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Grotesque and Performance in the Art of Aubrey Beardsley

Metadata
TitleGrotesque and Performance in the Art of Aubrey Beardsley
ContributorEvanghelia Stead(author)
DOIhttps://doi.org/10.11647/OBP.0413
Landing pagehttps://www.openbookpublishers.com/books/10.11647/OBP.0413
Licensehttps://creativecommons.org/licenses/by-nc-nd/4.0/
CopyrightEvanghelia Stead
PublisherOpen Book Publishers
Publication placeCambridge, UK
Published on2024-10-11
ISBN978-1-80511-345-4 (Paperback)
978-1-80511-346-1 (Hardback)
978-1-80511-347-8 (PDF)
978-1-80511-349-2 (HTML)
978-1-80511-348-5 (EPUB)
Short abstractThis insightful study illuminates previously unexplored aspects of Aubrey Beardsley’s relationship to the grotesque and his use of media, particularly his manipulation of the periodical press. For the first time and with keen intelligence, Evanghelia Stead fully reveals the aesthetic importance of Beardsley’s Bon-Mots vignettes, as well as the relationship between Darwinism, his innovative foetus motif, and Decadence itself.
Long abstract“If I am not grotesque, I am nothing.” This insightful study illuminates previously unexplored aspects of Aubrey Beardsley’s relationship to the grotesque and his use of media, particularly his manipulation of the periodical press. For the first time and with keen intelligence, Evanghelia Stead fully reveals the aesthetic importance of Beardsley’s Bon-Mots vignettes, as well as the relationship between Darwinism, his innovative foetus motif, and Decadence itself. Beautifully illustrated throughout, the book calls on histories of culture and aesthetics to show how the artist reworked traditional imagery and manipulated it beyond recognition—revealing for instance the influence of cathedral grotesques on Beardsley’s own grotesque performances. Stead also demonstrates his major impact on Italian, French, American and German creative minds through the periodical press. Rich in original thought and detailed, comparative analysis, this book is an invigorating and enlightening read for scholars of Aubrey Beardsley, as well as for anyone interested in nineteenth-century visual culture, art history, art criticism, print culture, illustration, grotesque iconography, and cultural history.
Print length292 pages (xii+280)
LanguageEnglish (Original)
Dimensions156 x 21 x 234 mm | 6.14" x 0.83" x 9.21" (Paperback)
156 x 24 x 234 mm | 6.14" x 0.94" x 9.21" (Hardback)
Weight559g | 19.72oz (Paperback)
736g | 25.96oz (Hardback)
Media134 illustrations
OCLC Number1461946199
LCCN2023513482
THEMA
  • ABA
  • AFH
  • AF
  • AFF
BISAC
  • ART015100
  • ART015030
  • ART024000
  • ART009000
LCC
  • NC242.B3
Keywords
  • Aubrey Beardsley
  • grotesque
  • media and print culture
  • media performance
  • fin-de-siècle
  • British and comparative art
Funding
Contents

Introduction: Breaking the Mould of Victorianism

(pp. 1–12)
  • Evanghelia Stead

1. Grotesque Vignettes and the “All Margin” Book

(pp. 13–56)
  • Evanghelia Stead

2. A Foetal Laboratory and Its Influence

(pp. 57–106)
  • Evanghelia Stead

3. A Dandy’s Portico of Portraits

(pp. 107–140)
  • Evanghelia Stead

4. Beardsley Images and the “Europe of Reviews”

(pp. 141–166)
  • Evanghelia Stead

5. Paris Performance Alive and Dead

(pp. 167–202)
  • Evanghelia Stead

Conclusion and Aftermath

(pp. 203–216)
  • Evanghelia Stead
Locations
PaperbackLanding pageFull text URLPublisher Website
HardbackLanding pageFull text URLPublisher Website
PDFLanding pageFull text URLPublisher Website
Landing pageFull text URLOAPEN
Landing pageDOAB
Landing pageFull text URL
Landing pageFull text URL
Landing pageFull text URLINTERNET ARCHIVE
HTMLLanding pageFull text URLPublisher Website
EPUBLanding pageFull text URLPublisher Website
Contributors

Evanghelia Stead

(author)
Professor of Comparative Literature and Print Culture at Université de Versailles Saint-Quentin-en-Yvelines
https://orcid.org/0000-0002-5737-7947

Linguist, literary translator and honorary Fellow of the Institut Universitaire de France, Evanghelia Stead is Professor of Comparative Literature and Print Culture at the Université de Versailles-Saint-Quentin (UVSQ Paris-Saclay). In 2023 she brought the TIGRE seminar on literature, visual and print culture to UVSQ, which she had been running in Paris at the École Normale Supérieure (Department of the Arts) since 2004. She has been honoured internationally with visiting professorships at Marburg and Verona Universities, and won numerous sponsored research fellowships (CNRS, EURIAS/FRIAS, IUF, Beinecke). She has published extensively on fin-de-siècle culture, periodicals, history of the book, literature and iconography, Greek and Latin myths in modern literature, and the literary tradition of ‘the Thousand and Second Night.’ A well-known specialist on fin-de-siècle art and culture, she has also developed methodologies for periodical studies, expertise on reading books as cultural objects, reading with images, and through literature-related visual art.

