1Conte_Mosca
”The Folio Society was founded in February 1947 ‘to produce editions of the world’s great literature in a format worthy of the contents, at a price within the reach of everyman’. Very much a product of the war years and of the resulting social revolution, the Society’s rather pompously announced aims were a reaction against the edition-de-luxe - the book so precious in every sense of the word that it seemed hardly designed to be read. The real challenge, we felt, was to equate good design with the mass-production techniques of the machine age. The idea of a ’poor man’s fine edition’ was, of course, not a new one, but wartime restrictions had so debased the standards of most general publishers’ productions that it seemed new at the time”.
So said Charles Ede, the Society’s founder, in 1967 in his Historical Note to the first FS bibliography, Folio 21.
The Society has obviously come a long way in the 70 years since it was founded, but I have always retained a strong interest in the FS’s early publications. Some of these have already been discussed, and pictures shared, in the earlier “Older Folios” threads. However, for some time I have considered starting a blog that tells the story of the FS from its early days, but simply have never found the time to get it set up. I still don’t have the time to do it properly – one day perhaps. In the meantime, I thought I would perhaps start a sequential look at those first FS publications here if it would be of interest. I decided to start a separate thread to do so rather than mix this in with the excellent work that TabbyTom and others are doing sharing pictures of some of the older folios, particularly those of the 1970s and 1980s, as it will enable the history to build up sequentially without inhibiting (or getting lost in) the sharing of those other wonderful titles.
I do hope this thread will be of interest, but feel free to make any suggestions along the way!
So said Charles Ede, the Society’s founder, in 1967 in his Historical Note to the first FS bibliography, Folio 21.
The Society has obviously come a long way in the 70 years since it was founded, but I have always retained a strong interest in the FS’s early publications. Some of these have already been discussed, and pictures shared, in the earlier “Older Folios” threads. However, for some time I have considered starting a blog that tells the story of the FS from its early days, but simply have never found the time to get it set up. I still don’t have the time to do it properly – one day perhaps. In the meantime, I thought I would perhaps start a sequential look at those first FS publications here if it would be of interest. I decided to start a separate thread to do so rather than mix this in with the excellent work that TabbyTom and others are doing sharing pictures of some of the older folios, particularly those of the 1970s and 1980s, as it will enable the history to build up sequentially without inhibiting (or getting lost in) the sharing of those other wonderful titles.
I do hope this thread will be of interest, but feel free to make any suggestions along the way!
2Conte_Mosca
1947-The Beginning
The Society published just three titles in its first year, and these are shown below. A fourth title was actually dated 1947 (“The Sonnets – William Shakespeare”), but was not actually released until the following year, so I will cover that one when we get to 1948.
The Society published just three titles in its first year, and these are shown below. A fourth title was actually dated 1947 (“The Sonnets – William Shakespeare”), but was not actually released until the following year, so I will cover that one when we get to 1948.
3Conte_Mosca
1947 – 1. Tales – Leo Tolstoy
This edition included The Raid and Two Old Men translated by Louise and Aylmer Maude, and Two Hussars, Three Deaths, Polikushka and The Death of Ivan Ilyitch translated by Constance Garnett.
Book Details
Drawings in pen and ink by Elizabeth MacFadyen. Royal 8vo, 280 pp, including nine full-page illustrations. Monotype Perpetua type (13-pt). Printed and bound by Brepols. Quarter black cloth, scarlet cloth boards. White dust jacket printed in red and black. The illustrations consist of nine pen-and-ink sketches, reproduced from line-blocks. Folio 60 states:
"The title-page is a little adventurous in design for a first book, with the main title 'Tales' appearing at the foot of the page, beneath the imprint. This book (was) printed in Belgium because of paper rationing and the difficulties of finding printers willing to take on new work in post-war Britain...The illustrations are the first (and apparently penultimate) published works of the artist".
In Folio 21, Charles Ede had the following to say about this title:
”This was a personal selection, designed to give a cross-section of Tolstoy’s work in the medium. Because of paper rationing and the difficulty of getting printers to take on new work at this time, the book was produced in Belgium, as were numbers 2 and 6 below (Trilby – George du Maurier, and The Confessions of An English Opium Eater – Thomas de Quincy). The printers, who only undertook the job as a favour, were not used to this type of work, and the standard leaves a good deal to be desired.
This edition included The Raid and Two Old Men translated by Louise and Aylmer Maude, and Two Hussars, Three Deaths, Polikushka and The Death of Ivan Ilyitch translated by Constance Garnett.
Book Details
Drawings in pen and ink by Elizabeth MacFadyen. Royal 8vo, 280 pp, including nine full-page illustrations. Monotype Perpetua type (13-pt). Printed and bound by Brepols. Quarter black cloth, scarlet cloth boards. White dust jacket printed in red and black. The illustrations consist of nine pen-and-ink sketches, reproduced from line-blocks. Folio 60 states:
"The title-page is a little adventurous in design for a first book, with the main title 'Tales' appearing at the foot of the page, beneath the imprint. This book (was) printed in Belgium because of paper rationing and the difficulties of finding printers willing to take on new work in post-war Britain...The illustrations are the first (and apparently penultimate) published works of the artist".
In Folio 21, Charles Ede had the following to say about this title:
”This was a personal selection, designed to give a cross-section of Tolstoy’s work in the medium. Because of paper rationing and the difficulty of getting printers to take on new work at this time, the book was produced in Belgium, as were numbers 2 and 6 below (Trilby – George du Maurier, and The Confessions of An English Opium Eater – Thomas de Quincy). The printers, who only undertook the job as a favour, were not used to this type of work, and the standard leaves a good deal to be desired.
4Conte_Mosca
1947 - 2. Trilby - George du Maurier
Book Details
With reproductions of six pencil drawings by the author. Crown 4to, 276 pp. plus six plates, the latter printed by offset. Garamond type. Quarter maroon cloth, decorative paper sides printed with a repeat pattern in maroon on grey from a design by Alice Hindson. Grey dust jacket printed in red and black with the same pattern as the boards.
Charles Ede added the following personal comments in Folio 21:
"A passage, which originally appeared in the Harper's serial issue of 1894 and was later suppressed as libellous of Whistler, was printed as an appendix. The illustrations were some of the originals, from which commercial engravers produced the blocks for the first edition'.
My copy also has an interesting letter to the subscriber from The Book Society in 1953, which I have shown below. The text states " Dear Member, we would like, on the occasion of the Coronation, to mark our appreciation of your membership, and we therefore ask you to accept a gift-book with our compliments. We hope you will like the enclosed volume. We have to ask you to note, however, that this does not constitute an offer for the present or the future; no gift-book is being sent to new members enrolling after the 31st May. With all good wishes, ours very truly...". Whether Trilby was the gift-book in question, or the subscriber just slipped this letter into Trilby as a makeshift bookmark, I do not know!
EDIT: To confirm that the letter was from The Book Society, not The Folio Society (see #7,#9 and #10 below)
Book Details
With reproductions of six pencil drawings by the author. Crown 4to, 276 pp. plus six plates, the latter printed by offset. Garamond type. Quarter maroon cloth, decorative paper sides printed with a repeat pattern in maroon on grey from a design by Alice Hindson. Grey dust jacket printed in red and black with the same pattern as the boards.
Charles Ede added the following personal comments in Folio 21:
"A passage, which originally appeared in the Harper's serial issue of 1894 and was later suppressed as libellous of Whistler, was printed as an appendix. The illustrations were some of the originals, from which commercial engravers produced the blocks for the first edition'.
My copy also has an interesting letter to the subscriber from The Book Society in 1953, which I have shown below. The text states " Dear Member, we would like, on the occasion of the Coronation, to mark our appreciation of your membership, and we therefore ask you to accept a gift-book with our compliments. We hope you will like the enclosed volume. We have to ask you to note, however, that this does not constitute an offer for the present or the future; no gift-book is being sent to new members enrolling after the 31st May. With all good wishes, ours very truly...". Whether Trilby was the gift-book in question, or the subscriber just slipped this letter into Trilby as a makeshift bookmark, I do not know!
EDIT: To confirm that the letter was from The Book Society, not The Folio Society (see #7,#9 and #10 below)
5TabbyTom
Many thanks for these pics, Conte_Mosca. I've always thought (judging from the bibliographies) that the Society in its earliest years showed excellent discernment and variety in its choice of books to publish. It's great to have the rare chance to see what those books looked like.
