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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.

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.

During the Tang Dynasty (618-907), the Emperor Taizong founded an opera school called Liyuan (Pear Garden). Chinese opera reached its pinnacle under the Qing court (1644-1911), giving birth to what is known as Peking Opera. Reproduced here is a piece of beautifully embroidered opera skirt from that era. Original Art: Chinese opera costume. Era: Late 19th century. Region: China.

Before Dutch still life painting developed, artists illuminated handwritten manuscripts to add emotional power to a written work. A celebrated practitioner of this style was Joris Hoefnagel. Reproduced here is a page he illuminated for the Mira calligraphiae monumenta, a mid-16th-century manuscript by Georg Bocskay. Original Art: Illuminated page from the Mira Calligraphiae Monumenta. Era: mid to late 1500s. Region: Netherlands.

The kimono pattern that inspired this design was originally a woodblock print created by Japanese art publishers for theatrical costumes. This genre of artwork, known as "ukiyo-e," dates to the Edo period (1603-1868), and this particular design was created sometime during the early 1900s. Original Art: Kimono print. Era: 1900s. Region: Japan.

Paperblanks Nocturnelle Flexi softcover notebook, a reproduction of an antique French binding, is based on a cover designed in 1829 by publishers A. & W. Galignani for The Poetical Works of Thomas Moore. This notebook cover suggests the fine Moroccan leather, structural sturdiness, careful finishing and ridged spine preferred for bindings of that era.

Our Blue Velvet design is inspired by a piece of a 15th-century velvet dalmatic. It is decorated in brocaded gilt metal thread with a seven-lobed shield, an artichoke-like botanical shape and tiny floral patterns. Original Art: Velvet panel from a dalmatic. Era: Late 15th century. Region: Italy.

Our Blue Velvet design is inspired by a piece of a 15th-century velvet dalmatic. It is decorated in brocaded gilt metal thread with a seven-lobed shield, an artichoke-like botanical shape and tiny floral patterns. Original Art: Velvet panel from a dalmatic. Era: Late 15th century. Region: Italy.

Plaid has always been a pattern that crosses lines. Closely associated with Scottish clan tartans, plaid material has been unearthed in Central Asian tombs from as far back as 1500 BC. The plaid shown on our Davenport journal cover was collected in France in the 1800s, but looks as though it could have come from last year's runway collection. So goes the cheeky versatility of plaid!

William Morris (1834-1896) was one of the most celebrated practitioners of the Arts and Crafts movement. He embraced the ideal of craftspeople taking pride in their personal handiwork, as opposed to the dehumanizing onslaught of the Industrial Revolution's mass production techniques. He famously said that any decoration is futile when it does not remind you of something beyond itself.Morris specialized in the ancient technique of hand woodblock printing to create his textile patterns and sought inspiration for his famous repeating patterns from the natural world and the decorative artists before him. The influence of "millefleurs" tapestries, early prints of herbs and the abundance of exquisite detail in medieval art can be appreciated in his works. His evocations of antique florals and plants have become classics of the decorative arts and were an early inspiration for our journal designs, gracing our covers from the very beginning.

William Morris (1834¿1896) was one of the most celebrated practitioners of the Arts and Crafts movement. He embraced the ideal of craftspeople taking pride in their personal handiwork, as opposed to the dehumanizing onslaught of the Industrial Revolution¿s mass production techniques. He famously said that any decoration is futile when it does not remind you of something beyond itself.Morris specialized in the ancient technique of hand woodblock printing to create his textile patterns and sought inspiration for his famous repeating patterns from the natural world and the decorative artists before him. The influence of ¿millefleurs¿ tapestries, early prints of herbs and the abundance of exquisite detail in medieval art can be appreciated in his works. His evocations of antique florals and plants have become classics of the decorative arts and were an early inspiration for our journal designs, gracing our covers from the very beginning.

This striking Art Deco design comes from the celebrated British bookbinder Sybil Pye (1879-1959). It was crafted to hold a collection of William Wordsworth's poems illustrated by Pye's lifelong friend Thomas Sturge Moore. Self-taught, Pye began producing her first works in the early 1900s using naturally coloured leather, before graduating to multi-coloured panels. By 1934 she was creating complex covers of up to six different inlays, and her work was regularly exhibited around the world. One of the youngest pre-First World War women binders, Pye was the only binder in England who specialized in inlaid leather bindings. With this series, we pay tribute to a pioneering woman in the art of book design.

This striking Art Deco design comes from the celebrated British bookbinder Sybil Pye (1879-1959). It was crafted to hold a collection of William Wordsworth's poems illustrated by Pye's lifelong friend Thomas Sturge Moore. Self-taught, Pye began producing her first works in the early 1900s using naturally coloured leather, before graduating to multi-coloured panels. By 1934 she was creating complex covers of up to six different inlays, and her work was regularly exhibited around the world. One of the youngest pre-First World War women binders, Pye was the only binder in England who specialized in inlaid leather bindings. With this series, we pay tribute to a pioneering woman in the art of book design.

This striking Art Deco design comes from the British bookbinder Sybil Pye (1879¿1959), heralded as one of the top female artisans of her time.Self-taught, Pye began producing her first works in the early 1900s using naturally coloured leather, before graduating to multi-coloured panels. By 1934 she was creating complex covers of up to six different inlays, and her work was regularly exhibited throughout England and around the world.This particular design was crafted to hold a collection of William Wordsworth¿s poems illustrated by Pye¿s lifelong friend Thomas Sturge Moore. Though we can¿t be sure that Pye intended to evoke the image of a lion¿s majestic head with this cover, the possibility offers an interesting connection between the binding and its original contents, as one of Wordsworth¿s poems is titled ¿Picture of Daniel in the Lions¿ Den, at Hamilton Place.¿One of the youngest pre¿First World War women binders, Pye was the only binder in England who specialized in inlaid leather bindings. With this series, we pay tribute to a pioneering woman in the art of book design.

This striking Art Deco design comes from the British bookbinder Sybil Pye (1879¿1959), heralded as one of the top female artisans of her time.Self-taught, Pye began producing her first works in the early 1900s using naturally coloured leather, before graduating to multi-coloured panels. By 1934 she was creating complex covers of up to six different inlays, and her work was regularly exhibited throughout England and around the world.This particular design was crafted to hold a collection of William Wordsworth¿s poems illustrated by Pye¿s lifelong friend Thomas Sturge Moore. Though we can¿t be sure that Pye intended to evoke the image of a lion¿s majestic head with this cover, the possibility offers an interesting connection between the binding and its original contents, as one of Wordsworth¿s poems is titled ¿Picture of Daniel in the Lions¿ Den, at Hamilton Place.¿One of the youngest pre¿First World War women binders, Pye was the only binder in England who specialized in inlaid leather bindings. With this series, we pay tribute to a pioneering woman in the art of book design.

This beautiful jewel-toned purple and gold design is a shining star of bookbinding history.Originally crafted from red morocco leather with intricate filigree and golden pointellé, the binding has been in the collection of the Bibliothèque Nationale de France (BnF) since the Second Empire (1865¿1870). It was designed by an unknown Parisian atelier to hold the Pars Hiemalis (or, winter) section of the Parisian Brevarium, a book that dictated the liturgical rites of the Catholic Church throughout the church year. With such brilliant filigree work, it is easy to see why the BnF would so proudly hold it in their collection for the last two centuries.