Advertisements (Savoy Volume 1)
THE SAVOY—ADVERTISEMENTS i
London Nights. Poems by ARTHUR SYMONS.
Edition consists of 500 Small Paper copies on Large Post 8vo deckle-edged paper, bound in dark green cloth, at Six Shillings net per copy; and 50 Large Paper copies on Royal 8vo hand-made paper, bound in dark green buckram at One Guinea net per copy.
EXTRACTS FROM PRESS NOTICES.
“Those who have learned from his former volumes to know Mr. Symons as a careful maker of melodious verse, not without a gift of direct vision, and often distinguished by some felicity of expression, will open, as we did, his new book of poems with considerable expectations. Nor will any student of verse, simply as verse, be disappointed. Mr. Symons is no unskilled metricist. He has learned the secret of the melody of simple metres, and he uses his knowledge often with unquestionable success. He has learned, too, the value of simplicity of language; and in such verse as White Magic, Memory, and At the Ambassadeurs, he hits the mark. . . . In lack of reticence, of decency, Mr. Symons has nothing to learn from anyone; but he differs from the French poets he imitates in the air of artificiality which surrounds his apotheosis of the flesh. One feels that Mr. Symons is merely posing; anxious to appear a much more abandoned sensualist than he is. He does his best to paint exceptional depravity, as if he drew upon his own experience; but, to the credit of his morals be it said, the result is unconvincing and unreal. It is a pity that so much culture, so much knowledge of poetry, such mastery of language and metre, should be wasted on subjects that are as much beneath the notice of the Muse as they are unworthy of the dignity of Human Nature.”— Saturday Review.
“‘London Nights,’ by Arthur Symons, is a very dainty, very clever volume of verses, mainly descriptive of various female characters—fickle, fleeting, beautiful, intensely human, and, of course, not unsusceptible, and therefore tormentingly unsatisfactory. . . . That is the art of Mr. Symons, as is clearly seen through all the hundred pages of his delightful verse, in which, so far as words go, he seems to dance on the tight-rope of language. But there are deep notes in the book, as in Stella Maris for instance, which is a moral tragedy, exquisitely told, but of doubtful utility, as we might also say of the sonnet strangely named Idealism, and of the lines To One in Alienation. Was it wise of Mr. Symons to print such things? Distinctly, we think not. Even if they are phantoms of the author’s creation, they are fleshly, and all the more suggestive because artistically described. But suppose the author to be the seer in the stalls and the actor on the stage at the same time; what then? Why, then he must be a kind of mixed devil—divine and diabolical. The proof? It will be found in Liber Amoris, a poem which is snakishly fascinating. Some good people would call it painted poison.”— Glasgow Herald.
“The bulk of it is about music-halls, and what its author names Leves Amores, and a little is a degree franker than Mr. Swinburne’s ‘Poems and Ballads’; and yet, though too unequal and experimental to be called ‘an excellent book, a wonderful book,’ it contains certain poems of an ‘excellent’ and ‘wonderful’ beauty, peculiar to its author’s muses. . . On the whole, Mr. Symons must be congratulated upon having written a book which, though it will arouse against him much prejudice, is the best he has done; and none who have in their memory Shelley’s ‘Defence of Poetry’ will condemn him because he writes of immoral things, even though they may deeply regret that he has not found an ampler beauty than can be discovered under ‘that subtle shade.’”—The Bookman.