6Conte_Mosca
1947 - 3. Aucassin And Nicolette
Book Details
Translated from the Old French by F.W. Bourdillon, with decorations by Lettice Sandford. Medium 8vo, 64 pp., including 44 drawings in the text. Caslon Old Face type. White grained cloth, the sides blocked in blue with a repeat pattern of fleurs-de-lys in reverse. Spine title in silver. Acetate dust jacket printed in black.
Charles Ede added in Folio 21:
"One of the reasons for publishing this title was that, at this date, printers were allowed to supply paper from their own ration, for books of up to sixty-four pages. The head- and tail- pieces matched the weight of the type extremely well and, as a unity, the book can perhaps still be considered as amongst the Society's most successful productions. On the debit side, it would probably have been better to use a roman initial for the verse, while the binding was marred by a ragged line where the foil blocking met the edges of the board".
As is often the case with aging acetate jackets, mine is quite heavily chipped, as the picture shows.
Book Details
Translated from the Old French by F.W. Bourdillon, with decorations by Lettice Sandford. Medium 8vo, 64 pp., including 44 drawings in the text. Caslon Old Face type. White grained cloth, the sides blocked in blue with a repeat pattern of fleurs-de-lys in reverse. Spine title in silver. Acetate dust jacket printed in black.
Charles Ede added in Folio 21:
"One of the reasons for publishing this title was that, at this date, printers were allowed to supply paper from their own ration, for books of up to sixty-four pages. The head- and tail- pieces matched the weight of the type extremely well and, as a unity, the book can perhaps still be considered as amongst the Society's most successful productions. On the debit side, it would probably have been better to use a roman initial for the verse, while the binding was marred by a ragged line where the foil blocking met the edges of the board".
As is often the case with aging acetate jackets, mine is quite heavily chipped, as the picture shows.
7HuxleyTheCat
This will be a great resource, Michael; many thanks for it.
A point / query about the letter in >4 Conte_Mosca:: you mention that it was from the Folio Society, but the header is from The Book Society which, as far as I understand, was an entirely seperate organisation and a brainchild of Alan Bott who founded the publisher Pan.
A point / query about the letter in >4 Conte_Mosca:: you mention that it was from the Folio Society, but the header is from The Book Society which, as far as I understand, was an entirely seperate organisation and a brainchild of Alan Bott who founded the publisher Pan.
8Conte_Mosca
1948 - Publications 04-12
A much more productive year than 1947, 1948 saw 9 new publications from the Society. I have publications 04-10 which are shown below. I do not have the original 1948 edition of The Odyssey (11).
EDIT: Sep 2015 - replaced second image to include Dr Jekyll and Mr Hyde.
A much more productive year than 1947, 1948 saw 9 new publications from the Society. I have publications 04-10 which are shown below. I do not have the original 1948 edition of The Odyssey (11).
EDIT: Sep 2015 - replaced second image to include Dr Jekyll and Mr Hyde.
9Conte_Mosca
>7 HuxleyTheCat: Good point Fiona, I hadn't really noticed that! I wonder then how it found it's way into a copy of Trilby. Alan Bott was of course also one of the founders of the Folio Society, along with Charles Ede and Christopher Sandford, so I guess it is not beyond the realms of possibility that The Book Society would have provided members with a Folio Society book as a gift? Intriguing...
ETA: Charles Ede's Historical Note reinforces the FS / Book Society connection, stating "the first directors of the Society were Alan Bott, the founder of the Book Society, who had an unrivalled knowledge of the intricacies of book-club operation, Christopher Sandford, then proprietor of the Golden Cockerel Press, and myself.".
ETA: Charles Ede's Historical Note reinforces the FS / Book Society connection, stating "the first directors of the Society were Alan Bott, the founder of the Book Society, who had an unrivalled knowledge of the intricacies of book-club operation, Christopher Sandford, then proprietor of the Golden Cockerel Press, and myself.".
10HuxleyTheCat
>9 Conte_Mosca: It seems publishing at that period was a rather incestuous business. Christopher Sandford, as well as being a director of the FS and proprietor of the Golden Cockerel Press was also husband of Lettice Sandford, illustrator of FS publication no. 3 Aucassin and Nicolette.
Edited - spelling.
Edited - spelling.
11Conte_Mosca
1948- 4. The Sonnets - William Shakespeare
Book Details
Decorations by Reynolds Stone. Crown 8vo, 160 pp. Monotype Perpetua type (13 pt). Printed in black and green by Chiswick Press. Bound by Stevenson in quarter green leather, scarlet cloth sides. Pale grey dust jacket printed in dark green.
Charles Ede added in Folio 21:
"The modern spelling text was that of A.H. Bullen. The calligraphic head-pieces were drawn in pen and ink and printed in green. Great pains were taken to match the head-pieces to the optical width of each sonnet, and their accurate positioning gave the printer a somewhat nightmare problem. This book was intended for publication in 1947, and is so dated. A second edition, reset and with a slip-case, was issued in 1958".
Book Details
Decorations by Reynolds Stone. Crown 8vo, 160 pp. Monotype Perpetua type (13 pt). Printed in black and green by Chiswick Press. Bound by Stevenson in quarter green leather, scarlet cloth sides. Pale grey dust jacket printed in dark green.
Charles Ede added in Folio 21:
"The modern spelling text was that of A.H. Bullen. The calligraphic head-pieces were drawn in pen and ink and printed in green. Great pains were taken to match the head-pieces to the optical width of each sonnet, and their accurate positioning gave the printer a somewhat nightmare problem. This book was intended for publication in 1947, and is so dated. A second edition, reset and with a slip-case, was issued in 1958".
12Conte_Mosca
1948 - 5. Candide - Voltaire
Well before the Society's rather lovely Limited Edition of Candide, we had this interesting early edition, the Society's fifth publication. ! I love Kenneth Hobson's plates and head-pieces, and the first example of the Society using marbled boards.
Book Details
Illustrations by Kenneth Hobson. 8 3/4" x 5 1/8", 144 pp. plus seven colour plates reproduced by drawn lithography. Bodoni type. Bound by Mackay in quarter-black cloth, marbled paper sides. Yellow Dust jacket printed in black and colour.
Charles Ede added in Folio 21, in his typical open and self-critical style:
"Unfortunately there is no record of which translation was used for this edition. The originals of the plates were in pen and ink and watercolour, each chapter had a pen and ink head-piece and the title-page was hand-drawn. The illustrations were not commissioned by the Society, and had been produced some years previously. The text type was too large for the page and quite inadequately leaded".
Folio 60 states:
"The translation used is a slightly revised version of that made by Henry Morley (1822-1894) and first published posthumously in 1922. He is not acknowledged anywhere in the text or in Folio 21, and it is possible that it was this version of the text that was to have been published with Hobson's illustrations, and that the two came into the Society's possession without any record of who was responsible for the translation".
The original price was 15/- (shillings).
Well before the Society's rather lovely Limited Edition of Candide, we had this interesting early edition, the Society's fifth publication. ! I love Kenneth Hobson's plates and head-pieces, and the first example of the Society using marbled boards.
Book Details
Illustrations by Kenneth Hobson. 8 3/4" x 5 1/8", 144 pp. plus seven colour plates reproduced by drawn lithography. Bodoni type. Bound by Mackay in quarter-black cloth, marbled paper sides. Yellow Dust jacket printed in black and colour.
Charles Ede added in Folio 21, in his typical open and self-critical style:
"Unfortunately there is no record of which translation was used for this edition. The originals of the plates were in pen and ink and watercolour, each chapter had a pen and ink head-piece and the title-page was hand-drawn. The illustrations were not commissioned by the Society, and had been produced some years previously. The text type was too large for the page and quite inadequately leaded".
Folio 60 states:
"The translation used is a slightly revised version of that made by Henry Morley (1822-1894) and first published posthumously in 1922. He is not acknowledged anywhere in the text or in Folio 21, and it is possible that it was this version of the text that was to have been published with Hobson's illustrations, and that the two came into the Society's possession without any record of who was responsible for the translation".
The original price was 15/- (shillings).
13ian_curtin
More fascinating material from the early years. Thank you, Conte_Mosca!
The choices of the initial editions are particularly interesting. A number are ones you might reasonably expect, but some are unusual. I suspect that as now, rights and permissions played a role as much as editorial decision.
The choices of the initial editions are particularly interesting. A number are ones you might reasonably expect, but some are unusual. I suspect that as now, rights and permissions played a role as much as editorial decision.
14Caroline_McElwee
Lovely to see some of the early books, I shall enjoy watching this thread grow.
