Print by Aubrey Beardsley, 'The Climax', plate XV from 'A Portfolio of Aubrey Beardsley's drawings illustrating 'Salome' by Oscar Wilde', published by John Lane, London, 1907, redrawn from the print by Aubrey Beardsley, 'J'ai baisé ta bouche Iokanaan', illustration to Oscar Wilde's play 'Salome', published in 'The Studio', Vol. 1, No. 1, 1893, line block print on Japanese vellum

Black and white line block print on Japanese vellum depicting the levitating figure of Salome dressed in a white robe and with writhing snake-like curling black hair as she holds the severed head of John the Baptist (Jokanaan) complete with tendril-like hair and dripping blood. These drips form a puddle in the lower right hand section of the design, from which a white lily grows statuesquely. In the top left hand corner of the image is a cluster of circular black and white objects, perhaps referencing the 'clusters of black grapes' to which Salome compares John's hair.

This image was based on the original version of 'The Climax' by the artist, entitled 'J'ai baisé ta bouche Iokanaan', illustration to Oscar Wilde's play 'Salome', published in 'The Studio', Vol. 1, No. 1, 1893 (E.456-1899).

Given by Michael Harari, in memory of his father, Ralph A. Harari

From 'A Portfolio of Aubrey Beardsley's drawings illustrating 'Salome' by Oscar Wilde'. Second issue. Published by John Lane, London [1907]. With contents sheet in letterpress and 17 plates [E.422 to 438-1972] in a portfolio of grey-green paper boards, half bound in vellum, with green silk tapes, stamped in gold with title and the rose-bush motif from the 1894 edition. With the stamp of A. Lang Buchhandlung Moskau inside the front cover.

The plates are no longer in the portfolio but are now mounted separately.

According to Stephen Calloway in his book, Aubrey Beardsley, London: V&A Publications, 1998, p. 83: 'Because The Studio owned the copyright of Beardsley's original version of this subject the artist was obliged to redraw it; in fact this new version displays a considerable advance stylistically, even if it lacks something of the sheer menace of his earlier characterisation of the femme fatale, Salome. A comparison (illustration p. 59 [E.456-1899]) also reveals Beardsley's move away from his old preferred elongated upright format towards the more conventional page proportions favoured by Lane and other publishers.'

First printed in 1894; this print is from the second edition, 1907.

E.436-1972