“‘Nuits de Londres,’ ainsi s’intitule le nouveau livre du délicat et vivant poète. Mais n’allez pas en conclure à des ténèbres de ‘fog’ et de ‘mist,’ a des scènes lugubres ou brutales. Imaginez ou, comme dit l’Anglais, ‘réalisez,’ au contraire, tout le raffinement et tout l’éclat de la vie nocturne d’un fantaisiste élégant, épris du joli, du coquet—et du Beau, parmi les splendeurs d’un Londres intelligemment viveur, d’un Londres moderne à l’extrême et le plus parisien possible, avec la nuance anglaise, toutefois, distinction suprême, veux-je le dire, dans le style, joyeux parfois, léger, qui sait sourire et badiner sans jamais ‘ s’emballer ’ jusqu’à même un soupçon de gaieté quelque peu grasse. Du reste, dans un ‘Prologue’ des plus prestes, l’auteur nous met loyalement, et si gentiment ! au courant du ton général de son livre. . . Donc nous voilà prévenus: nous avons affaire ici à un artiste-poète ou à un poète-artiste (plutot!) qui se distrait de l’immortel ennui dans toutes les diversions que les sens plus encore que l’imagination peuvent lui procurer: les sens surtout visuels et auditifs! C’est je crois, du paganisme, et bien que le mot ne soit que sous-entendu ici, la chose y est bien. . . . Dans les nombreuses pièces à propos de
Paris, il faudrait citer bien des choses; mais je dois me borner. Voici, pourtant, en entier un poème sur Yvette Guilbert qui me paraît un pur chef-d’œuvre.”— Paul Verlaine, in the Revue Encyclopédique.
Leonard Smithers, Effingham House, Arundel St., Strand, W.C.
STICKPHAST Paste sticks.
Caprices. Poems by THEODORE WRATISLAW.
Edition consists of 100 copies on Foolscap 8vo hand-made paper, bound in parchment, at Five Shillings net per copy; and 20 copies on Japanese vellum, in similar binding at One Guinea net per copy.
The few remaining copies of these charming Poems have been transferred to me, from their late Publishers, by the Author.
ii THE SAVOY—ADVERTISEMENTS
CAPRICES (continued)—EXTRACTS FROM PRESS NOTICES.
“Nothing if not modern.”— Bookman, January, 1894. .
“The ultra-modern school of verse has found a new recruit in Mr. Theodore Wratislaw, whose Caprices are fervently fin-de-siècle—an interesting attempt to paint impressions in verse.”— Athenæum Summary, 1893.
“Mr. Wratislaw uses the most difficult metres, the least manageable verse forms, with the rarest facility. However bizarre the subject-matter, the manner is admirably sedate, admirably restrained. . . . His ear is curiously sensitive, and if he rarely attains absolute orchestration, he produces delicious melodies as it were on violin and flute. . . . It may well be that Mr. Wratislaw’s little book will be found shocking to some, irritating to many. Some emphatic impression, whether of pain or of pleasure, it will leave on all.” C. T. J. Hiatt, in Artist, January, 1894.
IN PREPARATION :
THE RAPE OF THE LOCK, by Alexander Pope. An Édition de Luxe with eight elaborate Drawings by Aubrey Beardsley. Crown 4to size, with pictorial cover. A limited edition. Ten Shillings and Sixpence net per copy; Twenty-five copies on Japanese Vellum, Two Guineas per copy.
Ready in February.
THE LIFE AND TIMES OF MADAME DU BARRY, by Robert B. Douglas. An entirely new Biography, illustrated with a rare portrait of Madame Du Barry, finely engraved upon wood. Demy 8vo; upwards of 300 pages, bound in cloth. Price Sixteen Shillings net.
A BOOK OF TWENTY-FIYE SOCIAL AND LITERARY CARICATURES, by
Max Beerbohm, finely engraved upon wood. Price Six Shillings net. A few copies will be coloured by the artist, and will be offered at One Guinea net per copy.
SILHOUETTES : Poems by Arthur Symons. Second Edition, revised and enlarged. Price Five Shillings net.
LA FILLE AUX YEUX D’OR, translated from the French of Honoré de Balzac by Ernest Dowson, and illustrated with six designs by Charles Conder, finely engraved upon wood.
A VOLUME OF VERSE, by A. Bernard Miall.
A VOLUME OF VERSE, by Theodore Wratislaw.
