Böcker utgivna av Paperblanks

Connect with the ornate Dutch world of yesteryear with this stately gold on black geometric design. Reproducing an expensive goatskin leather book binding crafted in Amsterdam in 1835 by Friedrich W.J.C. Kolb, our Onyx journal celebrates the harmony between art and science. The binding was originally designed to contain a Latin oration on the physiology of plants by the renowned Dutch botanist Willem Hendrik de Vriese (1806–1862). De Vriese was a member of the Royal Dutch Institute of Sciences, Literature and Fine Arts and, in his studies, named many species of plants in the Asterales order (Asterids). Science and art have long found a common ground in Dutch history, with artists from the Netherlands pioneering the form of still life, so there is little wonder why this significant binding can be found in the KB, National Library of the Netherlands. Founded in 1798, the library holds the intention to celebrate the written word and share Dutch creativity and innovation with the world. We are honoured to partner with the KB, National Library to bring this beautiful binding to the Paperblanks collection.

These intricate details of spring and summer flowers are from an 18th-century Japanese paper screen by artist Watanabe Shikō (1683–1755), who painted in the Rinpa style (and was reputedly a rōnin!). Rinpa is a leading historical school of Japanese painting, established in 17th-century Kyoto, whose artists were known for working in a range of formats, notably screens, fans, hanging scrolls and kimono textiles. The design on our cover shows a section of a screen with various types of blooms often believed to follow the ancient Japanese language of flowers, called Hanakotoba. We are honoured to have the use of this original work from the Ashmolean Museum of Art and Archaeology at the University of Oxford.

These intricate details of spring and summer flowers are from an 18th-century Japanese paper screen by artist Watanabe Shiko (1683¿1755), who painted in the Rinpa style (and was reputedly a ronin!). Beautiful gold accents make up every intricacy of the leaves and flowers in this rich and romantic composition.Rinpa is a leading historical school of Japanese painting, established in 17th-century Kyoto, whose artists were known for working in a range of formats, notably screens, fans, hanging scrolls and kimono textiles. The design on our cover shows a section of a screen with various types of flowers often believed to follow the ancient Japanese language of flowers, called Hanakotoba. Flowers were used to convey emotion and communicate with the viewer without using words.We are honoured to have the use of this original work from the Ashmolean Museum of Art and Archaeology at the University of Oxford, where Japanese material has been exhibited since the earliest stages of the Museum¿s history.

These intricate details of spring and summer flowers are from an 18th-century Japanese paper screen by artist Watanabe Shikō (1683–1755), who painted in the Rinpa style (and was reputedly a rōnin!). Beautiful gold accents make up every intricacy of the leaves and flowers in this rich and romantic composition. Rinpa is a leading historical school of Japanese painting, established in 17th-century Kyoto, whose artists were known for working in a range of formats, notably screens, fans, hanging scrolls and kimono textiles. The design on our cover shows a section of a screen with various types of flowers often believed to follow the ancient Japanese language of flowers, called Hanakotoba. Flowers were used to convey emotion and communicate with the viewer without using words. We are honoured to have the use of this original work from the Ashmolean Museum of Art and Archaeology at the University of Oxford, where Japanese material has been exhibited since the earliest stages of the Museum’s history.

Described as the “mise en scène for the romantic drama of American business,” New York City’s Chanin Building was built by Irwin S. Chanin in the late 1920s. Ornately adorned with bronze grilles representing some of the finest Art Deco in the city, the lobby was styled around a “City of Opportunity” concept. One of these ventilator grilles, with loops, spirals and geometric lines symbolizing human thought and emotion, is reproduced here.

Described as the “mise en scène for the romantic drama of American business,” New York City’s Chanin Building was built by Irwin S. Chanin in the late 1920s. Ornately adorned with bronze grilles representing some of the finest Art Deco in the city, the lobby was styled around a “City of Opportunity” concept. One of these ventilator grilles, with loops, spirals and geometric lines symbolizing human thought and emotion, is reproduced here.

