Gismonda
1894-1895
Illustrative frame preview.
Cleveland Museum of ArtOriginal work, c. 1895–96
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Aubrey Beardsley — The Toilet Print
Beardsley’s fine black lines fill a dressing-room scene with patterned fabrics, flowers and candlelight. The original drawn frame and warm paper tone enclose the complete illustration.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border, preserving the original tones and surface details.
£59.00
From museum archives. No recolouring, retouching or AI enhancement.
UK delivery. Unframed £4.99, free from £50. Wood-frame delivery included.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
Our print guideAbout the artwork
Beardsley’s fine black lines fill a dressing-room scene with patterned fabrics, flowers and candlelight. The original drawn frame and warm paper tone enclose the complete illustration.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border, preserving the original tones and surface details.
- Artist
- Aubrey Beardsley
- Artwork
- Aubrey Beardsley — The Toilet Print
- Date of work
- c. 1895–96
- Museum collection
- Cleveland Museum of Art
About Aubrey Beardsley
British · 1872–1898
Aubrey Beardsley was born in Brighton in 1872. Across a career of only a few years, he developed an immediately recognisable style in black ink. His illustrations brought together an exacting sense of contour, a fascination with decorative pattern and a taste for the strange. A page could become a stage on which every shape contributed to the performance.
Japanese prints helped inform Beardsley’s approach to line and composition. He could suggest volume and character without relying on gradual shading, using silhouettes, fine marks and patterned surfaces instead. The result often feels decorative and unsettling at once, with an unexpected scale or elaborate costume changing how we read the scene.
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