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Advertisements (Savoy Volume 3)

                                                         THE SAVOY—ADVERTISEMENTS                                                105

                                                         THE SAVOY.
              No. I. JANUARY, 1896. 170 pages, 18 full-page Illustrations,
5 Illustrations in the Text.
No. 1 contains literary contributions by G. Bernard Shaw, Frederick Wedmore, Paul Verlaine, Max Beerbohm, Ernest Dowson, Aubrey Beardsley, Havelock Ellis, W. B. Yeats, Rudolf Dircks, Mathilde Blind, Joseph Pennell, Humphrey James, Selwyn Image, and the Editor. The illustra¬ tions include work by Charles H. Shannon, Charles Conder, Joseph Pennell, Louis Oury, W. Rothenstein, F. Sandys, J. McNeill Whistler, Max Beerbohm, Jacques E. Blanche, J. Lemmen, and Eleven Drawings by Aubrey Beardsley.
Crown qto, bound in pictorial cover, 2 s. 6 d. net.

                No. 2. APRIL, 1896. 202 pages, and 20 full-page Illustrations.

No. 2 includes a story entitled “A Mere Man” (by a new writer) and literary contributions by Cesare Lombroso (“A Mad Saint”), Paul Verlaine (“My Visit to London”), Edmund Gosse, W. B. Yeats, Havelock Ellis (“ Friedrich Nietzsche”), Frederick Wedmore, Selwyn Image, Ernest Dowson, John Gray, Vincent O’Sullivan, Leila Macdonald, Aubrey Beardsley, and the Editor. The illustrations include work by Joseph Pennell, C. H. Shannon, W. T. Horton, W. Rothenstein, Ph. Caresme, Albert Sterner, W. Sickert, J. Lemmen, Max Beerbohm, and Aubrey Beardsley. Printed at the Chiswick Press.
Crown 4to, bound in new pictorial cover, 2 s. 6 d. net.

                      EXTRACTS FROM PRESS NOTICES ON No. 2 OF “THE SAVOY.”

       “The new number of ‘The Savoy’ is printed admirably by the Chiswick Press, and is perhaps the cheapest thing that has been done at half-a-crown. Indeed, Mr. C. H. Shannon’s lithograph of ‘The Dive’ would itself—and it is but one of many illustrations—be cheap at the money: it is an exquisite thing. . . . Whatever may be said against one or other of the contributions, this new quarterly miscellany, as a whole, has great character. ‘The Savoy’ has caught on.”— Academy.
       “The best things in it are Mr. Aubrey Beardsley’s pictures in black and white …. his drawings are a never-ending source of pleasure and admiration. He contributes a cover and title-page to this number and four new pen-and-ink drawings, all extraordinary in the daring with which they sail so near the grotesque without ever stepping across the line of beauty. Perhaps the most noticeable of them is ‘The Rape of the Lock,’ a subject which gives Mr. Beardsley a good opportunity of showing his peculiar power of putting romance into the stiffness and stateliness of the artificial politeness of the eighteenth century …. The number, as a whole, keeps up the character of the publication as an organ of riotous cleverness, and is most entertaining when taken least seriously.”— Scotsman.
       “Everything in it by W. B. Yeats is artistic and readable. John Gray’s poem of ‘The Forge’ is splendid, and Lombroso’s ‘Mad Saint’ is quite in the best vein of those salpêtrière experiences you sometimes read in ‘The Nineteenth Century ’ . . . . Undoubtedly the best thing in the number is the triptych on Paul Verlaine, a series of three articles—one in which Edmund Gosse tells how he tracked the great decadent to his lair in the Cafe Soleil d’Or, one in which Mr. Yeats tells of his afternoon tea with Verlaine, and one (translated) by Verlaine himself, telling all about his visit to London in 1893, and giving a verbatim report of his lecture, which is unique and valuable!”— Glasgow Evening News.
       “It would not be difficult, however, to detect differences between even the unreformed ‘Yellow Book’ and the new publication, though it might be rather more difficult to describe them briefly. For one thing there is a more pronouncedly literary quality in ‘The Savoy,’ for which, in spite of a fair amount of crudeness, it deserves credit. . . . Altogether, ‘The Savoy’ is a creditable performance, and typical of the art and literature of the day.” — Glasgow Record.
       “The second number of ‘The Savoy’ reaches us in a more worthy and attractive guise than did the first. The paper is better, while the printing bears the hall-mark of the Chiswick Press. The contents are good. Quite a galaxy of really excellent writers.”— Bookselling.
       “Altogether, ‘The Savoy’ is worth half-a-crown, and is upholding the traditions which the ‘Yellow Book’ started, and which it soon lost sight of. The January part of the ‘Yellow Book’ was of special interest to Glaswegians, the new part, just out, is stale and humdrum, and not to be compared to ‘The Savoy’ in interest and attractiveness.”— Glasgow Quiz.
       “Unequalled originality, magnificence, and beauty of design and brilliance of execution, all these has Mr. Beardsley got, and would-be imitators would do well to bear in mind his other qualifications in addition to that of

