This paper pack contains 500 high-quality small (4 inch) origami sheets printed with colorful and traditional Japanese Shibori blue & white designs. These paper designs were developed to enhance the creative work of origami artists and paper crafters. The pack contains 12 designs unique to this pack, and all of the papers are printed with coordinating colors on the reverse to provide aesthetically pleasing combinations in origami models that show both the front and back of the papers. This origami paper pack includes: 500 sheets of high-quality origami paper 12 unique designs Vibrant and bright colors Double-sided color 4 x 4 inch (10 cm) squares

Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example features Hokusai's famous and well-loved The Great Wave. The most notable period in Hokusai's artistic life was the latter part of his career, beginning in 1830 when he was 70 years old. He began the series of landscapes he is most famous for: 'Thirty-six Views of Mount Fuji', which included The Great Wave, off Kanagawa, probably his most iconic image.

The wood engravers' self-portrait tells the story of the image-making firm Dalziel Brothers, investigating and interpreting a unique archive from the British Museum. The study takes a creative-critical approach to illustration, alongside detailed investigation of print techniques and history. Five siblings ran the wood engraving firm Dalziel Brothers: George, Edward, Margaret, John and Thomas Dalziel. Prospering through five decades of work, Dalziel became the major capitalist image makers of Victorian Britain. This book, based on AHRC-funded research, outlines the achievements of these remarkable siblings and uncovers the histories of some of the 36 unknown artisan employees that worked alongside them. Dalziel Brothers made works of global importance: illustrations to Lewis Carroll's Alice books, novels by Charles Dickens, and landmark Pre-Raphaelite prints, as well as other, brilliant works that are published here for the first time since their initial creation. -- .

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, notetakers, travellers, students, poets and diarists. 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 ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. The Salt Path was featured on the cover of the bestselling book (of the same name) by Raynor Winn, shortlisted for the 2018 Wainwright Prize and the 2018 Costa Book Awards in the biography category. 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."

Japanese woodblock prints, or ukiyo-e, are the most recognizable Japanese art form. Their massive popularity has spread from Japan to be embraced by a worldwide audience. Covering the period from the beginning of the Japanese woodblock print in the 1680s until the year 1900, Japanese Woodblock Prints provides a detailed survey of all the famous ukiyo-e artists, along with over 500 full-color prints. Unlike previous examinations of this art form, Japanese Woodblock Prints includes detailed histories of the publishers of woodblock prints-who were often the driving force determining which prints, and therefore which artists, would make it into mass circulation for a chance at critical and popular success. Invaluable as a guide for ukiyo-e enthusiasts looking for detailed information about their favorite Japanese woodblock print artists and prints, it is also an ideal introduction for newcomers to the world of the woodblock print. This lavishly illustrated book will be a valued addition to the libraries of scholars, as well as the general art enthusiast.

In Tibetan Printing: Comparisons, Continuities and Change the editors publish the results of the workshop "Printing as an Agent of Change in Tibet and beyond" held at Pembroke College, Cambridge, in November 2013. This is the first study of the social and cultural history of Tibetan book technology that takes materials, living traditions and cross-cultural comparisons into consideration. Bringing together leading experts from different disciplines, it discusses the introduction of printing in Tibetan societies in the context of Asian book cultures with an eye to the questions raised by the study of the European history of printing. This title is available online in its entirety in Open Access. Contributors are: Tim Barrett, Alessandro Boesi, Peter Burke, Michela Clemente, Hildegard Diemberger, Dorje Gyeltsen, Franz-Karl Ehrhard, Helmut Eimer, Johan Elverskog, Camillo Formigatti, Imre Galambos, Agnieszka Helman-Wazny, Tomasz Wazny, Sherab Sangpo Kawa, Peter Kornicki, Leonard van der Kuijp, Stefan Larsson, Ben Nourse, Anuradha Pallipurath, Porong Dawa, Paola Ricciardi, Tsering Dawa Sharshon, Sam van Schaik, Cristina Scherrer-Schaub, Marta Sernesi, Pasang Wangdu.