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  138. Klingsor, Tristan. “Aubrey Beardsley,” Revue illustrée, 13:13 (15 June 1898): n.p. 
  139. Plume (La), 155 (15 Oct 1895). Special issue “L’affiche internationale illustrée.” Beardsley mentioned at pp. 410, 424, 428, 457, 459.
  140. La Rose, Pierre, “Notes,” The Chap-Book, 1:1 (15 May 1894): 17–18. With the drawing Mr Beardsley–After Himself. Text attributed by the table of contents.
  141. La Rose, Pierre, “The Yellow Book,” The Chap-Book, 1:7 (15 Aug 1894): 161–65. Plates by Beardsley published independently, A Drawing, p. 106, and The Masque of the Red Death, p. 158.
  142. La Rose, Pierre. “The Yellow Bookmaker,” The Chap-Book, 1:2 (1 June 1894): 41–42.
  143. Labruyère [pseud. of Albert Millaud]. “Le Décadent,” Physiologies parisiennes: 120 dessins de Caran d’Ache. Paris: À la Librairie Illustrée, 1886, p. 173–78.
  144. Laforgue, Jules. “Pierrots, I,” L’Imitation de N.-D. la Lune. Paris: Léon Vanier, 1886 [1885]; ed. by Pascal Pia. Poésie. Paris: Gallimard, 1979, pp. 28–29.
  145. Langenfeld, Robert. ed. Reconsidering Aubrey Beardsley, with an Annotated Secondary Bibliography by Nicholas Salerno. Foreword by Simon Wilson. Ann Arbor, Michigan, and London: U.M.I. Research Press, 1989.
  146. Lautrec, Gabriel de. “Envois de Londres,” Le Courrier français, 22 (31 May 1896): 5–6.
  147. Lautrec, Gabriel de. “Note sur Aubrey Beardsley,” Le Courrier français, 21 (21 May 1899): 3.
  148. Lautrec, Gabriel de. “Pour un Démon,” Le Courrier français, 7 (14 Feb 1897): 6.
  149. Lautrec, Gabriel de. “Une nouvelle revue,” Le Courrier français, 5 (2 Feb 1896): 8–9.
  150. Lawrence, Arthur H. “Mr. Aubrey Beardsley and His Work,” The Idler, 11 (Mar 1897): 189–202. Repr. in Stanley Weintraub, Aubrey Beardsley, Imp of the Perverse, pp. 218–23.
  151. Legras, Charles. “Au jour le jour: Aubrey Beardsley,” Le Journal des débats, 87 (29 Mar 1899): 1.
  152. Lehmann, Andrew G. “Pierrot and Fin de Siècle,” in Romantic Mythologies, ed. by Ian Fletcher. London: Routledge and Kegan Paul, 1967, pp. 209–23.
  153. Lethève, Jacques. “Aubrey Beardsley et la France,” Gazette des beaux-arts, 68:1175 (Dec 1966): 343–50.
  154. Leu, Philipp. “Les revues littéraires et artistiques, 1890–1900. Questions de patrimonialisation et de numérisation.” 2 vols. PhD diss., Université Paris-Saclay, 2016, https://theses.hal.science/tel-03606156
  155. Leverson, Ada. Letters to the Sphinx from Oscar Wilde, with Reminiscences of the Author. London: Duckworth, 1930.
  156. [Leverson, Ada.] “A Few Words with Mr. Max Beerbohm,” The Sketch 8:101 (2 Jan 1895): 439. With the photograph “Max Beerbohm in ‘Boyhood’.”
  157. [Leverson, Ada.] “Letters from a Débutante,” Punch, or The London Charivari, 107 (6 Oct 1894): 168, and (13 Oct 1894): 180.
  158. “Little Hints,” Screenland (Sept 1922): 41.
  159. Locke, George. From an Ultimate Dim Thule: A Review of the Early Works of S. H. Sime. London: Ferret Fantasy, 1973.
  160. Locke, George. The Land of Dreams: A Review of the Work of Sidney H. Sime, 1905 to 1916. London: Ferret Fantasy, 1975.
  161. Loos, Adolf. “Ornament und Verbrechen,” in Ulrich Conrads, Programme und Manifeste zur Architektur des 20. Jahrhunderts. Bauwelt: Fundamente, 1964, pp. 15–21.
  162. Lorrain, Jean [Raitif de la Bretonne]. “Pall-Mall Semaine,” Le Journal (15 Feb 1896): 2.
  163. Lorrain, Jean. Poussières de Paris. Paris: Fayard Frères, n.d. [1896].
  164. Lorrain, Jean. Poussières de Paris. Paris: Paul Ollendorff, 1902.
  165. Loti, Pierre. La Troisième Jeunesse de Madame Prune. Paris: Calmann Lévy, 1905.
  166. Lucian’s True History, Translated by Francis Hickes, Illustrated by William Strang, J. B. Clark and Aubrey Beardsley. London: Privately Printed [Lawrence and Bullen], 1894.
  167. Lyden, Anne M. The Photographs of Frederick H. Evans, with an Essay by Hope Kingsley. Los Angeles, California: The J. Paul Getty Museum, 2010.
  168. Mac-Nab, Maurice. “Les Fœtus,” in Mac-Nab, Poèmes mobiles: Monologues, avec illustrations de l’auteur et une préface de Coquelin cadet. Paris: Léon Vanier, 1886, pp. 15–22, with vignettes.
  169. MacColl, D[ugald] S[utherland]. “Aubrey Beardsley”, in A Beardsley Miscellany, ed. by R. A. Walker. London: The Bodley Head, 1949, pp. 15–32.
  170. [MacColl, D. S.] Mek Koll, O. “Obri Berdslei,” Mir iskusstva, 3:7–8 (1900): 73–84 (with twelve illustrations and a portrait); Mir iskusstva, 3:9–10 (1900): 97–120. Russian version of the above, commissioned by Sergei Diaghilev and first published in Russian.
  171. Manca, Maria Elisabetta. “Specchio di ‘Emporium:’ le riviste della biblioteca dell’Istituto Italiano d’Arti Grafiche di Bergamo,” in Emporium: Parole e figure tra il 1895 e il 1964, ed. by Giorgio Bacci, Massimo Ferretti, and Miriam Filetti Mazza. Pisa: Edizioni della Normale, 2009, pp. 155–70.
  172. Meier-Graefe, Julius. “Aubrey Beardsley and his Circle,” Modern Art: Being a Contribution to a New System of Aesthetics, trans. by Florence Simmonds and George W. Chrystal, 2 vols. New York: G. P. Putnam’s Sons; London: William Heinemann, 1908, II, pp. 252–66.
