Art Nouveau was an international style and philosophy of art, architecture and applied arts that

flourished between 1890 and 1914. The movement was characterised by the use of natural forms and
structures, most notably the whiplash form so named because of the sudden violent curves that
frequently appeared throughout the designs. Japanese woodblock prints with their strong colours, flat
perspective, organic forms and references to the natural world was also an evident influence. While
the visual style of Art Nouveau was heavily influenced by nature, the artists embraced the latest
technologies and materials of the period such as steel, cast iron, sheet glass and lithography.
The movement was most popular in Europe but its influence was global. Hence, it is known in
various guises with frequent localised tendencies. It was known as Jugendstil or youth style in
Germany (named for the magazine Jugend, which promoted it), as Secession in Austria and Hungary
after the Viennese group of artists, and in Italy, as Stile Liberty derived from the department store in
London, Liberty & Co., which also popularised the style. In all its facets Art Nouveau sought to
bring decoration and the object more closely together. Art Nouveau designers believed that all the
arts should work in harmony to create a "total work of art," or Gesamtkunstwerk: buildings, furniture,
textiles, clothes, and jewellery all conformed to the principles of Art Nouveau to create a unified
synthesis between the individual parts.
The rise of new decorative periodicals during this period such as The Studio, Les Matres de
lAffiche, LEstampe Moderne, The Poster and Jugned helped to promote the Art Nouveau concept
across the Globe and legitimise the decorative and applied arts as art forms in their own right. These
magazines were dedicated to the latest trends in architecture, interior design, furniture lighting,
glassware, textiles, metalwork, graphic design and ceramics. In most cases the magazines featured
lavish high quality prints intended for the collector. With new advance in printing, notably Chrets
three stone lithographic process, designers could see their work reproduced in vivid colour. Initially
applied only to posters, this process was soon used to create plates for decorative periodicals. These
periodicals also included works by emerging and established artists of the day and were a forum for
sharing new work as well as advances in printing.
This exhibition features prints from Les Matres de lAffiche and L'Estampe Moderne - two of the
most notable decorative periodicals. A monthly magazine which ran from December 1895 to
November 1900, subscribers to Les Matres de lAffiche received four reduced poster reproductions
per issue - loose sheets that cost 2.50 francs for one month and 27 francs for a years worth.
Although predominantly French, the scope of the magazine was international. These prints were
highly collectable because not only were they far more manageable than the large original street
posters, but the images were superior in quality because of the more refined lithographic process used
and the paper stock. The size (approximately 39 x 30cms) also meant that they could be displayed
properly with a broad margin around each image. The size also brought far more flexibility in
display, as consistency in the trimmed size meant that infinite variations of grouping could be
achieved - by artist, design or subject.
L'Estampe Moderne appeared in 1897-99 as a series of 24 monthly publications each of 4 original
lithographs, priced at 3.50 francs and printed by Imprimerie Champenois of Paris. The tissue guards
for each work contain snippets of poetry or literature related to the image, chosen by editors Charles
Masson and H. Piazza. Many accomplished European Art Nouveau painters contributed works to this
publication. The richly lithographed prints are blind stamped with the imprint of a young woman's
profile in the lower right corner.
With this exhibition Sanders has brought together a collection of decorative and graphic works by
some of the most prolific artists active during this iconic period of art and design. On display is a
stunning selection of original lithographs printed for the major publications of the Art Nouveau
movement, featuring work by Hans Christiansen, Louis Rhead, Alexandre-Louis-Marie Charpentier
and William Nicholson among others.

Adolphe Giraldon
Alexandre de Riquer

2. 3ra Exposition de Bella Artes

Lithograph
Alexandre de Riquer
1897
Image 208 x 342 mm, Sheet 287 x 397 mm
mounted
From Les Maitres de lAffiche PL. 64.

1. Lutce

Lithograph
Adolphe Giraldon
L'Estampe Moderne no. 14, June 1898
Image 359 x 193 mm, Sheet 399 x 303 mm
mounted
From L'Estampe Moderne, no. 14, June 1898
Lithograph by A. Giraldon, signed and dated in the
stone. Blind stamped in bottom-right corner of sheet
with the image of a young womans profile, the
emblem of L'Estampe Moderne.
A symbolic depiction of Paris, represented by Sainte
Genevive with Notre Dame in the background.
L'Estampe Moderne was first published in five folios
between November 1895 and March 1896 and edited
by Los Delteil. The aim was to promote the art of
printmaking by commissioning images from noted
Art Nouveau artists. It reappeared under the
editorship of Ch. Masson and H. Piazza in May 1897
and was published monthly until April 1899. Each
edition was priced at 3 francs 50 centimes and
printed by Imprimerie Champenois, Paris. As well as
four original lithographs by Art Nouveau artists,
each issue came in a paper cover bearing an original
lithograph by one of the most famous members of
the movement, Alphonse Mucha. The publisher also
offered two extra lithographs a year, the planches
de prime, as an incentive to prospective subscribers.
[27491]
200

Lithograph by Alexandre de Riquer, signed by the

artist in the stone. Blind stamped in bottom-right
corner of sheet with the image of a poster held aloft
by a seated elegantly dressed lady, the emblem of Les
Maitres de lAffiche .
"De Riquer was Spain's most successful exponent of
the Art Nouveau style, and this poster for the Third
Barcelona Exhibition of Fine and Industrial Arts to
be held in 1896 is a good example of it. The two
women, one with palette and statue, the other with
chalice, represent art and industry." (Phillips III, 577)
"The 'modernist' poster was essentially of French
inspiration: it's principal protagonist, De Riquer, had
lived in Paris and found his models there. He was
very much inspired by Grasset and Mucha whose
ornamental style and mosaic background he adopted.
His colours are harmonious and delicate." (Weill, p.
82)
[27507]
460

Alexandre-Louis-Marie Charpentier

4. Decoration in Enamelled Tiles for a BathRoom

3. [Girl]

Gaufrage
Alexandre-Louis-Marie Charpentier
Published by The Studio, London. c.1900
Image 100 x 75 mm, Sheet 278 x 200 mm
mounted
Signed with artists signature in low relief and
mongram in high relief. Blind stamp of The Studio,
London in the sheet below the image.
The chief interest of this print lies in its use of the
technique of gaufrage (embossing) . A patent for
embossing wallpapers was issued in 1834, and
embossing from engraved rollers for prints and other
decorative paper products was widely used by the
later nineteenth century.
The contribution of Alexandre-Louis-Marie
Charpentier (18561909) to the art of printmaking at
the turn of the nineteenth century is of great
importance. A sculptor and furniture-maker, as well
as a painter and printmaker, he was seeking a way of
progressing beyond the use of texture in lithography
(as used by the avantgarde artist groups the Nabis
and the Symbolists) to create a three-dimensional
surface. He achieved this by using a plaster relief
block embossed over lithographed line and colour.
Liseuse is one of the most beautiful of Charpentier's
relief prints; it shows the influence of Art Nouveau
in the flowing lines, and the simple composition is
clearly inspired by Japanese prints.
[27439]
70

