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Fine Art Papers Europe / The Americas & Australia Asia February 2015


ART PAPERS Papers are arranged in alphabetical order under the name of the mill that produces them or by the country of origin.

Table of contents Swatch Books 2 Introduction and Paper Basics 3-4 Paper Applications 5 Papers for Storage 6 Papers Europe / The Americas & Australia 7 - 75 Prices Europe / The Americas & Australia 77 - 88 Roll Papers - Europe & The Americas 89 - 93 Africa 94 Bhutan 95 - 99 China 100-102 Egypt 103 India 104 - 113

Indonesia 113 Japan 114 - 162 Korea 163 - 164 Nepal 165 -174 Philippines 174 Thailand 175 - 176 Prices - Asia 177 - 186 Roll Papers - Asia 187 - 192 Digital Papers 193 - 196 Boards 197 - 198 Stationery 199 - 201 Glossary 202 - 203

SWATCH BOOKS Swatch books are assembled by hand. Each swatch is 3 x 5" Individual swatches of most of our papers are also available. You may request up to 3 swatches at no charge. Maximum 10 samples. Additional 3 x 5" swatches are then $1.00 each. We DO NOT cut samples from sheets smaller than 12 x 16" - in these cases, you must purchase full sheets. Arches Aquarelle 2.00 Arpa, Ca'Oliver & Capellades 10.00 Art Spectrum Colorfix 6.00 Bhutan 10.00 Bockingford & Saunders 5.00 Canson Mi Teintes 5.00 Cave Papers 10.00 Chinese Papers 8.00 Chinese Silk, Satin & Brocade 20.00 Chinese Woven & Texture Mats 25.00 Color Plan 6.00 Corkskin 6.00 Czech Velke Losiny 2.00 Digital Papers 10.00 Durotone/Speckletone 3.00 Fabriano Artistico 4.00 Elle Erre 3.00 Ingres/Roma/Rosaspina/Tiepolo 4.00 Murillo 3.00 Tiziano 4.00 Flint Paper 1.50 Foils and Metallics 25.00

Glassine 1.50 Hahnem端hle 10.00 India Khadi Indian Handmades 10.00 Sanganeer 5.00 Japan Art Papers Handmade 30.00 Art Papers Gampi/Mitsumata 20.00 Art Papers Machine-made 15.00 Bicchu Gampi & Tanai 10.00 Gifu Machine-mades 4.00 Iwano Handmades 30.00 Izumo Mitsumata-shi 10.00 Mingei-shi Colors 3.00 Ogura/Ogura Lace 3.00 Shikibu Gampi 12.00 Shikibu Kizukishi 12.00 Yatsuo 10.00 Japan World Cloth Book Cloth 30.00 Korean Hanji Colors 8.00 Lanaquarelle 2.00 Magnani 10.00 Mexican Huun/ Papel de Amate 6.00

Museum Board 5.00 Nepal Chautara Lokta 10.00 Khadi Himilayan/Lhakpa 8.00 Printmaking / Drawing 30.00 Richeson Pastel 4.00 Rolls (papers available in rolls) European & American 20.00 Oriental 15.00 Sabertooth Pastel 1.00 Saint Armand Mill 25.00 T.H. Saunders & Bockingford 6.00 Sennelier Le Carte Pastel 5.00 Speckletone/Durotone 3.00 Strathmore 4.00 Stardream 6.00 TexLibris & TexLifil Book Cloth 15.00 Thailand Printing & Painting 4.00 Translucent Vellum / Tracing 8.00 Twinrocker Handmades 20.00 Velour/Velour Premium Pastel 4.00 Wood Grain & Veneer 20.00 Zerkall 6.00

Note: decorative papers are illustrated in full color on our website - swatch books are no longer being assembled.

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Paper is fragile !

No returns or exchanges are allowed

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ART PAPERS - Europe / The Americas & Australia By definition, "Paper" is a substance composed of macerated cellulose fibers first suspended in a vat of water and then re-structured into sheets by means of a mould. To make paper is a relatively simple process - to make good paper is often the result of a lifetime of labor and learning. What type of cellulose is used, where it is grown, how the fiber is broken down, the type of mould used, the method of getting the mould in and out of the water and the way that the sheet is dried are the elements of the papermakers' art. This is what determines what they pass on to us. Now it is your turn. Now you must paint, draw, print, cut, paste, fold, mutilate or perform whatever is fueled by your inspiration! To help you make your selection, here are some basic ideas and facts about paper to consider: Fiber Content

The length of the broken-down fibers, their bulk, absorbency, the expansion and contraction that takes place when they are subjected to water are all factors that determine the finished sheet. Longer fibers like cotton, flax and hemp create a stronger network of interlocking fibers. That strength is especially important for sheets that will be folded, erased or stretched. Shorter fibers like wood pulp or wheat straw add bulk and are less likely to stretch or contract, so they are excellent for techniques such as embossing. Blending different fibers in different amounts imparts qualities derived from each of the fibers. "Rag" refers to fibers that were originally spun into fabric before they were broken down into pulp for paper. This style of pulp has the longest fiber length and potentially, the greatest strength. Most papers made today do not use "rag" in their composition but rather use the raw fiber such as seed cotton. Most papers in this catalog do not use fibers without the addition of sizing. To say that a wood pulp paper with it's shorter fibers is more absorbent than a cotton sheet with longer fibers is only accurate if both of those sheets are identical in every other way. In fact, a shorter fiber (which will absorb more water) can absorb more sizing, so it is possible that the wood pulp sheet will result in a harder, less absorbent material. Fibers such as linen and gampi have a natural element that encases the fiber that acts as a type of sizing. Papers made of these will withstand certain techniques without additional sizing. However, as water eventually penetrates this casing these fibers experience extreme expansion and contraction. For example, sheets made by Cave Papers that are made on a 18 x 24" mould measure as much as an inch smaller when we receive them. This style of paper will expand and contract dramatically each time they are subjected to moisture, even the humidity or dryness of the atmosphere. One should never reject a paper because of some belief that one fiber is inferior to another. Modern papermakers have access to many resources and usually select the fiber based on desired results. It is much more important that a paper be neutral pH. Fiber has nothing to do with pH.

Sizing

Most “Western” papers in this catalog use some sort of sizing. Most “Asian” papers do not. Traditionally, sizing is composed of starch, animal based glues (such as gelatine,) or plastic polymers. Sizing actually repels water, so the amount added to the vat and /or applied after the sheets are formed will determine moisture absorption and the expansion and contraction of the sheet. Watercolor papers are not made to accept water, but to repel it. This allows for longer working time, keeping the integrity of the surface before fibers have time to react to the water in the paint. Lightly sized or unsized papers absorb moisture evenly and quickly, which makes them ideal for printing or techniques like sumi-e painting where the gesture of the stroke and the load of the brush are to be “recorded” by the paper. Wetting lightly sized sheets in one place and not another causes swelling of the fibers in those places, giving the sheet “hills and valleys” that are difficult to work on and require that the sheet be re-flattened by rewetting the entire sheet and/or apply pressure. Sizing can usually be removed by soaking the sheet in tepid or hot water. Sizing can be added to a sheet either in the form of a surface sizing or by dipping the paper into prepared size solution. Type of materials used for sizing depends on the desired results and ease of application.

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Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Europe / The Americas & Australia Method of Manufacture

Although these descriptions are oversimplifications and there is much variation within each category, generally speaking, sheets comparable in fiber and sizing will have the following characteristics: Handmade Papers have little or no grain direction, the most interlocking fibers - providing greater strength, are softer and have more bulk because they are not subjected to extreme sources of heat or pressure. Mouldmade Papers have a distinct grain direction from the rotation of the cylinder machine. Because these machines run at a slow speed, the sheets will have good strength from interlocking fibers. Mouldmade papers are firmer and flatter than handmade papers because of the pressure used to dry and surface the sheets. Machinemade Papers have a pronounced grain direction with less interlocking fibers than handmade or mouldmade sheets and are very hard and flat because of the use of extreme heat and pressure to dry and surface the sheets.

Weight / Surface Texture

When considering papers comparable to each other in fiber and sizing, heavier papers are relatively stronger, will withstand more handling and will buckle less. Lighter weight papers are easier to fold and tear and have less “memory” of rolling. Paintings done on light weight sheets are also easier to flatten. Papers with greater texture will dry more evenly without puddling because they have greater surface area that distributes moisture more evenly across the surface. Smooth sheets offer the greatest precision in drawing and painting, but the flatness of the surface is the most vulnerable and unforgiving when it comes to erasure or poor handling.

Grams vs. Pounds

We use gram weights in this catalog because this allows you to compare the weights of a given sheet without considering the size of the sheet. A paper 300 Gr/M2 is half the weight of a sheet that is 600 Gr/M2 or twice as heavy as one that is 150Gr/M2. Look at the gram weight of papers that you are familiar with and you will be able to compare those sheets to others in this catalog. The pound system that most artists are familiar with is the European system given to artists’ watercolor papers. To say that a sheet is 140 pounds actually means that one ream (500 sheets) weighs 140 pounds. However, if the sheet size varies, so will its weight, even though it is the same paper. If the 140 pound sheet is 22 x 30” then that same paper, half that size would weigh 70 pounds. By only considering pound weights, customers are often tricked into buying the wrong sheet. Arches 260 pound is much lighter than Arches 300 pound simply because the 300 pound in this case is 22 x 30” while the 260 pound is 25½ x 40”. The commercial paper market uses a pound-based system using the “M weight” (weight of 1000 sheets.) This system is useful to determine weights, but one must know the basis size and the number of sheets in the carton before you can directly compare one sheet to another. To determine pound weight from the gram weight you can use this formula: Gram Weight x .267 x Square Inches of the Sheet ÷ 374 = Ream Weight. Ream Weight x 2 = M Weight.

Metric Conversions Length

1 Inch = 1 Inch = 1 Foot = 1 Yard =

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Paper is fragile !

2.54 Centimeters .0254 Meters .3048 Meters .9144 Meters

No returns or exchanges are allowed

Length

1 Centimeter = 1 Meter = 1 Meter = 1 Meter =

.3937 Inches 39.37 Inches 3.2808 Feet 1.0936 Yards

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ART PAPERS - Europe / The Americas & Australia Paper Applications Watercolor Papers Watercolor papers have more sizing. That sizing repels water, allowing more manipulation on the surface, more open time and less buckling of the sheet. The more texture, the more dispersion of pigment and the more even the distribution of water. A smooth watercolor paper will buckle more than a rougher sheet; a thicker sheet will buckle less than a lighter weight one. More absorbent sheets "freeze" the stroke, but do not allow for as much wet-into-wet treatments. Arches • Bockingford • Canson Montval • Cave Papers • Fabriano Artistico • Hahnemühle Watercolor • Lanaquarelle • Magnani Acquarello Multi-Media • St. Armand • T.H. Saunders Waterford • Stillman & Birn • Strathmore • Twinrocker • Czech Velke Losiny • Van Gelder Noblesse Printmaking Papers Almost all papers can be used for some type of printmaking. Usually, "printmaking papers" have less sizing, making them more pliable, more absorbent in order that they can take moisture and ink evenly into their fibers. Some printing techniques work better with harder papers, others with softer. Soaking the sheet in a water bath can remove sizing and make the fibers more receptive. Alcantara • Arches Cover • Arches 88 • Arpa • Capellades • Cave Papers • Coventry • Crane's • Domestic Etching • Fabriano Rosaspina & Tiepolo • Folio • Hahnemühle Copperplate / Durer & German Etching • Johannot • Lenox • Magnani Incisione / Pescia / Revere / Velata & Vergata Mexican • Rives BFK • Rives Papier de Lin • Somerset • St. Armand • Stonehenge • Twinrocker • Zerkall Bookweight & Copperplate Printmaking - Letterpress & Book Arts Lighter weight, lightly sized papers fold more easily and are more suitable for the book format. They are also excellent for all drawing techniques. Printmaking - Silkscreen Just about anything can be silkscreened, even very rough papers, but most printers prefer a very flat, smooth surface as it offers direct contact with the screen. Lightly sized or unsized papers draw the ink into the surface and prevent smearing and shorten the drying time between multiple screens. Printmaking- Woodblock & Monoprint When a press is used, most absorbent sheets can be adapted for block printing and monoprint. When hand printing is used, lighter weight sheets are easier to burnish and transfer more ink from the block or plate. A clear sheet of acetate or mylar when burnishing prevents abrasion of the paper while allowing you to see the progress of the transfer. Printmaking - Digital Art Although there are papers specifically coated for digital printing, other papers can be used sucessfully for different results. Remember that ink jet printers use water-based inks that will spread on papers with less sizing. Printmaking grades produce a softer image. Watercolor papers with more sizing will have less spread. Whiter papers offer more contrast. Smoother papers give more precise application of each pixel of color. Platinum & Photo Processes The specific technique, the formulation of emulsion, even atmospheric conditions effect the final results of alternate-photo-processes. The sizing, the pH and the buffering agents in the paper are also factors. Different makings of the same paper can have slight variations, which would not matter to most users, but will yield dramatic differences to the platinum printer. Testing is essential! Arches Aquarelle / Platine • Canson Opalux • Capellades Paladio • Magnani Revere Platinum • Stonehenge • Strathmore 1-ply Bristol • Twinrocker Van Gelder Simili Japon Calligraphy, Pen & Ink Texture and absorbency of a calligraphy paper is a personal choice. Some like a little tooth to prevent smearing; others want an absolutely smooth surface with sufficient sizing to keep the ink high on the surface. Type of pen or brush, style of nib and the scale of the calligraphy are also factors to be considered. Arches Aquarelle Hot Pressed • Arches Text • Cranes • Coventry Smooth • Hahnemühle Ingres Hot Pressed Watercolor Papers • Parchment Genuine & Imitation • Pergamenata • PLike • Stillman & Birn • Strathmore Bristol • Translucent Vellum Zerkall Book & Ingres Pastel & Charcoal Although some people like smooth papers, the majority of artists using pastel or charcoal want a paper with enough tooth to hold the pigment and allow layering. The amount of tooth and the hardness of the sheet will determine where the pigment sits, the amount of build-up possible, erasure, blending and the need for fixatives to set the layers. Art Spectrum • Canson • Fabriano Ingres, Murillo, Tiziano & Roma • Hahnemühle Bugra Butten & Ingres • Pastel Cloth • Richeson Unison • Sabertooth • Sennelier Pastel Card • Somerset Textured • Strathmore Charcoal • Twinrocker • Velour • Zerkall Ingres Silverpoint Clay-coated materials are used for this technique that predates the Rennaissance. Various metals can also be used including gold, brass and copper. The papers listed here work quite well, but are limited in their tone and aesthetic. You can coat your own paper for metal-point. Traditional techniques use animal glue or gelatine mixed with pigment on a smooth surface. Or you can avoid cooking glue by layering Chinese white watercolor or white gouache. These can be tinted with watercolor or pigment. Sand the surface with ultra-fine sandpaper or raw silk to eliminate brush strokes. Legion Art Coated Cover • New York Central Clay Coat • Plike • Mc Coy Clay Coat • Terraskin

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PAPERS FOR STORAGE Hundreds of pH neutral sheets could be used for storage and presentation. Our most popular are listed here. Neutral pH materials will only remain stable if all factors - including heat and light - are kept at ideal levels that are difficult to maintain outside of museum conditions. Buffered items will cease to absorb or neutralize acids after time. It is highly recommended that you refresh storage materials after several years or if you should notice discoloration of the interleaving material or the items being stored. GLASSINE - MUSEUM GRADE

INTERLEAVING

MOHAWK VELLUM COOL WHITE & SOFT WHITE

25 pound. - 48 gram. Slick, almost transparent. interleaving. White. Tested by curators of major museums, this glassine remains neutral pH. for a longer duration - even in adverse conditions.

Neutral pH White. 60 gram.

Sheets

COATED INTERLEAVING

1

100

500

Rolls

Sale

24 x 36 .55 36 x 48 1.10

25

.50 .99

.45 .92

12 x 20 yards 18 x 20 yards 18 x 100 yards 24 x 20 yards 24 x 100 yards 36 x 20 yards 36 x 100 yards 42 x 20 yards 42 x 100 yards 48 x 20 yards 48 x 100 yards 60 x 20 yards 60 x 100 yards

50 sheet Pads 8½ x 11 13 x 19 17 x 22

.41 .83

8.00 11.25 44.50 14.05 56.00 19.10 81.00 23.25 91.80 25.50 103.25 31.50 125.50

Sale

5.00 7.75 15.00

GLASSINE - HEAVYWEIGHT

37 pound - 68 gram.

Sheets

24 x 36

1

.90

25

.84

100 .75

Rolls 36 x 20 yards 36 x 100 yards 48 x 20 yards 48 x 100 yards

500 .70

Sale

26.50 112.50 35.75 143.75

BORDEN & RILEY #30 BOND

Sheets

25 x 38

1

.80

25

.72

100

Neutral pH. Slick coating reduces static electricity making it useful for pastel and charcoal drawings - even those that have not been fixed.

Sheets

25 x 38

1

.75

25

.68

100

Machine-made in Japan from 100% rayon. Neutral pH.

1

25

100

Paper is fragile !

500

24 x 36 1.50 1.35 1.25 1.13

LENS TISSUE - HEMP

Machine-made in Japan from 100% Manila hemp. Neutral pH.

Sheets

1

25

24 x 36 2.35 2.09

100

500

1.94

1.74

JAPANESE INTERLEAVING ASA GAMI Off -White, 100% Manila Hemp. 20 gram. Mori Tissue Neutral pH, sulphite. Buffered tissue. 20 gram. Pure Guard Un-buffered, neutral pH sulphite tissue. 45 gram.

Japanese Interleaving

Sale

Asa Gami 31 x 43" 25 sheet roll 45.00 Mori 35 x 50 meters 80.00 Pure Guard 43 x 30 meters 100.00

LINECO TISSUE

Rolls

6

.53

LENS TISSUE - RAYON

Sheets

Machine-made, sulphite pulp. Neutral pH. 60 lb. text. 25 x 38

1

25

40 x 250 ft.

Sale

75.50

FOLDER STOCK - PERMA-DUR

Sheets Sale

No returns or exchanges are allowed

500

MOHAWK VIA SMOOTH LIGHT GREY

Resembles newsprint. Neutral pH. 70 lb. text.

Sheets

1

25

100

.92

500 .83

STRATHMORE BARRIER

100% buffered cotton. Neutral pH. Natural.

Sheets

1

32 x 40 2.10

25

1.87

100

1.73

TISSUE -ACID FREE

Neutral pH. Un-buffered, virgin pulp. No deckles. White.

Packages of 480 Sheets 24 x 36

Sale

97.50

TYVEK - Museum Grade

Machine-made from synthetic fiber. Neutral pH. Strong, ‘untearable’ - moisture resistant.

Sheets

1

25

24 x 36 3.75 3.38

100

3.13

Rolls 36 x 10 yards 36 x 50 yards 60 x 10 yards 60 x 50 yards

500

2.81

Sale

65.00 181.00 79.00 299.00

YUPO

100% polypropylene. Waterproof, stain resistant and istrong. White. Neutral pH.

Acid-free, lignin-free buffered cardstock. Manilla color. 2 weights. .010 – 32 x 40 .020 – 30 x 40

100

1.00 .90 .84 .75

25 x 38 1.10 .99

Rolls

9.70 10.26 13.73 17.11 20.45 23.92 27.32 34.18

500

.59

Neutral pH. White. 16 gram.

Sale

.60

Sheets

Neutral pH. 20 pound. Smooth, white bond for wrapping. 65 grams 15 x 25 yards 18 x 25 yards 24 x 25 yards 30 x 25 yards 36 x 25 yards 42 x 25 yards 48 x 25 yards 60 x 25 yards

500

.67

26 x 40"

1

25

100

155 gram 6.80 6.13 5.67 197 gram 9.15 8.22 7.62 390 gram 12.90 11.61 10.77

Rolls 30 x 10 yards - 197 gram 60 x 10 yards - 197 gram

6.00 8.50

order: 800-950-6111 or: 212-473-7705.

500

5.10 6.84 9.68

Sale

94.00 149.00


ART PAPERS - Europe / The Americas & Australia

Arches - France

Hand papermaking in the towns of Arches and Archette can be traced back to 1492 where papermakers took advantage of the pure waters of the Rue de Razon. Today, Arches papers are made on cylinder mould machines by The Arjomari Paper Group. The name Arjomari is composed from the first 2 letters from four of the original mills: Arches, Johannot, Marais and Rives - signifying that the reputation of their papers is the result of fine traditions derived from the people who helped to develop them over the centuries. Arches papers are known for their strength and versatility. All Arches papers are watermarked sheets made of 100% cotton, have 2 natural deckled edges and 2 torn edges and are neutral pH.

Arches Aquarelle Natural White & Bright White

Internally and externally sized for watercolor. Watermarked and chop-marked.

Arches Cover

Cold Pressed surface. Light internal sizing.

Arches MBM INGRES (MICHALLET)

Originally designed for Jean Auguste Dominique Ingres. Laid surface with light texture for drawing.

Arches Oil

Arches Aquarelle Hot Press - Bright White

Cold Pressed watercolor paper with clear surface sizing for direct painting in oil. Will also accept watercolor and drawing techniques for multi-media applications.

Arches Platine

Hot Pressed surface. Specially sized for platinum printing.

Arches 88 Silkscreen

Hot Pressed. Unsized (waterleaf ) to absorb ink freely, which speeds drying, avoiding build-up and glare.

Arches Text Wove Arches Text Laid Cream

Lightly textured, book-weight sheets designed for printing and drawing.

Arches Aquarelle Cold Press - Bright White

Arches Cover Buff Arches Cover White Arches Cover Black

Arches Text Wove Arches Text Laid Cream Arches MBM (scanned on black)

Arches Aquarelle Rough - Traditional White Arches Platine Arches 88 Silkscreen

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ART PAPERS - Europe / The Americas & Australia

ARPA Handmades - Spain

Handmade from a blend of cotton and linen with substantial interior sizing and light texture. 4 Deckles. Neutral pH. Interior sizing allows for a full range of drawing, printing & some watercolor techniques. The beautifully pigmented sheets show good light-fast properties.

Arpa Light Blue Arpa Lavender

Arpa Ivory White Arpa Pale Pink Arpa Salmon Arpa Terracotta Arpa Medium Grey Arpa Light Grey

Arpa Burgundy Arpa Navy Arpa Medium Blue Arpa Sage Arpa Medium Green Arpa Chocolate

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Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Europe / The Americas & Australia

Art Spectrum Colorfix - Australia

Machine-made in Australia. Acid free watercolor paper screened with a fine-toothed pastel primer. Colorfix can withstand erasure while maintaining the receptive qualities of the surface. Pastel and charcoal need little fixative. The sheet size includes a ½" border of uncoated white paper. No deckles. Coated "sanded" surface for soft pastel, oil pastels & crayon or painting in oil without additional priming.

Art Spectrum Sand Art Spectrum White Art Spectrum Natural

Art Spectrum Rich Beige Art Spectrum Fresh Grey

Art Spectrum Blue Haze Art Spectrum Storm Art Spectrum Ultramarine

Art Spectrum Australian Grey Art Spectrum Soft Umber

Art Spectrum Elephant Grey

Art Spectrum Olive Art Spectrum Leaf Art Spectrum Rose Grey

Art Spectrum Aubergine

Art Spectrum Burnt Sienna Art Spectrum Terracotta Art Spectrum Burnt Umber Art Spectrum Burgundy

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Paper is fragile !

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Art Spectrum Black

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ART PAPERS - Europe / The Americas & Australia

Alcantara Green Alcantara Yellow Alcantara Grey

alcantara - Italy

limited quantities available.

100% cotton, handmade in Italy by Sicars. Neutral pH. Cold pressed, surface. 4 deckles. Lightly sized. Uses: drawing, printing & some watercolor techniques.

Bamboo - USA

Machine-made of 90% bamboo, 10% cotton. Bamboo grows rapidly, requires a fraction of the water needed to grow cotton, needs no fertilizers and produces more oxygen while consuming more carbon dioxide than trees. ECO friendly. Neutral pH. No deckles. For offset, letterpress and drawing.

BLOTTER - USA - Machine made from 100% high alpha cellulose. Waterleaf (no sizing) to absorb water readily. Neutral pH.

Bamboo USA

Blotter

Bockingford Oatmeal

Bockingford Cream

Bockingford Robin's Egg

Bockingford Blue

Bockingford Grey

Bockingford White & Tints - England

Mouldmade in England by the St. Cuthberts Mill. 100% high alpha cellulose. Neutral pH. No deckles. Internally and externally sized for watercolor. Cold Pressed surface. Bright white and colors inspired by tinted English watercolor sheets from the time of Constable and Turner. Bockingford White

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Brazil Banana Brown

Brazil Banana Pink

Brazil Banana Mustard

Brazil Banana Orange

Brazil Banana Red

Brazil Banana Black

Brazil Banana Purple

Brazil Banana Blue

Brazil Banana Green

Brazil Banana Forest

Brazilian Handmade Banana

Handmade of 100% recycled banana fiber. Crisp sheet with a mottled appearance. 4 Deckles. Translucent and crrisp with a smooth finish on one side or extra rough surface in three neutral tones. Neutral pH. Brazil Banana Cream

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Brazil Banana Tan

Paper is fragile !

No returns or exchanges are allowed

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ART PAPERS - Europe / The Americas & Australia

Ca L'Oliver Cream Ca L'Oliver Blue Ca L'Oliver Pastel Blue

Ca L'Oliver Barcelona Colors - Spain limited quantities available.

Handmade in Barcelona of 50% cotton. Cold pressed surface. Neutral pH. 4 Deckles.

Ca L'Oliver Pastel Yellow

Ca L'Oliver Purple Ca L'Oliver Lavender Ca L'Oliver Navy

Canson - France

A member of the Arjowiggins Paper Group, Canson dates back to 1557 when the Montgolfier Family established the Vidalon Mill on the banks of the Rhone. Today, Canson is known throught the world for their production of fine quality machinemade papers for fine art and creative purposes. Widely respected for integrity and strength, Canson sheets are suitable for drawing, book arts and craft.

Canson Ingres - Machine-made of 65% cotton. Neutral pH (except black) Laid surface. Lightfast colors. No deckles.

Canson Ingres White 01 Ingres Cream 48 Ingres Black 50 Ingres Sky 39

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Paper is fragile !

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Ingres Moonstone 52 Ingres Steel 55

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ART PAPERS - Europe / The Americas & Australia

Canson Mi Teintes - Machine-made of 65% cotton. Neutral pH (except Black). Lightfast colors. No deckles.