  173. Mercure de France, 26:101 (May 1898). The issue brings together Oscar Wilde, “Ballade de la geôle de Reading,”translated by H.-D. Davray, p. 350–70; Alfred Jarry, “Gestes et opinions du Dr Faustroll, pataphysicien: V. Du pays des dentelles – à Aubrey Beardsley,” pp. 399–400; Henry-D. Davray, “Aubrey Beardsley,” pp. 485–91.
  174. Montesquiou, Robert de. “Aubrey Beardsley,” Le Figaro, 52 (21 Feb 1907): 1. Collected under the title “Beardsley en raccourci,” in Montesquiou, Assemblée de notables. Paris: Félix Juven, 1908, p. 19–27.
  175. Montesquiou, Robert de. “Le Pervers (Aubrey Beardsley),” Professionnelles beautés. Paris: Félix Juven, 1905, pp. 85–104.
  176. Morel, Philippe. Les Grotesques. Les Figures de l’imaginaire dans la peinture italienne de la fin de la Renaissance. Paris: Flammarion, 2001. First published in 1997.
  177. Mourey, Gabriel. “Aubrey Beardsley,” La Revue encyclopédique, 8:248 (4 June 1898): 520–21.
  178. Mourey, Gabriel. “Quelques-uns et leurs œuvres: Aubrey Beardsley,” in Mourey, Passé le détroit: La Vie et l’Art à Londres. Paris: Paul Ollendorff, 1895, pp. 268–71.
  179. N. A. [Nurok, Al’fred], “Obri Berdslei,” Mir iskusstva, 1:3–4 (1899): 16–17.
  180. [Natanson, Thadée?], “Petite gazette d’art,” La Revue blanche, 16 (May 1898): 65–70.
  181. Nelson, James G. Publisher to the Decadents: Leonard Smithers in the Careers of Beardsley, Wilde, Dowson. University Park, Pennsylvania: Pennsylvania State University Press, 2000.
  182. “New Publications,” The Studio, 1 (15 July 1893): 162–67.
  183. Newhall, Beaumont. Frederick H. Evans: Photographer of the Majesty, Light and Space of the Medieval Cathedrals of England and France. New York: Aperture, 1973.
  184. Ochsé, Julien. “Eaux-fortes (à la manière d’Aubrey Beardsley),” in Ochsé, L’Invisible Concert. Paris: Bibliothèque Internationale d’Édition, E. Sansot et Cie, 1908, pp. 101–14.
  185. Palacio, Jean de. “La cathédrale hystérique: monstre hybride et repaire de monstres,” in La Cathédrale, ed. by Joëlle Prungnaud. Lille: UL3, Travaux et Recherches, 2001, pp. 137–45.
  186. Palacio, Jean de. Pierrot fin de siècle ou Les métamorphoses d’un masque. Paris: Séguier, 1990.
  187. Pallaske, Christophe. “Luther – kein Teufels Dudelsack | zur Fehlinterpretation einer Karikatur” (21 Nov 2021), Hypotheses: Historisch Denken | Geschichte machen, https://historischdenken.hypotheses.org/5409
  188. Pallottino, Paola. “‘La finezza, il numero, la veracità delle illustrazioni:’ l’opera pioneristica di Vittorio Pica su ‘Emporium,’” in Emporium: Parole e figure tra il 1895 e il 1964, ed. by Giorgio Bacci, Massimo Ferretti, and Miriam Filetti Mazza. Pisa: Edizioni della Normale, 2009, pp. 203–18.
  189. Pantazzi, Michael. “Du stryge au gratte-ciel,” Livraisons de l’histoire de l’architecture, 20 (2010): 91–112, https://doi.org/10.4000/lha.261
  190. Pastel [Theodore Wratislaw]. “Some Drawings by Aubrey Beardsley,” The Artist and Journal of Home Culture, 14 (1 Sept 1893): 259–60.
  191. Pennell, Elizabeth Robins. The Life and Letters of Joseph Pennell, 2 vols. Boston, Massachusetts: Little, Brown, and Company, 1929.
  192. Pennell, Joseph. “A New Illustrator: Aubrey Beardsley,” The Studio, 1:1 (15 Apr 1893): 14–19. With several reproduced drawings that exceed the textual bounds of the article.
  193. Pennell, Joseph. The Adventures of an Illustrator, mostly in Following his Authors in America and Europe. Boston, Massachusetts: Little, Brown, and Company, 1925.
  194. [Pennell, Joseph.] “The Devils of Notre-Dame, by Mr Joseph Pennell with a Comment by R. A. M. Stevenson,” The Pall Mall Budget (14 and 21 Dec 1893). See also The Devils of Notre-Dame (deluxe edition).
  195. [Pennell, Joseph.] The Devils of Notre-Dame, A Series of Eighteen Illustrations by J. Pennell, With Descriptive Text by R. A. M. Stevenson. London: Pall Mall Gazette, 1894. Separately published as a deluxe elephant folio folder on Japanese paper, limited ed. of seventy copies only fifty of which were for sale.
  196. Pica, Vittorio. “Artisti d’eccezione,” in Pica, Attraverso gli albi e le cartelle: sensazioni d’arte, seconda serie. Bergamo: Istituto Italiano d’Arti Grafiche, 1907, pp. 89–135 (on Beardsley, see particularly pp. 89–108). With a richer iconography than in the 1904 corresponding article. It still ends with The Death of Pierrot.
  197. Pica, Vittorio. “Attraverso gli albi e le cartelle (sensazioni d’arte): V. I cartelloni illustrati in America, in Inghilterra, in Belgio ed in Olanda,” Emporium, 5:26 (Feb 1897): 99–125 (on Beardsley, see particularly pp. 113–14). Collected in Attraverso gli albi e le cartelle (sensazioni d’arte), prima serie. Bergamo: Istituto Italiano d’Arti Grafiche, 1904, pp. 279–324.
  198. Pica, Vittorio. “Letterati contemporanei: Émile Zola,” Emporium, 16:95 (Nov 1902): 373–86. With a Beardsley drawing, p. 376.
