1. A Carnival. Long procession of many figures in fifteenth and sixteenth century costume. Water-colour drawing. Unpublished. Given by the artist to his grandfather, the late Surgeon-Major William Pitt. c. 1880.

2. The Jackdaw of Rheims, set of illustrations to the poem. Unpublished. c. 1884.

3. Virgil's "Æneid," nine comic illustrations to Book II. The title-page, written in rough imitation of printing, with the Artist's naÏf and inaccurate spelling, is as follows:—Illustrationes de " liber Secundus " Æneidos " Publius Wirgius Maronis " by " Beardslius " de " Brightelmstoniensis. The illustrations are entitled:——

I. Laocoon hurleth his spear against the horse.

II. Laocoon and son crunched up.

III. Little July tries to keep up with Papa. Old Father Anchises sitteth on Papa's shoulders and keeps a good look-out.

IV. Parvi Iulus.

V. Helen.

VI. Panthus departs, bag and baggage.

VII. Sinon telleth his tale unto King Priam.

VIII. One of the cinders of Illim.

IX. (No title.) The drawing, to illustrate two comic verses written at the top of the paper, represents Æneas being carried up into the air by means of a balloon attached to his helmet.

All the above are drawn in ordinary ink upon plain white paper of the kind used for rough work at the school, and all are of uniform size, 7-1/4 × 5 inches, except No. 9, which is on a double-size sheet, measuring 7-1/4 × 10 inches. Unpublished. (Property of H. A. Payne, Esq.) September to December 1886.

4. Virgil's "Æneid," nineteen humorous sketches illustrative of Book II., entitled:——

I. Æneas relateth the tale to Dido.

II. Laocoon hurls the spear.

III. Sinon is brought before Priam.

IV. Calchas will not betray anyone.

V. "All night I lay hid in a weedy lake."

VI. The Palladium is snatched away.

VII. The Palladium jumpeth.

VIII. Laocoon sacrificeth on the sand.

IX. Sinon opens the bolt.

X. Hector's ghost.

XI. Æneas heareth the clash of arms.

XII. Panthus fleeth.

XIII. Pyrrhus exulteth.

XIV. Death of Priam.

XV. Æneas debateth whether he shall slay Helen.

XVI. Venus appeareth to Æneas.

XVII. Jupiter hurls the lightning.

XVIII. Æneas and company set out from Troy.

XIX. Æneas seeth Creusa's ghost.

The above drawings in ordinary ink are contained in a copy-book, 8 × 6-1/2 inches. Unpublished. Exhibited in London at Carfax & Co.'s Galleries, October 1904. (Property of Harold Hartley, Esq.) End of 1886.

5. The Pope weighs heavily on the Church. Pen-drawing contained in the same copy-book with the last-named.

6. John smiles, a comic illustration to the school history book, representing King John in the act of signing Magna Charta. Pen-drawing on paper 7-1/4 × 5 inches. Unpublished. (Property of H. A. Payne, Esq.)

7. Saint Bradlaugh, M.P., a caricature. Pen-drawing on a half sheet of notepaper. Unpublished. (Property of H. A. Payne, Esq.)

8. Autumn Tints. Caricature in black and white of the artist's schoolmaster, Mr Marshall, expounding to his pupils the beauties of nature. Unpublished. Given to Ernest Lambert, Esq., Brighton, c. 1886-7.

Beside the above-named there must have been numbers of such drawings belonging to this early period; for in his schooldays Aubrey Beardsley was, to quote the words of Mr H. A. Payne, "constantly doing these little, rough, humorous sketches, which he gave away wholesale." Many have been destroyed or lost, others dispersed abroad. Thus, for instance, one old Brighton Grammar School boy, C. E. Pitt-Schenkel, told Mr Payne that he was in possession of some, which he took out to South Africa.

9. The Jubilee Cricket Analysis. Eleven tiny pen-and-ink sketches, entitled respectively:——

I. A good bowler.

II. Over.

III. Slip.

IV. Square leg.

V. Shooters.

VI. Caught.

VII. A block.

VIII. A demon bowler.

IX. Stumped.

X. Long leg.

XI. Cutting a ball.

All these subjects being represented, in humorous fashion, by literal equivalents. These drawings, though they cannot pretend to any merit, are notable as the earliest specimens to be published of the artist's work. Together they formed a whole-page photo-lithographic illustration in Past and Present, the Brighton Grammar School Magazine, June 1887.

10. Congreve's "Double Dealer," illustration of a scene from, comprising Maskwell and Lady Touchwood. Pen drawing with sepia wash, on a sheet of paper 13-1/2 × 11 inches. Unpublished. (Property of H. A. Payne, Esq.) Signed and dated June 30, 1888.

11. Holywell Street. Wash drawing. First published in The Poster, Aug.-Sept. 1898. Republished in "The Early Work of Aubrey Beardsley, with a Prefatory Note by H. C. Marillier." John Lane, March 1899. (Property of Charles B. Cochran, Esq., 1888.)

12. The Pay of the Pied Piper: A Legend of Hamelin Town. Eleven line drawings in illustration of, as follows:——

I. Entrance of Councillors, headed by Beadle carrying a mace. Reproduced in The Westminster Budget, March 25, 1898.

II. Rats feeding upon a cheese in a dish. Reproduced in Westminster Budget, March 25, 1898.

III. Child climbing into an armchair to escape from the rats. Reproduced in The Poster, Aug.-Sept. 1898.

IV. The Sitting of the Council, under the presidency of the Burgomaster.

V. Deputation of Ladies.

VI. Two rats on their hind legs, carrying off the Beadle's mace: behind them are three rats running. Reproduced in Westminster Budget, March 25, 1898.

VII. Meeting between the Beadle and the Piper.

VIII. The rats follow the Piper out of the town. Republished in Westminster Budget, March 25, 1898, and in The Poster, Aug.-Sept. 1898.

IX. Citizens rejoice at the departure of the rats.

X. The Piper is dismissed by the Beadle. Republished in Westminster Budget, March 25, 1898, and also in Magazine of Art, May 1898.

XI. The Piper entices away the children.

The above illustrations vary in size from 3-1/4 × 2-1/2 to 6-1/2 × 4-1/2 inches. They are unsigned, but a prefatory note describes them as being "the perfectly original designs and drawings of a boy now in the school, A. V. Beardsley"; and adds: "Our regret is that, lacking experience in the preparation of drawings for the photo-engraver, the reproductions should fall so far short of the original sketches." Published in the programme and book of words of the Brighton Grammar School Annual Entertainment at the Dome, on Wednesday, Dec, 19, 1888; bound up afterwards with Past and Present, February 1889. Latter part of 1888.

13. A Scrap-Book, size 9-1/2 × 7 inches, the fly-leaf inscribed, in his own writing, A. Beardsley, 6/5/90, presented by the artist's mother to Robert Ross, Esq. Contains the following drawings, mounted as scraps:——

I. Manon Lescaut, three drawings to illustrate different scenes from. Executed with very fine pen and ink, the latter having, as compared with maturer works, a brownish tinge. One of them first appeared in "A Second Book of Fifty Drawings by Aubrey Beardsley" (Leonard Smithers, December 1898), and all three were included in "The Later Work of Aubrey Beardsley" (John Lane, 1901).

II. La Dame aux CamÉlias. 4-3/8 inches square, pen and brownish ink with wash. First published in "Second Book," and afterwards in "Later Work." This is a totally different design from that which afterwards appeared, with the same title, in "The Yellow Book." See below.

III. Tartarin, two illustrations of, in pencil and colours, size 4-1/8 × 2-3/4 and 4-1/2 × 3-1/2 inches respectively.

IV. La LeÇon (Madame Bovary). 5-1/4 × 6-3/4. Chinese white and dark sepia wash. First published in "Second Book," and again in "Later Work."

V. L'AbbÉ Birotteau (CurÉ de Tours). 3 × 2 inches. Pen-and-ink with wash, on pale greenish paper.

VI. L'AbbÉ Troubert (CurÉ de Tours). 5 × 2-3/4 inches. Dark sepia wash.

VII. Madame Bovary. 5-5/8 × 3-1/8 inches. Pencil. First published in "Second Book," and again in "Later Work."

VIII. Sapho (Daudet). Wanting. Over its place has been gummed another drawing, also wanting, its title written at the foot, L'homme qui rit.

IX. Le Cousin Pons. 5-1/8 × 2-3/8 inches. Indian ink.

X. Portrait of Alphonse Daudet. 2-3/4 × 2-3/16 inches. Indian ink on pale blue paper.

XI. Watteau, Ma Cousine (Cousin Pons). 5-1/2 × 2-3/4 inches. Pen-and-ink with wash on pale grey toned paper.

XII. Mademoiselle Gamard (CurÉ de Tours). 3-1/8 × 2-1/8 inches. Indian ink wash.

XIII. Madame Cibot (Cousin Pons). 4 × 2-7/8 inches. Indian ink wash.

XIV. (Jack) Attendons! 3-5/8 inches high, irregular silhouette. Dark sepia wash.

XV. Jeanne D'Arc, the childhood of. 9 × 3-3/8 inches. Sepia and madder wash on toned paper. First published in "Second Book," again in "Later Work."