Lithograph with gaufrage

Alexandre-Louis-Marie Charpentier and Flix Aubert
Published by The Studio, London. 1898
Image 224 x 166 mm, Sheet 286 x 204 mm
mounted
Signed with Aubert's monogram, and Charpentier's
monogram in low relief . Charpentier's bathing
figures are raised in the lithograph by embossing.
Blind stamp of The Studio, London in the sheet
below the image. With orginal titled tissue guard
sheet.
Flix Aubert was a prominent designer of textiles
and ceramics in the Art Nouveau style. Charpentier
and Aubert executed the design for the
Sarreguemines factory.
The chief interest of this print lies in its use of the
technique of lithography combined with gaufrage
(embossing). A patent for embossing wallpapers was
issued in 1834, and embossing from engraved rollers
for prints and other decorative paper products was
widely used by the later nineteenth century.
The contribution of Alexandre-Louis-Marie
Charpentier (18561909) to the art of printmaking at
the turn of the nineteenth century is of great
importance. A sculptor and furniture-maker, as well
as a painter and printmaker, he was seeking a way of
progressing beyond the use of texture in lithography
(as used by the avantgarde artist groups the Nabis
and the Symbolists) to create a three-dimensional
surface. He achieved this by using a plaster relief
block embossed over lithographed line and colour.
Liseuse is one of the most beautiful of Charpentier's
relief prints; it shows the influence of Art Nouveau
in the flowing lines, and the simple composition is
clearly inspired by Japanese prints.
[27438]
85

5. Liseuse [Woman Reading]

Lithograph with gaufrage

Alexandre-Louis-Marie Charpentier
Published by The Studio, London. c.1900
Image 157 x 226 mm
framed
Blind stamp of The Studio, London in the sheet below the image.
The chief interest of this print lies in its use of the technique of lithography combined with gaufrage (embossing)
in three colours. A patent for embossing wallpapers was issued in 1834, and embossing from engraved rollers for
prints and other decorative paper products was widely used by the later nineteenth century.
The contribution of Alexandre-Louis-Marie Charpentier (18561909) to the art of printmaking at the turn of the
nineteenth century is of great importance. A sculptor and furniture-maker, as well as a painter and printmaker, he
was seeking a way of progressing beyond the use of texture in lithography (as used by the avantgarde artist groups
the Nabis and the Symbolists) to create a three-dimensional surface. He achieved this by using a plaster relief block
embossed over lithographed line and colour. Liseuse is one of the most beautiful of Charpentier's relief prints; it
shows the influence of Art Nouveau in the flowing lines, and the simple composition is clearly inspired by
Japanese prints.
[27314]
195

Anton Seder

Lithograph by Anton Seder, signed and dated in the

stone. With Moderne Malereien and Ernst Wasmuth
logo in bottom left hand corner of sheet.
Peacock feather interior wall design.

6. [Gold Highlight Interior Design]

Lithograph
Anton Seder
Verlag von Ernst Wasmuth.1903
Image 378 x 259 mm, Sheet 500 x 350 mm
mounted
Plate 7 from the folio Moderne Malereien published
by Ernst Wasmuth of Berlin.
Lithograph by Anton Seder, signed and dated in the
stone. With Moderne Malereien and Ernst Wasmuth
logo in bottom left hand corner of sheet.
Face with printed gold highlight plant interior wall
design.
Anton Seder, professor and director of the
Kunsthandwerkerschule (School of decorative arts)
of Strasburg.
[27497]
90

7. [Peacock Interior Design]

Lithograph
Anton Seder
Verlag von Ernst Wasmuth.1903
Image 400 x 240 mm, Sheet 500 x 350 mm
mounted
Plate 6 from the folio Moderne Malereien published
by Ernst Wasmuth of Berlin.

Anton Seder, professor and director of the

Kunsthandwerkerschule (School of decorative arts)
of Strasburg.
[27494]
90

8. [Purple Floral Interior Design]

Lithograph
Anton Seder
Verlag von Ernst Wasmuth.1903
Image 378 x 275 mm, Sheet 500 x 350 mm
mounted
Plate 9 from the folio Moderne Malereien published
by Ernst Wasmuth of Berlin.

Anton Seder, professor and director of the

Kunsthandwerkerschule (School of decorative arts)
of Strasburg.
[27500]
100

Armand Rassenfosse

Lithograph by Anton Seder, signed and dated in the

stone. With Moderne Malereien and Ernst Wasmuth
logo in bottom left hand corner of sheet.
Face with purple floral design interior wall design.
Anton Seder, professor and director of the
Kunsthandwerkerschule (School of decorative arts)
of Strasburg.
[27498]
90

10. Danse [Dance]

9. [Silver Butterfly Interior Design]

Lithograph
Anton Seder
Verlag von Ernst Wasmuth.1903
Image 400 x 240 mm, Sheet 500 x 350 mm
mounted
Plate 16 from the folio Moderne Malereien
published by Ernst Wasmuth of Berlin.
Lithograph by Anton Seder, signed and dated in the
stone. With Moderne Malereien and Ernst Wasmuth
logo in bottom left hand corner of sheet.
Silver Butterfly and feather interior wall design.

Lithograph
Armand Rassenfosse
L'Estampe Moderne, no. 6, October 1897
Image 308 x 132 mm, Sheet 401 x 303 mm
mounted
From L'Estampe Moderne, no. 13, May 1898
Lithograph by Armand Rassenfosse, signed with the
artist's monogram in the stone. Blind stamped in
bottom-right corner of sheet with the image of a
young womans profile, the emblem of L'Estampe
Moderne.
L'Estampe Moderne was first published in five folios
between November 1895 and March 1896 and edited
by Los Delteil. The aim was to promote the art of
printmaking by commissioning images from noted
Art Nouveau artists. It reappeared under the
editorship of Ch. Masson and H. Piazza in May 1897
and was published monthly until April 1899. Each
edition was priced at 3 francs 50 centimes and

printed by Imprimerie Champenois, Paris. As well as

four original lithographs by Art Nouveau artists,
each issue came in a paper cover bearing an original
lithograph by one of the most famous members of
the movement, Alphonse Mucha. The publisher also
offered two extra lithographs a year, the planches
de prime, as an incentive to prospective subscribers.
[27397]
190

Charles Doudelet

Bernard Sleigh

12. La Chtelaine

Lithograph
Charles Doudelet
L'Estampe Moderne, no. 6, October 1897.
Image 260 x 350 mm, Sheet 307 x 307 mm
framed
From L'Estampe Moderne, no. 6, October 1897.
Lithograph by Charles Doudelet, signed in the stone.
Blind stamped in bottom-right corner of sheet with
the image of a young womans profile, the emblem
of L'Estampe Moderne, and with original tissue
guard.