106                                             THE SAVOY—ADVERTISEMENTS

originality of conception. There are several beautiful samples of his work in this issue, notably— ‘The Rape of the Lock’ and one of the illustrations to his extraordinary story, ‘Under the Hill.’ ”— Northern Figaro.
       “‘The Savoy’ is ever interesting. One never knows what new eccentricity it will bring; it has the charm of giving the unexpected.”— New York Echo.
       “In ‘The Savoy,’ No. 2, we have the same quest of the new and strange, pursued by writers of greater vitality. The editor, Mr. Arthur Symons, professes himself delighted with the ‘flattering reception’ accorded to the first number. It is to be feared, therefore, that he will be less pleased with the reception likely to be given to this second, which is in so many ways—and not least in paper and print—a better number than the first; for it runs a great risk of being praised and bought. . . . Subjects and writers are alike well chosen—subjects we want to read about, treated by writers it is always a pleasure to read. The article, perhaps, of most interest at the moment is Mr. Havelock Ellis’s, on Nietzsche, who it is prophesied is to make the next philosophical invasion of England. . . . Mr. Arthur Symons’s ‘New Year’s Eve’ is the strongest, most dignified poem he has printed for some time; though, in saying this, I hint nothing against ‘Patchouli,’ agreeing as I do with his contention in a preface to a new edition of his ‘Silhouettes,’ that freedom of choice in art should include ‘Patchouli,’ and what it stands for. ‘If Patchouli pleases one, why not Patchouli? ’ ”— Daily Courier.
       “Le Courrier Français reproduit des images du numéro dernier du Savoy cette si artistique revue dont j’ai déjà essayé de faire l’éloge à propos du numéro I paru il y a trois mois. Ce laps de trois mois me paraît une chose excellente pour une revue à tendances formelles, qui ne se contente pas de quelques pages d’amusement léger, mais qui veut que chacun de ses fascicules soit un volume intéressant. Et si le Savoy dès le premier jour ne nous avait paru une revue excellente, je dirais que le numéro d’aujourd’hui est en progrès. II faudrait insister sur cette forme de publication, volumineuse, avec de nombreuses illustrations, que nous n’avons pas en France, et que les Anglais n’avaient jusqu’ici, me semble-t-il, que dans le genre populaire. … La contribution de notes sur Verlaine, le plus grand poète français contemporain, plus connu, comme il convient, en Angleterre qu’en France, est aussi abondante que dans le premier numéro. . . . Arthur Symons traduit un article de Verlaine lui-même : ‘Ma visite à Londres,’ plein de notes substantielles et de citations. Il se trouve que les vers reproduits dans cet article forment le plus rare choix d’après l’œuvre du poète. Il y a là une dizaine de pièces qui sont justement celles qui les amis de Verlaine savent par cœur. Je veux insister sur une nouvelle de W.-B. Yeats, ‘Rosa Alchemica,’ où se marque une préoccupation des choses occultes digne de nous intéresser. Une revue actuelle ne serait pas complète sans le souci de ces recherches bizarres que notre époque a remises en honneur. Il souffle un vent d’occultisme sur la fin de ce siècle positif. Le récit que fait W.-B. Yeats est celui d’une sorte d’initiation, avec des détails fort curieux, et la preuve d’une érudition profonde cachée sous le charme d’un style des plus colorés. Les illustrations sont aussi nombreuses et curieuses que dans le premier numéro. Il est bien entendu que la plus grande part des images sont dues à Aubrey Beardsley.” —Gabriel de Lautrec in the Courrier Français.

