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FOLIO SOCIETY BOOKS BOUND IN SILK
This list includes all books ever published by the Folio Society, fully or partially bound in silk, moire silk or art silk.
A History of God by Karen Armstrong.
Introduced by Tariq Ramadan. Frontispiece and 32 pages of colour and black & white plates. Blocked slipcase. Bound in art silk, blocked with hand lettering by Michael Gills. 536pp. 10x6¾in. 2014
Anansi Boys by Neil Gaiman.
Illustrated by Francis Vallejo. Introduced by Nalo Hopkinson. Frontispiece and 5 colour illustrations with 2 double-page spreads. 25 black & white integrated illustrations and chapter opening spreads. Bound in printed and multicolour image blocked black art silk. Green ribbon marker. Green image printed page edges. Multicoloured pictorial and slipcase with textured UV spot varnishing. 376pp. 10x6¾in. 2019
Anglo-Saxon Elegies, The.
Translated and introduced by Kevin Crossley-Holland. 8 engravings by Hannah Firmin. Printed in brown and black. Quarter-bound in dark brown moire silk with marbled paper covers, spine and cover labels. Glassine cover, no slipcase. 77pp. 25x16.3cm. Folio Fine Press 1988
Apocrypha, The
Translated out of the Greek and Latin Tongues Being the Version Set Forth AD1611 Compared with the Most Ancient Authorities and Revised AD1894. Introduced by David Daniell. 13 colour illustrations on tipped in pages. Coloured page tops. Bound in quarter dark brown leather with moire silk sides. Pictorial slipcase. 351pp. 30.5x23.3cm. Fine edition 2006
Art of War, The by Sun-tzu.
Introduced by Rupert Smith. Translated by Roger T. Ames. Quarter-bound in brown cloth with crushed silk sides blocked with yellow Chinese calligraphy drawn by Xiaoming Sun. 12 pages of colour plates. 11x6in. 272pp. 2007
Between Silk and Cyanide by Leo Marks.
Introduced by Simon Mawer. 24 pages of colour and black & white plates. Bound in cloth with silk panel on front board. Set in Garamond. 600pp. 10x6¼in. 2013
Bible, The. 2v.
Bound in dark blue goatskin with calligraphy blocked in gold. Two ribbon markers. Gilding on all three page edges. Printed on Abbey Wove paper. Buckram-covered wooden slipcase lined with moiré silk, with a sliding tray in base. 1904pp. 11x7¼in. 940 copies. Limited edition. 2011
Brontes, The; A Life in Letters by Juliet Barker.
Colour frontis and 16 pages of b&w illustrations. Bound in artificial silk with a fabric design. 442pp. 24x15cm. 2006
Chéri by Colette. Translated by Roger Senhouse.
7 leaves of dry-point etchings by Philippe Jullian. Full black, dark red-brown, dark green or pink artificial silk binding with a design in gold by Brian Paine. Pink endleaves. Green and black slipcase. 22.2x14.6cm. 160pp. 1963
Citizens, A Chronicle of the French Revolution by Simon Schama.
2v.. Vol.1 412pp. Vol.2 502pp. Integrated illustrations. Bound in quarter black buckram with crimson crushed art silk sides. Pictorial black slipcase. 26x18.8cm. 2004
Clarissa by Samuel Richardson
(2v.), edited and with notes by Angus Ross, introduced by Angus Wilson, 25 leaves of wood-engravings by Simon Brett. Dark blue cloth, green (vol 1) or blue-green (vol 2) moiré silk boards, grey-green (vol 1) or pale grey (vol 2) endleaves. Dark green two-volume slipcase. 25.1 x 16.5 cm. 1536 pp. 1991
Complete Novels, The by Charlotte, Emily & Anne Brontë
(7v.) Reprints of the first Folio editions published between 1964 and 1970. Full green moiré silk, pale green endleaves. Seven-volume slipcase covered with green moiré silk and titled in gold. 22.7 x 15 cm. 1. Charlotte Brontë, Shirley, nine wood-engravings by Howard Phipps, 508 pp 2. Charlotte Brontë, Villette, eleven wood-engravings by Peter Reddick, 450 pp. 3. Emily Brontë, Wuthering Heights, 28 wood-engravings by Peter Forster, 293 pp. 4. Anne Brontë, The Tenant of Wildfell Hall, sixteen wood-engravings by Ian Stephens, 388 pp. 5. Charlotte Brontë, Jane Eyre, 39 wood-engravings by Simon Brett, 438 pp. 6. Anne Brontë, Agnes Grey, fourteen wood-engravings by Harry Brockway, 172 pp. 7. Charlotte Brontë, The Professor, twelve wood-engravings by George Tute, 226 pp. 1991
Dame aux Camélias, La by Alexandre Dumas the younger.
Translated by Barbara Bray, eight full-page drawings by Jennifer Campbell. Full dark green artificial silk with a design in white and gold by Sally Lou Smith, pale green endleaves. Gold slipcase. 22.2 x 14.2 cm. 224 pp. 1975
Dorset Poems by William Barnes
Translation by Pauline Tennant, introduction by Peter Levi, ten wood-engravings by William Barnes. Quarter pale orange cloth, pale grey moiré silk boards, pale orange cover label, Ann Muir marbled endleaves. Transparent plastic dust-cover, no slipcase. 25.3 x 16.2 cm. 84 pp. Folio Fine Press 1989
Faerie Queene, The by Edmund Spenser.
Facsimiles bound in 3 volumes. Vols.I & II 528pp. Vols.III & IV 516pp. Vols.V & VI 507pp. Printed on watermarked laid paper. Gilt top page edges. Ribbon marker. Bound in white Nigerian goat skin blocked with a gilt design on cover and spine. Housed on a sliding tray in a toile vendome silk covered wooden case. 31.8x23.6x20.6cm. 1000 copies. Limited edition. 2011
Faust, Parts one and Two by Johann Wolfgang von Goethe.
Translated by David Luke. Introduced by Nicholas Boyle. Part one illustrations 17 lithographs by Eugéne Delacroix. Part two illustrations are 7 contemporary art works. Coloured page tops. Quarter bound in red leather with yellow moire silk sides. Pictorial slipcase. 377pp. 33.5x26cm. Fine edition 2005
Fitzwilliam Book of Hours, The. (2v.).
1510 facsimile bound in gilded patterned jacquard silk, all page edges gilded, ribbon marker, 370pp. Commentary volume by Stella Panayotova quarter bound in blue buckram with paper sides, pictorial endpapers, 144pp. Both volumes in one blue solander box 23x16.2x6.7cm. 1180 copies. Limited edition. 2009
Five Japanese Love Stories by Ihara Saikaku
Translated by William Theodore de Bary, eight full-page wood engravings by Mark Severin. Full pale green artificial silk. Grey endleaves with a design in purple by Severin. Dark purple-red slipcase. 20.7 x 14.6 cm. 160 pp. 1958
Habsburgs, The: Embodying Empire by Andrew Wheatcroft.
Maps by Reginald Piggott. 24 pages of colour and b&w plates. Genealogical table. Bound in yellow silk with a design in black. 445pp. 22.7x17.6cm. 2004
Hassan (The Story of Hassan of Bagdad and How he Came to make the Golden Journey to Samarkand) by James Elroy Flecker.
Introduced by Basil Dean. 6 colour costume designs by Peter Bucknell. Printed on light blue silurian paper. Bound in dark blue moire silk. Gold slipcase. 95pp. 25.2x19.2cm. 1966
Hassan by James Elroy Flecker.
New edition. Introduced by Basil Dean. 6 colour illustrations by Peter Bucknell. Coloured page tops. Bound in black art silk blocked with gilt title on spine. Set in Monotype Centaur with folios and main headings in a second colour. 108pp. 10×7½in. 2015
Hobbit, The by J.R.R.Tolkien.