11. The Vale of False Lovers

Wood Engraving
Bernard Sleigh
Published by The Studio, London. 1898
Image 164 x 87 mm, Sheet 287 x 202 mm
mounted
Wood engraving by Bernard Sleigh , with printed
inscription "The Vale of False Lovers", Wood-block
designed and cut by Bernard Sleigh. With original
tissue guard.
[27428]
90

The Symbolist painter and printmaker Charles

Doudelet (1861-1938) was born Karel Gustav
Doudelet in Lille in 1861. Doudelet studied both
music and art in his home city. He was a friend of
Maurice Maeterlinck, and was one of his first
illustrators. Doudelet made his first engraving at the
age of 28, exhibiting a copper engraving at the
Concours de Rome in Anvers. It was there that he
met the sculptor Constantin Meunier, who
encouraged him to paint. Doudelet exhibited with
the Cercle des XX in Brussels, and at the Salon du
Champs de Mars in Paris. His work often shows the
influence of the Pre-Raphaelites, especially BurneJones. Charles Doudelet died in Ghent in 1938.
L'Estampe Moderne was first published in five folios
between November 1895 and March 1896 and edited
by Los Delteil. The aim was to promote the art of
printmaking by commissioning images from noted
Art Nouveau artists. It reappeared under the
editorship of Ch. Masson and H. Piazza in May 1897
and was published monthly until April 1899. Each
edition was priced at 3 francs 50 centimes and
printed by Imprimerie Champenois, Paris. As well as
four original lithographs by Art Nouveau artists,
each issue came in a paper cover bearing an original
lithograph by one of the most famous members of
the movement, Alphonse Mucha. The publisher also

offered two extra lithographs a year, the planches

de prime, as an incentive to prospective subscribers.
[27320]
325

art and industryInterested as he was in all the

applied arts he came naturally to the poster." (Weill
p. 32)
[27509]
525

Eugene Grasset

Eugne Grasset

14. Froideur

13. Encre L. Marquet, La Meilleure de Toutes

les Encres
Lithograph
Eugene Grasset
1892
Image 330 x 227 mm, Sheet 399 x 290 mm
framed
From Les Maitres de lAffiche PL. 158.

Lithograph by Eugene Grasset, signed by the artist

in the stone. Blind stamped in bottom-right corner
of sheet with the image of a poster held aloft by a
seated elegantly dressed lady, the emblem of Les
Maitres de lAffiche .
"Quill pen in hand, the pensive young woman is
looking for inspiration to write something lyrical in
this fine, evocative design for a writing ink. Grasset
adheres to the classic mode of portraying women as
serenly composed and dignified. Only the fluttering
hair and scurring night clouds suggest any wild
untamed thoughts." (Gold, p. 5)
"Grasset did much to introduce the concept and
practice of Art Nouveau in France. In fact, Grasset
brought Art Nouveau to the poster: it was to
become a worldwide vehicle of the art of advertising.
In France, Grasset was the pioneer of an attempt,
like that of William Morris in England, to reconcile

Lithograph with Gold highlights

Eugne Samuel Grasset
G. de Malherbe, 1897
Image 150 mm Cirular, Sheet 208 x 190 mm
framed
Lithograph by Eugne Grasset, signed with the
artist's monogram EG in the stone.
A reduction of the larger Froideur printed to
publicise a series of ten prints published as 'dix
estampes decoratives (caracteres de femmes, fleurs
emblematiques)', 1897
Eugne Samuel Grasset (25 May 1845 23 October
1917) was a Swiss decorative artist who worked in
Paris, France in a variety of creative design fields
during the Belle poque. He is considered a pioneer
in Art Nouveau design.
[27398]
175

Francis Jourdain

15. Les Cygnes [The Swans]

Lithograph
Francis Jourdain
L'Estampe Moderne, no. 18, October 1898.
Image 230 x 335 mm, Sheet 305 x 404 mm
framed
From L'Estampe Moderne, no. 18, October 1898.
Blind stamped in bottom-right corner of sheet with
the image of a young womans profile, the emblem
of L'Estampe Moderne.
Francis Jourdain (1876-1958) was a designer, writer
and painter who learned printmaking from the
Impressionist etcher Henri Gurard. He was also
taught by Eugne Carrire and Albert Besnard.
Jourdain collaborated with Besnard on the
decoration of the chapel of the Hospice de Berck.
He was also one of the founder members of the
Salon d'Automne.
L'Estampe Moderne was first published in five folios
between November 1895 and March 1896 and edited
by Los Delteil. The aim was to promote the art of
printmaking by commissioning images from noted
Art Nouveau artists. It reappeared under the
editorship of Ch. Masson and H. Piazza in May 1897
and was published monthly until April 1899. Each
edition was priced at 3 francs 50 centimes and
printed by Imprimerie Champenois, Paris. As well as
four original lithographs by Art Nouveau artists,
each issue came in a paper cover bearing an original
lithograph by one of the most famous members of
the movement, Alphonse Mucha. The publisher also
offered two extra lithographs a year, the planches
de prime, as an incentive to prospective subscribers.
[27381]
300

Gaston de Latenay

16. Le Parc [The Park]

Lithograph
Gaston de Latenay
L'Estampe Moderne, no. 20, December 1898.
Image 245 x 329 mm, Sheet 304 x 405 mm
framed
From L'Estampe Moderne, no. 20, December 1898.
Lithograph by Gaston de Latenay, signed in the
stone. Blind stamped in bottom-right corner of sheet
with the image of a young womans profile, the
emblem of L'Estampe Moderne, and with original
tissue guard.
Gaston de Latenay (1859-1943) was a lithographer,
etcher and painter in oil and watercolour. He started
his career in the 1880s as a painter of marine subjects
and landscapes. He exhibited at the Salon des
Artistes Franais and the Salon de la Socit
Nationale des Beaux-Arts between 1886 and 1893.
Like many French artists of his day, de Latenay was
deeply influenced by Japanese art. He became
interested in lithography in the 1890s, one of his first
subjects being "Le Parc" in six colours for
L'Estampe Moderne. The subtle modulations of
colour in this print reveal a very sensitive touch,
which de Latenay developed over the coming
decades in colour etchings, published first by
Georges Petit and after the liquidation of Petit's
stock by La Socit de L'Estampe Moderne.
L'Estampe Moderne was first published in five folios
between November 1895 and March 1896 and edited
by Los Delteil. The aim was to promote the art of
printmaking by commissioning images from noted
Art Nouveau artists. It reappeared under the
editorship of Ch. Masson and H. Piazza in May 1897
and was published monthly until April 1899. Each
edition was priced at 3 francs 50 centimes and
printed by Imprimerie Champenois, Paris. As well as
four original lithographs by Art Nouveau artists,
each issue came in a paper cover bearing an original
lithograph by one of the most famous members of

the movement, Alphonse Mucha. The publisher also

offered two extra lithographs a year, the planches
de prime, as an incentive to prospective subscribers.
[27382]
300

Lithograph by A.T.Gorguet Manuel Orazi, signed by

both artists in the stone. Blind stamped in bottomright corner of sheet with the image of a poster held
aloft by a seated elegantly dressed lady, the emblem
of Les Maitres de lAffiche .