                                                        THE SAVOY—ADVERTISEMENTS                                                107

Silhouettes.    By Arthur Symons.
Second edition. Carefully revised and enlarged by the addition of Nineteen New Poems. Uniform in style with “London Nights.” 400 Small Paper copies at Five Shillings net per copy; and 15 Large Paper copies at One Guinea net per copy. Printed at the Chiswick Press.
“Mr. Arthur Symons’ ‘Silhouettes’ are graceful and musical poems, with the finish beseeming their briefness. They are choicely executed miniatures rather than silhouettes. For the especial quality which almost all possess—and some in a great degree—there is no other description so appropriate as that vague word ‘charm.’ . . . Mr. Symons may be frankly accepted as a genuine poet.”— Athenæum .
“In their richness of suggestion and felicity of presentment they remind one of the work of Mr. Whistler. Perhaps this is how, if he chose verse as the medium for his expression, he might appeal to our mental eye.”— Academy.
“There is enough new matter in the new edition of Mr. Arthur Symons’ ‘Silhouettes’ to make the second edition of that collection of decadent lyrics a different book from what it was when it first came out.”— Scotsman.
“There may be foretold, therefore, for Mr. Symons a future more worthy of his genius as a poet than his present position, notable as that undoubtedly is .”—Glasgow Herald.
“In short, all that Mr. Symons needs, to take any position he chooses, is to forget the affectation of the French school, the burden of dishonour unto which he was not born, and to look at the world, sorry or glad, through English eyes, and set down the record as he so well knows how. . . . Meanwhile, let it be clearly understood that Mr. Symons is unquestionably a poet of no mean order, and one to be reckoned with whenever he enters himself seriously as a candidate for the laureateship.”— Bookselling.

The Rape of the Lock.    By Alexander Pope.
Illustrated by Aubrey Beardsley.
Édition de Luxe of the above famous Poem, printed at the Chiswick Press, in Crown 4to size, on old style paper, illustrated with nine elaborate drawings by Mr. Aubrey Beardsley, and bound in a specially designed cloth cover. The edition is a limited one, and the price is Ten Shillings and Sixpence net per copy. Twenty-five copies are printed on Japanese Vellum, and are offered at Two Guineas net per copy. Only 2 copies on Japanese Vellum now remain unsold.
“The prim fashions of the so-called Augustan age give excellent scope for that peculiar treatment of drapery wherein Mr. Beardsley is perhaps seen at his best. . . . The female faces, too, are better than those to which we have been accustomed from the artist; Belinda and her maid, indeed, are quite attractive. . . . Altogether these drawings are about the most pleasing things that Mr. Beardsley has yet given to the public .”—Glasgow Herald.
“In illustrating Pope’s elaborate piece of poetical persiflage , Mr. Beardsley has been well inspired . . . . the book on the whole, is the most noticeable thing that he has yet done; and is sure to add to his reputation.”— Scotsman.
“Mr. Beardsley’s admirers will take heart of grace from these illustrations, which are of the very spirit of the poem they adorn. ”— St. James’s Budget.
“Il est difficile de voir un plus joli livre que celui-là que je viens de recevoir … la couverture est bleu et or. L’impression est d’une netteté parfaite. Enfin neuf dessins de Beardsley en font un album unique. Le talent maniéré et délicat de notre ami s’accorde bien avec la forme des vers de Pope. Le dessinateur, comme pourront s en convaincre mes lecteurs, a été rarement mieux inspiré. Je ne me lasserai pas de profiter de toutes les occasions pour célébrer la louange de l’artiste divin Aubrey Beardsley.”—Gabriel de Lautrec in the Courrier Français.

Orchids.    Poems by Theodore Wratislaw.
Two Hundred and Fifty Small Paper copies on Foolscap 8vo deckle-edged paper, bound in cream-coloured art linen, at Five Shillings net per copy; and 10 copies printed on Japanese Vellum, at One Guinea net per copy. Printed at the Chiswick Press.

Caprices.    Poems by Theodore Wratislaw.
One Hundred copies on Foolsctip 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 have been transferred to me, from their late Publishers, by the Author.

108                                             THE SAVOY—ADVERTISEMENTS

Verses.    By Ernest Dowson.
Three Hundred Small Paper copies on hand-made paper, Imperial 16mo, bound in Japanese Vellum, with cover design by Aubrey Beardsley, at Six Shillings net per copy: and to Large Paper copies printed on Japanese Vellum, at One Guinea net per copy. Printed at the Chiswick Press. Now ready.

                                The Life and Times of Madame Du Barry.
By Robert B. Douglas.
A limited edition in one volume, with a portrait of Madame Du Barry finely engraved upon wood, 394 pages, Demy 8vo, bound in blue cloth with armorial cover design by Aubrey Beardsley at Sixteen Shillings net per copy.