B&W illustrations by Eric Fraser. Map endpapers. Ribbon bookmark. Hand-bound in dark brown Moroccan Goatskin Leather and pure Indian Silk. Leather slipcase with scalloped edges. Gilded top edges with ribbon page marker. Dark brown full leather slipcase with gilt lettering and decoration on front pane. Lettering on slipcase and book spine designed by calligrapher John Andrew. 245pp. Link
Illustrated Dante by Dante Alighieri.
(3v.). Inferno, translated by Henry Francis Cary, introduction by Robin Hamlin, with illustrations by William Blake. Purgatorio, translated by Henry Francis Cary, introductory essays by Michael Prodger, with illustrations by Salvador Dali. Paradiso, translated by Henry Francis Cary, introduction by Michael Prodger, with illustrations by Giovanni Di Paolo. Bound in quarter leather with moire silk sides. Inked top edge. Pictorial slipcase. 9x13in. 2007
Importance of Being Earnest, The by Oscar Wilde.
6 leaves of colour lithographic plates by Cecil Beaton. Grey endleaves printed with pink design. Bound in dark green silk. Pink slipcase. 80pp. 25x19cm. 1960
Inferno by Dante Alighieri.
Translated by Henry Francis Cary. Introduced by Robin Hamlyn. 32 colour illustrations by William Blake. Bound in quarter leather with moire silk sides. Inked top edge. 151pp. 32.5x23cm. 2007
Italian Cities by Christopher Hibbert.
(3v.). Full artificial silk (a different colour for each volume), decorated in gold, endleaves printed in gold to a design by David Eccles. 16 pages of colour plates in each volume. Dark blue three-volume slipcase printed in black and titled in gold. Volumes form colours of Italian flag in slipcase. 1. Venice. Green binding, dark green endleaves. 436 pp. 2. Florence. Cream binding, dark brown endleaves. 398 pp. 3. Rome. Red binding, dark red endleaves. 388 pp. 25.2 x 19.6 cm. 1997
Jane Austen’s Letters.
Collected and edited by Diedre le Faye. 18 colour plates. Bound in silk printed with a wallpaper design. Dark red slipcase. 642pp. 24x15cm. 2003
Jerusalem, : The Emanation of the Giant Albion by William Blake.
Blake's illustrations. Gilt lettered quarter maroon morocco over blue green silk boards. Pictorial slipcase. 303pp. 2007
King Henry’s Prayer Book.
Facsimile. Bound in silk velvet over wooden boards. Brass clasps. Gilded and shuffles page edges. 360pp. 980 copies. Commentary volume by James P. Carley 96pp. Solander box 24.2x17x7.8cm. Limited edition. 2009
Knight in Panther Skin, The by Shota Rusteveli
A free translation in prose by Katharine Vivian, foreword by D.M. Lang, with eight leaves of illustrations from a seventeenth-century illuminated manuscript of the work. Full purple-red artificial silk with a design in silver and gold by Levan Tsutskiridze, adapted by Sally Lou Smith, map endleaves. Slipcase. 22.2 x 14.3 cm. 208 pp. 1977
Lays of Ancient Rome by Thomas Babington Macaulay.
Typographical ornaments. Printed in red and black. Pink flecked endleaves. Quarter-bound in dark red moire silk with marbled paper covers, spine and cover labels. Glassine cover, no slipcase. 89pp. 25x16.3cm. Folio Fine Press 1988
Les Liaisons Dangereuses (Dangerous Acquaintances) by Pierre Choderlos de Laclos.
Translated with an introduction by Richard Aldington. 12 two-colour wood-engravings by Raymond Hawthorn. Patterned endleaves. Bound in dark red shadow-striped silk. Grey slipcase. 399pp. 22.8x14.6cm. 1962
Les Liaisons Dangereuses by Choderlos De Laclos.
2nd. edition. Translated by P. W. K. Stone. Frontisplate and 8 colour plates by Lucy Weller. Bound in gilt image blocked purple, crinkled silk. 363pp. 9.5x6.5in. 2007
Life of Dr John Donne, The; Late Dean of St.Paul's Church, London by Izaak Walton.
Introduced by Colin Ward. Lithographic portrait frontispiece. Quarter-bound in green moire silk with marbled paper covers, spine and cover labels. Glassine cover, no slipcase. 77pp. 25x16.3cm. Folio Fine Press 1988
Lord of the Rings, The by J.R.R.Tolkien. (3v.).
B&w illustrations by Eric Fraser. Map endpapers. Ribbon bookmark. Hand-bound in Moroccan Goatskin Leather and pure Indian Silk. Leather slipcase with scalloped edges. Gilded top edges with ribbon page marker. Dark brown full leather slipcase with gilt lettering and decoration on front pane. Lettering on slipcase and book spine designed by calligrapher John Andrew. 1750 copies. Limited edition. 2008
Lost Illusions by Honore De Balzac.
Translated by Herbert J. Hunt. Introduced by Graham Robb. Illustrated by Francis Mosley. Quarter-bound in brown cloth with crushed silk sides blocked with a design by Frances Button. Set in Galliard. Colour frontispiece and 10 etchings. 608pp. 2009
Lost Splendour by Prince Felix Youssoupoff
Translated from the French by Ann Green and Nicolas Katkoff, introduction by Count Nikolai Tolstoy, with twelve pages of contemporary photographs. Quarter dark purple artificial moiré silk, purple paper boards decorated in black, pale grey endleaves. Grey slipcase. 25.2 x 16 cm. 252 pp. 1996
Memoirs of Madame du Barry by Mathieu François Pidansat de Mairobert.
Edited and with an introduction by Eveline Cruikshanks. 7 leaves of colour drawings by Sir William Russell Flint. Quarter bound in blue artificial silk with pink paper boards patterned in silver. Glassine dust-jacket. Pale brown slipcase. 167pp. 22x13.3cm. The Presentation Volume for 1956.
Michelangelo.
Introduction by Michael Ayrton. Quarter-bound in white parchment with pale green silk OR dark green cloth covers. Grey slipcase. 112pp. 18.8x12.6cm. 1961
Middlemarch by George Eliot.
Introduction by Kingsley Hart. 28 integrated drawings by Robin Jacques. Bound in dark red silk with an oval colour printed cover label. Yellow slipcase. 837pp. 23.7x16cm. 1972
Miniature poetry series 1991-1997
The seven books in the series, in chronological order, were:-
The Lady of Shalott : Alfred Lord Tennyson 1991
Pied Piper of Hamelin : Robert Browning 1992
The Garden and Other Poems : Andrew Marvell 1993
Sir Patrick Spens and Other Ballads 1994
The Raven : Edgar Allen Poe 1995
Fifty Folio Epigrams 1996
Fifty Folio Love Poems. 1997
11.8x8.4cm.
Mistress Masham’s Repose by T.H. White.
10 colour illustrations by Charles Stewart. Printed on pale green wove paper. Full dark red-brown artificial moiré silk with a design in gold by Stewart, map endleaves. White slipcase. 27.8 x 18.6 cm. 152 pp. 1989
Nana by Émile Zola.
Translated by Charles Duff. 15 etchings by Marcel Vertès. Bound in purple moire silk. Glassine dust-jacket and grey slipcase. 387pp. 25.3x19.2cm. 1956
Nile, The by Alan Moorehead.
(2v.). The Blue Nile 301pp. The White Nile 320pp. Colour and B&W illustrations. Bound in full green moire silk. Illustrated slipcase. 26.3x20.5x6.5cm. 2001
Outlaws of the Marsh : The Water Margin by Shi Nai’an.
(2v.). Introduced by Frances Wood. Translated by J. H. Jackson. Illustrations from the Rong Yu Tang edition by Shi Nai'an. Three-quarter bound in image blocked aqua-blue Art Silk with a printed cloth front board. Illustrated title pages and 141 woodblock illustrations. Ribbon markers. Gilded page tops. Image printed light brown cloth slipcase. 880pp. in total. 11x7¼in. 2018
Oxford Classical Dictionary
Edited by Simon Hornblower and Anthony Spawforth. Decorated endpapers. Green Wassa goatskin spine and fore-edges, green silk boards, gilt tooling to boards, gilt lettering and decoration to spine, four raised bands to spine. Top edge gilt. Yellow ribbon place-markers. Gilt-lettered green cloth slipcase. 1640pp. 1000 copies. Limited edition 2001
Oxford Thesaurus of English
Midnight blue Nigerian goat skin spine & fore edge of boards with ocean blue moire silk inset on boards, raised bands and hand-tooled gold decorations and lettering on the spine. In a gilt-titled midnight blue cloth covered slipcase. 1500 copies. Limited edition. 2003
Paradise Lost, A Poem in Twelve Books by John Milton.