Gorguet & Orazi

"Although mostly known as a master of subtle

colour shadings, Orazi could also surprise us with an
entirely atypical design like this one for a play whose
theme required a classicist approach. The description
of this poster in the 1896 Reims catalogue indicates
that the "Byzantine mosaic decor" is by Orazi and
the design is by Auguste Francois Gouruet (18621927), Maindron declared this important work 'une
affiche parfaite' and Sagot, in his 1891 catalogue, said
it exhibits a 'Tres belle composition.' It may well be
the first poster ever done for Sarah Bernhardt."
(Rennert, PAI-XXVII, 541)

17. Theodora

Lithograph
Gorguet & Orazi
1896
Image 257 x 224 mm, Sheet 399 x 291 mm
mounted
From Les Maitres de lAffiche PL. 214

(Rennert, PAI-XV, 125)

"a passage written by a reviewer in the November
1895 issue of the 'Art Journal' may be taken as the
characteristic response of most critics. 'Nothing so
strong and so amazingly defiant of accepted
convention has yet invaded the hoardings', wrote the
Art Journal. 'It is a tour de force; the great beefeater,
in solid scarlet on a scarlet background, with his
brown spear, balanced against a huge white panel,
most admirably lettered, is a triumph of decorative
arrangement. It is only fair that such a plucky
attempt should receive lavish appreciation. In
simplifying drawings and pattern to the last degree,
Messrs Beggarstaff have a struck a new note, which
might be fitly echoed in mural decoration of a more
permanent sort. It is English, it is modern, and it is
good, very good" (Beggarstaff p. 57)
[27503]
310

Gustave Max Stevens

18. Solveig

Lithograph
Gustave Max Stevens
L'Estampe Moderne, no. 9, January 1898.
Image 242 x 346 mm, Sheet 305 x 405 mm
framed
From L'Estampe Moderne, no. 9, January 1898.
Lithograph by Gustave Max Stevens, signed in the stone. Blind stamped in bottom-right corner of sheet with the
image of a young womans profile, the emblem of L'Estampe Moderne, and with original tissue guard.
Gustave Max Stevens (1871-1946) was born in Saint-Josse-ten-Noode in Belgium. He was a student of Jean
Portals at the Brussels Beaux-Arts, and then of Fernand Cormon at the Beaux-Arts, Paris. Stevens exhibited at
the first Salon d'Art Idaliste in 1896, and at the Salon des Artistes Franais. He won a bronze medal at the
Exposition Universelle in 1900. His work often shows the influence of the Pre-Raphaelite Brotherhood.
L'Estampe Moderne was first published in five folios between November 1895 and March 1896 and edited by
Los Delteil. The aim was to promote the art of printmaking by commissioning images from noted Art Nouveau
artists. It reappeared under the editorship of Ch. Masson and H. Piazza in May 1897 and was published monthly
until April 1899. Each edition was priced at 3 francs 50 centimes and printed by Imprimerie Champenois, Paris. As
well as four original lithographs by Art Nouveau artists, each issue came in a paper cover bearing an original
lithograph by one of the most famous members of the movement, Alphonse Mucha. The publisher also offered
two extra lithographs a year, the planches de prime, as an incentive to prospective subscribers.
[27380]
380

Hans Christiansen

19. LHeure du Berger

Lithograph
Hans Christiansen
L'Estampe Moderne, no. 11, March 1898.
Image 350 x 222 mm, Sheet 404 x 305 mm
framed
From L'Estampe Moderne, no. 11, March 1898.
Lithograph by Hans Christiansen, signed in the stone. Blind stamped in bottom-right corner of sheet with the
image of a young womans profile, the emblem of L'Estampe Moderne, and with original tissue guard.
Hans Christiansen (1866-1945) is regarded as one of the most important representatives of German Art Nouveau.
He was born in Flensburg and died in Wiesbaden. He was already well-known as a major figure in the German
Arts and Crafts movement, the Volkskunst-Verein, when at the age of twenty-nine he moved to Paris to study
painting at the Acadmie Julian. The art of Hans Christiansen was influenced both by Art Nouveau and the work
of the Nabis; Mucha and Toulouse-Lautrec were particularly strong influences. Christiansen was banned from
painting by the Nazis in 1933, and concentrated thereafter on textile designs.
L'Estampe Moderne was first published in five folios between November 1895 and March 1896 and edited by
Los Delteil. The aim was to promote the art of printmaking by commissioning images from noted Art Nouveau
artists. It reappeared under the editorship of Ch. Masson and H. Piazza in May 1897 and was published monthly
until April 1899. Each edition was priced at 3 francs 50 centimes and printed by Imprimerie Champenois, Paris. As
well as four original lithographs by Art Nouveau artists, each issue came in a paper cover bearing an original
lithograph by one of the most famous members of the movement, Alphonse Mucha. The publisher also offered
two extra lithographs a year, the planches de prime, as an incentive to prospective subscribers.
[27319]
1,000

Henri Fantin-Latour

L'Estampe Moderne was first published in five folios

between November 1895 and March 1896 and edited
by Los Delteil. The aim was to promote the art of
printmaking by commissioning images from noted
Art Nouveau artists. It reappeared under the
editorship of Ch. Masson and H. Piazza in May 1897
and was published monthly until April 1899. Each
edition was priced at 3 francs 50 centimes and
printed by Imprimerie Champenois, Paris. As well as
four original lithographs by Art Nouveau artists,
each issue came in a paper cover bearing an original
lithograph by one of the most famous members of
the movement, Alphonse Mucha. The publisher also
offered two extra lithographs a year, the planches
de prime, as an incentive to prospective subscribers.
[27396]
200

Henri Jules Guinier

20. Immortalite [Immortality]

Lithograph
Henri Fantin-Latour
L'Estampe Moderne, no. 13, May 1898
Image & Sheet 349 x 245 mm, Backing sheet 401 x
303 mm
mounted
From L'Estampe Moderne, no. 13, May 1898
Lithograph by Henri Fantin-Latour, signed in the
stone. Blind stamped in bottom-right corner of sheet
with the image of a young womans profile, the
emblem of L'Estampe Moderne, tipped onto original
backing sheet.
Ignace Henri Jean Thodore Fantin-Latour (18361904) is one of the best-known French painters and
lithographers of the nineteenth-century. Born in
Grenoble, the son of the painter Thodore FantinLatour, he first studied under his father and later
under Lecoq de Boisbaudran and Gustave Courbet.
A supporter and friend of the Impressionists
including Monet, Manet and Degas, Fantin-Latour
greatly admired their work but never became an
Impressionist himself. His particular brand of
realism was, however, to profoundly influence the
Symbolists, through his admirer Odilon Redon. In
later life Henri Fantin-Latour devoted considerable
attention to lithography; many of his lithographs
were based on earlier paintings or drawings.