15LesMiserables
14
... Don't you mean unravel? ;-)
... Don't you mean unravel? ;-)
16Caroline_McElwee
hahaha, yes it could unravel :-)
17drasvola
Shakespeare, Tolkien, Older Folios, Early Years... what a wonderful, worthwhile effort by many Devotees for the benefit of all of us! Well done. This is great reference tool and a bibliographic resource that I dare say will prove very useful. Thanks.
18Conte_Mosca
1948 - 6. The Confessions Of An English Opium-Eater - Thomas de Quincey
Book Details
Wood-engravings by Blair Hughes-Stanton. Demy 8vo, 236 pp. including ten illustrations. Perpetua type. Black ribbed cloth, sides and spine with a design composed of rules of varying thickness in gold. Dust jacket.
Charles Ede adds in Folio 21:
"The type - we seem to have a fixation for this face - is too small and the laid paper quite unsuitable for the fine-textured engravings. A blank leaf was missed from the pagination of the prelims. The ten head-pieces had been engraved for another publisher, who was unable to issue them."
And I am afraid I have to agree with Mr Ede. The type face is far too small, and this is one of the least successful of the early FS publications in my view.
Book Details
Wood-engravings by Blair Hughes-Stanton. Demy 8vo, 236 pp. including ten illustrations. Perpetua type. Black ribbed cloth, sides and spine with a design composed of rules of varying thickness in gold. Dust jacket.
Charles Ede adds in Folio 21:
"The type - we seem to have a fixation for this face - is too small and the laid paper quite unsuitable for the fine-textured engravings. A blank leaf was missed from the pagination of the prelims. The ten head-pieces had been engraved for another publisher, who was unable to issue them."
And I am afraid I have to agree with Mr Ede. The type face is far too small, and this is one of the least successful of the early FS publications in my view.
19AlanRitchie
You are a true devotee, Michael, to hunt down all these early editions of Folio books. I'm a casual browser. I joined the society at a time when one could check a box to order all the publications for the year - I would sigh that I couldn't afford to do that.
20Conte_Mosca
1948 - 7. Mademoiselle de Maupin - Theophile Gautier
Book Details
Translated by R. and E. Powys Mathers. Illustrations by Mark Severin. 9" x 6 5/8", 288 pp. plus eight plates, reproduced by collotype. Perpetua type. Cream cloth with, on front board and spine, title in gold within a gold frame, on panels of blue. Dust jacket.
Original price was 16/- (shillings).
Charles Ede added the following personal note in Folio 21:
"The form of this book was dictated by the somewhat alarming financial situation existing at the time. The text was reproduced by offset, in a reduced size, from the edition published by the Golden Cockerel Press, and the resulting bastard format has been found useful on a number of subsequent occasions, not least for the Shakespeare series. The pencil drawings should have been engravings, but we just could not afford to pay for the additional work."
As an aside, I just love Edward Powys Mathers - what a hero! Not only was he a great translator (he also translated J.C. Mardrus's French version of One Thousand Nights and One Night, from which the Society published 12 tales in the following year), and an accomplished poet (FS's Eastern Love Poems from 1953 were Mathers' own compositions), but he was a pioneering cryptic crossword setter for The Guardian, using the pseudonym "Torquemada". He was by far and away the most famous and accomplished setter of the period.
Book Details
Translated by R. and E. Powys Mathers. Illustrations by Mark Severin. 9" x 6 5/8", 288 pp. plus eight plates, reproduced by collotype. Perpetua type. Cream cloth with, on front board and spine, title in gold within a gold frame, on panels of blue. Dust jacket.
Original price was 16/- (shillings).
Charles Ede added the following personal note in Folio 21:
"The form of this book was dictated by the somewhat alarming financial situation existing at the time. The text was reproduced by offset, in a reduced size, from the edition published by the Golden Cockerel Press, and the resulting bastard format has been found useful on a number of subsequent occasions, not least for the Shakespeare series. The pencil drawings should have been engravings, but we just could not afford to pay for the additional work."
As an aside, I just love Edward Powys Mathers - what a hero! Not only was he a great translator (he also translated J.C. Mardrus's French version of One Thousand Nights and One Night, from which the Society published 12 tales in the following year), and an accomplished poet (FS's Eastern Love Poems from 1953 were Mathers' own compositions), but he was a pioneering cryptic crossword setter for The Guardian, using the pseudonym "Torquemada". He was by far and away the most famous and accomplished setter of the period.
21LolaWalser
#18
I like the binding of De Quincey. Are the spine ribs raised?
I like the binding of De Quincey. Are the spine ribs raised?
22cronshaw
This a great record and resource, thanks Michael! Those early illustrations are wonderful.
23Conte_Mosca
>21 LolaWalser: No, quite the opposite! The gold ribs are actually slight depressions.
24LolaWalser
Funny. A real visual trick!
25boldface
What a treasure trove. Thank you, Michael. The current rate of enablement on these threads is at an all-time high.
26TabbyTom
These pics are all wonderful. Thank you, Conte_Mosca. Somehow I doubt whether any six or seven consecutive Folios from the current catalogue would have anything like the same appeal for me.
Some of these early issues seem to be available on Abe and elsewhere at very affordable prices. I'm tempted to order a few: even if the condition isn't quite what the bookseller's description leads me to expect, I'd be fascinated to see what the really early editions looked like and felt like (the earliest Folio I possess is from 1951).
Some of these early issues seem to be available on Abe and elsewhere at very affordable prices. I'm tempted to order a few: even if the condition isn't quite what the bookseller's description leads me to expect, I'd be fascinated to see what the really early editions looked like and felt like (the earliest Folio I possess is from 1951).
27GiltEdge
Thanks for these scans. I used to think the early Folios were rather bland and nondescript, but you're starting to turn my head around. They aren't as great as the recent ones, but still worth keeping, it appears.
Ede was learning at the job, based on his comments on the typography of these early volumes. Type too big ... type too small ...
Ede was learning at the job, based on his comments on the typography of these early volumes. Type too big ... type too small ...
29Mweb
Thank you (I think) for these. This must be the most dangerous enabling thread for advanced FAD. Almost everything seems to be added to the endless wish list. Oh well who needs food when there are such must haves to track down.
30Conte_Mosca
1948 - 8. The Voyages of Lemuel Gulliver To Lilliput and Brobdingnag - Jonathan Swift
Moving on to another early favourite of mine (even if necessarily abridged due to rationing), we have the Society's eighth publication, and some more lovely marbled boards.
Book Details
Lithographs by Edward Bawden. Demy 8vo, 174 pp. plus twelve six-colour plates. Baskerville type, with Vesta for display. Quarter maroon cloth, marbled paper sides. Dust jacket.
Charles Ede added in Folio 21:
"Paper rationing made it necessary for us to limit this volume to the first two voyages, but a complete edition of the 'Travels', illustrated by the same artist, is described as Number 205 (1965)"
Moving on to another early favourite of mine (even if necessarily abridged due to rationing), we have the Society's eighth publication, and some more lovely marbled boards.
Book Details
Lithographs by Edward Bawden. Demy 8vo, 174 pp. plus twelve six-colour plates. Baskerville type, with Vesta for display. Quarter maroon cloth, marbled paper sides. Dust jacket.
Charles Ede added in Folio 21:
"Paper rationing made it necessary for us to limit this volume to the first two voyages, but a complete edition of the 'Travels', illustrated by the same artist, is described as Number 205 (1965)"
31UK_History_Fan
Wonderful illustrations. This just got added to my wish list!
33Conte_Mosca
1948 - 9. Poems - Rupert Brooke
Book Details
Illustrations by John Buckland-Wright. Crown 8vo, 176 pp. including nine full-page illustrations. Perpetua type, headings printed in blue, printed by the Chiswick Press. Quarter blue leather, pink-grey cloth sides.
The history of the dust jacket is a little unclear. Folio 21 states that an "onion skin dust jacket" was used. Folio 60 states:
"White dust jacket printed in blue and black or glassine dust-jacket printed in black...second impression (1950) with a transparent plastic dust jacket printed in black. A copy has been reported with a blue slip case in addition to the jacket". My copy shown below is the second impression from 1950, the only one of my early editions which is not a first impression.
Charles Ede added in Folio 21:
"We could not, at this juncture, afford wood-engravings so suggested scraper-board. The result was one of the artist's less happy efforts"
Book Details
Illustrations by John Buckland-Wright. Crown 8vo, 176 pp. including nine full-page illustrations. Perpetua type, headings printed in blue, printed by the Chiswick Press. Quarter blue leather, pink-grey cloth sides.
