World War 1 Posters - 100th Anniversary Commemorative Edition is a stunning collection of propaganda poster art widely distributed before and during the war. Featuring magnificent works by some of the best illustrators in the US, Britain, Germany and Europe, this rare collection also includes valuable tips for collectors.

Monumental Collaborative Puzzle Prints are huge woodcuts created and instigated by printmaking artist Maria Arango Diener. City of the World 2012 is the third of such projects and probably not the last. Project SUMMARY Generally speaking, a puzzle print is any print in which the block is sawed into pieces, each of which is carved and sometimes inked separately. The "puzzle" is then assembled at press and printed as a single image.

A Collaborative-Puzzle-Print is a special kind of puzzle print whereby a humongous block or three are painstakingly sawed into many many many funny shaped pieces. Each of the pieces is then flown across the world landing squarely in the carving bench of dozens of brave printmakers everywhere. Each artist carves their little piece, sometimes unaware of the "big picture" but always under a theme.

The coordinator receives back the tiny blocks and assembles them one by one until all come home. The coordinator then assembles and prints the entire puzzle composed of wonderfully carved images. Each printmaker then receives a rather large print of the entire project.

THE THEME for this project is "City of the World," as tightly or loosely interpreted as each participant wishes. The overall design interprets the theme literally, that is, the pieces could be part or entire cars, trucks, apartment windows, houses, clouds, planes, park benches, trees, shops, pieces of street or sidewalk, buses, and a very long etcetera. The piece each participant receives may or may not be recognizable and the shape may or may not influence the individual's design. The design may be how an individual sees themselves "in their corner of the world"; how they perceive themselves within the world or the world of printmaking; a representation of their actual place in their city or town; more generally "home"; their view of their city or town, again, etcetera. Anything goes in the City of the World.

Chronology and Print Information The City of the World 2012 was started in 2011 and completed in about a year. The resulting print spanned 6 wood panels and therefore 6 sheets of 22 x 30 inch paper, resulting in a print around 30 inches tall by almost 9 feet wide.

THIS BOOK is an expanded colophon of information about each panel, each piece, each printmaker and each image that composed the entire monumental woodcut.

The sections of the book include:

-Entire image reproduced -Key to the image -Participants -Each piece with participant comments -Process photos with explanation

A selection of photographs from the UK and Europe. Categories include Flora, Fauna, Landscapes, Architecture and Details.

""Beautiful and inspiring."
"Wonderfully presented.""

As well as telling for the first time the story of Hewitt Henry Rayner - probably the 20th century's most prolific drypoint etcher - this biography also provides fresh insights into the personality of Walter Sickert, observed during a friendship that lasted almost a decade. Matthew Sturgis, noted Sickert expert, has contributed the Foreword to this biography. He commented: This book adds many things to the record of Sickert s life, his working practices, his teaching methods, his work-spaces, and his character. It will be a useful and enduring addition to the story of early Twentieth Century British art. Australian-born Hewitt Henry Rayner came to England in 1923 at the age of 21 to study art, fell in love with London (and Chelsea in particular), and stayed for the rest of his life. He won a place at the Royal Academy Schools in 1925, where Sickert was a visiting teacher. The two struck up a friendship and saw each other regularly at Sickert s homes and studios, in cafes and restaurants, and sometimes sketching together in London locations. Sickert was a generous friend and mentor to Rayner, who assiduously noted down the things his master did and said. These first-hand reminiscences form a significant strand of the book. Other figures from London s artistic and literary worlds of the 1920s and 1930s who appear in the Rayner story include Augustus John, Nina Hamnett, Ethel Mannin, Yoshio Markino, Charles Sims, Dame Ethel Walker and Philip Wilson Steer. Unusually, and against Sickert s advice, Rayner chose drypoint etching as his principal medium, and from 1926 on adopted Henry Rayner as his professional name. Between 1926 and 1945 he produced what is quite probably the largest body of original drypoint etchings by any 20th century artist. Over 500 plates are known, most in his distinctive Impressionistic style. Most of the plates have survived. Although Rayner has been largely forgotten since his death in 1957, there are numerous institutions that hold examples of his drypoints. These include the V&A, the British Museum, the National Portrait Gallery and the Royal Collection at Windsor, as well as many regional galleries in Britain and major galleries in Australia and New Zealand. This biography charts Rayner s struggle to earn a living as an artist in the face of an economic depression, ill health, serious war injuries and - as he saw it - cold-shouldering by the British art establishment. It is rich in detail, thanks in part to a large archive of the artist s unpublished autobiographical manuscripts, notebooks, essays and correspondence, discovered recently. Some 95 examples of Rayner s work are reproduced in the book, together with 70 photographs, making it an important reference work on this neglected artist.