Edmund Dulac Collection at Spirit of the Ages

Here, we present a selection of the more than 200 antique and vintage images from Edmund Dulac's contributions to

Additional images from rare plates published in The Studio and The Illustrated London News are also shown.

One of 50 colour images

Dulac's Stories from

The Arabian Nights

One of 40 colour images

Dulac's The Tempest

One of 20 colour images

Dulac's Rubáiyát of Omar Khayyám

One of 8 colour images

Dulac's My Days with the Fairies

One of 32 images

Dulac's Stories from Hans Andersen

One of 28 colour images

Dulac's The Bells and Other Poems

Dulac's contribution to King Albert's Book

One of 19 colour images

Dulac's Edmund Dulac's Picture Book

for the French Red Cross

One of 6 colour images

Dulac's The Dreamer of Dreams

One of 15 colour images

Dulac's Edmund Dulac's Fairy-Book

One of 2 colour images

Dulac's The Stealers of Light

One of 14 colour images

Dulac's Tanglewood Tales

One of 10 colour images

Dulac's The Kingdom of the Pearl

One of 10 colour images

Dulac's The Kingdom of the Pearl

As enthusiasts, while preparing these illustrations in the largest size possible, we appreciate the desirability of replicating

the line, form, colour and finish of these wonderful images just as they would have appeared to Dulac. To that end,

throughout the page that follows, we have shown images optimised for reproduction in larger formats - usually in a

manner pleasing for 10 x 13" or 10 x 15" framing options. We consider those formats identified to be the largest that

allows the accurate reproduction of form, line and colour as prepared by Dulac and originally printed in the 1st Edition

plates. To reproduce the images, we have utilised a high definition capture and reproduction technique and ensure that

the prints are displayed with a satin finish that reproduces the visual appearance of the original plates.

Purchasing one, or more, of those reproductions is a simple as clicking on the "Add to Cart" buttons and following the

We have also developed a range of Giftware that includes images reproduced on cards, infants' clothing, T-shirts and

unmatted, matted or framed prints (8x6", 10x8", 12x10", 15x10" and 30 x 20" images sizes). Pricing starts at US$4 for single

Gift Cards (US$18 for select packs of 6) and 10 x 8" prints (double-matted and framed) begin at US$60. Further details

on those reproduction images are available at the Giftware section of this site.

with the Stock Code of the plate, or plates in question and a brief description.

In the meantime, enjoy browsing our selection of genuine vintage and antique plates.

Edmund Dulac (1882-1953) displayed an artistic interest from an early age, with his favourite medium - watercolours -

being established in his teenage years. Typically, Dulac's early illustrations do not rely upon an ink line to hold the

colour as he approached the relatively new colour printing medium as a coloured ink drawing. Just prior to Dulac's

first commissioned work at the age of 22, the colour separation process had been perfected and ink lines bounding

the colour to hide misregistration were no longer necessary. As Dulac was primarily a painter, he used that new

technology's ability to reproduce exact tones to let the colour hold shapes and define objects.

In 1913, the mellow, romantic blues that Dulac had tended towards gave way to a brighter palette and more

A rare copy of Stories from The Arabian Nights (as retold by Lawrence Housman) as co-jointly published by Hodder & Stoughton (London) and Charles Scribner's Sons (New York) in 1907. It is noteworthy that the printing for both publishing houses was undertaken in the United Kingdom by Butler and Tanner.

This copy shows the original decoratively gilt-stamped burnt-orange coloured cloth cover.

Dulac's illustrations to Stories from The Arabian Nights masterfully capture the fantastic elements of the tales

through a combination of brilliantly coloured characters and soft, impressionistic backgrounds while in other

scenes, a brooding and mysterious atmosphere is created through the use of a darker palette.

The contemporary review The New York Times (21 December, 1907) provides the following description:

For real charm - a charm quite comparable to Scheherezade's own - this volume depends

upon the indescribably quaint and bewitching illustrations provided by Edmund Dulac ...

The quality ... is best indicated by saying that the color prints give the impression of

mosaics of mother of pearl and rich jewels with the light behind them - a miniature and

sublimate stained glass effect, divorced from the ecclesiastic stiffness of real stained glass,

and made (in the case of the female figures particularly) infinitely graceful, a fit medium for

fairies, houris, genii, goblins, women, and last, but not least, children; admitting, too, of

As an exquisite instance of the purely beautiful, graceful, and alluring among the fifty illustrations

in the present volume may be noted the picture representing the Princess in the story of the

Magic Horse reclining Orientally at her toilet attended by her maidens; as an example of the

humorous nothing could be better than the picture which represents Ali Baba, squat and bearded,

returning from the cave of the Forty Thieves with his three laden asses - "a well-satisfied man".

The collection of stories illustrated in Stories from the Arabian Nights include: "The Fisherman and the Genie";

"The Story of the King of the Ebony Isles"; "Ali Baba and the Forty Thieves"; "The Story of the Magic Horse";

"The Story of the Wicket Half-Brothers"; and "The Story of the Princess of Deryabar".

Princess Scheherazadè, the heroine

of the thousand-and-one nights

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Code: ED SFTAN 1

And there in its midst stood a mighty Genie

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When having brought into submission

all the rest of my race

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No sooner had the monarch seen them,

so strange of form and so brilliant and

diverse in hue

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Thereupon the damsel upset the pan into the fire

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Recalling the fisherman by a swift messenger

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He arrived within sight of a palace of

shining marble

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The Queen of the Ebony Isles

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Supposing me asleep, they began to talk

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The cup of wine which she gives him

each night contains a sleeping-draught

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She went on to vent her malice upon the city and islands

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Began to heap upon me terms of the most

violent and shameful abuse

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Thus by her wicked machinations the city

became a lake

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Great was the astonishment of the Vizier and the Sultan's escort

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Their Chief in a low but distinct voice uttered

the two words, "Open Sesame!"