XVI. Frontispiece to Balzac's "Contes DrÔlatiques." 6-3/4 × 4-1/8 inches. Drawn after the manner of Richard Doyle. First published in "Second Book," again in "Later Work."

XVII. PhÈdre (Act ii. scene 5). 3-7/8 × 3-1/2 inches. Pencil and colours. First published in "Second Book," again in "Later Work."

XVIII. Manon Lescaut, three-quarter length, woman to left, with fan. 5-1/4 × 3-1/2 inches. Water-colour on grey paper. First published in "Second Book," again in "Later Work."

XIX. Beatrice Cenci. 6-1/8 × 2-3/4 inches. Pencil and sepia wash. First published in "Second Book," again in "Later Work."

Unless otherwise stated as above, the works in this collection are unpublished; all were executed 1889-90.

LATER WORK.

14. Francesca di Rimini (Dante). Head in profile, to left; pencil. First published in "Later Work."

15. Dante at the Court of Can Grande della Scala. Circular design, in pencil. (Property of Miss H. Glover.)

16. Dante in Exile. Dante seated on the left, the words of the Sonnet inscribed on the right, with decorations recalling some design of William Blake's. Signed A.V.B. First published in "Later Work." (Formerly the property of the late Hampden Gurney, Esq.)

17. "I saw three Ships come sailing by on Christmas Day in the Morning." Pencil. Designed as a Christmas card for the late Rev. Alfred Gurney. Published in "Later Work." c. 1890-1.

18. Hail Mary. Profile of a head to left. Pencil drawing, 4-1/2 × 5-1/4 inches. First published in The Studio, May 1898, again in "Early Work." (Property of Frederick H. Evans, Esq.) 1891.

19. Head, three-quarter face to right, with a Wreath of Grapes and Vine Leaves and background of tree trunks. Lead-pencil sketch 5-1/2 × 5-5/8 inches. Unpublished. (Property of John Lane, Esq.) circa 1891.

20. Thel Gathering the Lily. Pen-and-ink with water-colour wash. (Formerly the property of Robert Ross, Esq.)

21. Two Figures in a Garret, both seated, a woman haranguing a young man. Ink and wash sketch, 3-1/4 × 4-1/8 inches. Published in "Early Work." (Property of Frederick H. Evans, Esq.)

22. E. Burne-Jones. Portrait sketch in pen-and-ink, with slight wash. A memorandum of Aubrey Beardsley's first call on Sir Edward Burne-Jones, dated Sunday, 12th July 1891, and signed with monogram, A.V.B. Size, 6-3/4 × 4-1/8 inches. Eight copies only. Printed on India paper. Published by James Tregaskis, Caxton Head, High Holborn, in 1899. July 1891.

23. The Witch of Atlas. Pen-and-ink and water-colour wash. First reproduced (lacking ornamental border) in "Second Book," again in "Later Work." (Formerly the property of Robert Ross, Esq.)

24. MoliÈre. Blue water-colour wash. First published in "Later Work." (Formerly the property of Robert Ross, Esq.)

25. Die GÖtterdÄmmerung. Decorative composition in white and Indian ink, influenced by Burne-Jones. First published in "Second Book," again in "Later Work." (Formerly the property of Robert Ross, Esq.)

26. Soleil Couchant. Decorative composition in Indian ink. (The motif of the central part was subsequently adapted for a vignette in the "Morte Darthur," Book II. chap. xii.) First published in "Later Work." (Formerly the property of the late Hampden Gurney, Esq.)

27. TannhÂuser. Study for decorative composition, in Indian ink. 5-5/8 × 7-1/2 inches. First published in "Later Work." (Property of Dr Rowland Thurnam.) 1891.

28. Withered Spring. Decorative composition in Indian ink. Catalogued in "Fifty Drawings" as "Lament of the Dying Year." (The motif of the central part was subsequently adapted for a vignette in the "Morte Darthur," Book I. chap. xii.) First published in "Later Work." (Property of Dr Rowland Thurnam.)

29. I. Perseus. Pen-and-ink and light wash. Design for an upright panel, with standing nude figure, above it a frieze of smaller figures. 18 × 6-3/4 inches. First published in "Early Work." (Property of Frederick H. Evans, Esq.)

II. A pencil sketch of two figures, unfinished, on the reverse of the preceding. Published in "Early Work."

30. L'AbbÉ Mouret. Decorative design for frontispiece of Zola's "La Faute de l'AbbÉ Mouret." Ink and wash. First published in "Under the Hill." John Lane. 1904. (Property of John Lane, Esq.)

31. Hamlet patris panem Sequitur. Pencil drawing. Printed in red, as frontispiece to The Bee, the Magazine of the Blackburn Technical School, November 1891; reprinted, in black, in "Second Book," again in "Early Work." Latter part 1891.

32. Perseus and the Monstre. Pencil design, 5-1/2 × 7-1/2 inches. First appeared in illustration of an article entitled, "The Invention of Aubrey Beardsley," by Aymer Vallance, in The Magazine of Art, May 1898; again in "Early Work," (Property of Aymer Vallance, Esq.) 1891.

33. The Procession of Jeanne d'Arc. Pencil outline, treatment inspired by Mantegna, 19-1/2 long by 6-1/2 inches high. First published in Magazine of Art, May 1898; again as double page in "Second Book"; again, reduced, in collotype, in "Early Work." (Property of Frederick H. Evans, Esq.) 1891-2.

A pen-and-ink version of the Procession, 30 inches long by 7 high, was made subsequently, about the Spring of 1892, for Robert Ross, Esq. Published in The Studio; see below.

34. The Litany of Mary Magdalen. Pencil drawing. First published in "Second Book," again in "Later Work." (Formerly Property of More Adey, Esq.) 1892.

35. The Virgin and Lily. Madonna standing in front of a Renaissance niche and surrounded by Saints, among them St John Baptist kneeling. Pencil outline. Reproduced in photogravure in "Later Work." (Formerly the property of the late Rev. Alfred Gurney, afterwards in the possession of his son, the late Hampden Gurney, Esq.)

36. Children Decorating a Terminal God. Pen-and-ink. (Formerly the property of M. Puvis de Chavannes.)

37. Fred Brown, N.E.A.C. Pen-and-ink sketch of the art-master in studio. Signed with monogram A.V.B. First published in "Under the Hill." (Property of Miss Nellie Syrett.)

38. Study of Figures, horizontal fragment from, containing five heads and parts of two more. Pencil. Published in "Under the Hill." (Property of Miss Nellie Syrett.)

39. Portrait of the Artist. Full face. Pen-and-ink. First published in "Second Book," again in "Later Work." (Presented by Robert Ross, Esq., to the British Museum.)

40. Sidonia the Sorceress. A design to illustrate Meinhold's Romance, representing Sidonia, not in religious habit, with the demon-cat, Chim. William Morris's criticism that the face of Sidonia was not pretty enough, and another suggested improvement on the part of a friend of Aubrey Beardsley's, induced him to try to better the picture by altering the hair. The result was so far from satisfactory that it is almost certain that the drawing was destroyed by the artist. First half of 1892.

41. Le DÉbris d'un Poete. Pen-and-ink. First published in "Aubrey Beardsley," by Arthur Symons (Sign of the Unicorn, London, 1898). (Property of AndrÉ Raffalovich, Esq.)

42. Incipit Vita Nova. Chinese, white, and Indian ink on brown paper. First published in "Second Book," again in "Later Work." (Property of Messrs Carfax & Co.) 1892.

43. Head of an Angel, in profile, to left, flaming heart held in left hand. Pencil, on a half-sheet of grey notepaper, signed with monogram A.V.B. 5-3/4 × 3-7/8 inches. First published in photogravure "Second Book," again in "Later Work"; also printed in 4-inch square form on card for private distribution, Christmas 1905. (Property of the artist's sister, Mrs George Bealby Wright [Miss Mabel Beardsley].) c. 1892.

44. Adoramus Te. Four angels in a circle (7 inches in diameter) playing musical instruments, pencil and coloured chalks. Signed A.V.B. monogram. Designed as a Christmas card for the late Rev. Alfred Gurney. First published in photogravure in "Second Book," again in "Later Work." (Property of Mrs George Bealby Wright.)

45. A Christmas Carol. Two angels, one of them playing a hand-organ, in a circle (7-3/4 inches diameter), pencil, and coloured chalks. Designed as a Christmas card for the late Rev. Alfred Gurney. First published in photogravure in "Second Book," again in "Later Work." Also in photogravure, 3 inches diameter, for private circulation. (Property of Mrs George Bealby Wright.) Christmas, 1892.

