Beardsley, Aubrey. (1872–1898). Three Stylized Leaves - Ornamental Device for "Le Morte d'Arthur". An original ornamental device designed by the English illustrator and author as part of his first major work, illustrations for the collection of Arthurian tales, Le Morte d'Arthur (London: Dent, 1893-1894). The illustration, depicting three acanthus leaves, was intended for Book II, chapter VI, p. 59 of the publication, with the acanthus leaves signifying the fine arts and artifice. Pen and ink on paper. 1.75 x 1.5 inches (4.5 x 4.3 cm), inlaid to size on a 9.75 x 7.5 inch sheet with hand-drawn borders. Written on the verso in pencil: "315[with strike-through]/320."
In 1892, London publisher J. M. Dent & Co. decided to produce an illustrated edition of Le Morte Darthur, Sir Thomas Malory's 15th-century reworking of Arthurian tales. They chose a 20-year-old insurance-office clerk and art student, Aubrey Beardsley, to illustrate the work. It was issued in 12 parts between June 1893 and mid-1894, and met with only modest success at the time. However, it has since been described as Beardsley's first masterpiece, launching what has come to be known as the "Beardsley look". It was his first major commission, and included nearly 585 chapter openings, borders, initials, ornaments and full- or double-page illustrations. This ornamental device was repeated in subsequent books and chapters of the work. In his book "Sources of Art Nouveau," Stephan Madsen notes that the stylized leaves recall Hector Guimard's Paris Metro station designs (New York: DaCapo, 1975, pages 240-41).
The drawings of Aubrey Beardsley, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement, which also included Oscar Wilde and James A. McNeill Whistler. Beardsley's contribution to the development of the Art Nouveau and poster styles was significant, despite the brevity of his career before his early death from tuberculosis.
Provenance: J. M. Dent to Erhard Weyhe Collection, Sotheby's New York 15 December 1988 to Jack and Caroline Milne. Zatlin 376, 377.
In 1892, London publisher J. M. Dent & Co. decided to produce an illustrated edition of Le Morte Darthur, Sir Thomas Malory's 15th-century reworking of Arthurian tales. They chose a 20-year-old insurance-office clerk and art student, Aubrey Beardsley, to illustrate the work. It was issued in 12 parts between June 1893 and mid-1894, and met with only modest success at the time. However, it has since been described as Beardsley's first masterpiece, launching what has come to be known as the "Beardsley look". It was his first major commission, and included nearly 585 chapter openings, borders, initials, ornaments and full- or double-page illustrations. This ornamental device was repeated in subsequent books and chapters of the work. In his book "Sources of Art Nouveau," Stephan Madsen notes that the stylized leaves recall Hector Guimard's Paris Metro station designs (New York: DaCapo, 1975, pages 240-41).
The drawings of Aubrey Beardsley, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement, which also included Oscar Wilde and James A. McNeill Whistler. Beardsley's contribution to the development of the Art Nouveau and poster styles was significant, despite the brevity of his career before his early death from tuberculosis.
Provenance: J. M. Dent to Erhard Weyhe Collection, Sotheby's New York 15 December 1988 to Jack and Caroline Milne. Zatlin 376, 377.
Beardsley, Aubrey. (1872–1898). Three Stylized Leaves - Ornamental Device for "Le Morte d'Arthur". An original ornamental device designed by the English illustrator and author as part of his first major work, illustrations for the collection of Arthurian tales, Le Morte d'Arthur (London: Dent, 1893-1894). The illustration, depicting three acanthus leaves, was intended for Book II, chapter VI, p. 59 of the publication, with the acanthus leaves signifying the fine arts and artifice. Pen and ink on paper. 1.75 x 1.5 inches (4.5 x 4.3 cm), inlaid to size on a 9.75 x 7.5 inch sheet with hand-drawn borders. Written on the verso in pencil: "315[with strike-through]/320."
In 1892, London publisher J. M. Dent & Co. decided to produce an illustrated edition of Le Morte Darthur, Sir Thomas Malory's 15th-century reworking of Arthurian tales. They chose a 20-year-old insurance-office clerk and art student, Aubrey Beardsley, to illustrate the work. It was issued in 12 parts between June 1893 and mid-1894, and met with only modest success at the time. However, it has since been described as Beardsley's first masterpiece, launching what has come to be known as the "Beardsley look". It was his first major commission, and included nearly 585 chapter openings, borders, initials, ornaments and full- or double-page illustrations. This ornamental device was repeated in subsequent books and chapters of the work. In his book "Sources of Art Nouveau," Stephan Madsen notes that the stylized leaves recall Hector Guimard's Paris Metro station designs (New York: DaCapo, 1975, pages 240-41).
The drawings of Aubrey Beardsley, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement, which also included Oscar Wilde and James A. McNeill Whistler. Beardsley's contribution to the development of the Art Nouveau and poster styles was significant, despite the brevity of his career before his early death from tuberculosis.
Provenance: J. M. Dent to Erhard Weyhe Collection, Sotheby's New York 15 December 1988 to Jack and Caroline Milne. Zatlin 376, 377.
In 1892, London publisher J. M. Dent & Co. decided to produce an illustrated edition of Le Morte Darthur, Sir Thomas Malory's 15th-century reworking of Arthurian tales. They chose a 20-year-old insurance-office clerk and art student, Aubrey Beardsley, to illustrate the work. It was issued in 12 parts between June 1893 and mid-1894, and met with only modest success at the time. However, it has since been described as Beardsley's first masterpiece, launching what has come to be known as the "Beardsley look". It was his first major commission, and included nearly 585 chapter openings, borders, initials, ornaments and full- or double-page illustrations. This ornamental device was repeated in subsequent books and chapters of the work. In his book "Sources of Art Nouveau," Stephan Madsen notes that the stylized leaves recall Hector Guimard's Paris Metro station designs (New York: DaCapo, 1975, pages 240-41).
The drawings of Aubrey Beardsley, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement, which also included Oscar Wilde and James A. McNeill Whistler. Beardsley's contribution to the development of the Art Nouveau and poster styles was significant, despite the brevity of his career before his early death from tuberculosis.
Provenance: J. M. Dent to Erhard Weyhe Collection, Sotheby's New York 15 December 1988 to Jack and Caroline Milne. Zatlin 376, 377.