Morte Darthur Text Written by Beardsley Aubrey Malory Sir Thomas (6 results)

hardback with dust jacket Nice copy quarto liv + 624pp., illustrations, A facsimile of the J. M. Dent 1909 edition.

First Beardsley edition, one of 1,500 copies on ordinary paper, bound from the original twelve monthly instalments published from June 1893 to mid-1894, and with the original wrappers bound in. There were also 300 copies printed on Dutch handmade paper. This was Beardsley's first major commission and the book that launched the "Beardsley look" (Gillon, p. IV). "Aubrey Beardsley's Morte Darthur was one of the most original and certainly one of the most controversial of the nineteenth-century artistic reinterpretations of Malory. Although his illustrations for the Morte established Beardsley as the voice of the 1890s, he was until that time largely an unknown young artist. La Morte Darthur proved to be an immediate sensation upon publication and the impact of Beardsley's Arthurian illustrations was tremendous. Today, Beardsley's illustrations for the Morte, which constituted almost half his lifetime's artistic output, survive as the first example of modern Arthurian book illustration, and they remain arguably the best experimental visual reinterpretation of the Arthurian world. With their bold lines, strong visual themes, and numerous memorable but unconventional details, the Morte 'pictures' (which is how Beardsley himself referred to them) created an important - although admittedly idiosyncratic - symbology and iconography. Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" (Lupack, pp. 75-91). "In Le Morte D'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte D'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). Edmund Vincent Gillon, Illustrations for Le Morte D'Arthur, 1972; John Lewis, The Twentieth Century Book, 1984; Barbara Tepa Lupack, Illustrating Camelot, 2008. Two volumes, large quarto (239 x 190 mm). Contemporary brown half morocco, spines with gilt-tooled raised bands, gilt lettering in compartments, brown cloth sides ruled in gilt, marbled endpapers, top edges gilt, others untrimmed, red silk bookmarkers. Engraved frontispiece to each volume, 18 wood-engraved plates (including five double-page), some retaining tissue guards, numerous text illustrations, and approximately 350 repeated designs for chapter headings and borders, all by Aubrey Beardsley. Bookplate on front pastedowns of Robert Peel Sheldon, dated September 1893 and designed by himself (R.P.S. Fecit); Sheldon was an English collector, and perhaps the director of Cabrera Mines, Ltd. Spines faded, minor rubbing to extremities, bookmarkers detached and loosely inserted in each volume, occasional spot of foxing or small faint mark to contents, otherwise internally clean. A very good set.

First edition thus, and third overall, one of 1,600 unnumbered copies, retaining the scarce jacket. This was Dent's final edition, entirely reset, and enlarged with two drawings (pp. xj and lvj) and one additional chapter heading (p. 530) never before printed. This edition also includes a new foreword by the Scottish newspaper editor Aymer Vallance (1892-1955). First published in two volumes in 1893, Morte Darthur was Beardsley's first major commission and the book that launched what has come to be known as the "Beardsley look" (Gillon, p. IV). In 1892, seeking to emulate the books of the Kelmscott Press, John M. Dent commissioned the 20-year-old Beardsley to produce an edition of Le Morte D'Arthur. The 351 designs appearing in the first edition required 18 months for the artist to complete. Bored with the project, Beardsley at last refused to complete Dent's original commission of 500 drawings. Of this work, John Lewis states: "In Le Morte D'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte D'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). Edmund Vincent Gillon, Illustrations for Le Morte D'Arthur, 1972; John Lewis, The Twentieth Century Book, 1984. Large quarto. Original green cloth over bevelled boards, spine lettered in gilt, spine and front cover stamped in gilt with floral patterns, top edge gilt, largely uncut. With dust jacket. Frontispiece, 21 plates, illustrations in text throughout. Cloth and gilt bright, a few spots of foxing to lower edge; the jacket with minor fading to spine panel, small chip and couple of short tears to edges, overall a remarkably clean and fresh example, unclipped; a near-fine copy in like jacket.

First Beardsley edition, an out of series unnumbered copy of one of 300 deluxe copies on Dutch handmade paper, from a total edition of 1,800. The book was issued in 12 parts in wrappers, with the purchaser given the choice of sending it back to the publisher, who bound them in vellum or cloth, or to a binder of their own. In 1892, seeking to emulate the books of the Kelmscott Press, John M. Dent commissioned the 20-year-old Beardsley to produce this edition, work that took the young artist 18 months to complete. "In Le Morte d'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte d'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). The work was first published in 12 monthly magazine instalments between June 1893, and mid-1894. "Aubrey Beardsley's Morte Darthur was one of the most original and certainly one of the most controversial of the nineteenth-century artistic reinterpretations of Malory" which "established Beardsley as the voice of the 1890s" (Tepa Lupack, Chapter 4). "Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" (ibid.). La Morte Darthur was an immediate sensation upon publication. Lasner 22. Lewis, John, The Twentieth Century Book, Herbert Press Ltd, 1984, pp. 148-9; Ray, The Illustrator and the Book in England from 1790 to 1914, Oxford University Press, 1976, p. 314; Tepa Lupack, Barbara Illustrating Camelot, D. S. Brewer, 2008. Three volumes (243 x 188 mm). Contemporary half vellum, titles in gilt to red calf labels to spines, foliate gilt rulings to spine ends, brown morocco grain cloth sides, marbled edges and endpapers. With photogravure frontispieces on India paper to volumes I and III, 18 full-page wood engravings with tissue guards (5 double-page), numerous text illustrations and approximately 350 designs for chapter headings and borders (foliate and historiated) all by Aubrey Beardsley printed in red and black. Light soiling to vellum, slight bumps to tips, top edge of book block dust toned, sporadic faint foxing occasional and offsetting from full-page engravings and toning to their edges, a very good set.