The history of the dust jacket is a little unclear. Folio 21 states that an "onion skin dust jacket" was used. Folio 60 states:
"White dust jacket printed in blue and black or glassine dust-jacket printed in black...second impression (1950) with a transparent plastic dust jacket printed in black. A copy has been reported with a blue slip case in addition to the jacket". My copy shown below is the second impression from 1950, the only one of my early editions which is not a first impression.
Charles Ede added in Folio 21:
"We could not, at this juncture, afford wood-engravings so suggested scraper-board. The result was one of the artist's less happy efforts"
34boldface
>33 Conte_Mosca:
Despite Charles Ede's reservations, that looks like a lovely illustration of Grantchester, which is still worth a visit today. You can walk along the river bank to Cambridge just as Rupert Brooke did a hundred years ago. Or walk the other way, to Grantchester, and have tea in the orchard.
Despite Charles Ede's reservations, that looks like a lovely illustration of Grantchester, which is still worth a visit today. You can walk along the river bank to Cambridge just as Rupert Brooke did a hundred years ago. Or walk the other way, to Grantchester, and have tea in the orchard.
35Conte_Mosca
1948 – 10. The Crime of Sylvestre Bonnard – Anatole France
Book Details
Translated by Lafcadio Hearn. Lithographs by H. Hope-Read. Demy 8vo, 192 pp. plus fourteen plates. Plantin type, with Bodoni ultra-bold italic for title-page display. White cloth lithographed with a repeat pattern in pink and umber. Leather label on spine. Dust jacket.
Book Details
Translated by Lafcadio Hearn. Lithographs by H. Hope-Read. Demy 8vo, 192 pp. plus fourteen plates. Plantin type, with Bodoni ultra-bold italic for title-page display. White cloth lithographed with a repeat pattern in pink and umber. Leather label on spine. Dust jacket.
36GoFurther
>35 Conte_Mosca:
I had no idea that the Folio Society printed The Crime of Sylvestre Bonnard in the past and have thought for some time that this was a terrible omission. What a pleasure it is to see the pictures of this lovely book. To me, Sylvestre is one of the most likeable and sympathetic literary characters that I have ever encountered. What a treasure you have in your ‘City of Books’ and thank you for letting the rest of us have a glimpse.
I had no idea that the Folio Society printed The Crime of Sylvestre Bonnard in the past and have thought for some time that this was a terrible omission. What a pleasure it is to see the pictures of this lovely book. To me, Sylvestre is one of the most likeable and sympathetic literary characters that I have ever encountered. What a treasure you have in your ‘City of Books’ and thank you for letting the rest of us have a glimpse.
37Conte_Mosca
>36 GoFurther: I am glad you like it. It is a lovely little book. I will be back to start the tour through the 1949 publications in a few days, which includes some real gems.
38HU2013
>37 Conte_Mosca: Thank you Conte, really enjoyed your post!
39ironjaw
Thank you Michael, those small notes from Charles Ede in Folio 21 are indeed wonderful companion reading to your introductions and pictures.
40Conte_Mosca
1949 - Folio Society Publications 13-21
Moving on to the class of 1949, the Society published a further nine books, taking us from No.13 to No.21. Below is a little taster of what is to come.
EDIT: Picture updated to include Grimm's Folk Tales, having now found it!
2nd EDIT: Sep 2015 - Picture updated to include School for Scandal.
Moving on to the class of 1949, the Society published a further nine books, taking us from No.13 to No.21. Below is a little taster of what is to come.
EDIT: Picture updated to include Grimm's Folk Tales, having now found it!
2nd EDIT: Sep 2015 - Picture updated to include School for Scandal.
41Conte_Mosca
1949 - No.14 - A Sentimental Journey Through France And Italy - Laurence Sterne
This is without doubt one of my favourite books, by one of my favourite authors. An absolute must read, along with Sterne's other great masterpiece, Tristram Shandy (although some who struggled with Tristram Shandy may find a Sentimental Journey an easier starting point!).
Book Details
Introduction by Oliver Warner. Lithographs in three colours by Nigel Lambourne. Monotype Baskerville (11-pt) with Juno for display. 176 pp. plus sixteen plates. Initials and rules above and below running headline in carmine. Printed in black and pink by Cowell. Bound by Cowell in full white linen qwith a lithographed design in blue, pink and black by Barbara Ward Lambourne. White dust jacket printed in blue, pink and black. Endleaves with a design in blue by B.W. Lambourne.
Charles Ede stated in Folio 21:
"The illustrations were drawn on Plastocowell, then a comparatively new process, and in some cases the artist had difficulty in judging the final weight of the colours, which had to be drawn in black as separations. The white cloth was an object lesson in finger-marking.".
This is without doubt one of my favourite books, by one of my favourite authors. An absolute must read, along with Sterne's other great masterpiece, Tristram Shandy (although some who struggled with Tristram Shandy may find a Sentimental Journey an easier starting point!).
Book Details
Introduction by Oliver Warner. Lithographs in three colours by Nigel Lambourne. Monotype Baskerville (11-pt) with Juno for display. 176 pp. plus sixteen plates. Initials and rules above and below running headline in carmine. Printed in black and pink by Cowell. Bound by Cowell in full white linen qwith a lithographed design in blue, pink and black by Barbara Ward Lambourne. White dust jacket printed in blue, pink and black. Endleaves with a design in blue by B.W. Lambourne.
Charles Ede stated in Folio 21:
"The illustrations were drawn on Plastocowell, then a comparatively new process, and in some cases the artist had difficulty in judging the final weight of the colours, which had to be drawn in black as separations. The white cloth was an object lesson in finger-marking.".
42Conte_Mosca
1949 - No.13 - The School For Scandal - Richard Brinsley Sheridan
I may not have this publication, but now that busywine's wonderful Books And Vines site is back up and running, you can check it out here:
http://booksandvines.com/2012/01/25/a-school-for-scandal-by-richard-sheridan-194...
I have been on the lookout for a copy in good condition with its original dust jacket, and at a reasonable price, but as with many of these very early editions, it has proved quite difficult to find in good condition. A shame, as the Books And Vines photos show this to be a very desirable book!
I may not have this publication, but now that busywine's wonderful Books And Vines site is back up and running, you can check it out here:
http://booksandvines.com/2012/01/25/a-school-for-scandal-by-richard-sheridan-194...
I have been on the lookout for a copy in good condition with its original dust jacket, and at a reasonable price, but as with many of these very early editions, it has proved quite difficult to find in good condition. A shame, as the Books And Vines photos show this to be a very desirable book!
43LolaWalser
A charming bunch! The Sterne and Sheridan are on my wishlist...
45Conte_Mosca
1949 - No.15 - The Compleat Angler or The Contemplative Man's Recreation - Izaac Walton & Charles Cotton
Book Details
Drawings by Lynton Lamb. Medium 8vo, , 288 pp. including frontispiece and 28 small illustrations in the text. Caslon Old Face Type (12-pt). Border of fleurons in green round title and frontispiece. Green grain canvas, title on a grey foil panel. Border of rules in blind on sides. Decorative end papers with a design by Lamb. Printed and bound by Mackay. White dust-jacket printed in grey and black.
Charles Lamb stated in Folio 21:
"Perhaps the highest compliment to the artist is the fact that these drawings, though free and impressionistic, still satisfied anglers of the most conservative complexion".
Book Details
Drawings by Lynton Lamb. Medium 8vo, , 288 pp. including frontispiece and 28 small illustrations in the text. Caslon Old Face Type (12-pt). Border of fleurons in green round title and frontispiece. Green grain canvas, title on a grey foil panel. Border of rules in blind on sides. Decorative end papers with a design by Lamb. Printed and bound by Mackay. White dust-jacket printed in grey and black.
Charles Lamb stated in Folio 21:
"Perhaps the highest compliment to the artist is the fact that these drawings, though free and impressionistic, still satisfied anglers of the most conservative complexion".
46coynedj
Good to see the 1949 Compleat Angler, thus giving me a ready excuse not to take pictures of the only early-years FS edition I own. I bought it in a used book shop for a pittance, without the dust cover but in reasonably good condition. If only more such finds would occur.
47CarltonC
>8 Conte_Mosca: Coincidentally, I have just acquired Dr Jekyll and Mr Hyde (12) from 1948. My copy has a marked cover, but I purchased for Mervyn Peake's illustrations.
