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Acrylic Blox : Frontispiece to plays by John Davidson by Aubrey Beardsley
Mounted Prints from Mary Evans Picture Library
Frontispiece to plays by John Davidson by Aubrey Beardsley
Design for a frontispiece to John Davidsons plays by Aubrey Beardsley, featuring caricatures of Sir Augustus Harris, theatre manager; Oscar Wilde; Beardsleys sister Mabel (nude woman); Henry Harland, literary editor of the Yellow Book (faun); poet Richard Le Gallienne (masked figure); dancer Adeline Genee (ballerina). Date: 1894
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Media ID 14417088
© Mary Evans Picture Library
1894 Aubrey Augustus Beardsley Caricatures Davidson Feb17 Frontispiece Harland Harris Mabel Oscar Plays Wilde Adeline Genee
6"x4" (15x10cm) Acrylic Blox
Your photographic print is held in place by magnets and a micro thin sheet of metal covering the back of a 20mm piece of clear acrylic. Your print is held in place with magnets so can easily be replaced if needed.
Streamlined, one sided modern and attractive table top print
Estimated Product Size is 10.2cm x 15.2cm (4" x 6")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with portrait (vertical) orientation to match the source image.
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EDITORS COMMENTS
This frontispiece, designed by Aubrey Beardsley for John Davidson's plays in 1894, showcases an intriguing assembly of prominent figures from the literary and theatrical world of the 1890s. Beardsley's innovative design features caricatures of Sir Augustus Harris, the renowned theatre manager, and Oscar Wilde, the celebrated playwright and wit. The artist's sister, Mabel Beardsley, is depicted as a nude woman, adding an element of sensuality to the composition. Henry Harland, the literary editor of the influential Yellow Book, is portrayed as a faun, symbolizing the decadent and artistic nature of the publication. Poet Richard Le Gallienne is masked, perhaps alluding to the mysterious and enigmatic persona he cultivated. Adeline Genee, the acclaimed ballerina, graces the design as a graceful and ethereal figure, embodying the beauty and elegance of the ballet. The intricate and detailed design, with its Art Nouveau influences, reflects the artistic and cultural climate of the late 19th century. The interplay of caricature and fine art, as well as the juxtaposition of various figures, adds depth and complexity to the image. This frontispiece serves as a testament to the rich and diverse artistic and literary scene of the 1890s, and to Aubrey Beardsley's unique and innovative artistic vision.
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