?v=1787324724"},{"product_id":"beardsley-aubrey-john-glassco-under-the-hill-or-the-story-of-venus-and-tannhauser","title":"BEARDSLEY, Aubrey; John GLASSCO. Under the Hill or the story of Venus and Tannhauser …","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eA New Ending\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBEARDSLEY, Aubrey; John GLASSCO.\u003c\/strong\u003e Under the Hill or the story of Venus and Tannhauser … \u003ci\u003eParis: Olympia Press\u003c\/i\u003e. 1959.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s green moiré cloth, upper board lettered and decorated in gilt, spine lettered directly in gilt, gold endpapers; pp. 123, [1 (blank)]; title, frontispiece, and numerous in-text illustrations and tailpieces by Beardsley; spine lightly sunned with slight fading to gilt text at head; without the plastic slipcase as often; a near-fine copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition thus, no. 2,684 of 3,000 copies, of Beardsley’s unfinished erotic novel, completed by the Canadian poet and translator John Glassco (1909–1981), featuring Beardsley’s intended title-page design for \u003ci\u003eThe Story of Venus and Tannhäuser\u003c\/i\u003e and several illustrations from \u003ci\u003eThe Savoy\u003c\/i\u003e.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBeardsley’s text is based on that of the 1927 edition, and finished in the middle of the tenth chapter, ‘Of the Stabat Mater, Spiridion’, and De la Pine. Glassco adds nine more chapters, including a scene at the opera, Venus reciting a litany of past lovers’ names, an evening of gambling in Gotha, a meeting with the Pope, and an alternate ending in which Tannhäuser is hanged for sport and revived by Venus’s kiss:. The story ends ‘”The fact is, my pet, there’s no dying allowed here, any more than there is being born. We just go on as we are, and I think it’s much nicer. Come on! It’s almost time for lunch.” Tannhäuser began to laugh’ (p. 123).\u003c\/p\u003e\n\u003cp\u003eA Grove Press edition appeared in the same year (reprinted 1967), and the present edition was reprinted in 1966 by the New English Library.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 151h.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125992\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326425411961,"sku":"2125992","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125992.jpg?v=1787324741"},{"product_id":"grahame-kenneth-pagan-papers","title":"GRAHAME, Kenneth. Pagan Papers.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eThe Great God Pan in the English Countryside\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eGRAHAME, Kenneth.\u003c\/strong\u003e Pagan Papers. \u003ci\u003eLondon: Elkin Mathews and John Lane and Chicago: Stone and Kimball\u003c\/i\u003e. 1894.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s green cloth, spine lettered directly in gilt, top-edge gilt, the others uncut; pp. viii, 165, [1 (colophon)], [2 (blank)], 14 (advertisements), [2]; hinges cracked, somewhat sunned, spine discoloured, spine ends worn with small loss at head, top-edge slightly dusty; lightly toned throughout, a few spots to title; a good copy; 1895 ownership inscription of Percy Coleman, Oxford (b. 1872) to front free endpaper, with publisher’s tipped-in limitation slip.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of the first book by the author of \u003ci\u003eThe Wind in the Willows\u003c\/i\u003e, one of 450 copies printed for the English market, with a title-page designed by Beardsley.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThe Pagan Papers\u003c\/i\u003e comprises eighteen essays, including ‘The Romance of the Road’, on the charm of old country roads, and ‘The Rural Pan’, in which Grahame protests the ‘iron horse’ of industrialism and argues that whilst cities are the domain of Apollo and Mercury, Pan shuns ‘both iron road and level highway’ and instead prefers ‘to foot it down the sheep-track on the limitless downs’.\u003c\/p\u003e\n\u003cp\u003eWhilst working at the Bank of England, the thirty-four-year-old Grahame began publishing his work in periodicals, becoming a contributor to the \u003ci\u003eNational Observer\u003c\/i\u003e at the invitation of its editor, the poet William Ernest Henley (best remembered for the 1875 poem ‘Invictus’). Henley urged Grahame to send some of his short stories to John Lane at the Bodley Head, culminating in the publication of the present work; thereafter Grahame became a regular contributor to \u003ci\u003eThe Yellow Book\u003c\/i\u003e. All but one of the \u003ci\u003ePagan Papers\u003c\/i\u003e had previously appeared in the \u003ci\u003eNational Observer\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 53; Vallance 67.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125991\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326429147513,"sku":"2125991","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125991.jpg?v=1787324764"},{"product_id":"hafez-justin-huntly-mccarthy-translator-ghazels-from-the-divan-of-hafiz","title":"HAFEZ; Justin Huntly McCARTHY ( translator ). Ghazels from the Divan of Hafiz.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eBeardsley’s Bookplate for Aleister Crowley’s Lover\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eHAFEZ; Justin Huntly McCARTHY (\u003ci\u003etranslator\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Ghazels from the Divan of Hafiz. \u003ci\u003eLondon\u003c\/i\u003e: [\u003ci\u003eChiswick Press for\u003c\/i\u003e] \u003ci\u003eDavid Nutt\u003c\/i\u003e. 1893.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s green boards, title lettered to upper board in Persian in teal, spine lettered in English in teal, yapp fore-edges; pp. vii, [1 (blank)], 151, [1]; spine ends bumped, spine lightly soiled; offsetting to free endpapers, but internally clean and bright; a very good copy; contemporary inscription ‘Aux cœurs blessés, l’ombre et le silence’ (Balzac) to front pastedown and free endpaper, bookplate of Herbert Charles Pollitt, designed by Aubrey Beardsley and lettered ‘Mr Pollitt’s Bookplate’, to front pastedown (\u003ci\u003esee below\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of this prose translation of Hafez’s fourteenth-century Persian poems by the Irish politician Justin Huntly McCarthy (1859–1936), this copy with Beardsley’s rare bookplate    made for his patron, Herbert Charles Pollitt (1871–1942), at one point the owner of most of Beardsley’s \u003ci\u003eLysistrata\u003c\/i\u003e drawings; it is one of only three bookplates Beardsley designed and was initially intended for the artist’s own use.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e‘Beardsley had been promising Pollitt a bookplate for some time. When this drawing was published in \u003ci\u003eA Book of Fifty Drawings\u003c\/i\u003e in 1897 conscience may have got the better of the artist and in Pollitt’s copy of the \u003ci\u003eedition de luxe\u003c\/i\u003e Beardsley added the lettering in india ink on the reproduction. From this Pollitt had a new block made (by Carl Hentschel) for his own use) (Warrack and Perkins 82, quoted in Samuels Lasner). On 26 September 1897, Beardsley wrote to Pollitt from Paris announcing the completion of the bookplate: ‘And how is my dear best Friend? There is one more wonderful book plate in the world. That makes two. Yours and another I have just made for a Miss Custance. You must ask Leonardo [\u003ci\u003ei.e.\u003c\/i\u003e Leonard Smithers] for a proof’ (Beardsley, \u003ci\u003eLetters\u003c\/i\u003e, p. 372).\u003c\/p\u003e\n\u003cp\u003eBeardsley’s other two bookplates were for the scholar and physician John Lumsden Propert, and for the poet Olive Custance, who in 1902 married Lord Alfred Douglas. Herbert Charles Pollitt, later known as Jerome Pollitt, was known for his cross-dressing performances as Diane de Rougy and for his friendships with Beardsley and Smithers; at Cambridge he had been president of Footlights. From late 1897 through 1898 he was romantically involved with Aleister Crowley, who ‘lived with Pollitt as his wife for some six months and he made a poet out of me’ (Crowley, quoted in Kaczynski). During this time, Pollitt introduced Crowley to Smithers. ‘It is probably through Pollitt that Crowley met the ailing Beardsley and commissioned a bookplate from him; he also asked Beardsley to provide a cover illustration for one of his books […] Alas, Beardsley died in January 1898, before he could finish either commission’ (ibid, p. 38). Pollitt is thought to have kept three copies of each of his books, the first two with Beardsley bookplates: a reading copy, one to be kept in his library in pristine condition, and one to be inscribed and given away.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThis copy is very likely connected to his relationship to Crowley, who in 1910 privately printed the collection of homoerotic verse \u003ci\u003eBagh-i-Muattar: The Scented Garden of Abdullah the Satirist of Shiraz\u003c\/i\u003e, in which ‘the relations between God and the soul are set forth’ under ‘the figure of the amorous adventures of a Sufi Poet and his cupbearer’, the style much inspired by the work of Hafez. \u003c\/strong\u003eWithin this collection, the opening of the poem ‘The Comparisons’ directly parodies a ghazal by Hafiz. \u003cstrong\u003eFamously, the first letter of each line of ‘The Riddle’ (‘Habib hath heard; let all Iran who spell aright from A to Z | Exalt thy fame and understand with whom I made a marriage-bed [...]’) spells out ‘Herbert Charles Jerome Pollitt’, and the first letter of the following poem, ‘Bagh-i-Muattar’, spells out Aleister Crowley’s name in reverse.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBeardsley’s bookplate was finished only a month before Crowley and Pollitt met in 1897, and three months before the two became lovers on New Year’s Eve. The manuscript quotation to the front pastedown and free endpaper, is from Balzac: ‘Aux cœurs blessés l’ombre et le silence’ (‘For wounded hearts, shadow and silence’). Crowley, in his autobiography, mourned the end of his relationship with Pollitt as a ‘lifetime regret’, and Pollitt perhaps felt the same.\u003c\/p\u003e\n\u003cp\u003eJustin Huntly McCarthy was MP for Athlone and Newry from 1884 to 1892, as well as the author of biographies on Gladstone, Peel, and Pope Leo XIII. He is noted for his important prose translation of four hundred and sixty-six quatrains of the \u003ci\u003eRubaiyat of Omar Khayyam\u003c\/i\u003e, published by David Nutt in 1889 (reprinted 1898). His translation of Hafez is dedicated to the poet William Ernest Henley (best known for his poem ‘Invictus’) as a ‘tribute of gratitude for many things, especially a tribute of gratitude for the “Arabian Nights’ Entertainments”’, Henley’s 1893 poem on the transportive magic of reading. ‘One whose memories of the Orient glow with such heat and colour may, for the sake of those memories, be willing to welcome these pages from that Book of Verses which the poet of Shiraz wrote in the gardens of Mosella by the gardens of Rocknabad’ (p. v).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eFor the bookplate, see Reade 471; Samuels Lasner 113; Samuels Lasner, Bookplates A2; Gallatin 1065 (but not in Gallatin, Aubrey Beardsley as a Designer of Book-Plates. On Pollitt, see Kaczynski, Perdurabo: The Life of Aleister Crowley (2012).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125990\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326431146361,"sku":"2125990","price":1850.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125990.jpg?v=1787324781"},{"product_id":"lucian-francis-hickes-translator-lucian-s-true-history","title":"LUCIAN; Francis HICKES ( translator ). Lucian’s True History.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eIllustrated in Beardsley’s New Manner\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eLUCIAN; Francis HICKES (\u003ci\u003etranslator\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Lucian’s True History. \u003ci\u003eLondon: Privately printed\u003c\/i\u003e [\u003ci\u003ebut Lawrence \u0026amp; Bullen\u003c\/i\u003e]. 