Chapter VI: L'Abbe Troubert (Cure de Tours). 5 x 2-3/4 inches. Dark sepia wash

VII. Madame Bovary. 5-5/8 x 3-1/8 inches. Pencil. First published in
"Second Book," and again in "Later Work."

VIII. Sapho (Daudet). Wanting. Over its place has been gummed another
drawing, also wanting, its title written at the foot,
_L'homme qui rit_.

IX. Le Cousin Pons. 5-1/8 x 2-3/8 inches. Indian ink.

X. Portrait of Alphonse Daudet. 2-3/4 x 2-3/16 inches. Indian ink on
pale blue paper.

XI. Watteau, Ma Cousine (Cousin Pons). 5-1/2 x 2-3/4 inches. Pen-and-ink
with wash on pale grey toned paper.

XII. Mademoiselle Gamard (Cure de Tours). 3-1/8 x 2-1/8 inches. Indian
ink wash.

XIII. Madame Cibot (Cousin Pons). 4 x 2-7/8 inches. Indian ink wash.

XIV. (Jack) Attendons! 3-5/8 inches high, irregular silhouette.
Dark sepia wash.

XV. Jeanne D'Arc, the childhood of. 9 x 3-3/8 inches. Sepia and madder
wash on toned paper. First published in "Second Book," again in
"Later Work."

XVI. Frontispiece to Balzac's "Contes Drolatiques." 6-3/4 x 4-1/8 inches.
Drawn after the manner of Richard Doyle. First published in
"Second Book," again in "Later Work."

XVII. Phedre (Act ii. scene 5). 3-7/8 x 3-1/2 inches. Pencil and colours.
First published in "Second Book," again in "Later Work."

XVIII. Manon Lescaut, three-quarter length, woman to left, with fan.
5-1/4 x 3-1/2 inches. Water-colour on grey paper. First published
in "Second Book," again in "Later Work."

XIX. Beatrice Cenci. 6-1/8 x 2-3/4 inches. Pencil and sepia wash. First
published in "Second Book," again in "Later Work."

Unless otherwise stated as above, the works in this collection are
unpublished; all were executed 1889-90.

LATER WORK.

14. FRANCESCA DI RIMINI (Dante). Head in profile, to left; pencil.
First published in "Later Work."

15. DANTE AT THE COURT OF CAN GRANDE DELLA SCALA. Circular design,
in pencil. (Property of Miss H. Glover.)

16. DANTE IN EXILE. Dante seated on the left, the words of the Sonnet
inscribed on the right, with decorations recalling some design of
William Blake's. Signed A.V.B. First published in "Later Work."
(Formerly the property of the late Hampden Gurney, Esq.)

17. "I SAW THREE SHIPS COME SAILING BY ON CHRISTMAS DAY IN THE MORNING."
Pencil. Designed as a Christmas card for the late Rev. Alfred Gurney.
Published in "Later Work." _c._ 1890-1.

18. HAIL MARY. Profile of a head to left. Pencil drawing, 4-1/2 x 5-1/4
inches. First published in _The Studio_, May 1898, again in "Early
Work." (Property of Frederick H. Evans, Esq.) 1891.

19. HEAD, three-quarter face to right, with a Wreath of Grapes and Vine
Leaves and background of tree trunks. Lead-pencil sketch 5-1/2 x 5-5/8
inches. Unpublished. (Property of John Lane, Esq.) _circa_ 1891.

20. THEL GATHERING THE LILY. Pen-and-ink with water-colour wash. (Formerly
the property of Robert Ross, Esq.)

21. TWO FIGURES IN A GARRET, both seated, a woman haranguing a young man.
Ink and wash sketch, 3-1/4 x 4-1/8 inches. Published in "Early Work."
(Property of Frederick H. Evans, Esq.)

22. E. BURNE-JONES. Portrait sketch in pen-and-ink, with slight wash.
A memorandum of Aubrey Beardsley's first call on Sir Edward
Burne-Jones, dated Sunday, 12th July 1891, and signed with monogram,
A.V.B. Size, 6-3/4 x 4-1/8 inches. Eight copies only. Printed on
India paper. Published by James Tregaskis, Caxton Head, High Holborn,
in 1899. July 1891.

23. THE WITCH OF ATLAS. Pen-and-ink and water-colour wash. First reproduced
(lacking ornamental border) in "Second Book," again in "Later Work."
(Formerly the property of Robert Ross, Esq.)

24. MOLIERE. Blue water-colour wash. First published in "Later Work."
(Formerly the property of Robert Ross, Esq.)

25. DIE GOeTTERDAeMMERUNG. Decorative composition in white and Indian ink,
influenced by Burne-Jones. First published in "Second Book," again in
"Later Work." (Formerly the property of Robert Ross, Esq.)