New edition. Preface by Peter Ackroyd. Introduction by John Wain. 12 illustrations by William Blake. Quarter-bound in dark green morocco with pale orange silk boards. Illustrated slipcase. 304pp. 32.8x25cm. 2003
Paradiso by Dante Alighieri.
Translated by Henry Francis Cary, introduction by Michael Prodger, with illustrations by Giovanni Di Paolo. Bound in quarter leather with moire silk sides. Inked top edge. 9x13in. 2007
Pillow Book of Sei Shōnagon, The.
Translated and edited by Ivan Morris. Introduction by Robin Duke. 9 colour illustrations by Jasper Deane. Full black artificial silk binding gilt printed with Japanese characters. Lilac endleaves. Pale lilac slipcase. 24.1x16cm. 272pp.1979
Poems of War by Wilfred Owen
War photographs printed in green-brown on each page overprined with text. Quarter bound in black cloth, dark green moiré silk boards. Black cover-label lettered in gold. Ann Muir marbled endleaves. Transparent plastic dust-cover. No slipcase. 25.3 x 16.1 cm. 64 pp.1989
Prince, The by Niccolò Machiavelli
Tanslated and with an introduction by George Bull, including the prelude by Benito Mussolini, collotype frontispiece. Full blue artificial silk with as arabesque design in silver and gold by Brian Paine, pale blue endleaves. Silver or dark blue slipcase. 18.9 x 14.2 cm. 144 pp. 1970
Purgatorio by Dante Alighieri.
34 colour illustrations by Salvador Dali. Blue Moire silk boards with blue leather and gold embossing on spine. Pictorial slipcase. 154pp. 2007
Rape of the Lock, The by Alexander Pope
12 wood-engravings by Peter Forster. Quarter blue cloth, pink moiré silk boards, blue cover-label, Ann Muir marbled endleaves. Transparent plastic dust-cover, no slipcase. 25.3 x 16.2 cm. 48 pp. Folio Fine Press 1989
Remembrance of Things Past (3v.) by Marcel Proust.
Translated by C.K. Scott Moncrieff and Terence Kilmartin. 16 leaves of dry-point etchings by Philippe Jullian in each volume. Full black artificial silk binding, decorated in red and gold with a design by Sally Lou Smith. Dark red endleaves. Black artificial-silk covered three-volume slipcase. 20.6x13.5cm 1042/1200/1128pp. 1981
Rime of the Ancient Mariner, The by Samuel Taylor Coleridge
Introduction by Richard Holmes, ten wood engravings by Garrick Palmer. Printed on pale blue paper. Full dark purple-red artificial moiré silk, cover-label with a wood engraving in dark purple-red by Palmer, pale blue endleaves. Dark red slipcase. 26 x 21.5 cm. 50 pp.1994
Rime of the Ancient Mariner, The by Samuel Taylor Coleridge.
Illustrated by Harry Brockway. Signed and numbered by the illustrator on woodblock printed limitation engraving. Quarter vellum binding blocked with gilt text, vellum tips to corners of boards. Gilt top edge. Front cover illustration produced with metallic foil. Decorative endpapers. 16 mounted coloured plates, also bordered, as is the title page. Black grosgrain silk covered solander box. 1000 copies. 36x27.5cm. Limited edition. 2010
Śakuntalā by Kālidāsa
Translated by Michael Coulson, with twelve pages of nineteenth-century Indian paintings about the story. Full blue-green artificial moiré silk, pale pink endleaves. Dark blue slipcase. 25.2 x 19.3 cm. 152 pp. 1992
Sappho by Alphonse Daudet
Translated by Eithne Wilkins, eight leaves of etchings by Susan Einzig. Full blue-green artificial silk. Glassine dust-jacket. Grey slipcase with a paper panel. 22.7 x 14.8 cm. 184 pp. 1954
Semi-Attached Couple, The by Emily Eden
7 leaves of two-colour wood-engraved plates by Dorothea Braby. Full pink artificial silk. Glassine dust-jacket. Grey slipcase. 20.9 x 14.6 cm. 248 pp. 1955
Shakespeare's Sonnets by William Shakespeare.
New edition. Introduced by Katherine Duncan-Jones. Edited by Katherine Duncan-Jones. Quarter-bound in dark blue buckram with maroon crushed silk sides designed by Anna Murray. 38 engravings by various artists. Plain slipcase 8¾x6in. 224pp. 2005
Silk Road, The by Frances Wood.
100 integrated colour and b&w illustrations. Bound in silk blocked in gold with a design. Pictorial slipcase. 240pp. 10.2x7.5in. 2002
Silmarillion, The by J.R.R.Tolkien.
B&W illustrations by Eric Fraser. Map endpapers. Ribbon bookmark. Hand-bound in Moroccan Goatskin Leather and pure Indian Silk. Leather slipcase with scalloped edges. Gilded top edges with ribbon page marker. Dark brown full leather slipcase with gilt lettering and decoration on front pane. Lettering on slipcase and book spine designed by calligrapher John Andrew. 1750 copies, Limited edition. 2003
Song of Songs, The
6 leaves of copper engravings by Ru van Rossem. Full pale orange silk, pale pink 'Silurian' endleaves. Grey slip case. 27.8 x 17.9 cm. 24 pp. 1967
Song of Songs, The
2nd. edition. 6 copper engravings by Ru van Rossem. Printed on lilac paper. Lilac endleaves. Bound in dark red silk. 22pp. 28x8cm. 1972
Sonnets of Michelangelo, The.
Translated by Elizabeth Jennings. 12 drawings by
Sonnets of Michaelangelo
2nd edition, reset. Translated by Elizabeth Jennings. 16 plates. Quarter-bound in white parchment with pale blue silk boards. 116pp. 18.8x12.6cm. 1962
Spice Route, The by John Keay.
120 modern colour photographs, period paintings and sculptures, maps. Bound in orange art silk blocked with a design by Neil Packer. Illustrated slipcase. 302pp. 26x19cm. 2005
Story of My Life, The by George Sand
Translated, edited and with an introduction by Dan Hofstadter. 16 pages of contemporary photographs, drawings and prints. Full blue artificial silk with a design in gold by Sue Bradbury, yellow-brown endleaves. Yellow-brown slipcase. 22.7 x 15 cm. 344 pp. 1984
Tale of Genji, The by Murasaki Shikibu.
(2v.) Introduction and footnotes by Anne Rose Kitagawa. Illustrated with 52 colour paintings from the Harvard Art Museums 16th.C Tale of Genji Album plus 180 integrated line drawings. Quarter-bound in art silk with cloth sides. Gilded page tops. Image blocked slipcase. 1304pp in total. 10x6.5in. Folio Society fine edition 2016
These Things also are Spring's, Poems by Edward Thomas.
Selected and introduced by Patrick Garland. 12 wood-engravings by James Bostock. Printed in green and black. Quarter-bound in green moire silk with marbled paper covers, spine and cover labels. Glassine cover, no slipcase. 70pp. 25x16.3cm. Folio Fine Press 1988
Three Kingdoms. AD 168 to 280
(4v.) Translated by Moss Roberts. Introduced by Ma Jian. 280 integrated woodcuts from a 19th-century edition. Bound in light green artificial silk, blocked with four key figures redrawn by Neil Gower. Grey pictorial slipcase. 11.5x7.8in. 2013
Times Comprehensive Atlas of the World
Bound in half red morocco with red serena silk boards. Red slipcase by Smith Settle. Tipped in limitation colophon. Added panorama and map. 124 map plates. 47x32.5cm. 1000 copies. Limited edition. 2000
Vanity Fair by William Makepeace Thackeray.
