Books

Published in Laurence Housman's Stories from the Arabian Nights, in 1907, to accompany "The Story of the King of the Ebony Isles". This is one of 50 colour plates in the book which was "an overnight sensation that unequivocally established Dulac's reputation" (Hughey). The watercolour shows the Queen of the Ebony Isles. After she has changed her husband into half-marble and half-mortal form, the Queen turns her wickedness upon "the unfortunate people" who were subjects of the King. A contemporary review in the Art Journal identified a "fine Oriental flavour in the striking illustrations" which gave "richness to the book". The Times reviewed Dulac's exhibition at the Leicester Galleries noting "he has a truly exquisite sense of colour, and of noble design". The British painter Enid Marx noted in 1954 that "All [Dulac's] work shows Oriental influence. As a boy in Toulouse he was greatly impressed by his uncle's fine collection of Far Eastern Art. It seems to have served him as an inspiration all his life; it influenced his preference for stylized rather than three-dimensional forms" (see Hughey). "The Arabian Nights gave Dulac an opportunity to indulge in his nocturnes; the softness of the gleam of moonlight on stone, or on shadowy figures, and his use of ultra-marine, indigo and Prussian blue, mingled with purples and violets, brought to the illustrations the calm and mystery of Eastern nights" (White, p. 28). The selling exhibition at the Leicester Galleries was Dulac's first London one-man exhibition. It started the artist's long association with the gallery and also Hodder and Stoughton, the publishers. Exhibited: Leicester Galleries, November - December 1907, no. 5. READ MORE Original drawing (322x 264 mm) on artist's board. Drawn in ink and watercolour, signed and dated lower left ("Edmund Dulac 07"). Mounted within four mounts, framed and glazed (glazed size 592 x 492 mm). Fine and unfaded watercolour. Ann Conolly Hughey, Edmund Dulac - His Book Illustrations, 1995; Colin White, Edmund Dulac, 1976; Art Journal, January 1907, p. 25; The Times, 3 December 1907, p. 4.

The "Kitāb 'Alf Layla wa-Layla" (The Book of One Thousand and One Nights), commonly known in English as "The Arabian Nights," is a collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age. Spanning from the 8th to the 14th centuries, this collection has been a significant cultural artifact, reflecting the complexity, traditions, and values of the Islamic world of its time. It has also played a crucial role in shaping Western perceptions of the East and has influenced an array of literary, musical, cinematic, and artistic endeavors across the globe. This essay explores the origins, structure, themes, and influence of "The Arabian Nights," shedding light on its enduring legacy and significance. The origins of "The Arabian Nights" are complex and multicultural, with stories traced back to ancient and medieval Persian, Indian, Egyptian, and Mesopotamian literature. These tales were gradually compiled and translated into Arabic, with the earliest references to the collection appearing in the 9th century. However, it was during the Islamic Golden Age that the collection, as known today, began to take shape, incorporating various stories of merchants, heroes, villains, jesters, and supernatural beings, reflecting the vibrant tapestry of the societies within the Islamic caliphates. At the heart of "The Arabian Nights" is the frame story of Shahrazad (Scheherazade), the daughter of the vizier, who volunteers to marry the sultan Shahryar. The sultan, betrayed by his first wife, vows to marry a new bride each day and have her executed the next morning to prevent further betrayal. Shahrazad, to save herself and future brides, tells Shahryar a story each night, leaving it incomplete and promising to finish it the following night. This narrative technique not only serves to connect the disparate tales but also showcases the power of storytelling as a means of transformation and survival. "The Arabian Nights" encapsulates a plethora of themes, including justice, betrayal, love, bravery, and the supernatural. The stories range from historical narratives and tragic romances to humorous anecdotes and moral lessons, offering insights into the diverse and complex societies from which they originate. The collection also frequently employs motifs such as jinn, magical devices, and fantastical creatures, weaving a rich tapestry that blurs the lines between reality and fantasy. The impact of "The Arabian Nights" on world literature and culture cannot be overstated. The tales have been translated into numerous languages and have inspired countless adaptations in literature, opera, film, and visual arts. Characters like Aladdin, Sinbad, and Ali Baba have become cultural icons, and the themes of the tales have resonated with audiences around the globe, transcending cultural and temporal boundaries. Moreover, "The Arabian Nights" has contributed significantly to Western perceptions of the East, albeit through an orientalist lens that has often romanticized and exoticized Eastern cultures. This aspect of its legacy invites critical examination and dialogue about cultural representation and appropriation.