Yellow Nineties 2.0 The Savoy, Volume 3 (July 1896) <title n="SAVOYV3icon8_beerbohm_caricature_edited-180x***"/> <editor>Lorraine Janzen Kooistra</editor> </titleStmt> <editionStmt> <p> <date>2019</date> </p> </editionStmt> <publicationStmt> <idno>SAVOYV3_icon8</idno> <publisher>Yellow Nineties 2.0</publisher> <pubPlace>Ryerson University</pubPlace> <address> <addrLine>English Department</addrLine> <addrLine>350 Victoria Street,</addrLine> <addrLine>Toronto ON,</addrLine> <addrLine>M5B 2K3</addrLine> <addrLine>Canada</addrLine> </address> <availability> <p>Usable according to the Creative Commons License <ref target="http://creativecommons.org/licenses/by-nc-sa/3.0/">Attribution Non-commercial Share-alike</ref>.</p> </availability> </publicationStmt> <sourceDesc> <biblStruct> <monogr> <editor> </editor> <author>Max Beerbohm</author> <title>V3 Caricature of Arthur Roberts Leonard Smithers London W July 1896 Beerbohm, Max. "Caricature of Arthur Roberts." The Savoy, vol. 3, July 1896, p. 65. The Savoy Digital Edition, edited by Lorraine Janzen Kooistra 2018-2019. Yellow Nineties 2.0, General Editor Lorraine Janzen Kooistra, Ryerson University Centre for Digital Humanities, 2019, https://1890s.ca/savoyv3_beerbohm_caricature/

Our editorial method is informed by social-text editing principles. By “text” we mean verbal and visual printed material, including non-referential physical elements such as bindings, page layouts, and ornaments. We view any text as the outcome of collaborative processes that have specific manifestations at precise historical moments. The Yellow Nineties Online publishes facsimile editions of a select collection of fin-de- siècle aesthetic periodicals, together with paratexts of production and reception such as cover designs, advertising materials, and reviews. This historical material is enhanced by two kinds of peer-reviewed scholarly commentary: biographies of the periodicals’ contributors and associates; and critical introductions to each title and volume by experts in the field. All scholarly material on the site is vetted by the editor(s) and peer- reviewed by them and/or an international board of advisors. The site as a whole is peer- reviewed by NINES (Networked Infrastructure for Nineteenth-Century Electronic Scholarship). Contributors to the site retain personal copyright in their material. The site is licensed with a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 license. Both primary and secondary materials, including all visual images, are marked up in TEI- (Textual-Encoding Initiative) compliant XML (Extensible Markup Language). To ensure maximum flexibility for users, magazines are available on the site as virtual objects (facsimiles) in FlipBook form; in HTML for online reading; in PDF for downloading and collecting; and in XML for those who wish to review and/or adapt our tag sets. In order to make ornamental devices, such as initial letters, head- and tail- pieces, searchable, we have developed a Database of Ornament in OMEKA, and linked it to the relevant pages of each magazine edition. As a dynamic structure, a scholarly website is always in process; Phase One of The Yellow Nineties Online (2010-2015) is completed and Phase Two (2016-2021) is underway.

 1896 English English literature -- 19th century -- Periodicals Great Britain -- Periodicals Visual Art Possible Genres (multiple): "Fiction," "Nonfiction," "Poetry," "Paratext" (TOC, prospecti, advertisements, frontmatter, titlepage), "Review" (older reviews), "Criticism" (including critical introductions), "Visual Art" (images, bio images), Historiography (bios),"Bibliography" (intros, crit, bios, anything with a bibliography attached), "Drama," "Ephemera," "Translation," "Religion," "Travel Writing," "Music, Other,") Still Image Possible Types (singular): "Periodical" (texts/most stuff), "Interactive Resource" (current writing, biographies, not old reviews), "Still Image" (images, visual art), "Physical Object" (posters, prospecti) Book History Art History Possible Disciplines (multiple): "Book History (include for all periodical items)," "Literature," "Art History (use for art, also use for reviews)," "History (don't use in a general sense)," "Theatre Studies," "Musicology," "Philosophy," "Anthropology," "Science"
V3 Caricature of Arthur Roberts SAVOYV3_icon8 SAVOYV3_icon8 The Savoy Max Beerbohm July 1896 London 18 x 10 cm caricature wood-engraving after drawing V3 Caricature of Arthur Roberts The wood-engraved image after a drawing by Max Beerbohm is in portrait orientation. The image shows a caricature of a male figure standing in the centre of the page with no border around him. The man takes up three-quarters of the page height and one-third of the page width. The man is standing turned slightly to the left of the page with his feet pointed apart in either direction. He has polished black shoes underneath his checked three-piece suit. The vest has four light buttons going up the front; underneath is a horizontally striped black-and-white button-up dress shirt with a stiff upright collar under the chin with a checked bow tie. On the left side of his jacket, just above the heart, the man has a boutonniere made of a white puff of material with black feathers sticking out from the top half. His left arm is bent out, with his hand tucked into his left jacket pocket. Hanging from his left elbow is a walking cane. His right arm is positioned with his elbow bent so that his right hand is lifted up to his right shoulder. His right hand is held out horizontal with the ground. His head is oversized for his body. His face is turned to the left, giving the viewer a three-quarters profile. He has a long pointed nose aimed towards the bottom left. His mouth is pulled up to the left side of his face, giving him the look of a smirk. His eyes are closed, showing only long eyelashes and bags under the eyes giving way to smile wrinkles at the outer corners. He has straight dark eyebrows. A slight bit of dark hair is visible on the left side of his head, peeking out from underneath a low-brimmed hat, possibly a boater. The hat is light coloured with a black piece of material wrapping around the crown. The area around his feet is shaded slightly with tightly cross-hatched lines that lighten as the extend out from a circle directly underneath him. To the left of his right knee is the text identifying the subject:: “Mr. Arthur Roberts”. To the right of his left ear is the artist’s signature:: “Max.”