“Mr. Douglas has produced a volume every line of which I read with keen interest. It is a singularly vivid and life-like picture of what life in the old French Court was like; and the portrait of the central figure of the book is very clear and very telllng.” — Mr. T. P. O’Connor in the Weekly Sun.
“At a time when the book market is flooded with translations of forgotten and apocryphal French Memoirs, it is something to meet with a newly-published biography of a French celebrity which is what it pretends to be and is a book of fascinating interest. —Daily News.
“Mr Douglas’s book is one which may be read, and which deserves to be read.”— Glasgow Herald.

The Fool and his Heart ; being the plainly told Story of Basil Thimm. A. Novel by F. Norreys Connell, Author of “In the Green Park,” “The House of the Strange Woman,” etc.
In one volume, Crown 8vo, bound in art linen, price Six Shillings. Now ready.

                                                                           IN THE PRESS.

AMORIS VICTIMA. A Poem by Arthur Symons. 400 Small Paper copies and 2? Large Paper copies. Uniform in style and price with “London Nights.”
THE PIERROT OF THE MINUTE. A Dramatic Phantasy by Ernest Dowson.
LA FILLE AUX YEUX D’OR. Translated from the French of Honors de Balzac by Ernest Dowson, and illustrated with Six Designs by Charles Conder, finely engraved upon wood.
Finely engraved upon wood.
A BOOK OF BARGAINS. Stories by Vincent O’Sullivan.
SELF SEEKERS. A Novel by Andre Raffalovich.

     Circulars of any of the above books will be sent on application to
LEONARD SMITHERS, Effingham House, Arundel Street, Strand, London, W.C.

                                                        THE SAVOY—ADVERTISEMENTS                                                109

By THOMAS ALFRED SPALDING, LL.B., Barrister-at-Law, Author of “The House of Lords :
a Retrospect and a Forecast,” etc.
Demy 8vo, buckram extra, 10s. 6d. net.
Edited by ALEXANDER TILLE, Ph.D., Lecturer at the University of Glasgow.
VOL. XI. containing:—The Case of Wagner—Nietzsche contra Wagner—The Twilight of the Idols
—The Antichrist.
Medium 8vo, buckram extra, 10s. 6d. net.


Mr. Havelock Ellis in the Savoy. —“Nietzsche is, without doubt, an extraordinarily interesting figure. He is the modern incarnation of that image of intellectual pride which Marlow created in Faustus. A man who has certainly stood at the finest summit of modern culture, who has thence made the most determined effort ever made to destroy modern morals, and who now leads a life as near to death as any life outside the grave can be, must needs be a tragic figure. It is a figure full of significance, for it represents, perhaps, the greatest spiritual force which has appeared since Goethe, full of interest also to the psychologist, and surely not without its pathos, perhaps its horror, for the man in the street.”
Mr. George Bernard Shaw in the Saturday Review. —“Nietzsche is worse than shocking, he is simply awful: his epigrams are written with phosphorous or brimstone. The only excuse for reading him is that before long you must be prepared either to talk about Nietzsche or else retire from society, especially from aristocratically minded society. . . . His sallies, petulant and impossible as some of them are, are the work of a rare spirit and pregnant with its vitality. ”
Mr. Ernest Newman in the Free Review. —“ Lurking behind the intellectual movements of Europe in philo¬ sophy as in everything else, England is just now beginning to hear of the existence of Friedrich Nietzsche.”
       Glasgow Herald. —“Daring, clever, and oracular.”
       Rock. —“ Nietzsche is simply a disseminator of poison.”

VOL. VIII. entitled—

Medium 8vo, buckram extra, 17s. net.              [Immediately.
With Nineteen Etchings of Pictures never etched before, Eight Heliogravures, and upwards of One Hundred Illustrations in the Text.
Folio, buckram extra, a limited edition of 250 copies, £4. 4s. net. 10 copies on Japanese vellum, of which 3 remain unsold, £12 12s. net.

Crown 4to, cloth extra, 6s. net. A very few copies on large paper remain, at £1 1s. net.


The number for June, 1896, contains :—
The Empire of To-Morrow. By Colonel Sir C. E. Howard Vincent, M.P.
Lord Wolseley. By Major-General T. Bland Strange.
Anthropometry and Legal Identity. II. By Alphonse Bertillon.

The Noble Art. IV. The Influence of the Drama. By Stanley Jones.
The Dress of the Future. By A. Teixeira de Mattos.
The Working Woman. By Bella Sydney Woolf.
Music. By Louis Grein.


MLA citation:

“Advertisements.” The Savoy, vol. 3 July 1896, pp. 105-110. Savoy Digital Edition, edited by Christopher Keep and Lorraine Janzen Kooistra, 2018-2020. Yellow Nineties 2.0, Ryerson University Centre for Digital Humanities, 2019.