26. SOLEIL COUCHANT. Decorative composition in Indian ink. (The motif of
the central part was subsequently adapted for a vignette in the
"Morte Darthur," Book II. chap. xii.) First published in "Later
Work." (Formerly the property of the late Hampden Gurney, Esq.)

27. TANNHAUSER. Study for decorative composition, in Indian ink.
5-5/8 x 7-1/2 inches. First published in "Later Work." (Property of
Dr Rowland Thurnam.) 1891.

28. WITHERED SPRING. Decorative composition in Indian ink. Catalogued in
"Fifty Drawings" as "Lament of the Dying Year." (The motif of the
central part was subsequently adapted for a vignette in the "Morte
Darthur," Book I. chap. xii.) First published in "Later Work."
(Property of Dr Rowland Thurnam.)

29. I. PERSEUS. Pen-and-ink and light wash. Design for an upright panel,
with standing nude figure, above it a frieze of smaller figures.
18 x 6-3/4 inches. First published in "Early Work." (Property of
Frederick H. Evans, Esq.)

II. A pencil sketch of two figures, unfinished, on the reverse of the
preceding. Published in "Early Work."

30. L'ABBE MOURET. Decorative design for frontispiece of Zola's "La Faute
de l'Abbe Mouret." Ink and wash. First published in "Under the Hill."
John Lane. 1904. (Property of John Lane, Esq.)

31. HAMLET PATRIS PANEM SEQUITUR. Pencil drawing. Printed in red, as
frontispiece to _The Bee_, the Magazine of the Blackburn Technical
School, November 1891; reprinted, in black, in "Second Book," again
in "Early Work." Latter part 1891.

32. PERSEUS AND THE MONSTRE. Pencil design, 5-1/2 x 7-1/2 inches. First
appeared in illustration of an article entitled, "The Invention of
Aubrey Beardsley," by Aymer Vallance, in _The Magazine of Art_, May
1898; again in "Early Work," (Property of Aymer Vallance, Esq.) 1891.

33. THE PROCESSION OF JEANNE D'ARC. Pencil outline, treatment inspired by
Mantegna, 19-1/2 long by 6-1/2 inches high. First published in
_Magazine of Art_, May 1898; again as double page in "Second Book";
again, reduced, in collotype, in "Early Work." (Property of Frederick
H. Evans, Esq.) 1891-2.

A pen-and-ink version of the Procession, 30 inches long by 7 high,
was made subsequently, about the Spring of 1892, for Robert Ross,
Esq. Published in _The Studio_; see below.

34. THE LITANY OF MARY MAGDALEN. Pencil drawing. First published in
"Second Book," again in "Later Work." (Formerly Property of More
Adey, Esq.) 1892.

35. THE VIRGIN AND LILY. Madonna standing in front of a Renaissance niche
and surrounded by Saints, among them St John Baptist kneeling.
Pencil outline. Reproduced in photogravure in "Later Work."
(Formerly the property of the late Rev. Alfred Gurney, afterwards
in the possession of his son, the late Hampden Gurney, Esq.)

36. CHILDREN DECORATING A TERMINAL GOD. Pen-and-ink. (Formerly the
property of M. Puvis de Chavannes.)

37. FRED BROWN, N.E.A.C. Pen-and-ink sketch of the art-master in studio.
Signed with monogram A.V.B. First published in "Under the Hill."
(Property of Miss Nellie Syrett.)

38. STUDY OF FIGURES, horizontal fragment from, containing five heads and
parts of two more. Pencil. Published in "Under the Hill." (Property
of Miss Nellie Syrett.)

39. PORTRAIT OF THE ARTIST. Full face. Pen-and-ink. First published in
"Second Book," again in "Later Work." (Presented by Robert Ross,
Esq., to the British Museum.)

40. SIDONIA THE SORCERESS. A design to illustrate Meinhold's Romance,
representing Sidonia, not in religious habit, with the demon-cat,
Chim. William Morris's criticism that the face of Sidonia was not
pretty enough, and another suggested improvement on the part of
a friend of Aubrey Beardsley's, induced him to try to better the
picture by altering the hair. The result was so far from satisfactory
that it is almost certain that the drawing was destroyed by the
artist. First half of 1892.

41. LE DEBRIS D'UN POETE. Pen-and-ink. First published in "Aubrey
Beardsley," by Arthur Symons (Sign of the Unicorn, London, 1898).
(Property of Andre Raffalovich, Esq.)

42. INCIPIT VITA NOVA. Chinese, white, and Indian ink on brown paper.
First published in "Second Book," again in "Later Work." (Property
of Messrs Carfax & Co.) 1892.

