A Spectacular Original Watercolor Drawing by Edmund DulacDepicting Cinderella on Her Way to the BallDULAC, Edmund (1882-1953). "She was driven away, beside herself with joy." Original pen-and-ink and watercolor drawing for the color plate facing p. 54, illustrating "Cinderella or The Little Glass Slipper," in The Sleeping Beauty and Other Fairy Tales from the Old French Retold by Sir Arthur Quiller-Couch (London: ). This spectacular watercolor drawing is typical of Dulac's blue period and depicts a wooded scene with a full moon in the background and Cinderella being driven to the ball in "a beautiful coach all covered with gold," drawn by horses "of a lovely grey, dappled with mouse colour" and accompanied by a coachman and three footmen in "their bedizened liveries." Signed and dated at lower right. Image size: 12 1/2 x 10 1/4 inches (318 x 260 mm). Matted, framed, and glazed."'Good-bye, child!' said her godmother. 'But of one thing I must warn you seriously. I have power to send you thus to the ball, but my power lasts only until midnight. Not an instant beyond midnight must you stay there. If you over-stay the stroke of twelve, your coach will become but a pumpkin again, your horses will change back into mice, your footmen into lizards, and your ball dress shrink to the same rags in which I found you.' Cinderella promised that she would not fail to take her departure before midnight: and, with that, the coachman cracked his whip and she was driven away, beside herself with joy."In November 1910, Hodder and Stoughton advertised Dulac's newest book, The Sleeping Beauty, as 'the most beautiful book ever published at a popular price'. (All 1,000 copies of the de luxe edition had been sold out a month earlier)?In painting the pictures [for this book, Dulac] found inspiration for his fairy tale characters' dress and surroundings in the French 18th century. That of 'the period', as Mr. Quiller-Couch tells us in the preface, 'when the literature he illustrates was at the acme of its vogue'. Such historical and artistic accuracy had become Dulac's habit as he fashioned the details of his gift books-the binding, lettering style, end papers, pictures-integrating all into a unified whole. The result of this effort was appreciated by the Illustrated London News critic who highly recommended The Sleeping Beauty book for adults as well as children (December 3, 1910): 'In binding, type, and illustrations, it is all that could be desired'?In the book's pictures themselves, Dulac's powerful, zesty and humorous style of the Arabian Nights and the Lyrics is much subdued?Here his technique seems akin to Arthur Rackham's method of outlining figures in pen and ink and filling them in with colour. The complete illustrations too seem more like Rackham's than any others of Dulac's work" (Hughey 23, Comment). "In his painting, Edmund Dulac was ever the experimenter, ever the innovator?From his first to his last picture, Dulac displayed sensational colours, great design impact, orientalism and humor. From among the illustrators of his period, he is known as the outstanding colourist. His special shade of blue was called, with double entendre, bleu du lac. Not only his blue, but his very French talent for unusual combinations of colors, produced stunning effects" (Hughey, Introduction)."After the appearance in 1907 of Stories from the Arabian Nights with fifty plates from his hand, Dulac became Rackham's chief rival in providing colored illustrations for reproduction by the three-color process for the giftbook trade. His best work, however, is to be found in The Sleeping Beauty and Other Fairy Tales. His designs for the title story and 'Cinderella' have ornate eighteenth-century settings in which some indebtedness to the engravings for Le cabinet des fées can be discerned" (Ray, The Illustrator and the Book in England, pp. 207-209). Bookseller Inventory #
Title: She was driven away, beside herself with joy
Publisher: [n.p.]: , 1910
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