This is another fine review in your series and you have certainly touched upon all of the salient points. The Conversation Tree Press (CTP) is one of but a handful of modern private presses that has hit a home run (or scored a goal for European readers) with a superb debut publication. The quality of materials used throughout and the quality of letterpress printing from Pat Randle at his Nomad Letterpress are top-notch, hardly surprising since Pat is the son of John and Rose Randle of the Whittington Press, one of the 20th century's finest private presses. Note that the deluxe edition deliberately has a classic appearance because it was intended as an homage to the great signed limited edition illustrated books of the early 20th century from the likes of Arthur Rackham, Edmund Dulac, Willy Pogany, Kay Nielsen, etc. Although you briefly touched upon it at the end, what REALLY sets the CTP apart is the taste level and genius for book design that proprietor Tony Geer apparently has, from choice of materials to choice of illustrators. Although Peter Pan may not be everyone's cup of tea, the illustrations from Charles Vess are both numerous and appropriate, well worth the price of admission. One final note - aside from Peter Pan and Joe Hill's 'Faun', CTP has announced and is already working on an edition of an early sci-fi classic - Flowers for Algernon by Daniel Keyes. This is described in detail on the CTP website and the book designs are stunning, so much so that the full goatskin Deluxe edition went OOP in a matter of weeks. Again, the 8 impressionistic oil painting illustrations and 5 line drawings (which are printed letterpress!) by Jacob Dhein are perfect, greatly enhancing one's read of this novel. The remaining standard edition is similarly priced at $275 representing excellent value. Whilst you may not want to buy an expensive edition of Peter Pan, Flowers for Algernon should have widespread appeal.
having the map bound in as a trifold , will also permit one to have the map open whilst reading the story, so you will not have to go back and forth if you try to follow the route
First, I should say that there are various different weights, colours and textures of Abbey Wove used by Folio Society. But compared to a typical Folio standard edition, the Munken paper here is similar from a tactile and colouration point of view, but noticeably heavier in weight. Both feel like modern refined papers.
I wonder, is there a reason (except for the aesthetic one) for such wide side and bottom fields? It seems a little more convenient to handle the book, to keep it and to turn pages without covering the content of the book with your hands, but seeing such big areas of empty paper in books is not of what I got used to. It is almost as if it is a small book in a bigger cover. Is it some kind of traditional format of books printing from old times?
Good question. You can actually read about Conversation Tree's philosophy on page layout here: conversationtreepress.com/blogs/news/typesetting-treasure-island
Adorable edition!!
Absolutely, it's a press to watch.
Great channel! I jumped on their collection of weird tales with the Hodgeson volume. I love the old English style bindings on these books.
Congratulations: yes, the weird tales editions also look wonderful.
This is another fine review in your series and you have certainly touched upon all of the salient points. The Conversation Tree Press (CTP) is one of but a handful of modern private presses that has hit a home run (or scored a goal for European readers) with a superb debut publication. The quality of materials used throughout and the quality of letterpress printing from Pat Randle at his Nomad Letterpress are top-notch, hardly surprising since Pat is the son of John and Rose Randle of the Whittington Press, one of the 20th century's finest private presses. Note that the deluxe edition deliberately has a classic appearance because it was intended as an homage to the great signed limited edition illustrated books of the early 20th century from the likes of Arthur Rackham, Edmund Dulac, Willy Pogany, Kay Nielsen, etc. Although you briefly touched upon it at the end, what REALLY sets the CTP apart is the taste level and genius for book design that proprietor Tony Geer apparently has, from choice of materials to choice of illustrators. Although Peter Pan may not be everyone's cup of tea, the illustrations from Charles Vess are both numerous and appropriate, well worth the price of admission.
One final note - aside from Peter Pan and Joe Hill's 'Faun', CTP has announced and is already working on an edition of an early sci-fi classic - Flowers for Algernon by Daniel Keyes. This is described in detail on the CTP website and the book designs are stunning, so much so that the full goatskin Deluxe edition went OOP in a matter of weeks. Again, the 8 impressionistic oil painting illustrations and 5 line drawings (which are printed letterpress!) by Jacob Dhein are perfect, greatly enhancing one's read of this novel. The remaining standard edition is similarly priced at $275 representing excellent value. Whilst you may not want to buy an expensive edition of Peter Pan, Flowers for Algernon should have widespread appeal.
Thanks Oracle, I agree on all points.
having the map bound in as a trifold , will also permit one to have the map open whilst reading the story, so you will not have to go back and forth if you try to follow the route
Yes, good point. I realised that after posting the review.
Really wonderful illustrations. Perfect blend of modern and traditional. They look really nicely produced as well.
Yes, the reproduction is very good.
Beautifully designed. Too many fine books are ugly, these are not.
Totally agree that these are handsomely designed books.
Thank you for posting; convinced me to order one of the deluxe editions. 😊
Excellent, thanks for letting me know. Always glad to be an enabler.
How does the Munken paper compares to the Abbey wove paper used in FS books?
First, I should say that there are various different weights, colours and textures of Abbey Wove used by Folio Society. But compared to a typical Folio standard edition, the Munken paper here is similar from a tactile and colouration point of view, but noticeably heavier in weight. Both feel like modern refined papers.
I wonder, is there a reason (except for the aesthetic one) for such wide side and bottom fields? It seems a little more convenient to handle the book, to keep it and to turn pages without covering the content of the book with your hands, but seeing such big areas of empty paper in books is not of what I got used to. It is almost as if it is a small book in a bigger cover.
Is it some kind of traditional format of books printing from old times?
Good question. You can actually read about Conversation Tree's philosophy on page layout here: conversationtreepress.com/blogs/news/typesetting-treasure-island