21 leaves of drawings by Robin Jacques. Full green-blue artificial silk binding. Pale lilac endleaves. Lilac and black slipcase. 22.7x15.1cm. 680pp. 1963
Walden by Henry D. Thoreau.
2nd. edition. Quarter bound grey/green leather with gold silk boards. Pictorial slipcase. 2009
What is Life? The Physical Aspect of the Living Cell by Envin Schrödinger.
Introduced by Roger Penrose. Figures by Reginald Piggott. Bound in pale blue moire silk with a gilt design. 112pp. 21.5x13.5cm. 2000
Wind in the Willows, The by Kenneth Grahame
Introduction by Alan Bennett. 83 illustrations, 33 in colour by James Lynch. Full green artificial moiré silk with a circular design in gold by Lynch, grey-green endleaves. Grey-green slipcase. 24.7 x 17.6 cm. 208 pp. 1995
Wonderful Year 1603, The by Thomas Dekker
Introduction by A.L.Rowse. Quarter brown cloth, purple moiré silk boards, cover-label printed in brown, Ann Muir marbled endleaves. Gilt top page edge. Transparent plastic dust-cover, no slipcase. 25.3 x 16.2cm. 64 pp. Folio Fine Press 1989
NB: Older editions of fully silk bound books are particularly susceptible to light fading of the spine.
There are 80 different editions listed above.
This list includes all books ever published by the Folio Society, fully or partially bound in silk, moire silk or art silk.
A History of God by Karen Armstrong.
Introduced by Tariq Ramadan. Frontispiece and 32 pages of colour and black & white plates. Blocked slipcase. Bound in art silk, blocked with hand lettering by Michael Gills. 536pp. 10x6¾in. 2014
Anansi Boys by Neil Gaiman.
Illustrated by Francis Vallejo. Introduced by Nalo Hopkinson. Frontispiece and 5 colour illustrations with 2 double-page spreads. 25 black & white integrated illustrations and chapter opening spreads. Bound in printed and multicolour image blocked black art silk. Green ribbon marker. Green image printed page edges. Multicoloured pictorial and slipcase with textured UV spot varnishing. 376pp. 10x6¾in. 2019
Anglo-Saxon Elegies, The.
Translated and introduced by Kevin Crossley-Holland. 8 engravings by Hannah Firmin. Printed in brown and black. Quarter-bound in dark brown moire silk with marbled paper covers, spine and cover labels. Glassine cover, no slipcase. 77pp. 25x16.3cm. Folio Fine Press 1988
Apocrypha, The
Translated out of the Greek and Latin Tongues Being the Version Set Forth AD1611 Compared with the Most Ancient Authorities and Revised AD1894. Introduced by David Daniell. 13 colour illustrations on tipped in pages. Coloured page tops. Bound in quarter dark brown leather with moire silk sides. Pictorial slipcase. 351pp. 30.5x23.3cm. Fine edition 2006
Art of War, The by Sun-tzu.
Introduced by Rupert Smith. Translated by Roger T. Ames. Quarter-bound in brown cloth with crushed silk sides blocked with yellow Chinese calligraphy drawn by Xiaoming Sun. 12 pages of colour plates. 11x6in. 272pp. 2007
Between Silk and Cyanide by Leo Marks.
Introduced by Simon Mawer. 24 pages of colour and black & white plates. Bound in cloth with silk panel on front board. Set in Garamond. 600pp. 10x6¼in. 2013
Bible, The. 2v.
Bound in dark blue goatskin with calligraphy blocked in gold. Two ribbon markers. Gilding on all three page edges. Printed on Abbey Wove paper. Buckram-covered wooden slipcase lined with moiré silk, with a sliding tray in base. 1904pp. 11x7¼in. 940 copies. Limited edition. 2011
Brontes, The; A Life in Letters by Juliet Barker.
Colour frontis and 16 pages of b&w illustrations. Bound in artificial silk with a fabric design. 442pp. 24x15cm. 2006
Chéri by Colette. Translated by Roger Senhouse.
7 leaves of dry-point etchings by Philippe Jullian. Full black, dark red-brown, dark green or pink artificial silk binding with a design in gold by Brian Paine. Pink endleaves. Green and black slipcase. 22.2x14.6cm. 160pp. 1963
Citizens, A Chronicle of the French Revolution by Simon Schama.
2v.. Vol.1 412pp. Vol.2 502pp. Integrated illustrations. Bound in quarter black buckram with crimson crushed art silk sides. Pictorial black slipcase. 26x18.8cm. 2004
Clarissa by Samuel Richardson
(2v.), edited and with notes by Angus Ross, introduced by Angus Wilson, 25 leaves of wood-engravings by Simon Brett. Dark blue cloth, green (vol 1) or blue-green (vol 2) moiré silk boards, grey-green (vol 1) or pale grey (vol 2) endleaves. Dark green two-volume slipcase. 25.1 x 16.5 cm. 1536 pp. 1991
Complete Novels, The by Charlotte, Emily & Anne Brontë
(7v.) Reprints of the first Folio editions published between 1964 and 1970. Full green moiré silk, pale green endleaves. Seven-volume slipcase covered with green moiré silk and titled in gold. 22.7 x 15 cm. 1. Charlotte Brontë, Shirley, nine wood-engravings by Howard Phipps, 508 pp 2. Charlotte Brontë, Villette, eleven wood-engravings by Peter Reddick, 450 pp. 3. Emily Brontë, Wuthering Heights, 28 wood-engravings by Peter Forster, 293 pp. 4. Anne Brontë, The Tenant of Wildfell Hall, sixteen wood-engravings by Ian Stephens, 388 pp. 5. Charlotte Brontë, Jane Eyre, 39 wood-engravings by Simon Brett, 438 pp. 6. Anne Brontë, Agnes Grey, fourteen wood-engravings by Harry Brockway, 172 pp. 7. Charlotte Brontë, The Professor, twelve wood-engravings by George Tute, 226 pp. 1991
Dame aux Camélias, La by Alexandre Dumas the younger.
Translated by Barbara Bray, eight full-page drawings by Jennifer Campbell. Full dark green artificial silk with a design in white and gold by Sally Lou Smith, pale green endleaves. Gold slipcase. 22.2 x 14.2 cm. 224 pp. 1975
Dorset Poems by William Barnes
Translation by Pauline Tennant, introduction by Peter Levi, ten wood-engravings by William Barnes. Quarter pale orange cloth, pale grey moiré silk boards, pale orange cover label, Ann Muir marbled endleaves. Transparent plastic dust-cover, no slipcase. 25.3 x 16.2 cm. 84 pp. Folio Fine Press 1989
Faerie Queene, The by Edmund Spenser.
Facsimiles bound in 3 volumes. Vols.I & II 528pp. Vols.III & IV 516pp. Vols.V & VI 507pp. Printed on watermarked laid paper. Gilt top page edges. Ribbon marker. Bound in white Nigerian goat skin blocked with a gilt design on cover and spine. Housed on a sliding tray in a toile vendome silk covered wooden case. 31.8x23.6x20.6cm. 1000 copies. Limited edition. 2011
Faust, Parts one and Two by Johann Wolfgang von Goethe.
Translated by David Luke. Introduced by Nicholas Boyle. Part one illustrations 17 lithographs by Eugéne Delacroix. Part two illustrations are 7 contemporary art works. Coloured page tops. Quarter bound in red leather with yellow moire silk sides. Pictorial slipcase. 377pp. 33.5x26cm. Fine edition 2005
Fitzwilliam Book of Hours, The. (2v.).