Mi-Teintes 335 White

Mi-Teintes 110 Lily

Mi-Teintes 111 Ivory

Mi-Teintes 112 Eggshell

Mi-Teintes 407 Cream

Mi-Teintes 101 Pale Yellow

Mi-Teintes 103 Dawn Pink

Mi-Teintes 350 Honeysuckle

Mi-Teintes 470 Champagne

Mi-Teintes 340 Oyster

Mi-Teintes 374 Hemp

Mi-Teintes 384 Buff

Mi-Teintes 504 Amber

Mi-Teintes 115 Mystic Orange

Mi-Teintes 130 Red Earth

Mi-Teintes 502 Bisque

Mi-Teintes 501 Tobacco

Mi-Teintes 133 Sepia

Mi-Teintes 503 Burgundy

Mi-Teintes 352 Orchid

Mi-Teintes 336 Sand

Mi-Teintes 429 Felt Grey

Mi-Teintes 431 Steel

Mi-Teintes 345 Dark Grey

Mi-Teintes 448 Ivy

13

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Canson Mi Teintes - Machine-made of 65% cotton. Neutral pH (except Black). Lightfast colors. No deckles.

Mi-Teintes 343 Pearl

Mi-Teintes 426 Moonstone

Mi-Teintes 122 Flannel Grey

Mi-Teintes 131 Twilight

Mi-Teintes 575 Viridian

Mi-Teintes 120 Pearl Pale

Mi-Teintes 354 Sky

Mi-Teintes 105 Wave Green

Mi-Teintes 475 Green

Mi-Teintes 480 Light Green

Mi-Teintes 590 Royal Blue

Mi-Teintes 490 Light Blue

Mi-Teintes 119 South Sea

Mi-Teintes 100 Lime

Mi-Teintes 107 Anise

Mi-Teintes 140 Indigo

Mi-Teintes 425 Black

Mi-Teintes 400 Canary

Mi-Teintes 553 Cadmium Yellow

Mi-Teintes 453 Orange

Mi-Teintes 506 Poppy

Mi-Teintes 116 Bordeaux

Mi-Teintes 114 Raspberry

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Paper is fragile !

Mi-Teintes 505 Red

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ART PAPERS - Europe / The Americas & Australia

Canson Mi Teintes - Machine-made of 65% cotton. Neutral pH (except Black). Lightfast colors. No deckles.

Mi-Teintes 102 Azure

Mi-Teintes 104 Lilac

Mi-Teintes 113 Parma

Mi-Teintes 507 Violet

Mi-Teintes 595 Turquoise

Mi-Teintes 495 Blue

Mi-Teintes 150 Cobalt

Mi-Teintes 118 Icy Blue

Mi-Teintes 117 Plum

Canson Opalux - Machine-made from 100% cotton. Extra-heavy translucent tracing vellum. Neutral pH. No deckles. Canson Montval 1059 - Machine-made of sulphite. Heavily textured watercolor paper. Neutral pH. White. 2 Deckles. Canson Satin - Machine-made of 100% sulphite. Extra heavy weight, translucent vellum. Neutral pH. No deckles. Canson Vidalon 90 - Machine-made of 100% sulphite. Translucent vellum. Neutral pH. No deckles.

Canson Montval 1059 Canson Vidalon 90 gram

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Paper is fragile !

Canson Opalux 180 gram Canson Satin 230 gram

No returns or exchanges are allowed

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ART PAPERS - Europe / The Americas & Australia

Capellades Handmades - Spain

Handmade papers produced in the oldest existing mill in Spain. The Capellades is now a paper museum that teaches and promotes traditional papermaking. All styles are neutral pH. 4 Deckles. For drawing, chine colle, printmaking and book arts.

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Capellades Abaca Lime Capellades Abaca Orange

Capellades Abaca Magenta Capellades Abaca White

Capellades #1 Letter Capellades Abaca Violet

Capellades Abaca Turquoise Capellades Abaca Black

Capellades Handmades - Spain

Handmade papers produced in the oldest existing mill in Spain. The Capellades is now a paper museum that teaches and promotes traditional papermaking. All styles are neutral pH. 4 Deckles.

Capellades #4 Book Laid Rough

Capellades Abaca - 100% Abaca. Translucent sheets with a smooth mottled surface. Capellades #1 Letter - Smooth, laid surface with shield watermark. White. Capellades #4 Book Laid- Laid sheets in both a smooth and rough surface. White. Capellades #6 Cover - Heavy weight sheets with an even, light texture. Capellades Garabato

Translucent, 100% abaca base sheet with "scribbled" decorative swirls made by applying wet paper pulp from a squeeze bottle to the newly formed sheets before couching.

Capellades Platinum - 100% cotton specially formulated for platinum printing. Capellades Sisal - Greyed-cream color sheet made of 100% sisal. Very strong with a slight tooth. Capellades Watermark - Laid sheet with large, elaborate paper-press watermark. Capellades Platinum

Capellades Blue Cover Capellades Pink Cover

Capellades Dull Green Cover Capellades White Cover

Capellades Black Cover Capellades Ochre Cover

Capellades Terra Cotta Cover Capellades Sisal

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Capellades Garabato Lime & Turquoise

Capellades Garabato White & White

Capellades Watermark

Capellades Garabato Tan & Pink Luster

Capellades Garabato Violet & Red

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Paper is fragile !

No returns or exchanges are allowed

Capellades Garabato Grey & White order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Europe / The Americas & Australia

Cave Papers - USA

Handmade in Minnesota by Bridget O'Malley and Amanda Degener, these are some of the finest and most beautiful handmade papers available today. The sheets are gelatine sized and loft-dried which results in papers that are exceptionally strong and have an amazing crispness. In addition to the natural colorations of the fibers used, some of the sheets have been hand-dyed which results in remarkable warmth and depth of tonality. The size of the papers will vary due to the extreme shrinkage of the flax fibers during loft drying. All papers have four deckles and are archival. The walnut dyed and tow flax sheets may contain matter which does not meet with Library of Congress standards. Alphabet - Cotton rag with printed letters. Series A Blue Jean - Recycled blue denim. Series A Black Flax - Belgian flax dyed with indigo and walnut. Gelatine sized. Series B Cloudy Sky - Three pigmented vats of pigmented cotton are randomly poured into the mould resulting in a swirling, cloud-like pattern. Each sheet is unique and both sides of each sheet will be different. Series B Galaxy - Belgian flax, dyed black. Sized and sprinkled with flecks of mica & silver leaf. Series G Granite - Pigmented 100% Belgian flax. Series B Green Crackle & O'Malley Crackle Flax 100% Belgian flax sheets are coated with gelatine, crumpled and dyed. Series B Indigo Flax - Belgian flax colored with indigo dye. Gelatine sized for stability. Series B Layered Indigo Flax & Layered Indigo Black Belgian flax sheets are repeatedly dipped into indigo dye, creating overlapping veils of color. Each sheet is one-of-a-kind. Gelatine sized for added stability. Series B Cave Cloudy Sky

Lime - Pigmented Belgian flax. Series B Natural Flax - 100% Belgian flax. Natural, pale grey tone. Series A Ochre - Pigmented Belgian flax. Series A Persimmon - Following the Japanese tradition, green persimmon juice is aged, applied to the sheet and then smoked to set the dye. Warm, pinkish-brown which darkens with age. Series P Tangerine / Terracotta / Turquoise - Pigmented Belgian flax. Series B Walnut Dyed Flax - Belgian flax sheets with walnut dye. Gelatine sized for added stability. Series A

Cave Galaxy

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Paper is fragile !

Walnut Dyed Red Flax - Red iron oxide pigment is used to color the Belgian flax sheet and then hand coated with walnut dye. Gelatine sized for added stability. Series A No returns or exchanges are allowed

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ART PAPERS - Europe / The Americas & Australia

Cave Blue Jeans Cave Walnut Dyed Red Flax Cave Walnut Dyed Flax

Cave Granite

Cave Alphabet

Cave Persimmon

Cave Green Crackle Flax Cave Black Flax

Cave O'Malley Crackle Flax Cave Natural Flax Cave Indigo Flax

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Cave Ochre Flax

Cave Layered Indigo Black Flax

Cave Tangerine Flax Cave Layered Indigo Flax

Cave Terracotta Flax Cave Turquoise Flax Cave Lime Flax

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

ColorPLAN - England

Machine-made text and card stock. 100% sulphite. Lightly textured, matte surface. Good lightfast properties. No deckles. Neutral pH. Color Plan sheets are suitable for letterpress, drawing, book arts, crafts and display.

Color Plan White Frost

Color Plan Pristine White Color Plan Natural Color Plan Vellum White Color Plan Mist

Color Plan Cool Grey Color Plan Cool Blue Color Plan Pale Grey Color Plan Real Grey

Color Plan Imperial Blue Color Plan Dark Grey Color Plan Smoke

Color Plan Black Ebony Color Plan Bitter Chocolate Color Plan Bagdad Brown Color Plan Nubuck Brown

Color Plan Racing Green Color Plan Amethyst Color Plan Claret Color Plan Harvest

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

ColorPLAN - England

Machine-made text and card stock. 100% sulphite. Lightly textured, matte surface. Good lightfast properties. No deckles. Neutral pH. Color Plan sheets are suitable for letterpress, drawing, book arts, crafts and display.

Color Plan Bright Red

Color Plan Scarlet Color Plan Mandarin Orange Color Plan Citrine Color Plan Factory Yellow

Color Plan Fuchsia Color Plan Candy Pink Color Plan Sorbet Color Plan Pistachio Green

Color Plan Lavender Color Plan Purple Color Plan Azure Color Plan Powder Green

Color Plan Adriatic Blue Color Plan Tabriz Blue Color Plan Royal Blue Color Plan Sapphire

Color Plan Turquoise Color Plan Mid Green Color Plan Lockwood Color Plan Forest

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Coquille Stipple Coventry Rag Vellum Coventry Rag Smooth

COquille Stipple Paper - USA

Machine-made in the U.S. Neutral pH. No deckles. White card with embossed stipple pattern to create half-tone efffects when used with soft pencils, lith crayons and pastel.

COVENTRY RAG - USA

Crane's Crest Laid

Machine-made in the U.S. from 100% cotton. Neutral pH. No deckles. Available in smooth and vellum surfaces. Versitile, all purpose sheets for mixed media, silk screen, drawing, letterpress and offset.

Crane’s Crest Laid / Crane’s Crest Wove - USA

Machine-made in the U.S. from 100% cotton. Watermarked sheets. No deckles. Ivory White.

Crane’s Cover

Machine-made from 100% cotton. Smooth surface suitable for delicate detail. No deckles. Its permanence and surface make this paper excellent for printing valuable documents, certificates, diplomas, citations. Crane's Crest Wove

Crane's Cover Fluorescent White Crane's Cover Pearl White

Costa Rica Mescla Oscura Costa Rica Bambu Costa Rica Paz

Costa rican Handmades

These unusual and beautiful handmades utilize waste materials from the farming industry in Costa Rica. The government encourages the use of these materials because without the recycling of these overly abundant, natural wastes, the ecological balance of the forests and the animals that depend on them are threatened. All papers have 4 deckles and are neutral pH.

Costa Rican Costa Rican Costa Rican Costa Rican

Bambu - Light natural banana fibers with green bamboo leaves Smooth one side. Cafe Crema - Banana fibers with coffee shells give this sheet its rough texture. Mescla Oscura - Deep brown banana fiber with small flecks of black bark. Paz - Mix of cotton and banana with letters and words from recycled newpapers.

Costa Rica Cafe Crema

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

czech republic handmades Velke losiny

Founded in 1596 in the small village of Velke Losiny, this mill has survived for centuries not only the ravages of war, but also an infamous witch trial after which the wife of the owner of the mill was burned at the stake! Made of a mixture of cotton and linen rag, these strong, crisp sheets are fully sized and loftdried making them suitable for most techniques including drawing, painting and printmaking. All sheets are neutral pH. 4 deckles. Moldau - 60% cotton, 40% linen. White wove. Fabric-like, rough surface. Moravia White & Ivory - 85% cotton, 15% linen. Lightly textured with a fine woven pattern. Prague - 85% cotton, 15% linen. - Laid sheets. Smooth.

Czech Moldau Czech Moravia

Czech Prague Ivory Czech Prague White

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Domestic Etching Drawing 60 lb. Penny Sketch (on black) Drawing 90 lb. Sketch Vellum

Durotone Butcher Orange Cover Durotone Butcher Off-White Text Durotone Packing Brown Wrap

Durotone Newsprint Extra White Durotone Newsprint White Durotone Newsprint Aged

Domestic Etching - USA

Machine-made of 50% cotton. Neutral pH. No deckles. Off-white. Designed as a reasonably priced proofing sheet for etching, the cotton content gives this sheet versitility for drawing and other printing techniques.

Drawing 60 lb. Penny Sketch #10 Drawing 90 lb. Sketch Vellum #116 - USA - Inexpensive, white drawing paper. Neutral pH. Machine-made by Borden & Riley. DUROTONE - USA

Machine-made from recycled paper by the French Paper Co. Neutral pH versions of the papers they resemble. No deckles. Tough and inexpensive, Durotone and Speckletone papers are suitable for most techniques and do well with erasure and even light watercolor.

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Evolon AP - USA

Non-woven micro-fiber of polyester & nylon. Exceptionally strong and tear resistant, Evolon can absorb up to 5 times its weight in water without buckling, expanding or shrinking. Neutral pH. This synthetic "non-paper" material works well for litho, letterpress, etching and mono-printing. Or use as a blotter that remains flat and can be used indefinately. Evolon can be primed or painted on directly. Can be sewn or used for sculptural applications. Archival quality also makes it excellent for storage. Available in sheets and 80" wide rolls.

Evolon 58 gram Evolon 98 gram Evolon 168 gram

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Fabriano - Italy

Located in Italy along the River Giano, Cartiere Miliani Fabriano is a massive operation comprised of numerous mills, each with their own special grades of paper. Both handmade and mouldmade operations exist today, utilizing traditions that began in the 13th century, continued through the Renaissance when their sheets were used by Michelangelo and Raphael and are evident now, centuries later, in their wide selection of papers. The Fabriano papermakers can be credited with several innovations in papermaking including the use of gelatine instead of starch as a sizing and the invention of the hydraulic hammer for pulp preparation. But the creation of the watermark is perhaps its most significant contribution as it allowed for the first time, the identification of the sheet of paper, its maker, and as in the case of specialty watermarks such as those used in official documents, the user of the sheet. Fabriano is still known for its intricate watermarks including photo-watermarks used in Italian currency. All Fabriano papers are neutral pH. True work-horses of the paper world, Fabriano sheets can be used for a full range of drawing, printing and mixed media techniques.

Fabriano Artistico Traditional White & Artistico Extra White "Uno"

Mouldmade from 100% cotton rag. Internally and externally sized. Extra White includes a "soft press" surface which is smoother than cold press. 2 deckles, 2 cut edges (as of 2008.)

Fabriano Eco White

Machine-made from 100% post-consumer waste. Using 50% hydro-power production and respecting the Kyoto protocol, this FSC certified paper is made without chlorine bleach. No deckles.

Fabriano Artistico Traditional White Hot Press Fabriano Eco

Fabriano Artistico Extra White Soft Press Fabriano Artistico Traditional White Cold Press Fabriano Artistico Extra White Rough

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Fabriano Elle Erre

Machinemade from100% high alpha cellulose. Linrear fabric-like surface one side, smooth on the other. No deckles.

Fabriano Elle Erre 00 - White Elle Erre 30 - China Elle Erre 15 - Black

Fabriano Elle Erre 29 - Light Grey Felted Elle Erre 02 - Pearl Grey Elle Erre 06 - Brown Elle Erre 22 - Graphite Grey

Elle Erre 01 - Wheat Elle Erre 03 - Light Brown Elle Erre 19 - Burnt Umber Elle Erre 28 - Vendonne Elle Erre 14 - Navy

Elle Erre 17 - Cream Elle Erre 8 - Orange Elle Erre 7 - Yellow Elle Erre 11 - Forest Green Elle Erre 20 - Sky Blue

Elle Erre 27 - Cherry Elle Erre 26 - Light Orange Elle Erre 25 - Lemon Elle Erre 10 - Pea Green Elle Erre 13 - Azure Blue

Elle Erre 09 - Bright Red Elle Erre 16 - Rose Elle Erre 23 - Fuchsia Elle Erre 04 - Purple Elle Erre 18 - Light Blue

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Ingres 721 - Ice White Ingres 703 - White Ingres 701 - Hazel Ingres 702 - Ivory Ingres 704 - Ash Grey Ingres 619 / 719 - Black

Fabriano Ingres - Machine-made of cotton & sulphite. Embossed, laid surface on one side, smooth on the other. No Deckles. Drawing & letterpress.

Murillo 908 - Bright White

Murillo 901 - Ivory White

Murillo 902 - Cream

Murillo 912 - Mustard

Murillo 904 - Pearl

Murillo 903 -Grey

Murillo 905 - Beige

Murillo 927 - Red

Murillo 918 - Black

Murillo 911 Forest Green

Murillo 915 - Umber

Murillo 907 - Rust

Murillo 928 - Blue

Murillo 910 - Olive

Murillo 913 - Havanna

Murillo 916 - Dark Brown

Fabriano Murillo - Mouldmade from 25% cotton and sulphite. Very heavy, roughly textured surface. No deckles. Internally sized for multimedia. Fabriano Roma - Handmade from 100% cotton. Chain-laid surface with the Romulus and Remus watermark. Lightly sized. 4 deckles. Drawing.

Roma 104 - Raffaelo Cream (watermark is 4" wide) Roma 103 - Michaelangelo - Ivory White

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Fabriano Rosaspina

Mouldmade from 40% cotton. 2 deckles. Printmaking and drawing.

Fabriano Studio Watercolor

Machinemade of cotton and alpha cellulose. Hot Press and Cold Press. No deckles.

Fabriano Rosaspina Cream

Fabriano Rosaspina White Fabriano Tiepolo Fabriano Studio Hot Press & Cold Press

Fabriano Tiepolo

Mould-made of 100% cotton. Cold Pressed with watermark. 2 deckles, 2 torn edges. Printmaking.

Fabriano Tiziano

Mouldmade from 40% cotton. Cold Pressed. Very lightfast. No deckles. Drawing, letterpress & display. Fabriano Tiziano 7 - Raw Sienna

Tiziano 9 - Coffee Tiziano 6 - Tan Tiziano 44 - Gold Tiziano 21 - Orange Tiziano 41 - Fire Red

Tiziano 5 - Custard Tiziano 20 - Lemon Tiziano 4 - Putty Tiziano 22 - Red Tiziano 25 - Pink

Tiziano 2 - Cream Tiziano 40 - Ivory Tiziano 3 - Banana Tiziano 1 - White

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia Fabriano Tiziano - Mouldmade from 40% cotton. Cold Pressed. Very lightfast. No deckles. Drawing, letterpress & display.

Tiziano 46 - Aquamarine Tiziano 23 - Burgundy Tiziano 24 - Violet Tiziano 45 - Iris Tiziano 33 - Lilac

Tiziano 32 - Light Grey Tiziano 15 - Pale Blue Tiziano 16 - Dust Blue Tiziano 17 - Sky Blue Tiziano 18 - Turquoise

Tiziano 26 - Grey Tiziano 31 - Black Tiziano 42 - Blue Night Tiziano 39 - Indigo Tiziano 19 - Ultramarine

Tiziano 27 - Grey Pink Tiziano 28 - Grey Felt Tiziano 29 Fog Grey Tiziano 30 - Dark Grey Tiziano 14 - Moss

Tiziano 12 - Kelly Green

Tiziano 37 - Pool Table Green Tiziano 43 - Pistachio Tiziano 11 - Pale Olive Tiziano 13 - Sage Green

FOLIO - USA

Machine-made of 100% cotton. Neutral pH. Cold Pressed. 22 x 30 sheets have 2 deckles. 38 x 50 sheets have no deckles. Drawing and printing.

Folio Antique

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Paper is fragile !

Folio White No returns or exchanges are allowed

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ART PAPERS - Europe / The Americas & Australia

Hahnemühle - Germany

On February 27, 1584, Duke Erich issued a proclamation stating that papermaker Martin Spiess was allowed to establish a mill to supply His Highness and His Domain with fine handmade papers. In 1886, Carl Hahne, gave the mill the name Hahnemühle and became the supplier of many European houses of nobility. Büttenpapierfabrik Hahnemühle installed their first cylinder machines in 1925 yet continued to make handmade sheets until 1967 when it converted entirely to mouldmade production. The mill has been highly regarded by many of the world's finest printing houses and continues to advance in production for all techniques, including digital reproduction. Mould-made sheets have 2 deckles, 2 torn edges. Machine-mades have no deckles. Hahnemühle is a small mill with paper makers that have had years of experience. Their skills are obvious in their consistent results. High alpha cellulose sheets perform with more strength and wear ability than many cotton sheets from other mills, tactile, lightweight sheets can be repeatedly erased with minimal abrasion and the pigmented tones of the Ingres and Burgra lines are subtle, unique and highly light fast. All sheets are neutral pH.

Hahnemühle Bugra Bütten

Mould-made of 100% high alpha cellulose. Wide-laid tectured surface on one side and subtle, mottled tonality on the reverse with a smoother surface.

Bugra 315 - Bright White

Bugra 309 - White

Bugra 310 - Archive (with wool inclusions)

Bugra 319 - Sapphire

Bugra320 - Pink

Bugra 305 - Blue (laid side shown above)

Bugra 305 Blue (smooth side shown above)

Bugra 321 - Lilac

Bugra 314 - Antique Rose

Bugra 317 - Marble Grey Bugra 306 - Grey

Bugra 316 - Caramel

Bugra 303 - Mango

Bugra 311 - Brick

Bugra 322 - Burgundy

Bugra 312 - Evergreen

Bugra 307 - Fawn

Bugra 302 - Chamois

Bugra 304 - Mocha

Bugra 313 - Black

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Bugra 300 - Butter

Bugra 308 - Mint

Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

HahnemÜhle Biblio

Hahnemühle Hahnemühle Hahnemühle Hahnemühle Hahnemühle Hahnemühle Hahnemühle

Biblio - Mould-made of 100% high alpha cellulose. Wove surface. Opaque white. Copperplate - Mould made of 100% high alpha cellulose. Vellum surface. Durer Etching - Mould-made from 100% cotton. Vellum surface. White. German Etching - Mould-made of 75% cotton, 25% high alpha cellulose. Gutenberg Laid - Mould-made of 100% high alpha cellulose. Laid surface. Heine - Mould-made of 100% high alpha cellulose. Smooth, chain-laid surface. Ingres - Mould-made from high alpha cellulose. Textured, laid surface.

Copperplate / Durer / German Etch Bright White HahnemÜhle Copperplate Warm White HahnemÜhle Guttenberg Laid

HahnemÜhle German Etching Natural White HahnemÜhle German Etching Black HahnemÜhle Heine

Ingres 100 - White Ingres 102 - Antique Ingres 103 - Custard Ingres 105 - Green Grey Ingres 107 - Rose

Ingres 108 - Camel Ingres 109 - Light Grey Ingres 110 - Smoke Ingres 112 - Blue Green Ingres 113 - Sky Blue

Ingres 114 - Black Ingres 115 - Orange Ingres 116 - Deep Green Ingres 117 - Silver Grey Ingres 118 - Earth

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

HahnemÜhle Natur Cover - White HahnemÜhle Natur Cover - Grey HahnemÜhle Natur Cover Black

Hahnemühle Natur Cover - Machine-made of high alpha cellulose. Fine, vellum surface. Hahnemühle Schiller - Mould-made of 100% high alpha cellulose. Soft, textured white Hahnemühle Student Prinz - Machine-made of 100% high alpha cellulose. Smooth one side, cold pressed the other. Sized.

Hahnemühle Torchon - Machine-made of100% high alpha cellulose. Rough. Bright White. Hahnemühle Watercolor - Mould-made from 100% cotton. Cold pressed surface. White HahnemÜhle Natur Cover Cream

HahnemÜhle Natur Cover - Green-Grey HahnemÜhle Schiller

HahnemÜhle Student Prinz HahnemÜhle Torchon HahnemÜhle Watercolor

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

HUUN Yucatan handmade - Mexico

Not actually a paper, this is the Yucatan's version of Papel de Amate. The sheets are made by shaping sanseveria and cattail fibers onto a flat surface and then placing them in the sun to dry. Examples of Huun can be traced back to the ancient Aztecs. These sheets, made by Mark Callaghan, have one very rough side created by the fork-like instrument that spreads the pulp while the other side is very smooth as they are formed on stone or glass surfaces. Neutral pH with 4 natural edges.

Huun Natural - (Smooth Front) Huun Natural (Rough Back) Huun Bleached Huun Mottled with Cattail

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia HUUN Yucatan handmade - Mexico

Huun Mustard Solid Huun Mustard with Cattail Huun Orange with Cattail Huun Orange Solid

Huun Light Green Solid Huun Light Green with Cattail Huun Red with Cattail Huun Red Solid

Huun Dark Green Solid Huun Dark Green with Cattail Huun Purple with Cattail Huun Purple Solid

Huun Turquoise Solid Huun Turquoise with Cattail Huun Lilac with Cattail Huun Lilac Solid

Huun Black Solid Huun Mustard with Cattail Huun Blue with Cattail Huun Blue Solid

Huun Light Brown Solid Huun Light Brown with Cattail Huun Dark Brown with Cattail Huun Dark Brown Solid

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia INDEX paper (Scott, franklin) - USA

Machine-made in U.S. from sulphite. Smooth index paper, similar to oaktag. No deckles.

Johannot - France

Mouldmade in France by Arjomari & Wiggins. 75% cotton, 25% esparto. Neutral pH. Cold Pressed. White. Esparto pulp adds absorbency and helps to produce this paper's unique surface. 2 natural deckles, 2 torn edges. Index

Lanaquarelle - France

The Lana Mill was founded in the village of Duxelles in the 15th century and prospered because of its location near monasteries and universities that required quantities of paper. In 1795 the mill was reequipped with cylindrical machines that made it possible for the mill to keep up with the ever increasing demand for their sheets. Lana has undergone many changes and owners over the centuries and today only produces their Lanaquarelle watercolor grade in Hot press and Cold press. Mouldmade from 100% cotton. Neutral pH. Gelatine sized. 2 deckles, 2 torn edges.