Address book companion to the exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed, embossed, then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example features Marsh Owl by Angela Harding, a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and the countryside.

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, notetakers, travellers, students, poets and diarists. 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 ARTIST. Annie Soudain created this colourful linoprint using the reduction method, which involves progressively cutting, inking up, and printing from the same block. The picturesque scene was taken from the view across the field overlooking Rye Bay in Hastings Country Park. 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."

Flower painter Pierre-Joseph Redoute (1759-1840) devoted himself exclusively to capturing the diversity of flowering plants in watercolor paintings which were then published as copper engravings, with careful botanical descriptions. The darling of wealthy Parisian patrons including Napoleon's wife Josephine, he was dubbed "the Raphael of flowers," and is regarded to this day as a master of botanical illustration. This collection brings our best-selling XL-sized edition to a smaller, more convenient format, still gathering some of the finest color engravings from Redoute's illustrations of Roses, Lilies, and Choix des plus belles fleurs et quelques branches des plus beaux fruits (Selection of the Most Beautiful Blooms and Branches with the Finest Fruits). Offering a vibrant overview of Redoute's admixture of accuracy and beauty, it is also a privileged glimpse into the magnificent gardens and greenhouses of a bygone Paris. About the series TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program-now more compact, friendly in price, and still realized with the same commitment to impeccable production.

The painter and printmaker Albrecht Durer is one of the most important figures of the German Renaissance. This book accompanies the first major exhibition of the Whitworth Art Gallery's outstanding Durer collection in over half a century. It offers a new perspective on Durer as an intense observer of the worlds of manufacture, design and trade that fill his graphic art. Artworks and artefacts examined here expose understudied aspects of Durer's art and practice, including his attentive examination of objects of daily domestic use, his involvement in economies of local manufacture and exchange, the microarchitectures of local craft and, finally, his attention to cultures of natural and philosophical inquiry and learning. -- .

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, notetakers, travellers, students, poets and diarists. 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 ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and the countryside. 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."

A FLAME TREE POCKET NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. 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. 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. This image is from the shortened version of Lewis Carroll's Alice's Adventures in Wonderland (1865), 'The Nursery Alice' (1889/90). 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."

New title in the Flame Tree Notebook collection, combining beautiful art with high-quality production, and featuring lined pages, a pocket at the back, two ribbon bookmarks and a solid magnetic side flap. Perfect as a gift, or an essential personal choice for writers, notetakers, travellers, students, and poets.

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, notetakers, travellers, students, poets and diarists. 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 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 artist Angie Lewin has a unique vision of the natural world. Her hugely popular prints depict in intricate detail the native flora of a variety of environments, from salt marsh and Highland loch to flower-strewn meadow and wild garden. Lewin finds beauty in each landscape, whatever the season, and is particularly inspired by plant forms: slender reeds, stately goatsbeard, spiky teasels and sculptural seed heads. Plants and Places presents over 70 of Lewin's beautifully crafted linocuts and wood engravings.The works are grouped according to habitat - such as coast, woodland and hedgerow, and garden - together with drawings, paintings and collages from Lewin's sketchbooks of grasses, seed pods, seaweed, shells and other objects that she has collected on her walks. In an engaging introduction, Leslie Geddes-Brown meets Lewin in her studio, discusses her artistic inspiration and her fascination with plants, and describes how she creates her prints.

This is the first scholarly study to focus on satirical prints of women in the late eighteenth century. The period c.1760-1800 was the golden age of graphic satire: thousands of copper-plate engravings, humorous and/or critical in tone, were published. They were sold in London and the provinces and exported overseas, and were viewed by nearly all sections of the population. These prints both reflected and sought to shape contemporary debate about the role of women in society. While attitudes varied considerably, the general consensus was that women were more visible in society than ever before - on the streets, on the stage, on the walls of the Royal Academy, on the hustings, and in the pleasure gardens. The satirical prints of the period reveal perceptions of women and their behaviour as prostitutes and courtesans, wives and mothers, old maids and widows. Cindy McCreery's detailed exploration of this relatively neglected genre extends our knowledge of contemporary attitudes towards women and offers an important new dimension to our understanding of Georgian culture.

