Mike Emeny of Books Illustrated
Mike Emeny and the team at Books Illustrated run an award-winning press that works with some of the most well-known artisans in the small/fine press world including Ludlow Bookbinders, Nomad Letterpress, Paperwilds and a host of other talented artists. In 2022, after over a decade of producing wonderful versions of classics, they started in a new direction with the production of The Night Circus by Erin Morgenstern, giving more modern works the fine press treatment. Books Illustrated creates beautiful and generously illustrated works of art, giving stories new life and honoring the tradition of fine bookmaking. They are just coming off a very successful British Book Design & Production Awards year where they captured the 2024 Best Fine Press Book award for their deluxe version of The Starless Sea. We are delighted to get this chance to talk to Mike about the history of the press, their commitment to excellence, and what they have in store for the future.
Q: We are really excited to finally get to talk to you and would love if you could tell us a little bit about your own journey as a reader and collector and who some of the important figures and inspirations in your life were that helped guide you to this point. Were you always in the book industry in some way, or did that come later in life?
I think that most people love books and the adventures that they bring to our lives. My personal love of books can be pin-pointed to my early schooling, where my teacher would gather us all around her at the end of the day and read a chapter of C.S. Lewis’s Chronicles of Narnia. I eagerly looked forward to those moments and spent my hard-earned pocket money collecting each book in the series. Those stories not only helped me develop my reading skills but also introduced me to the enchanting words of C.S. Lewis and the exquisite illustrations by Pauline Baynes. This early love for illustrated books eventually inspired me to become a collector of works by illustrators from the 'Golden Age' of illustration, such as Arthur Rackham, Edmund Dulac, William Heath Robinson, and many others.
Q: Books Illustrated was originally founded in 1999 but took on the more current format of producing multiple versions at different levels over the last 10 years or so. What was the path that led you to creating Books Illustrated in the first place and how has it evolved over the years to get to where you are today?
In later years, I found myself working in the computer industry as Sales and Marketing Director for a U.S.-based company. During this time, I continued to invest my spare funds into my passion for fine books and illustrations. When I eventually left the company, my wife and I decided to turn our passion into a business. This led to the founding of Books Illustrated, which initially focused on buying and selling fine illustrated books and original artwork by the illustrators I admired, including those from the 'Golden Age.'
While exhibiting at a fine art and antiques fair in Olympia, London, I encountered an illustrator who posed an intriguing question: would I be interested in working with a ‘living’ illustrator? That question opened an exciting new chapter for our company. We began collaborating with talented contemporary illustrators like Christian Birmingham, Anne Yvonne Gilbert, and many others.
By 2008, we started hearing from illustrators that publishers were increasingly requesting digital artwork due to its ease of modification and faster production timelines. Recognizing the potential impact this shift could have on our business, we made a pivotal decision: to become publishers of limited-edition illustrated books. This approach allowed us to support illustrators working in traditional mediums while offering collectors beautifully crafted editions.
In 2013, we published our first book, Purr & Feather, a collection of poems by Angel Dominguez, including classics like The Owl and the Pussycat and The Tyger. Each year, we published several timeless stories, all exquisitely bound by Ludlow Bookbinders..
Another significant milestone came in 2022 when we published a limited edition of Erin Morgenstern's bestselling novel, The Night Circus, which sold out entirely. Collaborating with celebrated authors such as Erin Morgenstern, Michael Morpurgo, and Cornelia Funke has been both an honour and a privilege that continues to excite us.
Q: From the time you started producing high-quality limited edition books in your current iteration until now, there have been so many other entrants to the market. What do you think have been the biggest factors that have driven the boom in interest in letterpress handmade books over the last ten years?
I believe it’s because we live in a world dominated by mass production, where faceless multinational corporations process our orders without any human interaction. In contrast, purchasing from a fine press publisher offers a profoundly different and more personal experience. Every step in the creation of these books involves the dedication and expertise of skilled printers, bookbinders, artists, designers, and craftsmen and women who are committed to producing works that will endure for generations.
For many, owning a book crafted in this way—using the highest quality materials—is not just about adding a beautiful edition to their library; it is also a way to support an industry that honours traditional craftsmanship and artistry. Erin Morgenstern beautifully captured this sentiment when she expressed her gratitude, saying we had "dressed her story in fine clothes."
Q: Normally, I would ask about the inspiration behind the name of your imprint, but in this case, it seems pretty straightforward! It is clear from the name that you put a lot of emphasis and importance on the books being heavily illustrated, and this was a priority from the start it seems. In what way do you see the illustrations being additive and how do you go about choosing illustrators for a specific project?