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Ali Baba departed for the town a well satisfied man

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As soon as he came in she began to jeer at him

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Greater still was the exultation of a greedy

nature like that of Cassim's

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Mustapha doubted much of his ability to refrain

from question

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This way and that she led him blindfolded

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Having transformed himself by disguise

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"Sir," said he, "I have brought my oil a great distance

to sell to-morrow"

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She poured into each jar in turn a sufficient

quantity of the boiling oil to scald its occupant

to death

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When Morgiana, who had remained all

this time on the watch

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Then for the lost figure of all she drew out the dagger

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At so arrogant a claim all the courtiers burst into loud laughter

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As he descended, the daylight in which hitherto

he had been travelling faded from view

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He saw black eunuchs lying asleep

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She gave orders for a rich banquet to be prepared

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Till the tale of her mirror contented her

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She cried: "O miserable man, what sorry watch is this

thou has kept"

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All this time the Princess had been watching the

combat from the roof of the palace

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In the garden of the summer palace

all was silence and solitude

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Sat by the lake and solaced themselves sweetly

with love

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It was in vain that all the wisest physician in the country were

summoned into consultation

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For many months he travelled without clue

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And ever with the tears falling down from her

eyes she sighed and sang

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There appeared before him an old man

of venerable appearance

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Pirouzè, the fairest and most honourably born

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Reaching his farthest wounded the giant in the knee

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The lady advanced to meet him

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A city among the Isles named Deryabar

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Presently in the distance he perceived a light

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The ship struck upon a rock

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And presently, feeling myself lifted by men's hands

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The Princess of Deryabar

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She found to her grief the place where

Codadad had lain left vacant

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She and her companion arrived at the city of Harran

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And taking her hand he led her to the apartments

of the Queen Pirouzè

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After these, maidens on white horses, with

heads unveiled, bearing in their hands

baskets of precious stones

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Shakespeare's The Tempest weaves a tale around themes as diverse as betrayal, sorcery and witchcraft, spiritual

forces revenge and forgiveness - themes which revolve around the central character, Prospero. Prospero is the

sorceror who, prior to being stranded on an island after being betrayed by his brother, had been the rightful

Duke of Milan. After twelve years stranded with his daughter, Miranda, a spirit companion, Ariel and a deformed

monster, Caliban, Prospero has the opportunity to wreck a passing boat carrying his brother by conjuring a tempest

to drive the vessel to annihilation - a thereafter begins Prospero's journey towards reconciliation with his brother

and the return of to Italy through his magical powers of all those who came hence.

ACT III Scene I

Ferdinand. Here is my hand

Miranda. And mine, with my heart in't

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Code: ED TT 1

ACT I Scene I

Boatswain. Lay her a-hold, a-hold! set

her two courses; off to sea again

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ACT I Scene II

Miranda. O, the cry did knock

Against my very heart

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ACT I Scene II

Prospero. I have done nothing but in

care of thee

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ACT I Scene II

Prospero. What seest thou else

In the dark backward and abysm

of time?

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ACT I Scene II

Prospero. And to my state grew

stranger, being transported

And rapt in secret studies

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ACT I Scene II

Prospero. A rotten carcass of a butt,

not rigg'd,

Nor tackle, sail, nor mast

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ACT I Scene II

Propsero. Here in this island we

arrived

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ACT I Scene II

Prospero. And by my prescience

I find my zenith doth depend upon

A most auspicious star

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ACT I Scene II

Prospero. She did confine thee

And in her most unmitigable rage,

Into a cloven pine

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ACT I Scene II

Caliban. Wouldst give me

Water with berries in't

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ACT I Scene II

Ferdinand. Thence I have follow'd it,

Or it hath drawn me rather

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ACT I Scene II

Ariel. Full fathom five they father lies;

Of his bones are coral made;

Those are pearls that were his eye

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Code: ED TT 13

ACT II Scene I

Antonio. Here lies your brother,

No better than the earth he lies upon

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Code: ED TT 14

ACT II Scene I

Ariel

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Code: ED TT 15

ACT II Scene II

Caliban. But

For every trifle are they set upon me

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ACT II Scene II

Stephano. Come, wear to that: kiss

the book

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Code: ED TT 17

ACT III Scene I

Miranda. No woman's face remember

save mine own

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ACT III Scene II

Caliban. Sound and sweet airs, that

give delight and hurt not

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ACT III Scene III

Ariel. You are three men of sin

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ACT IV Scene I

Iris. The turfy mountains, where live

nibbling sheep

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ACT IV Scene I

Iris. I met her deity

Cutting the clouds towards Paphos

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ACT IV Scene I

Juno. Go with me

To bless this twain, that they may

prosperous be

And honour'd in their issue

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ACT IV Scene I

Iris. You Nymphs, call'd Naiads, of the

windring brooks,

Leave your crisp channel

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ACT IV Scene I

Enter certain Reapers, properly habited:

they join with the Nymphs in a

graceful dance

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ACT IV Scene I

Prospero. We are such stuff

As dreams are made on

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ACT IV Scene I

Stephano. Part off that gown, Trinculo;

by this hand I'll have that

gown

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Code: ED TT 27

ACT V Scene I

Ariel. All prisoners, sir,

In the lime-grove which weather-

fends your cell

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Code: ED TT 28

ACT V Scene I

Prospero. Ye elves of hills, brooks,

standing lakes and groves

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Code: ED TT 29