THE SOUVENIRS OF LEONARD, Coiffeur to Queen Marie Antoinette, translated by
Alexander Teixeira de Mattos.
LEONARD SMITHERS, Effingham House, Arundel St., Strand, LONDON, W.C.
Rare and Valuable Literary and Artistic Property
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EFFECTS SUBSCRIPTIONS FOR CURRENT LIVRES DE LUXE.
Gives skilled attention as a Specialist to the Binding, Restoration and Illumination of Books by the leading Parisian Masters.
Requests Collectors to advise him of their Specialities, so as to be enabled to submit many precious and desirable articles passing through his hands, or coming under his notice, which, through the keen demand by Bibliophiles, are never offered through the ordinary channels.
Catalogues issued at periodic intervals, with artistic reproductions of fine bindings, will be sent on application.
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THE SAVOY—ADVERTISEMENTS iii
MESSRS. HENRY’S ANNOUNCEMENTS.
Messrs Henry beg to announce that they have published a work beautiful alike in matter and in manner, entitled
Edited by CHARLES HAZELWOOD SHANNON and GLEESON WHITE.
Over 250 pp., 20 full-page Illustrations, and 17 Illustrations in the text. Crown 4to, 6s. net. Large-paper Edition (limited to 150 copies), £1 IS. net.
- THE DOCTOR: a Portrait of my Brother. An Original Lithograph by James M’Neill Whistler.
- SYMPHONY IN WHITE, No. III. From a Picture by James M‘Neill Whistler.
- MONNA ROSA. A Picture by Dante Gabriel Rossetti.
- MARY MAGDALENE AT THE HOUSE OF SIMON THE PHARISEE. An elaborate Pen-and-ink Drawing by Dante Gabriel Rossetti.
- PERSEUS AND MEDUSA. A Picture by Sir Edward Burne-Jones.
- THE SEA NYMPH. A Picture by Sir Edward Burne- Jones.
- ARIADNE. A Picture by G. F. Watts, R.A. Printed in Brown.
- PAOLO AND FRANCESCA. A Picture by G. F. Watts, R.A. . . ,
- SIR ISUMBRAS OF THE FORD. A Picture by Sir John Everett Millais, R.A.
- LOVE. An Original Drawing by Sir John Everett Millais, R.A. Printed in Blue.
- PALLAS AND THE CENTAUR. A recently discovered Picture by Botticelli.
- ŒDIPUS. An Original Pen-and-ink Drawing by Charles Ricketts.
- PSYCHE IN THE HOUSE. An Original Pen-and-ink Drawing by Charles Ricketts.
- SIDONIA THE SORCERESS AND OTTO VON BORK. An Original Pen-and-ink Drawing by Reginald Savage.
- THE ALBATROSS. An Original Pen-and-ink Drawing by Reginald Savage.
- ALGERNON CHARLES SWINBURNE. An Original Drawing by Will Rothenstein. Printed in Red.
- L’OISEAU BLEU. A Water-Colour Drawing by Charles Conder.
- DEATH AND THE BATHER. An Original Pen-and-ink Drawing by Laurence Housman.
- A ROMANTIC LANDSCAPE. A Water-Colour Drawing by Charles Hazelwood Shannon.
- THE WHITE WATCH. A Drawing by Charles Hazel- wood Shannon.
A Title-Page designed by Selwyn Image. An End-Paper by Lucien Pissarro. A Binding designed by Charles Ricketts.
In the Large-paper Edition, Mr. CHARLES RICKETTS’ “Œdipus” will be specially reproduced in Photogravure.
- A ROUNDEL OF RABELAIS. By Algernon Charles Swinburne.
- MONNA ROSA. A Poem by Paul Verlaine.
- COSTELLO THE PROUD, OONA MACDERMOTT AND THE BITTER TONGUE. A Story by W. B. Yeats.
- THE OX. A Poem by John Gray.
- A HANDFUL OF DUST. An Essay by Richard Garnett.