46. La Femme Incomprise. Pen-and-ink and wash. First published in the spring number of To-Day, 1895; again in the Idler magazine, March 1897.

47. Sandro Botticelli, three-quarter face to left, pencil, signed with monogram A.V.B.; 14 × 7-3/4 inches; a reconstruction of the Florentine painter's physiognomy from his extant works, to illustrate Aubrey Beardsley's theory that every artist tends to reproduce his own physical type. Presented by the artist to Aymer Vallance, Esq. First published in the Magazine of Art, May 1898; afterwards in "Early Work." c. 1892-3.

48. Raphael Sanzio. Full-length figure, three-quarter face to left, a decorative panel in pen-and-ink, 10-3/4 × 3-7/8 inches, exclusive of border lines. Unpublished. (Property of Messrs Obach & Co.)

49. Cephalus and Procris. Pen-and-ink.

50. Small Bookmarker, woman undressing, a Turkish table in the foreground. Pen-and-ink. First published in "Second Book," again in "Later Work." (Property of Sir William Geary, Bart.) 1893.

51. Hermaphroditus, seated figure, pencil and pale colour tints. Reproduced in colour in "Later Work." (Property of Julian Sampson, Esq.)

52. L'aprÈs-midi d'un Faune, par MallarmÉ; four designs extra-illustrating a copy of. One of them, a pen-and-ink vignette of a faun, full face, signed with monogram A.V.B., was published in "Second Book." The others unpublished. 1893.

53. Decorative Sketch Design of a Sailing Ship. 1-7/8 × 2-1/2 inches. Pen-and-ink on white from the back of a letter to Aymer Vallance, Esq. First published in Magazine of Art, May 1898; again in "Early Work." c. 1893.

54. Angel Playing Hand-Organ. Pen-and-ink and slight wash, on pale grey notepaper, from a letter to Aymer Vallance, Esq. First published in Magazine of Art, May 1898; again in "Early Work." c. 1893.

55. The Pall Mall Budget, 1893 and 1894.

I. Mr H. A. Jones and his Bauble; pen-and-ink. Feb. 2, 1893, p. 150.

II. The New Coinage. Four designs that were not sent in for competition, p. 154. Another design, embodying a caricature of Queen Victoria, was suppressed.

III. "Becket" at the Lyceum.

1. Mr Irving as Becket; wash drawing. Feb. 9th, front page.

2. Master Leo, p. 188.

3. Queen Eleanor, p. 188.

4. Margery, p. 188.

5. The King makes a Move on the Board, p. 188.

6. Miss Terry (as Rosamond), p. 188.

7. Mr Gordon Craig, p. 190.

8. The Composer, p. 190.

IV.

1. The Disappointment of Emile Zola, p. 202.

2. Emile Zola; a portrait, p. 204. (Republished in "Pall Mall Pictures of the Year," 1893, and in The Studio, June 1893.)

V. Verdi's "Falstaff," at Milan, Feb. 16th.

Initial letter V; pen-and-ink, p. 236.

Portrait of Verdi; ink and wash, p. 236.

VI. Pope Leo XIII.'s Jubilee, Feb. 23rd.

The Pilgrim (old style), p. 270.

The Pilgrim (new style), p. 270.

VII. The Reappearance of Mrs Bancroft.

1. Mr Arthur Cecil (Baron Stein), p. 281.

2. Mrs Bancroft (Lady Fairfax), p. 281.

3. Mr Forbes Robertson (Julian Beauclere), p. 281.

4. Mr Bancroft (Count Orloff), p. 281.

VIII. Caricature of a Golf Player, in classical helmet, March 9th, p. 376.

IX. Orpheus at the Lyceum, March 16th.

1. One of the Spirits, Act II., p. 395.

2. Orpheus (Miss Clara Butt), p. 395.

3. A Visitor at the Rehearsal, p. 395.

4. Some Dresses in the Chorus, p. 395.

X. Portrait of the Late Jules Ferry: wash drawing, March 23rd, p. 435.

XI. Bullet-Proof Uniform: Tommy Atkins thinks it rather fun, March 30, p. 491.

XII. Mr Frederick Harrison's "Ideal Novelist," April 20, p. 620.

XIII. A New Year's Dream, after studying Mr Pennell's "Devils of Notre Dame." Republished in "Early Work." Jan. 4th, 1894, p. 8.

56. Mr Parnell, sketch portrait of the Irish party leader, head and shoulders, three quarters face to left, pencil, half tone reproduction, 4-3/4 × 3-1/2 inches.

57. I. The Studio. Design for wrapper in two states, the original design containing a seated figure of Pan, omitted in the later version. First state on brown paper. The same, reduced, in black on green, for prospectus, republished in The Studio, May 1898, and again in "Early Work."

Second state, black on green, also in gold on rough white paper for presentation to Royalty (Nov. 15th, 1893). The same, reduced, and printed in dark green on white, for a prospectus, republished in "Early Work." The same, enlarged and printed in black on light green, for a poster.

The Studio, No. I, April 1893, accompanying an article entitled "A New Illustrator: Aubrey Beardsley," by Joseph Pennell, contained:——

II. Reduced reproduction of the pen-and-ink replica of Jeanne d'Arc procession. Republished as large folding supplement in No. 2.

III. Siegfried, Act II., from the original drawing in line and wash, signed A.V.B., presented by the artist to Sir Edward Burne-Jones, after whose death it was given back by Lady Burne-Jones, to the artist's mother, Mrs Beardsley. Republished in "Early Work."

IV. The Birthday of Madame Cigale, line and wash, 15 inches long by 9-1/2 inches high, influenced by Japanese models. Reproduced in "Early Work." (Property of Charles Holme, Esq.)

V. Les Revenants de Musique, line and wash. Reproduced in "Early Work." (Property of Charles Holme, Esq.)

VI. Salome with the head of St John the Baptist. Upright panel in Chinese ink on white, 10-1/8 by 5-1/8 inches, exclusive of framing lines. This was the first design suggested to the artist by Oscar Wilde's French play of "Salome." It differs from the later version of the same subject in being richer and more complex. It contains the legend, omitted in the later version, j'ai baisÉ ta bouche Iokanaan, j'ai baisÉ ta bouche. The treatment is obviously influenced by Japanese work, and also by that of the French Symboliste school, e.g. Carlos Schwabe. Republished in "Early Work." Subsequently to its appearance in The Studio, the artist experimentally tinted it with green colour washes. In its final state it has not been published. (Formerly the property of Mrs Ernest Leverson, now of Miss K. Doulton.)

VII. Reduced reproduction of the second version of the Jeanne d'Arc procession. The same appeared, full size, as a folding plate supplement, in No. 2 of The Studio, May 1893.

In the first number of The Studio (April) also were published, by anticipation, four designs from the "Morte Darthur," due to begin its serial appearance in the following June, viz.:—

VIII. Initial letter I.

IX. Merlin taketh the child Arthur into his keeping (full page, including border).

X. Ornamental border for full page.

XI. Frieze for chapter-heading; six men fighting, on foot, three of them panoplied. Reproduced in Magazine of Art, November 1896, "Fifty Drawings," Idler, March 1897, and St Paul's, April 9th, 1898. The original drawing is 13-3/4 inches long by 4-1/2 inches. As may be seen, even in the reduced reproduction, one inch at either end was added by the artist at the request of his publisher, so as to increase the proportionate length of the ornament. Subsequently Mr Frederick H. Evans photographed the drawing, full size, and produced fifteen platinotype copies, of which twelve only were for sale, and the plate destroyed.

58. Design of Dandelions, for publishers' trade mark for Dent & Co.

59. Le Morte Darthur, by Sir Thomas Malory. J. M. Dent & Co. 300 copies on Dutch hand-made paper and 1500 ordinary copies. Issued in Parts, beginning June 1893.

I. Vol. I., 1893. Frontispiece—"How King Arthur saw the Questing Beast, and thereof had great marvel." Photogravure.

Full-page illustrations:—

II. Merlin taketh the child Arthur into his keeping. (Reduced reproduction in Idler, May 1898.)

III. The Lady of the Lake telleth Arthur of the sword Excalibur.

IV. Merlin and Nimue.

V. Arthur and the strange mantle.

VI. How four queens found Launcelot sleeping. (Property of A. E. Gallatin, Esq.)

VII. Sir Launcelot and the witch Hellawes. (Property of A. E. Gallatin, Esq.)

VIII. How la Beale Isoud nursed Sir Tristram.

IX. How Sir Tristram drank the love drink.

X. How la Beale Isoud wrote to Sir Tristram.

XI. How King Mark found Sir Tristram sleeping.

XII. How Morgan le Fay gave a sword to Sir Tristram.

XIII. Vol. II., 1894. Frontispiece—"The achieving of the Sangreal." Photogravure. (This was the first design executed for the work.)