New York City is home to an endless number of famed landmarks and tourist attractions, including the eye-catching skyscrapers that punctuate the city skyline. Described in an original brochure as the “mise en scene for the romantic drama of American business,” one such tower is the Chanin Building. This midtown Manhattan landmark was built by developer Irwin S. Chanin in the late 1920s and its magnificent lobby is a major draw for architecture aficionados. Ornately adorned with bronze grilles representing some of the finest Art Deco in the city, the lobby was modernly styled around a “City of Opportunity” concept. One of these ventilator grilles, with loops, spirals and geometric lines symbolizing human thought and emotion, is reproduced here. The Chanin Building’s exuberant craftsmanship led it to be designated a city landmark in 1978 and added to the National Register of Historic Places in 1980. Its uniquely New York City take on the Art Deco style is just one of many reasons to pay attention to the architectural achievements lining the city’s streets.

Azulejos (meaning “small polished stone”) are painted, glazed ceramic tiles that date back to 13th-century Portugal where they were used inside buildings during the Gothic period. Today, we see these decorative tiles across a wide range of buildings, from monasteries, palaces and restaurants to bars, railway stations and family homes. The design on the tiles commonly related to the building’s unique history, and the individual pieces often end up forming an elaborate mosaic. There are countless wonderful examples of these beautiful tiles all across Portugal. The design seen here is pulled from the traditional tiles gracing the façades of a variety of old houses in Porto. Ornate in detail, these tiles do not just serve as decoration but represent an important part of Portuguese culture and tradition. Held within are stories of their country and its past.

Azulejos (meaning “small polished stone”) are painted, glazed ceramic tiles that date back to 13th-century Portugal where they were used inside buildings during the Gothic period. Today, we see these decorative tiles across a wide range of buildings, from monasteries, palaces and restaurants to bars, railway stations and family homes. The design on the tiles commonly related to the building’s unique history, and the individual pieces often end up forming an elaborate mosaic. There are countless wonderful examples of these beautiful tiles all across Portugal. The design seen here is pulled from the traditional tiles gracing the façades of a variety of old houses in Porto. Ornate in detail, these tiles do not just serve as decoration but represent an important part of Portuguese culture and tradition. Held within are stories of their country and its past.

Azulejos (meaning “small polished stone”) are painted, glazed ceramic tiles that date back to 13th-century Portugal where they were used inside buildings during the Gothic period. Today, we see these decorative tiles across a wide range of buildings, from monasteries, palaces and restaurants to bars, railway stations and family homes. The design on the tiles commonly related to the building’s unique history, and the individual pieces often end up forming an elaborate mosaic. There are countless wonderful examples of these beautiful tiles all across Portugal. The design seen here is pulled from the traditional tiles gracing the façades of a variety of old houses in Porto. Ornate in detail, these tiles do not just serve as decoration but represent an important part of Portuguese culture and tradition. Held within are stories of their country and its past.

English writer Mary Wollstonecraft Shelley’s Gothic horror novel Frankenstein tells of a scientist who creates a sentient being in a morality-pushing experiment. The story came to life while on a cross-European vacation with friends, touring ancient castles and discussing topics such as the occult. When Lord Byron suggested a competition to see who could write the best ghost story, Shelley drew upon these experiences, as well as her own feelings of grief and guilt over the loss of a child, to craft a story that tackled universal questions such as “What is my purpose” and “Why am I here.” Today, this handwritten draft of Frankenstein is held at Bodleian Libraries at the University of Oxford.

English writer Mary Wollstonecraft Shelley’s Gothic horror novel, Frankenstein, considered to be one of the first works of science fiction, tells of a scientist who creates a sentient being in a morality-pushing experiment.The story came to life during an 1816 trip that Shelley undertook with fellow Romantic era writers. The group travelled along the Rhine, stopping near Frankenstein Castle where an alchemist was said to have engaged in mysterious experiments two centuries before, and the group’s conversations were dominated by topics such as galvanism and the occult. When Lord Byron suggested a competition to see who could write the best ghost story, Shelley drew upon these experiences, as well as her own feelings of grief and guilt over the loss of a child, to craft her story. Frankenstein tackles universal questions such as “What is my purpose” and “Why am I here” – questions that always have, and always will, resonate with reading audiences. Today, Mary Shelley’s handwritten draft of Frankenstein is held at Bodleian Libraries at the University of Oxford.