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, notetakers, travellers, students, poets and diarists. 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 ARTIST. Born in Kent, Annie Soudain lives by the sea in Sussex and much of her work continues to be inspired by the beautiful landscapes surrounding her. This colourful linoprint was created using the reduction method, which involves progressively cutting, inking up, and printing from the same block. 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."

Albert Durer was born in Nuremberg on 21 May 1471. He began his career under the tutelage of Michael Wolgemut, the eminent German painter and printmaker, before travelling through Germany and to parts of Italy. In 1494 he returned to Nuremberg, where he remained until his death on 6 April 1528. Although an artist and a fluent and engaging writer, it is Durer's woodcuts and engravings that most demonstrate his enviable creative skills. Indeed, the editor of this volume, T. D. Barlow, argues that Durer can indeed be reckoned one of the all-time masters of his craft. Within this 1926 volume, Barlow has chronologically catalogued almost 300 of Durer's engravings; it is the result of many years' work. The finished product will be of great interest as a reference work for scholars engaged in the study of Durer's work and in the distribution of his impressions and their reproductions.

W. D. Richmond's The Grammar of Lithography (1878) is a comprehensive and instructive work on the many varieties of lithography - with all their attendant materials and instruments - described and explained in practical terms for the active participant and the amateur enthusiast alike. Richmond's Grammar should also be understood as part of a wider movement of nineteenth-century industrial disclosure, where pockets of masterly knowledge previously available to apprentices and company employees alone were being made much more widely available through impartial manuals and guides. This noble cause was intended to bring down the walls of ignorance and trade secrecy and to foster an open atmosphere of mutual understanding. In the realm of lithography, Richmond's Grammar was the first treatise to achieve this. While the work forgoes any historical or overly theoretical discussion, it does provide an excellent example of practically oriented expertise in the graphic arts.

William James Linton (1812 1897) was a wood-engraver, poet, prose writer and political activist, who first worked in London but emigrated to the United States in 1866. He began his wood-engraving apprenticeship at the age of sixteen under the well-known London engraver G. W. Bonner. Linton's mature work, championing the use of 'white lining' and favouring the use of horizontal engraved lines and creating tone by differing line thickness, continued in the tradition of Thomas Bewick (1753 1828), the founding figure of wood-engraving. The publication of this book in 1884 marked the culmination of Linton's career, though he continued to research and write on the subject. The manual, originally published in only five hundred copies, is beautifully illustrated with Linton's own engravings and is a rich source for anyone interested in the technical details as well as the historical development of this specialist craft.

A Treatise on Wood Engraving, Historical and Practical (1839), combines the practical knowledge of an engraver with the critical inquiry of an historian. Compiled and edited by William Andrew Chatto, an established author with an interest in woodcuts, the book was originally conceived by the wood-engraver John Jackson, who provided the book's more than three hundred engravings. Roughly three quarters of the Treatise is concerned with the historical evolution of engraving, from the Egyptian hieroglyph stamps held at the British Museum through the masterful works of Albrecht D rer to the decline and reinvigoration of the art in the seventeenth and eighteenth centuries. Practical analysis permeates the text as a whole, with the final section explaining more fully how a block is chosen, cut, and even repaired. The book is therefore of interest to art historians, historians of the book, and even artist practitioners interested in nineteenth-century methods.

The work of Samuel Palmer (1805-1881) received mixed critical success during his lifetime, and his later life was overshadowed by the death of his elder son. Largely forgotten after his own death in 1881, Palmer began to attract renewed interest in the mid-twentieth century and he is now recognised as a key figure in English Romanticism. First published in 1892, this combination of a biography and a collection of Samuel Palmer's letters was written and compiled by his surviving son, A. H. Palmer, who later, in 1909, burned large quantities of his father's sketchbooks and notebooks. The letters published here, which date from 1829 to 1881, include correspondence with other members of 'the Ancients', such as John Linnell, George Richmond and Edward Calvert. The book also includes a range of sketches and etchings, as well as a catalogue of exhibited works.