Keep the page in your book with this gorgeous pack of 10 foiled bookmarks, printed on both sides, with a silky ribbon and featuring artwork by Vincent van Gogh. Demonstrating influence from Impressionism and Japanese prints, Almond Blossom was painted in response to the birth of Vincent van Gogh's nephew. Motivated by the occasion and moved by his brother Theo naming the child after him, Van Gogh painted Almond Blossom as a gift in celebration of the event. He had previously been greatly inspired by flowering trees, and appreciated their power as symbols of rebirth.

Published to celebrate the 200th anniversary of the birth of G.F. Watts, this book provides a lively and engaging introduction to one of the most charismatic figures in the history of British art. Covering all aspects of Watts's career, it places him back at the centre of the visual culture of the 19th century. George Frederic Watts (1817-1904) was one of the great artists of the 19th century. As a young man Watts exhibited alongside Turner, and by the end of his long career he was influential upon Picasso. Sculptor, portraitist and creator of classic Symbolist imagery, Watts was seen also as more than an artist - a philanthropic visionary whose art charted the progress of humanity in the modern world. After four years in Italy in the 1840s, Watts was recognized as a Renaissance master reborn in the Victorian age. Nicknamed 'Signor', and working in isolation from the mainstream commercial art-world, he became a cult figure, obsessively returning to a series of subjects describing the fundamental themes of existence - love, life, death, hope. Engaging in turn with Romanticism, the Pre-Raphaelites, the Aesthetic Movement and Symbolism, Watts remained true to his own personal vision of the evolution of humanity. As a portraitist, Watts set out to capture the essence of the great characters of 19th-century Britain, donating his finest portraits to the National Portrait Gallery in London. Watts's portraits of figures such as William Morris, John Stuart Mill and the poets Tennyson and Swinburne have become the classic images of these cultural celebrities, while more intimate portraits such as Choosing, showing the artist's first wife, the actress Ellen Terry, are among the most popular of all British portraits. During the 1880s Watts emerged from his cult status to be embraced by the public. Feted as the great modern master, even as "England's Michelangelo", he was given large retrospective exhibitions in London and at the Metropolitan Museum in New York. His reputation grew also in Europe, where the Symbolists revered him as one of their great exemplars. Watts's most celebrated works, such as Love and Life, Hope, and the epic sculpture Physical Energy, were reproduced globally and their fame was unsurpassed within contemporary art in the years around 1900. By this time, Watts had acquired a country home in Surrey - Limnerslease - around which he and his second wife, the designer Mary Watts, built a type of utopian settlement, which has recently been restored and opened to the public as Watts Gallery - Artists' Village. By the end of his life Watts was a national figure, an inspirational artist who had found a meaningful role for art as a catalyst for social change and community integration.

A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, travellers, students and poets. Features a wide range of well-known and modern artists, with new artworks published throughout the year.

BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table.

PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy.

THE ART. Lewis Carroll's Alice's Adventures in Wonderland remains one of the best-loved fantasy tales, with the White Rabbit, the Mad Hatter and the Cheshire Cat enjoying an enduring legacy in popular imagination.

THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

The five landscape series of 2002 have been made in quantities of eighty to one hundred panels, each set generally taking three weeks to complete. The subjects were drawn from personal journeys in the past five years. The panels are worked on flat, painting twenty at a time in fifteen minute bursts. They are laid out on an old framed 6' x 3' piece which is also serves as a container for the pool of colour washed over the textured surface. Two inch square wooden cubes are used to stack the panels in small towers to dry out. Various factors steer the series' development: there is an initial colour plan; I think about the loadbearing pressures on a place, tracks and crossing points, airflow, water, spaces and intervals, the nature of settlement in the land. For a city: light and shadows on buildings, streets, side alleys and hidden courtyards, people, stores, traffic, noise, incidents and interruptions. I may use rough handling of the medium to make it work, paint responds to that. The panels form a continuing conversation with the colour plan, titles are assigned later to photographs of the line of production. The identity of a place is achieved not by literal description but as an equivalent found by coincidence in the passage of an abstract process. Philip James, Cv/Visual Arts Research, July '02