21. Nuit douce

Lithograph
Henri Jules Guinier
L'Estampe Moderne, no. 21, January 1899
Image 294 x 246 mm, Sheet315 x 265 mm, Backing
sheet 405 x 307 mm
mounted
From L'Estampe Moderne, no. 21, January 1899
Lithograph by Henri Jules Guinier, signed in the
stone. Blind stamped in bottom-right corner of sheet
with the image of a young womans profile, the
emblem of L'Estampe Moderne, tipped onto original
backing sheet.

L'Estampe Moderne was first published in five folios

between November 1895 and March 1896 and edited
by Los Delteil. The aim was to promote the art of
printmaking by commissioning images from noted
Art Nouveau artists. It reappeared under the
editorship of Ch. Masson and H. Piazza in May 1897
and was published monthly until April 1899. Each
edition was priced at 3 francs 50 centimes and
printed by Imprimerie Champenois, Paris. As well as
four original lithographs by Art Nouveau artists,
each issue came in a paper cover bearing an original
lithograph by one of the most famous members of
the movement, Alphonse Mucha. The publisher also
offered two extra lithographs a year, the planches
de prime, as an incentive to prospective subscribers.
Condition: Foxing to original backing sheet .
[27424]
170

Henri Meunier

"A striking design for concerts by the famed Belgian

composer and conductor Eugene Ysage." (Brussels
p. 115)
"As a poster designer, Meunier knew how to
organize well-observed detail to create an almost
musical ambianceby compositions that are gravely
meditative, clean and syntheticThe Son of Belgian
engraver Jean-Baptiste Meunier and nephew of
sculptor Constantin Meunier, Henri seems to have
come by his artistry in a genetic fashion. After
completing brilliant studies at the academy in his
native Ixelles, he went on to pursue many fields:
printmaker, poster designer, graphic reporter and
book binder. Oostens-Wittamer characterizes his
poster work as focused on bringing out opposing
light and dark values within his often large,
contained, flowing masses of color... The poster for
Ysage concerts at the end of 1895 is considered to
be the first made by Meunier." (Bell Epoque 1970,
p.68)
"Henri Meunier was an artist of exceptional purity.
He took flat colours in flat tints and his thick
outlines from Japanese prints to construct strong
and clear images: 'With two or three pure colours, he
fixes an impression that penetrates and imposes itself
like the truth' justly notes Demure de Beaumont."
(Weill, p.60)
[27510]
430

James Pryde

22. Concerts Ysaye

Lithograph
Henri Meunier
1896
Image 308 x 230 mm, Sheet 389 x 286 mm
framed
From Les Maitres de lAffiche PL. 40.
Lithograph by Henri Meunier, signed by the artist in
the stone. Blind stamped in bottom-right corner of
sheet with the image of a poster held aloft by a
seated elegantly dressed lady, the emblem of Les
Maitres de lAffiche .

23. [Poll Maggot]

Sepia Ink
James Pryde
c.1899
Image 230 x 209 mm, Sheet 234 x 220 mm

framed
Signed and dedicated in pencil.
To [Gerald Biss] This portrait of our mutual friend
Poll Maggot from James Pryde.
A portrait of Poll Maggot, a character from the
Victorian novel Jack Sheppard by William Harrison
Ainsworth.
Condition: Laid to original backboard
[27508]
1,500

their work although an artistic success, a financial

disaster. One of the posters they lost money on was
their most famous poster Don Quixote made for
Sir Henry Irvings production at the Lyceum
Theatre. It was never printed because the client
decided it had a bad likeness. Incidents like these
caused the partnership to split and left each artist to
work on their own. Although the partnership only
lasted until around 1900, the Beggarstaff Brothers
bold and innovative use of woodcuts and striking
graphic work attracted public attention and
influenced the history of poster design.
[27307]
95

John Dickson Batten

24. Portrait Study of W. P. Nicholson

Lithograph
James Pryde
Published by The Studio, London. c.1898
Image 210 x 148 mm, Sheet 279 x 195 mm
Mounted
Lithograph by James Pryde, signed in the stone.
Blind stamp of The Studio, London in the sheet
below the image.
James Ferrier Pryde (1866 1941) was a Scottish
artist who worked mainly in graphics. He was a
painter of architectural fantasies and interiors, a
lithographer and designer of posters. Between 1886
and 1887 Pryde studied at the Royal Scottish
Academy and later spent three months under the
tutelage of William-Adolphe Bouguereau at the
Acadmie Julian.
In 1893 Prydes sister Mabel married the artist
William Nicholson. A year later Pryde and
Nicholson opened an advertising design studio
under the title J. & W. Beggarstaff, better known as
the Beggarstaff Brothers. The Beggarstaffs poster
designs were characterised by their bold and simple
use of colour and silhouette. They completely
ignored the floral trend of art nouveau, which made

25. [Eve and the Serpent]

Etching
attributed to John Dickson Batten
c.1896
Image 200 x 100 mm, Sheet 265 x 156 mm
Mounted
John Dickson Batten (8 October 1860 - 5 August
1932) was a British painter of figures in oils, tempera
and fresco and a book illustrator and print maker.
He was born in Plymouth, Devon. He was an active
member of the Society of Painters in Tempera, with

his wife Mary Batten, a gilder. Among his paintings

are The Garden of Adonis: Amoretta and Time, The
Family, Mother and Child, Sleeping Beauty: The
Princess Pricks Her Finger, Snow White and the
Seven Dwarves, and Atalanta and Melanion. He
illustrated a series of fairy tale books by Joseph
Jacobs, notably English Fairy Tales, Celtic Fairy
Tales, Indian Fairy Tales and Europa's Fairy Book.
He illustrated English versions of Tales from the
Arabian Nights and Dantes's Inferno. He published
two books of poetry and a book on human flight.
Batten is credited with introducing the practice of
making colour woodcuts after the Japanese method
into England. He often worked in collaboration with
the printmaker Frank Morley Fletcher.
[26081]
350

Louis John Rhead

27. The Sun

26. Eve and the serpent

Lithograph
John Dickson Batten
Published by The Studio, London. 1896
Image 112 x 229 mm, Sheet 200 x 284 mm
mounted
Colour lithograph after a woodcut by John D. Batten
[27426]
75

Lithograph
Louis John Rhead
1896
Image 323 x 200 mm, Sheet 399 x 291 mm
Framed
From Les Maitres de lAffiche PL. 200
Lithograph by Louis Rhead, artists monogram in the
stone. Blind stamped in bottom-right corner of sheet
with the image of a poster held aloft by a seated
elegantly dressed lady, the emblem of Les Maitres de
lAffiche .
"Rhead was one of the first poster artists to gain an
international reputation. Born in England he was
quite active in London, New York and Paris with
equal success: his exhibition of posters in New York
in 1895 was America's first, and was well received.
He was heavily influenced by Grasset, whom he
admired and met while in Paris" (Rennert, PAIXXVI 513)
This New York Sun newspaper poster, for which
Rhead did several posters, shows a young elegant
woman dressed in the fashion of the day, skating on
a frozen river against a setting sun. The lettering of
the text "Read The Sun" is reflected on the ice
surface.
[27501]
380

28. La femme au paon [Woman with a Peacock]

Lithograph
Louis John Rhead
L'Estampe Moderne, no.20, December 1898.
Image 336 x 222 mm, Sheet 403 x 303 mm
Framed

From L'Estampe Moderne, no. 20, December 1898.