48Conte_Mosca
>44 drasvola: Of course! My subconscious must have been at work when I bought my current house. I now live not far from where Sterne had his vicarship on the outskirts of York (at Sutton-on-the-Forest, where he lived for 20 years, and where he wrote Tristram Shandy).
>47 CarltonC: Thanks for helping to fill the gap! I have been on the lookout for that book for many a year now, but have never found one that has a good dust jacket that was within the miserly budget I set myself for older editions! I am, however, a patient man...
>47 CarltonC: Thanks for helping to fill the gap! I have been on the lookout for that book for many a year now, but have never found one that has a good dust jacket that was within the miserly budget I set myself for older editions! I am, however, a patient man...
49Conte_Mosca
Picture updated at #40 to include the missing Grimm's Folk Tales which I have now managed to find.
50Conte_Mosca
1949 - No.16 - Arabian Love Tales
Or to give it its full title, "Arabian love tales, being romances drawn from the book of the thousand nights and one night rendered into English from the literal French translations of Dr. J.C. Mardrus by Powys Mathers, and illustrated by Lettice Sandford".
Some more wonderful work by Powys Mathers (see No.7 at Post 20 - Mademoiselle de Maupin), and the second outing for Mrs Christopher Sandford (see No.3 at Post 7 - Aucassin and Nicolette).
Book Details
256 pp. including twelve plates. Monotype Garamond (12-pt) with hand-drawn lettering for the title. Printed by the Chiswick Press. Bound by Mackay in full emerald green cloth with, on front board and spine, title in gold within a gold frame, on panels of brown. Endleaves with a design in blue-green by Lettice Sandford. White dust-jacket printed in blue-green and black. There are 12 full-page line-drawings by Sandford, and the title 'Arabian Love Tales' is also printed from lettering drawn by the artist.
Or to give it its full title, "Arabian love tales, being romances drawn from the book of the thousand nights and one night rendered into English from the literal French translations of Dr. J.C. Mardrus by Powys Mathers, and illustrated by Lettice Sandford".
Some more wonderful work by Powys Mathers (see No.7 at Post 20 - Mademoiselle de Maupin), and the second outing for Mrs Christopher Sandford (see No.3 at Post 7 - Aucassin and Nicolette).
Book Details
256 pp. including twelve plates. Monotype Garamond (12-pt) with hand-drawn lettering for the title. Printed by the Chiswick Press. Bound by Mackay in full emerald green cloth with, on front board and spine, title in gold within a gold frame, on panels of brown. Endleaves with a design in blue-green by Lettice Sandford. White dust-jacket printed in blue-green and black. There are 12 full-page line-drawings by Sandford, and the title 'Arabian Love Tales' is also printed from lettering drawn by the artist.
51boldface
>50 Conte_Mosca:
It's nice to see the original FS logo, so recently and ignominiously forced into retirement, on the title page. Legend has it that it will return one day in Folio's hour of need.
It's nice to see the original FS logo, so recently and ignominiously forced into retirement, on the title page. Legend has it that it will return one day in Folio's hour of need.
52LolaWalser
Mardrus/Powys Mathers translation-version of the Arabian tales is my big favourite! I have a four volume hardcover set but have yet to find a nice (and affordable) "fancy" edition.
Cruikshank and Grimm sounds like a promising combo.
#51
LOL!
Cruikshank and Grimm sounds like a promising combo.
#51
LOL!
53Conte_Mosca
1949 - No.17 - The Parson's Daughter And Other Stories - Anthony Trollope
Many FSD members will be very familiar with the Society's extraordinary 48-volume Trollope series, which includes all 46 of Trollope's novels, his autobiography, and a single volume of short stories. But long before that series commenced, the Society produced two charming slim volumes of Trollope's short stories, selected by John Hampden, none of which are included in the 48-volume series. These are therefore essential acquisitions for all Trollope fans! The second volume was the Society's 37th publication in 1951. But for now we start with The Parson's Daughter...
Book Details
Selected and introduced by John Hampden. Wood engravings by Joan Hassall. Demy 8vo, 240 pp. including a frontispiece and sixteen illustrations in the text. Bembo type. Bound by Mackay in full cream cloth, printed in green with a repeat design in reverse. Leather label. Printed by the Chiswick Press. White dust jacket printed in green and black.
This was the first of more than a dozen FS titles that used Joan Hassall's illustrations (she also illustrated the companion title, "Mary Gresley and Other Stories", in 1951, as well as the works of Jane Austen).
Charles Ede added in Folio 21:
"John Hampden was the Society's literary adviser from 1949 to 1954, when a long spell in hospital made it impossible for him to continue. The other stories in this volume are: 'La Mere Bauche', 'Father Giles of Ballymoy', 'The Spotted Dog', and 'Alice Dugdale'. For a companion volume see Number 37."
Many FSD members will be very familiar with the Society's extraordinary 48-volume Trollope series, which includes all 46 of Trollope's novels, his autobiography, and a single volume of short stories. But long before that series commenced, the Society produced two charming slim volumes of Trollope's short stories, selected by John Hampden, none of which are included in the 48-volume series. These are therefore essential acquisitions for all Trollope fans! The second volume was the Society's 37th publication in 1951. But for now we start with The Parson's Daughter...
Book Details
Selected and introduced by John Hampden. Wood engravings by Joan Hassall. Demy 8vo, 240 pp. including a frontispiece and sixteen illustrations in the text. Bembo type. Bound by Mackay in full cream cloth, printed in green with a repeat design in reverse. Leather label. Printed by the Chiswick Press. White dust jacket printed in green and black.
This was the first of more than a dozen FS titles that used Joan Hassall's illustrations (she also illustrated the companion title, "Mary Gresley and Other Stories", in 1951, as well as the works of Jane Austen).
Charles Ede added in Folio 21:
"John Hampden was the Society's literary adviser from 1949 to 1954, when a long spell in hospital made it impossible for him to continue. The other stories in this volume are: 'La Mere Bauche', 'Father Giles of Ballymoy', 'The Spotted Dog', and 'Alice Dugdale'. For a companion volume see Number 37."
54LolaWalser
I had that one, in perfect condition, and gave it to a Trollope maniac. Very nice book.
55Conte_Mosca
1949 – No.18 – Jorrock’s Jaunts & Jollities – R.S. Surtees
This is the first of a series of R.S. Surtees titles published by the Society, and a title the subject of some investigation work by other FSD members (in particular SimB and drasvola), as described here:
http://www.librarything.com/topic/123176
My version is the original (and, I believe, more common) 1949 variant, with the ad for The Compleat Angler on the rear of the dust jacket.
Book Details
Medium 8vo, 228 pp. plus fourteen plates and engraved title-page reproduced by collotype and coloured by hand. Monotype Imprint type (11-pt). Bound by Mackay in full scarlet buckram (uniform with The Compleat Angler), title on brown panel, rule border in blind on sides. Printed by Mackay, the lithographs by Van Leer. White dust jacket printed in grey and black, also intended to be uniform with The Compleat Angler. The plates were drawn by Henry Alken for the second edition of 1843. The second plate is a steel-engraving title reading ‘The Jaunts and Jollities Of That Renown’d Sporting Citizen Mr Martin Jorrocks of St Botolph Lane & Great Corham St.’ All the plates were printed lithographically in monochrome and hand coloured by pochoir by Mauh Johnson.
Charles Ede stated in Folio 21:
”The hand-colouring by the stencil process for this and the other titles in the series was carried out by Maud Johnson. When this book was published we immediately received requests from members for the other Surtees novels, and so embarked on our first ‘series’. In the case of Surtees this proved to be a very unbusiness-like decision, as most of the other novels run to considerable length, the lesser known titles were not popular, and these had to be printed in thoroughly uneconomic editions. Apart from this, however, we prefer to avoid series treatment wherever possible, as the problem for the designer becomes boringly repetitive, while it is often impossible to put right any fault in the original conception in subsequent volumes. See also Numbers 28, 34, 49, 59, 70, 82 and 94.”
As you can see, Surtees formed a sizeable proportion of the Society’s early output, accounting for eight of the first 100 publications!
This is the first of a series of R.S. Surtees titles published by the Society, and a title the subject of some investigation work by other FSD members (in particular SimB and drasvola), as described here:
http://www.librarything.com/topic/123176
My version is the original (and, I believe, more common) 1949 variant, with the ad for The Compleat Angler on the rear of the dust jacket.
