884_art Nouveau Catalogue

8/19/2019 884_art Nouveau Catalogue

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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


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




mounted

Originally published in The Yellow Book, Volume II

[27524]

£30

44. Cover Design for The Yellow Book, Volume IVLithograph

Aubrey Beardsley



Mounted

[27525]

£30

45. The Dancer’s Reward




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




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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



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



mounted

[27529]

£30

49. Design for Title-Page of VenusLithographAubrey Beardsley



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


29/31

51. Frontispiece to Volpone




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



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.


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


30/31

54. The Kiss of JudasLithograph

Aubrey Beardsley



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



mounted

Originally published in The Yellow Book, Volume III

[27527]

£30

56. The Platonic LamentLithograph

Aubrey Beardsley



mounted

[27523]

£30

57. A PosterLithograph

Aubrey Beardsley



mounted

[27533]

£30


31/31

58. The Toilette of Salome




mounted

[27531]

£30

59. The Toilette of Salome [Second Edition]LithographAubrey Beardsley



mounted

[27532]

£30

60. Vignette from Le Morte D’Arthur Lithograph

Aubrey Beardsley



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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