1894.\u003c\/p\u003e\n\u003cp\u003e4to. Publisher’s pale green cloth (faded to light brown as with most copies), remnants of brown silk place-markers loosely inserted, fore- and tail-edge uncut; pp. xxix, [1 (blank)], 247, [1 (blank)]; 16 plates with tissue guards, of which two by Beardsley, title-page printed in red and black; text in facing Greek and English; slight creasing to cloth, corners and spine ends slightly worn; variable offsetting from tissue guards, a few light marks to title, plate facing p. 43 detached; nonetheless a very good copy; 1921 ink stamp of W.H. Creber to front pastedown.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition thus of this sixteenth-century translation of Lucian’s satirical work of proto-science fiction, no. 155 of 251 copies privately printed for Lawrence and Bullen, with two illustrations by Beardsley, an early commission.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLucian’s \u003ci\u003eAlēthē diēgēmata\u003c\/i\u003e, or \u003ci\u003eVera Historia\u003c\/i\u003e, written in the second century AD, is the earliest work of fiction to involve travel to outer space, interplanetary conflict, and interactions with extraterrestrials. The other illustrations to this edition are by William Strang and J.B. Clark.\u003c\/p\u003e\n\u003cp\u003eThe firm of Lawrence \u0026amp; Bullen was established in 1891 by A.H. Bullen, founder of the Shakespeare Head Press, and the publisher H.W. Bullen. Beardsley wrote to G.F. Scotson-Clark around 15 February 1893 that even ‘better than the \u003ci\u003eMorte Darthur\u003c\/i\u003e is the book that Lawrence and Bullen have given me, the \u003ci\u003eVera Historia\u003c\/i\u003e of Lucian. I am illustrating this entirely in my new manner, or, rather, a development of it. The drawings are certainly the most extraordinary things that have ever appeared in a book both in respect to technique and conception. They are also the most indecent’ (\u003ci\u003eLetters\u003c\/i\u003e, p. 44).\u003c\/p\u003e\n\u003cp\u003eBeardsley’s drawings are ‘A Snare of Vintage’, facing p. 23, and ‘Dreams’, facing p. 209.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 270–71; Samuels Lasner 78; Vallance 74.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125989\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326438224249,"sku":"2125989","price":650.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125989.jpg?v=1787324799"},{"product_id":"davidson-john-a-full-and-true-account-of-the-wonderful-mission-of-earl-lavender-which-lasted-one-night-and-one-day","title":"DAVIDSON, John. A Full and True Account of the Wonderful Mission of Earl Lavender, Which Lasted One Night and One Day …","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eBDSM Beardsley\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eDAVIDSON, John.\u003c\/strong\u003e A Full and True Account of the Wonderful Mission of Earl Lavender, Which Lasted One Night and One Day … \u003ci\u003eLondon: Ward \u0026amp; Downey Limited\u003c\/i\u003e. 1895.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s blue cloth , upper board and spine lettered in gilt, uncut; pp. xii, 290, [2  (advertisements)]; lithographic frontispiece by Beardsley, title-page printed in red and black; somewhat sunned (more so to spine and head of rear board), spine ends bumped; slight foxing to half-title, else very good internally; early blind-embossed stamp of Smith \u0026amp; Son, London to front free endpaper, twentieth-century armorial bookplate of L.W. Lucas to front pastedown.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, with a frontispiece by Beardsley, of this comic novel in which two men flee their respective wives and set out to test the theory of evolution by finding the fittest woman alive.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe two men style themselves the Earl Lavender and Lord Brumm and are eventually tracked down by Mrs Scamler and Maud Emblem, respectively the wife and fiancee of the two runaways; Lavender had run away on his wedding night, and Brumm the morning he was to be wed. There are several episodes of flogging in an underground city as well as dining-and-dashing, a bagpipe-playing Scotsman and an orangutan (together mistaken by Lavender and Brumm for the Missing Link, when seen from a distance), and a mysterious Veiled Lady. The frontispiece by Beardsley shows a woman about to flog a kneeling, bare-chested man with a three-tailed whip.\u003c\/p\u003e\n\u003cp\u003eScottish playwright, novelist, and translator John Davidson (1857–1909) was a member of the Rhymers’ Club, a friend of Bernard Shaw and W.B. Yeats, and an influence on T.S. Eliot, Hugh MacDiarmid, and Wallace Stevens. Davidson committed suicide by drowning and had expressed during his life that none of his unpublished works should be brought to light posthumously and that no biography should be written. Beardsley had also produced a frontispiece for Davidson’s 1894 \u003ci\u003ePlays\u003c\/i\u003e, published by John Lane and Elkin Mathews.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 944; Samuels Lasner 82; Vallance 124.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125988\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326441566585,"sku":"2125988","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125988.jpg?v=1787324818"},{"product_id":"gallatin-albert-eugene-list-of-drawings-by-aubrey-beardsley","title":"GALLATIN, A[lbert] E[ugene]. List of Drawings by Aubrey Beardsley.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003ePresented by Gallatin\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eGALLATIN, A[lbert] E[ugene].\u003c\/strong\u003e List of Drawings by Aubrey Beardsley. \u003ci\u003eNew York: M.F. Mansfield \u0026amp; A. Wessels\u003c\/i\u003e. 1900.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s drab boards, printed label to upper board; pp. 24, [2 (colophon, blank)]; splitting to spine neatly repaired, boards slightly sunned with some darkening to lower board at head; front free endpaper inscribed ‘For Elbert Hubbard, with regards of A.E. Gallatin’ in ink, front pastedown inscribed by Gallatin in pencil (\u003ci\u003esee below\u003c\/i\u003e), pencil annotations to p. 13.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, one of 100 copies, of Gallatin’s (1881–1952) list intended to supplement Aymer Vallance’s 1897 iconography of Beardsley’s work, ‘and contains no item mentioned by [Vallance]’ (p. 2), this copy presented to the anarchist and socialist publisher Elbert Hubbard (1856–1915).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1895 Hubbard established the utopian Arts and Crafts community of Roycroft in East Aurora, New York, where he set up the Roycroft Press, inspired by William Morris’s Kelmscott Press. ‘Within five years the little printing shop grew into the multibuilding Roycroft campus, and the Roycroft enterprise became the largest and most complex exponent of the American arts and crafts movement. It had shops for printing and binding and for furniture, metal, and leather work; it also established training schools for the local youth in drawing, watercolor, and bookbinding […] Although he constantly proclaimed the arts and crafts philosophy of hand crafting in his promotional advertising for the books produced, the printing shop was among the largest and most mechanized on the East Coast’ (\u003ci\u003eANB\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003eHubbard devoted a great deal of attention to Beardsley, curiously, in his 1902 work on Botticelli, part of his series of \u003ci\u003eLittle Journeys to the Homes of Eminent Artists\u003c\/i\u003e printed by the Roycroft press: ‘A short time ago, there shot across the artistic firmament a comet of daring and dazzling brightness. Every comet is hurling onward to its death: destruction is its only end: and upon each line and tracery of the work of Aubrey Beardsley is the taint of decay […] To liken Beardsley to Botticelli, however, seems indeed a sin […] Beardsley’s work is often crude, rude and raw. He is only a promise, turned to dust. Yet let the simple fact stand for what it is worth, that Beardsley had but one god, and that was Botticelli. Most of the things Beardsley did were ugly; many of the things Botticelli did were supremely beautiful.’ Hubbard and his second wife, the suffragist Alice Moore Hubbard, died aboard the \u003ci\u003eRMS Lusitania\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eProvenance\u003c\/i\u003e: The front free endpaper is inscribed ‘For Elbert Hubbard, with regards of A.E. Gallatin’, and the front pastedown is inscribed in pencil ‘I am having about a dozen later items printed as an additional page which I will send you when printed’, signed A.E.G. Annotations in pencil to p. 13 (in Gallatin’s hand?) make reference to \u003ci\u003eA Book of Fifty Drawings\u003c\/i\u003e with regard to three items.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 134.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125987\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326445039993,"sku":"2125987","price":600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125987a.jpg?v=1787324841"},{"product_id":"aristophanes-jack-brussel-translator-aubrey-beardsley-illustrator-the-lysistrata-illustrated-by-aubrey-beardsley-and-ancient-athenian-artists","title":"ARISTOPHANES; Jack BRUSSEL (translator); Aubrey BEARDSLEY (illustrator). The Lysistrata … Illustrated by Aubrey Beardsley and ancient Athenian artists.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eBeardsley Versus the Ancient Greeks\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eARISTOPHANES; Jack BRUSSEL (translator); Aubrey BEARDSLEY (illustrator).\u003c\/strong\u003e The Lysistrata … Illustrated by Aubrey Beardsley and ancient Athenian artists. New York: Land’s End Press. 1968.\u003c\/p\u003e\n\u003cp\u003eFolio. Original cloth, stamped in gilt to front cover, gilt lettering to spine, top edge gilt, in publisher’s slipcase; pp. 90. [2]; light rubbing to extremities, slipcase a little worn and soiled, else a near-fine copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLimited edition, no. 304 of 1,500 copies numbered and signed by the translator, pairing Beardsley’s illustrations with examples of Ancient Greek art.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe ‘Jack Brussel’ who translated this edition may well be Jacob ‘Jake’ Brussel (1899–1979), the publisher of erotica and proprietor of the New York City antiquarian bookselling firm J.R. Brussel. He produced the notorious, unauthorised Medvsa (or Medusa) edition of \u003ci\u003eTropic of Cancer\u003c\/i\u003e by Henry Miller, published under a false Mexico imprint; in 1940 Brussel was sentenced to three years in prison for obscenity.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 107g\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125986\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326446940537,"sku":"2125986","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125986b.jpg?v=1787324859"},{"product_id":"aristophanes-aubrey-beardsley-illustrator-the-lysistrata-now-first-wholly-translated-into-english-london-1896","title":"ARISTOPHANES; Aubrey BEARDSLEY (illustrator). The Lysistrata. Now First Wholly Translated into English. London. 1896.","description":"\u003cp\u003e\u003cstrong\u003eARISTOPHANES; Aubrey BEARDSLEY (illustrator).\u003c\/strong\u003e The Lysistrata. Now First Wholly Translated into English. London. 1896. [\u003ci\u003eNew York: Odyssey Publications\u003c\/i\u003e. 1967].\u003c\/p\u003e\n\u003cp\u003eFolio. Original blue boards, printed label to upper board, top-edge trimmed, the others uncut, in publisher’s purple solander box; pp. vi, [4], 61, [1], with 8 plates by Beardsley; solander box a little stained and sunned; light foxing to endpapers, else a near-fine copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLimited photolithographic facsimile of the first edition of Beardsley’s illustrations to Lysistrata, no. 53 of 515 copies, using paper and binding similar to the original.