Beardsley aubrey illus (23 Ergebnisse)

hardcover. Zustand: Very Good. 1948; brown paper covered boards with gold titles; wear and discoloration around edges; corners are bumped; 4to,9 3/4" to 12" tall; Previous owner's name on ffep; interior is clean and unmarked; 63 pages. Additional shipping charges may need to be requested due to size or weight of book.…

Paperback. Zustand: Very Good-. Reissue Edition. 47 pages; B&W illustrations. Minor shelf wear and creasing on the covers. Very Good condition otherwise. No other noteworthy defects. No markings. ; - Your satisfaction is our priority. We offer free returns and respond promptly to all inquiries. Your item will be packaged with care and ship on the same or next business day. Buy with confidence.…

Hardcover. Zustand: Good. Zustand des Schutzumschlags: Good. Sm. 8vo. White decorative bds. w. yellow, black all-over design, backstr. white w. black lettering, design, framed in yellow lines. Dj. unclipped, chipped at edges w. som large chips. Frontis. Illus. 120pp. on yellow acid paper w. some closed tears. Contents very tight.…

First Edition. Near fine paperback copy; slightly edge-bumped and creased. Remains well-preserved overall Physical description; 1 volume : illustrations. Subjects; Beardsley, Aubrey (1872-1898). Illustrators Great Britain Biography. Drawing, English 19th century. Decoration and ornament Art nouveau. Erotic drawing, English. 1 Kg. …

First Edition. Very good paperback copy; slightly edge-bumped and creased. Remains well-preserved overall Physical description; 1 volume : illustrations. Subjects; Beardsley, Aubrey (1872-1898). Illustrators Great Britain Biography. Drawing, English 19th century. Decoration and ornament Art nouveau. Erotic drawing, English. 1 Kg. …

hardcover. Zustand: Fine. 5th ed. 4to, 538 pp., Fifth edition (facsimile of the fourth edition). Fine copy in fine dust jacket & slipcase. Illus. by Aubrey Beardsley (illustrator).

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. xxviii, 561 p. 31 cm. B&w line drawings. Red cloth in mylar-covered dustjacket. Top edge gilt. Red ribbon.

Hardcover. Zustand: Very Good. Reprint. Hardback. Slip-Case. 4to. pp 61. Original publisher's blue cloth, lettered black on white front cover label. Facsimile of the 1896 edition. Ownership signature (in pencil) of V&A curator and writer on art, Stephen Calloway. Copiously illustrated in black and white throughout. Limited edition of 515 copies, this being no. 160. Slight spotting to endpapers, otherwise very good indeed in slightly used and faded slip-case.…

Hardcover. Zustand: Very good. Zustand des Schutzumschlags: Good. lv, 538 p., interspersed with plates. 29 cm. 22 full-page b&w drawings and numerous smaller decorations. Facsimile of the third edition with three extra illustrations. Black cloth hardcover with gilt impressing in mylar-covered matching dustjacket. Top edge gilt. Scuffs and small tears to jacket, incl. large mark at top front. P. 221 has tear in margin. Small stain on rear free endpaper. Light soiling to text block edge. Print at p. 242 is actually misplaced at p. 244. The book that made Aubrey Beardsley's reputation as an artist and greatly influenced the work of other illustrators. Fourth Edition, facsimile of the third edition with addenda.…

Zustand: Acceptable. 25 cm; [24] leaves text on Insel hand-made paper, and [15] full-page illustrations by Aubrey Beardsley on Strathmore Japan (including title page and dramatis personae). Bound in original boards, worn, spine perished, boards loose. Several plates somewhat foxed. The first German appearance of Aubrey Beardsley's illustrations to Oscar WIlde's play. Wilde first published the play in French (in 1896) before the English and later German editions appeared. Wilde's play with Beardsley's iconic illustrations inspired Richard Strauss's opera of the same name. # 350 in an edition limited to 725 copies.…

Blue hardback cloth cover. Zustand: Good. Limited Edition [500]. G : in good condition. Rebacked. Cover rubbed. Page edges browning. Hinge at title cracked. 220mm x 160mm (9" x 6"). 67pp, 15pp + plates. 10 plates by Aubrey Beardsley.