Lithograph by Louis John Rhead, signed in the stone. Blind stamped in bottom-right corner of sheet with the
image of a young womans profile, the emblem of L'Estampe Moderne.
Louis John Rhead (1857 - 1926) is an English-born American artist and illustrator, best known for his poster
designs. Born in Etruria, Staffordshire, Rhead was the son of George W. Rhead, a highly respected gilder and
ceramicist who founded Fenton School of Art. Having displayed artistic talent from a young age, the thirteen year
old Rhead was sent to Paris for three years to study under the Neo-Classical figurative painter Gustave Boulanger.
On his return to England, Rhead studied at the National Art Training School in South Kensington and worked for
the Cassell publishing house and the Minton and Wedgewood potteries. In 1883 at the age of twenty-four, Rhead
was appointed Art Director of the American publishing firm D. Appleton in New York. By the early 1890s Rhead
had become a prominent poster artist, and was heavily influenced by the work of Art Nouveau artists, particularly
Eugne Grasset. During the poster craze of the 1890s, Rheads poster art appeared regularly in a variety of
magazines and journals, including Harpers Bazaar and Ladies Home Journal. In 1895 he won a Gold Medal for
Best American Poster Design at the first International Poster Show in Boston. By the late 1890s Rhead had turned
his design skills to childrens book illustration. Between 1902 and 1926, Rhead illustrated numerous childrens
titles, most notably Robin Hood, The Swiss Family Robinson, Robinson Crusoe, The Deerslayer, Treasure Island,
Kidnapped and Heidi. Rheads death was somewhat unusual; in 1926 he set out to capture a thirty-pound turtle
that had been devastating the trout ponds at his retirement home in Long Island. Although successful in hooking
it, the turtle struggled for half an hour, leaving Rhead exhausted and suffering from a fatal heart attack.
L'Estampe Moderne was first published in five folios between November 1895 and March 1896 and edited by
Los Delteil. The aim was to promote the art of printmaking by commissioning images from noted Art Nouveau
artists. It reappeared under the editorship of Ch. Masson and H. Piazza in May 1897 and was published monthly
until April 1899. Each edition was priced at 3 francs 50 centimes and printed by Imprimerie Champenois, Paris. As
well as four original lithographs by Art Nouveau artists, each issue came in a paper cover bearing an original
lithograph by one of the most famous members of the movement, Alphonse Mucha. The publisher also offered
two extra lithographs a year, the planches de prime, as an incentive to prospective subscribers.
[27317]
1,000

Marcel Lenoir

by Los Delteil. The aim was to promote the art of

printmaking by commissioning images from noted
Art Nouveau artists. It reappeared under the
editorship of Ch. Masson and H. Piazza in May 1897
and was published monthly until April 1899. Each
edition was priced at 3 francs 50 centimes and
printed by Imprimerie Champenois, Paris. As well as
four original lithographs by Art Nouveau artists,
each issue came in a paper cover bearing an original
lithograph by one of the most famous members of
the movement, Alphonse Mucha. The publisher also
offered two extra lithographs a year, the planches
de prime, as an incentive to prospective subscribers.
[27318]
380

Maurice Desvallires

29. Invocation la Madone d'onyx vert

[Invocation of the Green Onyx Madonna]

Lithograph
Jules Marcel-Lenoir
L'Estampe Moderne, no.20, December 1898.
Image 380 x 266 mm, Sheet 406 x 304 mm
framed
From L'Estampe Moderne, no. 20, December 1898.
Lithograph by Jules Marcel-Lenoir, signed in the
stone. Blind stamped in bottom-right corner of sheet
with the image of a young womans profile, the
emblem of L'Estampe Moderne, and with original
tissue guard.
Jules Marius Oury, better known as Jules MarcelLenoir (1872-1931), was born in Montauban (Tarnet-Garonne) into a family of goldsmiths and
jewellers. Whilst studying at the School of
Decorative Arts and Artists in Paris, he became
fascinated with the medieval religious art that he saw
at the Cluny Museum and the Louvre. His work was
also heavily influenced by Arnold Bcklin, Edward
Burne-Jones and Pierre Puvis de Chavannes . Under
the pseudonym Marcel-Lenoir he achieved great
success and popularity in the heyday of Symbolism
with engravings and lithographs, before renouncing
printmaking in the early twentieth-century for
paintings of religious subjects.
L'Estampe Moderne was first published in five folios
between November 1895 and March 1896 and edited

30. Porteurs damphore

Lithograph with Gold Highlights

Maurice Desvallires
L'Estampe Moderne, no. 18, October 1898
Image 377 x 252 mm, Sheet 402 x 309 mm
framed
From L'Estampe Moderne, no. 18, October 1898
Lithograph by Maurice Desvallires, signed in the
stone. Blind stamped in bottom-right corner of sheet
with the image of a young womans profile, the
emblem of L'Estampe Moderne.
L'Estampe Moderne was first published in five folios
between November 1895 and March 1896 and edited
by Los Delteil. The aim was to promote the art of

printmaking by commissioning images from noted

Art Nouveau artists. It reappeared under the
editorship of Ch. Masson and H. Piazza in May 1897
and was published monthly until April 1899. Each
edition was priced at 3 francs 50 centimes and
printed by Imprimerie Champenois, Paris. As well as
four original lithographs by Art Nouveau artists,
each issue came in a paper cover bearing an original
lithograph by one of the most famous members of
the movement, Alphonse Mucha. The publisher also
offered two extra lithographs a year, the planches
de prime, as an incentive to prospective subscribers.
[27425]
270

Otto Fischer

Max Klinger

32. Wilhelm Hoffmann Kunst-Anstalt fur

moderne Plakat
[Art Centre for modern posters]
Lithograph
Otto Fischer
1896
Image 333 x 225 mm, Sheet 398 x 290 mm
framed
From Les Maitres de lAffiche PL. 127

31. Apuleius Amor and Psyche. Opus V

Etching and aquatint

Max Klinger
Nuremberg, Th. Stroefer. 1880
Image 257 x 174 mm, Plate 365 x 270 mm, Sheet
428 x 316 mm
mounted
Printed on Chine applique on wove sheet as issued.
Venus shows Psyche to Cupid.
Singer 67.
[27429]
290

Lithograph by Otto Fischer, signed and dated in the

stone. Blind stamped in bottom-right corner of sheet
with the image of a poster held aloft by a seated
elegantly dressed lady, the emblem of Les Maitres de
lAffiche .
[27486]
280