1510 facsimile bound in gilded patterned jacquard silk, all page edges gilded, ribbon marker, 370pp. Commentary volume by Stella Panayotova quarter bound in blue buckram with paper sides, pictorial endpapers, 144pp. Both volumes in one blue solander box 23x16.2x6.7cm. 1180 copies. Limited edition. 2009
Five Japanese Love Stories by Ihara Saikaku
Translated by William Theodore de Bary, eight full-page wood engravings by Mark Severin. Full pale green artificial silk. Grey endleaves with a design in purple by Severin. Dark purple-red slipcase. 20.7 x 14.6 cm. 160 pp. 1958
Habsburgs, The: Embodying Empire by Andrew Wheatcroft.
Maps by Reginald Piggott. 24 pages of colour and b&w plates. Genealogical table. Bound in yellow silk with a design in black. 445pp. 22.7x17.6cm. 2004
Hassan (The Story of Hassan of Bagdad and How he Came to make the Golden Journey to Samarkand) by James Elroy Flecker.
Introduced by Basil Dean. 6 colour costume designs by Peter Bucknell. Printed on light blue silurian paper. Bound in dark blue moire silk. Gold slipcase. 95pp. 25.2x19.2cm. 1966
Hassan by James Elroy Flecker.
New edition. Introduced by Basil Dean. 6 colour illustrations by Peter Bucknell. Coloured page tops. Bound in black art silk blocked with gilt title on spine. Set in Monotype Centaur with folios and main headings in a second colour. 108pp. 10×7½in. 2015
Hobbit, The by J.R.R.Tolkien.
B&W illustrations by Eric Fraser. Map endpapers. Ribbon bookmark. Hand-bound in dark brown Moroccan Goatskin Leather and pure Indian Silk. Leather slipcase with scalloped edges. Gilded top edges with ribbon page marker. Dark brown full leather slipcase with gilt lettering and decoration on front pane. Lettering on slipcase and book spine designed by calligrapher John Andrew. 245pp. Link
Illustrated Dante by Dante Alighieri.
(3v.). Inferno, translated by Henry Francis Cary, introduction by Robin Hamlin, with illustrations by William Blake. Purgatorio, translated by Henry Francis Cary, introductory essays by Michael Prodger, with illustrations by Salvador Dali. Paradiso, translated by Henry Francis Cary, introduction by Michael Prodger, with illustrations by Giovanni Di Paolo. Bound in quarter leather with moire silk sides. Inked top edge. Pictorial slipcase. 9x13in. 2007
Importance of Being Earnest, The by Oscar Wilde.
6 leaves of colour lithographic plates by Cecil Beaton. Grey endleaves printed with pink design. Bound in dark green silk. Pink slipcase. 80pp. 25x19cm. 1960
Inferno by Dante Alighieri.
Translated by Henry Francis Cary. Introduced by Robin Hamlyn. 32 colour illustrations by William Blake. Bound in quarter leather with moire silk sides. Inked top edge. 151pp. 32.5x23cm. 2007
Italian Cities by Christopher Hibbert.
(3v.). Full artificial silk (a different colour for each volume), decorated in gold, endleaves printed in gold to a design by David Eccles. 16 pages of colour plates in each volume. Dark blue three-volume slipcase printed in black and titled in gold. Volumes form colours of Italian flag in slipcase. 1. Venice. Green binding, dark green endleaves. 436 pp. 2. Florence. Cream binding, dark brown endleaves. 398 pp. 3. Rome. Red binding, dark red endleaves. 388 pp. 25.2 x 19.6 cm. 1997
Jane Austen’s Letters.
Collected and edited by Diedre le Faye. 18 colour plates. Bound in silk printed with a wallpaper design. Dark red slipcase. 642pp. 24x15cm. 2003
Jerusalem, : The Emanation of the Giant Albion by William Blake.
Blake's illustrations. Gilt lettered quarter maroon morocco over blue green silk boards. Pictorial slipcase. 303pp. 2007
King Henry’s Prayer Book.
Facsimile. Bound in silk velvet over wooden boards. Brass clasps. Gilded and shuffles page edges. 360pp. 980 copies. Commentary volume by James P. Carley 96pp. Solander box 24.2x17x7.8cm. Limited edition. 2009
Knight in Panther Skin, The by Shota Rusteveli
A free translation in prose by Katharine Vivian, foreword by D.M. Lang, with eight leaves of illustrations from a seventeenth-century illuminated manuscript of the work. Full purple-red artificial silk with a design in silver and gold by Levan Tsutskiridze, adapted by Sally Lou Smith, map endleaves. Slipcase. 22.2 x 14.3 cm. 208 pp. 1977
Lays of Ancient Rome by Thomas Babington Macaulay.
Typographical ornaments. Printed in red and black. Pink flecked endleaves. Quarter-bound in dark red moire silk with marbled paper covers, spine and cover labels. Glassine cover, no slipcase. 89pp. 25x16.3cm. Folio Fine Press 1988
Les Liaisons Dangereuses (Dangerous Acquaintances) by Pierre Choderlos de Laclos.
Translated with an introduction by Richard Aldington. 12 two-colour wood-engravings by Raymond Hawthorn. Patterned endleaves. Bound in dark red shadow-striped silk. Grey slipcase. 399pp. 22.8x14.6cm. 1962
Les Liaisons Dangereuses by Choderlos De Laclos.
2nd. edition. Translated by P. W. K. Stone. Frontisplate and 8 colour plates by Lucy Weller. Bound in gilt image blocked purple, crinkled silk. 363pp. 9.5x6.5in. 2007
Life of Dr John Donne, The; Late Dean of St.Paul's Church, London by Izaak Walton.
Introduced by Colin Ward. Lithographic portrait frontispiece. Quarter-bound in green moire silk with marbled paper covers, spine and cover labels. Glassine cover, no slipcase. 77pp. 25x16.3cm. Folio Fine Press 1988
Lord of the Rings, The by J.R.R.Tolkien. (3v.).
B&w illustrations by Eric Fraser. Map endpapers. Ribbon bookmark. Hand-bound in Moroccan Goatskin Leather and pure Indian Silk. Leather slipcase with scalloped edges. Gilded top edges with ribbon page marker. Dark brown full leather slipcase with gilt lettering and decoration on front pane. Lettering on slipcase and book spine designed by calligrapher John Andrew. 1750 copies. Limited edition. 2008
Lost Illusions by Honore De Balzac.
Translated by Herbert J. Hunt. Introduced by Graham Robb. Illustrated by Francis Mosley. Quarter-bound in brown cloth with crushed silk sides blocked with a design by Frances Button. Set in Galliard. Colour frontispiece and 10 etchings. 608pp. 2009
Lost Splendour by Prince Felix Youssoupoff
Translated from the French by Ann Green and Nicolas Katkoff, introduction by Count Nikolai Tolstoy, with twelve pages of contemporary photographs. Quarter dark purple artificial moiré silk, purple paper boards decorated in black, pale grey endleaves. Grey slipcase. 25.2 x 16 cm. 252 pp. 1996
Memoirs of Madame du Barry by Mathieu François Pidansat de Mairobert.
Edited and with an introduction by Eveline Cruikshanks. 7 leaves of colour drawings by Sir William Russell Flint. Quarter bound in blue artificial silk with pink paper boards patterned in silver. Glassine dust-jacket. Pale brown slipcase. 167pp. 22x13.3cm. The Presentation Volume for 1956.
Michelangelo.
Introduction by Michael Ayrton. Quarter-bound in white parchment with pale green silk OR dark green cloth covers. Grey slipcase. 112pp. 18.8x12.6cm. 1961
Middlemarch by George Eliot.
Introduction by Kingsley Hart. 28 integrated drawings by Robin Jacques. Bound in dark red silk with an oval colour printed cover label. Yellow slipcase. 837pp. 23.7x16cm. 1972
Miniature poetry series 1991-1997
The seven books in the series, in chronological order, were:-
The Lady of Shalott : Alfred Lord Tennyson 1991
Pied Piper of Hamelin : Robert Browning 1992
The Garden and Other Poems : Andrew Marvell 1993
Sir Patrick Spens and Other Ballads 1994
The Raven : Edgar Allen Poe 1995
Fifty Folio Epigrams 1996
Fifty Folio Love Poems. 1997
11.8x8.4cm.