43. HEAD OF AN ANGEL, in profile, to left, flaming heart held in left
hand. Pencil, on a half-sheet of grey notepaper, signed with monogram
A.V.B. 5-3/4 x 3-7/8 inches. First published in photogravure "Second
Book," again in "Later Work"; also printed in 4-inch square form on
card for private distribution, Christmas 1905. (Property of the
artist's sister, Mrs George Bealby Wright [Miss Mabel Beardsley].)
_c._ 1892.

44. ADORAMUS TE. Four angels in a circle (7 inches in diameter) playing
musical instruments, pencil and coloured chalks. Signed A.V.B.
monogram. Designed as a Christmas card for the late Rev. Alfred
Gurney. First published in photogravure in "Second Book," again in
"Later Work." (Property of Mrs George Bealby Wright.)

45. A CHRISTMAS CAROL. Two angels, one of them playing a hand-organ, in a
circle (7-3/4 inches diameter), pencil, and coloured chalks.
Designed as a Christmas card for the late Rev. Alfred Gurney.
First published in photogravure in "Second Book," again in "Later
Work." Also in photogravure, 3 inches diameter, for private
circulation. (Property of Mrs George Bealby Wright.) Christmas, 1892.

46. LA FEMME INCOMPRISE. Pen-and-ink and wash. First published in the
spring number of _To-Day_, 1895; again in the _Idler_ magazine,
March 1897.

47. SANDRO BOTTICELLI, three-quarter face to left, pencil, signed
with monogram A.V.B.; 14 x 7-3/4 inches; a reconstruction of
the Florentine painter's physiognomy from his extant works, to
illustrate Aubrey Beardsley's theory that every artist tends to
reproduce his own physical type. Presented by the artist to Aymer
Vallance, Esq. First published in the _Magazine of Art_, May 1898;
afterwards in "Early Work." _c._ 1892-3.

48. RAPHAEL SANZIO. Full-length figure, three-quarter face to left, a
decorative panel in pen-and-ink, 10-3/4 x 3-7/8 inches, exclusive
of border lines. Unpublished. (Property of Messrs Obach & Co.)

49. CEPHALUS AND PROCRIS. Pen-and-ink.

50. SMALL BOOKMARKER, woman undressing, a Turkish table in the foreground.
Pen-and-ink. First published in "Second Book," again in "Later Work."
(Property of Sir William Geary, Bart.) 1893.

51. HERMAPHRODITUS, seated figure, pencil and pale colour tints. Reproduced
in colour in "Later Work." (Property of Julian Sampson, Esq.)

52. L'APRES-MIDI D'UN FAUNE, par Mallarme; four designs extra-illustrating
a copy of. One of them, a pen-and-ink vignette of a faun, full face,
signed with monogram A.V.B., was published in "Second Book." The
others unpublished. 1893.

53. DECORATIVE SKETCH DESIGN OF A SAILING SHIP. 1-7/8 x 2-1/2 inches.
Pen-and-ink on white from the back of a letter to Aymer Vallance,
Esq. First published in _Magazine of Art_, May 1898; again in "Early
Work." _c._ 1893.

54. ANGEL PLAYING HAND-ORGAN. Pen-and-ink and slight wash, on pale grey
notepaper, from a letter to Aymer Vallance, Esq. First published in
_Magazine of Art_, May 1898; again in "Early Work." _c._ 1893.

55. THE PALL MALL BUDGET, 1893 and 1894.

I. MR H. A. JONES AND HIS BAUBLE; pen-and-ink. Feb. 2, 1893, p. 150.

II. THE NEW COINAGE. Four designs that were not sent in for
competition, p. 154. Another design, embodying a caricature of
Queen Victoria, was suppressed.

III. "BECKET" AT THE LYCEUM.

1. Mr Irving as Becket; wash drawing. Feb. 9th, front page.
2. Master Leo, p. 188.
3. Queen Eleanor, p. 188.
4. Margery, p. 188.
5. The King makes a Move on the Board, p. 188.
6. Miss Terry (as Rosamond), p. 188.
7. Mr Gordon Craig, p. 190.
8. The Composer, p. 190.

IV.

1. THE DISAPPOINTMENT OF EMILE ZOLA, p. 202.
2. EMILE ZOLA; a portrait, p. 204.
(Republished in "Pall Mall Pictures of the Year," 1893,
and in _The Studio_, June 1893.)

V. VERDI'S "FALSTAFF," AT MILAN, Feb. 16th.

Initial letter V; pen-and-ink, p. 236.
Portrait of Verdi; ink and wash, p. 236.