First Beardsley edition, one of 1,500 copies on ordinary paper, in the scarce original 12 monthly instalments published from June 1893 to mid-1894 and with a publisher's slip offering binding options tipped into part XII. This was Beardsley's first major commission and the book that launched the "Beardsley look" (Gillon, p. IV). "Aubrey Beardsley's Morte Darthur was one of the most original and certainly one of the most controversial of the nineteenth-century artistic reinterpretations of Malory. Although his illustrations for the Morte established Beardsley as the voice of the 1890s, he was until that time largely an unknown young artist. La Morte Darthur proved to be an immediate sensation upon publication and the impact of Beardsley's Arthurian illustrations was tremendous. Today, Beardsley's illustrations for the Morte, which constituted almost half his lifetime's artistic output, survive as the first example of modern Arthurian book illustration, and they remain arguably the best experimental visual reinterpretation of the Arthurian world. With their bold lines, strong visual themes, and numerous memorable but unconventional details, the Morte 'pictures' (which is how Beardsley himself referred to them) created an important - although admittedly idiosyncratic - symbology and iconography. Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" (Lupack, pp. 75-91). "In Le Morte D'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte D'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). Edmund Vincent Gillon, Illustrations for Le Morte D'Arthur, 1972; John Lewis, The Twentieth Century Book, 1984; Barbara Tepa Lupack, Illustrating Camelot, 2008. Twelve parts, large octavo. Original light blue wrappers printed in black, part XII largely uncut. Engraved frontispiece to each volume, 18 wood-engraved plates (including five double-page), numerous text illustrations, and approximately 350 repeated designs for chapter headings and borders, all by Aubrey Beardsley. Spines lightly toned, wrappers nicked at edges, subtle repair to front joint of part XI, a little foxing to edges, otherwise clean and fresh. An excellent set in the original wrappers.

First Beardsley edition, one of 1,500 copies on ordinary paper; another 300 were printed on Dutch handmade paper. This copy in a bright and spectacular example of a "vellucent" binding, by Cedric Chivers of Bath, unsigned but a characteristic example of this style. Chivers invented a way to treat vellum so that it became translucent ("vellucent"): the cover design would be painted on a separate sheet and then a thin sheet of this translucent vellum would be laid over it; gilt tooling would then be applied over the top of this. In his catalogue of Books in Beautiful Bindings (c. 1905), Chivers describes the Beardsley Morte D'Arthur as "bound in whole vellucent from a design by the illustrator of the book. A figure panel enclosed in a floral border". The hand-painted cover illustrations for this set reproduce two of Beardsley's designs, volume one depicting "How Four Queens Found Launcelot Sleeping" (p. 184) and volume two "The Achieving of the Sangreal" (frontispiece). "Commissioned by British publisher J. M. Dent in 1892 and first published in twelve monthly magazine instalments between June 1893, and mid-1894, Aubrey Beardsley's Morte Darthur was one of the most original and certainly one of the most controversial of the nineteenth-century artistic reinterpretations of Malory. Although his illustrations for the Morte established Beardsley as the voice of the 1890s, he was until that time largely an unknown young artist. La Morte Darthur proved to be an immediate sensation upon publication and the impact of Beardsley's Arthurian illustrations was tremendous. Today, Beardsley's illustrations for the Morte, which constituted almost half his lifetime's artistic output, survive as the first example of modern Arthurian book illustration, and they remain arguably the best experimental visual reinterpretation of the Arthurian world. With their bold lines, strong visual themes, and numerous memorable but unconventional details, the Morte 'pictures' (which is how Beardsley himself referred to them) created an important - although admittedly idiosyncratic - symbology and iconography. Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" (Lupack, chapter 4). This is a masterpiece of book illustration in a striking binding. Ray, The Illustrator and the Book in England from 1790-1914, 314. Barbara Tepa Lupack, Illustrating Camelot, D. S. Brewer, 2008. Two volumes, large square octavo (250 x 214 mm). Contemporary full vellum over bevelled boards by Cedric Chivers of Bath for Bumpus of London, gilt panelled spines with hand-painted art nouveau-style lettering and scrolling floriate motifs, below which, on a field of gilt dots, an overall pattern of stylised roses and rose leaves (volume I) and tulips and tulip leaves (volume II), sides with two-line gilt border enclosing a frame of hand-painted intertwining roses and rose leaves (volume I) and intertwining tulips and tulip leaves (volume II), both on a field of gilt dots, panel on each front cover with a hand-painted scene taken from Beardsley's designs, back covers with three-line gilt panels, top edges gilt, others untrimmed, partially uncut, gilt turn-ins, marbled endpapers. Gravure frontispieces, 18 full page wood engravings (including five double-page), numerous text illustrations, and approximately 350 repeated designs for chapter headings and borders, all by Aubrey Beardsley. Front joint of Vol. 2 superficially cracked but firm, short cracks to both spine heads, dampstains to joints and lower extremities, a touch of rubbing to the front of Vol. 1, vellum a little soiled but still bright and handsome, a touch of occasional foxing to contents and some light offsetting from frontispieces, else internally clean. A very good set, bright and fresh.