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Our Velvet Dalmatic collection is inspired by a piece of a 15th-century velvet dalmatic. The original panel was given to the Metropolitan Museum of Art as part of the Rogers Fund in 1945. It is patterned with a seven-lobed shield that contains an artichoke-like botanical shape adorned with tiny floral patterns on each side. The patterning was created using brocaded gilt metal thread.Velvets were originally woven on a special loom that created two thicknesses at the same time in order to achieve their marvellously soft texture. It was an expensive and painstaking procedure, making velvets like this some of the most highly prized luxury fabrics of the Renaissance.

Our Velvet Dalmatic collection is inspired by a piece of a 15th-century velvet dalmatic. The original panel was given to the Metropolitan Museum of Art as part of the Rogers Fund in 1945. It is patterned with a seven-lobed shield that contains an artichoke-like botanical shape adorned with tiny floral patterns on each side. The patterning was created using brocaded gilt metal thread. Velvets were originally woven on a special loom that created two thicknesses at the same time in order to achieve their marvellously soft texture. It was an expensive and painstaking procedure, making velvets like this some of the most highly prized luxury fabrics of the Renaissance.

Our Velvet Dalmatic collection is inspired by a piece of a 15th-century velvet dalmatic. A dalmatic is a tunic with wide sleeves worn as part of liturgical vestments and by British monarchs during coronation services. Velvets like these were originally woven on a special loom that created two thicknesses at the same time in order to achieve their marvellously soft texture and high pile. It was an expensive and painstaking procedure, making velvet one of the most highly prized luxury fabrics of the Renaissance. The original velvet panel reproduced here was given to the Metropolitan Museum of Art as part of the Rogers Fund in 1945. It was one of a pair that was once owned by Marczell von Nemes, a Hungarian art financier, collector and dealer. This particular design is patterned using brocaded gilt metal thread in a seven-lobed shield outlined with teardrops, an artichoke-like botanical shape and tiny floral patterns.

Our Velvet Dalmatic collection is inspired by a piece of a 15th-century velvet dalmatic. A dalmatic is a tunic with wide sleeves worn as part of liturgical vestments and by British monarchs during coronation services. Velvets like these were originally woven on a special loom that created two thicknesses at the same time in order to achieve their marvellously soft texture and high pile. It was an expensive and painstaking procedure, making velvet one of the most highly prized luxury fabrics of the Renaissance. The original velvet panel reproduced here was given to the Metropolitan Museum of Art as part of the Rogers Fund in 1945. It was one of a pair that was once owned by Marczell von Nemes, a Hungarian art financier, collector and dealer. This particular design is patterned using brocaded gilt metal thread in a seven-lobed shield outlined with teardrops, an artichoke-like botanical shape and tiny floral patterns.

For the celestially minded and lovers of dark light, we present Nova Stella. This book cover, with its central star shape, exerts an emotional pull like the North Star for nighttime wayfarers. Our Nova Stella cover comes from the 1789 binding of Missale Sacri Ordinis Praedicatorum, printed during the Settecento period by Octavio Puccinelli publishers. During this time bookbinding became at once simpler and yet more complex. The sewing was done on recessed cords to give the spines a smooth appearance and so, while the structure of books was uncomplicated, decoration became increasingly elaborate.

For the celestially minded and lovers of dark light, we present Nova Stella. This book cover, with its central star shape, exerts an emotional pull like the North Star for nighttime wayfarers. Our Nova Stella cover comes from the 1789 binding of Missale Sacri Ordinis Praedicatorum, printed during the Settecento period by Octavio Puccinelli publishers. During this time bookbinding became at once simpler and yet more complex. The sewing was done on recessed cords to give the spines a smooth appearance and so, while the structure of books was uncomplicated, decoration became increasingly elaborate.

For the celestially minded and lovers of dark light, we present Nova Stella. This book cover, with its central star shape, exerts an emotional pull like the North Star for nighttime wayfarers. Our Nova Stella cover comes from the 1789 binding of Missale Sacri Ordinis Praedicatorum, printed during the Settecento period by Octavio Puccinelli publishers. During this time bookbinding became at once simpler and yet more complex. The sewing was done on recessed cords to give the spines a smooth appearance and so, while the structure of books was uncomplicated, decoration became increasingly elaborate. The free space around the central object is as important as the ornamentation that surrounds it, just as deep space is part of what makes stars so inspiring. Here we see brocade with floral and heart shapes, gilt-edged broad string iron lines, single punch gilding and a cross with flowers and initials.

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. De Vriese, a member of the Royal Dutch Institute of Sciences, Literature and Fine Arts, named many species of plants in the Asterales order (Asterids). Today this significant binding can be found in the KB, National Library of the Netherlands, which was founded in 1798 with the intention to celebrate the written word and share Dutch creativity and innovation with the world.

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. De Vriese, a member of the Royal Dutch Institute of Sciences, Literature and Fine Arts, named many species of plants in the Asterales order (Asterids). Today this significant binding can be found in the KB, National Library of the Netherlands, which was founded in 1798 with the intention to celebrate the written word and share Dutch creativity and innovation with the world.

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.