Luxuriate in the brass and regal blue tones of this Blue Luxe cover design. The original book, crafted in the heart of Amsterdam in 1715, was bound in goatskin with elaborate gold tooling. Contained inside the volume was the Oratio Dominica (Lord’s Prayer) in almost 150 languages and dialects, compiled by English courtier John Chamberlayne, creating a document of global appeal. The intricate details of this design reflect the tapestry of cultures in its original pages. The translations spanned from Europe and Asia to Arabia, Persia, Syria and Turkey. Chamberlayne, who was a writer and translator, spoke 16 languages himself. Let the many cultures that once lived within this 18th-century binding inspire you against Blue Luxe’s opulent backdrop.

Luxuriate in the brass and regal blue tones of this Blue Luxe cover design. The original book, crafted in the heart of Amsterdam in 1715, was bound in goatskin with elaborate gold tooling. Contained inside the volume was the Oratio Dominica (Lord’s Prayer) in almost 150 languages and dialects, compiled by English courtier John Chamberlayne, creating a document of global appeal. The intricate details of this design reflect the tapestry of cultures in its original pages. The translations spanned from Europe and Asia to Arabia, Persia, Syria and Turkey. Chamberlayne, who was a writer and translator, spoke 16 languages himself. Let the many cultures that once lived within this 18th-century binding inspire you against Blue Luxe’s opulent backdrop.

Unheralded wildflowers and weeds are given a voice in our Vox Botanica series, featuring the work of celebrated Art Nouveau illustrator Anton Seder (1850-1916). This particular piece, originally chromolithograph on paper, comes from one of his best-known works, Die Pflanze in Kunst und Gewerbe, or The Plant in Art and Trade. Published in Vienna in 1890, it offers two volumes of stunning prints gracefully depicting elements of nature. Seder's harmonious use of space, pleth ora of details and candid depiction of natural elements drew us to this piece. With this series, we herald Seder's unique voice and vision for his plants in a new era of art and trade.

Unheralded wildflowers and weeds are given a voice in our Vox Botanica series, featuring the work of celebrated Art Nouveau illustrator Anton Seder (1850-1916). This particular piece, originally chromolithograph on paper, comes from one of his best-known works, Die Pflanze in Kunst und Gewerbe, or The Plant in Art and Trade. Published in Vienna in 1890, it offers two volumes of stunning prints gracefully depicting elements of nature. Seder's harmonious use of space, pleth ora of details and candid depiction of natural elements drew us to this piece. With this series, we herald Seder's unique voice and vision for his plants in a new era of art and trade.

Unheralded wildflowers and weeds are given a voice in our Vox Botanica series, featuring the work of celebrated Art Nouveau illustrator Anton Seder. Seder (1850-1916) was a designer, art professor and eventual Director of the noted Kunstge werbeschule (Arts and Crafts School) in Strasbourg, Alsace-Lorraine. With the region at that time hotly contested by both France and Germany, the art scene that arose offered a unique marriage of cultures. Influences from both countries, along with Victorian, Baroque and even Japanese wood block elements, can thus be seen in Seder's work. This particular piece, originally chromolithograph on paper, comes from one of his best-known works, Die Pflanze in Kunst und Gewerbe, or The Plant in Art and Trade. Published in Vienna in 1890, it offers two volumes of stunning prints gracefully depicting elements of nature. Seder's harmonious use of space, plethora of details and candid depiction of natural elements drew us to this piece. With this series, we herald Seder's unique voice and vision for his plants in a new era of art and trade.

Unheralded wildflowers and weeds are given a voice in our Vox Botanica series, featuring the work of celebrated Art Nouveau illustrator Anton Seder. Seder (1850-1916) was a designer, art professor and eventual Director of the noted Kunstge werbeschule (Arts and Crafts School) in Strasbourg, Alsace-Lorraine. With the region at that time hotly contested by both France and Germany, the art scene that arose offered a unique marriage of cultures. Influences from both countries, along with Victorian, Baroque and even Japanese wood block elements, can thus be seen in Seder's work. This particular piece, originally chromolithograph on paper, comes from one of his best-known works, Die Pflanze in Kunst und Gewerbe, or The Plant in Art and Trade. Published in Vienna in 1890, it offers two volumes of stunning prints gracefully depicting elements of nature. Seder's harmonious use of space, plethora of details and candid depiction of natural elements drew us to this piece. With this series, we herald Seder's unique voice and vision for his plants in a new era of art and trade.