  199. Pica, Vittorio. “Tre artisti d’eccezione: Aubrey Beardsley – James Ensor – Edouard Münch [sic],” Emporium, 19:113 (May 1904): 347–68.
  200. Pica, Vittorio. “Trois artistes d’exception: Aubrey Beardsley, James Ensor, Édouard Münch [sic],” Mercure de France, 56:196 (15 Aug 1905): 517–30.
  201. Pierre et Paul [Léon Vanier]. “Maurice Mac-Nab, dessin de Fernand Fau,” Les Hommes d’aujourd’hui, 6:295, n.d. [1887].
  202. Pope, Alexander. The Rape of the Lock, ed. by Geoffrey Tillotson, 3rd ed. London, Methuen Educational Ltd., 1971.
  203. [Pope, Alexander.] The Rape of the Lock: An Heroi-Comical Poem in Five Cantos Written by Alexander Pope. Embroidered with Eleven Drawings by Aubrey Beardsley. London: Leonard Smithers, 1897.
  204. Posters in Miniature. [A Well-known Collection of Posters together with Some Portraits of the Artists]. With an Introduction by E[dward] Penfield. London: John Lane; New York: R. H. Russell and Son, 1896.
  205. Pound, Ezra. Hugh Selwyn Mauberley by E. P. London: The Egoist Ltd., 1919. Qtd. in Pound, Poems and Translations, ed. by Richard Sieburth, The Library of America 144. New York: The Library of America, 2003, pp. 547–63.
  206. Pre-Raphaelites (The). London: The Tate Gallery; Penguin Books, 1984.
  207. “Precocious Baby (The), A Very True Tale (To be Sung to the Air of the ‘Whistling Oyster’),” Fun, n.s. 6 (23 Nov 1867).
  208. Princesse Sapho [Léon Genonceaux]. Le Tutu: mœurs fin de siècle, avec une planche de musique céleste et une composition symbolique de Binet. Paris: L. Genonceaux, 1891.
  209. Prospectus. The Yellow Book, 1 (Apr. 1894). Yellow Book Digital Edition, ed. by Dennis Denisoff and Lorraine Janzen Kooistra. Yellow Nineties 2.0, Toronto Metropolitan University Centre for Digital Humanities, 2011, https://1890s.ca/wp-content/uploads/YB1-prospectus.pdf
  210. Rancy, Catherine. Fantastique et Décadence en Angleterre, 1890–1914. Paris: Éditions du CNRS, 1982, https://www.cairn.info/fantastique-et-decadence-en-angleterre-1890-1914—9782222031178.htm
  211. Reade, Brian. Aubrey Beardsley. London: V & A Museum, Her Majesty’s Stationery Office, 1966.
  212. Reade, Brian. Beardsley, Introduction by John Rothenstein, revised ed. Woodbridge: Antique Collectors’ Club, 1987, repr. 1998. First published London: Studio Vista, 1967, repr. Studio Vista, 1971.
  213. Reade, Brian. “Enter Herodias: Or, What Really Happened?,” Los Angeles County Museum of Art Bulletin, 22 (1976): 58–65.
  214. Reade, Brian, Susan Lambert, and H. Lee Bimm. eds. Aubrey Beardsley 1872–1898. Rome: Fratelli Palombi Editori, 1985.
  215. Recht, Roland. La Cathédrale de Strasbourg. Strasbourg: La Nuée bleue, 1993.
  216. Riquer, Alexandre de. “Aubrey Beardsley,” Joventut, 1 (15 Feb 1900): 6–11.
  217. Robins, Anna Gruetzner. 1999. “Demystifyng Aubrey Beardsley,” Art History, 22 (Sept 1999): 440–44.
  218. Roques, Jules. “Courrier de Londres,” Le Courrier français, 11:44 (4 Nov 1894): 4.
  219. Roques, Jules. “Les artistes anglais: M. Beardsley,” Le Courrier français, 11:51 (23 Dec 1894): 6–8. Reproducing two drawings by Beardsley (The Wagnerites, A Portrait of Himself) and his portrait by Walter Sickert, wrongly attributed to Beardsley himself.
  220. Roques, Jules. “Une exposition d’affiches artistiques à l’’Aquarium’,” Le Courrier français, 11:45 (11 Nov 1894): 2–5.
  221. Rosen, Elisheva. Sur le grotesque: l’ancien et le nouveau dans la réflexion esthétique. Saint-Denis: Presses Universitaires de Vincennes, 1991.
  222. Ross, Robert, Aubrey Beardsley, with Sixteen Illustrations and a Revised Iconography by Aymer Vallance. London: John Lane, The Bodley Head; New York: The John Lane Company, 1909.
  223. [Rossetti, Dante Gabriel.] Dante and His Circle, with the Italian Poets Preceding him. A Collection of Lyrics, ed. and trans. in the original metres by D. G. Rossetti. London: Ellis and White, 1874 [1873].
  224. [Rossetti, Dante Gabriel.] The Early Italian Poets from Ciullo d’Alcamo to Dante Alighieri, together with Dante’s ‘Vita Nuova,’ trans. by Dante Gabriel Rossetti. London: Smith, Elder & Co., 1861.
  225. Rossetti, Dante Gabriel. “Lilith (For a Picture),” in Rossetti, Poems. London: F. S. Ellis, 1870, p. 269. Republished as “Body’s Beauty” within the section “The House of Life: A Sonnet Sequence,” in Rossetti, Ballads and Sonnets. London: Ellis and White, 1881, p. 240.
  226. Rossetti, Dante Gabriel. “Sibylla Palmifera (For a Picture),” in Poems. London: F. S. Ellis, 1870, p. 270. Republished as “Soul’s Beauty,” within the section “The House of Life: A Sonnet Sequence,” in Ballads and Sonnets. London: Ellis and White, 1881, p. 239. This sonnet precedes “Lilith” in both collections.
  227. Rossetti, Dante Gabriel. The New Life of Dante Alighieri. Translations and Pictures by Dante Gabriel Rossetti. New York: R. H. Russell, 1901.
  228. Rümann, Arthur. Das illustrierte Buch des XIX. Jahrhunderts in England, Frankreich und Deutschland, 1790–1860. Leipzig: Im Insel Verlag, 1930.