Paul Albert Laurens

Robert Anning Bell

33. Le Bain des Nymphes Lithograph

Paul Albert Laurens

L'Estampe Moderne, no. 9, January 1898
Image 220 x 321 mm, Sheet 237 x 342 mm, Backing
sheet 305 x 402 mm
mounted
From L'Estampe Moderne, no. 9, January 1898
Lithograph by Paul Albert Laurens, signed in the
stone. Blind stamped in bottom-right corner of sheet
with the image of a young womans profile, the
emblem of L'Estampe Moderne, tipped onto original
backing sheet.
L'Estampe Moderne was first published in five folios
between November 1895 and March 1896 and edited
by Los Delteil. The aim was to promote the art of
printmaking by commissioning images from noted
Art Nouveau artists. It reappeared under the
editorship of Ch. Masson and H. Piazza in May 1897
and was published monthly until April 1899. Each
edition was priced at 3 francs 50 centimes and
printed by Imprimerie Champenois, Paris. As well as
four original lithographs by Art Nouveau artists,
each issue came in a paper cover bearing an original
lithograph by one of the most famous members of
the movement, Alphonse Mucha. The publisher also
offered two extra lithographs a year, the planches
de prime, as an incentive to prospective subscribers.
Condition: Foxing to original backing sheet and left
hand margin.
[27423]
130

34. Herodias

Lithograph
Robert Anning Bell
Published by The Studio, London. June 1896
Image 222 x 152 mm, Sheet 285 x 202 mm
mounted
Lithograph by Robert Anning Bell , signed in the
stone. Blind stamp of The Studio, London in the
sheet below the image.
[27427]
65

Willaim H Bradley
Will H. Bradley (1868-1962) was born in Boston, Massachusetts and was largely a self-taught artist. At the age of
twelve, having moved to Michigan after his fathers death, he began working for a printers shop. The experience
proved invaluable in introducing Bradley to various processes relating to typesetting, layouts and advertising.
Bradley was also well acquainted with the stylistic innovations of his European counterparts. Like many French
artists, he borrowed stylistic elements from Japanese prints, working in flat, broad colour planes and cropped
forms. He appropriated the stylistic techniques used by the Art Nouveau movement, so dominant in Europe at the
turn of the century, and was influenced by the work of the English illustrator Aubrey Beardsley. Bradley produced
a number of designs to promote The Chap-Book, a short-lived but influential publication based in Chicago. His
1894 design for The Chap-Book, titled The Twins, has been called the first American Art Nouveau poster. In 1895
Bradley founded the Wayside Press in Springfield, Massachusetts, and published a monthly arts periodical, Bradley:
His Book.

35. Victor Bicycles

Lithograph
Willaim H Bradley
1896
Image 230 x 333 mm, Sheet 290 x 393 mm
framed
From Les Maitres de lAffiche PL. 152.
Lithograph by William H. Bradley, signed by the artist in the stone. Blind stamped in bottom-right corner of sheet
with the image of a poster held aloft by a seated elegantly dressed lady, the emblem of Les Maitres de lAffiche .
Bradleys advertisement for the Overman Wheel Companys Victor Bicycles, is one of his best-known and
acclaimed designs. The bicycle itself was one of the first designs to steer resolutely away from the velocipede,
which had a higher front wheel, to the identical-wheel construction that soon became standard. Like every good
posterist, Bradley didnt try to sell the technology, but the allure of bike riding. Of this poster, Rogers states that it
is a "notable achievement" and it "demonstrates that this artist can, at will, accommodate his method to the

subject, no matter what it is . . . In a scheme of violet and white, [it] has much carrying force, and is an example of
how effectiveness may be secured by simplicity and a proper balance of the colour masses" (Rennert PAI_XL, 16).
"Bradley was certainly America's best known and most prolific poster artist, its very own 'Cheret', not in style so
much as in popularity and output. And for style he was much influenced by the entire Art Nouveau school of
design(in his) poster for Victor Bicycles, spokes might have marred the composition of the poster and their
absence gives a feeling of lightness and airiness to the bicycle, and the entire design. The gentleman to the left, we
may assume, is also on a bicycle, but it's not clear if he's eying her or her Victor" (Bicycle 24,57).
[27506]
525

36. When Hearts Are Trumps by Tom Hall

Lithograph
Willaim H Bradley
1894
Image 280 x 230 mm, Sheet 390 x 285 mm
framed
From Les Maitres de lAffiche PL. 52.

Lithograph by William H. Bradley, signed by the artist in the stone. Blind stamped in bottom-right corner of sheet
with the image of a poster held aloft by a seated elegantly dressed lady, the emblem of Les Maitres de lAffiche .
[27504]
525

William Nicholson

William Nicholson
1896
Image 257 x 224 mm, Sheet 399 x 291 mm
framed
From Les Maitres de lAffiche PL. 16
Lithograph by William Nicholson, signed Beggerstaff
Brothers in the stone. Blind stamped in bottom-right
corner of sheet with the image of a poster held aloft
by a seated elegantly dressed lady, the emblem of Les
Maitres de lAffiche .
"Although this poster was created for an American
magazine it's British distributors wanted to invoke a
positive British image, hence the Beggarstaffs
featured one of the royal yeoman of the guard, the
'Beefeater', to identify it with superior British goods.
"
(Rennert, PAI-XV, 125)

37. Flower Seller

Woodcut with hand colouring

William Nicholson
Published by William Heinemann, 1898.
Image 252 x 226 mm, Sheet 299 x 273 mm
framed
From William Nicholsons London Types (London:
William Heinemann, 1898).
[27309]
975

"a passage written by a reviewer in the November

1895 issue of the 'Art Journal' may be taken as the
characteristic response of most critics. 'Nothing so
strong and so amazingly defiant of accepted
convention has yet invaded the hoardings', wrote the
Art Journal. 'It is a tour de force; the great beefeater,
in solid scarlet on a scarlet background, with his
brown spear, balanced against a huge white panel,
most admirably lettered, is a triumph of decorative
arrangement. It is only fair that such a plucky
attempt should receive lavish appreciation. In
simplifying drawings and pattern to the last degree,
Messrs Beggarstaff have a struck a new note, which
might be fitly echoed in mural decoration of a more
permanent sort. It is English, it is modern, and it is
good, very good" (Beggarstaff p. 57)
[27502]
500
39. Sarah Bernhardt
Lithograph
William Nicholson
Published by William Heinemann, 1897
Image 255 x 230 mm
unmounted
From The New Review
Condition: Some light foxing and one verticle crease
[27530]
150

38. Harper Magazine [Beefeater]

Lithograph

Aubrey Beardsley
Lithographic illustrations from The Early
Work and The Later Work .
Aubrey Vincent Beardsley (21 August 1872-16 March
1898) was an English illustrator and author. His
drawings, made in black ink and influenced by the style
of Japanese woodcuts, emphasized the grotesque, the
decadent, and the erotic.

