POE, Edgar Allan -- Four Illustrations, probably to the Works of Edgar Allan Poe, [Chicago: Stone & Kimball, 1894-95, edited by E.C. Stedman & George E. Woodberry, illustrated by Albert Edward Sterner], from line- blocks after Beardsley printed on Japanese vellum, 203 x 130mm., with 16 other etched or photogravure illustrations to Poe after Vierge, Férat, Wogel and others (no title or text), in original vellum portfolio with design of tulips blocked in gilt on covers. [Gallatin p. 57; Reade 337-40]

細節
POE, Edgar Allan -- Four Illustrations, probably to the Works of Edgar Allan Poe, [Chicago: Stone & Kimball, 1894-95, edited by E.C. Stedman & George E. Woodberry, illustrated by Albert Edward Sterner], from line- blocks after Beardsley printed on Japanese vellum, 203 x 130mm., with 16 other etched or photogravure illustrations to Poe after Vierge, Férat, Wogel and others (no title or text), in original vellum portfolio with design of tulips blocked in gilt on covers. [Gallatin p. 57; Reade 337-40]

The small vellum portfolio, illustrated in colour on page ..., only accompanied the Japanese paper issue of 10 sets. It is much the same as that described in Sotheby's Book Sale of 1 & 2 December, 1988, except for the fact that there was no mention of the mid 19th-century French illustrators. Three other copies for which documentation has been traced are in the same format but with the Beardsley illustrations only (2 are accompanied by the 10 volume set). However, Kramer (Bibliography of Stone & Kimball) located just one copy, to accompany the 10 sets on Japanese paper of the above edition, consisting of reproductions to illustrations of Poe by mid 19th-century French artists. A likely scenario is that the publishers decided to proceed with the main 10 volume work excluding Beardsley's illustrations, as only 4 of the promised 8 drawings were to hand in August 1895. They subsequently chose to print the Beardsleys separately and include them in a portfolio which matched the bindings of the 10 volume edition, possibly to distribute with the 10 sets on Japon which were never offered for public sale. Prior to this decision on the Beardsley illustrations, the publishers may well have experimented with the ideas of having a portfolio by the French artists. It is impossible to state categorically that all 10 sets on Japon had this portfolio. One can say that the portfolio is scarce and highly desirable, and that a portfolio combining both the Beardsley and the French illustrations is of the utmost rarity.