AUBREY VINCENT BEARDSLEY (1872-1898)
AUBREY VINCENT BEARDSLEY (1872-1898)
AUBREY VINCENT BEARDSLEY (1872-1898)
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AUBREY VINCENT BEARDSLEY (1872-1898)

Self-portrait

Details
AUBREY VINCENT BEARDSLEY (1872-1898)
Self-portrait
signed and inscribed 'Max Beerbohm from Aubrey Beardsley'; 'Fredr Hollyer, 9 Pembroke Sqre, Kensington W' (on the reverse); with inscription 'Fred[e]r[ick] Hollyer/ 9 Pembroke Sq[ua]re/ Kensington W' (on the back of the card in red ink)
watercolour and bodycolour painted over a photograph of Beardsley taken by Frederick Hollyer
3 7⁄8 x 5 5⁄8 in. (10 x 14.5 cm.)
Provenance
Given by the artist to Sir Max Beerbohm (1872-1956) (†); Sotheby's, London, 12 December 1960, possibly part of lot 2 or lot 250, where purchased by,
Alan Gradon Thomas (1911-1992) (†); Sotheby's, London, 22 June 1993, lot 266 (as Max Beerbohm).
with Simon Finch, London, 1995, from whom acquired by the late Barry Humphries.
Literature
B. Reade & F. Dickinson, Aubrey Beardsley: Exhibition at the Victoria and Albert Museum 1966: catalogue of the original drawings, letters, manuscripts, paintings; and of books, posters, photographs, documents etc., London, 1966, no. 600.
B. Reade, Aubrey Beardsley, London, 1967, p. 349, no. 379, pl. 331.
L.G. Zatlin, Aubrey Beardsley. A catalogue raisonne, New Haven and London, 2016, p. 152, no. 939, illustrated.
S. Calloway and C. Corbeau-Parsons (eds.), Aubrey Beardsley, London, 2020, p. 111, no. 99.
Exhibited
London, Victoria & Albert Museum, Aubrey Beardsley, May-September 1966, no. 600.
London, Tate Britain, Aubrey Beardsley, March-May 2020 and Paris, Musée d'Orsay, June-September 2020, no. 99.

Brought to you by

Benedict Winter
Benedict Winter Associate Director, Specialist

Lot Essay

Although traditionally the present work was thought to have been painted by Beerbohm, it was Beardsley himself who painted over this photograph taken by Frederick Hollyer. Gaitlin, loc.cit. discussed the attribution and although there are some stylistic characteristics with the work of Beerbohm, details such as the flower and tie are not. In addition, the handwriting and use of watercolour are also Beardsley’s hand (as noted by the Beardsley scholar Reade, in 1966, loc.cit.). The red ink used to heighten the curtains extends from them onto the card, indicating that the photograph was laid down before the watercolour was applied.

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