  229. Sadakichi, “Aubrey Beardsley from a Japanese Standpoint,” Modern Art, 3:1 (Winter 1895): 22–24.
  230. Salerno, Nicholas A. “An Annotated Secondary Bibliography,” in Reconsidering Aubrey Beardsley, ed. by Robert Langenfeld. Ann Arbor, Michigan, and London: U.M.I. Research Press, 1989, pp. 267–493.
  231. Savoy (The). Nos. 1–8 (1896). London: Leonard Smithers.
  232. Savoy Digital Edition (The), ed. by Christopher Keep and Lorraine Janzen Kooistra, 2018–20. Yellow Nineties 2.0, Ryerson University Centre for Digital Humanities, 2021, https://1890s.ca/savoy-volumes/
  233. Schatz, Dr Christian Friedrich. Die Griechischen Götter und die Menschlichen Mißgeburten. Vortrag gehalten im Docentenverein der Universität Rostock am 3. Mai 1901, mit 62 Abbildungen im Text. Wiesbaden: J. F. Bergmann, 1901, https://archive.org/details/diegriechischen00schagoog
  234. Schwob, Marcel. Correspondance inédite précédée de quelques textes inédits, ed. by John Alden Green. Genève: Librairie Droz, 1985.
  235. [Seaman, Owen.] Unsigned. “Lilith Libifera, (After Rossetti),” Punch, or The London Charivari, 107 (3 Nov 1894), p. 205. Later collected in Owen Seaman, The Battle of the Bays. London and New York: John Lane, 1896, p. 57 (with variants).
  236. Sharp, Evelyn. “A New Poster,” The Yellow Book, 6 (June 1895): 123–63.
  237. Sharp, Evelyn. Unfinished Adventure: Selected Reminiscences from an Englishwoman’s Life. London: John Lane, 1933.
  238. Sidney H. Sime, Master of Fantasy, Compiled by Paul W. Skeeters. Pasadena: Ward Ritchie Press, n.d. [1978].
  239. Small, Herbert. “Book Illustrators: X. Aubrey Beardsley,” The Book Buyer, n.s. 12:1 (Feb 1895): 26–29.
  240. Snodgrass, Chris. “Beardsley Scholarship at His Centennial: Tethering or Untethering a Victorian Icon?,” English Literature in Transition, 42:4 (1999): 363–99.
  241. Snodgrass, Chris. Aubrey Beardsley, Dandy of the Grotesque. New York and Oxford: Oxford University Press, 1995.
  242. Stead, Évanghélia. “Aubrey Beardsley dans Emporium (1895–1904) et l’Europe des revues,” in Emporium, II: Parole e figure tra il 1895 e il 1965, ed. by Giorgio Bacci and Miriam Filetti Mazza. Pisa: Edizioni della Normale, 2014, pp. 323–46.
  243. Stead, Évanghélia. “Autoportraits grotesques d’Aubrey Beardsley: l’humour, la marge, le monstre,” Humoresques, special issue “Rires marginaux, rires rebelles,” 19 (Jan 2004): 131–56.
  244. Stead, Évanghélia. “Encor Salomé: entrelacs du texte et de l’image de Wilde et Beardsley à Mossa et Merlet,” in Dieu, la chair et les livres. Une approche de la Décadence, ed. by Sylvie Thorel-Cailleteau. Paris: Honoré Champion, 2000, pp. 421–57, fig. 1–12. Revised and enlarged version published as “Triptyque de livres sur Salomé,” in Stead, La Chair du livre: matérialité, imaginaire et poétique du livre fin-de-siècle, pp. 157–203.
  245. Stead, Evanghelia. “Introduction,” Journal of European Periodical Studies, special issue “Reconsidering ‘Little’ versus ‘Big’ Periodicals,” I:2 (2016), 1–17, https://ojs.ugent.be/jeps/issue/view/480.
  246. Stead, Evanghelia. “Introduction”, in Reading Books and Prints as Cultural Objects, ed. by E. Stead. New Directions in Book History. Cham: Palgrave/Macmillan, 2018, pp. 1–30.
  247. Stead, Évanghélia. “Jarry et Beardsley,” L’Étoile-absinthe. Les Cahiers iconographiques de la Société des amis d’Alfred Jarry, 95–96 (2002): 49–67, 9 fig., http://alfredjarry.fr/amisjarry/fichiers_ea/etoile_absinthe_095_96reduit.pdf
  248. Stead, Évanghélia. La Chair du livre: matérialité, imaginaire et poétique du livre fin-de-siècle, Histoire de l’imprimé. Paris: PUPS, 2012. Repr. in 2013.
  249. Stead, Évanghélia. Le Monstre, le singe et le fœtus: Tératogonie et Décadence dans l’Europe fin-de-siècle. Genève: Droz, 2004. Published version of a PhD thesis defended in 1993.
  250. Stead, Évanghélia. “Les grotesques d’Aubrey Beardsley (Bon-Mots),” L’Étoile-absinthe, les cahiers iconographiques de la Société des amis d’Alfred Jarry, 95–96 (Autumn 2002): 5–47, 132 fig. Bon-Mots grotesque vignettes first time catalogued and full reproduced, http://alfredjarry.fr/amisjarry/fichiers_ea/etoile_absinthe_095_96reduit.pdf
  251. Stead, Évanghélia. “Les perversions du merveilleux dans la petite revue ; ou, comment le Nain Jaune se mua en Yellow Dwarf dans treize volumes jaune et noir,” in Anamorphoses décadentes, Études offertes à Jean de Palacio, ed. by Isabelle Krzywkowski and Sylvie Thorel-Cailleteau. Paris: Presses de l’Université de Paris-Sorbonne, 2002, pp. 102–39. Revised version entitled “Nain Jaune and Yellow Dwarf dans The Yellow Book: Un kaléidoscope,” in É. Stead, Sisyphe heureux. Les revues littéraires et artistiques, approches et figures. Rennes: PUR, 2020, pp. 195–218.
  252. Stead, Évanghélia, and Hélène Védrine. eds. L’Europe des revues (1880–1920): Estampes, photographies, illustrations. Histoire de l’imprimé. Paris: PUPS, 2008. Repr. in 2011.