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe copy reproduced was no. 33 of the original 100 published in 1896 by Leonard Smithers. The information concerning the facsimile, including publisher’s name, edition, and a limitation notice are on the title-page verso. Aristophanes’ ‘tale of a sex strike among Athenian women’ was illustrated by Beardsley with ‘gross, buttocky Athenians in rococo frills and monstrous, comic penises’ (\u003ci\u003eODNB\u003c\/i\u003e). These are Beardsley’s most explicit illustrations, and at the end of his life he urged Leonard Smithers in a letter to ‘destroy all copies of \u003ci\u003eLysistrata\u003c\/i\u003e and bad drawings […] By all that is holy, all obscene drawings’.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 107f\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125985\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326449037689,"sku":"2125985","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125985a.jpg?v=1787324878"},{"product_id":"burdett-osbert-the-beardsley-period-an-essay-in-perspective","title":"BURDETT, Osbert. The Beardsley Period. An Essay in Perspective.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eWith a Bookplate by Austin Osman Spare\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBURDETT, Osbert.\u003c\/strong\u003e The Beardsley Period. An Essay in Perspective. \u003ci\u003eLondon: John Lane, The Bodley Head Limited.\u003c\/i\u003e 1925.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s dark grey cloth, Art Nouveau foliate design to upper board in blind, spine lettered in gilt; pp. xi, [1 (blank)], 302, [6 (advertisements)], 4 ff. advertisements on yellow paper bound in at start and end; a few small chips to spine ends; sporadic light foxing; else a very good copy; large bookplate of Pickford Waller designed by Austin Osman Spare, dated 1923 (see below).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of this study of the literary and artistic culture of the 1890s by Osbert Burdett, issued by the Bodley Head; this copy is from the library of notable Beardsley collector Pickford Waller, Austin Osman Spare’s primary patron, with a striking ex-libris designed by Spare himself.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBurdett was the author of \u003ci\u003eThe Idea of Coventry Patmore\u003c\/i\u003e (1921), \u003ci\u003eWilliam Blake\u003c\/i\u003e (1926), \u003ci\u003eW.E. Gladstone\u003c\/i\u003e (1928), \u003ci\u003eThe Brownings\u003c\/i\u003e (1928), and \u003ci\u003eThe Two Carlyles\u003c\/i\u003e (1930). In the same year that The Beardsley Period was published, Burdett’s sister, Lady Alsina Gwyer, established, with Geoffrey Gwyer, the publishing house of Faber \u0026amp; Gwyer (now Faber \u0026amp; Faber); T.S. Eliot joined Faber \u0026amp; Gwyer’s Board of Directors in the same year. The title is taken from Beerbohm’s quote ‘I belong to the Beardsley period’.\u003c\/p\u003e\n\u003cp\u003eHe was ‘intimate with members of the “Uranian” circle, such as Forrest Reid and Edward Perry Warren, whose writings celebrate “boy-love” and the beauty of youth […] In \u003ci\u003eThe Beardsley Period\u003c\/i\u003e […] he occupies himself primarily with the economic valence of Decadent critique.\u003c\/p\u003e\n\u003cp\u003eThese young men, Burdett argues, represented a “protest against a commercial society” […] [The Decadents’] aloofness and archness, their devotion to beauty, and their love for all things occult served to strengthen their capacity to perceive lack and vulgarity in the industrial world’ (Bristow ed., \u003ci\u003eExtraordinary Aesthetes\u003c\/i\u003e (2023)).\u003c\/p\u003e\n\u003cp\u003eAdhered to the rear pastedown is a humorous poem on the present work and its publication:\u003c\/p\u003e\n\u003cp\u003e‘So \u003ci\u003ePunch\u003c\/i\u003e, who in his more pugnacious days\u003cbr\u003eRelentlessly assailed the aesthetic craze\u003cbr\u003eNo longer moved to posthumous invective\u003cbr\u003eWelcomes this measured “essay in perspective”,\u003cbr\u003e\u003ci\u003eThe Beardsley Period\u003c\/i\u003e, where the author shows,\u003cbr\u003eConspicuous by their talents and their pose,\u003cbr\u003eContrasted with the drab Victorian back-cloth,\u003cbr\u003eThe men who spurned the creed of ash and sack-cloth […]’.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eProvenance\u003c\/i\u003e: Pickford Waller (1849–1930) was Spare’s primary patron, supporting the artist until his death. The bookplate was one of multiple designs produced by Spare for Waller; this one, dated AD 1923, incorporates a herm of Pan, a central motif in Spare’s work, and was reproduced in The Golden Hind 1:4 (July 1923). Waller was an interior decorator and designer, and a designer of bookplates himself. He was an early collector of Beardsley and of Whistler, having met the latter when he visited his studio with the artist Matthew White Ridley. Nearly one hundred Beardsley items from Waller’s collection appeared in Frank Hollings’s Catalogue 170, \u003ci\u003eThe Choice \u0026amp; Remarkably Extensive Beardsley Collection Assembled by the Late Pickford Waller\u003c\/i\u003e, and the cover design (frequently misattributed to Beardsley) of Ernest Dowson’s 1889 \u003ci\u003eDecorations in Verse and Prose\u003c\/i\u003e is sometimes ascribed to him.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eFor the Spare bookplate, see North Lee 183.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125984\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326451298681,"sku":"2125984","price":425.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125984.jpg?v=1787324889"},{"product_id":"aristophanes-aubrey-beardsley-illustrator-the-lysistrata","title":"ARISTOPHANES; Aubrey BEARDSLEY (illustrator). The Lysistrata.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eWith The Infamous ‘Adoration Of The Penis’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eARISTOPHANES; Aubrey BEARDSLEY (illustrator).\u003c\/strong\u003e The Lysistrata. London: Beardsley Press. 1927.\u003c\/p\u003e\n\u003cp\u003e4to. Original silver cloth-backed black boards, top-edge trimmed, the others uncut, printed patterned endpapers; pp. 99, [1], with 9 mounted illustrations (of which 8 by Beardsley, see below); title-page incorporating Beardsley’s personal bookplate design; extremities and spine a little worn; sporadic light foxing, light offsetting from plates, lightly toned throughout; overall a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSecond English edition of Beardsley’s eight illustrations to \u003ci\u003eLysistrata\u003c\/i\u003e, one of 750 copies (500 for the United Kingdom and 250 for the U.S.); this edition includes – seemingly for the first time – a ninth illustration, the notorious forgery ‘The Adoration of the Penis’.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn his play \u003ci\u003eLysistrata\u003c\/i\u003e, fifth-century BC Athenian playwright Aristophanes turns the conventions of the \u003ci\u003epolis\u003c\/i\u003e upside down: women withhold sex from their husbands to force them to end the Peloponnesian War, creating a comic but pointed challenge to traditional male authority. First published in London by Leonard Smithers in an edition of one hundred copies  in 1896, Beardsley’s illustrations accompanied the anonymous translation by Samuel Smith (1867–1938), an Oxford friend of the Decadent poet and Beardsley collaborator Ernest Dowson (1867–1900).\u003c\/p\u003e\n\u003cp\u003eIn a letter dated 11 August 1896, Beardsley wrote to the French writer Marc-André Raffalovich (1864–1934) that he thought the illustrations were ‘in a way the best things I have ever done’ (Maas, p. 150). Having studied Greek vase painting at the British Museum in 1894, he drew on the style of ancient Greek pottery while pushing its erotic and comic elements to extremes. The absence of backgrounds, together with ‘closed outlines and bold dots and rare decorated blacks’, gives the designs their distinctive graphic force (Reade, pp. 360–1).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 107c; Maas, Duncan, and Good eds., The Letters of Aubrey Bearsley (1971); Reade, Aubrey Beardsley, London, Antique Collectors’ Club (1987).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125977\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326454247801,"sku":"2125977","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125977.jpg?v=1787324905"},{"product_id":"burney-frances-evelina-or-the-history-of-a-young-ladys-entrance-into-the-world","title":"BURNEY, Frances. Evelina or The History of a Young Lady's Entrance into the World.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eCovert Decadent Elements\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBURNEY, Frances.\u003c\/strong\u003e Evelina or The History of a Young Lady's Entrance into the World. \u003ci\u003eLondon: J.M. Dent and Company.\u003c\/i\u003e 1893.\u003c\/p\u003e\n\u003cp\u003eTwo volumes, 8vo. Original brown cloth, spines lettered in gilt within architectural borders; vol. I: pp. xxxii, 237, [1]; vol. II: pp. [ii], 276; title-pages to each vol. by Beardsley (printed in red and brown), 7 plates after William Cubitt Cooke, including frontispieces to both vols; spines darkened, slight discolouration to boards, a few marks; browning to endpapers and light offsetting to title; nonetheless a very good set.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition thus, no. 60 of the limited large-paper issue of 200 copies. This is the first book to use Beardsley’s title-page design which was reproduced in the same publisher’s editions of Frances Burney’s \u003ci\u003eCecilia\u003c\/i\u003e (1893) and Madame de Stael’s \u003ci\u003eCorinne\u003c\/i\u003e (1894).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBeardsley was likely also responsible for the spine design, but his artistic input into this attractive edition of Burney’s 1778 novel went no further. The illustrator chosen by Dent, William Cubitt Cooke (1866–1951), was not a natural bedfellow of the subversive Beardsley, being best known for his well-mannered illustrations of the complete works of Jane Austen and Charles Lever.\u003c\/p\u003e\n\u003cp\u003eAlthough Beardsley’s architectural title-page design seems to conform to eighteenth century proportions and conventions at first glance, he was unable to resist adding two bare-breasted figures and a sinister animal skull. ‘Sex and death were never far from his thoughts or from the work of his pen’ (Grolier Club, \u003ci\u003eAubrey Beardsley – 150 Years Young, online\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eReade 35; Samuels Lasner 24; Vallance 62.i.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125438\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326461063545,"sku":"2125438","price":450.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125438.jpg?v=1787324967"},{"product_id":"dostoevsky-fyodor-lena-milman-translator-george-moore-introduction-poor-folk","title":"DOSTOEVSKY, Fyodor; Lena MILMAN ( translator ); George MOORE ( introduction ). Poor Folk.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eDostoevsky for English Readers\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eDOSTOEVSKY, Fyodor; Lena MILMAN (\u003ci\u003etranslator\u003ci\u003e); George MOORE (\u003ci\u003eintroduction\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Poor Folk. \u003ci\u003eLondon: Elkin Mathews and John Lane\u003c\/i\u003e. 1894.\u003c\/p\u003e\n\u003cp\u003e8vo. Original yellow cloth, design to upper board and Keynotes device by Beardsley to spine, untrimmed; pp. xx, 191, [1 (blank)], 14 (publisher’s catalogue), [2]; title-page printed in red and black, Beardsley’s cover design and Keynotes device repeated to title and p. v, respectively; slight soiling to boards (heavier to spine), front hinge tender; lettering to spine dulled; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition in English of Dostoevsky’s first novel, the third volume of the Keynotes series, instrumental in introducing Dostoevsky and his singular brand of naturalism to Anglophone readers.