Full page and double page illustrations:—

XIV. How King Mark and Sir Dinadan heard Sir Palomides making great sorrow and mourning for la Beale Isoud (double page).

XV. La Beale Isoud at Joyous Gard (double page).

XVI. How Sir Launcelot was known by Dame Elaine (full page).

XVII. How a devil in woman's likeness would have tempted Sir Bors (double page).

XVIII. How Queen Guenever rode on maying (double page).

XIX. How Sir Bedivere cast the sword Excalibur into the water (full page).

XX. How Queen Guenever made her a nun (full page).

In the two volumes there are altogether 548 ornaments, chapter-headings, borders, initials, tail-pieces, etc.; but some of them are repetitions of the same design, others reproductions of the same design in two different sizes. (Two of these are in the Victoria and Albert Museum. Eight belong to Pickford Waller, Esq. Others are the property of Hon. Gerald Ponsonby, R. C. Greenleaf, Esq., W. H. Jessop, Esq., M. H. Sands, Esq., Robert Ross, Esq., and Messrs Carfax & Co.)

XXI. Chapter-heading, a dragon, with conventional foliage spray branching into marginal ornaments; printed, but not published in the book.

XXII. Initial letter J with guardian griffins; pen-and-ink, 5-1/2 × 3-1/2 inches.

XXIII. Unfinished border design, first published in "Whistler's Art Dicta and Other Essays" by A. E. Gallatin (Boston, U.S.A., and London, 1903). (Property of A. E. Gallatin, Esq.)

XXIV. Original study, approved by the publisher, for wrappers of serial issue of the "Morte Darthur," yellowish green water-colour on white paper, 10-1/4 × 8-1/4 inches. This design, comprising lilies, differs from that which was finally produced by the artist and published (next item). (Property of Aymer Vallance, Esq.) 1893.

Design for wrappers of serial issue, in black on grey paper, in two states, the earlier or trial-state, having blank spaces for the lettering, only the title being given as "La Mort Darthure."

XXV. Design in gold on cream-white cloth cases of the bound volumes.

Nineteen of the above designs were republished in "A Book of Fifty Drawings," and again in "Later Work," including full-size reproductions of the following, which had suffered through excessive reduction in the published "Morte Darthur."

XXVI. Merlin (in a circle), facing list of illustrations in Vol. I. The same reproduced in The Idler, March 1897.

XXVII. Vignette of Book I., chapter xiv. Landscape with piper in a meadow and another figure in the sky.

XXVIII. Vignette of Book III., chapter iii. Three swans swimming.

XXIX. Vignette of Book V., chapter x. Nude woman rising out of the sea, holding in one hand a sword, in the other a rose.

60. Pall Mall Magazine, June 1893.

I. Of a Neophyte, and how the Black Art was revealed unto him by the Fiend Asomuel. Full-page illustration in pen and ink. Asomuel, meaning insomnia, was a neologism of the artist's own devising, made up of the Greek alpha privative, the Latin somnus, and the Hebrew el, for termination analogous to that of other spirits' names, such as Gabriel, Raphael, Azrael, etc., reproduced in "Early Work," July 1893.

II. The Kiss of Judas. Full-page illustration in pen-and-ink. Reproduced in "Early Work."

61. La ComÉdie aux Enfers, pen and ink, published in "Modern Illustration," by Joseph Pennell. (G. Bell & Sons, 1895.) Imp. 16mo. 1893.

62. I. Evelina, by Frances Burney. (Dent & Co., 1894.) Design in outline for title-page.

II. Evelina and her Guardian, design for illustration, pen and ink and wash, 6-7/8 × 4-7/8 (exclusive of marginal lines), not published.

III. Another illustration for the same, "Love for Love," a wash drawing, 7-1/2 × 5-1/4, unpublished. 1893.

63. Virgilius the Sorcerer. David Nutt, 1893. Frontispiece to the large paper copies only. Reproduced in "Early Work."

64. The Landslip, frontispiece to "Pastor Sang," being William Wilson's translation of BjÖrnson's drama, "Over Ævne." Longmans & Co., 1893. A black and white design, in conscious imitation of Albert DÜrer, as the peculiar form of the signature A. B. shows, the only occasion on which the artist employed this device. Reproduced in "Early Work." (Property of Messrs Shirley & Co., Paris.)

65. Bon Mots. 3 Volumes. Dent & Co., 1893.

I. Title-page reproduced in "Later Work."

II. Figure with fool's bauble, and another small ornament for the cover.

III. 208 grotesques and other ornaments in the three volumes. Some of these, however, are repeated, and some printed in different sizes. Three of them reproduced in "Later Work." In an article by Max Beerbohm in the Idler, May 1898, accompanied by "some drawings that have never before been reproduced," are nine small vignettes of the "Bon Mots" type, of which number three only are explicitly ascribed to "Bon Mots" (A sheet of them belongs to W. H. Jessop, Esq. Nineteen are the property of Pickford Waller, Esq.)

66. Folly, intended for "Bon Mots," but not used in the book. The figure is walking along a branch of hawthorn, the left hand upraised, and holding the fool's baton; a flight of butterflies in lower left-hand corner; with drawing 8 × 5-1/4 inches. (Property of Littleton Hay, Esq.)

67. Pagan Papers, a volume of Essays by Kenneth Grahame. Elkin Mathews and John Lane, 1893. Title-page, design for.

68. Ada Lundberg, head and shoulders to right, coloured crayons on brown paper. Reproduced in colour in "Later Work." (Property of Julian Sampson, Esq.)

69. Keyholes Series of Novels and Short Stories.—(The publication of this series was begun by Messrs Elkin Mathews and John Lane, and afterwards continued by Mr John Lane alone.)

I. Keynotes by George Egerton, 1893. Title-page design (the same employed for the cloth cover). Ornamental key, embodying the author's monogram, on back of "Contents" page (the same device on the back of the book). This plan was adopted for each volume of the series.

II. The Dancing Faun, by Florence Farr (the Faun in the design has the eyeglass and features of J. M^cNeill Whistler).

III. Poor Folk. Translated from the Russian of F. Dostoievsky, by Lena Milman.

IV. A Child of the Age, by Francis Adams.

V. The Great God Pan and the Inmost Light, by Arthur Machen, also unfinished sketch in pencil upon the back of the finished design.

VI. Discords, by George Egerton.

VII. Prince Zaleski, by M. P. Shiel.

VIII. The Woman who Did, by Grant Allen.

IX. Women's Tragedies, by H. D. Lowry, 1895.

X. Grey Roses, by Henry Harland.

XI. At the First Corner, and other Stories, by H. B. Marriott Watson.

XII. Monochromes, by Ella D'Arcy.

XIII. At the Relton Arms, by Evelyn Sharp.

XIV. The Girl from the Farm, by Gertrude Dix.

XV. The Mirror of Music, by Stanley V. Makower.

XVI. Yellow and White, by W. Carlton Dawe.

XVII. The Mountain Lovers, by Fiona Macleod.

XVIII. The Woman who Didn't, by Victoria Crosse.

XIX. Nobody's Fault, by Netta Syrett.

XX. The Three Impostors, by Arthur Machen.

XXI. The British Barbarians, a hill-top novel, by Grant Allen.

XXII. Platonic Affections, by John Smith.

Design for wrapper of "Keynotes" series, John Lane, 1896.

(With the exception of No. 2 all the above Keynotes designs are the property of John Lane, Esq.)

70. The Barbarous Britishers, a tip-top novel, by H. D. Traill. Title-page design (the same employed for the cloth cover), comprising a portrait of Miss Ada Lundberg, the whole being a parody of the design for "The British Barbarians," vide supra. John Lane, 1896. (Property of John Lane, Esq.) Reproduced in "Early Work."

71. Three Headpieces, two of which appeared in St Paul's, April 2nd, 1898, the other in the same paper, April 9th, 1898. All three republished in "Early Work." (Property of Henry Reichardt, Esq.) 1893-4.

72. Women regarding a Dead Mouse. Three-quarter figure in leaden grey. Unfinished painting in oils, the only experiment the artist ever made in this medium; influenced by Walter Sickert. c. 1894.

73. Menu of the Tenth Annual Dinner of the Playgoers' Club in London. Two drawings, one of them only reproduced in "Early Work." January 28th, 1894.

74. Lucian's True History. Laurence & Sullen, privately printed, 1894. Black and white illustrations to

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

Another drawing of the same subject and title, but different rendering, 6 × 4-1/2 inches, was inserted loose in large paper copies only; not noted in "Contents" page of the book.

II. Dreams. Reproduced in "Later Work." This drawing was executed obviously at the same period as "Siegfried" and "The Achieving of the Sangreal."