Book Details
Medium 8vo, 228 pp. plus fourteen plates and engraved title-page reproduced by collotype and coloured by hand. Monotype Imprint type (11-pt). Bound by Mackay in full scarlet buckram (uniform with The Compleat Angler), title on brown panel, rule border in blind on sides. Printed by Mackay, the lithographs by Van Leer. White dust jacket printed in grey and black, also intended to be uniform with The Compleat Angler. The plates were drawn by Henry Alken for the second edition of 1843. The second plate is a steel-engraving title reading ‘The Jaunts and Jollities Of That Renown’d Sporting Citizen Mr Martin Jorrocks of St Botolph Lane & Great Corham St.’ All the plates were printed lithographically in monochrome and hand coloured by pochoir by Mauh Johnson.
Charles Ede stated in Folio 21:
”The hand-colouring by the stencil process for this and the other titles in the series was carried out by Maud Johnson. When this book was published we immediately received requests from members for the other Surtees novels, and so embarked on our first ‘series’. In the case of Surtees this proved to be a very unbusiness-like decision, as most of the other novels run to considerable length, the lesser known titles were not popular, and these had to be printed in thoroughly uneconomic editions. Apart from this, however, we prefer to avoid series treatment wherever possible, as the problem for the designer becomes boringly repetitive, while it is often impossible to put right any fault in the original conception in subsequent volumes. See also Numbers 28, 34, 49, 59, 70, 82 and 94.”
As you can see, Surtees formed a sizeable proportion of the Society’s early output, accounting for eight of the first 100 publications!
56Conte_Mosca
1949 - No.19 - Poems - Percy Bysshe Shelley
The third title in the Society's informal poetry series, following Shakespeare's Sonnets (No.4) and Poems by Rupert Brooke (No.9).
Book Details
Selected and introduced by Richard Church. Decorations engraved on wood by John Buckland-Wright. Crown 8vo, 208 pp. including frontispiece and thirty-five head- and tail-pieces printed in sepia. Printed by the Chiswick Press. Perpetua type. Bound by Mackay in quarter sepia leather, pale blue cloth sides. Printed acetate dust jacket.
The dust jacket on my copy has some bits missing from the front, but the book itself is in good condition, with the except for some minor loss to the leather at the top of the spine.
The third title in the Society's informal poetry series, following Shakespeare's Sonnets (No.4) and Poems by Rupert Brooke (No.9).
Book Details
Selected and introduced by Richard Church. Decorations engraved on wood by John Buckland-Wright. Crown 8vo, 208 pp. including frontispiece and thirty-five head- and tail-pieces printed in sepia. Printed by the Chiswick Press. Perpetua type. Bound by Mackay in quarter sepia leather, pale blue cloth sides. Printed acetate dust jacket.
The dust jacket on my copy has some bits missing from the front, but the book itself is in good condition, with the except for some minor loss to the leather at the top of the spine.
57Conte_Mosca
1949 - No.20 - Carmen - Prosper Merimee
Here is another favourite of mine. A great piece of literature, accompanied by great art (and turned into a great opera).
Book Details
Includes a study of the opera by Winton Dean (which covers pages 85-124). Illustrated with drawings by Goya. Demy 8vo, 132 pp. plus eight plates reproduced by collotype. Monotype Garamond (12-pt). Printed by Mackay, the collotypes by the Chiswick Press. Bound by Mackay in full cream cloth blocked with a flame motif in red by Kenneth Hobson on the front board and spine. Printed acetate dust jacket.
Charles Ede added in Folio 21:
" The idea of tying up the opera with the novel seemed a good one, but did not meet with a very rapturous response from members. See also Number 29 (Manon Lescaut)".
Here is another favourite of mine. A great piece of literature, accompanied by great art (and turned into a great opera).
Book Details
Includes a study of the opera by Winton Dean (which covers pages 85-124). Illustrated with drawings by Goya. Demy 8vo, 132 pp. plus eight plates reproduced by collotype. Monotype Garamond (12-pt). Printed by Mackay, the collotypes by the Chiswick Press. Bound by Mackay in full cream cloth blocked with a flame motif in red by Kenneth Hobson on the front board and spine. Printed acetate dust jacket.
Charles Ede added in Folio 21:
" The idea of tying up the opera with the novel seemed a good one, but did not meet with a very rapturous response from members. See also Number 29 (Manon Lescaut)".
58Conte_Mosca
1949 - No.21 - Grimm's Folk Tales
Here is a nice miniature to round out 1949.
Book Details
Translated and introduced by Eleanor Quarrie. Crown 8vo, 208 pp. plus eighteen leaves of coloured plates. Monotype Imprint (10-pt) with Old English for display. Printed by Mackay, the lithographs by the Chiswick Press. Bound by Mackay in full crimson cloth with a figure of an elf in gold on a grey panel. White dust jacket printed in purple and pale blue.
Charles Ede added in Folio 21:
"The first new translation to be commissioned by the Society. The illustrations originated in a set of watercolours reputed to be by Cruikshank. It was proved impossible to separate out the black key drawings for reproduction, so we returned to the etchings as a base and used the watercolours as a guide for colouring only. Some months after publication we were informed by an expert that the 'originals' were probably forgeries by another member of the Cruikshank family.".
On the issue of the Cruikshank watercolours, Folio 60 states:
"The Cruikshank etchings were reproduced lithographically in monochrome and hand-coloured by Maud Johnson, using as models a series of watercolours thought to be by the artist. However, Charles Ede was told after publication that these were probably 'forgeries' by another member of the Cruikshank family, and when the book was reprinted the etchings were not coloured."
Here is a nice miniature to round out 1949.
Book Details
Translated and introduced by Eleanor Quarrie. Crown 8vo, 208 pp. plus eighteen leaves of coloured plates. Monotype Imprint (10-pt) with Old English for display. Printed by Mackay, the lithographs by the Chiswick Press. Bound by Mackay in full crimson cloth with a figure of an elf in gold on a grey panel. White dust jacket printed in purple and pale blue.
Charles Ede added in Folio 21:
"The first new translation to be commissioned by the Society. The illustrations originated in a set of watercolours reputed to be by Cruikshank. It was proved impossible to separate out the black key drawings for reproduction, so we returned to the etchings as a base and used the watercolours as a guide for colouring only. Some months after publication we were informed by an expert that the 'originals' were probably forgeries by another member of the Cruikshank family.".
On the issue of the Cruikshank watercolours, Folio 60 states:
"The Cruikshank etchings were reproduced lithographically in monochrome and hand-coloured by Maud Johnson, using as models a series of watercolours thought to be by the artist. However, Charles Ede was told after publication that these were probably 'forgeries' by another member of the Cruikshank family, and when the book was reprinted the etchings were not coloured."
59Conte_Mosca
...and that little flurry of activity brings us to the close of the 1940s. As these picture heavy threads can become problematic to load when they get too long, I will bring my contribution to a close there. If there is any interest in me doing so , I will start a new thread covering the next two years, 1950-1951, covering publications 22 to 41. However, I would wait a few weeks before doing so, as I think from next week people will be far too busy admiring and discussing the new publications to be that interested in the old!
60TabbyTom
> 55
Thank you for the Surtees illustrations. I've often wondered whether I should get acquainted with the world of Jorrocks, if only for the sake of the illustrations (I thought they were all illustrated by Leech, but obviously I was wrong).
>58 Conte_Mosca:
First Alken, and then Cruikshank (or a pseudo-Cruikshank or semi-Cruikshank anyway)! I wish I'd been around in 1949 to snap up these volumes brand new for a few shillings!
Thank you for the Surtees illustrations. I've often wondered whether I should get acquainted with the world of Jorrocks, if only for the sake of the illustrations (I thought they were all illustrated by Leech, but obviously I was wrong).
>58 Conte_Mosca:
First Alken, and then Cruikshank (or a pseudo-Cruikshank or semi-Cruikshank anyway)! I wish I'd been around in 1949 to snap up these volumes brand new for a few shillings!
61Conte_Mosca
>60 TabbyTom: Most of the Surtees volumes were illustrated by Leech. There were two exceptions though - Jorrocks, and Hawbuck Grange (the latter was illustrated by Phiz). Mr Facey Romford's Hounds included plates by both Leech and Phiz.
Real Cruikshank etchings - the colours though are based on 'forged' Cruikshank watercolours! So yes, I guess semi-Cruikshank is about right!
Real Cruikshank etchings - the colours though are based on 'forged' Cruikshank watercolours! So yes, I guess semi-Cruikshank is about right!
62Firumbras
>59 Conte_Mosca:
Thanks for a marvellous thread - as illuminating as it is illuminated! Looking forward to the 'later' earlier years thread, in due course!