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWritten to fund Dostoevsky’s gambling debts and first published in 1846, this epistolary novel following the tragic lives of two impoverished cousins was a huge success in Russia. The British were slow to see the attraction of his work, with Victorian novels favouring neat plots and clear moral frameworks.\u003c\/p\u003e\n\u003cp\u003eThe first appearance of Dostoevsky in English was Marie van Thilo’s liberal 1881 rendering of Dostoevsky’s \u003ci\u003eBurned Alive\u003c\/i\u003e, followed by Frederick Whishaw’s \u003ci\u003eCrime and Punishment\u003c\/i\u003e (1886), \u003ci\u003eThe Idiot\u003c\/i\u003e (1887), and a handful of other novellas. Notably, \u003ci\u003eThe Brothers Karamazov\u003c\/i\u003e would not be published in English until Constance Garnett’s translations began to appear in 1912, and it was only with the publication of Garnett’s twelve-volume \u003ci\u003eNovels of Dostoevsky\u003c\/i\u003e that the writer truly began to gain acceptance in Britain.\u003c\/p\u003e\n\u003cp\u003eMilman’s (1862–1914) translation was significantly ahead of its time and received glowing contemporary reviews, \u003ci\u003eThe Times\u003c\/i\u003e calling it a ‘most impressive and characteristic specimen of Russian fiction. Those to whom Russian is a sealed book will be duly grateful to the translator (who has acquitted herself excellently)’. She had encountered John Lane through her contributions to \u003ci\u003eThe Yellow Book\u003c\/i\u003e, for which she produced a short story on Venice and a piece on Henry James.\u003c\/p\u003e\n\u003cp\u003eShe also corresponded extensively with George Moore (their letters published as \u003ci\u003eGeorge Moore in Transition: Letters to T. Fisher Unwin and Lena Milman\u003c\/i\u003e, 1894–1910 (1968)), hence his introduction to this volume.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 829; Samuels Lasner 27; Vallance 69.iii.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125437\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326463947129,"sku":"2125437","price":475.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125437.jpg?v=1787324985"},{"product_id":"egerton-george-pseud-adelbert-von-hagen-translator-grundtone-keynotes-autorisirte-uebersetzung-aus-dem-englischen-mit-dem-portrait-der-verfasserin","title":"‘EGERTON, George’ ( pseud .); Adelbert von HAGEN ( translator ). Grundtöne. “Keynotes”. Autorisirte Uebersetzung aus dem Englischen … mit dem Portrait der Verfasserin.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eThe New Woman Goes Global\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e‘EGERTON, George’ (\u003ci\u003epseud\u003ci\u003e.); Adelbert von HAGEN (\u003ci\u003etranslator\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Grundtöne. “Keynotes”. Autorisirte Uebersetzung aus dem Englischen … mit dem Portrait der Verfasserin. \u003ci\u003eZurich, Erfurt, and Leipzig: Eduard Moos\u003c\/i\u003e. 1896.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s mauve and pale green boards illustrated by Beardsley, upper board lettered in gilt and black, spine lettered in gilt (gothic letter), yellow patterned endpapers, edges stained red; pp. 192, 48 (advertisements), photographic frontispiece of Egerton with tissue guard, title-page repeating design by Aubrey Beardsley (adapted from first edition of Keynotes), lithographic floral headpieces; corners and spine ends lightly rubbed; sporadic light foxing; a very good copy; 1918 ownership inscription of Elizabeth Laska to front free endpaper.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVery rare third edition, published three months after the first, of the first translation of George Egerton’s \u003ci\u003eKeynotes\u003c\/i\u003e into German, with a title-page by Beardsley adapted from the first English edition seemingly not present in the first German edition.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBorn Mary Elizabeth Annie Dunne (1859–1945), Egerton’s \u003ci\u003eKeynotes\u003c\/i\u003e was instrumental in shaping the New Woman movement. Enormously popular, it went through six English editions within months of publication and enjoyed similar success in the present German, with three editions in as many months; it was highly esteemed by the Riga-born German biographer of women (often considered a pioneering New Woman herself) and literary critic Laura Marholm, who reviewed the work both in the \u003ci\u003eFrankfurter Zeitung\u003c\/i\u003e (22 April 1894, predating the work’s appearance in German by two years) and in her \u003ci\u003eDas Buch der Frauen\u003c\/i\u003e (\u003ci\u003eSix Modern Women\u003c\/i\u003e): ‘The point on which [\u003ci\u003eKeynotes\u003c\/i\u003e] differs from all other well-known books by women is the intensity of the awakened consciousness. It follows no pattern and is quite independent of any previous work; it is simply full of a woman’s individuality’ (\u003ci\u003etrans.\u003c\/i\u003e Brooke Cameron, p. 309).\u003c\/p\u003e\n\u003cp\u003eMarholm’s early introduction of \u003ci\u003eKeynotes\u003c\/i\u003e to German audiences was known to Egerton: a week after Marholm’s article appeared in the \u003ci\u003eFrankfurter Zeitung\u003c\/i\u003e, Egerton informed John Lane of the review, which included ‘some very flattering things about the poor little writer’ (quoted in Brown, p. 146); ‘The article was part of a series by Marholm that was subsequently published in 1895 as \u003ci\u003eDas Buch der Frauen\u003c\/i\u003e, and in English translation by Lane in 1896, where the chapter on Egerton bears the title “Neurotic Keynotes”’ (ibid.).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe first edition was seemingly published without the illustrated boards or the title-page by Beardsley\u003c\/strong\u003e (see the copy at the University of Zurich); all editions bear a prefatory note from Egerton to the translator, in English: ‘Here let me offer you my thanks for your work and the evident liking that prompted you to do it’.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC finds a single copy of any German edition outside continental Europe, at the University of Delaware; not on Library Hub.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSee Gertner Zatlin 824; Samuels Lasner 25n.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125434\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326468338041,"sku":"2125434","price":850.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125434.jpg?v=1787325003"},{"product_id":"nichols-h-s-aubrey-beardsley-attributed-fifty-drawings-by-aubrey-beardsley-selected-from-the-collection-owned-by-mr-h-s-nichols","title":"NICHOLS, H.S.; Aubrey BEARDSLEY ( attributed ). Fifty Drawings by Aubrey Beardsley Selected from the Collection owned by Mr H.S. Nichols.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e‘Feeble, Pretentious’ Forgeries\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eNICHOLS, H.S.; Aubrey BEARDSLEY (\u003ci\u003eattributed\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Fifty Drawings by Aubrey Beardsley Selected from the Collection owned by Mr H.S. Nichols. \u003ci\u003eNY: H.S. Nichols.\u003c\/i\u003e 1920\u003c\/p\u003e\n\u003cp\u003e4to. Original black cloth with elaborate gilt floriate design and lettering to upper board, spine lettered directly in gilt; pp. [7], [1 (blank)], 50 ff. plates, each preceded by leaf of text with text to rectos only; wanting the rare dust-jacket, spine a little sunned, front hinge tender; internally very clean; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNumber 366 of limited edition of 500, signed by the publisher, of a notable forgery of Beardsley’s work by Harry Sidney Nichols (1864–1941), British pornographer and erstwhile colleague of Aubrey Beardsley’s publisher Leonard Smithers.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNichols founded the Erotika Biblion Society with Smithers in 1888, the partnership ending with Smithers’s death in 1907. The following year, Nichols fled to New York in 1908 to avoid British obscenity laws and there continued to hustle his way around the erotic literature market. This book, designed to exploit the fashionable interest in Beardsley’s work, was his greatest wheeze: the publication of fifty apparently unpublished illustrations by Beardsley that he had uncovered. He launched these plates in an exhibition in New York in 1919 and this lavish limited edition followed a year later.\u003c\/p\u003e\n\u003cp\u003eThe problem was that the plates were all forgeries. Critics, including Gallatin and Pennell, were quick to deride these efforts as fake.  Nichols replied to his critics that he had more knowledge of Beardsley than even Leonard Smithers, ‘but I absolutely decline to make known to the world what I do know’ (\u003ci\u003eEvening Post,\u003c\/i\u003e 18 April 1919).   It did little good. C. Lewis Hind, the founder of \u003ci\u003eThe Studio\u003c\/i\u003e and therefore well acquainted with Beardsley’s work, wrote in the same paper that the pictures ‘are a travesty of his work; they are an insult to his memory […] These feeble, pretentious things by Beardsley? Pooh!’ (‘Aubrey Beardsley’, \u003ci\u003eEvening Post\u003c\/i\u003e, 28 May 1919).\u003c\/p\u003e\n\u003cp\u003eThe identity of the actual forger remains  a mystery, but what is certain is that by 1919 there were plenty of Beardsley forgeries in circulation, mostly done for Leonard Smithers, and it is highly likely that Nichols would have been able to access the stock through his association with his old fellow in erotic publishing.\u003c\/p\u003e\n\u003cp\u003eSamuels Lasner notes that ‘ According to Gallatin, Haldane MacFall believed them to be the work of “at least two forgers,” probably Nichols and one of his associates’. Whoever the artist and however poor the artwork, the result was the same. Nicols made a tidy $7,500, the equivalent of $125,000 today, from the sale of the books.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 222.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125419\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326470238585,"sku":"2125419","price":225.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125419b.jpg?v=1787325028"},{"product_id":"walker-rainforth-armitage-walker-rainforth-armitage-le-morte-darthur-with-beardsley-illustrations-a-bibliographical-essay","title":"WALKER, R[ainforth] A[rmitage].WALKER, R[ainforth] A[rmitage]. Le Morte DArthur with Beardsley Illustrations. A Bibliographical Essay.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eBeardsley as Crème de Menthe, Morris as Old Brandy.\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eWALKER, R[ainforth] A[rmitage].WALKER, R[ainforth] A[rmitage].\u003c\/strong\u003e Le Morte DArthur with Beardsley Illustrations. A Bibliographical Essay. \u003ci\u003eBedford: [Rogers G. Porter] for the author\u003c\/i\u003e. 1945.\u003c\/p\u003e\n\u003cp\u003e8vo. Original grey printed wrappers, saddle-stitched and stapled as issued; pp. 24; bee device to title; a few small marks to wrappers, else a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOne of 350 copies of R.A. Walker’s bibliographical essay on the Morte d’Arthur illustrated by Beardsley, with a ‘critical summary of Morris’s Kelmscott Press with which this book is always compared’ (p. 5).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWalker, an early champion of Beardsley’s work and editor of the seminal 1923 \u003ci\u003eSome Unknown Drawings of Aubrey Beardsley\u003c\/i\u003e, characterises as a half-truth the ‘glib phase that the Morte was “to rival the volumes of the Kelmscott Press”, as stated by Ross’ (p. 15) and has a rather critical view of Morris and his visual and textual ‘agoraphobia’.\u003c\/p\u003e\n\u003cp\u003e‘With Morris all is thick, turgid, heavy, clotted and difficult to read. It is the difference between crème de menthe and old brandy, between a heavy port and a dry cherry, between a rich burgundy and a light Rhenish wine’ (p. 20). The present essay is expanded from Walker’s ‘Bibliographical Notes on “Le Morte d’Arthur”’, TLS (31 March 1945).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 188.