- “ET S’lL REVENAIT.” A Poem by Maurice Maeterlinck.
- ON THE SHALLOWS. A Story by W. Delaplaine Scull.
- THE DEATH OF TINTAGILES. A Play by Maurice
Maeterlinck. Translated by Alfred Sutro.
- DAVID GWYNNE—HERO OR BOASTING LIAR. A
Poem by Theodore Watts.
- THE WORK OF CHARLES RICKETTS. An Essay by
- A DUET. A Poem by T. Sturge Moore.
- NIGGARD TRUTH. A Story by John Gray.
- BY THE SEA. A Poem by Margaret L. Woods.
- THE STORY OF A NUN. A Mediaeval Legend from the
Low-Dutch. Translated by L. Simons and L. Housman.
- A SONG. By W. E. Henley.
- WILHEM MEINHOLD. An Essay by F. York Powell.
- FOUR QUATRAINS. By Percy Hemingway.
- INCURABLE. A Story by Lionel Johnson.
- PALLAS AND THE CENTAUR. A Poem by T. Sturge Moore.
- FLORENTINE RAPPRESENTAZIONI AND THEIR PICTURES. An Essay by Alfred Pollard.
- GROUPED STUDIES. By Frederick Wepmore.
- ALFRIC. A Story by W. Delaplaine Scull.
- EQUAL LOVE. A Play by Michael Field.
- BE IT COSINESS. An Article by Max Beerbohm.
- SOHEIL. An Essay by Robert Cunninghame Graham.
- THE SOUTH WIND. A Poem by Robert Bridges.
SIR ANTHONY VAN DYCK: his Life and Work. By Jules Guiffrey. Translated from the French by William Alison. Folio, buckram extra. Edition: 250 Copies, numbered, £4 4s. net; 10 Copies on Japanese vellum, £12 12 s. net.
THE HISTORY OF MODERN PAINTING. By Richard Muther, Professor of Art History in the University of Breslau, late Keeper of the Royal Collection of Prints and Engravings at Munich. Three Vols., imperial 8vo., with 2,004 pages and over 1,300 Illustrations. Issued in the following forms:—In 36 Monthly Parts, at is. net; in 16 Monthly Parts, at 2s. 6 d. net; in Three Vols., cloth, gilt top and lettering, at £2 15s. net. Vol. I., 18s. net; Vol. II., 18s. 6 d. net; Vol. III.. 18s. 6 d. net (February, 1896). In Three Vols., Library Edition, half-morocco, gilt lettering and top, other edges uncut, at £3 15s. net.
The Times says: “There need be no hesitation in pronouncing this work of Muther’s the most authoritative that exists on the subject, the most complete, the best informed of all the general histories of modern art.”
NEW SIX-SHILLING NOVELS.
THE GODS, SOME MORTALS, AND
LORD WICKENHAM. By John Oliver Hobbes.
The Critics all agree.
SUSANNAH. By Mary E. Mann. One Vol., 6s.
The Daily Chronicle praises its “Excellent literary quality, clever characterisation, keen observation and genuine humour.”
The Realm also speaks of “An overflowing sense of humour.”
The Glasgow Herald and the Sun call it, the one “A most diverting novel,” the other “A story full of entertainment and intensely interesting.”
Black and White finds it “Refreshingly original.”
The Athenæum speaks of the heroine as “Distinctly interesting,” and of the book as “Most taking.”
The Literary World states: “It gives us great pleasure to write down an enthusiastic commendation of ‘Susannah.’”
93 St. Martin’s Lane, London.
“Advertisements.” The Savoy, vol. 1 January 1896, pp. i-iv. Savoy Digital Edition, edited by Christopher Keep and Lorraine Janzen Kooistra, 2018-2020. Yellow Nineties 2.0, Ryerson University Centre for Digital Humanities, 2019. https://1890s.ca/savoyv1-advertisements/