Johannot

Lanaquarelle Cold Press Lanaquarelle Hot Press

Legion art Coated Cover - USA

Machine-made in the U.S. of 100% high alpha cellulose with a smooth, matte finish created by a fine clay coating. Neutral pH. No deckles. White. Suitable for silver point and fine drawing techniques. The clay coating produces very rich, dark tones, but allows for little erasure. Legion Art Coated

(with Silverpoint above)

Lenox 100 - USA also see Rolls

Machine-made in U.S. from 100% cotton. Neutral pH and buffered. Cold Pressed. No deckles. White. A favorite in the studio for proofing, drawing, screen printing and multi-media.

Lettra - USa

Machine made in the U.S. by Crane's of 100% cotton. Lettra is designed for letterpress printing and offers a softer surface and bulkier sheet to maximize the impression of the press. Also suitable for drawing and other printmaking techniques. No deckles.

Lenox Lettra Fluorescent White Lettra Pearl White Lettra Ecru

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Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Langdell Luster - USA

Handmade by Maple Street Paper Company. 100% Cotton with the addition of mica particles to give these sheets a subtle sparkle. 4 deckles. The durable surface makes these sheets good for printmaking, drawing and painting - limited supply

Langdell Luster Cream

Luster Butter Luster Soft White Luster Pale Pink Luster Celedon Luster Pale Green

Luster Gold Luster Araurcana Luster Silver

Luster Burnt Umber Luster Slate Luster Rose Luster Plum Luster Azul

Luster Chartreuse Luster Yellow Luster Tangerine Luster Atlantic Blue Luster Periwinkle

MC Coy Clay Coated Cover - USA

Machine-made in the U.S. with a satin-like smooth finish created by a fine clay coating. Suitable for silver point and fine drawing techniques. The clay coating produces very rich, dark tones, but allows for little erasure. No deckles. White.

MC Coy Clay Coated

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(with silverpoint above)

Paper is fragile !

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ART PAPERS - Europe / The Americas & Australia

Magnani - Italy

Magnani Papers date back to the 15th century when papermaking was first recorded along the River Pescia near the town of Pescia, Italy. By the 18th century, Magnani was exported throughout Europe with notable customers that included Napoleon Bonaparte, The Crown Family of Italy and most of the other ruling families of Europe, who chose the mill because of their ability to produce special watermarked sheets for official documents. Today, the cylinder mould machines at the mill make the currency for many countries around the globe. In the 19th and 20th centuries the ancient, hand-papermaking mill, Le Carta, worked directly with artists such as De Chirico, Annigoni and Morandi to develop their own special papers with personalized watermarks. With Magnani's introduction of their new, extensive line of reasonably priced Revere printing papers, the Mill continues to expand their selection of fine art papers that address specific needs of today's artists. Although focusing on printmaking grades, Magnani papers are able to withstand a wide variety of techniques including drawing and painting. All sheets are neutral pH.

Magnani Acquerello Cold Press

Magnani Acquerello Portofino Hot Press

Magnani Annigoni

Magnani Acquerello Cold Press / Acquerello Portofino Hot Press Mouldmade from100% cotton, fully sized for watercolor. Neutral pH. 2 deckles, 2 torn edges.

Magnani Annigoni

Mouldmade from100% cotton. Pigmented, light tan color with fine flecking of black wool fibers. Neutral pH. 2 deckles, 2 torn edges. Lightly textured, Annigoni takes erasure well and can withstand light washes.

Magnani Arturo Stationery & Card

Mouldmade from100% high alpha cellulose. This is the paper used for the Arturo line of fine stationery. Neutral pH. No Deckles. The toothy surface is also great for drawing, gouache and printmaking techniques.

Magnani Arturo Bright White

Magnani Arturo Soft White

Magnani Arturo Buttercream

Magnani Arturo Lavender

Magnani Arturo Stone

Magnani Arturo Blue

Magnani Arturo Pink

Magnani Arturo Celedon

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ART PAPERS - Europe / The Americas & Australia

Magnani - Italy

Magnani Firenze Brown

Magnani Firenze Navy

Magnani Firenze Black

Magnani Firenze Partially handmade, 100% cotton. Neutral pH. 4 Deckles. Pronounced laid line pattern. 4 Deckles. Neutral pH.

Magnani Incisione

Mouldmade from 50% cotton, 50% sulphite. Neutral pH. 2 deckles, 2 torn edges. Bright White with a smooth surface.

Magnani Pescia Satinato

Mouldmade from100% cotton. Neutral pH. 2 deckles, 2 torn edges. Smooth surface. This dense, finely made printmaking paper can be used for many drawing techniques and will also take some warercolor.

Magnani Platinum Revere

Mouldmade from100% cotton specially formulated for platinum photograhic processes. Neutral pH. 2 deckles, 2 torn edges. Magnani Incisione

Magnani Pescia Bright White

Magnani Pescia Soft White

Magnani Pescia Cream

Magnani Pescia Blue

Magnani Pescia Grey

Magnani Platinum Revere

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ART PAPERS - Europe / The Americas & Australia

Magnani - Italy

Silk is the smoothest of the Revere papers

Felt is the roughest of the Revere papers

Suede is the middle texture of the Revere papers

Magnani Revere Polar White - Silk Surface

Magnani Revere Standard White - Felt Surface

Magnani Revere Warm White - Suede Surface

Magnani Revere Ivory - Suede Surface

Magnani Revere Bisque - Suede Surface

Magnani Revere Black - Suede Surface

Magnani Revere

Mouldmade from100% cotton. Neutral pH. 2 deckles, 2 torn edges. Printing & Drawing.

Magnani Velata Mould-made

Mouldmade from100% sulphite. Neutral pH. 2 Deckles, 2 cut edges. Lightly textured, wove finish

Magnani Velata & Vergata Handmades Handmade from100% cotton. Neutral pH. 4 Deckles. "Velata"(wove) surface and "Vergata (laid) surface. Magnani Velata Mould-made

Magnani Velata Handmade - White

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Magnani Vergata Handmade - Ivory

No returns or exchanges are allowed

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ART PAPERS - Europe / The Americas & Australia

Mexican PAPEL DE AMATE - Mexico

From the Otomi Indians, Paper de Amate is not actually a paper. For centuries, they have been formed by pounding fig tree bark into sheets and drying them in the sun. 4 natural edges. Neutral pH.

Mexican Amate - Ivory

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Mexican Amate - Brown

Mexican Amate - Mottled

No returns or exchanges are allowed

Mexican Amate - Tan (color varies)

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Europe / The Americas & Australia Mexican PAPEL DE AMATE - Mexico

Mexican Amate - Sage

Mexican Amate - Pink

Mexican Amate - Lace Mottled

Mexican Amate - Woven Brown

(on black)

(on black)

Mexican Amate - Teal

Mexican Amate - Multi Color Solid

Mexican Amate - Lace Brown (on white)

Mexican Amate -Woven Multicolor

Mexican Amate - Woven Mottled (on white)

Mexican Amate -Woven Ivory

Mexican All Purpose Handmade - Mexico

(on black)

(on black)

Made from 20% cotton with 80% recycled papers, externally sized to accept most drawing and painting techniques yet soft and strong enough for letterpress and printmaking. Neutral pH.

Mexican All Purpose - White & Ivory

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ART PAPERS - Europe / The Americas & Australia

Moulin de Larroque & Moulin du pombie - France

The Larroque Mill, in existence for centuries, utilized traditional hand paper making techniques. Although the mill is still in existence and producing some grades, our sheets were made over a decade ago by George Duchene who operated both handmade and mould-made production. All are 100% cotton and neutral pH. Supplies are limited.

Moulin de Larroque - Bergerac Antique

Moulin de Larroque - Bergerac Pale Pink Felt

Moulin de Larroque - Bergerac Pale Grey Felt

Moulin de Larroque - Calcaire

Moulin du Pombie - Mouchetes Olive

Moulin du Pombie - Mouchetes Grey

Moulin du Pombie - Mouchetes Blue

Moulin du Pombie - Mouchetes Almond Green

Moulin du Pombie - Mouchetes Brown

Moulin de Larroque - Colombe Lilac

Moulin de Larroque - Colombe Burgundy

Moulin du Pombie - Moutarde

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ART PAPERS - Europe / The Americas & Australia

Mohawk Vellum Cool White

Mohawk Vellum Soft White

Mohawk Via Vellum Light Grey

MOHAWK VELLUM - USA

Machine-made from 100% high alpha cellulose. 60 lb. text paper. Neutral pH. No deckles.

MOHAWK Via Smooth Light Grey - USA

Machine-made from 100% high alpha cellulose. 70 lb. text paper. Neutral pH. No deckles.

Multi-media / aquarelle - USA

Machine-made ifrom100% cotton. Heavy internal sizing makes this economical paper suitable for most painting techniques. Double sided sheets allow for additional versatility. Neutral pH. 2 deckles.

Newsprint - USA - Machinemade in the U.S. of sulphite. Smooth and Rough. Oaktag - USA - Machine-made. Hard, smooth surface. Off-White. Parchment Antique Goldtone - Machine-made from sulphite.. Multi-Media Aquarelle

Oaktag

Newsprint

Parchment Antique Goldtone

PARCHMENT (Genuine)

Traditionally prepared skins for bookbinding, religious documents, certificates, illuminated manuscripts and painting.

Our selection of skins varies greatly due to availability from our suppliers. Please inquire for current stock. Sheepskin Calfskin Deerskin Goatskin

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ART PAPERS - Europe / The Americas & Australia

Pergamenata White - 160 gram (seen on black)

Pergamenata Natural - 160 gram (seen on black)

Pergamenata Natural - 230 gram (seen on black)

PERGAMENATA - Italy

Machine-made in Italy. 100% high alpha cellulose. Translucent parchment. Neutral pH. No deckles.

PLike - Italy

PLike Ivory (with pencil & silverpoint)

PLike White

(silverpoint)

PLike Graphite

Machinemade by Gruppo Cordenons of 100% sulphite. The name "Plike" comes from "plastic-like" in that these sheets have an unique touch, evocative of plastic or rubber. The surface is water resistant, yet is porous enough to accept watermedia and other techniques with minimum buckling. The smooth surface accepts silver point beautifully and holds detail even with pastel. However, this specially coated surface does not erase well. Neutral pH. No deckles.

PLike Black

PLike Brown

PLike Red

Richard de Bas - Apta Brick Red Richard de Bas - Light Blue Richard de Bas - Chamois Richard de Bas - Maroon

Richard de Bas - France

Auvergne is the site of the Val de Laga Mill of the Moulin a Richard de Bas, one of the oldest mills in France. Its papers still bear the watermark composed of a heart crossed by waves to represent the Laga River and the date of the mill’s inception, 1326. They are handmade from cotton rag and linters beaten by wooden mallets powered by the river. Internally sized. Neutral pH. 4 deckles. Our sheets are vintage from 20 years ago and supplies are limited.

Richard de Bas Normal Laid - Laid surface with white cotton threads.l Richard de Bas Apta Laid Brick Red - Heavy chain laid (more widely spaced than Normal)

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ART PAPERS - Europe / The Americas & Australia

Richeson Shale Richeson Black Richeson White

Richeson Storm Grey Richeson Sandstone Richeson Marble

Richeson Clay Richeson Light Umber Richeson Terracotta

Richeson's Unison Premium Pastel Surface - USA

Machine-made in the U.S. Designed by the Jack Richeson Company in conjunction with the makers of Unison Pastels, these durable sheets can withstand rubbing, erasure and even watercolor techniques and still maintain their specially designed, toothy surface. Acid free paper screened with a fine-toothed pastel primer. Pastel and charcoal need little fixative. The sheet size includes a ½" border of uncoated white paper. No deckles.

Rising Drawing Bristol - USA

Machinemade in the U.S. of 100% sulphite. Off-white tone is heavily sized to handle many techniques. No deckles. Neutral pH.

Rising Bristol Vellum Finish Rising Bristol Plate Finish

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ART PAPERS - Europe / The Americas & Australia

Rives BFK White Rives BFK Soft White Rives BFK Cream

Rives BFK Grey Rives BFK Tan

Rives Lightweight & Heavyweight White Rives Lightweight & Heavyweight Buff Rives de Lin

Rives

- France

Mouldmade in France by The Arjomari Paper Group, the same mill that produces Arches and Johannot. These sheets of 100% cotton are without a doubt, some of the papers most often requested by artists. Although known as printing papers, their light sizing and exceptional strength even after soaking, makes these papers versatile for many applications. All Arjomari papers are Neutral pH. 2 Deckles, 2 torn edges (except where noted.)

Rives BFK - Soft White, Cream, Grey, and Tan in 22 x 30 size are cut from 30 x 44 sheets and have 1 deckle, 2 torn edges and 1 cut edge.

Rives Heavyweight & Lightweight

Wove surface, similar to BFK but in 2 lighter weights. Buff (cream) and White (an Off-white tone that does not correspond to BFK White.)

Rives Papier de Lin also see Rolls

25% linen and 75% cotton rag. Natural deckles are exaggerated. Linen fiber adds strength and gives this paper a surface that is highly textured without a mechanical look. “Moulin du Gue� watermark.

Rubbing Paper "OldStone" - USA

Machinemade for Oldstone Rubbing Products of rayon & sulphite. Durable, soft surface specifically designed for rubbing techniques using crayons and graphite sticks. No deckles. Rubbing Paper "Oldstone" (seen on black & white)

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ART PAPERS - Europe / The Americas & Australia

Ruscombe mill Handmades

- France

Owned and operated by Chris and Jane Bingham, the mill was established in the Cotswold village of Ruscombe, England in 1990 and relocated to France in 1995. These exquisite sheets are made from cotton rag and flax fibers and recreate the techniques and styles of papers found in the 17th, 18th and 19th centuries. Most of the varieties were inspired by specific antique papers found in museum collections that were once favored by English artists, printers and bookmakers. The mill provides papers to major libraries and museums including the Louvre and the French National Library, for the restoration of their works on paper. All are neutral pH. 4 Deckles.

Ruscombe Mill Blued Hemp & Flax Broad Laid

Modeled after antique wrapping papers which were made of diverse fibers such as rope, colored cotton and old linen clothes.

Ruscombe Mill Deep Beige - Cotton rag and linen flax. Wove. Ruscombe Mill "Machine-age" Compatible Cold Cream Wove

Cotton rag and flax, colored to resemble aged paper, particularily those used during the industrial revolution .

Ruscombe Mill Margaux Estampe Cream - 100% cotton linter for printmaking. Ruscombe Blued Hemp & Flax Broad Laid

Ruscombe Mill Paille - 75% linen rag and 25% cotton rag. Strong surface for drawing & washes.

Ruscombe Deep Beige Ruscombe Machine-Age Cold Cream Ruscombe Paille

Ruscombe Gelatine-sized Watercolor

These remarkable sheets are made with flax, hemp and cotton rag. This formulation, along with vigorous beating of the fibers are inspired by papermaking techniques approved by The Royal Watercolor Society in England during the 18th and 19th centuries. Externally sized in a hot bath of gelatine and then loft dried.

Ruscombe Oatmeal - Cotton, linen and oatmeal husks.. Ruscombe Thomas Girtin Laid

Linen, hemp and cotton rag. Modeled after a wrapping paper that this President of the Royal Watercolor Society preferred. Ruscombe Margaux Estampe Cream

Ruscombe Gelatine-sized Oatmeal Ruscombe Gelatine-sized Thomas Girtin Laid

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ART PAPERS - Europe / The Americas & Australia Ruscombe mill Handmades - France

(on black background)

(on black background)

(on black background)

(on black background)

Ruscombe - 25 gram Pale Laid Ruscombe - 120 gram Pale Wove Ruscombe - 90 gram Dark Wove Ruscombe - 120 gram Dark Wove

Ruscombe - Cartridge Green Ruscombe - Sugar Bag Blue Green

Ruscombe - Strong Granite Blue Laid Ruscombe - Library Green

Ruscombe - Pamphlet Blue Ruscombe - Murky Pink Ruscombe - Ruth's Red Ruscombe - Snuff Brown

Ruscombe Mill Queen Anne Colors

Made of a cotton rag and flax in an assortment of rich, heavily pigmented, saturated colors that are copies of sheets found in antique books.

Ruscombe Mill Queen Anne Cotton Wove & Laid

Made of a blend of cotton rag, and flax. The 25 gram sheets are a marvel of papermaking skills!

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ART PAPERS - Europe / The Americas & Australia

Saint ARMAND Handmades

- Canada

The St. Armand Mill of Montreal, Canada is owned and operated by David Carruthers and his wife, Denise Lapointe. Established in 1979 on the shores of the Lachine Canal, the mill re-created the ancient craft of papermaking in a modern context. New York Central and Saint Armand have worked together since those early days - when handmade paper was mainly European and unknown to the American market. Saint Armand's papers have changed radically over the years, but most notably since 1992 when the mill acquired a Holland beater and was able to prepare all their own pulps. Pulping now begins with recycled rags from cotton cut-offs from the textile industry. Basic cotton is usually obtained from white tee shirts; blues from blue denim. Locally grown linen, flax, straw and sisal are also employed. The sheets are air dried, internally sized and exceptionally strong even when wet, making them ideal for printing, bookbinding and drawing techniques. All have 4 deckles and are neutral pH.

St. Armand Dominion Aquarelle

Made from 75% cotton rag with 25% linen rag. Internally and externally sized for watercolor. White, medium-rough finish.

St. Armand Aquarelle

100% Cotton rag. Internally sized with starch for watercolor and mixed media. Medium-Rough finish.

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ART PAPERS - Europe / The Americas & Australia

Saint Armand - White

Saint Armand - Ivory

Saint Armand - Lemon

St. Armand Printing & Drawing - 100% cotton rag internally sized for a wide range of techniques. Please note: The colors may vary substantially from making to making.

Saint Armand - Gold Saint Armand - Caribou Tan Saint Armand - Dove Grey Saint Armand - Dark Brown

Saint Armand - Light Blue Saint Armand - Dark Blue Jean Saint Armand - Charcoal Saint Armand - Black Denim

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ART PAPERS - Europe / The Americas & Australia Saint ARMAND Handmades - Canada

Saint Armand - Aquamarine Saint Armand - Spring Green Saint Armand - Fern Green Saint Armand - Elephant Grey

Saint Armand - Sand Saint Armand - Olive Saint Armand - Lime Saint Armand - Mineral Green

Saint Armand - Terracotta Saint Armand - Tomato Saint Armand - Tangerine Saint Armand - Orange

Saint Armand - Slate Grey Saint Armand - Pearl Grey Saint Armand - Pink Saint Armand - Red

Saint Armand - Lilac Saint Armand - Prune Saint Armand - Burgundy Saint Armand - Mauve

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ART PAPERS - Europe / The Americas & Australia Saint ARMAND Handmades - Canada

Saint Armand - Money Saint Armand - Marsh Grass Saint Armand - Saskatchewan

St. Armand Specialty Sheets

Marsh Grass White, cold pressed surface with marsh grass inclusions. Money White, rough surface with shreaded Canadian Dollar inclusions. Saskatchewan Very rough surface and natural color comes from recycled flax straw. Special Etching Blend of cotton and abaca. Soft White. Cold Pressed.

St. Armand Text Laid

Linen and cotton rag. Laid finish in the style of 17th century drawing and printing papers. Saint Armand Special Etching

Saint Armand Text - Linen White Saint Armand Text - Dark Linen Saint Armand Text - Rideau Ivory

Saint Armand Text - Frobisher White Saint Armand Text - Rivière Rouge Saint Armand Text - Innis Pale Earth Saint Armand Text - Palliser Earth

Saint Armand Text - Crowsnest Black Saint Armand Text - Tangerine Saint Armand Text - Ungava Blue Saint Armand Text - GaspĂŠ Jade Green

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ART PAPERS - Europe / The Americas & Australia

Saint ARMAND Canal Mouldmades Made on one of the only Fourdrinier machines that remains in North America, these sheets get their incredible strength from rag clippings recycled from the textile industry, sisal, jute and flax straw from local farmers. This Fourdrinier, is a historical, 1947 machine, made in Scotland that was re-installed at Saint Armand by David Carruthers in 1992. The machine runs very slowly, which most simulates the hand processes and although the sheets have a distinct grain direction, will fold against the grain without cracking - making them ideal for book arts and embossing. 2 deckles, 2 cut edges. Neutral pH. Saint Armand Canal - Cream Cotton

Canal White Cotton Canal Black Denim Canal Blue Jeans Canal Tan Cotton Canal Grey Cotton Canal Orange Cotton

Saint Armand Canal - Jute & Cotton Canal - Cotton with Leaves Canal - Cotton with Peat Canal - Cotton & Silk Threads

seen on black background Saint Armand Canal - Linen Wrapper Brown (sheets are wrinkled and irregular) Saint Armand Canal - Linen Wrapper White (sheets are wrinkled and irregular)

Saint Armand Canal - Ontario Flax Natural Saint Armand Canal - Flax Grey Saint Armand Canal - Flax & Cotton

Saint Armand Canal - Sisal Cream Saint Armand Canal - Sisal Coffee Saint Armand Canal - Sisal Currant Saint Armand Canal - Sisal Cucumber

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ART PAPERS - Europe / The Americas & Australia

Sabertooth White Sabertooth Cream Sabertooth Salmon Sabertooth Brown

Sabertooth Light Blue Sabertooth Dark Blue Sabertooth Dark Grey Sabertooth Light Grey Sabertooth Olive

Saint ARmand Sabertooth Pastel II

Mould-made in Canada of 100% cotton. Prepared for pastel with marble dust in a pigmented, latex base. Neutral pH. 2 Deckles.

Saunders Hot Press - Traditional White Saunders Cold Press - High White Saunders Rough - Traditional White

T.H.Saunders Waterford

- England

Mouldmade in Wells, England at St. Cuthbert's Mill from 100% cotton. St. Cuthbert's, owned by the Inveresk Group of Papermakers, is one of the world's largest producers of archival papers specifically designed for the fine art market. Wells, in the Somerset area, was once the home of several fine paper mills because of its location near the River Axe. St. Cuthbert's Mill is the last of these to remain in commercial operation, but continues the English traditions of making fine watercolor papers that began with other mills such as Wookey Hole and Whatman. Neutral pH. 2 Deckles, 2 torn edges. Watermarked.

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ART PAPERS - Europe / The Americas & Australia

Sennelier La Carte Pastel

A lightweight, neutral pH board is coated and pigmented with very fine vegetable fiber particles to grab and hold pastel. This unique surface remains soft and slightly dusty, acting almost like a layer of pastel that will blend and alter the tones that you apply.

Sennelier Le Carte - 5 Peach

Sennelier Le Carte - 1 Antique White Sennelier Le Carte - 2 Sand Sennelier Le Carte - 3 Sienna Sennelier Le Carte - 4 Umber

Sennelier Le Carte - 6 Salmon Sennelier Le Carte - 8 Light Green Sennelier Le Carte - 7 Van Dych Brown

Sennelier Le Carte - 9 Dark Green Sennelier Le Carte - 10 Light Blue Sennelier Le Carte - 11 Dark Blue

Sennelier Le Carte - 12 Light Grey Sennelier Le Carte - 13 Dark Grey Sennelier Le Carte - 14 Charcoal

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ART PAPERS - Europe / The Americas & Australia

Serio Ultra-Black

- Italy

Machine-made by Fedrigoni of high alpha cellulose and colored to an extremely dense black tonality without the use of carbon-based dyes. The matte surface has a very slight tooth which makes it ideal for fine drawing and printing techniques. Available in 4 weights. Serio Ultra-Black is Neutral pH. No Deckles.

Serio Ultra-Black

Somerset Book Radient White Somerset Book White Somerset Book Soft White

Velvet is the medium surface of Somerset

Somerset Textured Soft White

Satin is the smoothest surface of Somerset

Textured is the roughest surface of Somerset

Somerset Satin White Somerset Velvet Radient White Somerset Textured Cream

Somerset Velvet Newsprint Grey Somerset Velvet Antique Somerset Velvet Buff

Somerset

- England

Mouldmade in Wells, England at St. Cuthbert's Mill from 100% cotton. St. Cuthbert's, owned by the Inveresk Group of Papermakers, is also the manufacturer of T.H. Saunders Watercolor papers. St. Cuthbert's was one of the first mills to specialize in mouldmade, archival papers specifically designed for the fine art market. The mill has one of the oldest cylinder machines in existence and also has one of the largest machines, manufacturing papers up to 60" wide. The Somerset line is highly regarded for its durability, consistency and range of products for all printing techniques including digital reproduction. The lightly sized sheets also work well for drawing techniques where minimal erasure is needed. Somerset textured is excellent for soft pastel. All sheets are Neutral pH. 2 Deckles, 2 torn edges. Watermarked.

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ART PAPERS - Europe / The Americas & Australia

Speckletone Cream Speckletone Old Green Speckletone Natural

Speckletone Madiero Beach Speckletone Kraft Speckletone Oatmeal

Speckletone Brown Speckletone Chocolate Speckletone Black

Speckletone Olive Speckletone Wine

Speckletone - USA

Recycled machine-made by the French Paper Company from post-consumer waste. Wood shavings and other wood particles are added for character. Neutral pH. No deckles.

Starwhite - USA

Machine-made from sulphite. Neutral pH. No deckles. Hard, smooth surface. Large format. Starwhite

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ART PAPERS - Europe / The Americas & Australia

Stonehenge - USA

Machine-made from 100% cotton. Neutral pH and buffered. 2 Deckles, 2 cut edges. Stonehenge is one of our most popular grades - offering dependability, consistency and range of sizes - all at an economical price. For drawing, silkscreen and most printmaking techniques, book arts and light watercolor.

Stonehenge White

Stonehenge Polar White Stonehenge Warm White Stonehenge Cream

Stonehenge Fawn Tan Stonehenge Natural Stonehenge Pearl Grey

Stonehenge Kraft Stonehenge Pale Blue Stonehenge Steel Grey

Stillman & Birn Art Paper - Netherlands

Machine-made from high alpha cellulose. Internally and externally sized sheets with remarkable durability with both wet and dry media. Handles repeated erasure with little haloing. Neutral pH and buffered. No deckles. This range can also be found in the Stillman & Birn line of bound books and pads. For technical pen and all drawing techniques, silkscreen, book arts and watercolor. S & B Epsillon / Zeta Smooth

S & B Alpha Vellum S & B Beta Cold Press S & B Delta Cold Press S & B Gamma Vellum

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ART PAPERS - Europe / The Americas & Australia

STrathmore

- USA

One of the most well known and respected mills in the United States that specializes in high quality machinemade papers. All sheets neutral pH.