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125407\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326473908601,"sku":"2125407","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125407.jpg?v=1787325038"},{"product_id":"ruding-walt-an-evil-motherhood-an-impressionist-novel","title":"RUDING, Walt. An Evil Motherhood. An Impressionist Novel.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eOedipal Insanity\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eRUDING, Walt.\u003c\/strong\u003e An Evil Motherhood. An Impressionist Novel. \u003ci\u003eLondon: Elkin Mathews.\u003c\/i\u003e 1896 (but November 1895).\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s blue cloth, spiderweb blocked in pale blue to upper board, spine and upper board lettered in gilt; lithographic frontispiece by Beardsley (\u003ci\u003esee below\u003c\/i\u003e), halftone first-issue frontispiece (titled ‘Swan Electric Engraving Company’ at foot) by Beardsley loosely inserted; pp. [x], 99, [1], 20 (advertisements); slight fading to spine lettering, upper hinge cracked; slight toning to upper margin; but a very good copy, partly uncut.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, third issue, of the only known work by the mysterious Walter Ruding, following a son whose mother unjustly has him committed to an insane asylum, with the suppressed first-issue frontispiece loosely inserted.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLittle is known of Ruding (1870–1895): he attended Christ’s Hospital School and matriculated at Corpus Christi College, Cambridge in 1889 but left before sitting his exams; he was married to Edith Johnstone (author of \u003ci\u003eA Sunless Heart\u003c\/i\u003e and protégée of W.T. Stead) for less than a month, and died in December 1895. The present work was published a month before his death with a post-dated title-page. The only trace of his existence known to Samuels Lasner ‘consists of the inscribed copies of [\u003ci\u003eAn Evil Motherhood\u003c\/i\u003e] and Beardsley’s request, in January 1896, for the publisher to send him a copy of “Mr. Ruding’s book”’.\u003c\/p\u003e\n\u003cp\u003eThe protagonist of the present work ‘cannot make anything of his life even after his release because of his uncontrollably morbid temperament […] Using the language of romantic love rather than filial piety, the novel envisions a possible happy ending in which the hero will reunite with his mother and redeem her. ‘The book represents something of a plea for a sensitive but impractical nature from an author who seems to have worried a good deal about the diagnosis and treatment of mental illness’ (Harsh, \u003ci\u003eA Sunless Heart\u003c\/i\u003e (2008, introduction), p. 15). The frontispiece intended for the book was Beardsley’s ‘Black Coffee’ drawing (known also as ‘Café Noir’), conceived for the polemical fifth volume of \u003ci\u003eThe Yellow Book\u003c\/i\u003e~ (April 1895). As Oscar Wilde had been arrested for indecency mid-publication, Beardsley was implicated in the scandal and John Lane had no choice but to authorise Beardsley’s dismissal. Beardsley wrote to Smithers around 10 November 1895 that ‘the dreadful thing was a blaze up with Lane-cum-Mathews, and a drawing to be produced at the sword’s point’ (\u003ci\u003eLetters\u003c\/i\u003e, p. 104). Beardsley was forced at once to produce the frontispiece to the present issue, by some accounts a portrait of Ruding, who sits sullenly in an armchair wearing slippers, his book cast to the floor, whilst his mother stands over him disapprovingly.\u003c\/p\u003e\n\u003cp\u003eOnly six or twelve review copies were issued with the ‘Black Coffee’ frontispiece bound in; our copy has the substitute ‘Portrait of the Author’ frontispiece and the halftone ‘Black Coffee’ frontispiece loosely inserted.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 922 and 965; Gallatin 975; Samuels Lasner 94; Vallance 135.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125404\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326476431737,"sku":"2125404","price":300.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125404.jpg?v=1787325057"},{"product_id":"beardsley-audrey-i-e-aubrey-beardsley-venus-and-tannhauser","title":"BEARDSLEY, 'Audrey' [i.e. Aubrey BEARDSLEY]. Venus and Tannhauser.","description":"\u003cp\u003e\u003cstrong\u003eBEARDSLEY, 'Audrey' [i.e. Aubrey BEARDSLEY].\u003c\/strong\u003e Venus and Tannhauser. \u003ci\u003eS.l.: Privatly\u003c\/i\u003e [\u003ci\u003esic\u003c\/i\u003e] \u003ci\u003eprinted.\u003c\/i\u003e[c. 1920].\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s red cloth, upper board lettered in gilt within gilt border, top-edge stained red, fore-edge uncut; pp. [48], with 6 full-page decorative borders by Beardsley; joints and spine ends lightly rubbed; light thumb-mark to title; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNo. 84 of 500 copies of this privately printed edition of Beardsley’s unfinished erotic novel, the author listed as ‘Audrey Beardsley’; the unexpurgated manuscript was first published in full in 1907 for private circulation by Leonard Smithers.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBeardsley’s \u003ci\u003eVenus and Tannhauser\u003c\/i\u003e - the first three chapters of which appeared as \u003ci\u003eUnder the Hill\u003c\/i\u003e in the first issue of the \u003ci\u003eSavoy\u003c\/i\u003e - is inspired by the folkloric German tale of the knight and poet-musician Tannhäuser, who is lured into the Mountain of Venus and spends several years indulging in hedonistic pleasures. Beardsley’s erotic treatment of the legend remained unfinished, likely due to his conversion to Catholicism in 1897 and his declining health. The ‘dominating and consuming sin’ of aestheticism was ‘precisely the offense of which Beardsley came to feel most guilty. After beginning instruction in the Roman Catholic faith,  Beardsley had written his spiritual mentor, Andre Raffalovich, that the true Christian man of letters \"must sacrifice his gifts, just as Magdalen must sacrifice her beauty” (Harpham, p. 25). Shortly before his untimely death of tuberculosis, he ordered Leonard Smithers to ‘destroy all copies of \u003ci\u003eLysistrata\u003c\/i\u003e and bad drawings … By all that is holy - all obscene drawings’.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC finds six copies in the US (Berkeley, Chicago, Colorado College, Harry Ransom, Kinsey Institute, Princeton) and none in the UK; not on Library Hub.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 151e. See Harpham, ‘The Incompleteness of Beardsley's Venus and Tannhäuser’, in English Literature in Transition, 1880-1920 18.1 (1975), pp. 24-32.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125402\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326477939065,"sku":"2125402","price":450.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125402.jpg?v=1787325075"},{"product_id":"beardsley-aubrey-joseph-pennell-foreword-an-exhibition-of-original-drawings-by-aubrey-beardsley-with-a-foreword-by-joseph-pennell-may-first-to-may-seventeenth-1919","title":"BEARDSLEY, Aubrey; Joseph PENNELL ( foreword ). An Exhibition of Original Drawings by Aubrey Beardsley with a Foreword by Joseph Pennell. May First to May Seventeenth 1919.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eBeardsley in Philly\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBEARDSLEY, Aubrey; Joseph PENNELL (\u003ci\u003eforeword\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e An Exhibition of Original Drawings by Aubrey Beardsley with a Foreword by Joseph Pennell. May First to May Seventeenth 1919. \u003ci\u003ePhiladelphia: The Rosenbach Galleries.\u003c\/i\u003e 1919.\u003c\/p\u003e\n\u003cp\u003e8vo. Stapled in the publisher’s grey wrappers, upper wrapper with illustration by Beardsley adapted from border design for Le Morte d’Arthur; pp. 10, [2 (blank)]; short split to foot of spine, extremities slightly soiled and worn; internally very good.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA catalogue for the 1–17 May 1919 exhibition of original drawings by Beardsley at the Rosenbach Galleries in Philadelphia, featuring several drawings from the collection of Frederick H. Evans, presentation copies, two hundred proofs of Beardsley’s illustrations, original drawings from Bons Mots, and much else.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Rosenbach Company was formed in 1903 by the renowned book dealer A.S.W. Rosenbach and his brother Philip, who dealt in antique furniture and art. They operated from 1320 Walnut Street from 1903 to 1943, additionally selling china, glassware, silverware, and more. The preface is by the Philadelphia-born draughtsman and book illustrator Joseph Pennell (1857–1926), extracted from his article on Beardsley in the first issue of the Studio (April 1893) and followed by an April 1919 postscript.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eNo copies traced in the UK.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 165.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125398\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326480593273,"sku":"2125398","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125398.jpg?v=1787325095"},{"product_id":"farr-florence-the-dancing-faun","title":"FARR, Florence. The Dancing Faun.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eSociety as Sham\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eFARR, Florence.\u003c\/strong\u003e The Dancing Faun. \u003ci\u003eBoston: Roberts Brothers and London: Elkin Mathews and John Lane\u003c\/i\u003e. 1894.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s light blue cloth, spine lettered directly in gilt, upper board illustrated by Aubrey Beardsley and lettered in teal; pp. 169, [1 (blank)], [4 (advertisements)], lithographic title-page illustrated by Beardsley; spine ends and corners lightly bumped, spine lightly sunned, a few small flecks to boards, hinges cracked; front free endpaper excised; half-title inscribed ‘Martha ?Chaites Waters | from her cousin Clara’, dated 26 May 1911, occasional underlining in pencil.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, published simultaneously in London and Boston as the second instalment of Elkin Mathews’ \u003ci\u003eKeynotes\u003c\/i\u003e series; \u003ci\u003eThe Dancing Faun\u003c\/i\u003e is the first book by the actress, director, composer, and suffragist Florence Farr, friend of both Wilde and Beardsley.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFarr studied at Cheltenham Ladies’ College and was a childhood friend of May Morris; at the age of nineteen, she posed with Morris and other friends for Burne-Jones’s \u003ci\u003eThe Golden Stairs\u003c\/i\u003e (now at the Tate Britain). She subsequently studied at Queen’s College, the first British educational institution to grant women academic qualifications, and turned to acting; Farr wrote extensively on the ‘New Woman’ and on women’s rights, was a close friend and collaborator of both Yeats and Shaw, and was instrumental in establishing the New Stage Club, which staged the first performance of Wilde’s \u003ci\u003eSalomé\u003c\/i\u003e in England.\u003c\/p\u003e\n\u003cp\u003eShe was also a friend of Beardsley, from whom she commissioned a poster for her first directorial project at the Avenue Theatre on the Embankment, a joint production of Yeats’s \u003ci\u003eThe Land of Heart’s Desire\u003c\/i\u003e (written at Farr’s request) and \u003ci\u003eA Comedy of Sighs\u003c\/i\u003e by John Todhunter on 29 March 1894. The faun to the frontispiece ‘has the eyeglass and features of J[ames] McNeill Whistler’ (Vallance).\u003c\/p\u003e\n\u003cp\u003eFarr was ‘a writer with a gift for witty, epigrammatic dialogue in the Oscar Wildean mode. Set in the world of actors and social poseurs with which Farr was personally familiar, \u003ci\u003eThe Dancing Faun\u003c\/i\u003e brilliantly illustrated the proposition that society itself was the greatest of stages – a realm composed entirely of “sham” in which, as the character noted, one’s only consolation was to recognise “that you would shudder a good deal more if you for one moment saw the truths which underlie these shams.”’ (Stetz and Samuels Lasner, p.42).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 826; Samuels Lasner 26; Vallance 69.ii; see Stetz and Samuels Lasner, England in the 1890s (1990).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125387\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326483083641,"sku":"2125387","price":500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125387.jpg?v=1787325110"},{"product_id":"beardsley-aubrey-aubrey-beardsley-the-yellow-book","title":"[BEARDSLEY, Aubrey.] Aubrey Beardsley \u0026 the Yellow Book.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eDecadent Deadstock\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e[BEARDSLEY, Aubrey.]\u003c\/strong\u003e Aubrey Beardsley \u0026amp; the Yellow Book. \u003ci\u003eLondon and New York: John Lane.\u003c\/i\u003e 1903.\u003c\/p\u003e\n\u003cp\u003eSmall 4to. Publisher’s drab wrappers printed in red and green, illustration by Beardsley to upper wrapper; pp. 32, with eight in-text illustrations by Beardsley; a few small chips to spine, slight wear to corners, textblock (detached from wrappers) with traces of adhesive to spine; otherwise very good.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA promotional catalogue by the publisher John Lane advertising works illustrated by Beardsley.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e‘Some titles from the 1890s were still for sale in 1903 at advanced prices’ (Samuels Lasner). Also included are contemporary reviews of \u003ci\u003eThe Yellow Book,\u003c\/i\u003e extracts from letters by Beardsley written to the press in response, and lists of artistic and literary contributors to both \u003ci\u003eThe Yellow Book\u003c\/i\u003e and \u003ci\u003eThe Savoy\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 142.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125386\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326485049721,"sku":"2125386","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125386.jpg?v=1787325128"},{"product_id":"bodley-house-front-wrapper-catalogue-no-64-books-at-bodley-house-aubrey-beardsley-an-exceptionally-extensive-collection","title":"[BODLEY HOUSE.] [Front wrapper:] Catalogue No. 64. Books at Bodley House … Aubrey Beardsley. An exceptionally extensive collection.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eSaving Beardsley Books from Bombs\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e[BODLEY HOUSE.]\u003c\/strong\u003e [Front wrapper:] Catalogue No. 64. Books at Bodley House … Aubrey Beardsley. An exceptionally extensive collection. \u003ci\u003eBertram Rota: Bodley House\u003c\/i\u003e. 1940.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s blue printed self-wrappers; pp. [2], 56; spine slightly sunned, a few ink marks to rear wrapper; uniform light browning, minor creasing to inner margin of 6 ff.; else very well preserved.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA rare wartime catalogue issued by Bertram Rota from John Lane’s former premises, featuring some one hundred and forty works of Beardsleyana ‘patiently gathered over many years’ (p. 44).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1937, antiquarian bookseller Bertram Rota (1903–1966) moved to the old Bodley Head premises at 9 Vigo Street, previously the offices of John Lane.\u003c\/p\u003e\n\u003cp\u003eIt was at this address that \u003ci\u003eThe Yellow Book\u003c\/i\u003e and numerous other works illustrated by Beardsley had been published. The catalogue includes an original drawing of Egham Church by the fourteen-year-old Beardsley, proof copies of wrappers and a suppressed prospectus for \u003ci\u003eThe Savoy\u003c\/i\u003e, Wilde’s \u003ci\u003eSalome\u003c\/i\u003e with an autograph letter by Lord Alfred Douglas, and much else.\u003c\/p\u003e\n\u003cp\u003eThere is a poignant preface from Rota on the act of bookselling in the midst of the Second World War: ‘As there are still books at Bodley House after half a year of war here is another list of them […] He who buys may be plucking a brand from the burning, a book from the bombs […] The permanence of the world of books is a rock to cling to in these times. Fortunate is he who can surround himself with silent friends, ever ready to fall in with his mood, to entertain, instruct and console him by turns, and always by their mere presence to give him the assurance of happiness’ (p. [1]); although Rota’s bookshop on Vigo Street would sustain a direct hit during the Blitz, he would continue to operate there until the 1960s.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC finds copies at Delaware, the Grolier Club, and NYPL only; no copies traced on Library Hub.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125293\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326487245177,"sku":"2125293","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125293.jpg?v=1787325148"},{"product_id":"stevens-e-h-editor-past-and-present-the-magazine-of-the-brighton-grammar-school-volume-xiii-nos-1-7","title":"STEVENS, E.H. (editor). Past and Present. The Magazine of the Brighton Grammar School. Volume XIII. [Nos 1–7.]","description":"\u003ch3 style=\"font-variant: small-caps;\"\u003eBeardsley as Schoolboy Actor and Illustrator\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eSTEVENS, E.H. (\u003cem\u003eeditor\u003c\/em\u003e).\u003c\/strong\u003e Past and Present. The Magazine of the Brighton Grammar School. Volume XIII. [Nos 1–7.]\u003cem\u003e Brighton: ‘Printed by King and Thorne … and published at the school’\u003c\/em\u003e. [May–December] 1888.\u003c\/p\u003e\n\u003cp\u003e[\u003cem\u003ebound with:\u003c\/em\u003e]\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[BEARDSLEY, Aubrey (\u003cem\u003eillustrator\u003c\/em\u003e)].\u003c\/strong\u003e The Brighton Grammar School Annual Entertainment, at the Dome, on Wednesday, Dec. 19, 1888. Programme \u0026amp; Book of Words, Price, Four-Pence. [\u003cem\u003eBrighton: Tucknott’s Steam Printing Works\u003c\/em\u003e.] December 1888. \u003c\/p\u003e\n\u003cp\u003e8vo. Contemporary straight-grained red roan, borders double-filleted in black with floral cornerpieces, contrasting green and red gilt lettering-pieces to spine, board-edges roll-tooled in gilt, edges speckled red, comb-marbled endpapers; Past and Present: pp. [iv], 184; plate containing sheet music facing p. 16; Annual Entertainment: pp. 46, [2]; spine and joints lightly rubbed; light spotting to flyleaves; very good.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eThe thirteenth volume of the \u003cem\u003eBrighton Grammar School Magazine\u003c\/em\u003e, which had published Beardsley’s first literary work in 1885 and his first drawings in 1887, bound with a programme for the school’s annual entertainment (in which the sixteen-year-old Beardsley played a role), featuring eleven of his illustrations.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBeardsley attended Brighton Grammar School from 1884 to 1888 and is described in the programme as ‘A Present Boy’. He played Mercury in the Prologue (written by his mentor and schoolmaster, A.W. King) as well as Herr Kirschwasser, a pedantic Privy Councillor, in the comic operetta \u003cem\u003eThe Pay of the Pied Piper: a Legend of Hamelin Town\u003c\/em\u003e, by Fred Edmonds with music by C.T. West. His eleven etchings to the play represent some of his earliest published illustrations, and several would be reproduced in \u003cem\u003eThe Poster\u003c\/em\u003e, the \u003cem\u003eWestminster Budget\u003c\/em\u003e, and the \u003cem\u003eMagazine of Art\u003c\/em\u003e in 1898, shortly after his death. Samuels Lasner and Ross note that some copies of this programme were bound as a supplement to the subsequent volume of\u003cem\u003e Past and Present\u003c\/em\u003e (XIV:1, February 1889).\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGallatin, pp. 19–20; Gertner Zatlin 34–44; Reade 10; Reade \u0026amp; Dickinson 110; Samuels Lasner 5; Vallance 12.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125292\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326489538937,"sku":"2125292","price":800.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125292a.jpg?v=1787325171"},{"product_id":"symons-arthur-editor-the-savoy-no-1-8-all-published","title":"SYMONS, Arthur ( editor ). The Savoy. No. 1[–8 ( all published )].","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e‘A Manifesto in Revolt Against Victorian Materialism’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eSYMONS, Arthur (\u003ci\u003eeditor\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e The Savoy. No. 1[–8 (\u003ci\u003eall published\u003ci\u003e)]. \u003ci\u003eLondon: Leonard Smithers\u003c\/i\u003e. January[–December] 1896.\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eEight issues bound in two volumes, 4to. Recent red quarter morocco with red buckram sides by Terry Buckley of Cambridge (binder’s ticket to front pastedowns), black gilt morocco lettering-pieces to spines; wanting the tipped-in or loosely inserted additional plate ‘A Christmas Card’ by Beardsley (as often); small chip to half-title of no. 1, some foxing to quires H and I of no. 2, sporadic light foxing to nos. 3 and 4 (heavier to no. 4, pp. 1–30) and to last few pp. of no. 8, the odd spot to no. 7; a very well-preserved set, with the additional covers for nos. 1 and 2 bound in (see below).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA full run of \u003ci\u003eThe Savoy\u003c\/i\u003e, Arthur Symons’s rival to \u003ci\u003eThe Yellow Book\u003c\/i\u003e, co-founded with Leonard Smithers as publisher and Aubrey Beardsley as art editor, with numerous illustrations by Beardsley.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBeardsley had been ‘recently fired from the Yellow Book at the time of the Oscar Wilde trials because of his daring illustrations for Salomé. Designed to surpass the \u003ci\u003eYellow Book\u003c\/i\u003e as the principal avant-garde periodical of the 1890s, the first issue of \u003ci\u003eThe Savoy\u003c\/i\u003e appeared in January 1896. With its eighth issue in December, the periodical – which had contained the work of such contributors as Yeats, Ellis, Conrad, Shaw, Verlaine, Dowson, Max Beerbohm, and Symons – ceased publishing. Despite its sudden demise, the periodical had propelled Symons to the centre of London literary circles’ (\u003ci\u003eODNB\u003c\/i\u003e). Dubbed ‘a manifesto in revolt against Victorian materialism’, \u003ci\u003eThe Savoy\u003c\/i\u003e was the first to publish extracts, albeit in expurgated form, of Beardsley’s unfinished erotic work \u003ci\u003eUnder the Hill\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eBeardsley’s declining health was noted in The Savoy as early as April 1896: the publisher’s note to the second issue expresses regret that ‘owing to Mr. Beardsley’s illness he has been unable to finish one of his full-page drawings to Chapter IV. of \u003ci\u003eUnder the Hill’\u003c\/i\u003e, postponed to the third issue (July 1896), which in turn notes that ‘in consequence of Mr. Beardsley’s severe and continued illness, we have been compelled to discontinue the publication of “Under the Hill”, which will be issued by the publisher in book form, with numerous illustrations by the author, as soon as Mr. Beardsley is well enough to carry the work to its conclusion’. Beardsley would never finish the work, however, and it would not appear in book form until 1907, published by Leonard Smithers.\u003c\/p\u003e\n\u003cp\u003eNos. 1 and 2 were bound in pink printed boards; ‘for the convenience of such subscribers as desire to bind up “The Savoy” into volumes, is appended a print of the covers of Nos. 1 and 2, pulled on white paper, which may be bound in, in substitution’ (no. 2, p. 197). Both have been retained in this set.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 991–1030; Samuels Lasner 103.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124798\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326491570553,"sku":"2124798","price":700.