About Folio Society Limited Editions

Strictly limited, bound to order and numbered by hand, Folio Society limited editions are outstanding works of literary or historical significance reproduced as works of art in their own right. In every detail, from artwork to binding materials, we strive to make our limited editions as beautiful as possible, expertly marrying form and content, setting new standards in publishing excellence. They unite the skills of many experts, employing both traditional crafts and state-of-the-art technology, and representing a labour of love for everyone involved.

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  The Fine Press Classics

Between the First and Second World Wars, a new generation of publishers drew on developments in art and technology to build on, and in some ways to challenge, the Arts and Crafts tradition of fine printing from the pre-war years. At the forefront of this movement – the so-called ‘heroic age’ of the private press – were the pioneering Nonesuch and Golden Cockerel presses.

The Folio Society now presents facsimiles of three highly sought-after masterpieces from these two publishers, all classics of illustrated book production, originally published between 1924 and 1926, and sure to become collectable in their own right. Each volume is a perfect marriage of an Old Testament text with wood-engraved illustrations: Paul Nash’s abstractions evoking the mysteries of Creation recounted in Genesis, David Jones’s Christ-like figure embodying the Book of Jonah’s reluctant prophet, and Eric Gill’s eroticism enriching the sensual Song of Songs.

The Golden Cockerel Press was founded in 1920 as an idealistic rural co-operative, hand-printing books ‘without recourse to paid and irresponsible labour’. After the inevitable financial failure of this venture, the Press was taken over by Robert Gibbings, a driving force behind the newly established Society of Wood Engravers. Strictly limited editions continued to be hand-set initially in Caslon – the most popular typeface of the private press movement – and later in a bespoke typeface, specially commissioned from Eric Gill; then hand-printed on handmade papers and even vellum. Under Gibbings, the more business-like Golden Cockerel led a renaissance in wood-engraved illustration, setting the highest standards of book production while retaining its original craft-orientated spirit.

The Nonesuch Press, founded in London by Francis Meynell in 1923, was a very different venture. Meynell deliberately avoided a house style (preferring instead that people noticed a striking book and only later recognised it as a Nonesuch volume), and used an extremely eclectic range of typefaces, creating books that ranged from the historically inspired to the strikingly modern. While Nonesuch books were often designed and proofed on a handpress, they were then commercially printed by organisations including the Curwen Press and the Oxford and Cambridge University Presses. Meynell’s self-declared mission was to show that ‘mechanical means could be made to serve fine ends’, describing himself as an architect of books rather than a builder, combining the aesthetic ideals of the traditional private press with twentieth century industrial production, ‘for those among collectors who also use books for reading’.


In creating such a varied range of limited edition titles, we have drawn on the expertise of some the world's most renowned literary institutions, academics, illustrators and collectors. Whether formed to develop pioneering interpretations of classic texts or meticulously to reproduce rarely-seen treasures, these collaborations are often fascinating stories in themselves. Some occur through chance meetings, some are the result of years of careful research, while others result from the ambitions of a particular artist or scholar.

View Fifty Fables of La Fontaine book

Illustration by Quentin Blake for La Fontaine's The Schoolboy, the Pedant and the Owner of a Garden

Our long relationship with Quentin Blake has produced some of our most sought-after titles. The remarkable editions of Candide and the Fifty Fables of La Fontaine, full of Blake's characteristic wit and mischief, became instant collectables. For our Just So Stories, we worked with acclaimed artist Niroot Puttapipat, an illustrator working in the tradition of golden-age artists such as Arthur Rackham and Edmund Dulac. The resulting paintings and pen and ink drawings perfectly capture both the childhood wonder and innocence of Kipling's original tales, creating a true collector's classic.

Produced in association with the world's most distinguished curators, our facsimiles provide a unique opportunity to view acclaimed and often rare works as their authors intended, removed from their glass cabinets and secure display cases. The British Museum, the British Library, the Bodleian Library in Oxford, the Getty Museum in Los Angeles and the Royal Geographical Society have each offered some of their most treasured objects. These include ancient illuminated manuscripts and early maps, seminal works of botanical and ornithological art, devotional books of the Renaissance and masterpieces of the Private Press movement.


The production of our limited editions, while employing the hard-won skills of master craftsman from across the globe, is also a journey of discovery. Each unique endeavour is a complex process of uniting specialist techniques to craft objects that are not only astonishingly beautiful but are also at the forefront of modern and craft printing processes – editions that are not available anywhere else.

Most of our limited editions are sewn and bound by hand at craft binderies. Other traditional skills are also used – gilding pages; hand-marbling; gold-blocking; tipping illustrations onto the page by hand and creating traditional raised bands on the spine.

The bands on our facsimile edition of Birds Drawn for John Gould by Edward Lear were cased by hand – a centuries-old, time-consuming approach, practised by an ever-diminishing group of specialist binders. Our facsimile of William Morris's The Odes of Horace is a testament to the crafts and skills so close to the heart of the great designer and artisan, as well as his life-long dedication to both beauty and labour. The printing of the intricate illuminations that adorn many of the pages was entrusted to Castelli Bolis in Bergamo, Italy, specialists in gold-foil printing. To recreate the exact look and feel of the original treasure, craft bindery Smith Settle in Yorkshire undertook the meticulous work of producing the distinctive green-black tone of the goatskin binding, as well as the varying shades of gold.

Some of our editions are groundbreaking publishing endeavours in their own right. For instance, our reproduction of the Hereford World Map, or Mappa Mundi, involved months of digital restoration with the latest technologies. This painstaking process stripped away many layers of atmospheric degradation and neglect to reveal the intricate wonders of a medieval masterpiece.


Only the finest materials are used in the production of Folio Society limited editions: bindings of Nigerian Goatskin or pure silk velvet; papers of the highest quality, such as Furioso which gives the feel of vellum, felt-laid specially dyed paper from a Venetian mill or mould-made paper with distinctive ‘deckle' edges. All are meticulously sourced. For instance, the Chiyogami endpapers in our opulent edition of Japan were hand-printed in Japan while the silk woven jacquard used to bind our facsimile of The Fitzwilliam Book of Hours was specially commissioned from a mill originally founded by a Huguenot silk-weaver in the 1720s.

In an era increasingly defined by mass production and temporary, transient cultural trends, these strictly limited editions embody a tradition of excellence rarely found in modern design and publishing.

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