Strathmore Alexis Drawing - 100% alpha cellulose. Light texture. Off-White. No deckles. Strathmore Alexis Watercolor - 100% alpha cellulose. Rough. No deckles. 2 Deckles. Strathmore Aquarius II Strathmore Alexis Drawing (series 400)

Cotton and synthetic fibers. Neutral pH. Formulated to remain flat when wet.

Strathmore Bristol "Fairfield" Series 300 Economical, 100% sulphite. 2-ply Plate (smooth) or Vellum (light texture.). White. No deckles.

Strathmore Bristol Series 500

100% cotton. Plate (Smooth, High) and Kid (Vellum, Medium, Regular) surfaces. No deckles.

Strathmore Charcoal - 100% cotton. Laid, textured surface. 2 deckles. Strathmore Alexis Watercolor (series 400)

Strathmore Aquarius II Watercolor Strathmore series 300 Bristol Plate Surface Strathmore series 500 Bristol Plate Surface

Strathmore Charcoal White Strathmore series 300 Bristol Vellum Surface Strathmore series 500 Bristol Vellum Surface

Strathmore Bright White Strathmore Rose Grey Strathmore Fog Blue Strathmore Golden Brown Strathmore Peachblow

Strathmore Blue Grey Strathmore Pottery Green Strathmore Cadet Blue Strathmore Storm Grey Strathmore Velvet Grey

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ART PAPERS - Europe / The Americas & Australia Superfine - USA - Machine-made by the Mohawk Paper Company from high alpha cellulose. Smooth surface. Neutral pH. No deckles.

Superfine Smooth White Superfine Smooth Soft White

TerraSkin - Stone Paper - Canada

Manufactured of 80% calcium carbonate and 20% non-toxic PE-Polyetheylene resin, TerraSkin is not actually a paper - although it performs in much the same way. The mineral base gives this sheet a soft, buttery feeling with a slight tooth that will hold pencil and dry mediums, while the resin gives the sheet incredible strength. TerraSkin will not buckle when wet; it is water-resistant, mould-resistant, flexible and tear-proof. It can be deformed by pulling or pressing objects into the sheet. However, once the sheet has been distorted it cannot return to its original, flat condition. Biodegradable, eco -friendly and neutral pH. TerraSkin does not require priming for direct painting in oils. It accepts most art techniques including watercolor, drawing, silkscreen, lithography and can be sewn and stretched for sculptural applications. Also works well with silverpoint.

Terraskin was scanned over black (above) and white background to show translucency and coloration of the relative thicknesses.

Terraskin 4 point Terraskin 8 point (pencil)

Terraskin 10 point (silverpoint) Terraskin 12 point Terraskin 16 point

Translucent Vellum / Trace / Glassine

A collection of natural and colored translucent papers from various manufacturers. All are machine-made of 100% sulphite and are neutral pH. For tracing and drawing, letterpress printing and decorative applications. These papers curl and ripple unforgivingly when wet. Not recommended for techniques that involve water.

scanned on black background and decorative sheet to show translucency

Translucent Chartham 63 gram Translucent Chartham 90 gram Translucent Chartham 112 gram Translucent Chartham 180 gram

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ART PAPERS - Europe / The Americas & Australia Translucent Vellum & Trace - scanned on black background and decorative sheet to show translucency

Canson Satin 230 gram Canson Opalux 180 gram Canson Wyndstone Vellum 165 gram

Clearprint

Borden & Riley 90 gram Canson Vidalon 90 gram

Clearprint Gridded 4 to the inch

Borden & Riley Trace 51H

Clearprint Gridded 8 to the inch

Borden & Riley Trace 35C - Canary

Borden & Riley Trace 51

Clearprint Gridded 10 to the inch

Borden & Riley Trace 35A - Amber

Borden & Riley Trace 35W - White

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ART PAPERS - Europe / The Americas & Australia Translucent Vellum - Colors - scanned on white background and decorative sheet to show translucency

Vellum Color - Spring Ochre

Vellum Color - Leaf Green

Vellum Color - Yellow

Vellum Color - Ivory

Vellum Color - Chartreuse

Vellum Color - Mango

Vellum Color - Racing Green

Vellum Color - Spring Green

Vellum Color - Red

Vellum Color - Turquoise

Vellum Color - Violet

Vellum Color - Blush Deep

Vellum Color - Pastel Surf Blue

Vellum Color - Indigo

Vellum Color - Smoke

Vellum Color - Gold Pearlized

Vellum Color - Platinum Pearlized

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ART PAPERS - Europe / The Americas & Australia Translucent Glassine

Translucent Glassine - Natural Lightweight Translucent Glassine - Natural Heavyweight

Translucent Glassine - Chocolate Translucent Glassine - Canary

Translucent Glassine - Dark Blue Translucent Glassine - Pink

Translucent Glassine - Red Translucent Glassine - Black

Translucent Glassine - Green Translucent Glassine - Purple

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ART PAPERS - Europe / The Americas & Australia

TWINROCKER HANDMADES

- USA

Established in 1971 in Indiana by Kathryn and Howard Clark, Twinrocker has been instrumental in the revival of handmade paper in the U.S. The mill is now co-owned and operated by Travis Becker, a master printmaker who was trained by Kathryn to carry on the tradition and move into the future. All papers are Neutral pH and are made from natural fibers such as coton, cotton rag and abaca and colored with lightfast pigments. Internally sized. Watercolor grades are internally and externally gelatin tub-sized. All sheets have 4 deckles. Some are made with an exaggerated, scalloped edge is known as a “feather� deckle. All sheets are 100% Cotton unless noted otherwise.

text weight scanned on black & white to show translucency

text weight scanned on black & white to show translucency

Twinrocker White Cotton Rag Laid - Text Weight Twinrocker White Cotton Rag Wove - Text Weight

67

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Europe / The Americas & Australia TWINROCKER HANDMADES - USA

Twinrocker Not Quite White Twinrocker Cream Twinrocker B-Buff

Twinrocker Yale Twinrocker 18th Century Twinrocker Biscuit

Twinrocker Emily Dickinson Twinrocker Rotunda Twinrocker Delphi

Twinrocker Lorraine Twinrocker Chapin Twinrocker Arthur's Prairie

68

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Europe / The Americas & Australia TWINROCKER HANDMADES - USA

Twinrocker All-Purpose White Cold Press

Twinrocker Cream Twinrocker White & Cream showing the Feather Deckle

Twinrocker Watercolor Cold Press (with chop) Twinrocker Watercolor Hot Press Twinrocker Watercolor Rough

69

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Europe / The Americas & Australia TWINROCKER HANDMADES - USA

Twinrocker Abaca Unbleached (100% Abaca) Twinrocker Abaca Bleached (100% Abaca) Twinrocker Patriot

Twinrocker May Linen Twinrocker Pale Dusty Rose Twinrocker Sherwin's Beach

Twinrocker Sagebrush Twinrocker Simon's Green

Twinrocker Charcoal Abaca with Fleck Twinrocker Charcoal Abaca

Twinrocker Abaca Willow Creek Twinrocker Double XX Twinrocker Turner Blue

70

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Europe / The Americas & Australia U-ART Premium Sanded Pastel Paper - USA - also see rolls.

Made in the style of the German "Ersta" sand papers, UArt machine-made sheets look like the originals, but are now made acid free. The natural sand color coating is available in 4 different degrees. #800 is the finest, #400 is the roughest. All handle pastel, holding the stroke and allowing for multiple layers with little or no fixatives. The durable surface can withstand blending and lifting of color without loss of tooth. The finer grades are perfect for color pencil and other drawing techniques. No deckles.

U-Art 400 - Rough U-Art 500 - Medium Rough U-Art 600 - Medium Smooth U-Art 800 - Smooth

Van Gelder / Schut Papers - Holland

Founded in 1618, the Van Gelder Mill has been in the hands of the Schut Family since 1710. Papierfabriek Schut as it is now known, is the only specialized mill left in Eastern Holland. In 1800, to learn from other cultures and paper traditions, the Van Gelder technicians travelled to Japan and as a result, developed Simili Japon which was their homage to some of the lustrous kozo and gampi sheets that they discovered there. All of the papers that they now produce, their surfaces, watermarks and tonalities, are based on original handmade styles that date back as far as 100 years.

Van Gelder Noblesse Watercolor - 100% Cotton internally and externally sized for watercolor. Cold Press surface. Neutral pH. 2 deckles. Van Gelder Laurier - 100% Cotton. Internally sized, medium textured sheet for printing and drawing. Neutral pH. 2 deckles. Van Gelder Salland - 50% Cotton. Internally sized, textured sheet for mixed media, printing and drawing Neutral pH. 2 deckles. Van Gelder Simili Japon - Cotton and high alpha cellulose. Beautiful, satin smooth wove surface. Neutral pH. 2 deckles.

Van Gelder - Noblesse

71

Paper is fragile !

Van Gelder - Laurier

Van Gelder - Salland

No returns or exchanges are allowed

Van Gelder - Simili Japon

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Europe / The Americas & Australia

Velour Premium 601 - White

Velour Premium 603 - Yellow

Velour Premium 610 - Black

Velour Premium 608 - Ochre

Velour Premium 607 - Sand

Velour Premium 609 - Light Grey

Velour Premium 602 - Middle Grey

Velour Premium 606 - Dark Grey

Velour Premium 605 - Orange

Velour Premium 604 - Green

Velour Premium Pastel - Germany

Machine-made by Hahnem端hle. Flocked surface that provides excellent tooth. Resistes scratching and fading. No deckles. Neutral pH. For drawing, display and letterpress printing.

Velour - USA - Machine-made,flocked sheets for display and pastel. Two weights depending on color. Scuffs easily. No deckles. Not pH. neutral. Velour Medalion Gold Heavyweight

Velour Black Heavyweight

Velour Light Blue Heavyweight

Velour Grey Lightweight

Velour Red Lightweight

Velour Grey Heavyweight

Velour White Heavyweight

Velour Royal Blue Heavyweight

Velour Orange Heavyweight

72

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Europe / The Americas & Australia

Yupo - USA

Synthetic "paper" machinemade in the U.S. of 100% polypropylene. Yupo is waterproof, stain resistant and incredibly strong. Accepts most printing techniques and offers a unique surface for water media as the paper is dimenensionally stable and will not buckle. No deckles. Neutral pH.

Yupo

Zaan sheets often have discoloration and surface stains because of the manner that the sheets have been loft dried. We do not feel that these imperfections reduce the beauty of this remarkable paper.

Zaan - Holland

Handmade in Holland at Der Schoolmeister, the last of the wind papermills. Recently restored, the mill is once again in operation, making traditional sheets from the flax grown around the mill (as a source of linseed oil) and textured by pressing onto linen blankets.These line-dried, waterleaf sheets are highly absorbent, yet remarkably strong. 4 deckles. Neutral pH.

73

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Europe / The Americas & Australia

Zerkall

- Germany

The Zerkall Mill had its origins in the 16th century and has been owned and operated by the Renker Family for four generations. Mixing exacting amounts of cotton rag and high alpha cellulose, their sheets are strong, yet able to absorb without bleeding. Although the mill only manufactures mouldmade papers, due to the slow running speeds of their machines, Zerkall sheets have a wonderful touch - seeming more like handmade sheets than most mould-made papers. Their sheets mirror papers of the past while incorporating modern technology to insure stability and permanence. All sheets have 2 Deckles, 2 torn edges and are Neutral pH.

Zerkall Zerkall Zerkall Zerkall

Book Smooth & Vellum - Cotton rag and high alpha cellulose. Book Laid Smooth & Vellum - Cotton rag and high alpha cellulose. Copperplate - 25% cotton. Cold Pressed. Laid Cover - Cotton and high alpha cellulose. Smooth laid.

scanned on white and black to show translucency

Zerkall Book Smooth 100 gram White

Zerkall Book 145 gram Soft White

Zerkall Book 145 gram Cream

scanned on white and black to show translucency

Zerkall Book Vellum 145 gram White

scanned on white and black to show translucency

Zerkall Copperplate

scanned on white and black to show translucency

Zerkall Book Laid Smooth 125 gram White

Zerkall Book Laid Vellum 125 gram White

Zerkall Laid Cover White

Zerkall Laid Cover Mint

74

Paper is fragile !

Zerkall Laid Cover Cream

No returns or exchanges are allowed

Zerkall Laid Cover Light Blue

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Europe / The Americas & Australia Zerkall Frankfurt

Cotton and high alpha cellulose. Unusual, wavy laid surface replicates sheets that were formed by stretching a cloth across the mould to give the sheet a fine, smooth surface without plating.

Zerkall Litho Zerkall Nideggen - Cotton and high alpha cellulose. Wavy laid surface similar to Zerkall Frankfurt (above.) Tan with tiny black flecking. Zerkall Satin Wove #902 - Cotton and high alpha cellulose. Smooth finish. White. Nideggen and Frankfurt have an unusual laid surface - replicating sheets that were formed by stretching a cloth across the mould

Zerkall Nideggen scanned on white and black to show translucency

scanned on white and black to show translucency

Zerkall Frankfurt Cream

Zerkall Frankfurt Smooth White

Zerkall Litho

Zerkall Satin 902

75

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Europe / The Americas & Australia Zerkall Ingres - 100% high alpha cellulose. Slightly textured, laid surface.

scanned on white and black to show translucency

Zerkall Ingres 606 - Ivory

Zerkall Ingres 06 - Cream

Zerkall Ingres 01 - White

Zerkall Ingres 601 - Mint

Zerkall Ingres 09 - Tan

Zerkall Ingres 03 - Bluestone

Zerkall Ingres 08 - Earth

Zerkall Ingres 07 - Sand

Zerkall Ingres 602 - Light Blue

Zerkall Ingres 02 - Grey

Zerkall Ingres 04 - Light Green

Zerkall Ingres 05 - Cobalt Blue

Zerkall Ingres 12 - Red

Zerkall Ingres 10 - Orange

76

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

Europe / The Americas & Australia

■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2 Alcantara Colors

19½ x 27½

160

1 25 100 500 ■ 5.00 - last of stock

Arches Aquarelle Natural White also see Rolls 90 lb. HP, CP, R 22 x 30 185 5.55 5.00 4.36 70 lb. Cold Pressed 16 x 20 300 4.75 4.28 3.74 140 lb. HP, CP, R 22 x 30 300 7.80 7.02 6.13 300 lb. HP, CP, R 22 x 30 640 17.85 16.06 14.09 400 lb. Cold Pressed or Rough 22 x 30 850 23.50 20.97 18.39 260 lb. HP, CP, R 25½ x 40 356 15.30 13.77 12.07 555 lb. Cold Pressed or Rough 29½ x 41 640 37.55 33.80 29.62 1114 lb. Cold Pressed or Rough 40 x 60 640 82.30 74.07 64.94 Arches Aquarelle Bright White 140 lb. Hot Pressed or Cold Pressed 22 x 30 300 7.80 7.02 6.13 300 lb. Hot Pressed or Cold Pressed 22 x 30 640 17.85 16.06 14.09 Arches Cover also see Rolls White or Buff 19½ x 25½ 250 4.40 3.96 3.46 White or Buff 22 x 30 250 5.60 5.04 4.39 White 24¾ x 35¼ 270 8.35 7.50 6.96 White or Buff 29 x 41 270 10.80 9.72 8.52 White 31½ x 47 300 14.65 13.19 11.53 Black 30 x 44 250 13.75 12.38 10.83

4.07 3.49 5.72 13.15 17.17 11.26 27.64 60.61

■ ■

■ ■

3.23 4.10 6.25 7.95 10.76 10.11

130

3.75

3.38

3.04

2.63

Arches Oil

22 x 30

300

7.95

7.16

6.64

5.96

■ - pre-sized for direct painting in oil

Arches Platine

22 x 30 30 x 44

310 310

9.10 21.10

8.19 18.99

7.17 17.60

6.69 15.81

■ - platinum & alternate photo processes

Arches 88 Silkscreen

22 x 30 30 x 42

300 350

6.70 14.65

6.03 13.19

5.18 11.56

4.83 10.79

■ - waterleaf (unsized) for silkscreen

Arches Text Laid Cream Arches Text Wove White

25½ x 40 25½ x 40

120 120

4.98 - last of stock 5.25 4.71 4.37

3.93

Arpa Ivory Arpa All Colors

8 x 12 19½ x 25½

220 200

1.75 12.00

1.57 10.80

1.45 10.02

Art Spectrum Colorfix

19½ x 27½

340

11.70

10.53

9.77

8.78

Bamboo 27½ x 39 105 2.25 2.02 1.87 1.68 Bamboo 27½ x 39 265 4.65 4.15 3.85 3.46 Blotter 24 x 38 360 3.95 3.55 3.30 2.96 Blotter 40 x 60 360 10.30 9.27 8.60 7.73 Blotter "Neenah" 26 x 40 427 4.25 3.83 3.55 3.19

■ ■

■ ■

■ ■

■ ■

3.00

2.70

2.51

2.25

25 Sheet Price - 25 - 99 sheets of one paper, one color, one weight, one size. 100 Sheet Price - 100 - 499 sheets assorted - no less than 10 sheets of each item.* 500 Sheet Price - 500 sheets assorted - no less than 25 sheets of each item.* *"Item" refers to one paper, one color, one weight, one size.

Paper is fragile ! No returns or exchanges are allowed

■ - waterleaf (un-sized) for absorbency

Paper Assortment policy

77

■ - sanded surface for pastel

190

5.72 13.15

19¾ x 25½

22 x 30

■ Hot Press

Arches MBM MBM Ingres (Michallet)

Bockingford 90 lb. Cold Pressed White

■ ■

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

Europe / The Americas & Australia

■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2

1 25 100 500 ■

Bockingford 140 lb. Cold Pressed White 22 x 30 300 4.50 4.05 Bockingford Colors 140 lb. Cold Pressed 22 x 30 300 4.50 4.05 Brazilian Banana Smooth All Colors 19½ x 27½ 80 12.80 11.52 Brazilian Banana Rough Cream, Tan, Brown 19½ x 27½ 80 12.80 11.52 Ca L'Oliver All colors

19 x 24

200

Canson Ingres Canson Mi-Tientes Canson Opalux Canson Montval Canson Satin Canson Vidalon

19½ x 25½ 19½ x 25½ 19½ x 25½ 22 x 30 26 x 40 19½ x 25½

100 160 180 300 230 90

3.76 3.76

1.26 1.80 2.84 2.30 4.05 1.80

10.69 10.69

1.17 1.67 2.63 2.10 3.76 1.67

■ ■

3.38 3.38

10.00 - last of stock 1.40 2.00 3.15 2.55 4.50 2.00

■ ■

1.05 1.50 2.36 1.89 3.38 1.50

Capellades Abaca All Colors 12 x 17 30 4.00 3.60 3.34 Abaca White ONLY 20 x 25½ 45 10.00 9.00 8.35 Letter #1 8 x 10½ 75 2.50 2.25 2.09 Book #4 Smooth & Rough 12 x 17 125 4.00 3.60 3.34 Cover #6 12 x 17 250 6.50 5.85 5.43 Cover White 15½ x 19½ 250 12.50 11.25 10.44 Garabato Tan / Lime / Violet 15½ x 19½ 50 8.00 7.20 6.68 Garabato Grey / White 22 x 24 50 12.60 11.34 10.52 Pladium 15½ x 19½ 250 10.00 9.00 8.35 Sisal 12 x 17 250 4.00 3.60 3.34 Sisal 15½ x 19½ 250 7.50 6.75 6.26 Watermark 11 x 14¼ 90 4.50 4.05 3.76 Cave Papers Price Series A - Alphabet Granite Natural Flax Ochre Walnut Dyed Flax Walnut Dyed Red Flax 17 x 22 200 13.00 11.70 10.86 22 x 30 200 20.00 18.00 16.700 Price Series B - Black Flax Blue Jean Cloudy Sky Egyptian Tow Flax Green Crackle Indigo Flax Layered Indigo Lime O'Malley Crackle Flax Tangerine Terracotta Turquoise 17 x 22 200 16.00 14.40 13.36 22 x 30 200 24.00 21.60 20.04 Galaxy 17 x 22 200 18.00 16.20 15.03 22 x 30 200 26.00 23.40 21.71 Persimmon 17 x 22 200 23.00 20.70 19.21 22 x 30 200 32.00 28.80 26.22

■ ■ ■

■ ■ ■

■ ■ ■

■ ■

■ ■

■ ■

■ ■

■ - sized for mixed media

■ - platinum & alternate photo processes

Chartham - see Translucent Vellum - Chartham Color Plan All colors Colorplan All Colors

25 x 38 25 x 38

135 1.65 1.48 1.35 1.21 270 3.25 2.92 2.71 2.44

Colorplan Black / Dark Grey / Real Grey / Smoke / Frost White 25 x 38 25 x 38

350 4.05 3.65 3.37 3.03 540 5.55 4.97 4.690 4.17

Coquille Stipple

22 x 30

250

3.25

2.93

2.72

2.45

Coventry Vellum White Vellum White Vellum White Vellum White Vellum White Smooth White Smooth White Smooth White

23 x 30 30 x 44 38 x 50 38 x 50 44 x 60 38 x 50 38 x 50 40 x 55

235 290 290 320 320 290 335 335

2.80 5.85 8.30 10.20 14.10 8.30 10.65 12.20

2.52 5.27 7.45 9.18 12.69 7.45 9.58 10.97

2.33 7.87 6.90 8.51 11.77 6.90 8.89 10.18

2.09 4.38 6.20 7.64 10.57 6.20 7.98 9.14

78

■ - special texture for half-tone effects with dry media

Paper is fragile ! No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

Europe / The Americas & Australia

■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2

1 25 100 500 ■

Crane's Crest Laid & Wove Crane’s Cover Fluorescent, Pearl White

23 x 35 26 x 40

90 1.45 1.31 1.22 1.16x 171 5.40 4.86 4.51 4.05

Czech Handmades Moldau Moravia White & Ivory Moravia White Prague

11½ x 16½ 16½ x 23 22 x 30 4 x 6 4 x 8 6 x 8 5 x 5 6 x 6 7 x 7 8 x 8 8 x 11½ 8 x 11½ 11½ x 16½ 16½ x 23 22 x 30 8 x 11½ 11½ x 16½ 16½ x 23 8 x 11½ 11½ x 16½ 16½ x 23

280 280 280 440 440 440 440 440 440 440 240 440 240 240 360 120 120 120 170 170 170

4.60 7.80 13.10 1.60 1.80 2.40 1.70 1.90 2.25 2.60 3.20 3.90 4.10 7.00 11.60 1.90 2.80 5.50 2.40 3.30 6.20

4.14 7.02 11.79 1.44 1.62 2.16 1.53 1.71 2.03 2.34 2.88 3.51 3.69 6.30 10.44 1.71 2.52 4.95 2.16 2.97 5.58

3.84 6.51 10.94 1.34 1.50 2.00 1.42 1.59 1.88 2.17 2.67 3.26 3.42 5.85 9.69 1.59 2.34 4.59 2.00 2.76 5.18

Domestic Etching

26 x 40

175

3.25

2.90

2.69

Drawing 60 lb. Penny Sketch #10 Drawing 60 lb. Penny Sketch #10 Drawing 90 lb. Sketch Vellum #116 Drawing 90 lb. Sketch Vellum #116

18 x 24 24 x 36 18 x 24 24 x 36

100 100 180 180

Durotone Butcher Paper Butcher Orange Cover Newsprint Aged Newsprint Extra White Newsprint White Packing Kraft Packing Kraft

25 x 38 26 x 40 25 x 38 25 x 38 25 x 38 25 x 38 26 x 40

76 216 90 90 90 108 216

1.10 2.00 1.10 1.10 1.10 1.10 2.00

.99 1.80 .99 .99 .99 .99 1.80

.92 1.67 .92 .92 .92 .92 1.67

.83 1.50 .83 .83 .83 .83 1.50

Evolon ap Evolon ap Evolon ap

22 x 30 22 x 30 22 x 30

58 98 168

3.00 3.60 6.00

2.70 3.24 5.40

2.51 3.01 5.01

2.25 2.70 4.50

2.42

122.00 - package of 500 sheets 244.00 - package of 500 sheets 219.00 - package of 500 sheets 438.00 - package of 500 sheets

Fabriano Artistico Traditional White 90 lb. Hot & Cold Press, Rough 22 x 30 200 4.75 4.27 3.96 3.56 140 lb. Hot & Cold Press, Rough 22 x 30 300 6.50 5.81 5.39 4.85 300 lb. Hot & Cold Press, Rough 22 x 30 640 14.95 13.45 12.46 11.19 555 lb. Hot Press, Cold Press 29½ x 41 640 29.25 26.31 24.40 21.91 Fabriano Artistico Extra White 140 lb. Hot, Soft & Cold Press, Rough 22 x 30 300 6.50 5.81 5.39 4.85 300 lb. Hot, Soft & Cold Press, Rough 22 x 30 640 14.95 13.45 12.46 11.19 555 lb. Hot Press, Cold Press 29½ x 41 640 29.25 26.31 24.40 21.91 Fabriano Eco White 56 pound 19½ x 25½ 120 .70 .63 .56 .50 94 pound 20 x 25½ 200 1.15 1.03 .95 .85 Fabriano Elle Erre 19½ x 27½ 220 1.85 1.66 1.52 1.37 Fabriano Ingres 700 Series Colors 27½ x 39 160 3.50 3.15 2.92 2.63 Ingres 619 Black 27½ x 39 90 1.75 1.54 1.43

79

Paper is fragile ! No returns or exchanges are allowed

■ ■

■ ■

■ - synthetic mix for strength & absorbency

■ Hot Press

■ Hot Press

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

Europe / The Americas & Australia

■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2

1 25 100 500 ■

■ ■

■ ■

■ ■ ■ ■ Fabriano Murillo 901 902 903 904 905 908 912 913 27½ x 39 360 6.50 5.85 5.40 4.85 910 911 915 928 27½ x 39 360 7.15 6.43 5.82 5.40 907 918 925 927 27½ x 39 360 9.10 8.20 7.57 6.80 Fabriano Roma 103, 104 19 x 26 130 14.85 13.37 12.39 11.13 ■ - unusual, wide laid surface for charcoal & drawing ■ ■ ■ Fabriano Rosaspina White and Cream 27½ x 39 220 5.20 4.67 4.31 3.88 White and Cream 27½ x 39 285 6.65 5.99 5.54 4.97 ■ ■ Fabriano Studio Watercolor 29½ x 42 300 4.55 4.10 3.77 3.39 Fabriano Studio Watercolor 22 x 30 200 1.95 1.75 1.60 1.44 Fabriano Studio Watercolor 22 x 30 300 2.60 2.34 2.14 1.93 ■ ■ ■ Fabriano Tiepolo 22 x 30 290 6.05 5.44 5.04 4.53 Fabriano Tiepolo 27½ x 39 160 8.90 8.01 7.43 6.65 Fabriano Tiziano