Thanks for a marvellous thread - as illuminating as it is illuminated! Looking forward to the 'later' earlier years thread, in due course!
63boldface
>59 Conte_Mosca:
Thank you, Michael, for a very interesting thread and a superb overview of Folio's early years. Pray continue, sir!
It was illuminating to read Charles Ede's comments, eg his implicit conclusion that novel readers and opera goers cannot be assumed to be the same people.
Thank you, Michael, for a very interesting thread and a superb overview of Folio's early years. Pray continue, sir!
It was illuminating to read Charles Ede's comments, eg his implicit conclusion that novel readers and opera goers cannot be assumed to be the same people.
64drasvola
> 59
Thanks again, Michael, for this valuable, illustrated review of early Folio books. It would be so nice to have them all in my collection, but can always check your posts. Do continue, please, when you recover your strength.
Thanks again, Michael, for this valuable, illustrated review of early Folio books. It would be so nice to have them all in my collection, but can always check your posts. Do continue, please, when you recover your strength.
65TabbyTom
>59 Conte_Mosca:
Do please continue with the early Folio volumes. I'm sure that (as regards the illustrations, at least) I'll find them much more appealing than most of the offerings for 2014.
Do please continue with the early Folio volumes. I'm sure that (as regards the illustrations, at least) I'll find them much more appealing than most of the offerings for 2014.
66Conte_Mosca
>62 Firumbras:-65 Thanks for your kind words. Consider "The Early Years Part 2: 1950-1951" in plan, and I will commence in due course (as I say, maybe in a couple of weeks or so to let the new publication year excitement die down).
67PeterFitzGerald
I know almost nothing about the history of the FS, so this thread has been fascinating, and I've loved seeing all the pictures you've posted.
Thank you!
Thank you!
68cronshaw
A wonderful thread. I've very few of these early volumes so it's great to be able to see examples of their covers and illustrations, thanks Michael. I particularly like the hand coloured etchings of the Grimm's Folk Tales, quite beautiful.
69Sarahhempstead
There are also some more unpublished water colour illustrations (about 6 I think) which Kenneth Hobson did for Candide. I have recently discovered these when going through my late uncle's belongings - he was Kenneth Hobson's nephew and seems to have inherited all KH's sketchbooks, watercolours etc etc. I can post them here later if anyone is interested.
71Conte_Mosca
When I originally started this thread more than two years ago, I was missing three titles, "Dr Jekyll & Mr Hyde" and "The Odyssey" from 1948, and "The School for Scandal" from 1949. As I look back, I find I am now able to fill some of these gaps, and so for completeness I am now doing so, although one gap remains in respect of the sole title from this period I have not been able to get hold of ("The Odyssey").
I have updated the "Class of 1948" and "Class of 1949" pictures in posts >8 Conte_Mosca: and >40 Conte_Mosca: to include the missing titles I now have, and will provide the previously missing bibliography details below.
First time around I also did not include a book produced by the Society in 1948, but not available members -a private commission by Peter Spence and Sons - "The Earliest Chemical Industry". For completeness I will now remedy this omission. This is not a title I own, so a huge thank you to Warwick (wcarter) for providing me with pictures.
I have updated the "Class of 1948" and "Class of 1949" pictures in posts >8 Conte_Mosca: and >40 Conte_Mosca: to include the missing titles I now have, and will provide the previously missing bibliography details below.
First time around I also did not include a book produced by the Society in 1948, but not available members -a private commission by Peter Spence and Sons - "The Earliest Chemical Industry". For completeness I will now remedy this omission. This is not a title I own, so a huge thank you to Warwick (wcarter) for providing me with pictures.
72Conte_Mosca
No 12 – 1948 – Dr. Jeckyll & Mr. Hyde - Robert Louis Stevenson
CarltonC very kindly provided some pictures at >47 CarltonC: , so I don't plan to provide many here. However, that copy appeared to be sans dust jacket, so I have added a couple of pictures to show the jacket, as well as the bookbinding.
Book Description
Illustrations by Mervyn Peake (later, of Gormenghast fame). Demy Octavo. 148 pages, including twelve plates. Imprint type. Printed in yellow and black by Mackay. Bound by Mackay in black and cream cloths, divided vertically down the centre of each board, with a figure of Hyde by Peake in gold covering the joint. White dust jacket printed in yellow and black. The 12 full-page illustrations were printed from relief blocks in yellow and black. Most of the illustrations appear facing chapter openings, with the chapter title printed in yellow on the recto.
A variant dust jacket printed only in yellow definitely exists as I have seen it (Folio 60 says it has been "reported" to exist). Folio 60 indicates that it possibly represents a second impression of the jacket from some time between 1952 and 1955.
In Folio 21, Charles Ede added:
"The brush-drawn illustrations in black and yellow were reproduced by letterpress. The yellow was also used for initials and some display lines, for which it was too weak. The illustrations are an interesting example of how, with a 'strong' text, indirect visual treatment of dramatic passages can heighten the reader's reaction, while a more literal approach may have the opposite effect to the point of bathos".
CarltonC very kindly provided some pictures at >47 CarltonC: , so I don't plan to provide many here. However, that copy appeared to be sans dust jacket, so I have added a couple of pictures to show the jacket, as well as the bookbinding.
Book Description
Illustrations by Mervyn Peake (later, of Gormenghast fame). Demy Octavo. 148 pages, including twelve plates. Imprint type. Printed in yellow and black by Mackay. Bound by Mackay in black and cream cloths, divided vertically down the centre of each board, with a figure of Hyde by Peake in gold covering the joint. White dust jacket printed in yellow and black. The 12 full-page illustrations were printed from relief blocks in yellow and black. Most of the illustrations appear facing chapter openings, with the chapter title printed in yellow on the recto.
A variant dust jacket printed only in yellow definitely exists as I have seen it (Folio 60 says it has been "reported" to exist). Folio 60 indicates that it possibly represents a second impression of the jacket from some time between 1952 and 1955.
In Folio 21, Charles Ede added:
"The brush-drawn illustrations in black and yellow were reproduced by letterpress. The yellow was also used for initials and some display lines, for which it was too weak. The illustrations are an interesting example of how, with a 'strong' text, indirect visual treatment of dramatic passages can heighten the reader's reaction, while a more literal approach may have the opposite effect to the point of bathos".
73Conte_Mosca
No 13 – 1949 – The School for Scandal - Richard Brinsley Sheridan
At post >42 Conte_Mosca: I provided a link to busywine's wonderful review of this edition at Books and Vines. I cannot better busywine's superb pictures and description so I won't try. Instead, if you have not already done so I would urge you to spend a long weekend reviewing the Books and Vines archive which is truly excellent and has given me a huge amount of pleasure over the last few years. My own photos could never do as much justice to this edition - one of my absolute favourites - as those of busywine. However, for completeness, I will provide a couple of pictures of the book cover and binding here, along with the usual description.
Book Description
Introduced by Sir Laurence Olivier, with designs for costume and decor by Cecil Beaton. Edited by Raymond Crompton Rhodes. Crown quarto. 120 pages including five monochrome plates and sixteen line drawings, plus nine colour plates reproduced by offset. Baskerville type, with Cochin for display and character's names printed in Sanguine. Printed in black and red by Mackay. Bound by Mackay in full red cloth with a silhouette in gold by Beaton. White dust jacket printed in red and black.
In Folio 21, Charles Ede added:
"This edition was published to coincide with the opening of the Old Vic production produced by Olivier (who also played Sir Peter Teazle) and designed by Beaton".
At post >42 Conte_Mosca: I provided a link to busywine's wonderful review of this edition at Books and Vines. I cannot better busywine's superb pictures and description so I won't try. Instead, if you have not already done so I would urge you to spend a long weekend reviewing the Books and Vines archive which is truly excellent and has given me a huge amount of pleasure over the last few years. My own photos could never do as much justice to this edition - one of my absolute favourites - as those of busywine. However, for completeness, I will provide a couple of pictures of the book cover and binding here, along with the usual description.
Book Description
Introduced by Sir Laurence Olivier, with designs for costume and decor by Cecil Beaton. Edited by Raymond Crompton Rhodes. Crown quarto. 120 pages including five monochrome plates and sixteen line drawings, plus nine colour plates reproduced by offset. Baskerville type, with Cochin for display and character's names printed in Sanguine. Printed in black and red by Mackay. Bound by Mackay in full red cloth with a silhouette in gold by Beaton. White dust jacket printed in red and black.