III., IV. Two more drawings, intended for the same work, but not included in it. Twenty copies of each were printed privately. One of them is unpublished; of the other, the upper portion was published in "Later Work." These illustrations were the earliest of the Artist's designs not intended for public circulation.

Lucian's True History, translated by Francis Hickes, illustrated by William Strang, J. B. Clark, and Aubrey Beardsley, with an Introduction by Charles Whibley, was published by A. H. Bullen. London, 1902.

75. Quilp's Baron Verdigris. Black and white. Designed for Messrs Henry & Co. First published in "Second Book" and again in "Later Work." 1894.

76. Poster for "The Comedy of Sighs," by Dr John Todhunter, at the Avenue Theatre, March 29th, 1894. Three-quarter length figure of woman in deep blue, standing behind a gauze curtain with light green round spots powdered over it, 28-3/4 × 4-3/4 inches. The same has since been printed, the original size, in black and white. The same reduced, and printed in blue on light green paper for the programme sold in the theatre: also printed in black on toned paper for the programme of Mr G. Bernard Shaw's play, "Arms and the Man," April 21st, 1894. Also still further reduced, in black on pale mauve-pink paper for the wrapper of Mr W. B. Yeats's play, "The Land of Hearts' Desire." Reproduced in Idler magazine, March 1897; again in "Fifty Drawings," also in "Later Work." This was Aubrey Beardsley's first poster design. 1894.

77. Poster for Mr Fisher Unwin's "Pseudonym Library." Female figure in salmon-pink dress standing on the opposite side of the road to a second-hand book-store. The scheme of colouring—salmon-pink, orange, green, and black—was suggested to Aubrey Beardsley by a French poster. 29-1/2 × 13 inches.

The same reduced, in colours, to form an advertisement slip for insertion in books and magazines.

The same reduced, printed in black, 6 copies only, on Japanese vellum. Reproduced in "Fifty Drawings" and "Later Work." Also used as cover-design for the "Dream and the Business," by John Oliver Hobbes.

Similar motif, black and white drawing; exhibited at the New English Art Club Exhibition at the New Gallery. (Property of T. Fisher Unwin, Esq.)

78. Poster for Mr Fisher Unwin's Children's Books. Woman reading while seated in a groaning-chair; black purple. Reproduced in black in "Fifty Drawings" and "Later Work."

79. Poster Design. A lady and large sunflower, scheme of colouring purple and yellow. Unpublished. Purchased by Mr Fisher Unwin and destroyed accidentally in New York.

80. Sketch Portrait of the Artist, head and shoulders, three-quarter face to left; in imaginary costume with V-shaped opening to his coat and high-shouldered sleeves; in charcoal. First published in The Sketch, April 14th, 1894, again in "Early Work."

81. Sketch Portrait of Henry Harland, head and shoulders, three-quarter face to right, in charcoal. First published in The Sketch, April 11th, 1894, again in "Early Work." (Property of John Lane, Esq.)

82. Portrait of James M'neill Whistler. (Property of Walter Sickert, Esq.)

83. The Fat Woman (a caricature of Mrs Whistler). First published in To-Day, May 12th, 1894, afterwards republished in "Fifty Drawings" and "Later Work"; also in Le Courrier FranÇais, November 11th, 1894, with the title "Une Femme bien Nourrie." (Formerly the property of the late Mrs Cyril Martineau (Miss K. Savile Clarke)).

84. Waiting, a haggard, expectant woman, wearing V-necked bodice and large black hat, seated in a restaurant, with a half-emptied wine-glass on a small round table before her; black-ink drawing, 7-3/8 × 3-1/2 inches, unpublished. (Property of Pickford Waller, Esq.)

85. Masked Pierrot and Female Figure, water and gondolas in background, small square in black and white, published in To-Day, May 12th, 1894.

86. Salome, A tragedy in one act. Translated by Lord Alfred Douglas from the French of Oscar Wilde. Elkin Mathews and John Lane, 1894. Pictured with the following designs by Aubrey Beardsley:——

I. The woman (or man) in the moon (Frontispiece).

Border Design for Title-page (two states, the first cancelled). (Property of John Lane, Esq.)

Border Design for List of Pictures. (Property of John Lane, Esq.)

II. The Peacock Skirt. (Property of John Lane, Esq.)

III. The Black Cape. A burlesque, substituted for a drawing of John and Salome, which was printed but withheld, and subsequently published in "Early Work." (Property of John Lane, Esq.)

IV. A Platonic Lament. (Property of John Lane, Esq.)

V. Enter Herodias (two states, the first cancelled). (The drawing in its original state the property of Herbert J. Pollit Esq.) A proof of this drawing in its first state, now the property of Frank Harris, Esq., is inscribed by the artist on the left-hand top corner:

VI. The Eyes of Herod. (Note one of Herod's white peacocks.) (Property of John Lane, Esq.)

VII. The Stomach Dance. (The author makes Salome dance, barefooted, the Dance of the Seven Veils.) (Property of John Lane, Esq.)

VIII. The Toilette of Salome. Substituted for a former drawing of the same subject, printed in two states but withheld, the second state subsequently published in "Early Work" (Property of Robert Ross, Esq.)

IX. The Dancer's Reward. (Property of John Lane, Esq.)

X. The Climax. This is a revised and simpler version of the design which had appeared in the first number of The Studio.

Tailpiece. The corpse of Salome being coffined in a puff-powder box. (Property of John Lane, Esq.)

Nos. I., IV., V., and VI. of the above contain caricatures of Oscar Wilde.

XI. Small design, printed in gold on cloth, front cover of "Salome"; another, consisting of an elaboration of the artist's device, for the under side of cover.

XII. Study of a design of peacock feathers for cover of "Salome," not used at the time, but subsequently reproduced for the first time in facsimile in "Early Work," and again as an illustration following the title-page in reissue of "Salome" (John Lane, 1907); also in gold on light green cloth for ornament of the binding, and in olive green on orange-red for the paper cap. Also in gold on blue cloth for binding of "Under the Hill," 1904. (Property of John Lane, Esq.) This (1907) edition, moreover, contains the two illustrations suppressed in the original edition, viz., "John and Salome" (Property of John Lane, Esq.), now placed in order as No. 8, and "The Toilet of Salome, II.," now placed as No. 13 (Property of John Lane, Esq.) and an original title-page.

XIII. The Salome drawings were reproduced the actual size of the originals, and published in a portfolio. In this was included a design of Salome seated upon a settee. Described in "Early Work" as "Maitresse d'Orchestre." (John Lane, 1907.)

87. Dancer, with Domino. (The property of His Honour Judge Evans.)

88. Plays, by John Davidson. Elkin Mathews and John Lane, 1894. Design on frontispiece to, containing portrait caricatures of Sir Augustus Harris, and Oscar Wilde and Henry Harland, black and white; the same design in gold on the cloth cover. Reproduced in "Early Work," and again, with Aubrey Beardsley's letter to the Daily Chronicle on the subject, in "Under the Hill," 1904. (Property of John Lane, Esq.)

Design for Title-Page of the above-named. Black and white; reproduced in "Early Work."

89. The Yellow Book, 1894 and 1895.

I. Design for prospectus of the "Yellow Book": a woman examining books in a box at a bookstall: black on yellow paper. Elkin Mathews and John Lane, 1894. (Property of John Lane, Esq.)

Vol. I., April 1894. Elkin Mathews and John Lane.

II. Design on front side of yellow cover. (Property of John Lane, Esq.)

III. Design on under side of cover; the same repeated in the later volumes. (Property of John Lane, Esq.)

IV. Design on title-page: a woman playing a piano in a meadow. Reproduced, with Aubrey Beardsley's letter on the subject, to the Pall Mall Budget, in "Under the Hill" (1904). (Property of John Lane, Esq.)

V. L'Education Sentimentale: in line and wash.

VI. Night Piece.

VII. Portrait of Mrs Patrick Campbell in profile, to left in outline. Formerly in possession of Oscar Wilde, now in National Gallery at Berlin.

VIII. Bookplate (designed in 1893) for John Lumsden Propert, Esq.

Vol. II., July 1894. Elkin Mathews and John Lane.

IX. Design on front side of cover. (Property of John Lane, Esq.)

X. Design on title-page.

XI. The Comedy-Ballet of Marionettes. Three designs.

XII. GarÇons de CafÉ. (Property of A. W. King, Esq.)

XIII. The Slippers of Cinderella. The artist subsequently coloured the original with scarlet and green, in which state it is unpublished. (Property of Brandon Thomas, Esq.)

XIV. Portrait of Madame RÉjane, full-length profile to left, in outline. (Property of Frederick H. Evans, Esq.)

Volume III., October 1894. John Lane.

XV. Design on front side of cover. (Property of John Lane, Esq.)

XVI. Design on title-page.

XVII. Portrait of Mantegna. Published, for a practical joke, in the name of Philip Broughton. (Property of G. Bernard Shaw, Esq.)