  253. Stead, Évanghélia, and Hélène Védrine. eds. L’Europe des revues II (1860–1930): Réseaux et circulations des modèles. Histoire de l’imprimé. Paris: PUPS, 2018.
  254. Stetz, Margaret D. Aubrey Beardsley 150 Years Young. From the Mark Samuels Lasner Collection University of Delaware Library, Museums and Press. New York: The Grolier Club, 2022.
  255. Storey, Robert F. Pierrot: A Critical History of a Mask. Princeton, New Jersey: Princeton University Press, 1978.
  256. Sturgis, Matthew. Aubrey Beardsley: A Biography. London: Harper Collins Publishers, 1998.
  257. Symons, Arthur. “Aubrey Beardsley,” The Fortnightly Review, n.s. 69:377 (1 May 1898): 752–61.
  258. Symons, Arthur. Aubrey Beardsley. London: At the Sign of the Unicorn, 1898. A new edition of Symons’s Fortnightly Review article with a preface. Reprinted and expanded in 1905.
  259. Symons, Arthur. Aubrey Beardsley, new edition revised and enlarged. London: J. M. Dent and Co., 1905. Repr. John Baker, 1966.
  260. Symons, Arthur. Aubrey Beardsley, traduit par Jack Cohen, Édouard et Louis Thomas. Paris: Floury, 1906.
  261. Tancini, Francesca. “L’ultimo dei pittori preraffaelliti: Walter Crane e ‘Emporium’,” in Emporium: Parole e figure tra il 1895 e il 1964, ed. by Giorgio Bacci, Massimo Ferretti, and Miriam Filetti Mazza. Pisa: Edizioni della Normale, 2009, pp. 379–401.
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  263. Turnbull, Martin. “Salomé,” National Film Registry, https://www.loc.gov/static/programs/national-film-preservation-board/documents/salome.pdf
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  265. Un Book-Trotter. “L’Image: Mille moins un petits papiers. Les illustrations d’Aubrey Beardsley,” Le Livre et l’Image, 2:7 (Sept 1893): 120.
  266. Un Book-Trotter. “L’Image: Titres réduits des nouveaux périodiques anglais,” Le Livre et l’Image, 2:6 (Aug 1893): 57–58.
  267. Uzanne, Octave. [as Isis.] “Paris partout,” Le Figaro, 89 (30 Mar 1898): 1.
  268. Uzanne, Octave. [as La Cagoule.] Visions de notre heure. Choses et gens qui passent, notations d’art, de littérature et de vie pittoresque. Paris: Henri Floury, 1899, pp. 95–97.
  269. Uzanne, Octave. L’Art dans la décoration extérieure des livres en France et à l’étranger, les couvertures illustrées, les cartonnages d’éditeurs, la reliure d’art. Paris: Société Française d’Éditions d’Art, L. Henry May, 1898.
  270. Uzanne, Octave. Les Évolutions du bouquin. La Nouvelle Bibliopolis: Voyage d’un novateur au Pays des Néo-Icono-Bibliomanes, lithographies en couleurs et marges décoratives par H. P. Dillon. Paris: Henri Floury, 1897.
  271. Vallance, Aymer. “List of Drawings by Aubrey Beardsley, compiled by Aymer Vallance,” in Robert Ross, Aubrey Beardsley, with Sixteen Illustrations and a Revised Iconography by Aymer Vallance. London: John Lane, The Bodley Head; New York: The John Lane Company, 1909, pp. 59–112.
  272. Vallès, Jules. “Les Exercices du corps,” L’Événement (5 Feb 1866): 3c.
  273. Vareilles, Pierre. “Silhouettes décadentes: I. Georges Toulouse,” Le Décadent, 1 (10 July 1886): 2.
  274. Vergine, Lea. Body Art e storie simili. Milan: Skira, 2000.
  275. Verlaine, Paul. “Gosses [Mômes-monocles],” Art et Critique, 2:76 (8 Nov 1890). Repr. in Œuvres en prose complètes, ed. by Jacques Borel. Bibliothèque de la Pléiade. Paris: Gallimard, 1984, pp. 227–32.
  276. Vilain, Jean-François, and Philip R. Bishop. Thomas Bird Mosher and the Art of the Book. Philadelphia, Pennsylvania: F. A. Davis Company, 1992.
  277. Walter, Robert. Histoire anecdotique de la cathédrale de Strasbourg. Strasbourg: Erce, 1992.
  278. Weintraub, Stanley. Aubrey Beardsley, Imp of the Perverse. University Park, Pennsylvania, and London: The Pennsylvania State University Press, 1976.
  279. [White, Gleeson.] G. W. “Aubrey Beardsley: In Memoriam,” The Studio, 13 (May 1898): 252–63.
  280. Wilde, Oscar. Das Bildnis des Dorian Gray: Roman aus dem Englischen übertragen von Alastair. Konstanz: Lingua Verlag, 1948.
  281. Wilde, Oscar. L’Anniversaire de l’infante, illustrations par Alastair. [Preface by Harry Crosby.] Paris: The Black Sun Press, Éditions Narcisse, 1928.
  282. Wilde, Oscar. The Picture of Dorian Gray. Harmondsworth: Penguin Books, 1949, repr. 1981. First published London: Ward, Lock and Co., 1891.
  283. Wilde, Oscar. Salomé, drame en un acte. Paris, Librairie de l’Art indépendant; London: Elkin Mathews and John Lane, The Bodley Head, 1893. Purple cover with silver lettering.
  284. Wilde, Oscar. Salomé, drame en un acte. Dessins de Alastair. Paris: Les Éditions G. Crès et Cie, 1922.
  285. Wilde, Oscar. Salome, Tragödie in einem Akt, übertragen von Hedwig Lachmann, mit 10 Zeichnungen, Ornamentrahmen im Doppelinnentitel, Vorsatz- und Einband-Dekor von Marcus Behmer. Leipzig: Insel, 1903.
  286. Wilde, Oscar. Salome. A Tragedy in One Act: Translated from the French of Oscar Wilde [by Lord Alfred Douglas]. Pictured by Aubrey Beardsley. London: Elkin Mathews and John Lane; Boston, Massachusetts: Copeland and Day, 1894.