Mistress Masham’s Repose by T.H. White.
10 colour illustrations by Charles Stewart. Printed on pale green wove paper. Full dark red-brown artificial moiré silk with a design in gold by Stewart, map endleaves. White slipcase. 27.8 x 18.6 cm. 152 pp. 1989
Nana by Émile Zola.
Translated by Charles Duff. 15 etchings by Marcel Vertès. Bound in purple moire silk. Glassine dust-jacket and grey slipcase. 387pp. 25.3x19.2cm. 1956
Nile, The by Alan Moorehead.
(2v.). The Blue Nile 301pp. The White Nile 320pp. Colour and B&W illustrations. Bound in full green moire silk. Illustrated slipcase. 26.3x20.5x6.5cm. 2001
Outlaws of the Marsh : The Water Margin by Shi Nai’an.
(2v.). Introduced by Frances Wood. Translated by J. H. Jackson. Illustrations from the Rong Yu Tang edition by Shi Nai'an. Three-quarter bound in image blocked aqua-blue Art Silk with a printed cloth front board. Illustrated title pages and 141 woodblock illustrations. Ribbon markers. Gilded page tops. Image printed light brown cloth slipcase. 880pp. in total. 11x7¼in. 2018
Oxford Classical Dictionary
Edited by Simon Hornblower and Anthony Spawforth. Decorated endpapers. Green Wassa goatskin spine and fore-edges, green silk boards, gilt tooling to boards, gilt lettering and decoration to spine, four raised bands to spine. Top edge gilt. Yellow ribbon place-markers. Gilt-lettered green cloth slipcase. 1640pp. 1000 copies. Limited edition 2001
Oxford Thesaurus of English
Midnight blue Nigerian goat skin spine & fore edge of boards with ocean blue moire silk inset on boards, raised bands and hand-tooled gold decorations and lettering on the spine. In a gilt-titled midnight blue cloth covered slipcase. 1500 copies. Limited edition. 2003
Paradise Lost, A Poem in Twelve Books by John Milton.
New edition. Preface by Peter Ackroyd. Introduction by John Wain. 12 illustrations by William Blake. Quarter-bound in dark green morocco with pale orange silk boards. Illustrated slipcase. 304pp. 32.8x25cm. 2003
Paradiso by Dante Alighieri.
Translated by Henry Francis Cary, introduction by Michael Prodger, with illustrations by Giovanni Di Paolo. Bound in quarter leather with moire silk sides. Inked top edge. 9x13in. 2007
Pillow Book of Sei Shōnagon, The.
Translated and edited by Ivan Morris. Introduction by Robin Duke. 9 colour illustrations by Jasper Deane. Full black artificial silk binding gilt printed with Japanese characters. Lilac endleaves. Pale lilac slipcase. 24.1x16cm. 272pp.1979
Poems of War by Wilfred Owen
War photographs printed in green-brown on each page overprined with text. Quarter bound in black cloth, dark green moiré silk boards. Black cover-label lettered in gold. Ann Muir marbled endleaves. Transparent plastic dust-cover. No slipcase. 25.3 x 16.1 cm. 64 pp.1989
Prince, The by Niccolò Machiavelli
Tanslated and with an introduction by George Bull, including the prelude by Benito Mussolini, collotype frontispiece. Full blue artificial silk with as arabesque design in silver and gold by Brian Paine, pale blue endleaves. Silver or dark blue slipcase. 18.9 x 14.2 cm. 144 pp. 1970
Purgatorio by Dante Alighieri.
34 colour illustrations by Salvador Dali. Blue Moire silk boards with blue leather and gold embossing on spine. Pictorial slipcase. 154pp. 2007
Rape of the Lock, The by Alexander Pope
12 wood-engravings by Peter Forster. Quarter blue cloth, pink moiré silk boards, blue cover-label, Ann Muir marbled endleaves. Transparent plastic dust-cover, no slipcase. 25.3 x 16.2 cm. 48 pp. Folio Fine Press 1989
Remembrance of Things Past (3v.) by Marcel Proust.
Translated by C.K. Scott Moncrieff and Terence Kilmartin. 16 leaves of dry-point etchings by Philippe Jullian in each volume. Full black artificial silk binding, decorated in red and gold with a design by Sally Lou Smith. Dark red endleaves. Black artificial-silk covered three-volume slipcase. 20.6x13.5cm 1042/1200/1128pp. 1981
Rime of the Ancient Mariner, The by Samuel Taylor Coleridge
Introduction by Richard Holmes, ten wood engravings by Garrick Palmer. Printed on pale blue paper. Full dark purple-red artificial moiré silk, cover-label with a wood engraving in dark purple-red by Palmer, pale blue endleaves. Dark red slipcase. 26 x 21.5 cm. 50 pp.1994
Rime of the Ancient Mariner, The by Samuel Taylor Coleridge.
Illustrated by Harry Brockway. Signed and numbered by the illustrator on woodblock printed limitation engraving. Quarter vellum binding blocked with gilt text, vellum tips to corners of boards. Gilt top edge. Front cover illustration produced with metallic foil. Decorative endpapers. 16 mounted coloured plates, also bordered, as is the title page. Black grosgrain silk covered solander box. 1000 copies. 36x27.5cm. Limited edition. 2010
Śakuntalā by Kālidāsa
Translated by Michael Coulson, with twelve pages of nineteenth-century Indian paintings about the story. Full blue-green artificial moiré silk, pale pink endleaves. Dark blue slipcase. 25.2 x 19.3 cm. 152 pp. 1992
Sappho by Alphonse Daudet
Translated by Eithne Wilkins, eight leaves of etchings by Susan Einzig. Full blue-green artificial silk. Glassine dust-jacket. Grey slipcase with a paper panel. 22.7 x 14.8 cm. 184 pp. 1954
Semi-Attached Couple, The by Emily Eden
7 leaves of two-colour wood-engraved plates by Dorothea Braby. Full pink artificial silk. Glassine dust-jacket. Grey slipcase. 20.9 x 14.6 cm. 248 pp. 1955
Shakespeare's Sonnets by William Shakespeare.
New edition. Introduced by Katherine Duncan-Jones. Edited by Katherine Duncan-Jones. Quarter-bound in dark blue buckram with maroon crushed silk sides designed by Anna Murray. 38 engravings by various artists. Plain slipcase 8¾x6in. 224pp. 2005
Silk Road, The by Frances Wood.
100 integrated colour and b&w illustrations. Bound in silk blocked in gold with a design. Pictorial slipcase. 240pp. 10.2x7.5in. 2002
Silmarillion, The by J.R.R.Tolkien.
B&W illustrations by Eric Fraser. Map endpapers. Ribbon bookmark. Hand-bound in Moroccan Goatskin Leather and pure Indian Silk. Leather slipcase with scalloped edges. Gilded top edges with ribbon page marker. Dark brown full leather slipcase with gilt lettering and decoration on front pane. Lettering on slipcase and book spine designed by calligrapher John Andrew. 1750 copies, Limited edition. 2003
Song of Songs, The
6 leaves of copper engravings by Ru van Rossem. Full pale orange silk, pale pink 'Silurian' endleaves. Grey slip case. 27.8 x 17.9 cm. 24 pp. 1967
Song of Songs, The
2nd. edition. 6 copper engravings by Ru van Rossem. Printed on lilac paper. Lilac endleaves. Bound in dark red silk. 22pp. 28x8cm. 1972
Sonnets of Michelangelo, The.
Translated by Elizabeth Jennings. 12 drawings by
Sonnets of Michaelangelo
2nd edition, reset. Translated by Elizabeth Jennings. 16 plates. Quarter-bound in white parchment with pale blue silk boards. 116pp. 18.8x12.6cm. 1962
Spice Route, The by John Keay.
120 modern colour photographs, period paintings and sculptures, maps. Bound in orange art silk blocked with a design by Neil Packer. Illustrated slipcase. 302pp. 26x19cm. 2005
Story of My Life, The by George Sand
Translated, edited and with an introduction by Dan Hofstadter. 16 pages of contemporary photographs, drawings and prints. Full blue artificial silk with a design in gold by Sue Bradbury, yellow-brown endleaves. Yellow-brown slipcase. 22.7 x 15 cm. 344 pp. 1984
Tale of Genji, The by Murasaki Shikibu.