XVIII. Portrait of the artist; fancy portrait of himself in bed. (Property of John Lane, Esq.)

XIX. Lady Gold's Escort. (Property of Brandon Thomas, Esq.)

XX. The Wagnerites at the performance of "Tristan und Isolde." Reproduced, on large scale, in Le Courrier FranÇais, December 23rd, 1894, with the title "WagnÉriens et WagnÉriennes."

XXI. La Dame aux CamÉlias. Reprinted in St Paul's, April 2nd, 1894, with the title "Girl at her Toilet." (Formerly the property of the late Miss K. Savile Clarke [Mrs Cyril Martineau].)

XXII. From a pastel; half-length study of a woman in white cap, facing to left. (Published, for a practical joke, in the name of Albert Foschter.)

Volume IV., January 1895. John Lane.

XXIII. Design, on front side of cover.

XXIV. Design on title-page.

XXV. The Mysterious Rose Garden, burlesque Annunciation. (Property of John Lane, Esq.)

XXVI. The Repentance of Mrs ——. (The kneeling figure is a reminiscence of the principal one in "The Litany of Mary Magdalen.")

XXVII. Portrait of Miss Winifred Emery (outline). (Property of Mrs Cyril Maude.)

XXVIII. Frontispiece for Juvenal. Double-page supplement.

XXIX. Design for "Yellow Book" Cover, not used. First published in "Early Work." (Property of John Lane, Esq.)

XXX. Show-card to advertise "The Yellow Book"; female figure standing, her hat hanging from her right hand, and daffodils growing at her feet. Dark green on light yellow paper. Reproduced in black-and-white in "Early Work." (The property of John Lane, Esq.)

90. Portrait of RÉjane wearing a broad-brimmed hat with dark bow in front, head and shoulders, full face slightly to left, wash drawing. Reproduced by Swan Electric Engraving Company for the "Yellow Book," but not used. Unpublished.

91. RÉjane, black-and-white design of the actress standing, half length, fan in hand, against a white curtain with conspicuous tassel. First published in "Second Book," and again, in a reduced state, as "Title-page ornament, hitherto unpublished" in "Early Work." 1893-4.

92. Madame RÉjane, full-length portrait sketch, ink and wash. First published in "Second Book," again in "Later Work."

93. Madame RÉjane, profile to left; sitting, legs extended, on a sofa, ink and wash. First published in "Pen Drawing and Pen Draughtsmen," by Joseph Pennell (Macmillan, 1894), again in "Fifty Drawings," and in the Idler Magazine, March 1897.

94. RÉjane, portrait head in profile to left, in red crayon and black ink, 7-1/2 × 6 inches. First published in facsimile in The Studio, May 1898, again in "Later Work." (Property of Frederick H. Evans, Esq.) 1894.

95. A Poster Design. Back view of a woman, her face in profile to right, holding a pigmy in her right hand. First published in "Early Work." (Property of John Lane, Esq.)

96. A Poster Design (Singer). Woman seated at a piano. First reproduced in The Poster, October 1898, again in "Second Book" and in "Later Work."

97. Lady to right gazing at a Hat on a Milliner's Bonnet Stand, headpiece for the "Idlers' Club" section in the Idler Magazine, 1894.

98. Pierrot and Black Cat, small square in black-and-white for a book ornament.

99. Head and Shoulders of a Chinese Priest, together with the Head of a Satyr. 25 copies only printed on folio sheet, and 10 copies only in red. It is not known for what they were intended. Published by James Tregaskis, Caxton Head.

100. Les Passades, night scene, in pen-and-ink with ink wash, 10 × 5 inches. First published in To-Day, November 17, 1894, again in the Idler Magazine, March 1897.

101. Venus between Terminal Gods. Frontispiece for a version of the TannhÄuser legend, to be published by Messrs H. Henry & Co. Ltd., a project never completed. Design in black-and-white, showing, especially in the treatment of flying dove and of the background of rose-trellis, the influence of Charles Ricketts or Laurence Housman. Reproduced in "Second Book," and again in "Later Work." Circa 1894-5.

102. Frontispiece and Title-page, together forming one complete design, for "The Story of Venus and TannhÄuser," to be published by John Lane, but never completed. (Cf. "Under the Hill" in The Savoy, 1896.) Reproduced in "Early Work." Dated 1895. (Property of John Lane, Esq.)

103. The Return of TannhÄuser to Venusberg. A design originally intended for the above-named book. Subsequently presented by the artist to J. M. Dent, Esq. First published, in illustration of an article by Max Beerbohm, in the Idler Magazine for May 1898, and again, in larger format and, as the initials in left hand corner show, reversed, in "Second Book" and again in "Later Work." The Idler version has a slight effect of half-tone in the brambles in the foreground, but the "Later Work" reproduction is pure black-and-white contrast.

104. Venus. Design for title-page, in black-and-white. First published in The Studio, 1898, and afterwards in "Early Work," March 2, 1899, where it is described as "hitherto unpublished." (The property of John Lane, Esq.)

105. Design for Cover of "The Cambridge A, B, C." Reproduced in "Early Work."

106. Pierrot as Caddie, Golf Club Card, designed for the opening of The Prince's Ladies' Golf Club, Mitcham, pen-and-ink. Published in "Early Work." (Formerly the property of Mrs Falconer-Stuart, now of R. Hippesley Cox, Esq.) Dated 1894.

107. A Poster Design; two female figures drawn in black-and-white for Mr William Heinemann. Reproduced in "Early Work."

108. The London Garland, published by the Society of Illustrators, 1895. A pen-and-ink drawing of a female in very elaborated dress reaching from her neck to the ground, intended to represent a ballet-dancer with a costume as prescribed by Mrs Grundy. The original drawing, unfinished, contains another figure, not reproduced, on the left. The original title for this drawing was "At a Distance." Reproduced in "Second Book." (Property of Joseph Pennell, Esq.)

109. Autumn. Design in black-and-white for a calendar to be published by William Heinemann. Reproduced in "Early Work."

110. Tales of Mystery and Wonder, by Edgar Allen Poe (Stone & Kimball, Chicago, U.S.A., 1895); four designs in pen-and-ink for large paper edition of——

I. The Murders in the Rue Morgue.

II. The Black Cat.

III. The Masque of the Red Death. First published in the "Chap Book" (Chicago), Aug. 15, 1894, again in same, April 1, 1898.

IV. The Fall of the House of Usher.

111. Outline Portrait of the Artist in profile to left; in imaginary costume, with a lace ruff to the neck, and earrings in the ears. Published in "Posters in Miniature," and again in "Early Work." A half-tone block from variant of the same, the earring as well as the button on lappel and waist of coat more pronounced, was published in The Hour, March 27, 1895, and reproduced in Magazine of Art, November 1896.

112. A Child Standing by its Mother's Bed, black-and-white, chiefly outline. First published in The Sketch, April 10, 1895. Reproduced in "Early Work." Formerly in the possession of Max Beerbohm, Esq., but since lost.

113. The Scarlet Pastorale, pen-and-ink. First published in The Sketch, April 10, 1895. Also printed in scarlet on white. Reproduced in "Fifty Drawings."

114. Portrait of Miss Ethel Devereux, pencil drawing. (Property of Mrs Roy Devereux.) Circa 1895.

115. Design for an Invitation Card, ink outline; seated Pierrot smoking, a copy of the "Yellow Book," Vol. IV., on the couch at his side. Drawn for Mr John Lane's Sette of Odd Volumes Smoke. Reproduced in The Studio, September 1895. (Property of John Lane, Esq.)

116. Three Decorative Designs from the brown paper cover of Aubrey Beardsley's own copy of "Tristan und Isolde." Two reproduced in "Later Work." (Property of Frederick H. Evans, Esq.)

117. Max Alvary as "Tristan" in Wagner's opera "Tristan und Isolde," half-length profile to left, pen-and-ink and wash with unusual monogram signature. 10 × 5-1/2 inches. First published in "Aubrey Beardsley's Drawings, a catalogue and a list of criticisms," by A. E. Gallatin (New York, 1903). (Formerly the property of Rev. G. H. Palmer, now of A. E. Gallatin, Esq.)

118. Frau Klafsky as "Isolde" in above-named opera, pen-and-ink and pale green water-colour, 13 × 4-3/4 inches. First published in the Critic (New York), December, 1902. (Formerly the property of Rev. G. H. Palmer, now of A. E. Gallatin, Esq.)

119. Isolde; autolithograph in scarlet, grey, green, and black on white; supplement to The Studio, October 1895.

120. Woman reclining in a Meadow by the Border of a Lake, listening to a Faun reading out of a Book to Her. Oblong design in ink on white; a variant of the design for wrapper of Leonard Smithers' Catalogue, No. 3. First published in The Studio, May 1898, again in "Early Work," where it is described as "hitherto unpublished." (Property of John Lane, Esq.) 1895.

