Oscar (now in Special Collections, Sterling Library, University of London). For Aubrey: for the only artist who, beside myself, knows what the dance of the seven veils is, and can see that invisible dance. Wilde made snide comments about Beardsley’s sexuality, such as “Don’t sit on the same chair as Aubrey, it’s not compromising,” and Beardsley moved from the Hotel Sandwich in Dieppe because “Some rather unpleasant people come here.” Nonetheless, for all his patronizing comments, Wilde enthused about Beardsley’s talent in a copy of the French edition to the artist: The literary artist and the artistic playwright seem to have had a collegial, yet competitive affiliation. A year later, almost to the day, Elkin Mathews and John Lane at the Bodley Head in London (and Copeland and Day in Boston) published the play in translation and with thirteen of Beardsley’s drawings, on February 24th, 1894. Written in French Salome had originally been published without illustrations in France and England on February 22nd, 1893. The association of Aubrey Beardsley (1872-1898) and Oscar Wilde (1864-1900) on the English edition and drawings for Wilde’s play Salome was arguably the most significant art and literary collaboration of the last third of the nineteenth century. Princeton University Library, Princeton University, Princeton, NJ, Aubrey Beardsley Collection (RS271) Artistic Collaboration Linda Gertner Zatlin– J’ai Baisé Ta Bouche, Iokanaan.
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