Hardcover. Zustand: Very Good. This edition with Beardsley illustrations, limited edition of 1,600 copies. This copy specially bound in half-morocco with raised bands and gilt decoration on the spine, printed boards, top edges gilt, matching printed endpapers. Cover shows minor rubbing to the extremities, some minor stains on the top edges. Pages are lightly tanned and clean, profusely illustrated. Original navy cloth cover and spine with gilt decorations bound in at the rear.…

Hardcover. Zustand: Very Good. Munchen: R. Piper, 1912. Second edition (Pp. 55). Quarto (30 cm) in pictorial paper over boards, cloth spine; twenty-one images including frontispiece image of Beardsley, two tipped in with pencil notations, eight pages of adverts. Eighth in the series Modern Illustrators (including Edvard Munsch, Ernst Neumann among others), in German. Cover with minor soil and rubbing. A Very Good copy.…

dj. First Thus. 12mo (17.75cm.); publisher's cloth in light tan decorative dust jacket printed in brown and orange; [6],187pp.; frontispiece and decorations throughout. Jacket extremities gently rubbed, small chip at spine crown, spine a bit toned, else Near Fine in Very Good or better jacket. "A New York Theatre Guild Production" - upper jacket panel. A modern adaptation of Jonson's 17th-c. comedy; this version was later adapted for George Antheil's 1953 opera.…

Reprint. Slim octavo (19cm); dark red publisher's cloth, stamped in gilt (front); 53pp, 12 plates (missing one). Boards mildly worn and soiled, some rubbing to extremities; textblock toned along edges and page margins; foxing and soiling intermittent throughout; some passages marked in pencil; gift inscription on ffep. Else Very Good, scarce. Wilde's Salomé was published in 1891, originally in French. An English version came about in 1894, but not before a tiff over the translation work done by Lord Alfred Douglas, who was Wilde's paramour at the time. This 1920 reprint retains the iconic artwork by Aubrey Beardsley and all sixteen original illustrations are listed in the index; however, the plate with illustration 4 ("The Woman in the Moon") is presumed missing, with evidence of its loss between pgs. 6 and 7.…

Zustand: Very Good. First Edition. London: Leonard Smithers, 1896. First Thus. Octavo. 47 pp. "Embroidered" with nine drawings by Beardsley, including frontispiece, complete. Beveled green boards decorated in gilt. Housed in custom-made slipcase. Boards slightly warped and rubbed at extremities, edges and corners bumped, and spine ends nudged. Gilt at front rubbed with some minor smudging to rear. Binding is sound. Mild off-setting and spotting to interior, heavier foxing to title page, and otherwise pages unmarked. …

An attractively bound copy of this collaboration between the poet Ernest Dowson, illustrator Aubrey Beardsley, author Arthur Symons and portrait sketcher William Rothenstein. It was first published in 1905. Beardsley requested days before his death that Leonard Smithers, a London publisher and Beardsley's friend, "destroy all copies of Lysistrata and bad drawings By all that is holy, all obscene drawings" (ODNB), his requests were not fulfilled as Leonard sold recreations and forgeries of Beardsley's work after his death. Ernest Dowson (1867-1900) was best known for his romantic poetry. Gone with the Wind author Margaret Mitchell sourced her inspiration from one of Dowson's poems. Octavo (185 x 25 mm). Engraved portrait frontispiece with tissue guard, 5 plates (1 photographic). Contemporary red calf by Riviere and Son, spine with raised bands, green morocco labels lettered in gilt, compartments in gilt, double borders in gilt to covers, board edges milled in gilt, gilt inner dentelles, marbled endpapers, all edges gilt. With red cloth slipcase. Loosely inserted ticket of Henry Harper Silliman (1907-1994). Slight bowing to front board, creasing and rubbing to spine, slight foxing throughout. A very good copy.…