(2v.) Introduction and footnotes by Anne Rose Kitagawa. Illustrated with 52 colour paintings from the Harvard Art Museums 16th.C Tale of Genji Album plus 180 integrated line drawings. Quarter-bound in art silk with cloth sides. Gilded page tops. Image blocked slipcase. 1304pp in total. 10x6.5in. Folio Society fine edition 2016
These Things also are Spring's, Poems by Edward Thomas.
Selected and introduced by Patrick Garland. 12 wood-engravings by James Bostock. Printed in green and black. Quarter-bound in green moire silk with marbled paper covers, spine and cover labels. Glassine cover, no slipcase. 70pp. 25x16.3cm. Folio Fine Press 1988
Three Kingdoms. AD 168 to 280
(4v.) Translated by Moss Roberts. Introduced by Ma Jian. 280 integrated woodcuts from a 19th-century edition. Bound in light green artificial silk, blocked with four key figures redrawn by Neil Gower. Grey pictorial slipcase. 11.5x7.8in. 2013
Times Comprehensive Atlas of the World
Bound in half red morocco with red serena silk boards. Red slipcase by Smith Settle. Tipped in limitation colophon. Added panorama and map. 124 map plates. 47x32.5cm. 1000 copies. Limited edition. 2000
Vanity Fair by William Makepeace Thackeray.
21 leaves of drawings by Robin Jacques. Full green-blue artificial silk binding. Pale lilac endleaves. Lilac and black slipcase. 22.7x15.1cm. 680pp. 1963
Walden by Henry D. Thoreau.
2nd. edition. Quarter bound grey/green leather with gold silk boards. Pictorial slipcase. 2009
What is Life? The Physical Aspect of the Living Cell by Envin Schrödinger.
Introduced by Roger Penrose. Figures by Reginald Piggott. Bound in pale blue moire silk with a gilt design. 112pp. 21.5x13.5cm. 2000
Wind in the Willows, The by Kenneth Grahame
Introduction by Alan Bennett. 83 illustrations, 33 in colour by James Lynch. Full green artificial moiré silk with a circular design in gold by Lynch, grey-green endleaves. Grey-green slipcase. 24.7 x 17.6 cm. 208 pp. 1995
Wonderful Year 1603, The by Thomas Dekker
Introduction by A.L.Rowse. Quarter brown cloth, purple moiré silk boards, cover-label printed in brown, Ann Muir marbled endleaves. Gilt top page edge. Transparent plastic dust-cover, no slipcase. 25.3 x 16.2cm. 64 pp. Folio Fine Press 1989
NB: Older editions of fully silk bound books are particularly susceptible to light fading of the spine.
There are 80 different editions listed above.
5FitzJames
Hullo! The matching version of 'The Hobbit' in Moroccan Goatskin Leather and pure Indian Silk seems to be missing.
6Shaliza
Thanks for this Warwick! I do so love the silk bindings. I have a grand total of 6 of these!
7wcarter
>5 FitzJames:
Don't know how I missed that one. Added.
>4 vinnvinn:
The description I have says it is bound in "shimmering cloth". Does your copy say bound in silk in the colophon?
Other suggestions and alterations welcome.
Don't know how I missed that one. Added.
>4 vinnvinn:
The description I have says it is bound in "shimmering cloth". Does your copy say bound in silk in the colophon?
Other suggestions and alterations welcome.
8c_schelle
Thanks for the list >1 wcarter:. The current Shakespeare Sonnets (https://www.foliosociety.com/row/shakespeare-s-sonnets.html) with crushed silk sides seem to be missing.
10vinnvinn
>7 wcarter:
It says "Vendôme cloth" As silky as most other FS faux silk bindings. Googled Vendome cloth:
2This article is about the fabric. For the company after which this fabric is named, see Charvet Place Vendôme.
Charvet
Charvet fabric2.png
Charvet ground with supplementary weft pattern
Type Fabric
Advertisement (1916). Creative use of the term
A charvet fabric is woven of silk or acetate in warp-faced rib weave, of a reversed reps type1 with a double ridge effect.2 The fabric's name derives from its frequent3 and "clever"4 use in the 19th century by the Parisian shirtmaker Charvet. It is characterized by a soft handle5 and shiny appearance.6 It also drapes well.7 The bindings create a herringbone effect parallel to the warp, which make this weave suitable for creating faint diagonal stripe effects for ties, for which the fabric is cut on the bias. Patterns on this base are often made with supplementary weft. The fabric has also been used for mufflers,1 scarves8 and robes.9
This weave is based on the Régence weave, a kind of reps with all weft raised on the backside,10 which was popular during the regency of Philippe II, Duke of Orléans (lasting from 1715 to 1723). In the United States, at the end of the 19th century, the term was used in a broader sense, to describe either fabrics "extremely dainty in construction and effect"11 or silk shirtings.12 Since the beginning of the 20th century, the weave is rather found in solid fabrics for semi formal wear.13
By extension, the term is also used in knitting for a certain kind of bias striping, going up from left to right.142
It says "Vendôme cloth" As silky as most other FS faux silk bindings. Googled Vendome cloth:
2This article is about the fabric. For the company after which this fabric is named, see Charvet Place Vendôme.
Charvet
Charvet fabric2.png
Charvet ground with supplementary weft pattern
Type Fabric
Advertisement (1916). Creative use of the term
A charvet fabric is woven of silk or acetate in warp-faced rib weave, of a reversed reps type1 with a double ridge effect.2 The fabric's name derives from its frequent3 and "clever"4 use in the 19th century by the Parisian shirtmaker Charvet. It is characterized by a soft handle5 and shiny appearance.6 It also drapes well.7 The bindings create a herringbone effect parallel to the warp, which make this weave suitable for creating faint diagonal stripe effects for ties, for which the fabric is cut on the bias. Patterns on this base are often made with supplementary weft. The fabric has also been used for mufflers,1 scarves8 and robes.9
This weave is based on the Régence weave, a kind of reps with all weft raised on the backside,10 which was popular during the regency of Philippe II, Duke of Orléans (lasting from 1715 to 1723). In the United States, at the end of the 19th century, the term was used in a broader sense, to describe either fabrics "extremely dainty in construction and effect"11 or silk shirtings.12 Since the beginning of the 20th century, the weave is rather found in solid fabrics for semi formal wear.13
By extension, the term is also used in knitting for a certain kind of bias striping, going up from left to right.142
11overthemoon
Oscar Wilde's Salome? it says "brocade supplied by British Celanese" and it looks very silky
Also the miniatures such s Fifty Folio Epigrams, Sir Patrick Spens, Fifty Folio Love Poems.
My Vanity Fair just seems like ordinary cloth but it's the 2006 third printing.
Also the miniatures such s Fifty Folio Epigrams, Sir Patrick Spens, Fifty Folio Love Poems.
My Vanity Fair just seems like ordinary cloth but it's the 2006 third printing.
12wcarter
>11 overthemoon:
Miniature poetry series added
>8 c_schelle:
In what year was this published? The only edition I can find is the one from 1989 which is cloth bound, but the FS website shows a different book.
Miniature poetry series added
>8 c_schelle:
In what year was this published? The only edition I can find is the one from 1989 which is cloth bound, but the FS website shows a different book.
13affle
>1 wcarter:
Excellent archiving.
I think you've picked up the wrong illustration for Owen's Poems of War - that's the recent LE, not silk bound.
Edited to add that the text for that book has a slip,too - it's not 'war photographs'.
Excellent archiving.
I think you've picked up the wrong illustration for Owen's Poems of War - that's the recent LE, not silk bound.
Edited to add that the text for that book has a slip,too - it's not 'war photographs'.
14wcarter
>13 affle:
Thanks
I do not own a copy, but Folio 60 states:-
"War photographs printed in green-brown on each page overprined with text."