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124798a.jpg?v=1787325189"},{"product_id":"gleeson-white-joseph-the-studio-an-illustrated-magazine-of-fine-and-applied-art-vol-13-no-62","title":"[GLEESON WHITE, Joseph.] The Studio. An Illustrated Magazine of Fine and Applied Art. Vol. 13 no. 62.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e‘In Memoriam’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e[GLEESON WHITE, Joseph.]\u003c\/strong\u003e The Studio. An Illustrated Magazine of Fine and Applied Art. Vol. 13 no. 62. \u003ci\u003eLondon\u003c\/i\u003e: [\u003ci\u003eBallantyne, Hanson, and Co.\u003c\/i\u003e] \u003ci\u003efor The Studio\u003c\/i\u003e. 14 May 1898.\u003c\/p\u003e\n\u003cp\u003eLarge 8vo. Publisher’s green printed wrappers, Art Nouveau illustration of man and woman under lemon trees to upper wrapper, large Liberty \u0026amp; Co. advertisement to rear wrapper signed L.W., fore- and tail-edges uncut; pp. xvi (advertisements), [2] 215–284, xvii–xx (advertisements); numerous black-and-white in-text illustrations, four plates on embossed card included in pagination (of which three in colour; slight wear to extremities, short closed tear at head of spine; short closed marginal tear to pp. 275–6; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVol. 13, no. 62 of \u003ci\u003eThe Studio\u003c\/i\u003e, the first issue of which featured illustrations and a cover design by Beardsley, this issue published less than three months after Beardsley’s untimely death and featuring an eleven-page ‘In Memoriam’ column on Beardsley’s life and work.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGleeson White (here signed G.W.), the first editor of \u003ci\u003eThe Studio\u003c\/i\u003e, contributed the lengthy tribute. There is an illustration by Henri Bellery-Desfontaines after Beardsley (facing p. 215), and two more from drawings by Beardsley. ‘Death’, Gleeson White concludes, ‘has given Aubrey Beardsley the immortality of youth; and in future histories of illustration, whether for blame or praise, men must needs add that it was a mere boy who did these things, and did them as no other had ever attempted before’ (p. 263). Of the four lavishly produced plates, three are after illustrations by Beardsley.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 125.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124796\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326494093689,"sku":"2124796","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124796.jpg?v=1787325199"},{"product_id":"gleeson-white-joseph-editor-the-studio-volume-ii-number-7-special-arts-and-crafts-number","title":"[GLEESON WHITE, Joseph ( editor ).] The Studio. Volume II Number 7. Special Arts and Crafts Number.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eMedieval Revival \u0026amp; Bourgeois Complacency\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e[GLEESON WHITE, Joseph (\u003ci\u003eeditor\u003ci\u003e).]\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e The Studio. Volume II Number 7. Special Arts and Crafts Number. \u003ci\u003eLondon: B.T. Batsford.\u003c\/i\u003e 16 October 1893.\u003c\/p\u003e\n\u003cp\u003eLarge 8vo. Publisher’s green printed wrappers, design to front wrapper by Aubrey Beardsley and printed Liberty advertisements to rear wrapper; pp. iv (advertisements), 38, v–x (advertisements); numerous black-and-white in-text illustrations; minor wear to wrappers; very well preserved; contemporary ownership inscription ‘L. Symington’ to front wrapper.\u003c\/p\u003e\n\u003cp\u003eThe special arts and crafts issue of \u003ci\u003eThe Studio\u003c\/i\u003e, featuring a cover design by Aubrey Beardsley; the inaugural issue (April 1893) had featured a piece on Beardsley called ‘A New Illustrator’ by Joseph Pennell, bringing the twenty-one-year-old artist’s work to a wider audience.\u003c\/p\u003e\n\u003cp\u003eThis issue featured contributions by Aymer Vallance, who would be the first to produce a listing of Beardsley’s works, as well as a feature on the fourth Arts and Crafts Exhibition, held from October to December 1893 and featuring works by William Morris, Lawrence Alma-Tadema, Ford Madox Brown, Walter Crane, and others.\u003c\/p\u003e\n\u003cp\u003e‘Beardsley had designed the Studio’s cover and partly fashioned its graphic identity, drawing from it lessons for the art and literature reviews he would later direct. In turn, the Studio showcased an artist representative of two fields it clearly defined as its own and in contrast to the hierarchies of the art establishment, that is, the fine and applied arts. Their double passport, however, is based on what could be described as safe aesthetic choices [...] the periodical championed a medieval-inspired style and design that was fashionable rather than forward-looking. Indeed, medievalism was more associated with bourgeois complacency than the daring and provocative images that Beardsley was already developing’ (Stead).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin  308b; Cf. Reade 259; see Stead, Grotesque and Performance in the Art of Aubrey Beardsley (2024).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124795\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326516146553,"sku":"2124795","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124795_898165e4-9795-4b10-97ef-314a5929431d.jpg?v=1787325223"},{"product_id":"gallatin-albert-eugene-aubrey-beardsley-catalogue-of-drawings-and-bibliography","title":"GALLATIN, A[lbert] E[ugene]. Aubrey Beardsley. Catalogue of Drawings and Bibliography.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eBeardsley Bibliography for Christmas\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eGALLATIN, A[lbert] E[ugene].\u003c\/strong\u003e Aubrey Beardsley. Catalogue of Drawings and Bibliography. \u003ci\u003eNew York: [George Grady Press] for The Grolier Club\u003c\/i\u003e. [November] 1945.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s blue boards, lettered in gilt to spine and upper board, plain blue dust-jacket, beige endpapers; pp. [8], 141, [5]; photographic frontispiece and 7 plates after p. 141; slight wear to cloth spine and light sunning to spine of jacket, jacket split at upper joint; nonetheless a very good copy; front free endpaper inscribed ‘Louise and Charles | Merry Christmas | from | the author’.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, one of three hundred copies, of this bibliography and catalogue of Beardsley’s drawings printed by the Grolier Club, including five newly published drawings, presented by Gallatin to his sister and brother-in-law for Christmas.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe newly published drawings are a sketch from Beardsley’s copy of Jonathan Swift’s 1886 Prose Writings, ‘Sarah Bernhardt’, an initial intended for \u003ci\u003eLe Morte d’Arthur\u003c\/i\u003e, a grotesque intended for the Bon-Mots series, and ‘Carl Maria von Weber’.\u003c\/p\u003e\n\u003cp\u003eThis work, with a frontispiece comprising three previously unpublished photographs of Beardsley by Frederick H. Evans, also reprints Beardsley’s letter to the editor of the \u003ci\u003eDaily Chronicle\u003c\/i\u003e (17 April 1894) and Beardsley’s essay on commercial designs, ‘The Art of the Hoarding’ (\u003ci\u003eThe New Review\u003c\/i\u003e XI, July 1894).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eProvenance:\u003c\/i\u003e Presented by the author to his older sister, Louise Gallatin Gay (1880–1970), and her husband, Charles Merrick Gay (m. 1909), professor of architecture at the University of Pennsylvania and director of the Franklin Institute in Philadelphia.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 186; see Gertner Zatlin 61.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124791\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326518473081,"sku":"2124791","price":300.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124791a.jpg?v=1787325240"},{"product_id":"stearns-bicycles-the-yellow-fellow-year-book-a-treatise-upon-stearns-bicycles","title":"[STEARNS BICYCLES.] The Yellow Fellow Year Book. A Treatise upon Stearns Bicycles.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eBeardsley Bikes for ‘Yellow Fellows’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e[STEARNS BICYCLES.]\u003c\/strong\u003e The Yellow Fellow Year Book. A Treatise upon Stearns Bicycles. \u003ci\u003eSyracuse, New York: E C Stearns \u0026amp; Co\u003c\/i\u003e. 1896.\u003c\/p\u003e\n\u003cp\u003e4to. Publisher’s yellow and yellow-orange printed wrappers after the design of the \u003ci\u003eYellow Book\u003c\/i\u003e, twice-stapled; pp. 47, [1 (blank)]; title-page printed in yellow and black, text within yellow border with black and yellow Art Nouveau typographic ornaments, lithographic illustrations of bicycles throughout, extensive black-and-white reproductions of paintings of cyclists; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA very rare and charming trade catalogue issued by the E.C. Stearns Bicycle Agency in Syracuse, New York, the design of the wrappers playing on Beardsley’s illustrations for \u003ci\u003eThe Yellow Book\u003c\/i\u003e.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStearns bicycles, with their distinctive yellow frames, were known as ‘Yellow Fellows’. The agency had been established by industrialist Edward Carl Stearns in 1893. By the time this catalogue was published, the company had factories in Syracuse and Toronto as well as branches in Buffalo and San Francisco. E.C. Stearns began issuing the Yellow Fellow in 1894 and produced subsequent issues until c. 1900, all extremely rare.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC finds only three copies for 1896, at Delaware, the Henry Ford, and Syracuse; no copies of the Yellow Fellow Year Book for any year traced on Library Hub.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSee Romaine, p. 62 (recording issues for 1894, 1895, and 1897 only); Printer’s Ink 15 (1896), p. 54 (‘One of the handsomest bicycle catalogues that has come to me’).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124732\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326520013177,"sku":"2124732","price":600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124732.jpg?v=1787325251"},{"product_id":"beardsley-aubrey-lewis-c-hind-introduction-the-uncollected-work-of-aubrey-beardsley","title":"BEARDSLEY, Aubrey; Lewis C. HIND ( introduction ). The Uncollected Work of Aubrey Beardsley.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eBeardsley from Cradle to Grave\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBEARDSLEY, Aubrey; Lewis C. HIND (\u003ci\u003eintroduction\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e The Uncollected Work of Aubrey Beardsley. \u003ci\u003eLondon: John Lane, The Bodley Head Ltd.\u003c\/i\u003e [1925.]\u003c\/p\u003e\n\u003cp\u003e4to. Publisher’s cream cloth with 1895 architectural design by Beardsley gilt to upper board, spine and upper board lettered in gilt, in the green printed dust-jacket repeating the same design, top-edge gilt; pp. [4], xxvi, [4], 162 numbered plates (including photogravure frontispiece), of which four double-page, preceded by numbered letterpress leaves, a further 6 unnumbered plates bound at end (\u003ci\u003esee below\u003c\/i\u003e); a few small nicks to dust-jacket with small areas of loss to head and foot of spine; light toning to text leaves; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, no. 79 of 110 special-issue copies printed on Japan vellum and with six additional illustrations not present in the ordinary issue.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe additional illustrations comprise five pieces from \u003ci\u003eAn Issue of Five Drawings Illustrative of Juvenal and Lucian\u003c\/i\u003e (1906), and a variant version of ‘A Snare of Vintage’ from the special issue of \u003ci\u003eLucian’s True History\u003c\/i\u003e (1894). \u003ci\u003eThe Uncollected Work of Aubrey Beardsley\u003c\/i\u003e, with a touching introduction by journalist and art critic Lewis C. Hind, co-founder of \u003ci\u003eThe Studio\u003c\/i\u003e, is particularly rich in Beardsley’s early works, with a vast array of his schoolboy drawings; there are also childhood photographs of the artist at the ages of two, ten, and thirteen. Also of note are numerous previously unpublished illustrations, including sketches from his letters to Beardsley’s mentor and former schoolmaster A.W. King, and to the poster illustrator G.F. Scotson-Clark.