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[BEARDSLEY, Aubrey (1872-1898)] -- LACLOS, Pierre A.F. Choderlos de. Les Liaisons Dangereuses. Brussels: J. Rozez, 1869. 2 vols in one, 16° (147 x 94mm). (Chip to half-title, one leaf repaired with slight loss, occasional light spotting.) Contemporary blue morocco-backed marbled boards, spine gilt to an art nouveau design, original wrappers bound in, top edge gilt (spine restored, extremities rubbed, front endpaper slightly damaged). Provenance: Aubrey Beardsley (signature on title; later inscription on front endpaper from his mother to): -- 'Willie King [i.e. A.W. King] ... July 21st/18' -- Robert Booth (bookplate after Beardsley).
[BEARDSLEY, Aubrey (1872-1898)] -- LACLOS, Pierre A.F. Choderlos de. Les Liaisons Dangereuses. Brussels: J. Rozez, 1869. 2 vols in one, 16° (147 x 94mm). (Chip to half-title, one leaf repaired with slight loss, occasional light spotting.) Contemporary blue morocco-backed marbled boards, spine gilt to an art nouveau design, original wrappers bound in, top edge gilt (spine restored, extremities rubbed, front endpaper slightly damaged). Provenance: Aubrey Beardsley (signature on title; later inscription on front endpaper from his mother to): -- 'Willie King [i.e. A.W. King] ... July 21st/18' -- Robert Booth (bookplate after Beardsley).

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[BEARDSLEY, Aubrey (1872-1898)] -- LACLOS, Pierre A.F. Choderlos de. Les Liaisons Dangereuses. Brussels: J. Rozez, 1869. 2 vols in one, 16° (147 x 94mm). (Chip to half-title, one leaf repaired with slight loss, occasional light spotting.) Contemporary blue morocco-backed marbled boards, spine gilt to an art nouveau design, original wrappers bound in, top edge gilt (spine restored, extremities rubbed, front endpaper slightly damaged). Provenance: Aubrey Beardsley (signature on title; later inscription on front endpaper from his mother to): -- 'Willie King [i.e. A.W. King] ... July 21st/18' -- Robert Booth (bookplate after Beardsley).

AUBREY BEARDSLEY'S COPY OF LACLOS'S EROTIC FIN-DE-SIECLE NOVEL. A.W. King, its owner after his death, was Beardsley's housemaster at Brighton, and one of the first to encourage his talent for drawing. While the artist did not take up Smither's invitation to illustrate Laclos's work, he asked Smithers to send him a copy in late 1896 and published a striking drawing of Count Valmont in the Savoy that December.

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