First edition in English and first Beardsley edition, deluxe issue, one of 100 copies printed on Japanese vellum and bound in green silk boards. "If Le Morte Darthur made Beardsley known, his designs for the first edition in English of Wilde's Salomé made him notorious, and it remains the book of which most people think when his name is mentioned" (Ray). Translated by Lord Alfred Bruce Douglas, this edition appeared the year after the play's publication in French. The premiere took place on 11 February 1896 at the Comédie-Parisienne. To restrict its public staging in Britain, the Lord Chamberlain cited Protestant Reformation laws banning religious plays. An opera version was sanctioned for performance in 1910, though the play itself had to be staged privately until the first public performance at the Savoy Theatre in 1931. A further 500 copies were printed on smaller paper and bound in blue canvas boards. Mason 351; Ray 315A. Small quarto. Frontispiece and illustrated title page with tissue guard, illustrated border on list of illustrations page, 9 plates, final tailpiece, all by Beardsley. Publisher's 16-page advertisements at end. Original green silk boards, spine lettered in gilt, decorations designed by Beardsley to covers in gilt, edges untrimmed. Binding unevenly discoloured and a little soiled, minor wear to edges, inner hinge partially split following title page, splash mark to a couple lower margins. A very good copy.…

First edition in English, the first to feature Beardsley's elegant art nouveau illustrations. "If Le Morte Darthur made Beardsley known, his designs for the first edition in English of Wilde's Salomé made him notorious, and it remains the book of which most people think when his name is mentioned" (Ray). Salomé was published in French in 1893. This English translation by Lord Alfred Bruce Douglas was published the following year in a run of 500 trade copies, as here, and 100 on large paper. The premiere took place on 11 February 1896 at the Comédie-Parisienne; the Lord Chamberlain cited Protestant Reformation laws banning religious plays to restrict the public staging in Britain. An opera version was sanctioned for performance in 1910, though the play itself had to be staged privately until the first public performance at the Savoy Theatre in 1931. Mason 350; Ray 315A. Small quarto. Frontispiece, illustrated title, list of illustrations pages, 9 plates, and tailpiece, all by Beardsley; publisher's unopened 16-page advertisements at end. Original blue canvas boards, spine lettered in gilt, decorations designed by Beardsley to covers in gilt, edges untrimmed. Cloth slightly rubbed, gutter cracked between a couple of gatherings, a couple of plates discreetly reinserted. A very good copy. …

First Beardsley edition, one of 1,500 copies on ordinary paper. This was the artist's first major commission and the book that launched the "Beardsley look" (Gillon, p. iv). In 1892, seeking to emulate the books of the Kelmscott Press, John M. Dent commissioned the 20-year-old Beardsley to produce this edition, a project that took the artist 18 months to complete. "In Le Morte d'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte d'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). The work was first published, to some controversy, in 12 monthly magazine instalments between June 1893 and mid-1894. "Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" (Lupack, pp. 75-91). The work was issued by subscription in 12 parts between June 1893 and November 1894 in an edition of 1,500 copies on standard paper, as here, and 300 copies on Van Gelder paper. Edmund Vincent Gillon, Illustrations for Le Morte D'Arthur, 1972; John Lewis, The Twentieth Century Book, 1984; Barbara Tepa Lupack, Illustrating Camelot, 2008. 2 vols, large octavo. Photogravure frontispieces, 18 wood-engraved plates (5 double-page), illustrations within text, borders, and historiated initials, all by Aubrey Beardsley. Original yellow cloth, spine lettered in gilt, spine and front cover stamped in gilt with floral design by Beardsley, rear cover stamped in gilt with publisher's device, top edge gilt, others uncut, blue cloth bookmarkers. Spines faintly toned and cocked, corners gently bumped, damp stain to foot of front board and endleaves of vol. II, foxing to edges, spots to top edge of vol. I, bookmarkers a little frayed, contents clean and printing crisp: in very good condition.…