27½ x 39

160

3.90

3.51

3.26

2.93

Folio White & Antique Folio Antique

22 x 30 38 x 50

250 250

2.80 2.50 2.30 7.80 - last of stock

2.07

■ ■

■ ■

■ ■

3.26 5.18 3.84 5.85

2.93 4.65 3.45

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Glassine Colors - see Translucent Glassine Hahneműhle Biblio White 30¾ x 41¾ 150 3.90 3.51 Bugra Black 33 x 41 130 6.20 5.58 Bugra All other colors 33 x 41 130 4.60 4.14 Bugra 305x / 312x / 322x only 37 x 48 260 7.00 6.30 Copperplate Bright White, Warm White 22 x 30 300 3.60 3.24 Copperplate Bright White, Warm White 31½ x 47 300 9.10 8.19 Durer Etch Bright White 22 x 30 300 5.90 5.31 Durer Etch Bright White 31½ x 47 300 11.10 9.99 German Etching Natural White 22 x 30 300 5.60 5.04 German Etching Bright White 30 x 42 300 10.50 9.45 German Etching Natural 30 x 42 300 10.50 9.45 German Etch Black 31½ x 47 300 19.50 17.55 Guttenberg Laid 31 x 41 130 5.30 4.77 Heine Soft White 15 x 18 150 1.70 1.53 Ingres Black 18¾ x 24¾ 95 1.50 1.35 Ingres Colors 18¾ x 24¾ 95 1.20 1.08 Natur Black 28 x 39 280 7.10 6.39 Natur Colors 28 x 39 300 4.90 4.41 Natur Text 28 x 39 120 2.10 1.89 Schiller White 24 x 35 150 3.10 2.79 Student Prinz Bright White 17 x 24 150 1.00 0.90 Torchon Bright White 19 x 24½ 275 2.00 1.80 Watercolor 140 lb. Cold Pressed 13 x 19 300 2.70 2.43 Watercolor 140 lb. Cold Pressed 22 x 30 300 6.20 5.58

3.01 7.60

2.70 6.83

■ ■

■ ■

4.93 9.27 4.68 8.77 8.77 16.28 4.43 1.42 1.25 1.00 5.93 4.09 1.75 2.59 0.84 1.67 2.25 5.18

4.43 8.33 4.20 7.88 7.88 14.63 3.98 1.28 1.13 0.90 5.33 3.68 1.58 2.33 0.75 1.50 2.03 4.65

■ ■ ■ ■

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Huun Bleached, Natural, Mottled Huun Colors

1.45 2.92 12.52 1.45

Index / Oaktag Lightweight (Scott, Franklin) 22½ x 28½ 150 .75 .68 .63 .56

Johannot

80

8 x 12 12 x 17 22 x 34 8 x 12

19½ x 25½ 22 x 30

150 150 150 150

125 240

1.75 3.50 15.00 1.75

2.65 5.35

1.57 3.15 13.50 1.57

2.38 4.80

2.19 4.45

Paper is fragile ! No returns or exchanges are allowed

1.97 3.99

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

Europe / The Americas & Australia

■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2

1 25 100 500 ■

■ ■

■ ■

Lanaquarelle 140 lb. Hot Press, Cold Press 300 lb. Hot Press, Cold Press 1114 lb. Hot Press

22 x 30 22 x 30 40 x 60

300 640 640

8.00 17.40 66.15

Langdell Handmades Luster

19 x 25

140

13.00 - last of stock

Legion Art Coated Cover

26 x 40

300

3.20

2.87

2.66

2.39

■ - clay coated surface for silverpoint and drawing

Lenox 100

22 x 30 26 x 40 38 x 50

250 250 250

2.80 4.30 7.90

2.52 3.87 7.11

2.30 3.59 6.58

2.07 3.22 5.91

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■ ■ ■

■ ■ ■

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Letra Fluorescent White & Pearl White 25 x 38 Letra Ecru, Fluorescent White & Pearl White 26 x 40

120 300

1.95 4.70

1.75 4.23

1.61 3.90

1.45 3.50

MCCoy Clay Coated Cover

165 2.50 2.25 2.08 1.87

26 x 40

7.20 15.66 59.55

6.66 14.50 55.21

5.98 13.02 49.59

Magnani Acquerello 140 lb. Hot Press / Cold Press 22 x 30 250 5.50 4.96 4.60 4.13 Acquerello 275 lb. Hot Press / Cold Press 22 x 30 520 11.75 10.57 9.81 8.81 Annigoni 27½ x 39¼ 250 8.95 8.03 7.45 6.69 Arturo Stationery All Colors 25 x 38 120 2.45 2.20 2.03 1.81 Arturo Card All Colors 25 x 38 260 4.05 3.64 3.37 3.03 Firenze 19 x 26 130 9.10 - last of stock Incisione White 27½ x 39¼ 310 5.55 4.99 4.63 4.16 Pescia Satinato All Colors 22 x 30 300 6.00 5.40 5.01 4.50 Magnani Revere Book 26 x 40 120 3.20 2.85 2.65 2.38 Magnani Revere Book 26 x 40 175 4.30 3.87 3.59 3.22 Platinum Revere 22 x 30 145 - currently not available Platinum Revere 22 x 30 300 - currently not available Platinum Revere 30 x 44 300 - currently not available Revere Felt Polar / Standard / Ivory 22 x 30 250 3.75 3.37 3.12 2.81 Revere Felt Polar / Standard / Ivory 30 x 44 300 8.65 7.78 7.22 6.49 Revere Felt Standard / Ivory 42 x 56½ 330 12.70 11.41 10.58 9.51 Revere Silk All Colors 22 x 30 250 3.75 3.37 3.12 2.81 Revere Silk All Colors 30 x 44 300 8.65 7.78 7.22 6.49 Revere Suede Black 22 x 30 250 4.95 4.44 4.12 3.70 Revere Suede Black 30 x 44 300 11.75 10.57 9.80 8.81 Revere Suede All Colors 22 x 30 250 3.75 3.37 3.12 2.81 Revere Suede All Colors 30 x 44 300 8.65 7.78 7.22 6.49 Velata (Wove) 27¾ x 39¾ 120 1.95 1.74 1.61 1.45 27¾ x 39¾ 140 2.35 2.08 1.93 1.74 27¾ x 39¾ 200 3.20 2.88 2.67 2.40

Velata Handmade & Vergata Handmade Velata Handmade & Vergata Handmade

■ Hot Press

■ ■

■ ■

■ ■ ■ ■

■ ■ ■ ■

■ ■

■ ■ ■ ■

■ ■ ■ ■

■ ■

■ ■

7.10 8.35

Mexican Papel de Amate All Styles

16 x 24½

150

8.50

7.65

7.10

Mexican All Purpose Handmade

19½ x 23½

200

6.00

5.40

5.01

Mohawk Vellum Cool White, Soft White Mohawk Via Smooth Light Grey

25 x 38 89 25 x 38 104

1.00 .90 .84 .75 1.10 .99 .92 .83

Moulin de Larroque & Moulin du Pombie Colombe Handmades All Other Larroque & Pombie

20 x 26 20 x 26

250 250

7.50 - last of stock 5.00 - last of stock

Multi-media 140 lb. Cold Press

22 x 30

300

4.15

Newsprint Rough or Smooth

18 x 24 24 x 36

81

Paper is fragile ! No returns or exchanges are allowed

■ - formulated for platinum printing

7.65 9.00

55.00 - package of 500 Sheets 105.00 - package of 500 Sheets

■ Hot Press ■ Hot Press

8.50 10.00

3.11

■ - clay coated surface for silverpoint and drawing

130 270

3.47

19 x 26 19 x 26

3.74

■ - sketching, proofing

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

Europe / The Americas & Australia

■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2

1 25 100 500 ■

■ ■

■ ■

Oaktag Lightweight Oaktag Heavyweight

24 x 36 24 x 36

150 1.00 .90 .84 .75 300 1.75 1.58 1.48 1.31

Parchment Antique

26 x 38

90

1.40 1.26 1.17 1.05

Pergamenata White, Natural Pergamenata White, Natural

27½ x 39 27½ x 39

160 230

6.25 6.90

5.63 6.20

5.22 5.74

4.69 5.15

PLike White, Ivory & Black 28 x 40 PLike White, Black, Red, Graphite, Chocolate 28 x 40

140 330

2.50 5.75

2.25 5.18

2.09 4.80

1.88 4.31

■ - rubbery surface for silverpoint, drawing letterpress

Richeson Pastel

24 x 36

300

13.60

12.24

11.32

10.17

Rising Bristol 2 Ply Smooth & Vellum Rising Bristol 3 Ply Smooth & Vellum

22 x 30 22 x 30

241 362

2.20 3.15

1.97 2.83

1.83 2.62

1.65 2.36

Richard de Bas Apta Brick Laid Normal Laid Colors

20 x 26 20 x 26

240 240

10.00 - last of stock 5.00 - last of stock

Rives BFK White 19½ x 25½ 180 3.55 3.19 19½ x 25½ 250 4.35 3.92 22 x 30 250 5.55 5.00 24¾ x 35¼ 270 8.95 8.05 29 x 41 270 11.05 9.95 30 x 44 280 12.05 10.85 31½ x 47 300 14.65 13.19 Rives BFK Off-White, Cream, Grey, Tan 22 x 30 280 6.60 5.94 Rives BFK Cream, Grey, Tan 30 x 44 280 12.60 11.34 Rives Heavyweight White or Buff 19 x 26 175 3.75 3.38 Rives Heavyweight White or Buff 26 x 40 175 6.90 6.21 Rives Lightweight White or Buff 19 x 26 115 2.70 2.43 Rives Lightweight White or Buff 26 x 40 115 4.90 4.40

2.94 3.43 4.36 7.46 8.72 9.51 11.53

1.72 3.20 4.07 6.70 8.14 8.87 10.76

5.18 9.90

4.83 9.24

3.13 5.76

2.81 5.18

2.25 4.07

2.03 3.66

Rives Papier de Lin Rives Papier de Lin

22 x 30 31 x 47

270 300

7.00 19.70

5.86 16.42

5.26 14.72

Rubbing Paper

27 x 36

50

2.75

Ruscombe Blued Hemp & Flax Broad laid Deep Beige Gelatine Sized Thomas Girtin Laid Gelatine Sized Watercolor Oatmeal Machine-age Compatible Cold Cream Margaux Estampe Cream Pastelle Color Paille Queen Anne Pale Laid Queen Anne Pale Wove Queen Anne Dark Wove Queen Anne Colors

22 x 30 22 x 30 22 x 30 18¾ x 23½ 20 x 27 22 x 30 22 x 30 20 x 27 20 x 27 20 x 27 20 x 27 20 x 27

200 200 200 250 100 200 240 25 120 90 120 90

Sabertooth

22 x 30

250 10.00 9.00 8.42 7.50

82

6.30 17.70

Paper is fragile ! No returns or exchanges are allowed

■ - sanded surface for pastel ■ - technical drawing

■ ■

■ ■

■ ■

■ ■

■ - strong and soft for rubbing techniques

14.00 - last of stock. 15.50 - last of stock. 22.40 - last of stock. 17.95 - last of stock. 15.50 - last of stock. 20.00 - last of stock. 15.50 - last of stock. 25.00 - last of stock. 12.80 - last of stock. 12.80 - last of stock. 12.80 - last of stock. 12.80 - last of stock.

■ ■

■ - sanded surface for pastel

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

Europe / The Americas & Australia

■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2

1 25 100 500 ■

■ ■

SAINT ARMAND Dominion Aquarelle Aquarelle Rectangles Aquarelle Squares Aquarelle Oval Aquarelle Circles

18 x 24 320 7.00 6.30 5.85 5.25 22 x 30 320 10.00 9.00 8.35 7.50 10 x 14 320 3.50 3.15 2.92 2.63 14 x 20 320 4.50 4.05 3.76 3.38 8 x 24 320 4.50 4.05 3.76 3.38 10 x 30 320 6.00 5.40 5.01 4.50 30 x 40 320 30.00 27.00 25.05 22.50 36 x 48 320 40.00 36.00 33.40 30.00 12 x 12 320 4.50 4.05 3.76 3.38 18 x 18 320 6.00 5.40 5.01 4.50 22 x 22 320 10.00 9.00 8.35 7.50 30 x 30 320 30.00 27.00 25.05 22.50 36 x 36 320 40.00 36.00 33.40 30.00 12 x 18 Oval 300 6.00 5.40 4.86 4.50 12" Diameter 300 4.50 4.05 3.76 3.38 18" Diameter 320 6.00 5.40 4.86 4.50 22" Diameter 320 10.00 9.00 8.35 7.50 30" Diameter 320 30.00 27.00 25.05 22.50 36" Diameter 320 40.00 36.00 33.40 30.00

22 x 30 22 x 30 18 x 24

200 250 85

Saint Armand Canal Linen Wrapper All Other Canal Papers

20 x 30 20 x 30

60 4.00 3.60 3.34 3.00 250 4.00 3.60 3.34 3.00

T.H.Saunders 90 lb. Hot Pressed, Cold Pressed, Rough 140 lb. Hot Pressed, Cold Pressed, Rough 200 lb. Hot Pressed, Cold Pressed ONLY 300 lb. Hot Pressed, Cold Pressed, Rough 260 lb. Hot Pressed, Cold Pressed, Rough 1090 lb. Hot Pressed, Cold Pressed ONLY

22 x 30 22 x 30 22 x 30 22 x 30 26 x 40 40 x 60

180 285 425 638 356 638

4.00 6.20 11.00 13.50 11.70 70.25

3.60 5.58 9.90 12.15 10.53 63.23

3.34 5.18 9.19 11.27 9.77 58.66

3.00 4.65 8.25 10.13 8.78 52.69

Sennelier La Carte Pastel

19½ x 25½

400

15.15

13.63

12.63

11.34

■ - coated surface for pastel

Serio Ultra Black Serio Ultra Black Serio Ultra Black Serio Ultra Black

28 x 40 28 x 40 28 x 40 28 x 40

115 280 370 680

2.00 4.90 6.40 12.80

1.80 4.41 5.76 11.52

1.67 4.09 5.34 10.69

1.50 3.68 4.80 9.60

Printing & Drawing All Colors Special Etching Text Weights

8.00 8.00 6.00

7.20 7.20 5.40

6.68 6.68 4.86

6.00 6.00 4.50

Somerset Book Wove Radiant White, White, Soft White 26 x 40 115 4.35 3.90 3.62 3.25 Radiant White, White, Soft White 26 x 40 175 6.60 5.91 5.48 4.93 Somerset Book Wove Radiant White, White, Soft White 26 x 40 115 4.90 4.41 4.09 3.68 Radiant White, White, Soft White 26 x 40 175 7.45 6.70 6.20 5.57 Somerset Satin White 22 x 30 250 5.95 5.36 4.96 4.46 White 30 x 44 300 15.00 13.50 12.52 11.24 Soft White 22 x 30 300 7.10 6.39 5.93 5.33 Radiant White 35 x 46¾ 500 31.90 28.71 26.60 23.89 Somerset Textured White, Soft White, Cream 22 x 30 250 5.95 5.36 4.96 4.46 White, Soft White, Cream 30 x 44 300 15.00 13.50 12.52 11.24 Radiant White 35 x 46¾ 500 31.90 28.70 26.60 23.89 Somerset Velvet All Colors 22 x 30 250 5.95 5.36 4.96 4.46 White, Soft White 30 x 44 300 15.00 13.50 12.52 11.24 Radiant, Buff, Antique, Newsprint 30 x 44 280 14.00 12.60 11.68 10.49 Radiant White 35 x 46¾ 330 22.20 19.96 18.51 16.63

83

Paper is fragile ! No returns or exchanges are allowed

■ ■

■ ■

■ - abaca & cotton blended for etching ■ - delicate.laid papers for drawing ■ -heavily textured sheets for collage ■ ■ ■ ■ ■ ■ Hot Press

■ - extremely dense black sheets ■ ■ ■

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

Europe / The Americas & Australia

■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2

1 25 100 500 ■

Speckletone Black Speckletone Chocolate, Olive, Wine Speckletone All Other Colors

26 x 40 26 x 40 26 x 40

216 2.50 2.25 2.09 1.88 270 2.50 2.25 2.09 1.88 216 2.00 1.80 1.67 1.50

Starwhite

35 x 46

200

4.50

2.45 3.72 2.45 3.72

Stonehenge White 22 x 30 250 3.00 2.70 2.47 2.22 White Lightweight 26 x 40 135 2.00 1.80 1.67 1.50 White 26 x 40 250 4.75 4.26 3.94 3.54 White 30 x 44 250 5.90 5.30 4.90 4.40 White 30 x 44 320 7.95 7.15 6.61 5.94 White 38 x 50 250 8.60 7.72 7.15 6.42 Warm White 22 x 30 250 3.00 2.70 2.47 2.22 Warm White 30 x 44 250 5.90 5.30 4.90 4.40 Natural / Cream / Polar White 22 x 30 250 3.00 2.70 2.47 2.22 Kraft / Tan (Fawn) / Pearl Grey 22 x 30 250 3.20 2.88 2.65 2.37 Black 22 x 30 250 3.90 3.51 4.07 3.65 Strathmore Alexis Drawing Alexis Watercolor Aquarius II Charcoal All Colors

19 x 24 22 x 30 22 x 30 19 x 25

163 277 150 100

.80 2.40 5.60 1.60

.72 2.15 5.03 1.40

0.63 2.00 4.67 1.30

0.57 1.79 4.19 1.17

22½ x 28½

250

1.95

1.72

1.60

1.43

Bristol Series 500 Plate (Smooth) Finish 1 ply 23 x 29 125 3.60 3.25 3.00 2 ply 23 x 29 250 6.60 5.95 5.51 30 x 40 250 11.55 10.40 9.61 3 ply 23 x 29 375 10.10 9.10 8.41 30 x 40 375 17.60 15.85 14.69 4 ply 23 x 29 500 13.60 12.20 11.32 30 x 40 500 23.85 21.45 19.90 Bristol Series 500 Kid (Vellum) Finish 1 ply 23 x 29 125 2.80 2.50 2.30 2 ply 23 x 29 250 5.85 5.25 4.87 30 x 40 250 10.25 9.25 8.54 3 ply 23 x 29 375 8.95 8.05 7.45 30 x 40 375 15.60 14.05 13.02 4 ply 23 x 29 500 12.15 10.95 10.12 30 x 40 500 21.20 19.10 17.70 Superfine White, Soft White (80 pound text) 25 x 38 Superfine White, Soft White (80 pound cover) 26 x 40

TerraSkin 4 Point Transluscent TerraSkin 8 Point White TerraSkin 10 Point Translucent TerraSkin 12 Point White TerraSkin 16 Point White

84

28 x 40 28 x 40 28 x 40 28 x 40 25 x 35

2.69 4.95 8.63 7.55 13.19 10.17 17.87 2.07 4.37 7.67 6.69 11.69 9.09 15.89

118 1.30 1.17 1.09 .98 216 2.50 2.25 2.09 1.88

100 microns 200 microns 250 microns 300 microns 400 microns

3.25 4.50 8.00 9.00 8.50

■ ■

4.05 - last of stock

Stillman & Birn Alpha & Gamma 22 x 30 150 3.25 2.93 2.72 Beta & Delta 22 x 30 270 4.95 4.46 4.14 Epsilon 22 x 30 150 3.25 2.93 2.72 Zeta 22 x 30 270 4.95 4.46 4.14

Bristol Series 300 2 Ply Plate, Vellum

■ ■

2.93 4.05 7.20 8.10 7.65

2.71 3.76 6.68 7.52 7.10

Paper is fragile ! No returns or exchanges are allowed

2.44 3.38 6.00 6.75 6.38

■ ■ ■ ■ - synthetic fiber added to keep sheets flat when wet ■ ■ ■ - studio grade bristol for drawing and ink ■ - professional grade bristol for drawing and ink ■

■ - substrate designed for strength & stability

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

Europe / The Americas & Australia

■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper

Size Gr/M2

1 25 100 500 ■

TRANSLUCENT VELLUM / TRACE / GLASSINE

■ ■

■ ■

■ ■ ■ ■ ■ - not recommended for techniques using water

Borden & Riley Trace 90 Borden & Riley Trace 51

19 x 25 19 x 25

90 40

1.25 .50

1.13 .45

1.04 .42

.94 .38

Canson Opalux Canson Satin Canson Vidalon

19½ x 25½ 26 x 40 19½ x 25½

180 230 90

3.15 4.50 2.00

2.84 4.05 1.80

2.63 3.76 1.67

2.368 3.38 1.50

Chartham Natural Clear

25 x 38 25 x 38 25 x 38 25 x 38

63 90 112 180

1.25 2.25 2.75 4.00

1.13 1.05 .95 2.03 1.89 1.70 2.48 2.30 2.07 3.60 3.34 3.00

Clearprint Plain Clearprint Gridded 4 / 8 / 10 /

24 x 36 24 x 36

75 75

2.30 3.20

2.07 2.88

1.92 2.67

1.73 2.40

Glassine Natural Glassine Heavyweight Natural Glassine Colors

24 x 36 24 x 36 24 x 36

50 70 50

.55 .90 .80

.50 .84 .72

.45 .75 .67

.41 .68 .60

Translucent Colors Translucent Gold & Platinum Pearlized

25 x 38 25 x 38

112 2.50 2.24 2.08 1.87 112 2.50 2.24 2.08 1.87

Wyndstone Vellum 5 point

25 x 38

165 2.55 2.30 2.13 1.92

■ - 100% cotton, can handle water-based techniques ■ - for interleaving, but can use like a trace

Trace / Vellum Rolls Borden & Riley Trace 35A - Amber Size

List Sale

12 x 50 yards 18 x 50 yards 24 x 50 yards

14.30 11.44 19.82 15.86 25.25 20.20

Borden & Riley Trace 35C - Canary Size

List Sale

12 x 50 yards 18 x 50 yards 24 x 50 yards

14.30 11.44 19.82 15.86 25.25 20.20

Borden & Riley Trace 35W - White Size

List Sale

6 x 50 yards 12 x 50 yards 18 x 50 yards 24 x 50 yards 30 x 50 yards 36 x 50 yards 42 x 50 yards 48 x 50 yards

7.57 6.06 14.30 11.44 19.82 15.86 25.25 20.20 31.63 25.30 37.85 30.28 44.20 35.36 48.71 38.97

85

Borden & Riley Trace 51 Size

12 x 20 yards 18 x 20 yards 24 x 20 yards 36 x 20 yards 42 x 20 yards

List Sale

7.92 11.20 13.17 22.34 26.15

6.34 8.96 10.54 17.87 20.92

Borden & Riley Trace 51H

Size

12 x 20 yards 18 x 20 yards 24 x 20 yards 36 x 20 yards 42 x 20 yards 48 x 20 yards

List Sale

10.75 14.53 19.48 29.22 34.10 39.81

8.60 11.62 15.58 23.38 27.28 31.85

Borden & Riley Trace 90

Size

36 x 10 yards 36 x 20 yards 36 x 50 yards 42 x 10 yards 42 x 20 yards 42 x 50 yards

List Sale

41.04 79.61 193.12 48.06 92.68 225.37

Paper is fragile ! No returns or exchanges are allowed

32.83 63.69 154.50 38.45 74.14 180.30

Canson Vidalon 90 Size

List Sale

36 x 10 yards

60.65 48.52

Clearprint 1000 H Plain Size

List Sale

18 x 5 yards 18 x 20 yards 24 x 5 yards 24 x 20 yards 30 x 20 yards 36 x 5 yards 36 x 20 yards 42 x 20 yards 48 x 20 yards 54 x 20 yards 60 x 20 yards 72 x 20 yards

13.00 11.70 42.25 38.03 17.00 15.30 53.85 48.47 62.15 55.94 26.60 23.94 71.25 64.13 86.50 77.85 99.45 89.51 111.95 100.76 123.85 111.47 148.65 133.79

Clearprint 1000 H-4 Gridded Clearprint 1000 H-8 Gridded Clearprint 1000 H-10 Gridded Size

List Sale

36 x 20 yards 42 x 20 Yards

98.00 78.40 114.55 91.64

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

Europe / The Americas & Australia

■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper

Size Gr/M2 1 25 100 ■

TWINROCKER Abaca, Bleached CP Abaca, Unbleached Abaca, Unbleached Pinkish Abaca, Unbleached Greyish Arthur's Prairie Laid Arthur's Prairie Wove

22 x 30 18 x 24 22 x 30 22 x 30 22 x 30 22 x 30

200 200 200 200 150 150

11.55 10.40 9.64 8.80 7.92 7.35 11.55 10.40 9.64 11.55 10.40 9.64 10.40 9.36 8.68 10.40 9.36 8.68

Biscuit B-Buff Wove B-Buff Wove

23 x 30 18 x 24 22 x 30

150 150 150

10.40 7.90 10.40

9.36 7.11 9.36

8.68 6.60 8.68

Calligraphy Cream Hot Press 9 x 12 Calligraphy Cream Hot Press 9 x 12 Feather Calligraphy Cream Hot Press 14 x 17 Calligraphy Cream Hot Press 22 x 30 Calligraphy Cream Laid Hot Press 22 x 30 Calligraphy Cream Wove Hot Press 22 x 30

200 200 200 250 150 150

6.00 6.00 8.95 12.55 11.40 11.40

5.40 5.40 8.06 11.30 9.36 9.36

5.01 5.01 7.48 10.49 8.68 8.68

Charcoal Abaca Charcoal Abaca with Fleck Cream Cream Cream

22 x 30 22 x 30 6" Circle Feather 6 x 8 Feather 22 x 30

150 150 200 200 150

10.40 10.40 2.80 2.80 10.40

9.36 9.36 2.52 2.52 9.36

8.68 8.68 2.34 2.34 8.68

Delphi Laid Delphi Wove Double XX Double XX Dusty Rose Pale

22 x 30 22 x 30 18 x 24 22 x 30 18 x 24

150 150 250 150 250

10.40 10.40 11.00 10.40 11.00

9.36 9.36 9.90 9.36 9.90

8.68 8.68 9.19 8.68 8.68

Eighteenth Century Laid Eighteenth Century Wove Emily Dickinson

22 x 30 22 x 30 23 x 32

150 150 120

10.40 10.40 11.90

9.36 9.36 10.71

8.68 8.68 9.94

Lorraine

22 x 30

150

10.40

9.36

8.68

May Linen May Linen May Linen May Linen May Linen May Linen May Linen May Linen

9 x 12 9 x 12 Feather 16 x 20 16 x 21 Feather 18 x 24 22 x 30 12" Circle Feather 18" Circle Feather

