Unpaginated. Hardcover with dustjacket. Fair condition. Water damage to dustjacket and covers. ART. A 9-page essay by John Russell, and 120 black & white plates of Beardsley's work. (Key Words: Aubrey Beardsley, Victorian England, Erotic Art).
Very Good/Very Good. Quarto, 11 1/4" tall, unpaginated (approximately 252 pages), black and white, black cloth; A very good, clean, neat hard cover with light shelf wear and slight fading to the cloth color at the edges; spine slightly canted; hinges and binding tight, paper cream white with light yellowing to fore-edges. In a very good dust jacket with minor edge wear and two short edge tears.
Very Good in Very Good jacket. Book. 4to-over 9¾"-12" tall. Cloth hardcovers in dust jacket. Some slight darkening to endpapers and edges. Otherwise a clean, tight and unmarked copy in similar dust jacket (showing some rubbing, now protected in archival sleeve). Illustrated.
Very good in very good dust jacket. DJ shows some wear. (RM062311) THIS ITEM CANNOT BE SHIPPED INTERNATIONALLY OR EXPEDITED BECAUSE OF SIZE AND/OR WEIGHT. 1 v. (unpaged) 120 illus. 29 cm. Includes Illustrations. Translation of Aubrey Beardsley: Zeichnungen.
Very Good. No Dust Jacket. 9 1/2" x 11. This is the 1967 Grove Press Edition originally published as Aubrey Beardsley: zeichnungen copyright 1964 by Gerhardt Verlag, Berlin. There are some moisture stains on the top of the front endpapers that reaches over to the very top of the last 20 page edges and back endpaper leaving a barely noticeable buckling at the top of those pages. Except for those minor defects the interior plate pages are faultless. Includes 120 full-page black and white plates. Nine page comprehensive introduction and biography by John Russell. Aubrey Beardsley did something to England and the English from which they have never recovered. unknown in 1892 and dead by the end of 1898 at age 25, he had only a very little time to do it. Yet of all of the English reputations of the 189-s his is the strongest. More than 100, 000 people crowded to see his work in London in the summer of 1966. The decorative arts all over Europe took something from Beardsley: in Paris, In Brussels and in Vienna you can see buildings ot this day which would not be quite the same if someone had not pored over Bearsley. His was an art of decisive effect, with No Compromise as its motto and there was nothing weak about the resolution with which he pursued it.
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