In Folio 21, Charles Ede added:
"This edition was published to coincide with the opening of the Old Vic production produced by Olivier (who also played Sir Peter Teazle) and designed by Beaton".
74Conte_Mosca
No 12.5 – 1948 – The Earliest Chemical Industry - Charles Singer
This title was not included in any of the Ede-era bibliographies, as it was a private commission, not available to Society members. However, it is an important title in the history of the Society. Indeed, were it not for this publication, it is possible the Society may not have survived its first few financially-shaky years to be the company we know and love today. As Sue Bradbury (former Editorial Director of the Society) wrote in her essay, "A Brief History" included in Folio 50:
"Among the activities which saved the Society from bankruptcy in its early days was the design of commissioned books. Ironically, the only folio-sized volume which the Society produced in those early years was a history of alum entitled The Earliest Chemical Industry. Written by Professor Charles Singer to celebrate a major anniversary centenary, it was in fact highly readable, and as both the author and his wife were keen amateurs of book design and illustration, the result was pleasing - and rewarding - to all concerned".
Book Description
Preface by Derek Spence. Demy octavo. Printed by the Chiswick Press on cream Arnold mould-made paper, the colour collotypes by Alinari. Bound by Stevenson in full red buckram, black leather spine label. In addition to the frontispiece the book contains 181 numbered figures. These include five further plates (all but one in colour), and 13 colour lithographic illustrations pasted to the text pages.
Th colophon (pictured below) describes the edition, and states that 100 copies were bound in full red morocco by Sangorski and Sutcliffe and were signed by Singer and Spence. Beneath the collophon is a copper-engraved device, which was specially commissioned from Stephen Gooden for this edition. The 100 special copies were issued in a red cloth-covered slip case. Folio 60 goes on to state that "no copy with a dust jacket has been seen and, despite a reference to a jacket in Folio archives, it is probable that the book was not issued with one".
The following pictures are courtesy of wcarter (Warwick) to whom I am indebted.
This title was not included in any of the Ede-era bibliographies, as it was a private commission, not available to Society members. However, it is an important title in the history of the Society. Indeed, were it not for this publication, it is possible the Society may not have survived its first few financially-shaky years to be the company we know and love today. As Sue Bradbury (former Editorial Director of the Society) wrote in her essay, "A Brief History" included in Folio 50:
"Among the activities which saved the Society from bankruptcy in its early days was the design of commissioned books. Ironically, the only folio-sized volume which the Society produced in those early years was a history of alum entitled The Earliest Chemical Industry. Written by Professor Charles Singer to celebrate a major anniversary centenary, it was in fact highly readable, and as both the author and his wife were keen amateurs of book design and illustration, the result was pleasing - and rewarding - to all concerned".
Book Description
Preface by Derek Spence. Demy octavo. Printed by the Chiswick Press on cream Arnold mould-made paper, the colour collotypes by Alinari. Bound by Stevenson in full red buckram, black leather spine label. In addition to the frontispiece the book contains 181 numbered figures. These include five further plates (all but one in colour), and 13 colour lithographic illustrations pasted to the text pages.
Th colophon (pictured below) describes the edition, and states that 100 copies were bound in full red morocco by Sangorski and Sutcliffe and were signed by Singer and Spence. Beneath the collophon is a copper-engraved device, which was specially commissioned from Stephen Gooden for this edition. The 100 special copies were issued in a red cloth-covered slip case. Folio 60 goes on to state that "no copy with a dust jacket has been seen and, despite a reference to a jacket in Folio archives, it is probable that the book was not issued with one".
The following pictures are courtesy of wcarter (Warwick) to whom I am indebted.
75elenchus
>72 Conte_Mosca:
I enjoyed seeing the Peake illustrations, I'm not so much a fan of Stevenson as Peake but Ede's commentary on the matching of story and image are interesting. Thanks for including the reference to >47 CarltonC:, as I might have missed that.
ETA Looking at CarltonC's picture, at least, I disagree with Ede that the yellow is too light for use on the initial capital of each chapter. On the contrary, it is striking in a suitably bilious way.
I enjoyed seeing the Peake illustrations, I'm not so much a fan of Stevenson as Peake but Ede's commentary on the matching of story and image are interesting. Thanks for including the reference to >47 CarltonC:, as I might have missed that.
ETA Looking at CarltonC's picture, at least, I disagree with Ede that the yellow is too light for use on the initial capital of each chapter. On the contrary, it is striking in a suitably bilious way.
76Polar_bear
>51 boldface: the old colophon was on proud display at - and on! - Lake Bled in Slovenia yesterday, as it is emblazoned on the famous FS Folding Umbrella (maroon and gold).
It proved remarkly effective at diverting the monsoon!
It proved remarkly effective at diverting the monsoon!
77Caroline_McElwee
Wonderful to see how tastes have changed. Thank you for sharing these.
79cronshaw
>58 Conte_Mosca: You're cataloguing of these early volumes is commendable Michael, but it's dangerous too, like shoving photos of doughnuts in front of diabetics. I've been compelled to buy a 1949 copy of the Grimm's Folk Tales purely on the strength of your images. I can't resist Cruikshank's beautiful hand-coloured engravings; even the dustjacket is charming! But do please keep on posting, I'll just up the insulin.
80CarltonC
>72 Conte_Mosca: Thank you for providing a full description of Dr. Jekyll & Mr. Hyde and as my copy is indeed sans dust jacket, thank you for also rectifying this.
As others have commented, many thanks for continuing to share these.
As others have commented, many thanks for continuing to share these.
81xrayman
>72 Conte_Mosca: Thank you for a fascinating thread. I have a copy with the yellow DJ, it looks rather insipid compared to the black and yellow one, the latter also seems more representative of the tale. I had assumed the yellow jacket was an early unsuccessful version, it bears a price of 12/6 would this be more consistent with a 1950-52 impression? If I figure out how to post pictures, I shall do so.
83SinsenKrysset
Thank you for your wonderfull post about the early Folio books. I wanted to share the following pictures: (Sorry for the orientation of most of them. I tried to rotate some of them before uploading, but it did not work as intended.) I will do better next time.
84wcarter
>83 SinsenKrysset:
Beautiful engravings!
Beautiful engravings!
85hamletscamaro
>11 Conte_Mosca: I procured a copy of Folio's 1947(48) William Shakespeare's the Sonnets a few months back. However, my copy is beautifully bounnd with 1/2 navy leather and hand marbled paper. Otherwise the intererior is the same. Does anyone know if Folio Society perhaps made a few nicer editions, or has my copy been rebound? It is a beautiful little book and has been a joy to read.
Let know know if anyone knows or has some thoughts.
Let know know if anyone knows or has some thoughts.
86kdweber
>85 hamletscamaro: When the Folio Society does the special binding they note it in the book.
87Conte_Mosca
>85 hamletscamaro:
Very nice. It won't have been bound by the Folio Society though. That will be been a private binding of the original by someone. We have seen a few posted here of a variety of different FS titles, some of them looking superb.
Very nice. It won't have been bound by the Folio Society though. That will be been a private binding of the original by someone. We have seen a few posted here of a variety of different FS titles, some of them looking superb.
88TonjaE
>1 Conte_Mosca: What a splendid rabbit hole I have fallen down this evening. Thank you for all your effort!
The Early Years threads in eight parts if anyone else feels like stepping back in time for a little while :
https://www.librarything.com/topic/158385
https://www.librarything.com/topic/194055
https://www.librarything.com/topic/194658
https://www.librarything.com/topic/195266
https://www.librarything.com/topic/321461
https://www.librarything.com/topic/321514
https://www.librarything.com/topic/337149
The Early Years threads in eight parts if anyone else feels like stepping back in time for a little while :
https://www.librarything.com/topic/158385
https://www.librarything.com/topic/194055
https://www.librarything.com/topic/194658
https://www.librarything.com/topic/195266
https://www.librarything.com/topic/321461
https://www.librarything.com/topic/321514
https://www.librarything.com/topic/337149
89wcarter
>88 TonjaE:
Links to these threads, and much more, can be found in the FSD wiki at https://wiki.librarything.com/index.php/Groups:Folio_Society_Devotees
Links to these threads, and much more, can be found in the FSD wiki at https://wiki.librarything.com/index.php/Groups:Folio_Society_Devotees
90TonjaE
>89 wcarter: Yes, I'm aware of the FSD wiki and have thanked you for your efforts earlier this year. I just happened to stumble across these threads during a topic search, and enjoyed them immensely, did you?