  287. Wilde, Oscar. The Sphinx Illustrated and Decorated by Alastair. London: John Lane, The Bodley Head; New York, John Lane Company, 1920.
  288. Wilson, Simon. Beardsley. Revised and enlarged edition. Phaidon Colour Library. Oxford: Phaidon Press, 1983. First published in 1976. Trans. into French by Laurent Gonzalez. [Gennevilliers]: Ars Mundi, 1987.
  289. Wright, Thomas. A History of Caricature and Grotesque in Literature and Art, with Illustrations Drawn and Engraved by F. W. Fairholt. London: Chatto and Windus, 1875. First published London: Virtue Brothers, 1865. Trans. into French by Octave Sachot with a Note by Amédée Pichot, 2nd ed. Paris: A. Delahays, 1875.
  290. Yellow Book (The). “Introduction to Volume 6 (July 1895)” The Yellow Book Digital Edition, ed. by Dennis Denisoff and Lorraine Janzen Kooistra, 2012. Yellow Nineties 2.0, Ryerson University Centre for Digital Humanities, 2019, https://1890s.ca/yb-v6-introduction/
  291. Yellow Book (The). Nos. 1–13 (Apr 1894–Apr 1897). London: Elkin Mathews and John Lane (until Sept 1894); then John Lane. In parallel Boston, Massachusetts: Copeland and Day, nos. 1–10; then New York: John Lane.
  292. Yellow Book Digital Edition (The), ed. by Dennis Denisoff and Lorraine Janzen Kooistra, 2011–2014. Yellow Nineties 2.0, Ryerson University Centre for Digital Humanities, 2020, https://1890s.ca/yellow-book-volumes/
  293. “Yellow Bookmaker (The),” The Chap-Book, 1:2 (1 June 1894): 41–42. The text, unsigned, appears as “Book-Maker” in the table of contents.
  294. Zatlin, Linda Gertner, Aubrey Beardsley: A Catalogue Raisonné, 2 vols. New Haven, Conn. and London: Yale University Press, Published for the Paul Mellon Centre for Studies in British Art, 2016.
  295. Zatlin, Linda Gertner. Beardsley, Japonisme, and the Perversion of the Victorian Ideal. Cambridge: Cambridge University Press, 1997.
  296. Zimmern, Helen. 1898. “Il sistema Prang nell’insegnamento dell’arte,” Emporium, 7:41 (May 1898): 323–39.
  297. Zuccari Radius, Anna. “La coltura degli artisti,” Emporium, 2:11 (Nov 1895): 337–43.
  298. Behmer, Marcus. 9th plate in Oscar Wilde, Salome, Tragödie in einem Akt, übertragen von Hedwig Lachmann, mit 10 Zeichnungen, Ornamentrahmen im Doppelinnentitel, Vorsatz- und Einband-Dekor von Marcus Behmer. Leipzig: Insel, 1903, repr. 1999, no. 9.
  299. Behmer, Marcus. Figure in Black Mantle, full-page drawing, the third of “Sechs Grotesken,” repr. Die Insel, 3:7–8 (Apr–May 1902): 135.
  300. Behmer, Marcus. Fœtus and Skeleton, full-page drawing, the first of “Sechs Zeichnungen,” repr. Die Insel, 3:10 (July 1902): 107.
  301. Behmer, Marcus. Full-page Illustration for Paul Ernst’s Fantasy Piece (Fantasiestück), “Der Schemen,” repr. Die Insel, 2.1:1 (Oct 1900): 81, text 68–83.
  302. Behmer, Marcus. Hydrocephalic Pierrot Biting into a Mask, full-page drawing, repr. Die Insel, 3:5 (Feb 1902): 245.
  303. Behmer, Marcus. Newborn Babe and Fly, full-page drawing, the first of “Zwei Zeichnungen,” repr. Die Insel, 2.4:10 (July 1901): 127.
  304. Behmer, Marcus. Oversize Silhouette, full page drawing, the first of “Drei Zeichnungen”, repr. Die Insel, 1.3:9 (June 1900): 375.
  305. Behmer, Marcus. Spindly Diver, the last of “Drei Zeichnungen,” repr. Die Insel, 1.3:7 (Apr 1900): 93.
  306. Cam. Design for New Cover of the “Granta.” (à la BEARDSLEY), repr. The Granta, 8:155 (23 Feb 1895): 212.
  307. Evans, Frederick H. Aubrey Beardsley (1894), platinum print, 15 × 10 cm, acquired by the Musée d’Orsay in 1985. © GrandPalais-RMN (Musée d’Orsay) / Christian Jean, PHO1984-57. Repr. as The Gargoyle, in Herbert Small, “Aubrey Beardsley,” The Book Buyer, n.s. 12:1 (Feb 1895): 29.
  308. Evans, Frederick H. Aubrey Beardsley [photographed as Meryon’s Le Stryge] (ca. 1894), framed platinum print, titled, dated and signed by Evans, 15 × 10 cm, acquired by the Musée d’Orsay in 1985. © GrandPalais-RMN (Musée d’Orsay) / Christian Jean, PHO1985-351.
  309. Fairholt, Frederick William. The Music of the Demon, vignette drawn and engraved after Erhard Schön’s Des Teufels Dudelsack, repr. in Wright, A History of Caricature and Grotesque in Literature and Art, p. 252, fig. 145.
  310. Fairholt, Frederick William. The Spirit of Evil [sic], vignette drawn and engraved after Charles Meryon’s Le Stryge, repr. in Wright, A History of Caricature and Grotesque in Literature and Art, p. 74, fig. 44.
  311. Hammond, Gertrude D. The Yellow Book, repr. in The Yellow Book, 6 (June 1895): 119. See Yellow Book Digital Edition, https://1890s.ca/yb6-hammond-yellow/
  312. Huard, Charles. En attendant la pratique (Waiting for the client), repr. Le Courrier français, 10 (8 Mar 1896): 2.
  313. Hyland, Fred. Two Pictures: I. The Mirror, repr. The Yellow Book, 6 (June 1895): 279. See Yellow Book Digital Edition, https://1890s.ca/yb6-hyland-mirror/
  314. Hyland, Fred. Two Pictures: II. Keynotes, repr. The Yellow Book, 6 (June 1895): 281. See Yellow Book Digital Edition, https://1890s.ca/yb6-hyland-keynotes/