You are absolutely right—illustration has always been a cornerstone of our company. This commitment requires us to work with long lead times because creating art of this caliber cannot be rushed. While our lives would undoubtedly be simpler if we focused on high-quality books with fewer or no illustrations, I believe we would not be contributing anything truly unique to the world.
Not every story lends itself to illustration, which is why we carefully choose titles we feel will be enriched by the storytelling power of great illustrations. When approaching an author, we typically propose two or three illustrators we believe will complement their story. Once the author selects an illustrator, the collaboration begins. We work closely with the author and illustrator throughout the process, ensuring that every illustration is approved by the author.
This close collaboration is one of the most rewarding aspects of our work. It allows us to develop a deeper relationship with the author and gain insight into the backstories and nuances of their novel—insights only the author can provide. No one understands their story better than they do, and this partnership ensures that the illustrations truly capture the essence of their vision.
Q: Your first release in the recent modern line of fine press books from Books Illustrated was The Night Circus by Erin Morgenstern and it came together beautifully. How did the final product resonate with your earliest conceptions of the project and why did you choose this work to kick off this new phase of the imprint?
Having published around twelve limited editions of classic works such as Wuthering Heights, and A Midsummer Night’s Dream, we were attending a fair in the North of England when a customer asked if we had read The Night Circus. They remarked that it would make a stunning illustrated book. Intrigued, my wife and I decided to read it during a holiday and were captivated by the story.
A few years later, when we began considering a collaboration with a bestselling novelist, we recalled how much we had enjoyed The Night Circus. Reaching out to Erin Morgenstern was a pivotal moment for us. We count ourselves incredibly fortunate to have worked with such a lovely and supportive author who not only embraced our vision but was also charmed by the extraordinary artwork created by our illustrator. The project remains one of the highlights of our publishing journey.
Q: What are the biggest factors that determine what the next project is going to be, and what does the evolution of bringing it to life (overall aesthetic, binding material – loving the use of vellum, color, printed letterpress or offset, etc.) look like?
This is a great question and one I could easily fill an entire chapter with. Our approach always begins with publishing books we genuinely love, rather than choosing titles purely for their commercial potential. When you love what you do, that passion translates into every aspect of your work. For us, every project becomes a success because it culminates in a high-quality, beautiful, and rare book that enhances our own library and, we hope, the libraries of others.
While the design and concept of each book are ultimately our responsibility, we deeply value the collaborative process. We hold planning meetings with experts like Paul Kidson at Ludlow Bookbinders, who helps bring our dreams to life, and Pat Randle at Nomad Letterpress, whose advice on printing, papers, and fonts is invaluable. These open and constructive discussions are vital to creating something truly exceptional.
The choice between letterpress and offset printing is one we approach with great care and thoughtfulness. Some might wish for us to focus exclusively on one or the other, but we have come to understand that our work serves two distinct market sectors. The first includes collectors of fine books, while the second comprises fans of the title and author, many of whom are new to the world of fine press books.
For those in the second group, entering this world requires a shift in perspective. They already love the author and the story but may not yet appreciate the value of investing in a fine press edition. Offset printing, particularly for longer books, enables us to meet this audience where they are by offering an affordable entry with the Artist Edition. At the same time, we continue to satisfy fine book collectors with our Collectors, Deluxe, and Prestige Lettered Editions. We see it as our responsibility to introduce these new readers to the joy of owning a newly illustrated fine edition and to make this experience as smooth as possible.
That said, some decisions are more straightforward. For instance, publishing Beowulf as a full letterpress edition took no time at all.
Q: You collaborate heavily with the wonderful Ludlow Bookbinders, a pillar of our community and a binder that has personally brought me some of my favorite books in my collection. I know you go way back with Paul Kidson, who heads the bindery up, and was curious how you originally met and how that collaboration has grown through the years?
I wish I had a particularly thrilling tale to tell here, but the reality is more of a journey of persistence and luck. Once we decided to publish these types of books, we set out to find a bookbinder near our base in Salisbury. We visited several bookbinders, describing our vision for the design, quality, and, most importantly, the quantity we required. The looks on their faces quickly told us this was a challenge too far for them.
In a final effort to find a solution, we headed to the London Book Fair—and it was there that we met Paul. Over the many years since that initial meeting, Paul and his wife, Emma, have become not just trusted collaborators but also dear friends.
Publishing a high-quality edition involves countless moving parts, any of which could go wrong. It is, without a doubt, not an endeavor for the faint-hearted. However, working with Paul and his exceptional team has been a truly rewarding and creative experience. Most importantly, it has been remarkably free of drama—a rare and invaluable gift in a process as complex as this.
Q: What are some of the biggest challenges you have faced keeping this imprint running for all of these years and what would you point to as some of your greatest productions that exemplify what Books Illustrated is at its core?
