Treasure Island - lettered

Description from Suntup Website

The Sunttup edition of Treasure Island by Robert Louis Stevenson is presented in three states: Artist, Numbered & Lettered. The oversized edition measures 7¾” x 11¼” and features all seventeen illustrations by N.C. Wyeth which were commissioned by Charles Scribner’s Sons for their 1911 illustrated edition of the novel. Wyeth’s vibrant oil paintings are widely regarded as some of the most iconic depictions of the novel, shaping the popular imagination of characters like Long John Silver and Jim Hawkins for generations.

Wyeth’s now famous and beloved paintings are reproduced as fine art giclée prints, tipped-on across all states. This marks the first time these illustrations will appear in this format alongside the text. They are created from photographs of the original paintings which have been professionally captured using museum-grade reproduction techniques. This ensures the finest level of detail, color accuracy, and tonal depth, offering readers an unparalleled visual experience that closely mirrors Wyeth’s original masterpieces.

We have worked closely with the Brandywine Museum of Art, the New York Public Library Rare Book Division and the New Britain Museum of American Art to license the best quality source material available.

In addition, the cover painting to the Scribner’s edition, long held in a private collection has been professionally photographed exclusively for this edition. The sole exception is the painting tragically lost to fire in 1952, which has been reproduced from the best archival materials available.

The edition includes the Robert Louis Stevenson essay, “My First Book: Treasure Island”, an afterword by Sir Andrew Motion, as well as a note on the text by Timothy Harding who edited the work. Also included is a giclée reproduction of the recreated treasure map—originally hand-drawn by Robert Louis Stevenson which first charted the legendary island’s hidden riches and inspired the timeless adventure.

The text is that of the 1883 Cassell edition, which reflects the author’s final intentions, and our edition includes extensive footnotes. Beautifully and expertly designed by award-winning designer Mark Argetsinger, the text is set in DTL Fleischman and the edition is printed letterpress in folio format by Elias Roustom on his Heidelberg Cylinder in Middleborough, Massachusetts on Cougar Natural, Neenah Cotton and mouldmade Hahnemühle Biblio papers.

The Lettered edition is limited to 26 copies and is a full goatskin binding inspired by the Vellucent bindings of the late 19th and early 20th centuries. The technique was developed by Cedric Chivers around 1903. A vellum print of the Captain Bill Bones painting is inlaid beneath the topmost cover board, which is precisely die-cut to frame and reveal the illustration, creating a striking depth and layered visual effect. The artwork is silkscreened onto the finest calfskin vellum, crafted by world-renowned parchment makers, William Cowley. Established in 1870 and spanning four generations, William Cowley has upheld a legacy of excellence, producing vellum of unparalleled quality, durability, and beauty. The print features a protective, UV resistant print-guard treatment.

Printing on vellum produces a soft, muted effect, where the artwork appears aged and gently faded, as if imbued with time. Colors appear subtly subdued, and details are softened by the organic surface. The slightly ghosted, timeworn appearance harmonizes beautifully with this style of binding, evoking the old-world charm and timeless craftsmanship of early 20th-century fine editions.

The cover features gold foil blocking from a brass plate as well as a leather spine label. Head & tail bands are handmade with leather and endsheets are Suminagashi marbled paper. Suminagashi is the ancient Japanese art of paper marbling. The name “suminagashi,” meaning “floating ink,” evokes the movement of water and swirling tides—an ideal metaphor for the tumultuous seas and hidden treasures central to the novel’s narrative. The organic, flowing patterns created through this process can resemble ocean currents, stormy skies, or even topographical maps of uncharted islands, lending each sheet of marbled paper a unique and adventurous character.

The marbled papers are created by artist, educator and designer Natalie Stopka. Her abstract, organic prints are made using botanical dyes that she ethically forages or cultivates in her studio garden. The paper is Saint-Armand Old Masters which are handmade using traditional methods.

The edition is housed in a quarter leather clamshell enclosure with a rounded spine and European cloth with velour lined trays. The edition is printed letterpress on mouldmade Hahnemühle Biblio 150 gsm paper and is signed by Sir Andrew Motion.

Also check the other states of the book:

Artist edition - Numbered