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Tiptoe through the tulips with us as we discover Gary Grayson's vibrantly detailed world in this Butterfly Garden design. Grayson's distinctive style is an eclectic mix of vintage vector, impressionism and pop art - all combined in rich layers. May his boundless creativity so inspire your own imagination.Size: Width: 507mm (20") x Height: 685mm (27")Interior: 1000 pieceColour: Multi-colourPremium quality blue board (specially formulated cardboard)1000 jigsaw piecesComplex imageryDecorative printed and textured paper (similar to our hardcover journals)

In his Spring painting (1894), Lawrence Alma-Tadema represented the Victorian custom of sending children to collect flowers on May Day. By placing the scene in ancient Rome, he suggested the festival's great antiquity through architectural details, dress, sculpture and musical instruments based on Roman originals.Size: Width: 507mm (20") x Height: 685mm (27")Interior: 1000 pieceColour: Multi-colourPremium quality blue board (specially formulated cardboard)1000 jigsaw piecesComplex imageryDecorative printed and textured paper (similar to our hardcover journals)

Laurel Burch was a self-taught artist who relied on her intuition and passion to create vibrant and moving themes with paint and paper. Her goal was to create artworks (such as the one reproduced here) that were reminders of our personal, spiritual inner worlds.Size: Width: 507mm (20") x Height: 685mm (27")Interior: 1000 pieceColour: Multi-colourPremium quality blue board (specially formulated cardboard)1000 jigsaw piecesComplex imageryDecorative printed and textured paper (similar to our hardcover journals)

Gustav Klimt's Portrait of Adele Bloch-Bauer I (1907), reproduced here, is a stunning example of the Viennese "Jugendstil" style. With the subject's face emerging from the background like a lucid dream, the portrait is hauntingly beautiful. Seized by the Nazis in the 1940s, the painting was recovered and today is on display in New York.Size: Width: 507mm (20") x Height: 685mm (27")Interior: 1000 pieceColour: YellowPremium quality blue board (specially formulated cardboard)1000 jigsaw piecesComplex imageryDecorative printed and textured paper (similar to our hardcover journals)

Paul Cézanne (1839-1906) was a French painter who is regarded as one of the greatest of the post-Impressionists. Reproduced here is Terracotta Pots and Flowers (1891-1892), which saw Cézanne enter a new world of still life painting. Here he arranges everyday objects including a pitcher with potted geraniums. We are honoured to feature this painting from the Barnes Foundation as the first release from our collaborative collection.Size: Width: 507mm (20") x Height: 685mm (27")Interior: 1000 pieceColour: GreenPremium quality blue board (specially formulated cardboard)1000 jigsaw piecesComplex imageryDecorative printed and textured paper (similar to our hardcover journals)

Ancient spiritual practices meet modern digital art in the work of Android Jones. His art asks the viewer to focus on the potential for awakening, the power of the third eye and the early reverberations of the time that lies before us. With colours both psychedelic and hyper-modern, and imagery combining Eastern iconography with a science fiction aesthetic, Jones is an artist who draws on old traditions and those yet to be born.

This captivating image comes from a collection of 12 books, known as Lang’s Fairy Books (or Andrew Lang’s Fairy Books of Many Colours). Compiled by Andrew Lang, illustrated by Henry Justice Ford and published under the editorial direction of Lang’s wife, Leonora Alleyne, the books were a sensation among British schoolchildren and were sold all around the world. Each book in the series was named for the colour of its featured fairy, and this Olive Fairy notebook reproduces the front cover of that book’s first edition. Lang was a Scottish poet, novelist and anthropologist who specialized in collecting folk and fairy tales from around the globe. Published in 1907, his Olive Fairy Book includes stories such as “The Golden-Headed Fish” and “The Prince and the Princess in the Forest” gathered from places like Turkey, India, Denmark, Armenia and the Sudan. H.J Ford’s Olive Fairy illustration offers a botanical and almost insectile quality that gives her a sense of scientific realism as well as fey possibility. May the Olive Fairy bring a hint of vintage whimsy to your writings.

This captivating image comes from a collection of 12 books, known as Lang’s Fairy Books (or Andrew Lang’s Fairy Books of Many Colours). Compiled by Andrew Lang, illustrated by Henry Justice Ford and published under the editorial direction of Lang’s wife, Leonora Alleyne, the books were a sensation among British schoolchildren and were sold all around the world. Each book in the series was named for the colour of its featured fairy, and this Olive Fairy notebook reproduces the front cover of that book’s first edition. Lang was a Scottish poet, novelist and anthropologist who specialized in collecting folk and fairy tales from around the globe. Published in 1907, his Olive Fairy Book includes stories such as “The Golden-Headed Fish” and “The Prince and the Princess in the Forest” gathered from places like Turkey, India, Denmark, Armenia and the Sudan. H.J Ford’s Olive Fairy illustration offers a botanical and almost insectile quality that gives her a sense of scientific realism as well as fey possibility. May the Olive Fairy bring a hint of vintage whimsy to your writings.

Considered one of the masters of the Italian Renaissance, Michelangelo Buonarroti (1475-1564) produced the finest frescoes and many of the most revered sculptures in the world. He was renowned for his fierce solitude, yet was one of the great chroniclers of the human form. This letter, written in Michelanglo's own hand, demonstrates with every stroke of the pen the refinement and passion of one of the greatest artists humanity has produced. And with the Sistine Chapel's The Creation of Adam featured on the back cover, the point of creation beautifully bookends this Embellished Manuscript notebook.

Considered one of the masters of the Italian Renaissance, Michelangelo Buonarroti (1475–1564) produced the finest frescoes and many of the most revered sculptures in the world. He was renowned for his fierce solitude, yet was one of the great chroniclers of the human form. This letter, written in Michelanglo’s own hand, demonstrates with every stroke of the pen the refinement and passion of one of the greatest artists humanity has produced. And with the Sistine Chapel’s The Creation of Adam featured on the back cover, the point of creation beautifully bookends this Embellished Manuscript notebook.

Michelangelo Buonarroti’s (1475–1564) mind was an incessant battlefield. The opposing forces of religious faith and pagan beauty warred across his consciousness. They also helped spur him to create a pantheon of artistic masterpieces. Considered one of the masters of the Italian Renaissance, over the course of his lifetime he produced the finest frescoes and many of the most revered sculptures in the world. Michelangelo possessed a genius as severe and uncompromising as it was fertile. He was renowned for his fierce solitude, yet was one of the great chroniclers of the human form. His anatomical studies are haunting in their expressiveness and precision, while his tombs, such as those designed for Julius II and the Medicis, inspire wordless awe and perhaps even dread. This letter, written in Michelangelo’s own hand, demonstrates with every stroke of the pen the refinement and passion of one of the greatest artists humanity has produced. And with the Sistine Chapel’s The Creation of Adam featured on the back cover, the point of creation beautifully bookends this Embellished Manuscript notebook.

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.