121. Design for Wrapper of "Catalogue of Rare Books," No. 3. (Leonard Smithers, September 1895.) The same figures as in the last-named, but the landscape has an urn and additional trees to adapt the design to upright shape. Black on pale blue-green paper.

122. Chopin Ballade III., illustration for. Woman rider, mounted on a prancing white horse to left. Wash drawing. First published in The Studio, May 1898, in half tones of grey, with deep purplish black; again in "Second Book." (Property of Charles Holme, Esq.) 1895.

123. Chopin's Nocturnes, frontispiece to. Pen-and-ink and wash. First published in "Early Work." (Property of John Lane, Esq.)

124. Earl Lavender, by John Davidson (Ward & Downey, 1895), design for frontispiece to. Woman scourging a kneeling, barebacked figure. Pen-and-ink outline. Reproduced in "Early Work." (Property of John Lane, Esq.)

125. Young Ofeg's Ditties, by George Egerton (John Lane, 1895), title-page and cover design for.

126. Messalina, with another woman on her left, black-and-white, with black background. First published in "Second Book," again in "Early Work," where it is described as "hitherto unpublished." 1895.

127. Title-page Ornament, standing nude figure playing double-bass, black background. First published in "Early Work."

128. Portrait of Miss Letty Lind in "The Artist's Model." Pen-and-ink outline. Published in "Early Work." (Property of Miss Letty Lind.)

129. Atalanta in Calydon, full-length figure to right; pen-and-ink and wash. First published in "Early Work." (Property of John Lane, Esq.)

130. Cover Design for Fairy Tales by Count Hamilton, to be published by Messrs H. Henry & Co., Ltd.

131. Balzac's "La ComÉdie Humaine," design (head, full face) for front side and another for the reverse of cover. Reproduced in "Later Work."

132. The Brook Trills of Pernicious by Richard le Philistienne, title-page to burlesque, that of "The Book Bills of Narcissus," by Richard le Gallienne. Unpublished. (Property of J. M. Dent, Esq.)

133. A Self-Portrait, grotesque outline profile to left, with diminutive silk hat, from the fly-leaf of an envelope in the possession of J. M. Dent, Esq. Unpublished.

134. The Shaving of Shagpat, by George Meredith, small sketch to illustrate, in pen-and-ink, contained in a letter to Frederick H. Evans, Esq. Unpublished.

135. An Evil Motherhood, by Walt Ruding (Elkin Mathews, 1896), frontispiece to. Pen-and-ink. Reproduced in "Early Work."

136. Cafe Noir. Another design for the frontispiece of the last-named book, pen-and-ink and wash; bound up in six review copies only, and then recalled. Reproduced in "Early Work." (Property of M. Jean Ruelle.)

137. Title-page, an architectonic design. First published as the title of "Early Work" (John Lane, 1899). (Property of John Lane, Esq.)

138. Ornamental Title-page for "The Parade." Messrs H. Henry & Co., Ltd., 1896. Reproduced in "Later Work."

139. Tail-piece to Catalogue of Lord Carnarvon's Library, 1896.

140. Sappho, by H. T. Wharton. (John Lane, 1896.) Design for cover in gold on blue. Reproduced in "Early Work." (Property of John Lane, Esq.)

141. Pierrot's Library. (John Lane, 1896.) Design for title-page of, two designs for end papers, printed in olive green; design for front cover and vignette for reserve cover, printed in gold on red cloth. Reproduced in "Early Work." (Property of John Lane, Esq.)

142. Love Enshrined in a Heart in the Shape of a Mirror, pen-and-ink. First published in "Aubrey Beardsley" by Arthur Symons. (Sign of the Unicorn, 1898.) (Property of AndrÉ Raffalovich, Esq.)

143. The Lysistrata of Aristophanes. (Leonard Smithers, privately printed, 1896.) Eight pen-and-ink designs to illustrate——

I. Lysistrata.

II. The Toilet of Lampito.

III. Lysistrata haranguing the Athenian Women.

IV. Lysistrata defending the Acropolis.

V. Two Athenian Women in Distress.

VI. Cinesias soliciting Myrrhina.

VII. The Examination of the Herald.

VIII. The Lacedemonian Ambassadors.

An expurgated version of No. 3 was published in "Second Book," and was repeated together with expurgated versions or fragments from the remainder of the set in "Later Work."

144. The Rape of the Lock, by Alexander Pope. An heroi-comical poem in five cantos, "embroidered with nine drawings by Aubrey Beardsley," 4to. Leonard Smithers, 1896. Now published by John Lane. (Property of Messrs Keppel, New York.)

I. The Dream.

II. The Billet-Doux (vignette). Reproduced in St Paul's, April 2, 1898. (Property of Mrs Edmund Davis.)

III. The Toilet.

IV. The Baron's Prayer.

V. The Barge.

VI. The Rape of the Lock. (The property of Messrs Keppel, New York.)

VII. The Cave of Spleen.

VIII. The Battle of the Beaux and the Belles. Reproduced in the Idler, March 1897.

IX. The New Star (cul-de-lampe).

Cover design for the original edition.

Cover design for the Bijou edition. (John Lane.) Reproduced in "Later Work."

145. Design for Wrapper of Catalogue of Rare Books, No. 7. (Leonard Smithers, 1896.) A lady seated on a striped settee reading; a parrot on stand on the right. Black on leaden-grey paper. Reproduced in "Second Book," 1896, and "Later Work."

146. The Prospectus of The Savoy. Design for.

I. A burlesque Cupid on a stage with footlights, one hand holding a copy of the book, whence it appears that the original intention was to produce the first number in December 1895. Reproduced in "Later Work." Latter part of 1895. (Property of John Lane, Esq.)

II. A suppressed variant of the above, same motif reversed, only with John Bull substituted for the Cupid. Reproduced in "Later Work."

III. Initial letter A in the above Prospectus. Reproduced in "Later Work."

IV. Publisher's Trade-mark for Leonard Smithers. First published in "Savoy" Prospectus. The same, name omitted, appears in "Later Work" with the title of "Siegfried," 1895.

The Savoy, No. 1, January 1896. (Leonard Smithers.)

V. Cover design, in two states. The original was suppressed because it depicted too realistically the contempt of the child in the foreground for the "Yellow Book," with which the artist had recently ceased to be connected. The revised version was republished in "Fifty Drawings," and again in "Later Work." (Property of Mrs George Bealby Wright.)

VI. Title-page. Repeated as title-page in No. 2, and republished in "Later Work."

VII. Drawing to face Contents. Caricature of John Bull. Republished in "Later Work."

VIII. The Three Musicians. Illustration of the artist's poem, same title. Republished in "Fifty Drawings" and "Later Work."

IX. Another drawing to illustrate the above, but withheld. It appeared for the first time in "A Book of Fifty Drawings," 1897. Republished in "Later Work" and "Under the Hill."

X. Tailpiece to the above. Republished in "Later Work" and "Under the Hill."

XI. The Bathers (on Dieppe Beach). Republished in "Fifty Drawings" and "Later Work."

XII. The Moska. This subject was inspired by the children's dance at the Casino, Dieppe. Republished in the Idler Magazine, March 1897, and again in "Later Work." (Property of Mrs Edmund Davis.)

XIII. The AbbÉ. This and the two designs which follow appeared as illustrations to "Under the Hill," a romantic novel, by Aubrey Beardsley. Republished in "Later Work." All the illustrations of "Under the Hill" reissued with text in a volume bearing same title. John Lane, 1904.

XIV. The Toilet of Helen. Republished in "Fifty Drawings" and "Later Work."

XV. The Fruit Bearers. Republished in "Later Work."

XVI. A large Christmas Card, in black-and-white. Madonna, with fur-edged, richly-flowered mantle. Issued together with, but not bound in, the book. Republished in "Fifty Drawings" and "Later Work."

The Savoy. No. 2. April 1896.

XVII. Cover Design. Republished in "Later Work."

XVIII. A Foot-note. (Fancy portrait of the artist.) Republished, with omissions, in "Later Work." Also adapted in gold on scarlet for cloth cover of "Second Book."

XIX. The Ecstasy of Saint Rose of Lima. Illustration of "Under the Hill." Republished in "Fifty Drawings" and "Later Work."

XX. The Third Tableau of "Das Rheingold." Republished in "Fifty Drawings" and "Later Work."

Scene reproduced from "The Rape of the Lock."

The Savoy. No. 3. July 1896.

XXI. Cover Design. Republished in "Later Work."

XXII. Title-page. Puck on Pegasus. Repeated for the title of all the succeeding numbers. Republished in "Later Work." Also, reduced, as design for title-page of "Fifty Drawings," and in gold on scarlet for the under side of cloth cover of same.