200 200 200 250 200 250 250 250

5.75 5.75 9.25 9.60 9.60 11.90 7.40 9.60

5.18 5.18 8.33 8.64 8.64 10.71 6.66 8.64

Not Quite White

19 x 25

150

8.80

Patriot Patriot

18 x 24 22 x 30

250 250

Rotunda Laid Rotunda Wove

22 x 30 22 x 30

Sagebrush Text Cold Press Sagebrush Cold Press & Rough Sagebrush Hot Press Sherwin Beach Simon’s Green Cold Press Simon's Green Hot Press

Turner Blue Turner Blue

86

■ ■

■ - specifically sized for pen & brush

4.80 4.80 7.72 8.02 8.02 9.94 6.18 8.02

7.92

7.35

11.00 13.50

9.90 12.15

9.19 11.27

120 120

10.40 10.40

9.36 9.36

8.68 8.68

22 x 30 22 x 30 22 x 30 20 x 30 22 x 30 22 x 30

150 200 200 175 200 200

10.40 11.55 12.65 8.60 11.55 12.65

9.36 10.40 11.39 7.74 10.40 11.39

8.68 9.64 10.56 7.18 9.64 10.56

22 x 30 22 x 30

150 200

10.40 11.55

9.36 10.40

8.68 9.64

Paper is fragile ! No returns or exchanges are allowed

■ ■

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

Europe / The Americas & Australia

■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper

Size Gr/M2 1 25 100 ■

■ ■

■ ■

■ ■

TWINROCKER Watercolor White Hot Press

9 x 12 9 x 12 Feather 10 x 14 10 x 14 Feather 16 x 20 16 x 21 Feather 10 x 20 Feather 15 x 22½ 18 x 24 22 x 30 30 x 40 34 x 48

200 200 200 200 200 200 200 250 200 250 300 300

7.80 7.80 8.70 8.70 12.25 12.25 9.35 11.20 12.60 15.50 43.70 60.70

7.02 7.02 7.83 7.83 11.03 11.03 8.42 10.08 11.34 13.95 39.33 54.63

6.51 6.51 7.26 7.26 10.23 10.23 7.81 9.35 10.52 12.94 36.49 50.68

Watercolor White Cold Press

9 x 12 9 x 12 Feather 10 x 14 10 x 14 Feather 16 x 20 16 x 21 Feather 15 x 22½ 18 x 24 22 x 30 30 x 40 34 x 48

200 200 200 200 200 200 250 200 250 300 300

7.05 7.05 7.90 7.90 11.10 11.10 10.10 11.45 14.00 39.70 55.05

6.35 6.35 7.11 7.11 9.99 9.99 9.09 10.31 12.60 35.73 49.55

5.89 5.89 6.60 6.60 9.27 9.27 8.43 9.56 11.69 33.15 45.97

Watercolor White Rough

9 x 12 Feather 10 x 14 Feather 14 x 14 Feather 16 x 21 Feather 18 x 24 22 x 30

200 200 200 200 200 250

6.40 7.20 8.70 10.10 10.10 12.70

5.76 6.48 7.83 9.09 9.09 11.43

5.34 6.01 7.26 8.43 8.43 10.60

White All Purpose Hot Press

4 x 20 Feather 18 x 24 22 x 30

200 200 200

5.95 10.60 13.10

5.36 9.54 11.79

4.97 8.85 10.94

■ ■

■ ■

■ ■

■ ■

White All Purpose Cold Press 14 x 14 Feather 200 7.95 7.16 14 x 17 200 7.95 7.16 18 x 24 200 9.60 8.64 22 x 30 200 11.90 10.71 7 x 28 Feather 200 8.00 7.20 6" Circle Feather 200 2.80 2.52 6" Heart Feather 200 2.80 2.52 6 x 8 Feather 200 2.80 2.52 9 x 12 Feather 200 5.70 5.13 10 x 14 Feather 200 6.60 5.94 16 x 21 Feather 200 9.60 8.64 12" Circle Feather 200 7.40 6.66 18 " Circle Feather 200 9.60 8.64 White Cotton Rag Laid 22 x 30 150 10.40 9.36 White Cotton Rag Wove 22 x 30 150 10.40 9.36

6.65 6.65 8.02 9.94 6.68 2.34 2.34 2.34 4.76 5.51 8.02 6.18 8.02

8.68 8.68

Yale Antique Laid Yale Antique Wove

8.68 8.68

87

22 x 30 22 x 30

120 120

10.40 10.40

9.36 9.36

Paper is fragile ! No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

Europe / The Americas & Australia

■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2

1 25 100 500 ■ 15.25

13.73

12.74

11.45

■ ■

■ ■

■ ■

UArt 800 (finest) / 600 / 500 / 400 (roughest) 27 x 40

250

Van Gelder / Schut Laurier Salland Noblisse 140 Cold Press Simili Japon Simili Japon

30 x 44 30 x 44 22 x 30 25 x 37¾ 25 x 37¾

250 9.00 300 11.00 300 6.25 130 4.00 225 6.00

Velour Premium Pastel

19 x 27

190 5.60 5.04 4.68 4.20

■ - flocked surface for pastel

Velour Heavyweight Velour Lightweight

20 x 26 20 x 26

185 145

5.00 3.00

4.50 2.70

4.18 2.51

3.75 2.25

■ - flocked surface for pastel ■ - flocked surface for pastel

Yupo Yupo Yupo

26 x 40 26 x 40 26 x 40

155 197 390

6.80 9.15 12.90

6.13 8.22 11.61

5.67 7.62 10.77

5.10 6.84 9.68

■ - synthetic sheet strong, non-buckling

Zaan Light Grey Zaan Light Grey

8 x 12 25 x 29

200 200

4.25 18.50

3.83 16.65

3.55 15.45

8.10 7.52 6.75 9.90 9.19 8.25 5.63 5.23 2.25 3.60 3.34 3.00 5.40 5.01 4.50

Zerkall Book Smooth & Vellum White Only 20¾ x 30 100 3.40 3.06 2.84 2.55 Book Smooth & Vellum White 20¾ x 30 145 3.80 3.42 3.17 2.85 Book Laid 24 x 34 125 4.35 3.91 3.63 3.26 Copperplate 22 x 30 250 4.30 3.88 3.60 3.23 Copperplate 30 x 42 250 8.00 7.21 6.69 6.01 Frankfurt White, Cream Vellum 25 x 38 120 4.95 4.46 4.14 3.72 Frankfurt White, Cream Smooth 21 x 29½ 120 3.10 2.77 2.57 2.31 Ingres All Colors 19 x 25 90 1.65 1.46 1.36 1.22 Laid Cover 19 x 25 225 4.50 4.05 3.76 3.38 Litho 22 x 30 250 5.95 5.35 4.95 4.45 Litho 30 x 42 250 10.30 9.25 8.57 7.69 Nideggen 25 x 38 120 5.05 4.53 4.20 3.77 Satin Wove 902 25 x 30 225 6.00 5.40 5.01 4.50

■ ■

■ - sanded surface for pastel

■ ■

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Metric Conversions Length

1 Inch = 1 Inch = 1 Foot = 1 Yard =

88

2.54 Centimeters .0254 Meters .3048 Meters .9144 Meters

Length

1 Centimeter = 1 Meter = 1 Meter = 1 Meter =

Paper is fragile ! No returns or exchanges are allowed

.3937 Inches 39.37 Inches 3.2808 Feet 1.0936 Yards

order: 800-950-6111 or: 212-473-7705.


ART PAPER - ROLLS

Europe & The Americas

Aqua Bee 892 Bogus

Arches Cover White

Arches Aquarelle Hot Press

Arches En Tout Cas - double sided, rolls have one cold press surface and one smoother surface

Arches Aquarelle Cold Press

Butcher Paper White - coated one side

Butcher Paper Black - coated one side

Arches Aquarelle Rough

Canson Mi-Teintes 335 White

Canson Mi-Teintes 425 Black

Aquabee #892 Bogus 100% Post consumer waste. Grey with light texture. Arches Aquarelle 100% cotton. Sized for watercolor. Neutral pH. Arches Cover 100% cotton. For printmaking and drawing. Neutral pH. Arches En Tout Cas 25% Cotton. One smooth side, one cold pressed. Sized for watercolor. Neutral pH. Arches Oil 140 Cold Press 100% Cotton. Pre-coated for direct painting with oil. Bockingford 140 Cold Pressed Watercolor 100% High alpha cellulose. Fully sized cold press. Neutral pH. Butcher Paper White & Black Bleed-proof, coated 1 side. Food safe. Canson Mi-Teintes 65% cotton. Textured for pastel. Neutral pH.

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Bockingford

Roll Aquabee 892 Arches Aquarelle 140 Hot Press 140 Cold Press 140 Rough 260 Hot Press 260 Cold Press 260 Rough

Size G/m2 36 x 10 yards 140 43½ 43½ 43½ 51½ 51½ 51½

Price 23.95

x 10 yards x 10 yards x 10 yards x 10 yards x 10 yards x 10 yards

300 300 300 356 356 356

220.00 220.00 220.00 260.00 230.00 230.00

Arches Cover White

42 x 10 yards 42 x 20 yards 42 x 100 yards

300 300 300

160.00 320.00 1223.00

Arches En Tout Cas

51½ x 10 yards

280

155.00

300 300 40 160 160

226.00 168.00 15.00 96.00 96.00

Arches Oil Bockingford Butcher White or Black Canson 335 White Canson 425 Black

Paper is fragile ! No returns or exchanges are allowed

51 x 10 yards 60 x 10 yards 30 x 50 feet 59 x 11 yards 59 x 11 yards

order: 800-950-6111 or: 212-473-7705.


ART PAPER - ROLLS

Europe & The Americas Note: papers were scanned on black and white background to show translucency

Borden & Riley - 30 Signwriters Bond

Borden & Riley - 10 Penny Sketch

Borden & Riley - 234 Paper for Pens

Borden & Riley - 214 Normandy Sketch

Borden & Riley - 627 100% Rag Drawing

Borden & Riley - 400

Borden & Riley #10 Penny Sketch 60 pound, white drawing paper with a light tooth. Neutral pH. Borden & Riley #30 Signwriter's Bond 20 pound, smooth, white bond. Neutral pH. Borden & Riley #116 Sketch Vellum 90 pound, smooth white multi-purpose paper. Neutral pH. Borden & Riley #214 Normandy Sketch Vellum surface, soft white paper for drawing. Neutral pH. Borden & Riley #234 Paper for Pens Ultra-smooth, brilliant white paper for drawing. Neutral pH. Borden & Riley #400 Laid Charcoal White Borden & Riley #410 Laid Charcoal Grey Borden & Riley #420 Laid Charcoal Black Laid, textured papers. Neutral pH. Borden & Riley #627 100% Rag Drawing Textured, 100% cotton for most medium. Neutral pH. Borden & Riley #880 Royal Sketch Lightly textured, for most medium. Neutral pH.

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Borden & Riley - 116 Sketch Vellum

Borden & Riley - 880 Royal Sketch

Borden & Riley - 410 Grey

Borden & Riley - 420 Black

Borden & Riley 10 Penny 36 x 20 yards 30 Bond 15 x 25 yards 18 x 25 yards 24 x 25 yards 30 x 25 yards 36 x 25 yards 42 x 25 yards 48 x 25 yards 60 x 25 yards 116 Sketch Vellum 36 x 10 yards 48 x 10 yards 60 x 10 yards 214 Normandy 36 x 10 yards 234 Paper for Pens 36 x 10 yards 400 White Charcoal 36 x 10 yards 410 Grey Charcoal 36 x 10 yards 420 Black Charcoal 36 x 10 yards 627 Rag Drawing 36 x 10 yards 880 Royal Sketch 36 x 10 yards

Paper is fragile ! No returns or exchanges are allowed

150 18.47 65 9.70 65 10.26 65 13.73 65 17.11 65 20.45 65 23.92 65 27.32 65 34.18 185 17.24 185 22.95 185 28.53 150 19.93 190 33.64 170 43.00 170 41.86 170 44.18 175 44.97 185 35.65

order: 800-950-6111 or: 212-473-7705.


ART PAPER - ROLLS

Europe & The Americas Note: papers were scanned on black and white background to show translucency

Drawing & Framing

Drop Screen

Evolon 58 gram

Fabriano Artistico Hot Press Traditional White

Fabriano Artistico Soft Press Extra White

Evolon 98 gram

Fabriano Artistico Cold Press Traditional White

Fabriano Artistico Rough Extra White

Evolon 168 gram

Fabriano Tiziano

Fabriano Accademia

Fabriano Studio Watercolor

Drawing & Framing

100% cotton. Neutral pH. Smooth surface. No deckles. White.

Drop Screen Fire-proof, non-woven material composed of paper, fiberglass and polyester. It has many applications where scale and strength are necessary in a lightweight material. It can be painted, printed and sewn. Drop Screen is translucent and has visible swirls of fibers, somewhat similar to a Japanese paper. White. Evolon ap

Non-woven micro-fiber of polyester & nylon. Exceptionally strong and tear resistant, Evolon can absorb up to 5 times its weight in water without buckling, expanding or shrinking. Neutral pH.

Fabriano Accademia 100% sulphite with a fine tooth. White. Neutral pH. Fabriano Artistico Mouldmade of 100% cotton. Sized fror watercolor. Neutral pH. Fabriano Studio Watercolor Cotton & sulphite. Sized. Cold Pressed.Neutral pH. Fabriano Tiziano White 100% sulphite. Textured for pastel. White. Neutral pH.

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Roll Drawing & Framing Drawing & Framing Drop Screen Evolon Evolon Evolon Fabriano Accademia

Size G/m2 Price 60 x 20 yards 250 323.00 72 x 20 yards 250 380.00 47" wide - Price per yard 15.00 80 x 20 yards 58 280.00 80 x 15 yards 98 295.00 80 x 10 yards 168 320.00 55 x 11 yards 160 46.00 55 x 11 yards 200 53.00

Fabriano Artistico Traditional White 140 Hot Press 55 x 11 yards 140 Cold Press 55 x 11 yards 140 Rough 55 x 11 yards

300 300 300

230.00 230.00 230.00

Fabriano Artistico Extra White 140 Hot Press 55 x 11 yards 140 Soft Press 55 x 11 yards 140 Cold Press 55 x 11 yards 140 Rough 55 x 11 yards

300 300 300 300

230.00 230.00 230.00 230.00

Fabriano Studio

59 x 11 yards

300

150.00

Fabriano Tiziano White 59 x 11 yards

160

115.00


ART PAPER - ROLLS

Europe & The Americas

Hahneműhle Copperplate BrightWhite

Hahneműhle Copperplate Warm White

Hahneműhle German Etch Black

Kraft

Lenox

Rives BFK

Newsprint

Lanaquarelle

Rives De Lin

No Seam White

No Seam Grey

No Seam Black

Hahneműhle Copperplate Bright & Warm White 100% Sulphite. Printmaking with a light texture. Neutral pH. Hahneműhle German Etching Black 75% Cotton. Dense black with a light texture. Neutral pH. Kraft Lanaquarelle Hot Press Mould-made. 100% cotton fully sized for watercolor. Neutral pH. Lenox Machine-made of 100% cotton. Light texture. Neutral pH. Newsprint Rough & Smooth No-Seam Back Drop Machine-made of sulphite. White Black Grey. Rives BFK Mould-made of 100 % cotton. Lightly sized. Neutral pH. Rives De Lin Mould-made of cotton & linen. Rough surface. Neutral pH. Saint Armand Canal Rag Mouldmade of 100% cotton rag. Exceptionally strong. Neutral pH.

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Saint Armand Canal Rag White

Roll Size G/m2 Hahnemuhle Copperplate 49 x 22 yards 350 German Etch Black 49 x 10 yards 350 German Etch Black 49 x 25 yards 350 Kraft 36 x 25 yards 100 Kraft 48 x 25 yards 100 Kraft 60 x 25 yards 100 Lanaquarelle Hot Press 51 x 11 yards 640 Lenox 60 x 20 yards 250 Lenox 72 x 20 yards 250 Newsprint 36 x 50 yards 60 No-Seam White 107 x 12 yards 185 No-Seam Black or Grey 107 x 12 yards 185 Rives BFK 42 x 10 yards 300 Rives BFK 42 x 20 yards 300 Rives BFK 42 x 100 yards 300 Rives De Lin 52 x 20 yards 350 Saint Armand 11 x 8 yards 250 Saint Armand 21 x 8 yards 250

Paper is fragile ! No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.

Price 410.00 340.00 675.00 32.75 44.00 57.60 635.00 335.00 396.00 17.05 61.25 74.50 150.00 300.00 1232.00 540.00 20.00 40.00


ART PAPER - ROLLS

Europe & The Americas Note: papers were scanned on black and white background to show translucency

T.H.Saunders Hot Press White

Stonehenge White

Strathmore Watercolor

T.H.Saunters Cold Press High White Sunray Smooth

Warm White

Natural

Cream

Strathmore Drawinge

Fawn

Kraft

TerraSkin 12 point

Sunray Texture

Pearl Grey

Steel Grey

Black

Yupo

T.H. Saunders Waterford Mouldmade of 100% cotton. Sized for watercolor. Neutral pH.

T.H. Saunders - Traditional White 90 Cold Pressed 42 x 10 yards 185 140 Hot Pressed 60 x 10 yards 280 140 Cold Pressed 60 x 10 yards 280 Stonehenge 200 Hot Pressed 60 x 10 yards 425 Machine-made of 100% cotton. Neutral pH. 200 Hot Pressed 60 x 20 yards 425 200 Hot Pressed 60 x 100 yards 425 Strathmore Alexis 400 Drawing T.H. Saunders - High White Strathmore Alexis 400 Watercolor 140 Hot Pressed 60 x 10 yards 280 Machine-made of sulphite. Neutral pH. 140 Cold Pressed 60 x 10 yards 280 Sunray Smooth & Texture Stonehenge Mouldmade in England of 100% cotton. Lightly sized for printmaking White 50 x 10 yards 250 techniques, yet strong enough for drawing and painting White 50 x 140 yards 250 White 50 x 140 yards 320 Cream/Natural/Warm 50 x 10 yards 250 TerraSkin 12 point Pearl/Steel/Kraft/Fawn 50 x 10 yards 250 Machine-made of 80% calcium carbonate, 20% resin. Black 50 x 10 yards 250 StrathmoreDrawing 42 x 10 yards 185 Yupo StrathmoreWatercolor 42 x 10 yards 300 Synthetic, 100% polypropylene. Waterproof, stain resistant and incredibly strong. White. Neutral pH. Sunray Smooth & Texture 60 x 10 yards 300 TerraSkin 12 Point 40 x 20 feet Yupo 30 x 10 yards 197 Yupo 60 x 10 yards 197

93

Paper is fragile ! No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.

135.00 250.00 250.00 370.00 660.00 2635.00 270.00 270.00 175.00 1434.00 1598.00 175.00 187.00 244.00 21.00 53.00 250.00 125.00 149.00 94.00


ART PAPERS - Africa

Note: sheets were scanned on black and white background to show translucency

African Mapepa Papers

Handmade in Zimbabwe, South Africa from indigenous fibers. Papermaking has only recently been developed in this area as a means to create new work opportunities for the craftspeople in the communities and villages. These earthy, irregular, textural sheets use local, readily found plants which are quickly replenished, maintaining ecological stability, reducing dependance on the forests and thus, protecting wildlife and other natural resources. The sheets are inconsistent. There will always be variations. All sheets are lignin free and neutral pH. 4 Deckles.

African Mapepa Dung

Dung has been used in African art and rituals for centuries with the belief that the spirit of these wild, respected animals is transferred to the object in which it is used. These animals rely primarily on grasses and bark as their diet. The plants that survive the heat and lack of rainfall of Africa are tough, fiberous and low in nutrition requiring the animal to consume massive amounts and consequently passing much of these difficult to digest fibers in a semi-digested state. In other words, the animal acts as a papermaker's beater to help prepare the fibers! The dung is cooked and mixed with other fibers for stability.

African Mapepa Mulberry Tissue

100% Kozo. Thin, crisp, translucent sheets with exaggerated deckles.

Mapepa Zambeizi Elephant Dung

Mapepa Ncube Pale Terracotta Tissue

Mapepa Bvumbe Blue Tissue

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Mapepa Giraffe Dung

(on black and white)

(on black and white)

Paper is fragile !

Mapepa Zambezi Tissue

No returns or exchanges are allowed

(on black and white)

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Bhutan

Bhutan Handmade papers Nestled in the Eastern Himalayas, the beautiful Kingdom of Bhutan has been a center of spirituality for various factions of the Buddhist faith. The papermaking traditions in Bhutan reflect the mingling of these different cultures - with influences from Japan, Nepal and Northern India. The most traditional styles are similar to Nepalese papers made on a screen called a tame suki which is constructed of split bamboo. The tame suki allows for excess water and pulp to run through the screen and produces a soft, thick sheet with a pronounced laid surface.Other varieties are made in the Japanese Nagashizuki style where excess pulp is thrown off the side of the screen and results in finer, thinner sheet formations. Sheets are usually dried by couching them directly to the sunny side of the paper mill's outside walls. All papers are neutral pH and have 4 natural deckles.

95

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Bhutan

Note: sheets were scanned on black and white background to show translucency

Tenzin Bhutan HAndmades

Norbu Tenzin was trained in both traditional Bhutanese and Japanese papermaking techniques and is now the owner of The Jungshin Paper Factory in Bhutan. His papers are unsized and totally chemical free.

Bhutan Tenzin Bhutan Tenzin Bhutan Tenzin Bhutan Tenzin Bhutan Tenzin Bhutan Tenzin

Daphne - Japanese style of 100% Bhutanese daphne. Dekar - Japanese style of 100% Bhutanese daphne. Denak - Traditional Bhutanese style of 100% Bhutanese daphne. Egeworthia - Japanese style of 100% Egeworthia (Bhutanese kozo.) Jute - Traditional Bhutanese style of 100% jute. Dark Natural. Mitsumata

Japanese style from 100% mitsumata, these sheets have a soft touch and a slight luster.

Bhutan Tenzin Rural Tsarsho Traditional Bhutanese style of 50% mitsumata & 50% daphne. Distinctive, broad laid surface.

Bhutan Tenzin Rural Tsarsho Dyed & Bleached

Traditional-style, of mitsumata & daphne. These heavy weight sheets have a distinctive, laid surface. Hand dyed with native pigments to beautiful tonalities. As with all hand-dyed sheets, color will vary from batch to batch and even sheet to sheet.

Bhutan Tenzin Shawa

Traditional Bhutanese handmade of mitsumata and creeping vines. Dark brown laid paper, flecked with fine, chocolate bark. Dried on metal to give a smooth finish. Back side is lighter color. Bhutan Daphne Thick

96

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Bhutan

Note: sheets were scanned on black and white background to show translucency

Bhutan Mitsumata White 60 gram

Bhutan Mitsumata Natural 60 gram

Bhutan Mitsumata Thick White 120 gram

Bhutan Mitsumata Thin 10 gram

Bhutan Egeworthia White 45 gram

Bhutan Egeworthia Natural 45 gram

Bhutan Denak Kap Thin 15 gram

Bhutan Denak Kap Medium 30 gram

97

Paper is fragile !

Bhutan Shawa (shows front and back of sheet) No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Bhutan

Note: sheets were scanned on black and white background to show translucency

Bhutan Rural Tsarsho Dyed Khempa

Bhutan Rural Tsarsho Dyed Dama

Bhutan Rural Tsarsho Dyed Tong Fu

Bhutan Rural Tsarsho & Small Sheets

Bhutan Rural Tsarsho Bleached (on black & white )

Bhutan Rural Tsarsho Dyed Green

Bhutan Rural Tsarsho Dyed Yellow

Bhutan Rural Tsarsho Natural (large sheets)

Bhutan Rural Tsarsho Dyed Indigo

Bhutan Rural Tsarsho Dyed Madder

Bhutan Dekar Natural

98

Paper is fragile !

No returns or exchanges are allowed

Bhutan Jute

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Bhutan

Note: sheets were scanned on black and white background to show translucency

Bhutan Khadi Jingshi Tsasho

Khadi Bhutan Handmades

Made by a papermaker called Gonpola in the town of Bomdeling which is a 2-3 hour walk from the nearest road, these sheets are made of denar - which is the Bhutanese variety of daphne.

Bhutan Khadi Denar JDK - Made in the Japanese tradition from Bhutanese daphne. Bhutan Khadi Jingshi Tsasho - Made in the Japanese tradition to mimic the traditional

Bhutanese sheet.

Bhutan Khadi Resho

Traditional Bhutanese handmade. Resho means "cotton" which refers to the use of a cotton cloth over the mould to eliminate the impressions of the bamboo screen.

Bhutan Khadi Tsasho

Bhutan Khadi Tsasho

Traditional-style, Bhutanese handmade of natural lokta fibers. The word "tsasho" translates as "bamboo" which refers to the use of a split bamboo mould. Tone varies from batch to batch.

Bhutan Egeworthia Laminated

Japanese style of 100% Natural Egeworthia (kozo). Two sheets laminated toghether to make this smooth, heavyweight sheet with a lovely, subtle sheen. Natural. Bhutan Khadi Denar JDK

Bhutan Khadi Resho

99

Paper is fragile !

Bhutan Egeworthia Laminated

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - China

Note: sheets were scanned on black and white background to show translucency

Chinese An-Jing Pang Pi Large sheets of Chinese papers arrive lightly folded into bolts, like fabric.

Chinese Papers

China is credited with the invention of paper. The magical substance was so highly prized by the emperor that the secret of its manufacture was closely guarded in order that mere mortals would be unable to possess this amazing creation. Fortunately for the rest of the world, the technique eventually spread all over China and was later learned by the Japanese - who in turn, also became great masters. China and Japan were responsible for the spread of papermaking throughout the East - into Korea, Southeast Asia, Nepal, Northern and Southern India and like the spice and silk trades, into the Western World.