First Beardsley edition, one of 1,500 copies on ordinary paper, and scarce with the cloth in such bright condition. This was Beardsley's first major commission and the book that launched the "Beardsley look" (Gillon, p. IV). In 1892, seeking to emulate the books of the Kelmscott Press, John M. Dent commissioned the 20-year-old Beardsley to produce this edition, work that took the young artist 18 months to complete. "In Le Morte d'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte d'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). The work was first published in 12 monthly magazine instalments between June 1893 and mid-1894 to some controversy. "Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" Tepa Lupack, Chapter 4). La Morte Darthur was an immediate sensation upon publication. Provenance: Robert, or Robin, Henri Louis-Charles de Beaumont (1926-2023), with his bookplate on the front pastedown of each volume. De Beaumont was an architect and later became an antiquarian book dealer and collector. He donated a large collection of British wood-engraved illustrated books to the British Museum in 1992. Edmund Vincent Gillon, Illustrations for Le Morte D'Arthur, 1972; John Lewis, The Twentieth Century Book, 1984. 2 vols, large octavo. Engraved frontispiece to each vol., 18 wood-engraved plates (including 5 double-page), numerous text illustrations, and approximately 350 repeated designs for chapter headings and borders, all by Aubrey Beardsley. Original yellow cloth, spine lettered in gilt, spine and front cover stamped in gilt with floral design, publisher's device in gilt on rear cover, top edge gilt, others uncut, some leaves unopened, one red and one blue cloth bookmarker. Cloth retaining much of its original yellow hue, just a couple of marks, spines slightly darkened, mild toning to endpapers and pp. 766-7, text rubbed at pp. 912-13, occasional foxing: a very good copy.…

First Beardsley edition, deluxe issue, number 79 of 100 copies printed on japon paper, specially bound in full vellum, and featuring an extra suite of five plates with larger versions of Beardsley's vignettes. In November 1897, Beardsley was commissioned to produce 24 illustrations for this edition of Jonson's Volpone, including a frontispiece, decorative initials, and a front cover design. In the event, he could only complete the cover design, the frontispiece, and six vignettes before his death on 16 March 1898. This was, however, a project that Beardsley was passionate about, writing "I am making pictures of Ben Jonson's adorable and astonishing Volpone" and "I carry Volpone about with me from dawn to dawn and dream of nothing else". He considered his illustration for the frontispiece ("Volpone Adoring His Treasure") as "one of the strongest things I have ever done" (cited in Nelson, p. 163). Lasner 129; Ray, pp. 196-7. James G. Nelson, Publisher to the Decadents, 2000. Large quarto. Printed cover design, frontispiece and 6 vignettes by Beardsley, 5 of the vignettes reproduced in large size in photogravure, title printed in red and black. Original vellum over bevelled boards, spine lettered and ruled in gilt, front cover with overall design by Beardsley incorporating title, rear cover with centred publisher's device blocked in gilt, top edge gilt, others untrimmed. Light soiling to vellum, very light bumping and rubbing to extremities, slight toning to endpapers: a very good copy.…

First Beardsley edition, an out of series unnumbered copy of one of 300 deluxe copies on Dutch handmade paper, from a total edition of 1,800. The book was issued in 12 parts in wrappers, with the purchaser given the choice of sending it back to the publisher, who bound them in vellum or cloth, or to a binder of their own. In 1892, seeking to emulate the books of the Kelmscott Press, John M. Dent commissioned the 20-year-old Beardsley to produce this edition, work that took the young artist 18 months to complete. "In Le Morte d'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte d'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). The work was first published in 12 monthly magazine instalments between June 1893, and mid-1894. "Aubrey Beardsley's Morte Darthur was one of the most original and certainly one of the most controversial of the nineteenth-century artistic reinterpretations of Malory" which "established Beardsley as the voice of the 1890s" (Tepa Lupack, Chapter 4). "Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" (ibid.). La Morte Darthur was an immediate sensation upon publication. Lasner 22. Lewis, John, The Twentieth Century Book, Herbert Press Ltd, 1984, pp. 148-9; Ray, The Illustrator and the Book in England from 1790 to 1914, Oxford University Press, 1976, p. 314; Tepa Lupack, Barbara Illustrating Camelot, D. S. Brewer, 2008. 3 vols (243 x 188 mm). With photogravure frontispieces on India paper to vols I and III, 18 full-page wood engravings with tissue guards (5 double-page), numerous text illustrations and approximately 350 designs for chapter headings and borders (foliate and historiated) all by Aubrey Beardsley printed in red and black. Contemporary half vellum, titles in gilt to red calf labels to spines, foliate gilt rulings to spine ends, brown morocco grain cloth sides, marbled edges and endpapers. Light soiling to vellum, slight bumps to tips, top edge of book block dust toned, sporadic faint foxing occasional and offsetting from full-page engravings and toning to their edges, a very good set.…