884_art nouveau catalogue
TRANSCRIPT
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Art Nouveau was an international style and philosophy of art, architecture and applied arts that
flourished between 1890 and 1914. The movement was characterised by the use of natural forms and
structures, most notably the ‘whiplash’ form – so named because of the sudden violent curves thatfrequently appeared throughout the designs. Japanese woodblock prints with their strong colours, flat
perspective, organic forms and references to the natural world was also an evident influence. While
the visual style of Art Nouveau was heavily influenced by nature, the artists embraced the latest
technologies and materials of the period such as steel, cast iron, sheet glass and lithography.
The movement was most popular in Europe but its influence was global. Hence, it is known in
various guises with frequent localised tendencies. It was known as Jugendstil or ‘youth style’ inGermany (named for the magazine Jugend, which promoted it), as Secession in Austria and Hungary
after the Viennese group of artists, and in Italy, as Stile Liberty derived from the department store in
London, Liberty & Co., which also popularised the style. In all its facets Art Nouveau sought to
bring decoration and the object more closely together. Art Nouveau designers believed that all the
arts should work in harmony to create a "total work of art," or Gesamtkunstwerk: buildings, furniture,
textiles, clothes, and jewellery all conformed to the principles of Art Nouveau to create a unified
synthesis between the individual parts.
The rise of new decorative periodicals during this period such as The Studio, Les Maîtres del’Affiche, L’Estampe Moderne, The Poster and Jugned helped to promote the Art Nouveau concept
across the Globe and legitimise the decorative and applied arts as art forms in their own right. These
magazines were dedicated to the latest trends in architecture, interior design, furniture lighting,
glassware, textiles, metalwork, graphic design and ceramics. In most cases the magazines featured
lavish high quality prints intended for the collector. With new advance in printing, notably Chéret’sthree stone lithographic process, designers could see their work reproduced in vivid colour. Initially
applied only to posters, this process was soon used to create plates for decorative periodicals. These
periodicals also included works by emerging and established artists of the day and were a forum for
sharing new work as well as advances in printing.
This exhibition features prints from Les Maîtres de l’Affiche and L'Estampe Moderne - two of themost notable decorative periodicals. A monthly magazine which ran from December 1895 to
November 1900, subscribers to Les Maîtres de l’Affiche received four reduced poster reproductions
per issue - loose sheets that cost 2.50 francs for one month and 27 francs for a year’s worth. Although predominantly French, the scope of the magazine was international. These prints were
highly collectable because not only were they far more manageable than the large original street
posters, but the images were superior in quality because of the more refined lithographic process used
and the paper stock. The size (approximately 39 x 30cms) also meant that they could be displayed
properly with a broad margin around each image. The size also brought far more flexibility in
display, as consistency in the trimmed size meant that infinite variations of grouping could be
achieved - by artist, design or subject.
L'Estampe Moderne appeared in 1897-99 as a series of 24 monthly publications each of 4 original
lithographs, priced at 3.50 francs and printed by Imprimerie Champenois of Paris. The tissue guards
for each work contain snippets of poetry or literature related to the image, chosen by editors Charles
Masson and H. Piazza. Many accomplished European Art Nouveau painters contributed works to this
publication. The richly lithographed prints are blind stamped with the imprint of a young woman's
profile in the lower right corner.
With this exhibition Sanders has brought together a collection of decorative and graphic works by
some of the most prolific artists active during this iconic period of art and design. On display is a
stunning selection of original lithographs printed for the major publications of the Art Nouveau
movement, featuring work by Hans Christiansen, Louis Rhead, Alexandre-Louis-Marie Charpentierand William Nicholson among others.
http://en.wikipedia.org/wiki/Jugend_%28magazine%29http://en.wikipedia.org/wiki/Vienna_Secessionhttp://en.wikipedia.org/wiki/Liberty_%26_Co.http://en.wikipedia.org/wiki/Parishttp://en.wikipedia.org/wiki/Parishttp://en.wikipedia.org/wiki/Liberty_%26_Co.http://en.wikipedia.org/wiki/Vienna_Secessionhttp://en.wikipedia.org/wiki/Jugend_%28magazine%29
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39. Sarah BernhardtLithograph
William Nicholson
Published by William Heinemann, 1897
Image 255 x 230 mm
unmountedFrom The New Review
Condition: Some light foxing and one verticle crease
[27530]
£150
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Aubrey Beardsley
Lithographic illustrations from The Early
Work and The Later Work .Aubrey Vincent Beardsley (21 August 1872-16 March
1898) was an English illustrator and author. His
drawings, made in black ink and influenced by the style
of Japanese woodcuts, emphasized the grotesque, the
decadent, and the erotic.