An-Jing Chinese Handmades

Sheets from the Xian County of Anhui Province made following papermaking traditions that have been handed down for over 1000 years. Regarded throughout China as some of the finest papers available, An-Jing papers utilize locally grown bast fibers such as mulberry, blue sandlewood, hemp and dragon whisker grass. All sheets are neutral pH. Sheets arrive folded into bolts which is a traditional method of storing the large sheets. Folds usually come out with use or moisture.

An-Jing Clean Bark

Made from 100% blue sandlewood (bast) fiber. "Clean Bark" refers to the preparation of the fibers where dark, outer bark has been carefully removed, resulting in unbleached sheets with pure, clean tonalities and sheet formation. Sized sheets will hold a crisper line. No deckles.

An-Jing Pang Pi - 100% unbleached mulberry. This giant, strong sheet has a natural tone with flecks and swirls of mulberry fiber. 4 Deckles.

Chinese An-Jing Clean Bark Un-sized 20 gram Chinese An-Jing Clean Bark Sized 20 gram Chinese An-Jing Clean Bark Sized 30 gram

100

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - China

Note: sheets were scanned on black and white background to show translucency

Yuemei CHINESE HANDMADES

Laid papers from Mainland China made from sulphite, Qin-tan (Chinese kozo) and Dao-cao (rice straw) which is added to increase softness and absorbency. Yumei papers are designed for Oriental painting, book arts and printmaking techniques. All papers are Neutral pH and have cut edges.

Yuemei Yuemei Yuemei Yuemei Yuemei Yuemei Yuemei Yuemei

Antique - 100% Qin-tan. Thin, pigment dyed sheets. Dan - Qin-tan and dao-cao fibers. Soft, smooth surface. Very absorbent. Dou Bean - Qin-tan and dao-cao fibers. Smooth surface. Lightly sized. Jing-Pi - Qin-tan fiber. Slightly textured. Sized. 2 ply. Natural white. Mao Bian #3 - Bamboo and Qin-tan fiber made on a very fine laid mould. Pao - Qin-tan and dao-cao fibers. Scratchy surface with flecks of fiber. Tortoise - 100% sulphite. Made on a mould that has a tortoise shell design. Yu-Jade - Qin-tan fiber with some Dao-cao. 2 ply. Sized. Smooth.

Chinese Yuemei Dan Chinese Yuemei Antique - Pearl Grey Chinese Yuemei Antique - Burnt Umber

Chinese Yuemei Tortoise Chinese Yuemei Dou Bean Chinese Yuemei Jing-Pi

Chinese Yuemei Mao Bian #3 Chinese Yuemei Pao Chinese Yuemei Yu-Jade

101

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - China

Note: sheets were scanned on black and white background to show translucency

Yuemei Chinese Handwoven Silks Yuemei Juan Silk

This is not paper!! 100% hand woven silk which has been pre-starched making it possible to paint or print on it directly with all waterbased media.

Yuemei Juan Silk Mounted

100% hand woven, starched silk mounted on paper. Paint on directly or run through your ink-jet printer. Paper-backed silks are hand mounted with water soluble adhesives and can de-laminate if too much water is applied Juan Silk Unmounted Natural (on black at left, on white above)

Juan Silk Unmounted Golden (on black at left, on white above)

Juan Silk Mounted - Golden

Juan Silk Mounted - White

Juan Silk Mounted - Grey

Juan Silk Mounted - Pink

Juan Silk Mounted - Black

Juan Silk Mounted - Blue

Juan Silk Mounted - Lavender

Juan Silk Mounted - Purple

102

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Egypt

seen above from bottom to top: Papryus Fermented - Papryus Lightly Flecked - Papryus Heavily Flecked - Papryus Natural

Egyptian PAPYRUS

Genuine papyrus handmade in Egypt. 4 natural edges. Stems of the papyrus plant are slit into flat strips that are assembled into two layers - one of rows of horizontal strips topped with another of rows of verticle strips. These are then dried in the sun. As the water (H2O) evaporates, the pieces fuse together because the hydrogen atoms bond with each other. No glue or additives are needed. The Egyptians figured this out thousands of years ago and their dry climate allowed this substance to withstand the test of time! Papyrus will accept many techniques: ink, gouache, pencil and most drawing media - just use water sparingly - or the extra hydrogen atoms in the water will cause the sheets to separate once again.

103

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - India

india

The papers of India are as varied as the culture that produces them, from the wildly vibrant decorative marble papers to the simplicity of the more utilitarian, traditional sheets. India first learned papermaking through their contacts with China, Japan and Nepal but developed its own unique style and technique of papermaking based on different artistic requirements and the use of indigenous fibers such as hemp, jute and cotton. These fibers must be prepared differently from kozo or gampi and necessitated the creation of a different style of moulds and vats for the papermaking process. India also invented the use of starch as a sizing as well as polishing sheets with an agate burnisher to reduce absorption and hold fine detail. Because of its location as a major hub in the spice and silk trade, India is credited with the introduction of papermaking techniques into the Western World. Papermaking in India has grown extensively since the 1940’s, when Gandhi helped to establish the first handmade paper factory in Poona utilizing unwanted rags from the garment industry and providing jobs for many of India's poor.

Khadi Indian Handmades

Handmade for Nigel MacFarlane and Barbara Bliss, this collection is a result of their personal interest in the promotion of quality controlled, handmade papers in India, Nepal and Thailand. All have 4 Deckles and are are neutral pH.

104

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - India

Note: sheets were scanned on black and white background to show translucency

Khadi India - Bagasse Smooth

Khadi Indiai - Bagasse Rough

Khadi India - Banana Smooth

Khadi India - Banana Rough

Khadi Indian Handmades

Handmade for Nigel MacFarlane and Barbara Bliss, this collection is a result of their personal interest in the promotion of quality controlled, handmade papers in India, Nepal and Thailand. All have 4 Deckles and are are neutral pH. Color will vary from batch to batch based on the natural color of the raw materials used.

Khadi Indian Bagasse Smooth & Rough - Bagasse Khadi India Chapri Green

(sugar cane) and cotton.

Khadi Indian Banana Smooth & Rough - 100% cotton with flecks of banana bark. Khadi Indian Chapri Colors

Made in the Chapri region in the North of India. 100% cotton sheets made on a special laid mould. Smooth surface..

Khadi Indian Gunny Sack Smooth & Rough - 100% gunny sack. Khadi Indian Mould-made Cotton Text - 100% cotton rag. Khadi Indian Mould-made Gunny Text - 100% gunny sack. Khadi India Chapri Red

Khadi India - Gunny Smooth

Khadi India - Gunny Rough

Khadi India- Cotton Text Medium

Khadi India - Cotton Text Smooth

105

No returns or exchanges are allowed

Paper is fragile !

Khadi India - Gunny Text Smooth

Khadi India - Gunny Text Medium

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - India

Note: sheets were scanned on black and white background to show translucency

Khadi India Cotton Colors These sheets are made from 100% ‘khadda’ - handspun cotton rag derived from tailor’s cuttings which makes these sheets exceptionally strong. Internally sized to accept a wide variety of drawing and painting techniques. All have a rough surface, except black - which is available in a rough and smooth. 4 Deckles. Neutral pH.

Khadi India - Almond Cotton

Khadi India - Stone Cotton

Khadi India - Ash Grey Cotton

Khadi India - Powder Blue Cotton

Khadi India - Coffee Cotton

Khadi India - Mango Cotton

Khadi India - Ochre Cotton

Khadi India - Indian Orange Cotton

Khadi India - Indian Red Cotton

Khadi India - Indian Pink Cotton

Khadi India- Parrot Green Cotton

Khadi India - Black Smooth Cotton

106

No returns or exchanges are allowed

Paper is fragile !

Khadi India - Black Cotton

Khadi India - Violet Cotton

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - India

Note: sheets were scanned on black and white background to show translucency

Khadi Indian Khadi Indian Sunn Hemp Contemporary

100% hemp from grain bags. Smooth. This is a traditionally made sheet in the style of those made for Indian and Persian miniatures. Strong, smooth finish with wheat starch sizing. Natural.

Khadi Indian Watercolor

Handmade at a mill established in Karnataka, South India. These sheets are made from 100% ‘khadda’ unbleached, handspun cotton rag derived from tailor’s cuttings, which gives these sheets their exceptional strength. All are tub sized with gelatine. Neutral pH. 4 deckles. Khadi India - Sunn Hemp Contemporary

Khadi India - Watercolor Rough

Khadi India - Watercolor Smooth

Khadi India - Watercolor Packages

107

Paper is fragile !

No returns or exchanges are allowed

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ART PAPERS - India

Note: sheets were scanned on black and white background to show translucency

MHK Jute Indian Handmades

Made by Mohammed Hussein Khagzi, these 100% jute papers are made using the most traditional Indian methods of papermaking. Single weight sheets are formed on a chapri (laid) mould and are laminated together during the papermaking process to create heavier sheets. They are brushed onto exterior plaster walls to dry. A dilute starch solution is used as a surface sizing and the sheets have been polished with an agate burnisher to a beautiful, soft sheen. Very beautiful and unusual. All neutral pH with 4 deckles.

MHK Jute Lightweight - Single-weight sheets. Natural tone. MHK Jute Heavyweight - Double weight sheets made by laminating two single-weight sheets together. Natural tone. MHK Jute Heavyweight Stained - Double weight sheets that have been stained with an irregular wash of brown earth.

India - MHK Jute Stained

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ART PAPERS - India

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Indian Sanganeer Allah Bux Jute

Sanganer indiaN handmades

Handmade in the Sanganeer region of India. Exceptionally strong and multi-purpose. Neutral pH. 4 deckles. Indian Sanganeer Salin Sunn Hemp

Indian Sanganer Allah Bux Jute 30% Jute, 70% Cotton. Warm grey tone. Cold Pressed surface

Indian Sanganer Grass Jute, Cotton. and wild grass. Light grey speckled with grass. Cold Pressed.

Indian Sanganer Kagzi Jute 70% Jute, 30% Cotton. Warm light grey speckled with fibers. Cold Pressed.

Indian Sanganer Salim Sunn Hemp 70% sunn hemp, 30% cotton. Warm light tan with hemp fibers. Cold Pressed.

Indian Sanganer Rajastan Straw

100% cotton with straw inclusions. Smooth. White

Indian Sanganer Wool

100% cotton. White with fine, multi- colored wool threads. Indian Sanganeer Kagzi Jute

Indian Sanganeer Rajastan Straw

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Indian Sanganeer Wool No returns or exchanges are allowed

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ART PAPERS - India

Note: sheets were scanned on black and white background to show translucency

Shizen indiaN handmades Indian Shizen Watercolor Rough 100% Cotton rag, internally and externally sized for watercolor. Rough surface. 4deckles. Neutral pH.

Indian Shizen Pastel Colors 100% Cotton rag with light sizing and a soft, smooth surface. Neutral pH. 4 deckles.

Indian Shizen Watercolor Rough

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Indian Shizen Pastel - White No returns or exchanges are allowed

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ART PAPERS - India

Indian Shizen Pastel - Green

Indian Shizen Pastel - Black

Note: sheets were scanned on black and white background to show translucency

Indian Shizen Pastel - Tan

Indian Shizen Pastel - Cocoa

Indian Shizen Pastel - Army Green

Indian Shizen Pastel - Grey

Indian Shizen Pastel - Purple Grey

Shizen indiaN handmade in Packages Indian Shizen Watercolor 100% Cotton rag sized for watercolor. Circles, squares and rectangles in 5 sheet celo-packs.

Indian Shizen Pastel Colors 100% Cotton rag with light sizing and a soft, smooth surface. In packages of 25 sheets.

Indian Shizen Pastel - Blue

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ART PAPERS - India

TaJa indiaN handmades 100% Cotton rag sized for watercolor. Cold press surface. Color of sheets changes with the specific batch of cotton rag use to make the sheets 4 Deckles. Neutral pH.

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ART PAPERS - India & Indonesia

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Indian Lime Text & Cover

Indian Jute & Silk

India Jute & Silk

Handmade sheets of jute and white silk threads. Soft, durable surface. No deckles.

India Lime Text & Cover

Handmade sheets of 100% cotton rag with a smooth surface. Intense, lime color. Text sheets have no deckles, cover weight has 4 Deckles.

India Saakaar Banana Handmade

Handmade sheets of 100% banana that have a wonderful crispness and have a smooth surface. 4 Deckles. Neutral pH.

Indonesia Bamboo Writing

Indian Saakaar Banana Heavyweight

Indonesian handmades

Indonesia Bamboo Writing

Bamboo and mixed fiber. Light tan with fabric-like texture. No Deckles.

Indonesia Silk

Indonesian kozo. A very crudly made, yet charming tissue weight sheet. No Deckles.

Indonesia Silk

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ART PAPERS - Japan

Japanese Papers

No other culture has used paper for as many different purposes as has the Japanese. Specific papers are made for lanterns, room dividers, screens, clothing, fans, toys, wallets, wrapping, painting and calligraphy, to name just a few. The exceptional respect for nature and harmony, beauty and tradition that the Japanese exhibit toward all things is evident in their skill and attitude toward papermaking. In keeping with the philosophy of Zen, the purest white sheet should reflect the beauty of the natural fiber as well as the inner harmony of the papermaker. The demand for Japanese papers has resulted in the mechanization of many traditional methods. However, hand papermaking techniques which require the fibers to be washed, cooked and formed into sheets are still practiced according to family tradition in many rural areas. Each paper has its own character, like the personal signature of the individual papermaker, and is therefore difficult to duplicate from generation to generation. The natural fibers used in Japanese papermaking – kozo, gampi, and mitsumata, are extremely durable and strong. The papers are usually unsized as papermakers prefer to vary the fiber content to create different weights and levels of absorption. They are excellent for wood block printing, oriental watercolor painting and calligraphy, chine colle and rubbing craft. The variety of surfaces and colors also offer a wide range of possibilities for collage, and decorative and display purposes. Because of their strength and purity, many of the lighter weight sheets are extensively used for paper restoration.

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A R T PA P E R S - J a p a n

Properties of Fibers & Methods used in Japanese Papers Kozo - Kizukishi

Kozo is a variety of mulberry that grows wild in Japan. The word, kizukishi, means that a paper is made from 100% kozo. The kozo fiber is long and very tough, making it versatile for both thick and extremely thin sheets. Kizukishi sheets are remarkably strong and crisp, regardless of their weight. For example, Tengucho, made on a silk covered bamboo mould, is one of the thinnest papers, yet it is used extensively for repair and relining paintings. Variations in climate yield different characteristics in the kozo and, consequently, in the resulting sheets. Papers are often identified with a particular area because of the kozo that has been used to make it as well as for the reputation of its papermakers. Kozo grown in colder climates tends to yield sheets that are more resilliant and crisp, while kozo from warmer areas has more bulk and produces sheets with softness and greater absorbency. The natural tone of 100% kozo sheets results from the preparation of the fiber. The bark is made up of three layers: Kurokawa- the black outer layer, Nazekawathe green middle layer and Shirokawa - the white inner layer. In most cases the kurokawa is completely stripped off and the nazekawa is carefully scraped away with a knife. If a natural tone is desired, some of the nazekawa will be left behind before the kozo is dried. The dried bark is soaked and cooked in an alkali solution to soften the fibers and then rinsed and cleaned once again. For the whitest sheets possible, the pulp is bleached using natural processes such as sun or snow or chemically treated with sodium hypochlorite. A few papers have the addition of the black kurokawa which deepens the color and produces remarkable, rich tonalities.

Gampi

A bast fiber plant with long, thin, shiny fibers of uniform thickness. Although gampi grows wild in much of the Far East, it cannot be cultivated - making it difficult to harvest. In order to produce clear, even sheets, all preparation must be done by hand. This has resulted in a sharp decline in its use for paper making. Gampi yields a strong, crisp sheet that is translucent with almost no visible fibers. These papers have a very smooth surface with a satin-like sheen that becomes more apparent as the sheet becomes thinner.

Mitsumata

For centuries, mitsumata was the preferred material for calligraphy and gold-leaf papers. A bast fiber shrub which mostly grows in Western Japan and other Far Eastern countries, it is flexible and elastic and its fibers are of uniform thickness with blunt ends. It has a shorter fiber length than kozo or gampi which produces a more absorbent, softer sheet with a smooth, lustrous surface similar to gampi. Mitsumata in its natural tone has a distinctive pink cast.

Hemp

A strong bast fiber similar to linen, but with a tendency to split during the beating process, producing a harder, coarser paper with a scratchy surface. One of the oldest recorded fibers used for making paper.

Sulphite & Sulphite Blends

Sulphite is chemical wood-pulp obtained by cutting wood into small pieces and cooking it with calcium bisulphate or sodium sulphite to remove natural resins and break down the cellulose fibers. Sulphite has a short fiber length so Japanese papers with high percentages can be less strong than those of kozo, gampi or mitsumata. However, the sulphite increases bulk, softness and absorbency, - which are important qualities for a variety of techniques. Hosho - one of the sheets preferred by Ukiyo-e printers, usually contains high percentages of sulphite.

Dosa Sizing & Un-sized

Most Japanese papers are unsized, a few have internal or external sizing. The traditional sizing used is dosa - an animal based gelatine.

Handmade, Mould-made & Machine-made papers

Regardless of the fibers used or the addition of sizing, the method of formation also affects the resulting paper. Machine processes will produce sheets that are harder than those made by hand even if they have the exact same fiber content. Unlike Western fibers, much of the preparation of kozo, mitsumata and gampi must be done by hand and because the majority of Japanese art papers sheets are thinner than Western, the machines often run at slower speeds, allowing for even, consistent sheet formation.

Selecting Japanese Papers

It can be a daunting task to select Japanese papers when you can see and touch the actual sheets. To select from written descriptions requires that you take the time to look carefully for atributes that are important to your purpose. If size or weight is a major consideration, the lists on the next page may help to narrow your search. Those looking for large formats should also see the Roll Section of this catalog. If strength is also a factor, consider sheets with higher percentages of kozo, gampi or mitsumata.

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A R T PA P E R S - J a p a n papers in traditional scroll formats seen below

size paper

Mura Udaban

Jougami

Uda-Gami

Uwa Senka

Okawara

Mizota Udaban

Gampi Udaban

Uda-Gami

Japanese Papers Arranged by Size size paper

size paper

size paper

size paper

4 x 6 5 x 5½ 6 x 8 7 x 10 7 x 10 7½ x 7½ 7¼ x 18½ 8 x 11½ 8½ x 11 8½ x 11¾ 8½ x 8½ 9 x 12 9½ x 10½

9½ x 11½ Izumo Mingei 9½ x 11½ Shikishi 10 x 13 Taniai 10 x 13¾ Mohachi 10 x 14 Shojoshi 11 x 15 Kakishibu-Shi 11 x 15¼ Ogunigami 11¼ x 15 Oguni Chiri 11¾ x 16½ Gampi Tissue 12 x 16 Kikuchi 12 x 16 Okawara 12 x 16 Uwa Senka 12 x 24 Mizota Hanban

12½ x 18 Nara Fukinushi 12½ x 18 Shojoshi 12½ x 19½ Izumo 12½ x 57 Mizota Udaban 12½ x 58 Uda-Gami 12½ x 58 Uda-Gami Thin 13 x 15 Tamura Koban 13½ x 16 Kozo Koban 13½ x 16 Mura Rokubu 14 x 38 Okawara 14 x 38½ Uwa Senka Long 15½ x 17¾ Kozoshi 14 15½ x 19 Tosa Kasagami

16 x 20 16 x 22 16 x 25 16 x 56 16 x 56 16½ x 22 16½ x 22 16½ x 22½ 17 x 22 17 x 23 17 x 23½ 17½ x 22 17½ x 25½

Shojoshi Shikishi Mini Etchu Card Mura Binsen Yukyu Natural Kakishibu-Shi Jougami Mitsumata Letter Mohachi Shojoshi Mohachi Hanshi Shikishi Kochi

Kitakata Hosho Student Mohachi Gampi Udaban Mura Udaban Hosho Kozo Hosho Natural Gampi Bicchu Iyo Glazed Gampi Yamaguchi Dry Tear Tissue Gampi Yamaguchi Gasench

18 x 21½ Iwano Hosho 18 x 24 Gampi Yamaguchi 18 x 24 Silk Tissue 18 x 25 Okawara Student 19 x 24 Hosho Professional 20 x 25 Iwano #35 20 x 26 Kochi 20 x 26 Toyama 20 x 26 Kozoshi DHM13 20 x 30 Shikibu Gampis 20 x 31¾ Gampi PP19 20½ x 28 Sekishu-Hanshi 21 x 28½ Sekishu Gampi 21 x 29 Goyu 21 x 30½ Tengucho HM 21 x 31 Gampi Double-Sided 21 x 31 Izumo Mitsumata 21 x 31 Masa 21 x 31 Morisa 21 x 31 Torinoko HM 21½ x 31 Gifu 21½ x 38½ Mitsumata Pink 22 x 22 Mohachi 22 x 27½ Mitsumata Tissue 22 x 30 Gampi Torinoko 22 x 30 Kozo Gampi 22 x 30 Mohachi 22½ x 35¼ Hosokawa Ohban 23½ x 35 Rayon M0321 24 x 33½ Gampi Yuki 24 x 33½ Mulberry 24 x 35½ Shikibu 27 & 11 24 x 36 Hosho Professional 24 x 36 Hosokawa Student 24 x 36 Kizukishi 24 x 36 Nishinouchi N1 24 x 37 Sugikawashi 24 x 37 Lens Tissue 24 x 39 Kizuki Kozo 24 x 39 Sekishu 24.8 x 37 Gampi Unryu-shi 24½ x 39 Kaji Natural 24½ x 36 Zairai 24½ x 38½ Gampishi Usuyou 24½ x 38½ Kankoshi 24½ x 38½ Kozoshi HK 24½ x 38½ Shoji 24¾ x 35¼ Kozo Gampi 24¾ x 36½ Salago K 24¾ x 37 Akatosashi 24¾ x 37 Gampi F1 24¾ x 39 Inshu Kozo 003 24¾ x 39 Inshu Kozo 005 25 ¼ x 36¼ Hon Mino 25 x 33 Tosazome Purple 25 x 34½ Gifu 25 x 35 Harukaze SH4 25 x 36¼ Hon Mino 25 x 37 Gampi F2 25 x 37 Gampi Layered 25 x 37 Gampi Smooth #43

continued next page

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A R T PA P E R S - J a p a n Japanese papers arranged by size - continued from previous page size paper

size paper

size paper

size paper

size paper

25 x 37 Gampi Toyo 25 x 37 Gozen Sized 25 x 37 Inshu Kozo 016 25 x 37 Inshu Mitsumata 25 x 37 Kikura Kozo 25 x 37 Kozo Moriki 25 x 37 Kozuke White 25 x 37 Manila Hemp 25 x 37 Mitsumata / Salago 25 x 37 Mitsumata Fuji 25 x 37 Mitsumata Umeda 25 x 37 Rayon Gauze 25 x 37 Shikibu Gampi-shi 25 x 37 Shikibu Kizukishi 25 x 37 Tengucho CT

25 x 37 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38

25 x 38 Shigure SH15 25 x 38 Shikoku Gampi 25 x 38 Shiramine 25 x 38 Silk Tissue 25 x 38 Takefu 25 x 38 Tengucho 25 x 38 Tosa Kozo #8 25 x 38 Vegetable Papers 25 x 38 Walnut Kururu 25 x 38 Yame Kozo 25 x 38 Yuku-shi 25 x 38½ Honen Sized 25 x 38½ Inshu Gampi 01 25 x 38½ Sakamoto 25 x 38½ Senka-Shi

25 x 39 25½ x 38 25½ x 34½ 25½ x 38 25½ x 38½ 26 x 38 26 x 39 26½ x 38 27½ x 39 27½ x 53½ 28 x 53½ 28½ x 41 29 x 56 29½ x 40 29½ x 55

Kiraku Kozo Tosa Hanga Kozoshi Uwazen Kozo Misumi Hon-Mino Echizen Hanga Kawashi Inshu Rydudou Hosho Iyo Kihosen Kana Iwano #17 Nishinouchi Nishinouchi Seichoshi Seichosen

29½ x 55 Seiko-Sen 29½ x 56 Otoshi Medium 30 x 56 Daitoshi 31 x 43 Torinoko Brushstrok 31 x 47 Mohachi 36 x 72 Torinoko MM 38 x 74 Okawara MM 42½ x 77½ Iwano 60 x 84 Mashi Thick

gram paper 30 Sekishu 30 Senka-Shi HM35 30 Tamura Koban 30 Walnut Kururu Kozo 31 Gampi HM 5 31 Kozoshi M0207-2 32 Gampi Smooth #43 32 Seichosen 32 Seiko-Sen 33 Inshu Rydudou 33 Mizota Hanban 33 Otoshi Medium 35 Gasenchi Echizen 35 Honen Sized 35 Inshu Kozo 016 35 Izumo Mingei 35 Kiraku Kozo 35 Kozoshi HK0023 35 Mura Rokubu 36 Gampi Yamaguchi 36 Kozoshi MM2 36 Ogunigami 36 Zairai 38 Harukaze SH4 38 Senka-Shi HM36 39 Hosokawa Student 39 Yukyu Natural 40 Gozen Sized 40 Hosokawa Ohban 40 Iwano #19 #5 40 Kozo Moriki 40 Mingei-shi Colors 40 Vegetable Papers 40 Yatsuo 41 Yuku-shi Snow Bleached 43 Kizuki Kozo 44 Kikura Kozo 44 Kozoshi M0202

gram paper 44 Kozuke White 44 Senka-Shi HM37 45 Daitoshi Extra-Thick 45 Echizen Hanga Dosa 45 Gampi Yuki 45 Gifu 21 45 Iwano Shikoshi Colors 45 Kakishibu-Shi Kozo 45 Mingei-shi Natural 45 Mulberry 45 Nishinouchi N0001 45 Shoji 46 Okawara Student 46 Tosa Kasagami 49 Seichoshi-Homare 49 Uda-Gami HM41 50 Gampi F1 50 Gampi Layered 50 Gampi Udaban 50 Goyu 50 Iwano #17 50 Katazome Genshi 50 Rayon M0321 50 Tosa Kozo #8 55 Inshu Rydudou5 55 Kozo Koban 55 Kozoshi HK0027 55 Uwa Senka 56 Kozoshi M0206 M0207 60 Gifu Mino Colors 60 Iwano #30 60 Nishinouchi N0003 60 Oguni Chiri 60 Okawara MM 60 Torinoko Brushstrokes 60 Toyama 64 Mura Udaban 65 Hosho Iyo

gram paper 65 Salago K 70 Izumo Mitsumata 70 Kawashi 70 Masa 70 Morisa 75 Gampi Double-Sided 79 Kozoshi Uwazen 80 Kozoshi M0207-3 80 Sakamoto 80 Sugikawashi 83 Kankoshi HK0062 85 Hosho 85 Iwano #24 #34 #32 #33 85 Iyo Glazed 90 Gampi Unryu-shi #1 90 Tosa Hanga 95 Hosho Student Grade 100 Gampi Torinoko 100 Kikuchi 100 Takefu 109 Kochi 110 Mashi 110 Sakamoto Heavy 110 Shiramine 116 Kozoshi Misumi 1 118 Kozo Gampi 120 Shikoku Gampi 125 Torinoko Handmade 132 Kozoshi Kochi-Shi 176 Kozo Gampi 185 Mohachi Handmade 194 Kozoshi DHM14 200 Iwano #35 200 Shojoshi 240 Torinoko MMN 300 Etchu Card 300 Mohachi Handmade 300 Shikishi 500 Mohachi Handmade