XXIII. The Coiffing. This and the following design accompanied Aubrey Beardsley's "Ballad of a Barber." The Coiffing was republished in the Idler Magazine, March 1897, and in "Fifty Drawings" and "Later Work." (Property of Messrs Obach & Co.)

XXIV. A Cul-de-Lampe. Cupid carrying a gibbet. Republished in "Later Work."

The Savoy. No. 4. August 1896.

XXV. Cover Design. Republished in "Later Work."

The Savoy. No. 5. September 1896.

XXVI. Cover Design. (Signed, for a practical joke, Giulio Floriani.) Republished in "Fifty Drawings" and "Later Work."

XXVII. The Woman in White. A sketch in white on brown paper. Republished in "Fifty Drawings" and "Later Work."

The Savoy. No. 6. October 1896.

XXVIII. Cover Design; the Fourth Tableau of "Das Rheingold." Republished in "Fifty Drawings" and "Later Work."

XXIX. The Death of Pierrot. A pen-and-ink sketch. Reproduced in "Later Work." (Property of Messrs Obach & Co.)

The Savoy. No. 7. November 1896.

XXX. Cover Design. Republished in "Later Work."

XXXI. Ave atque Vale; Catullus, Carmen C.I. Republished in "Fifty Drawings" and "Later Work."

XXXII. Tristan und Isolde. Republished in "Later Work."

The Savoy. No. 8 (the last issued). December 1896.

XXXIII. Cover Design. Republished in "Later Work." The same adapted, with the addition of heavy black bands, and is printed in green and scarlet, for small poster to advertise the completed work.

XXXIV. A RÉpÉtition of "Tristan und Isolde." Republished in "Later Work."

XXXV. Don Juan, Sganarelle and the Beggar; from MoliÈre's "Don Juan." Republished in "Later Work."

XXXVI. Mrs Margery Pinchwife, from William Wycherley's "Country Wife." Republished in "Later Work."

XXXVII. Frontispiece to "The Comedy of the Rheingold." Republished in "Later Work."

XXXVIII. Flosshilde, a Rhine Maiden; to illustrate "Das Rheingold." Republished in "Later Work." (Property of Herbert J. Pollit, Esq.)

XXXIX. Erda; to illustrate "Das Rheingold." Republished in "Later Work."

XL. Alberich; to illustrate "Das Rheingold." Republished in "Later Work." (Property of Herbert J. Pollit, Esq.)

XLI. Felix Mendelssohn Bartholdy. Republished in "Later Work." (Property of Herbert J. Pollit, Esq.)

XLII. Carl Maria von Weber. Republished in "Later Work."

XLIII. Count Valmont, from "Les Liaisons Dangereuses," by Choderlos de Laclos. Republished in "Later Work."

XLIV. Et in Arcadia Ego. Republished in "Later Work."

XLV. Small ornament for the cover of bound volumes of "The Savoy."

XLVI. Sketch of a Child (young girl), unfinished, in pencil, on the reverse of "A Foot-note." First published in "Early Work." (Property of Frederick H. Evans, Esq.)

147. A Seated Figure. Unpublished design for the Savoy, occurring as a grotesque in "Bon Mots." (Property of G. D. Hobson, Esq.)

148. Verses, by Ernest Dowson (Leonard Smithers, 1896), cover design for. Reproduced in "Later Work." (Property of John Lane, Esq.)

149. The Pierrot of the Minute. A Dramatic Phantasy in one act. By Ernest Dowson. Leonard Smithers, 1897. (Property of John Lane, Esq.) Four designs to illustrate:——

I. Frontispiece.

II. Headpiece.

III. Initial letter P.

IV. Cul-de-Lampe.

Reproduced in "Second Book" and "Later Work." Cover design for the same.

150. Apollo pursues Daphne. (Property of Herbert J. Pollit, Esq.)

151. The Souvenirs of Leonard, Cover design for. Printed in gold on purple. Reproduced in "Later Work." 1897.

152. The Life and Times of Madame du Barry, by Douglas. Leonard Smithers, 1897. Cover design for. Reproduced in "Later Work." 1897.

153. Frontispiece to A Book of Bargains, by Vincent O'Sullivan. Leonard Smithers, 1897. Reproduced in the Idler, March 1897.

154. Cover Design for A Book of Fifty Drawings, by Aubrey Beardsley. Leonard Smithers, 1897. Reproduced in gold on scarlet cloth. Republished on a reduced scale, in black-and-white, in "Later Work."

155. Silhouette of the Artist. First published as a tailpiece at the end of "Fifty Drawings." Also in Idler Magazine, March 1897, and in "Later Work."

156. Book-Plate of the Artist. First published in "Fifty Drawings," 1897, also in "Later Work."

157. Ali Baba. Cover Design for The Forty Thieves.

I. First published in "Second Book," again in "Later Work," 1901. (Property of Messrs Robson & Co.)

II. Ali Baba in the Wood. First published in "Fifty Drawings," 1897. Also in Idler, May 1898, and again in "Later Work."

158. Atalanta in Calydon. First published in "Fifty Drawings," 1897; also in the Idler Magazine, March 1897, and again in "Later Work." (This drawing was exhibited at the Carfax Exhibition, October 1904, under the title of "Diana," 77.)

159. Messalina returning from the Bath. Pen-and-ink and water colours. First published in "Second Book," again in "Later Work." This drawing, together with the other one of Messalina, drawn in 1895 (see supra), two of Bathyllus, and one representing Juvenal scourging a woman (this last, slightly altered, reproduced in "Later Work"), belongs to a series of illustrations to the Sixth Satire of Juvenal. Leonard Smithers, privately printed, 1897.

160. The Houses of Sin, by Vincent O'Sullivan. Leonard Smithers, 1897. Cover design for. Reproduced in "Second Book," again in "Later Work."

161. La Dame aux CamÉlias. Sketch in water colour to right. On the fly-leaf of a copy of the book given to the artist by M. Alexandre Dumas, fils. First published in "Second Book," again in "Later Work." 1897.

162. Book-Plate for Miss Olive Custance (Lady Alfred Douglas). Reproduced in photogravure in "Early Work."

163. Arbuscula. Drawing in line and wash, for the Édition de luxe of Vuillier's "History of Dancing." William Heinemann, 1897. Reproduced in photogravure; also an early impression of the same printed in a green tint. (Property of John Lane, Esq.)

164. Mademoiselle de Maupin, by ThÉophile Gautier. Leonard Smithers, 1898. Designs to illustrate:——

I. Mademoiselle de Maupin, frontispiece, water colour. Reproduced in facsimile by Messrs Boussod, Valadon & Co., for limited edition, and, like the rest, in photogravure for ordinary edition. Reproduced as frontispiece to "Later Work."

II. D'Albert (small design).

III. D'Albert in search of Ideals. (Property of Mrs George Bealby Wright.)

IV. The Lady at the Dressing Table. (Property of Walter Pollett, Esq.)

V. The Lady with the Rose.

VI. The Lady with the Monkey. All the above reproduced in photogravure in "Later Work."

165. Ben Jonson his Volpone: or the Foxe. 4to. Leonard Smithers, 1898.

I. Design in gold on blue for the cloth cover. Same in black-and-white for opening page. Frontispiece, design in pen-and-ink.

II. Vignette to the Argument. Initial letter V, with column and tasselled attachments to the capital. This and the remaining designs were executed in pen and crayon.

III. Vignette to Act I. Initial letter V, with an elephant, having a basket of fruits on his back. (Property of Herbert J. Pollit, Esq.)

IV. Vignette to Act II. Initial letter S, with a monster bird, having a pearl chain attached to its head. (Property of Herbert J. Pollit, Esq.)

V. Vignette to Act III. Initial letter M, with seated Venus and Cupid under a canopy, between two fantastic gynÆcomorphic columns. (Property of Herbert J. Pollit, Esq.)

Vignette to Act IV. (The same as the design for Act II. repeated.)

VI. Vignette to Act V. Initial letter V, with a horned terminal figure of a man or satyr. (Property of Herbert J. Pollit, Esq.)

All these Volpone designs were reproduced in "Later Work." Drawn at the close of 1897 and early part of 1898, they constitute the latest designs produced by Aubrey Beardsley before his death.

In his published List, Mr A. E. Gallatin mentions several sketches and other drawings in private letters which, for lack of detailed information, I have not included in my List. Many of Aubrey Beardsley's drawings are constantly changing hands. In each case the name of the last known owner is given. Where no owner's name appears, no information has been obtainable. Some of the finest drawings, I am informed upon good authority, have now passed into the collection of Herr WÄrdofer of Vienna.

I desire to acknowledge my indebtedness to the artist's mother and sister, to Mr G. R. Halkett, Mr H. C. Marillier, Mr H. A. Payne, and Mr Pickford Waller. To Mr Frederick H. Evans, who kindly placed his collection at my disposal, I am under special obligations.

Aymer Vallance