40. Book-plateLithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 175 x 115 mm, Sheet 273 x 219 mmmounted
[27534]
£30
41. Book-plate from The Yellow Book, Volume I
LithographAubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 96 x 62 mm, Sheet 207 x 175 mm
mounted
The Yellow Book was a quarterly literary periodical published in London from 1894 to 1897. It was a
leading journal of the British 1890s and was to some
degree associated with Aestheticism and Decadence.
Aubrey Beardsley was its first art editor, and he has
been credited with the idea of the yellow cover.
The importance of the colour resides in its association
with French fiction of the period. Decadent Parisiantexts such as Joris-Karl Huysmans’ À rebours werewrapped in yellow paper in order to alert the reader to
their lascivious content. [27520]
£25
42. The Cave of SpleenLithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.Image 205 x 138 mm, Sheet 273 x 220 mm
mounted
This incredibly ornate lithograph formed a part of
Beardsley’s series of illustrations for Alexander Pope’sThe Rape of the Lock; a mock-heroic narrative poem
first published anonymously in Lintot's Miscellany,1712. In the text, a gnome by the name of Umbriel
ventures to the Cave of Spleen. The journey is a
humourous mimicry of Odysseus and Aeneas’ classicaltrips to the underworld.
[27521]
£30
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43. Comedy-Ballet of Marionettes
LithographAubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 167 x 128 mm, Sheet 264 x 220 mm
mounted
Originally published in The Yellow Book, Volume II
[27524]
£30
44. Cover Design for The Yellow Book, Volume IVLithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 167 x 128 mm, Sheet 265 x 218 mm
Mounted
[27525]
£30
45. The Dancer’s Reward
LithographAubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 176 x 127 mm, Sheet 282 x 222 mm
mounted
Salome was a Biblical character whose story comprised
the theme of Oscar Wilde’s most infamous tragedy.Published in English in 1894, the play tells in one act
the New Testament story of Salome, stepdaughter of the
tetrarch Herod Antipas, who, to her stepfather's dismay
but to the delight of her mother Herodias, requests the
head of Jokanaan (John the Baptist) on a silver platter as
a reward for dancing the dance of the seven veils. InBeardsley’s illustration, Salome receives the decapitatedhead of the preacher.
[27522]
£30
46. Design for Front Cover of PierrotLithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 167 x 116 mm, Sheet 279 x 218 mm
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mounted
This illustration originally featured in Pierrot’s Library,a collection of stories by H. de Vere Stacpoole, and
published by John Lane in 1896. The appearance of the
quaint white baggy figure lent itself well to the aesthetic
of Art Nouveau. Beardsley’s pierrot is feminised andwistful, the elegant black and white lines recalling the
graceful, measured movements of French pantomime.[27536]
£30
47. Design for Frontispiece of Earl LavenderLithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 146 x 86 mm, Sheet 253 x 208 mm
mounted
A Full and True Account of the Wonderful Mission ofEarl Lavender is a comical novel written by the Scottish
poet and playwright John Davidson. Published in 1895,
the story is set in contemporary London and concerns
two men who enact Earl Lavender's own version of the
Theory of Evolution. Coincidentally, Aubrey
Beardsley’s frontispiece illustrating a scene offlaggelation proved to be far more infamous than the
text itself. [27518]
£25
48. Design for the Cover of The Yellow Book
ProspectusLithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 201 x 128 mm, Sheet 267 x 218 mm
mounted
[27529]
£30
49. Design for Title-Page of VenusLithographAubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 96 x 66 mm, Sheet 203 x 177 mm
mounted
[27519]
£25
50. Design Intended for Lucian’s True History Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.Image 126 x 114 mm, Sheet 217 x 195 mm
mounted
True History, or a True Story, was a travel narrative by
the 2nd Century Syrian author Lucian of Samosata. The
work was the first known piece of fiction to include
