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Original Drawings re AN EXHIBITION OF ORIGINAL DRAWINGS BY AUBREY BEARDSLEY WITH A FOREWORD BY JOSEPH PENNELL MAY FIRST TO MAY SEVENTEENTH 1919 THE ROSENBACH GALLERIES 1320 WALNUT STREET PHILADELPHIA FOREWORD BY JOSEPH PENNELL HE following is an extract from my article on Aubrey Beardsley in The Studio, No. 1, April, 1893: T "I have lately seen a few drawings which seem to me to be very remarkable. The very limited number which the artist is said to have produced makes their perfection of execution all the more remarkable. I am quite well aware that the mere fact of publicly admitting one's interest in the work of a new man, whose first design may be a delight to artists, is not considered to be good form in criticism. But why should one care about good or bad form—or criticism, either, for that matter? For the criticism of art to-day is merely the individual expression of persons who mostly know nothing about their subject. "But whether Mr. Beardsley's work is appreciated or despised —and my only fear is that he will suffer from over-appreciation and enthusiasm—the drawings show decisively the presence among us of an artist, of an artist whose work is quite as remarkable in its execution as in its invention; a very rare combination. It is most interesting to note, too, that though Mr. Beardsley has drawn his motives from every age, and founded his styles—though it is impossible to say what his style may be—on all schools, he has not been carried back into the fifteenth century or succumbed to the limitations of Japan; he has recognized that he is living in the last decade of the nineteenth century, and he has availed himself of mechanical reproduction for the publication of his drawings, which the Japs would have accepted with delight had they but known of it. "Although in all of Mr. Beardsley's drawings which I have so far seen there are signs of other men's influence, I know no reason why this influence should not be apparent if the inventor of what we may consider the type is a worthy one to imitate. How­ ever, to say that Burne Jones, or even his far greater master Ros- setti, invented what is vulgarly known as the Rossetti type, is absurd. They did not invent it; they have only recorded a type which is very common in this country, emphasizing certain characteristics which no one had ever so emphasized before. Mr. Beardsley, in illustrating the 'Morte d'Arthur,' wished an appropriate type; he has taken the one which appealed to him most and he was perfectly justified in doing so. The little headpieces, notably one of men in armour, seem to me, in execution as well as design, quite equal to the best fifteenth century work. Then, too, his little landscapes are altogether delightful; though they are conventional in the right 3 sense, they are not imitations. But most interesting of all is his use of the single line, with which he weaves his drawings into an harmonious whole, joining extremes and reconciling what might be oppositions—leading, but not forcing, you properly to regard the concentration of his motive. In his blacks, too, he has obtained a singularly interesting quality, and always disposes them so as to make a very perfect arabesque. Certainly with the comparatively small amount of work which Mr. Beardsley has produced, he has managed to appeal to artists—and what more could he wish?" JOSEPH PENNELL. POSTSCRIPT April, 1919 I wrote The Studio article on the faith of the drawings and prints that I was shown—because I knew they were the work of a man—a boy—who had done something to carry on tradition—but I did not know if he would do anything more. And I did know that often such an article is a refuge, a safe harbor for one who can only repeat what he has done, and never tries after to go on. So I hedged. But Beardsley was not of that sort—he went on. He and Henry Harland started The Yellozv Book. I did not believe it would succeed, but it did, and in it Beardsley came into his own. Then, or maybe it was before, he illustrated Salome— and then came the Rape of the Lock—which proved him—as Whistler said—and the world acknowledged—"a great artist" and won him fame. Then came the Volpone, and before it was finished came death, but he has builded himself an enduring monument. And two boys whom the gods loved died young—John Keats and Aubrey Beardsley. They died, and from the same cause, but their names and their works live—they are amongst the glorified in English art and letters. Beardsley built better than I knew, but he knew better than I, and it is good to know now that one had a part in those wonderful days in that wonderful world—which is gone but never will be forgotten. JOSEPH PENNELL. ORIGINAL DRAWINGS BY AUBREY BEARDSLEY From the Collection of Frederick H. Evans, of London FROM "LE MORTE D'ARTHUR" 1. A FLYING ANGEL Height, $y2 inches; width, 3 inches. 