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Trade paperback (US). Glued binding. 252 p.

[nd], 1916. Illustrated by Dulac with frontispiece and 14 additional illustration plates, tipped in; all plates present. Cream cloth with black titling, decoration in black and baby blue. Cloth rubbed to edges with fraying to spine ends, light age-soil, spine a little dulled. Spine square. Binding cracked to mull at pages 88 and 105, but intact, and else sound. Small chip from top fore-edge corner of FFEP. Pages foxed; illustration plates bright. Text else free of markings.

[nd], 1916. Illustrated by Dulac with frontispiece and 14 additional illustration plates, tipped in; all plates present. Cream cloth with black titling, decoration in black and baby blue. Cloth rubbed to edges with fraying to spine ends, light age-soil, spine a little dulled. Spine square. Binding cracked to mull at pages 88 and 105, but intact, and else sound. Small chip from top fore-edge corner of FFEP. Pages foxed; illustration plates bright. Text else free of markings.

Hughey 47.

One of 350 numbered copies signed by the artist. Large quarto (11 1/4 x 8 7/8 inches; 285 x 225 mm.). [11], [1, blank], 169, [1], [1, blank], [1, printer's imprint] pp. Fifteen color plates, mounted on japan vellum, framed with wide gilt bands and with descriptive letterpress in black. Original white cloth pictorially stamped in gilt and blue to form a design of two leaping horses and scroll frame for gilt lettering (reproducing the design on the title-page) on front cover and spine. Top edge gilt, others uncut. Minimal browning to endpapers. An exceptionally Fine copy. “The tales of this book, both written and illustrated by Dulac, were drawn from the folklore of Russia, England, Flanders, Belgium, Italy, France, Ireland, Serbia and Japan. Dulac was able to employ the full scope of his versatility in creating a national mood in each illustration. During this period of his work, Dulac had immersed himself in the artistic traditions of folklore. He was partly stimulated by his friendship with Yeats (whose interest in Celtic folklore was legendary) and partly awakened to ethnic themes by his 1913 cruise through the eastern Mediterranean. Also at this time he was influenced by his encounters with the Russian-born designer Léon Bakst and Bakst's stage work for Diaghilev's Ballets Russes” (Hughey). Hughey 47. Fine.