Repetition and detail help to create this meditation on the nature of beauty. This Silver Filigree cover was originally designed in Germany in the early 1800s. To achieve the gilded motif, a base layer of silver sheets was first die cut, and elaborate grooves were then etched into its surface. Combining the Latin words filum (thread) and granum (seed), "filigree" describes an art form that is a testament to the human drive to ornament.

Repetition and detail help to create this meditation on the nature of beauty. This Silver Filigree cover was originally designed in Germany in the early 1800s. To achieve the gilded motif, a base layer of silver sheets was first die cut, and elaborate grooves were then etched into its surface. Combining the Latin words filum (thread) and granum (seed), "filigree" describes an art form that is a testament to the human drive to ornament.

Delicate repetition and astonishing detail help to create this silvered meditation on the nature of beauty. The word "filigree" derives from the Latin words filum (thread) and granum (seed). The filigree bindings are enhanced with foliage-ornaments and clasps. This Silver Filigree cover was originally designed in Germany in the early 1800s. To achieve the gilded and polished motif, a base layer of silver sheets was first die cut, and elaborate grooves were then meticulously etched into its surface. The art of filigree is a moving testament to the human drive to ornament in order to delight the eye and focus the spirit and attention. One can imagine this book holding ancient matters of great importance as easily as one can see it placed with pride on a well-appointed contemporary desk.

Delicate repetition and astonishing detail help to create this silvered meditation on the nature of beauty. The word "filigree" derives from the Latin words filum (thread) and granum (seed). The filigree bindings are enhanced with foliage-ornaments and clasps. This Silver Filigree cover was originally designed in Germany in the early 1800s. To achieve the gilded and polished motif, a base layer of silver sheets was first die cut, and elaborate grooves were then meticulously etched into its surface. The art of filigree is a moving testament to the human drive to ornament in order to delight the eye and focus the spirit and attention. One can imagine this book holding ancient matters of great importance as easily as one can see it placed with pride on a well-appointed contemporary desk.

This gold-tooled design comes from a unique binding attributed to Christian Samuel Kalthoeber, a German bookbinder working in London. He created the beautiful new cover for this copy of Shakespeare's First Folio around 1800. Originally published in 1623, Mr. William Shakespeare's Comedies, Histories, & Tragedies (or, First Folio) is the only reliable text for nearly 20 of Shakespeare's plays, including The Tempest and Twelfth Night. Today, the First Folio is one of the most valuable books in the world, with one being sold in 2020 for nearly $10 million. There are only 235 known surviving copies, from approximately 750 printed, and the Folger holds just over one third of them, including the binding reproduced here.

This gold-tooled design comes from a unique binding attributed to Christian Samuel Kalthoeber, a German bookbinder working in London. He created the beautiful new cover for this copy of Shakespeare's First Folio around 1800. Originally published in 1623, Mr. William Shakespeare's Comedies, Histories, & Tragedies (or, First Folio) is the only reliable text for nearly 20 of Shakespeare's plays, including The Tempest and Twelfth Night. Today, the First Folio is one of the most valuable books in the world, with one being sold in 2020 for nearly $10 million. There are only 235 known surviving copies, from approximately 750 printed, and the Folger holds just over one third of them, including the binding reproduced here.

This stately gold-tooled design comes from a unique binding attributed to Christian Samuel Kalthoeber, a German bookbinder working in London. He created the beautiful new cover for this copy of Shakespeare's First Folio around 1800. Originally published in 1623 in London and containing 36 of Shakespeare's plays, Mr. William Shakespeare's Comedies, Histories, & Tragedies (known as the First Folio) is one of the most influential books ever published. It is the only reliable text for the 18 Shakespeare plays that had previously never been printed, including Macbeth, The Tempest and Twelfth Night. Today, there are only 235 known surviving copies, from approximately 750 printed. Due to its influence and scarcity, the First Folio is one of the most valuable printed books in the world, with one being sold at auction in 2020 for nearly $10 million. The Folger Shakespeare Library itself holds 82 copies of the First Folio in their collection. We are honoured to introduce this beautiful and unique binding as our first reproduction from the Library's unparalleled collection.

