London: Hodder and Stoughton, 1919. Item #03642
Edmund Dulac’s “Picture-Book”
Later Edition in the Original Dust Jacket
[DULAC, Edmund, illustrator]. Edmund Dulac’s Picture-Book. London: Hodder and Stoughton, [n.d., November, 1919].
New edition (first published in 1915). Large quarto (10 7/8 x 8 5/16 inches; 276 x 211 mm.). [iv], 134,  pp. Eighteen color plates (including frontispiece), all mounted on cream art paper framed with light green bands and with green letterpress.
Original blue cloth over boards with front cover and spine pictorially stamped (with three stylized flower plants) and lettered in gilt. In the original tan dust jacket, lettered in brown, with a copy of the color plate facing p. 102 pasted on to the front panel. Extremities of dust jacket a little chipped but still a very good example.
In this edition the color plate "Bird Feng" and the camera portrait of Dulac are omitted. Also all references to the Red Cross are omitted from the binding and throughout the volume.
“A Frenchman by birth, Dulac was the logical illustrator to compile a gift book which could be used to raise money for the French Red Cross. To meet the worthy obligation with dispatch, Dulac seems to have hastily assembled a group of pictures he had filed away at his studio. Fifteen of the pictures he used had previously been printed. Three, ‘Asenath’, ‘The Bird Feng’ and ‘Cerberus’, were new paintings first reproduced in this book, though the last-mentioned was probably intended to be used in Tanglewood Tales and diverted to the Red Cross volume. When the collection was reprinted after the war, as the Picture Book, the picture ‘The Bird Feng’ was dropped and used as a 16th picture in the formerly 15-picture Fairy Book, illustrating ‘A Chinese Fairy Tale’. Dulac designed the Red Cross book’s binding and wrote an appeal for the organization which was printed under his photograph. The Red Cross book was widely reviewed in contemporary periodicals…The Outlook weekly (November 27, 1915) in its review stated ‘It is a wonderful chance that enables the public to become the possessor of so many of Edmund Dulac’s inimitable pictures for so small a sum. Dulac’s pictures…are unique’” (Hughey).
“The 4 oval plates facing pp. 8, 55, 62, 80 are reprinted from L’Illustration 1913 Christmas number; plate facing p. 16 is from The Rubáiyát; that facing p. 18 was first printed in Century magazine October 1913; the one facing p. 22 was reprinted from Vanity Fair; those facing pp. 32, 58 are from Hans Andersen; that facing p. 41 was first printed, though in black and white, in Art Chronicles, April 5, 1912; facing pp. 50, 120 are from Sindbad; facing pp. 72, 86 are from The Sleeping Beauty; facing p. 102 is from Princess Badoura” (Hughey).