2. MALEVOLENCE Height, 4 inches; width, 22/4 inches. 3. A SEATED PAN l Height, 4y2 inches; width, 3 /2 inches. 4. KNIGHT CARRYING HIS HELMET Height, 6y2 inches; width, 3Y2 inches. 5. MEMORIES J l Height, 5 /i inches; width, 3 /2 inches. 6. DREAMING FIGURE IN THE WOOD i Height, 6i/& inches; width, 3 y2 inches. 7. "PIPING DOWN THE VALLEY WILD" "Piping down the valley wild In a cloud I saw a child." —BLAKE. Height, 6y& inches; width, Jj4 inches. 8. THREE SWANS One of the most daring and fascinating bits of his decora­ tive genius. T Height, 5 y inches; zvidth, 2y2 inches. 9. WOMAN AND TREE Height, 5 inches; width, 4I4 inches. 10. TWO FIGURES Height, 4y2 inches; zvidth, 3 inches. 11. NURSE AND CHILD Height, 4 inches; width, 3 incites. 12. A BACCHUS Height, 4 inches; width, 3 indies. 13. MERLIN—TAILPIECE OF CONTENTS Circidar. Diameter, 6 inches. Has never been reproduced in full size. It should be noted how this fine design was ruined in "Le Morte" by the smallness of its reproduction. 5 14. FULL-PAGE BORDER, WITH PORTRAIT by F. H. EVANS Height, II inches; zvidth, 8}% inches. Has never been reproduced in full size. 15. FULL-PAGE BORDER, WITH PORTRAIT by F. H. Evans Height, II inches; width, 8y2 inches. Has never been reproduced in full size. "They are not only extraordinary likenesses, but you have managed to impart into his portrait something of Beardsley's fantastic linear design, or is that my imagination?" —ROBERT Ross. 16. FULL-PAGE BORDER Height, 8y2 inches; width, 6Y\ inches. 17. ARTHUR AND THE STRANGE MANTLE Height, ny2 inches; width, p inches. Has never been reproduced in full size. MISCELLANEOUS DRAWINGS 18. REJANE Red Pastel and Black Ink. Height, jy2 inches; width, 6 inches. Coloured work by Beardsley is rare, as he did extremely little in this way. Reproduced in "The Later Work of Aubrey Beardsley," page 60. 19. PERSEUS. WITH PENCILED FIGURES ON THE BACK Height, 18 inches; width, 6y2 inches. This is one of the largest drawings he made, a finely decorative figure. Reproduced in "The Early Work of Aubrey Beardsley," pages 8 and 9. FROM "BONS MOTS" 20. THE BIRTH OF FANCY Height, 4 inches; width, 3j4 inches. Reproduced in "Bons Mots, Sydney Smith and Sheridan," page 150. 21. PAN ASLEEP i Height, 3}i inches; ividth, 2 y2 inches. Exceedingly grim and fine. Reproduced in "Bons Mots, Sydney Smith and Sheridan," page 51. 22. THE ADMONITION x Height, 3Y% inches; width, 2 y2 inches. Reproduced in "Bons Mots, Foote and Hook," page 74. 6 23. AN ANGEL Height, 2fyg inches; width, ij/s inches. The face of this angel is the face of an angel as lovely as he ever saw; for surely, with Blake, all his subjects must have been really objective on paper to him, their vividness, the in- evitableness of their appeal to us, compel us to believe so. Reproduced in "Bons Mots, Lamb and Jerrold," page 117. 24. SHELTER j Height, 3 y2 inches; width, 2% inches. Reproduced in "Bons Mots, Sydney Smith and Sheridan," page 73. 25. TOPSY-TURVY Height, 3 inches; width, 3% inches. A very dreadful nightmare of a vision, but tolerated for its fine fore-shortening and clever technique. Reproduced in "Bons Mots, Lamb and Jerrold," page 15. POSTERS BY AUBREY BEARDSLEY 26. THE ORIGINAL POSTER FOR "CHILDREN'S BOOKS." Designed for Mr. T. Fisher Unwin, the London publisher. Printed on pink paper; 31^4 x 12^2 inches. Special proof; only three copies made. 26a. ANOTHER COPY OF THE SAME. Smaller in size, printed on yellow paper; 24 x 9}4 inches. THE MOST FAMOUS BEARDSLEY MANUSCRIPT 27. THE ORIGINAL AUTOGRAPH MANUSCRIPT OF "UNDER THE HILL." Written in ink on the rectos of 68 leaves. 4to vellum binding, tooled in gold after designs by Beardsley, g. e. The printed version of this romantic novel has been ex­ purgated and differs materially from the MS. The only important prose work of Beardsley's and among the celebrated literary productions of the XIX Century. Laid in is a proof on vellum of the frontispiece, "Venus between terminal Gods." ONE OF 12 PROOF IMPRESSIONS ON PURE VELLUM, UNPUBLISHED. AUTOGRAPH LETTERS OF AUBREY BEARDSLEY 28. AUTOGRAPH LETTER SIGNED WITH INITIALS. 2 pp., 4to. Bruxelles, May 4, 1896, to Leonard Smithers, with envelope.
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