>10 vinnvinn:
Still not convinced it should be called silk. What do others think?
Thanks
I do not own a copy, but Folio 60 states:-
"War photographs printed in green-brown on each page overprined with text."
>10 vinnvinn:
Still not convinced it should be called silk. What do others think?
15affle
>14 wcarter:
How true: I read these poems often, and the photographs are most atmospheric, but I always take them as forming a special paper design, not as content - in other words, they are part of the overall design like the binding and so on, and so at a different level of attention when reading. I took the 'war photographs' comment as implying this was a book of photographs, which might be a little misleading.
This is arguably a better book even than the LE, which I might not have bought had it not been the last book of the series (though I'm glad I did), so if it's a gap in your admirable collection, I wouldn't hesitate if you see a decent copy on offer.
How true: I read these poems often, and the photographs are most atmospheric, but I always take them as forming a special paper design, not as content - in other words, they are part of the overall design like the binding and so on, and so at a different level of attention when reading. I took the 'war photographs' comment as implying this was a book of photographs, which might be a little misleading.
This is arguably a better book even than the LE, which I might not have bought had it not been the last book of the series (though I'm glad I did), so if it's a gap in your admirable collection, I wouldn't hesitate if you see a decent copy on offer.
16Jayked
Memoirs of Mme duBarry, freebie, quarter silk.
First set of Jane Austen. The books themselves don't say so, and Folio 2006 shows "cloth," but the prospectuses said "silk rep," and the inordinate speed with which the colours faded supports their being silk.
First set of Jane Austen. The books themselves don't say so, and Folio 2006 shows "cloth," but the prospectuses said "silk rep," and the inordinate speed with which the colours faded supports their being silk.
17kdweber
Did I miss the four volume Three Kingdoms set?
Edit: Oh I see it's mentioned but not decided.
Edit: Oh I see it's mentioned but not decided.
18elladan0891
>14 wcarter:
>10 vinnvinn: vinnvinn:
Still not convinced it should be called silk. What do others think?
I own Three Kingdoms, and I think it qualifies 100%, there is not a question in my mind. If we count art(ificial) silk, this should be counted. Just like the 2012 Fine edition of Rubaiyat, which should also be included. If you show these 2 books to any devotee and ask them to guess the material, everyone will say 'silk' or 'crushed silk'.
'Vendome', the name of the material, is a nod to Charvet Place Vendôme, a storied French clothing company famous for their silk. There is even a type of silk called 'charvet'. Place Vendôme is a square in Paris between the Tuileries Gardens and Opera Garnier where the company's store has been located since 19th century (hence at some point becoming part of the company's name). So Vendome is simply a clever-ish name of some particular art silk fabric.
>10 vinnvinn: vinnvinn:
Still not convinced it should be called silk. What do others think?
I own Three Kingdoms, and I think it qualifies 100%, there is not a question in my mind. If we count art(ificial) silk, this should be counted. Just like the 2012 Fine edition of Rubaiyat, which should also be included. If you show these 2 books to any devotee and ask them to guess the material, everyone will say 'silk' or 'crushed silk'.
'Vendome', the name of the material, is a nod to Charvet Place Vendôme, a storied French clothing company famous for their silk. There is even a type of silk called 'charvet'. Place Vendôme is a square in Paris between the Tuileries Gardens and Opera Garnier where the company's store has been located since 19th century (hence at some point becoming part of the company's name). So Vendome is simply a clever-ish name of some particular art silk fabric.
19elladan0891
But pictures speak a thousand words. One photo is "crushed art silk" of Shakespeare's Sonnets, the other is "Vendome" of the Rubaiyat. The colors are very similar, so to drive the point further I'm not saying which one's which :)
So I think the pics clear any doubts that Vendome is simply a name of one crushed art silk batch.
And here is a snap of Three Kingdoms:
So I think the pics clear any doubts that Vendome is simply a name of one crushed art silk batch.
And here is a snap of Three Kingdoms:
20xrayman
>1 wcarter: Thanks for yet another interesting and informative thread. I wonder if one might include the Faerie Queen by virtue of the impressive silk covered box in which it is encased?
21MobyRichard
>20 xrayman:
You mean the green faerie skin...I mean...vendome cloth? It glooowwwwssss :O
And silk is lovely, but too bad it ages so horribly. Once it fades or get's dusty it doesn't seem like there's
anything you can do to restore it.
You mean the green faerie skin...I mean...vendome cloth? It glooowwwwssss :O
And silk is lovely, but too bad it ages so horribly. Once it fades or get's dusty it doesn't seem like there's
anything you can do to restore it.
22xrayman
>21 MobyRichard: It's called 'tsarina crush' on my copy. That may well be a euphemism as customers may have been put off by the use of faerie skin.
23folio_books
>22 xrayman:
If my memory is correct at some point they changed it from Vendome to tsarina crush, so earlier purchasers (me, for one) will have Vendome.
If my memory is correct at some point they changed it from Vendome to tsarina crush, so earlier purchasers (me, for one) will have Vendome.
24MobyRichard
>22 xrayman:
>23 folio_books:
Yep, they changed the material at some point. I've owned (and had to sell) both versions...the vendome
was so much better...it glooooowwweed..
>23 folio_books:
Yep, they changed the material at some point. I've owned (and had to sell) both versions...the vendome
was so much better...it glooooowwweed..
25wcarter
>16 Jayked:
First set of Jane Austen in 1950s-60s are bound in cloth according to Folio 60, so I think I will have to stick o that.
Faerie Queene, Memoirs of Madame du Barry and Three Kingdoms added to list.
First set of Jane Austen in 1950s-60s are bound in cloth according to Folio 60, so I think I will have to stick o that.
Faerie Queene, Memoirs of Madame du Barry and Three Kingdoms added to list.
26Jayked
>25 wcarter:
Every prospectus in the Wiki from 1957 to 1963 shows grey silk rep for Austen 1. Not the first time Folio 60 has been wrong. It's a basic tenet of the scientific method that the witness of several pairs of eyes is to be preferred to a single "authority." I have the physical evidence in front of me and they're unmistakably silk. Perhaps someone else who owns them can confirm.
Every prospectus in the Wiki from 1957 to 1963 shows grey silk rep for Austen 1. Not the first time Folio 60 has been wrong. It's a basic tenet of the scientific method that the witness of several pairs of eyes is to be preferred to a single "authority." I have the physical evidence in front of me and they're unmistakably silk. Perhaps someone else who owns them can confirm.
27affle
>25 wcarter:, >26 Jayked:
It may help to have the Founder's opinion, ex Folio 21. The basic bibliographical details give 'Quarter grey cloth,...', then Ede goes on to say in the comments below: 'Unfortunately the cloth was chosen for its texture which, although aesthetically pleasing, is far from ideal for the gold spine blocking.'
It may help to have the Founder's opinion, ex Folio 21. The basic bibliographical details give 'Quarter grey cloth,...', then Ede goes on to say in the comments below: 'Unfortunately the cloth was chosen for its texture which, although aesthetically pleasing, is far from ideal for the gold spine blocking.'
28vinnvinn
It can't be silk because he said cloth.
It can't be cotton because he said cloth.
It can't be linen because he said cloth.
It can't be cotton because he said cloth.
It can't be linen because he said cloth.
29Jayked
>27 affle:
Since the founder was hands-on you would have to assume that he knew it was marketed to members as silk cloth for several years. He's not a man I would suspect of selling under false pretences. The problem with it was not just that the grey made a poor background for gold. The spine colour faded so rapidly and so drastically that I stopped buying half-way through the series. I store the 3 survivors in the dark. I've been wary of silk ever since.
Since the founder was hands-on you would have to assume that he knew it was marketed to members as silk cloth for several years. He's not a man I would suspect of selling under false pretences. The problem with it was not just that the grey made a poor background for gold. The spine colour faded so rapidly and so drastically that I stopped buying half-way through the series. I store the 3 survivors in the dark. I've been wary of silk ever since.