alien life-forms and interplanetary warfare; sardonic
tropes included by the author in order to satirise the
Grecian habit of representing fantastical and mythicalevents factually. Beardsley’s design unfortunately neverreached publication. [27517]
£25
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51. Frontispiece to Volpone
LithographAubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 195 x 135 mm, Sheet 265 x 218 mm
mounted
Volpone is a comedy written by Ben Jonson and first
produced in 1606. Drawing upon elements of black
comedy and beast fable, the work is a merciless satire of
greed and lust and is among the finest comedies of the
Jacobean era. In addition to designing several full-pageillustrations and numerous initial letters Beardsley also
intended to write an extended critical essay, by way of
introduction to the 1898 edition to be published byLeonard Smithers. Volpone proved to be Beardsley’slast work, however, and he had completed only a
handful of the designs before his death. The bookappeared posthumously, with Robert Ross’s Eulogy ofthe Artist and an essay written by Vincent O’Sullivan.Smithers printed Beardsley’s notes on the play, togetherwith the completed illustrations. [27526]
£30
52. IsoldeLithographAubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 204 x 125 mm, Sheet 280 x 219 mm
mounted
Based largely on the romance by Gottfried von
Straßburg, Tristan und Isolde is an opera in libretto byGerman composer Richard Wagner. Originally
published in 1895 for the Studio Magazine, Beardsley’sillustration depicts the tragic heroine in the act of
drinking the love potion. [27537]
£30
53. John and SalomeLithograph
Aubrey BeardsleyLondon, John Lane, The Bodley Head, c 1901.
Image 174 x 122 mm, Sheet 284 x 219 mm
mounted
Salome was a Biblical character whose story comprised
the theme of Oscar Wilde’s most infamous tragedy.Published in English in 1894, the play tells in one act
the New Testament story of Salome, stepdaughter of the
tetrarch Herod Antipas, who, to her stepfather's dismay but to the delight of her mother Herodias, requests the
head of Jokanaan (John the Baptist) on a silver platter as
a reward for dancing the dance of the seven veils. In
Beardsley’s illustration, Salome faces John the Baptist,the man whom her dance will later condemn to
decapitation.
[27528]
£30
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54. The Kiss of JudasLithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 176 x 122 mm, Sheet 272 x 220 mm
mounted
In this work, Beardsley parodies one of Christianity’smost dramatic moments, the betrayal of Christ by Judas
Iscariot. Judas is substituted for a nude dwarf, and
Christ, a sleeping androgynous form. The work was
originally published in the Pall Mall Magazine.
[27535]
£30
55. La Dame Aux CameliasLithographAubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 164 x 104 mm, Sheet 259 x 218 mm
mounted
Originally published in The Yellow Book, Volume III
[27527]
£30
56. The Platonic LamentLithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 176 x 127 mm, Sheet 284 x 220 mm
mounted
[27523]
£30
57. A PosterLithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 213 x 158 mm, Sheet 280 x 221 mm
mounted
[27533]
£30
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58. The Toilette of Salome
LithographAubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 177 x 127 mm, Sheet 272 x 221 mm
mounted
[27531]
£30
59. The Toilette of Salome [Second Edition]LithographAubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 177 x 127 mm, Sheet 264 x 221 mm
mounted
[27532]
£30
60. Vignette from Le Morte D’Arthur Lithograph
Aubrey Beardsley
London, John Lane, The Bodley Head, c 1901.
Image 130 x 84 mm, Sheet 216 x 180 mm
mounted
Le Mort D’Arthur, is a compilation by Sir Thomas
Malory of Romance tales about the legendary KingArthur, Guinevere, Lancelot, and the Knights of the
Round Table. First published in 1485 by William
Caxton, Le Morte D'Arthur is perhaps the best-knownwork of Arthurian literature; a subject which resonated
amongst Beardsley as well as other Art Nouveau
practitioners. [27516]
£25
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