Search results 80 Found

1st US trade edition, large 4to (8 1/2" x 11 1/2"), full black cloth with full size black paper stamped in gilt. Hughey 47e. 1927 gift inscription to front free endpaper. 16 mounted color plates and title page (same design as cover) by Dulac. Chapter heads by another hand (FRB). The jacket art repeats the cover design but now with brown ink on tan paper and quite appealing. Titles in black. Fine in near fine, unclipped jacket with minor wear and a couple small tears to the rear jacket panel.

ND. Jacket rubbed with some moderate to heavy chipping, loss and marking. Some minor scuffing to closed edges, top edge dusty and lightly foxed. Some gutters cracked. Pages clean and tidy, plates bright.

Hughey 47.

Near Fine, Leather Bound. Book accented in 22kt gold. Printed on archival paper with gilded edges. The endsheets are of moire fabric with a silk ribbon page marker. Smyth sewing and concealed muslin joints to ensure the highest quality binding. This book is in full leather with hubbed spines.; Collector's Edition.

Quarto: [x], 174 p. Original green cloth binding, with elaborate gilt-stamped designs and brown accents. In the scarce dust jacket, which features an Edmund Dulac color plate on the front panel. Near fine. Provenance: from the Publishers' Bookbindings collection of Ellen K. Morris and Edward S. Levin. "British artist Edmund Dulac (1882-1953) was among best-known illustrators of the "Golden Age of Children's Gift Books" during the early twentieth century. After studying at the Ecole des Beaux-Arts in Paris and winning major prizes for his paintings, he returned to London in 1904 and began his meteoric rise as illustrator of luxury picture books, adapting his skill at pen and ink drawing, watercolor and gouache to new developments in color offset printing technology. Originally published in 1916 during the darkest days of the Great War (First World War: 1914-1916), Edmund Dulac's Fairy-Book is one of the last examples of this category of high-end publishing, as wartime rationing severely restricted the availability of paper for civilian use. One can only speculate that Dulac's book was given special consideration because of its patriotic focus in presenting a selection of tales representing the Allied nations fighting alongside Great Britain, including France, Russia, Italy, Belgium, Serbia, Japan, and China. (Conspicuously absent are any familiar tales from Germany and the other Central Powers!) Dulac adapted his own texts, clearly with an eye for describing settings and details that he would highlight in his illustrations. The sixteen tipped-in color plates, each measuring approximately 15 x 13 cm., demonstrate through the different styles he employs his keen interest in the folklore and folk art of each country. For example, his illustration to the Chinese tale "The Story of the Bird Feng" takes the form of a Chinese fan. The Japanese tale "Urashima Taro" is represented by a subtle watercolor clearly influenced by Ukiyo-e woodblock prints. Perhaps most spectacular of all are the illustrations for the Russian tales "Ivan and the Chestnut Horse" and "The Fire Bird," both of which owe a debt to Leon Bakst's opulent stage designs for Sergei Diaghilev's Ballets Russes productions" (Minneapolis College of Art and Design).

Hughey 47.

First edition. 4to. Tan cloth decorated in blue and black. In the original pictorial dustwrapper, which has a colour illustration on the upper cover. Housed in original card box. A fine copy in a near fine dustwrapper. An excellent copy, extremely uncommon thus. Patterned endpapers, decorated title page and fifteen mounted colour plates. The fairy stories in this book originate from around the world and are accompanied by Dulac's drawings in deep, vibrant colours. Stories from the various allied nations, including "Snegorotchka", "Ivan and the Chestnut Horse", "Fire Bird"(Russia); "Urashima Taro" (Japan); "The Story of a Bird Feng" (China), plus various French, Irish and British tales.

Tipped-in color frontispiece, 13 tipped-in color plates by Edmund Dulac. 170pp., large 4to, rebound in 1/2 green morocco, decoratively gilt spine. London: Hodder & Stoughton, n.d. [1916]. Fine.

FIRST EDITION, 275/350 COPIES signed by the artist, frontispiece and 14 further tipped-in plates by Dulac, all captioned and within a gilt border, pp. [x], 170, 4to, original white cloth with elaborate design to upper board and backstrip stamped in blue and gilt, just a hint of browning around the edges, untrimmed edges and endpapers a little browned, bookplate of Kathleen Vaughan Craddock to front pastedown with near-contemporary gift inscription to facing flyleaf, very good.

SIGNED/LIMITED EDITION. A beautiful copy SIGNED by Edmund Dulac. The book is bound in the ORIGINAL Vellum Cloth from the publisher. The binding is tight with NO cocking or leaning. The boards have minor discoloration and light wear to the spine. The pages are clean with NO writing, marks or bookplates in the book. A sharp copy SIGNED by Dulac of this edition of 350 copies printed. We buy SIGNED Dulac First Editions.