\u003c\/p\u003e\n\u003cp\u003eThis copy, with Dodd, Mead \u0026amp; Co. printed to the foot of the spine, was for distribution in the United States.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin A3–A5, A8, A10, A13, A17 (for sketches from Beardsley’s letters); Samuels Lasner 177.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124731\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326521913721,"sku":"2124731","price":450.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124731.jpg?v=1787325268"},{"product_id":"walker-r-a-some-unknown-drawings-of-aubrey-beardsley","title":"WALKER, R. A. Some Unknown Drawings of Aubrey Beardsley","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e‘Bibliography is like a Toy Balloon’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eWALKER, R. A.\u003c\/strong\u003e Some Unknown Drawings of Aubrey Beardsley London: [\u003ci\u003eSpottiswoode, Ballantyne \u0026amp; Co.\u003c\/i\u003e]\u003ci\u003e for the author.\u003c\/i\u003e 1923.\u003c\/p\u003e\n\u003cp\u003e4to. Publisher’s cream cloth, spine and upper board lettered in gilt;  ff. [12 (introduction)], [74]; numbered illustrations to rectos and text to opposite versos, tipped-in colour plate for \u003ci\u003eCaprice\u003c\/i\u003e mounted on dark grey card and with tissue guard and black-and-white plates facing text of nos. 7 and 22; lacking the rare dust-jacket, some soiling to boards and spine, spine ends and corners bumped; mild spotting to endpapers; unopened, fore- and tail-edges uncut; internally clean and bright; numbered and signed by the author in light brown ink with presentation inscription below in his hand (somewhat shaky) ‘To my good friend ?R.P. […]’, signed R.A. Walker.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, no. 170 of 500 copies (of which 450 for sale) of this catalogue of Beardsley’s drawings by R.A. Walker, an early champion of Beardsley’s work, this copy presented by the author to his ‘good friend’.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSome Unknown Drawings contains thirteen drawings by Beardsley, nine hitherto unpublished, as well as A \u003ci\u003eCaprice\u003c\/i\u003e (1894), one of two known oil paintings by Beardsley, and facsimiles of three of his letters. In his preface, Walker explains that publication had been intended for 1920, but was delayed by production costs and the fact that ‘Bibliography is like a toy balloon – the more one blows and the more one works the larger it becomes’.\u003c\/p\u003e\n\u003cp\u003eHe also comments on undercurrents of hostility amongst his fellow bibliophiles, complaining that his ‘information of joyous “finds” imparted with a bibliophile’s garrulity’ had been abused, having discovered that A \u003ci\u003eCaprice\u003c\/i\u003e, discovered by Walker and purchased from his collection by the Tate, had been published elsewhere, along with illustrations by Beardsley he had ‘collected at considerable trouble’.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 170.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124729\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326524993913,"sku":"2124729","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124729.jpg?v=1787325287"},{"product_id":"beardsley-aubrey-under-the-hill-and-other-essays-in-prose-and-verse-with-illustrations","title":"BEARDSLEY, Aubrey. Under the Hill and Other Essays in Prose and Verse … with Illustrations.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eTable Talk \u0026amp; Taboo Tannhӓuser\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBEARDSLEY, Aubrey.\u003c\/strong\u003e Under the Hill and Other Essays in Prose and Verse … with Illustrations. \u003ci\u003eLondon and New York. John Lane, the Bodley Head\u003c\/i\u003e. 1904.\u003c\/p\u003e\n\u003cp\u003e4to. Publisher’s blue cloth, peacock-feather designs stamped in gilt to upper board, upper board and spine lettered directly in gilt; pp. xi, [5], 70, [71–80], [4 (advertisements)]; photogravure frontispiece, 14 plates by Beardsley included in pagination (of which one in colour) with printed tissue guards, two tailpieces by Beardsley in the text; hinges cracked, slight wear to corners and extremities (colour subtly retouched); half-title, frontispiece, and title reinforced with tissue to inner margin, offsetting to title and limitation statement, lightly toned throughout; a good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition thus of John Lane’s expurgated version of Beardsley’s unfinished erotic work, including three hitherto unpublished drawings by Beardsley.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBeardsley’s ‘Fred Brown, N.E.A.C.’, a study of seven heads (pictured on the same page), and his intended frontispiece for Zola’s \u003ci\u003eLa Faute de l’Abbé Mouret\u003c\/i\u003e appear here for the first time. Beardsley’s \u003ci\u003eVenus and Tannhäuser\u003c\/i\u003e – the first three chapters of which appeared in expurgated form as \u003ci\u003eUnder the Hill\u003c\/i\u003e in the first issue of \u003ci\u003eThe Savoy\u003c\/i\u003e (January 1896) – is inspired by the folkloric German tale of the knight and poet–musician Tannhäuser, who is lured into the Mountain of Venus and spends several years indulging in hedonistic pleasures.\u003c\/p\u003e\n\u003cp\u003eFollowing the appearance of the first few chapters in \u003ci\u003eThe Savoy\u003c\/i\u003e, in July 1896 ‘Smithers announced that serialization was discontinued, but that [\u003ci\u003eVenus and Tannhäuser\u003c\/i\u003e] would be published in book form with numerous illustrations as soon as Beardsley was well enough to complete it’ (\u003ci\u003eLetters,\u003c\/i\u003e quoted in Samuels Lasner). Beardsley’s erotic treatment of the legend remained unfinished, however, likely due to his conversion to Catholicism in 1897 as well as his declining health.\u003c\/p\u003e\n\u003cp\u003eAs well as \u003ci\u003eUnder the Hill\u003c\/i\u003e, this volume contains ‘The Three Musicians’, ‘The Ballad of a Barber’, and Catullus’s Carmen CI, all previously published in \u003ci\u003eThe Savoy\u003c\/i\u003e, as well as two letters to the press and ‘Table Talk of Aubrey Beardsley’, a series of aphorisms which Beardsley had been working on in the summer of 1896, ten of which are included here and are seemingly published for the first time. He writes that the Brompton Oratory is ‘the only place in London where one can forget that it is Sunday’, that Turner is ‘only a rhetorician in paint’, and complains ‘how few of our young English impressionists knew the difference between a palette and a picture! However, I believe that Walter Sickert \u003ci\u003edid\u003c\/i\u003e – sly dog!’ (pp. 63–64).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 141.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124727\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326527287673,"sku":"2124727","price":500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124727.jpg?v=1787325303"},{"product_id":"aristophanes-aubrey-beardsley-illustrator-george-frederic-lees-preface-the-lysistrata","title":"ARISTOPHANES; Aubrey BEARDSLEY (illustrator); George Frederic LEES (preface). The Lysistrata.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eBeardsley as the ‘Fra Angelico of Satanism’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eARISTOPHANES; Aubrey BEARDSLEY (illustrator); George Frederic LEES (preface).\u003c\/strong\u003e The Lysistrata. \u003ci\u003eParis: ‘Privately printed’.\u003c\/i\u003e 1931.\u003c\/p\u003e\n\u003cp\u003eFolio. Loose as issued in publisher’s cream wrappers, lettered in red to front wrapper; pp. xv, [3], 61, [1], with half-title; 8 illustrations by Beardsley printed in green and housed in original glassine sleeves; title-page printed in red and black; light creasing and toning to wrappers, short splits to joints, a few minor abrasions to inside of wrappers; internally near fine.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLimited edition, no. 490 of 500 copies on mould-made Annonay paper from a total edition of 525 copies, privately printed in Paris.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe preface on Beardsley and his visual rendition of \u003ci\u003eLysistrata\u003c\/i\u003e is by Frederic William Lees (b. 1872), a painter and writer, author and French-to-English translator of several art and literary history books. ‘That Aubrey Beardsley, who was an omnivorous reader of classical literature, was fully able to understand [Aristophanes’ aims], and when illustrating Aristophanes, assume still one more new rôle is undeniable. And it is indeed one of the miracles of art that the Fra Angelico of Satanism could so completely transform himself into a “merry Greek” of the Athenian age’ (p. xv).\u003c\/p\u003e\n\u003cp\u003eThere were also twenty-five copies printed on handmade Van Gelder paper with plates on imperial Japanese vellum.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSamuels Lasner 107e\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124726\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326529286521,"sku":"2124726","price":450.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124726a.jpg?v=1787325327"},{"product_id":"osullivan-vincent-a-book-of-bargains","title":"O'SULLIVAN, Vincent. A Book of Bargains.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eBack from the Dead\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eO'SULLIVAN, Vincent.\u003c\/strong\u003e A Book of Bargains. \u003ci\u003eLondon: Leonard Smithers\u003c\/i\u003e. 1896.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s plum cloth, spine and upper board lettered directly in gilt, fore- and tail-edges uncut; pp. [5], [1 (blank)], 185, [3], with half-title; lithographic frontispiece by Aubrey Beardsley; publisher’s device to title; spine lightly sunned, a few small scuffs to spine and upper board, spine ends and corners rubbed; edges of textblock slightly dusty, flyleaves browned, internally clean and fresh; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of this collection of supernatural short stories by the American-born poet and writer Vincent O’Sullivan, a friend of Smithers and Wilde, with a frontispiece by Beardsley.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVincent O’Sullivan grew up in New York and completed his education in England. ‘The Bargain of Rupert Orange’, set in New York City, features a deal with the devil, and the following stories, ‘My Enemy and Myself’ (in which the protagonist gouges out a romantic rival’s eye and slits his throat) and ‘The Business of Madame Jahn’ (featuring a young Frenchman who had hanged himself), feature reanimated corpses. Of the present work, Beardsley wrote to Smithers that ‘I am much struck by O’Sullivan’s stories. I believe they will be a success’ (\u003ci\u003eLetters\u003c\/i\u003e, p. 163), and also produced a cover design for O’Sullivan’s Houses of Sin the following year. The frontispiece depicts Madame Jahn.\u003c\/p\u003e\n\u003cp\u003eThe primary binding bears the text ‘Leonard Smithers 1896’ at the foot of the spine, with later copies lettered ‘Leonard Smithers and Co 1896’, as here.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 1069; Ross, Later Work 153; Samuels Lasner 109.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124723\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326531023225,"sku":"2124723","price":475.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124723.jpg?v=1787325339"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/collections\/claret_40ccdb07-8c86-4440-9ec8-da2170d2ca02.jpg?v=1787325974","url":"https:\/\/sotherans.co.uk\/collections\/aubrey-beardsley.oembed","provider":"Sotherans","version":"1.0","type":"link"}