This stately gold-tooled design comes from a unique binding attributed to Christian Samuel Kalthoeber, a German bookbinder working in London. He created the beautiful new cover for this copy of Shakespeare's First Folio around 1800. Originally published in 1623 in London and containing 36 of Shakespeare's plays, Mr. William Shakespeare's Comedies, Histories, & Tragedies (known as the First Folio) is one of the most influential books ever published. It is the only reliable text for the 18 Shakespeare plays that had previously never been printed, including Macbeth, The Tempest and Twelfth Night. Today, there are only 235 known surviving copies, from approximately 750 printed. Due to its influence and scarcity, the First Folio is one of the most valuable printed books in the world, with one being sold at auction in 2020 for nearly $10 million. The Folger Shakespeare Library itself holds 82 copies of the First Folio in their collection. We are honoured to introduce this beautiful and unique binding as our first reproduction from the Library's unparalleled collection.

Displaying astounding plays of naturalistic illusionism, the luxurious book known as the Spinola Hours is one of the most visually sophisticated 16th-century Flemish manuscripts. A book of hours contains a calendar of Church holidays, the Hours of the Virgin, the Office for the Dead, and other prayers, hymns and readings. The Spinola Hours also includes weekday offices and masses, providing even more possibilities for rich illuminations. The book was commissioned for a wealthy patron, perhaps Margaret of Austria, and in the 1700s it belonged to the Spinola family, for whom it is now named. We are honoured to reproduce this unparalleled example of illumination from the J. Paul Getty Museum.

With pages displaying astounding plays of naturalistic illusionism, the luxurious personal prayer book known as the Spinola Hours is one of the most visually sophisticated Flemish manuscripts of the 16th century. A book of hours contains texts including a calendar of Church holidays, the Hours of the Virgin (a cycle of prayer services devoted to the Virgin Mary), the Office for the Dead, and other prayers, hymns and readings. This particular example augments these contents with a special series of weekday offices and masses, providing even more possibilities for rich illuminations. The book was undoubtedly commissioned for a wealthy patron, perhaps Margaret of Austria, for whom the Master of James IV of Scotland, a famed manuscript illuminator and painter, produced other works. In the 1700s it belonged to the Spinola family in Genoa, from whom it takes its modern name. We are honoured to feature this unparalleled example of illumination from the J. Paul Getty Museum as part of our collaborative collection.

William Morris (1834-1896) was one of the most celebrated practitioners of the Arts and Crafts movement. In creating woven and printed textile patterns Morris chose to work with the ancient technique of hand woodblock printing, finding inspiration for his famous repeating patterns in the natural world around him: "millefleurs" tapestries and early prints of herbs as well as the crispness and abundance of exquisite detail in medieval art. His evocations of antique florals and plants in all their profusion, depth of tone and magical gradation of tints have become design classics gracing the decorative arts, including our book cover.

For over a century, the Cockerell family name represented the highest quality bookmaking. Though no longer in business, the Cockerell and Son Bindery remains celebrated for their unique style of paper marbling, developed by the late Sydney (Sandy) M. Cockerell.Described as a ¿latter-day Leonardo,¿ Sandy Cockerell possessed not only an artist¿s talents, but a scientist¿s mind and engineer¿s skill as well. He took the painstaking tradition of handmade marbled papers and found a way to produce the strikingly complex designs at high speeds and volumes. By improving existing equipment and creating his own gadgets and tools when that which he needed did not already exist, Cockerell embraced new mass production techniques.For his contributions to the paper arts, Sandy Cockerell was awarded an OBE and an honourary doctorate from Cambridge. When we launched Paperblanks journals in the early 1990s, a selection of his designs graced some of our first covers. We are honoured to return these iconic marbled papers to our collection with this black, white and red Rubedo design.