  315. Jossot, Henri Gustave. Two-headed Monster with Webbed Feet and a Rooster’s Tail Biting into a Child’s Body, left-hand top vignette with Jossot’s text “L’Affiche caricaturale,” repr. in L’Estampe et l’Affiche, 10 (15 Dec 1897): 240, text pp. 238–40.
  316. Mac-Nab, Maurice. Fœtus Vignette in Evening Dress, accompanying Mac-Nab’s monolog “Les Fœtus,” in Mac-Nab, Poèmes mobiles, p. 17, text pp. 15–22.
  317. Maurin, Charles. L’Éducation sentimentale, set of coloured dry-points (Paris: Gustave Pellet, 1896), plates republished and detailed in Le Courrier français.
  318. Merson, Luc-Olivier. Notre-Dame de Paris (ca. 1881), pen and black ink, brush and black wash, white gouache and graphite on light brown wove paper, sheet 32.6 × 21.7 cm, Bequest of Muriel Butkin 2008, The Cleveland Museum of Art, Cleveland, Ohio, USA. The CMA Open Access Initiative, https://www.clevelandart.org/art/2008.359
  319. Meryon, Charles. Le Stryge (1853 and later), engraving, 5th state, 16.9 × 13 cm, in portfolio Eaux-fortes sur Paris. Paris: Charles Meryon, 1853, pl. 6, numbered 1. © BnF, Estampes, Paris.
  320. Mossa, Gustav Adolf. Le Fœtus (ca. 1905), watercolour, graphite, ink, gouache relief and gilding on paper, 50 × 32 (34 × 19) cm, Nice, Musée des Beaux-Arts. See Gustav Adolf Mossa. Catalogue raisonné des œuvres “symbolistes”, pp. 152–53 (A 68).
  321. Nerée tot Babberich, Karel de. Sourire (1901), pen drawing in Indian ink, 34 × 21 cm, Paris, Musée d’Orsay, inspired by Henri van Booven’s collection Witte Nachten (1901). Département des Arts Graphiques du musée du Louvre, Paris, acquired in 1987, RF 41471. © PE for a high-resolution scan made from a © RMN photograph acquired in 1990.
  322. Pennell, Joseph. Humorous sketch in ink after Beardsley’s drawing depicting him as Meryon’s Stryge (Dec 1893), in letter to Helen J. Robins, repr. in Elizabeth Robins Pennell, The Life and Letters of Joseph Pennell, I, 264.
  323. Reed, Edward Tennyson. Unsigned pastiche of Portrait of Himself by Beardsley, repr. Punch, or The London Charivari, 107 (3 Nov 1894): 205.
  324. Revault, Étienne. Photograph of Viollet-le-Duc’s statue as Thomas the Apostle on Notre-Dame, in Thierry Crépin-Leblond, La Cathédrale Notre-Dame, 46.
  325. Rossetti, Dante Gabriel. Beata Beatrix (ca. 1864–70), oil on canvas, 86.4 × 66 cm, London, Tate Britain, N01279. CC BY-NC-ND.
  326. Rossetti, Dante Gabriel. Lady Lilith (1866–68, reworked 1872–73), oil on canvas, 96.5 × 85.1 cm, Delaware Art Museum, Wilmington, Delaware, USA.
  327. Rossetti, Dante Gabriel. Sibylla Palmifera (1866–70), oil on canvas, 98.4 × 85 cm, Lady Lever Art Gallery, Port Sunlight, UK.
  328. S. T., A Cambridge Night-Piece (with Apologies to Mr. Aubrey Beardsley), repr. The Granta, 9:169 (2 Nov 1895): 37.
  329. Sattler, Joseph. Grotesque of Aubrey Beardsley, tailpiece of Henry-D. Davray’s article, “Aubrey Beardsley,” repr. Mercure de France, 26:101 (May 1898): 491.
  330. Schön, Erhard. Des Teufels Dudelsack (The Devil’s Bagpipe), ca. 1530–35, coloured woodcut, coll. Schloss Friedenstein Gotha, Inv. Nr. 37,2. Wikipedia commons https://commons.wikimedia.org/wiki/File:Teufels_Dudelsack.gif#/media/File:A_monk_as_devil’s_bagpipe_(Sammlung_Schloss_Friedenstein_Gotha_Inv._Nr._37,2).jpg
  331. Sime, Sidney Herbert. Black Fiend Squeezing Paint onto an Oversized Palette and Tiny Laurel-wreathed Artist Enclosed in Black Whirls, grotesque tailpiece to G. S. Street’s “From a London Attic,” repr. The Pall Mall Magazine 18 (July 1899): 432b.
  332. Sime, Sidney Herbert. Famished Author and Wastepaper Basket, grotesque vignette in G. S. Street’s “From a London Attic,” repr. The Pall Mall Magazine 18 (July 1899): 430b.
  333. Sime, Sidney Herbert. Miniature Imps Sharpening a Gigantic Quill on a Grindstone, grotesque tailpiece to G. S. Street’s “From a London Attic,” repr. The Pall Mall Magazine 18 (June 1899): 288b.
  334. Sime, Sidney Herbert. Sime Abandons his Palette, grotesque vignette in G. S. Street’s “From a London Attic,” repr. The Pall Mall Magazine 18 (July 1899): 430a.
  335. Sime, Sidney Herbert. Sime’s version of Beardsley’s Comedy of the Cuckold Husband, grotesque vignette in G. S. Street’s “From a London Attic,” repr. The Pall Mall Magazine 18 (May 1899): 140b.
  336. Sime, Sidney Herbert. Yawning Author Pointing to an Arabesque-bordered Void and Imp Running away with Manuscript, grotesque tailpiece to G. S. Street’s “From a London Attic,” repr. The Pall Mall Magazine 17 (Apr 1899): 576.
  337. Vallotton Félix. Aubrey Beardsley’s mask, with John Gray’s article in “Petite gazette d’art,” La Revue blanche, 16 (May 1898): 69, text pp. 68–70.
  338. Vignette of terracotta head no. 769 from the Myrina excavations kept in the Louvre Museum, repr. in Jean-Martin Charcot and Paul Richer, Les difformes et les malades dans l’art. Paris: Lecrosnier et Babé, 1889, p. 9.
  339. Vignette of the Notre-Dame stryge, in Charcot and Richer, Les difformes et les malades dans l’art, 7.