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Well, two of them anyway… Discussion with commenter Noel in one of my old (and rather scant) posts about Albert Lewin’s 1945 film of The Picture of Dorian Gray touched on the fate of the original version of Dorian’s portrait (above). For some reason I’d always assumed this to have been produced by MGM’s art [...]

Or the temptations of Uncle Sam… An editorial cartoon from 1919 by Oliver Herford (1863–1935) showing how the nonsense argument of “X leads to Y” goes back a long way. These imps are more silly than frightening, Herford should have used this as the starting point for a comic strip: Rum Demon and the Narcotics.
Previously [...]

An Austin Spare pastel (?), Astral Body and Ghost, from the collection of Cyclobe’s Ossian Brown adorns the label of this edition of Absinthe Brevans. Would the artist approve? Do we have to ask? He spent much of his life haunting pubs and I’d be very surprised if he hadn’t tried absinthe when he was [...]

The White Peacock (1910).
A typical piece of mysterious erotica by Austrian illustrator and pornographer Franz von Bayros (1866–1924). Like all good Decadents, Bayros used peacocks and peacock feathers as decorative motifs in his pictures but this is the first I’ve seen where the peacock itself is the result of amorous attention. If that sounds overly-perverse, [...]

A typically splendid fin de siècle cover design by Léon Rudnicki for an 1898 volume of childhood memoirs by Jean Lorrain (1855–1906). The author was a flamboyantly homosexual poet, novelist and journalist whose addiction to ether and other excesses ended his life at the age of 50. Philippe Jullian is quoted on glbtq.com as saying [...]

The Modern Poster by Will Bradley (1895).
A selection from the NYPL Digital Gallery. There’s more by the great Will Bradley (1868–1962) here.

Abstract design based on peacock feathers by Maurice Verneuil (1900?).

Pavo; Lophophorus (1834–1837).
Elsewhere on { feuilleton }
• The illustrators archive
Previously on { feuilleton }
• Rene Beauclair
• Elizabetes Iela 10b, Riga
• The Maison [...]

The 1970 screen adaptation of Dorian Gray by Massimo Dallamano is one film version I’ve yet to see. Given that it’s a production of notorious schlock merchants Samuel Z Arkoff and Harry Alan Towers I wouldn’t expect too much although it does have Helmut Berger as the star when he was at the height of [...]

 
Dorian (Richard Winsor) photographed by Bill Cooper.
Matthew Bourne’s new dance version of Dorian Gray opens today at the Sadler’s Wells Theatre, London, and I’d have been interested in this production even without visions like the ones above and below; the eye candy merely adds an additional frisson and, let’s face it, there’s always been [...]

Falling out with Oscar
| John Gray, Oscar Wilde and Dorian Gray.

“It had not been able to support the dazzling splendour imposed on it…”
It was a novel without a plot and with only one character, being, indeed, simply a psychological study of a certain young Parisian who spent his life trying to realize in the nineteenth century all the passions and modes of thought that belonged [...]

I wrote recently about John Selwyn Gilbert’s television play, Aubrey, an hour-long drama concerning the artist Aubrey Beardsley. That play was only screened once in 1982 and, like most one-off studio works of the period, is unavailable on DVD. John Osborne’s 1976 adaptation of The Picture of Dorian Gray is a welcome exception to this [...]

“Lying on a raised dais, this woman may have been the concubine of an affluent opium smoker.” (1915)
In 1909 the millionaire French banker and philanthropist Albert Kahn embarked on an ambitious project to create a colour photographic record of, and for, the peoples of the world. As an idealist and an internationalist, Kahn believed [...]

Paris and Brussels are well-known centres of Art Nouveau architecture, less well-known but equally valuable is the Latvian capital of Riga whose historic centre is now a World Heritage Site. The highly distinctive building at Elizabetes Iela 10b is one of a number of buildings there designed by Mikhail Eisenstein, father of film director Sergei [...]

Atelier Elvira (1897-98).
Seeing as there’s been a run of Art Nouveau-related posts here it’s worth mentioning a location that’s familiar to students of the Jugendstil but less well-known to the world at large. August Endell’s Atelier Elvira was a Munich studio building whose exterior decoration of a very stylised dragon creature manages to be [...]

The classic absinthe poster from 1896 by T Privat-Livemont (1861–1936), one of the best exponents of the post-Mucha style. Don’t let anyone tell you that using unclad women’s bodies in advertising is a new thing.

And a couple more Mucha-esque examples circa 1900, both credited to “Nover”, from the wide selection of absinthe graphics at the [...]

Continuing the theme of the fin de siècle feminine, there’s this bizarre (undated) piece by Marcel Lenoir representing…what? A witch? Some demoness? Or woman in general? Considering the often overt misogyny of the period, the latter interpretation is quite possible; there were more than enough artists prepared to see women as the foundation of all [...]

Sarah Bernhardt by Jean-Léon Gérôme (1895).
You can’t be a fin de siècle fetishist and not develop a fascination with actress Sarah Bernhardt, a woman who was muse to many of the era’s finest artists, most notably Alphonse Mucha, who she employed as her official designer. Mucha’s marvellous posters are endlessly popular, of course; less well-known [...]

La Déstruction.
More Symbolist femmes fatale, this time courtesy of Carlos Schwabe (1866–1926) and his illustrations for Baudelaire’s Fleurs du Mal from 1900. I’d had the site these pictures are from bookmarked for some time but hadn’t noticed that the version of Schwabe’s Spleen et Ideal illustration (below) was different to the one more commonly seen [...]

The Empusae, we’re told, were daughters of Hecate in Greek mythology, sent to harass the unwary traveller on lonely roads, as if travellers on lonely roads didn’t have enough to worry about from human malefactors. The sinister femme fatale of mythology was a popular subject among fin de siècle artists which perhaps explains why CH [...]

Maléficia (1905).
Much of the jewellery and sculpture produced by Phillipe Wolfers demonstrates the tendency of Art Nouveau and decorative Symbolism to evolve from Decadence to full-blown Gothic. The sinister recurs in Wolfers’ creations whether in the form of baleful females such as Malèficia and his Medusa pendant, or in the shape of bats, insects [...]