40. Book-plate
Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 175 x 115 mm, Sheet 273 x 219 mm
mounted
[27534]
30

41. Book-plate from The Yellow Book, Volume I

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 96 x 62 mm, Sheet 207 x 175 mm
mounted

The Yellow Book was a quarterly literary periodical

published in London from 1894 to 1897. It was a
leading journal of the British 1890s and was to some
degree associated with Aestheticism and Decadence.
Aubrey Beardsley was its first art editor, and he has
been credited with the idea of the yellow cover.
The importance of the colour resides in its association
with French fiction of the period. Decadent Parisian
texts such as Joris-Karl Huysmans rebours were
wrapped in yellow paper in order to alert the reader to
their lascivious content. [27520]
25

42. The Cave of Spleen

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 205 x 138 mm, Sheet 273 x 220 mm
mounted
This incredibly ornate lithograph formed a part of
Beardsleys series of illustrations for Alexander Popes
The Rape of the Lock; a mock-heroic narrative poem
first published anonymously in Lintot's Miscellany,
1712. In the text, a gnome by the name of Umbriel
ventures to the Cave of Spleen. The journey is a
humourous mimicry of Odysseus and Aeneas classical
trips to the underworld.
[27521]
30

43. Comedy-Ballet of Marionettes

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 167 x 128 mm, Sheet 264 x 220 mm
mounted

45. The Dancers Reward

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 176 x 127 mm, Sheet 282 x 222 mm
mounted

Originally published in The Yellow Book, Volume II

[27524]
30

Salome was a Biblical character whose story comprised

the theme of Oscar Wildes most infamous tragedy.
Published in English in 1894, the play tells in one act
the New Testament story of Salome, stepdaughter of the
tetrarch Herod Antipas, who, to her stepfather's dismay
but to the delight of her mother Herodias, requests the
head of Jokanaan (John the Baptist) on a silver platter as
a reward for dancing the dance of the seven veils. In
Beardsleys illustration, Salome receives the decapitated
head of the preacher.
[27522]
30

44. Cover Design for The Yellow Book, Volume IV

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 167 x 128 mm, Sheet 265 x 218 mm
Mounted
[27525]
30
46. Design for Front Cover of Pierrot
Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 167 x 116 mm, Sheet 279 x 218 mm

mounted
This illustration originally featured in Pierrots Library,
a collection of stories by H. de Vere Stacpoole, and
published by John Lane in 1896. The appearance of the
quaint white baggy figure lent itself well to the aesthetic
of Art Nouveau. Beardsleys pierrot is feminised and
wistful, the elegant black and white lines recalling the
graceful, measured movements of French pantomime.
[27536]
30

47. Design for Frontispiece of Earl Lavender

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 146 x 86 mm, Sheet 253 x 208 mm
mounted

48. Design for the Cover of The Yellow Book

Prospectus
Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 201 x 128 mm, Sheet 267 x 218 mm
mounted
[27529]
30

49. Design for Title-Page of Venus

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 96 x 66 mm, Sheet 203 x 177 mm
mounted
[27519]
25

A Full and True Account of the Wonderful Mission of

Earl Lavender is a comical novel written by the Scottish
poet and playwright John Davidson. Published in 1895,
the story is set in contemporary London and concerns
two men who enact Earl Lavender's own version of the
Theory of Evolution. Coincidentally, Aubrey
Beardsleys frontispiece illustrating a scene of
flaggelation proved to be far more infamous than the
text itself. [27518]
25

50. Design Intended for Lucians True History

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 126 x 114 mm, Sheet 217 x 195 mm
mounted
True History, or a True Story, was a travel narrative by
the 2nd Century Syrian author Lucian of Samosata. The
work was the first known piece of fiction to include
alien life-forms and interplanetary warfare; sardonic
tropes included by the author in order to satirise the
Grecian habit of representing fantastical and mythical
events factually. Beardsleys design unfortunately never
reached publication. [27517]
25

52. Isolde
Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 204 x 125 mm, Sheet 280 x 219 mm
mounted
Based largely on the romance by Gottfried von
Straburg, Tristan und Isolde is an opera in libretto by
German composer Richard Wagner. Originally
published in 1895 for the Studio Magazine, Beardsleys
illustration depicts the tragic heroine in the act of
drinking the love potion. [27537]
30

51. Frontispiece to Volpone

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 195 x 135 mm, Sheet 265 x 218 mm
mounted
Volpone is a comedy written by Ben Jonson and first
produced in 1606. Drawing upon elements of black
comedy and beast fable, the work is a merciless satire of
greed and lust and is among the finest comedies of the
Jacobean era. In addition to designing several full-page
illustrations and numerous initial letters Beardsley also
intended to write an extended critical essay, by way of
introduction to the 1898 edition to be published by
Leonard Smithers. Volpone proved to be Beardsleys
last work, however, and he had completed only a
handful of the designs before his death. The book
appeared posthumously, with Robert Rosss Eulogy of
the Artist and an essay written by Vincent OSullivan.
Smithers printed Beardsleys notes on the play, together
with the completed illustrations. [27526]
30

53. John and Salome

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 174 x 122 mm, Sheet 284 x 219 mm
mounted
Salome was a Biblical character whose story comprised
the theme of Oscar Wildes most infamous tragedy.
Published in English in 1894, the play tells in one act
the New Testament story of Salome, stepdaughter of the
tetrarch Herod Antipas, who, to her stepfather's dismay
but to the delight of her mother Herodias, requests the
head of Jokanaan (John the Baptist) on a silver platter as
a reward for dancing the dance of the seven veils. In
Beardsleys illustration, Salome faces John the Baptist,
the man whom her dance will later condemn to
decapitation.
[27528]
30

Originally published in The Yellow Book, Volume III

[27527]
30

54. The Kiss of Judas

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 176 x 122 mm, Sheet 272 x 220 mm
mounted
In this work, Beardsley parodies one of Christianitys
most dramatic moments, the betrayal of Christ by Judas
Iscariot. Judas is substituted for a nude dwarf, and
Christ, a sleeping androgynous form. The work was
originally published in the Pall Mall Magazine.
[27535]
30

55. La Dame Aux Camelias

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 164 x 104 mm, Sheet 259 x 218 mm
mounted

56. The Platonic Lament

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 176 x 127 mm, Sheet 284 x 220 mm
mounted
[27523]
30

57. A Poster
Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 213 x 158 mm, Sheet 280 x 221 mm
mounted
[27533]
30

60. Vignette from Le Morte DArthur

Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 130 x 84 mm, Sheet 216 x 180 mm
mounted
58. The Toilette of Salome
Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 177 x 127 mm, Sheet 272 x 221 mm
mounted
[27531]
30

Le Mort DArthur, is a compilation by Sir Thomas

Malory of Romance tales about the legendary King
Arthur, Guinevere, Lancelot, and the Knights of the
Round Table. First published in 1485 by William
Caxton, Le Morte D'Arthur is perhaps the best-known
work of Arthurian literature; a subject which resonated
amongst Beardsley as well as other Art Nouveau
practitioners. [27516]
25

All works will be on display in the gallery

from 13th to 28th January 2012.
To purchase any of the works listed in this
catalogue please contact us via the
telephone or email.
Sanders of Oxford
104 High Street,
Oxford.
OX1 4BW
59. The Toilette of Salome [Second Edition]
Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 177 x 127 mm, Sheet 264 x 221 mm
mounted
[27532]
30

01865 242590
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