Embarking on a fine press project presents a number of challenges. The first is the significant initial investment required; however, we are fortunate to be well-funded, allowing us to bring our visions to life. For our illustration-heavy publications, developing relationships with talented illustrators could have been another challenge, but with decades of experience working alongside some truly wonderful artists, this has not posed a major issue for us.
The real challenge, particularly in the beginning, was locating the rights holders for the titles we wanted to publish and navigating the complexities of contracts across various territories. Some publications have required as many as four separate contracts to secure legitimate worldwide rights. Immersing ourselves in the intricacies of legal documents has been a steep learning curve—a crash course in rights management and intellectual property law!
I am proud of all our illustrated editions, but The Night Circus and War Horse hold a special place on our bookshelves. These projects represent the culmination of our passion, dedication, and the collaborative efforts of everyone involved.
Q: It was recently announced that your edition of The Starless Sea by Erin Morgenstern has been
nominated as a finalist in the Fine Binding and Limited-Edition categories at the British Book Design and Production Award this year. There was some fierce competition this year and the quality was extremely high. What does it mean to you being handpicked and to win in such a prestigious competition?
We are proud and humbled to be recognized by the judging panel as the winner of this category and as you rightly mention, there were many exceptional books this year, as there
are in most years.
It is a true pleasure to be in the company of other publishers who are also creating such fine editions. This moment feels very much like its own Golden Age for fine press limited edition publications, and we are honoured to be a part of it.
Q: If there was one word or phrase that came to people’s minds when they think of Books Illustrated, what would you hope it would be?
"The Fine Art of Illustrated Books"—this phrase has its roots in our early days as dealers in original illustrations at prestigious fine art fairs. At the time, we noticed a certain dismissiveness from some fine art dealers, who often regarded illustration as merely commercial art. Their comments reinforced our belief that this perspective was both narrow and undeserved.
We adopted the phrase "The Fine Art of Illustration" because we firmly believe that the works of artists like Arthur Rackham and his contemporaries deserve recognition as fine art in their own right. Their ability to elevate storytelling through visual artistry is nothing short of remarkable.
Publishing fine books, too, is undeniably an art form. It combines the skills of illustrators, designers, printers, and bookbinders, all working in harmony to create something that transcends function. Each book becomes not just a vessel for a story, but a beautiful and lasting piece of art.
Q: What can you tell us about future projects coming in 2025-2026? We know you will continue on with some of your current series, but is there anything else that you can share that you are excited about?
We have a number of releases this year that we’re incredibly excited about, each for different reasons:
Beowulf illustrated by Alice Cao, is a standout project. This will be a full letterpress edition, with both text and illustrations printed by Nomad Letterpress. We’re using the William Morris/A.J. Wyatt translation, paired with the Troy font that Morris himself designed for his 1895 edition. While our edition will not be a facsimile, it pays homage to Morris’s vision, featuring 300 Morris Editions and an extremely limited 8-copy Octad Vellum Edition.
Anne Rice’s The Witching Hour, the first book in The Mayfair Witches series, is another exciting venture. It will be illustrated by Bruno Vergauwen, whose distinctive and evocative style is perfectly suited to capturing the atmosphere of this much-loved story.
Later in the year, we plan to release Yann Martel’s Life of Pi, illustrated by Anne Yvonne Gilbert.
In total, we have over ten titles in various stages of design. As we mentioned earlier, creating the illustrations for these books is a process that cannot be rushed, but the results are always worth the time and care invested.
The date the Beowulf pre-order will be offered on the website will be Saturday 15th March at 2pm UK time. If you want early information and access to the pre-order, you can sign up here.
This interview was done in a series of communications back and forth with Mike and we want to thank him for his willingness to be a part of this series with everything he and the team have going on. If you want to see more from Books Illustrated you can check them out at https://www.booksillustrated.com/. You can also follow them on Facebook or Youtube for more details on their work.
Interview by: Zach Harney a contributor to the Collectible Book Vault
*Since there are often different spellings in American English and British English of the same words, we have chosen to adhere to the spelling of the person who is speaking rather than conform to one convention for the whole interview.
Another great interview, thanks Zach and Mike. I bought a deluxe editon of The Starless Sea. Easy to see why it's a (big) award winner. Beautiful design and execution, and a great read. I liked it so much I tracked down a deluxe of The Night Circus.
Books Illustrated definitely deserves more attention. They produce some great fine press editions, and Mike is so friendly to work with. I’m eagerly awaiting my Deluxe copy of Interview with the Vampire, and I can’t wait to see what they do with the Mayfair Witches series. Finally some real love for Anne Rice from the fine press community! Wonderful reading, Zach.
I always feel like Books Illustrated is under talked about. Their work is up there with the best!
Great interview! Thanks