Yatsuo Gampi C Gampi HM 5 Gampi MM Gifu Kakishibu-Shi Katazome Genshi Kihada Kozo Dyed Kozoshi HM Kozoshi MM Mingei-shi Mino-Gami HM3 Misu with Clay Mulberry Sansui SH8

Japanese Papers Arranged by Gram Weight gram paper 5 Tengucho Thin 9 Lens Tissue 9 Tengucho CT 9 Tengucho 10 Gampishi Usuyou 10 Silk Tissue 11 Hon Mino HP04 11 Tengucho Handmade) 12 Dry Tear Tissue 12 Gampi Tissue A3 13 Gampi C - HM33 13 Shikibu Gampi-shi 13 Yuku-shi Snow 14 Kizukishi 14 Kochi Natural 15 Gampi Bicchu 15 Gampi MM 18 &19 15 Hon Mino HP02 16 Manila Hempe 16 Yame Kozo Hadakura 16 Yuku-shi 17 Inshu Kozo 003 17 Sekishu Gampi HP60 18 Shikibu Kozo Dyed 19 Hon Mino HP05 20 Dry Tear Tissue 20 Gampi F2 20 Gampi MM20 20 Gifu 14 Moon Peach 20 Gifu 18 Washi Sized 20 Gifu Green Tea 20 Hanshi 20 Inshu Gampi 01 20 Inshu Kozo 005 20 Inshu Mitsumata 20 Izumo Mitsumata-shi 20 Misu with Clay 20 Mitsumata Letter

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gram paper 20 Mitsumata Tissue 20 Shikibu Mitsumata 21 Gampi Yamaguchi 21 Kikura Kozo 21 Kozoshi HM2 21 Sekishu-Hanshi 22 Kozoshi M0203 22 Taniai 24 Gampi Toyo MM24 24 Kaji Natural 24 Kozoshi MM1 24 Mino-Gami HM3 24 Mitsumata & Salago 24 Mitsumata Fuji 24 Mitsumata Umeda 24 Mura Binsen 24 Sansui SH8 25 Akatosashi 25 Gifu 08 25 Nara Fukinushi 25 Nishinouchi N0004 25 Rayon Gauze 25 Shigure SH15 26 Shikibu Gampi-shi 26 Shikibu Kozo-shi 27 26 Uda-Gami Thin 27 Yuku-shi Snow Bleached 28 Gampi Yamaguchi 28 Kihosen Kana Writing 29 Mitsumata Pink & Grey 30 Gampi Yamaguchi 30 Gifu 02 30 Hon-Mino HP01 30 Jougami 30 Kihada Kozo Dyed 30 Kitakata 30 Kozoshi HK0022 30 Nishinouchi N0002

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A R T PA P E R S - J a p a n

40 grams

5 grams

35 grams

10 grams

30 grams

15 grams

25 grams

20 grams

Incremental weights of Japanese papers scanned on decorative and black background to illustrate relative translucency

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A R T PA P E R S - J a p a n

80 grams

45 grams

75 grams

50 grams

70 grams

55 grams

65 grams

60 grams

Incremental weights of Japanese papers scanned on decorative and black background to illustrate relative translucency

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AR A RT T PP A A PP E E RRSS -- JJaappaann

Note: sheets were scanned on black and white background to show translucency

Japan Akatosashi

Handmade of 70% Thai kozo harvested at a specific time to create this deep natural sheet. Made in the Kochi Prefecture. Neutral pH. 4 Deckles.

Japan Daitoshi Extra-Thick

Handmade. Kozo mix. Made by Yasushi Ozaki in the Kochi Prefecture. 4 Deckles. Neutral pH.White. As is traditional in Japan, Daitoshi arrives from Japan lightly folded into a bolt.

Japan Dry Tear Hinging Tissue

Machine-made. Japanese Kozo. Archival paper with assorted sizes of tear lines to use for hinging and repair. No Deckles. The hinging tissue can also be used for more decorative effects in chine colle and collage.

Japan Echizen Hanga Dosa

Handmade. Kozo and wood pulp. Dosa sized to reduce bleeding. 4 Deckles. Neutral pH. Natural.

This is a sturdy and beautiful sheet. The dosa sizing allows this paper to work for more Western techniques and digital prints.

Japan Etchu Card

Handmade. 100% kozo. Small, heavy-weight card has distinctive laid lines from the papermaking screen. Neutral pH. 4 deckles. White . Akatosashi

Daitoshi Extra-Thick

Echizen Hanga Dosa

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Dry Tear Hinging Tissue 12 gram

Dry Tear Hinging Tissue 20 gram

Etchu Card No returns or exchanges are allowed

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A R T PA P E R S - J a p a n

Note: sheets were scanned on black and white background to show translucency

Japan Gampi Bicchu Torinoko Handmade

Handmade. 100% gampi and hand-dyed with natural, vegetable dyes. These stunning, small sheets are remarkable for their beautiful tones and lustrous surface. Dried on antique wooden planks, their surface is embossed with a subtle "ghost" of the woodgrain. Neutral pH. 4 Deckles.

Gampi Bicchu 71 Natural

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Gampi Bicchu 8 Pinkl

Gampi Bicchu 6 Rose

Gampi Bicchu 9 Plum

Gampi Bicchu 12 Beige

Gampi Bicchu 10 Carnelian

Gampi Bicchu 5 Grey

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A R T PA P E R S - J a p a n

Note: sheets were scanned on black and white background to show translucency

Gampi Bicchu 4 Walnut

Gampi Bicchu 2 Dark Tan

Gampi Bicchu 13 Deep Ochre

Gampi Bicchu 3 Umber

Gampi Bicchu 1 Tan

Gampi Bicchu 14 Light Ochre

Japan Gampi MM18 Natural & MM19 White - Hiromi Collection Japan Gampi MM20 Natural & White Machine- made of 100% Japanese gampi. Extra fine quality. Neutral pH. 2 Deckles, 2 cut edges.

Japan Gampi Double-Sided

Two sheets of machine-made, 100% Philippine gampi laminated together. Neutral pH. No deckles.

Japan Gampi F1 & F2

Machine-made. 100% gampi. Neutral pH. 2 Deckles. Natural. Gampi MM18 Natural

Gampi MM19 White

Gampi MM20 White

Gampi MM20 Natural

Gampi Double Sided

Gampi F2

Gampi F1

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A R T PA P E R S - J a p a n

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Gampi-C HM33

Gampi HM5

Japan Gampi-C HM33 Natural - Hiromi Collection Handmade. 100% Gampi. Neutral pH. 4 Deckles.

Japan Gampi HM5 Off-White - Hiromi Collection

Handmade. 90% Gampi, 10% Kozo. Neutral pH. 4 Deckles. Off-white.

Japan Gampi Layered

Machine-made. 100% gampi tissue mounted onto sulphite base. Neutral pH. 2 Deckles. White

Japan Gampi Smooth 43

Machinemade. Gampi with flecks of bark. Neutral pH. No Deckles.

Japan Gampi Tissue A3 Gampi Layered

Handmade of 100% Japanese gampi. Small, A3 format sheets. Neutral pH. 4 deckles. Natural.

Japan Gampi Torinoko White & Natural

Handmade of 100% Philippine gampi. A recreation of paper made by the late Masao Seki by Kensho Ishimoto of the Kochi Prefecture. Opaque sheets dried between metal plates to create a smooth, shimmering surface. 4 Deckles. Neutral pH.

Gampi 43

Gampi A3

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A R T PA P E R S - J a p a n

Note: sheets were scanned on black and white background to show translucency

Japan Gampi Toyo Natural MM24

Machine-made. 95% Philippine gampi 5% straw. Neutral pH. 2 Deckles. Natural.

Japan Gampi Udaban

Handmade. 100% gampi. Smooth with a pronounced laid pattern in a scroll format. Neutral pH. 4 Deckles.

Japan Gampishi Usuyou - Machinemade of 100% Gampi. 2 Deckles. Neutral pH. Japan Gampi Unryu-shi #1

Machinemade. Smooth, lustrous natural background with inclusions of gampi bark. 2 Deckles.

Japan Gampi Yamaguchi

Handmade from 100% Japanese gampi. Conservation quality, lustrous surface. Neutral pH. 4 deckles.

Japan Gampi Yuki

Handmade from 100% Philippine gampi. Neutral pH. 4 deckles. Gampi Toyo MM24

Gampi Udaban

Gampi Usuyou Natural

Gampi Usuyou Milk Whit

Gampi Yamaguchi 21 gram

Gampi Yamaguchi 28 gram

Gampi Unryu-shi #1

Gampi Yamaguchi 30 gram

Gampi Yamaguchi 36 gram

Gampi Yuki

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A R T PA P E R S - J a p a n

Gifu 02 Kozo Natural

Gifu Green Tea Light Tone

Note: sheets were scanned on black and white background to show translucency

Gifu 08 Kozo White

Gifu Green Tea Deep Tone

Gifu 18 Washi Sized

Gifu 14 Moon Peach Medium

Gifu 21 Moon Peach Heavy

Japan Gifu Machine-mades

Machine-made in the Mino Prefecture, these economical sheets are internally sized making them useful for many techniques including ink jet and laser printing. All are blends of kozo and sulphite and are double sided - with one smooth and one lightly textured. Neutral pH. No deckles.

Gifu Mino 300 - Pure White

Gifu Mino 24 - Taupe

Gifu Mino 30 - Clay

Gifu Mino 326 - Wild Grape

Gifu Mino 23 - Silver Grey

Gifu Mino - 27 Curry

Gifu Mino - 302 Fire

Gifu Mino 25 - Lavender

Gifu Mino 301 - Teal

Gifu Mino 29 - Mountain Apple

Gifu Mino 28 - Roasted Tea

Gifu Mino 26 - Plum

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A R T PA P E R S - J a p a n

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Japan Gasenchi Echizen

Handmade from mitsumata and sulphite. Neutral pH. Laid tissue weight. No deckles. White.

Japan Goyu

Handmadeof kozo and sulphite pulp. Neutral pH. Soft surface. 4 deckles.

Japan Gozen Sized

Handmade from 100% Japanese kozo. Internal sizing allows for absorbency without excessive bleeding. Neutral pH. 4 deckles.

Japan Hanshi

Machinemade from sulphite. Lightweight, student grade sumie paper. Cut edges. 100 sheet packages.

Japan Harukaze SH4 - Hiromi Collection

Mould- made of 20% Bleached Kozo, 80% Sulphite. Neutral pH. 2 Deckles, 2 torn edges.

Japan Hiryu SH12 - Hiromi Collection

Mould-made of bleached kozo, black kozo, sulphite and recycled paper. Neutral pH. 2 Deckles, 2 torn edges.

Japan Honen Sized

Machine-made from Kozo and sulphite. Neutral pH. Sized, smooth surface. 2 deckles.

Honen was a favorite at Aiko's in Chicago. Gasenchi Echizen

Goyu

Gozen Sized

Hanshi

Harukaze SH4

Hiryu SH12

Honen Sized

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Paper is fragile !

No returns or exchanges are allowed

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A R T PA P E R S - J a p a n

Hon Mino HP01 - 30 gram

Hon Mino HP02 - Uso 15 gram

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Hon Mino HP04 - Thin 11 gram

Hon Mino HP05 - Chochin 19 gram

Japan Hon-Mino-Gami - Hiromi Collection HP01-5

Mino-Gami papers have been highly praised since the year 702 when their quality won them the honor of being used for official documents. In 1969, the techniques of Hon-Mino-Gami were designated as Important Cultural Properties and five members of this community were selected as National Living Treasures of Japan. The papers listed below are made by students of these five papermaking masters, including Mr. and Mrs. Furuta - who continued to make these grades well into their 80's. They are of 100% Nasu Kozo which is grown in the Ibaragi Prefecture and has a shorter fiber than other kozo. This kozo gives these sheets their special texture and warmth. Sheets are formed in the winter months only as the cool temperatures result in a much finer, crisper sheet. New York Central and Hiromi International are honored to be exclusive distributors of these rare, beautiful papers in the United States. All are off-white and have 4 Deckles. Neutral pH. Traditional names have been given to each grade, however, the only difference is the weight of the paper. Color can vary from the specific batch of kozo harvested.

Mino Gami is one of three groups of papers designated as an Important Intangible Cultural Treasure by the Japanese Government.

Japan Hon Misu-Gami Handmade in the Nara Prefecture, Hon Misu-Gami was chosen as a "selected traditional technique" by the Japanese Ministry of Culture in 1977. These sheets are made by Ryoji Uekubo - the only remaining paper maker who follows the traditions that have been in his family for generations. Misu-gami is made of 100% Tosa kozo with the addition of gofun - ground seashell - which helps to reduce expansion and shrinkage when wet. The sheets are also dried using an unusual method called subuse where the wet sheets are placed directly from the Su (bamboo screen) onto the drying board instead of the regular process of stacking the wet sheets and pressing overnight. The subuse method creates finished papers that are much softer. These soft and dimensionally more stable sheets are especially good for prints with multiple registration and for mounting - such as scroll backing.

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A R T PA P E R S - J a p a n

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HOSHO

Hosho translates as "document paper" which reflects the tradition of its use. Originally made during the 14th century of 100% kozo, hosho was considered a luxury item reserved for the aristocracy. Over the years, many varieties of hosho have been made, adding sulphite pulp for softness and absorbency. Hosho was the preferred paper for Ukiyo-e printmaking.

Japan Hosho Professional Handmade of sulphite. Neutral pH. One side smooth, one cold pressed. 4 Deckles. White.

Japan Hosho Kozo - Handmade of 100% Japanese kozo. Neutral pH. Unsized. 4 deckles. Japan Hosho Natural - Handmade of sulphite pulp. Neutral pH. Soft white. 4 Deckles. Japan Hosho Student Grade - Handmade of sulphite, scratchy surface. Neutral pH. 2 Deckles. Hosho Professional

Japan Hosho Iyo - Handmade from kozo and sulphite. Neutral pH. 4 deckles. Japan Hosokawa Ohban

Handmade from 100% Hosokawa kozo. Neutral pH. Smooth surface. 4 deckles. Dark natural with fine visible fibers and flecks. 4 deckles.

Hosokawa is known for its kozo. This sheet is remarkably strong! It also has a beautiful sheet formation, with fine lustrous fibers. Hosokawa washi is one of three groups of papers designated as an Important Intangible Cultural Treasure by the Japanese Government.

Japan Hosokawa Student

Handmade in the Hosokawa Prefecture of 70% Thai kozo & 20% sulphite. Neutral pH. 4 deckles.

Hosho Kozo

Hosho Natural

Hosokawa Ohban

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Hosho Student

Hosho Iyo

Hosokawa Student No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


A R T PA P E R S - J a p a n

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Inshu Gampi 01

Inshu Kozo 016

Inshu Kozo 003

Inshu Kozo 005

Inshu Mitsumata White

Inshu Mitsumata Natural

Inshu Rydudou 33 gram

Inshu Rydudou 55 gram

Inshu Prefecture

Known primarily for industrial papers, the Inshu Prefecture also has papermakers with exceptional skills using the finest quality materials.

Japan Inshu Gampi 01

Handmade of 100% Japanese gampi. The papermaker imploys few modern techniques and prepares his gampi using a handmade mallet. Thin, sheer tissue. Neutral pH. 4 Deckles. Natural.

Japan Inshu Japan Inshu Japan Inshu Japan Inshu

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Kozo 003 & 005 - Handmade of 100% Japanese kozo. Conservation quality with an almost lustrous surface. Neutral pH. 4 Deckles. Kozo 016 - Machine-made. Smooth finish with excellent sheet formation. Neutral pH. 2 Deckles. Off-White. Mitsumata Natural & White - Handmade. 100% Mitsumata. Smooth, crisp tissue. Neutral pH. 4 Deckles. White and Natural. Rydudou Kozo - Mould-made of 100% Thai kozo. Conservation quality with an almost lustrous surface. Neutral pH. 4 Deckles.

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


A R T PA P E R S - J a p a n ART PAPERS - Japan

Iwano Handmades

National Living Treasure Mr. Heizburo Iwano is known throughout Japan as one of the last papermakers to specialize in thick, large scale sheets for printing, calligraphy and conservation. Of the few papermakers who have supplied us with large format sheets in the past, some have now died, while others are too old to continue to make them. Iwano Handmades are exceptional not only in their scale, but in their quality and consistency -attributes that result from generations of papermaking skills that have been handed down within the Iwano family. Truly some of the finest papers available in the world today! All sheets are neutral pH and have 4 natural deckles.

Japan Iwano Handmades Akamashi Natural - Made of kozo and hemp. Natural tonality in a scratchy, absorbent sheet. Japan Iwano Handmades Echizen Gasen Nisoh

Made of wood pulp and kozo. The sheets are made by layering thin sheets together to create a thicker, more opaque sheet that is highly absorbent. For sumi-e painting and block printing.

Japan Iwano Handmades Echizen Kizuki Hosho

This paper is known throughout Japan as the finest Hosho paper available today that rivals those used by Ukiyo-e printers. Most Hosho sheets are made of wood pulp while this is made of the finest, 100% Japanese kozo. Off-white.

Japan Iwano Handmades Hanga-shi Gampi - Gampi and wood pulp. Opaque with a smooth surface and slight luster. White. Japan Iwano Handmades Hanga-shi Kozo - Kozo and wood pulp. Heavyweight, smooth surface. White and Natural. Japan Iwano Handmades Hanga-shi Mitsumata

100% Mitsumata. Luxurious, mottled sheet with a satin smooth surface. The mitsumata fiber imparts a very faint sheen. Remarkably beautiful!

Japan Iwano Handmades Kumo Hadamashi - 100% Kozo with dosa sizing. Prized thoughout Japan as one of the finest printmaking papers.. Japan Iwano Handmades Shikoshi Colors - Dyed sheets made of kozo and gampi. The papers have a subtle sheen and deep rich tonalities. Japan Iwano Handmades Shiromashi Dosa - 100% hemp with dosa sizing. These sheets have a wonderful, scratchy surface. Natural tone.

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A R T PA P E R S - J a p a n

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Iwano 17 - Echizen Gasen Nisoh

Iwano 19 - Asamashi Natural

Iwano 24 - Kumo Hadamashi

Iwano 35 - Hanga-shi Mitsumata

Iwano 34 - Hanga-shi Gampi

Iwano 30 - Echizen Kizuki Hosho

Iwano 5 - Shiromashi Dosa

Iwano 33 - Hanga-shi Kozo Natural

Iwano 32 - Hanga-shi Kozo White

Iwano 12 - Shikoshi Indigo

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Iwano 15 - Shikoshi Brown Black

Iwano 13 - Shikoshi Purple

No returns or exchanges are allowed

Iwano 14 - Shikoshi Vermillion

order: 800-950-6111 or: 212-473-7705.


A R T PA P E R S - J a p a n

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Izumo Mingei Mitsumata-shi

Following family traditions, these beautiful sheets are handmade of 100% mitsumata by the grandsons of the late Mr. Eishiro Abe - the very first papermaker to be designated as a National Living Treasure by the Japanese Government. Mitsumata yields a sheet that has a smooth, lustrous quality similar to gampi, but with a warmer, softer touch. The web of fine fibers absorbs the colorants with a slight irregularity, giving the sheets especially rich, shimmering tonalities. 4 Deckles. Neutral pH.

Izumo Mitsumata Thin 20 gram

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Izumo Mitsumata Thick Natural 70 gram No returns or exchanges are allowed

Izumo Mitsumata Thick White 70 gram order: 800-950-6111 or: 212-473-7705.


A R T PA P E R S - J a p a n

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Japan - ART PAPERS

Izumo Mitsumata 9 - White (35 gram)

Izumo Mitsumata 124 - Natural

Izumo Mitsumata 160 - Amber

Izumo Mitsumata 121 - Dark Blue

Izumo Mitsumata 177 - Raw Umber

Izumo Mitsumata 195 - Pale Pink

Izumo Mitsumata 123 - Silver Grey

Izumo Mitsumata 199 - Blue Grey

Izumo Mitsumata 131 - Pale Rose Grey

Izumo Mitsumata 132 - Burgundy

Izumo Mitsumata 116 - Lilac

Izumo Mitsumata 151 - Rose

Izumo Mitsumata 163 - Black

Izumo Mitsumata 36 - Brick

Izumo Mitsumata 122 - Red

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Paper is fragile !

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A RT T PP A A PP E E RRSS -- JJaappaann AR

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Japan Iyo Glazed

Handmade from 100% sulphite. Rough one side, smooth one side. Dried on metal panels, the smooth side has a slightly harder surface that acts as a type of sizing. 4 deckles.

Japan Jougami - Handmade of 70% kozo 30% sulphite. Small sheets. Neutral pH. 4 deckles. Japan Kaji Natural - Handmade from 100% kozo. Neutral pH. 4 deckles. Japan Kakishibu-Shi Kozo

Handmade of 70% Kozo, 30% sulphite. Colored with fermented persimmon juice to a rich mahogany brown that darkens with age. Persimmon acts as a natural bug repellent and reduces the absorbency of the sheet. 4 Deckles.

Iyo Glazed

Japan Kankoshi - Handmade of kozo and sulphite. Scratchy surface. Neutral pH. 4 Deckles. Japan Katazome Genshi

Mould-made of Chinese kozo and abaca. Often used for katazome stencil techniques. Neutral pH. 4 Deckles.

Japan Kawashi

Machine-made of 70% sulphite, Thai kozo and abaca. Thin and crisp, this uncoated paper paper works well with digital printers. Neutral pH. Natural.

Japan Kihada Kozo Dyed

Jougami

Made in the Toyama Prefecture of kozo & kozo black bark and hand-dyed with kihada - a natural vegetable dye that produces an unusual dull mustard color. Because kihada is a natural insect repellant, this paper was traditionally used for sacred and valuable texts. Yellow.

Japan Kihosen Kana Writing

Handmade from a mixture of kozo and sulphite. Chinese style sumi-e painting paper made in Japan using Japanese fibers. These "gasenchi" papers with their distinctive, tightly laid surface are becoming exceptionally rare. Large, lightly folded sheets. No deckles.

Japan Kikuchi - Handmade from kozo & sulphite. Neutral pH. A heavyweight version of Okawara. Kaji Natural

Kankoshi

Kihada Kozo Dyed

Katazome Genshi

Kikuchi

Kawashi

Kihosen Kana Writing

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Paper is fragile !

No returns or exchanges are allowed

Kakishibu-Shi order: 800-950-6111 or: 212-473-7705.


A R T PA P E R S - J a p a n

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Kikura Kozo 21 gram

Kikura Kozo 44 gram

Kiraku Kozo

Kitakata Machine-made

Kitakata Handmade Natural

Kitakata Handmade Greenish

Japan Kikura Kozo Machine-made of kozo & sulphite. Neutral pH. Strong with cloudy sheet formation. No deckles.

Japan Kiraku Kozo Handmade of kozo. Neutral pH. Strong sheet with an even sheet formation. Neutral pH. 4 deckles.

Japan Kitakata Handmade

Handmade from 90% Philippine gampi and sulphite. Neutral pH. Smooth opaque surface. 4 deckles. Natural or Greenish-buff.

A favorite for many years, Kitakata's smooth surface and gampi content make it responsive for printing, painting and digital work.

Japan Kitakata Machine-made

90% Philippine gampi and sulphite. Neutral pH. Smooth surface. 2 deckles.

Sheets of the same grade available in rolls. The gampi content and smooth surface make this excellent for a range of techniques - including printing, digital and drawing.

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No returns or exchanges are allowed

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A R T PA P E R S - J a p a n

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Kizuki White

Kitzuki Natural

Kizukishi

Kozo Koban Natural

Kochi White

Kozo Gampi Torinokoshi

Kochi Natural

Japan Kizuki Kozo

Handmade from 100% Thai kozo fiber. Smooth, fine surface with an even sheet formation. One of the whitest sheets available that uses no chemical whiteners. Neutral pH. 4 deckles. Natural & White

Japan Kizukishi - Handmade from 100% Japanese kozo. Neutral pH. Conservation grade. Very strong tissue weight. 4 deckles. Off-white. Japan Kochi - Handmade from kozo and sulphite pulp. Neutral pH. 4 deckles. White and Natural. Japan Kozo Gampi Torinokoshi Handmade of kozo and gampi. Smooth surface of satin-like, lustrous fibers. Off-white. 4 Deckles.

These rare, beautiful, heavyweight sheets have a shimmering, mottled "mother of pearl" surface.

Japan Kozo Koban Natural - Handmade of 100% kozo. Small sheets with substance and weight. Neutral pH. 4 deckles.

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A R T PA P E R S - J a p a n

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Kozo Moriki Natural White

Kozo Moriki Pale Yellow

Kozo Moriki Kincha Ochre

Kozo Moriki Kochega Walnut

Kozo Moriki Avocado

Kozo Moriki Orange

Kozo Moriki Purple

Kozo Moriki Sea Green

Kozo Moriki Hot Orange

Kozo Moriki Kochega Wisteria

Kozo Moriki Forest Green

Kozo Moriki Burnt Orange

Kozo Moriki Fuchsia

Kozo Moriki Red

Kozo Moriki Blood Orange

Japan Kozo Moriki

Handmade of kozo and sulphite. Neutral pH. Strong somewhat crisp surface. 4 deckles. Beautiful colors dyed in the style of the Moriki Family.

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A R T PA P E R S - J a p a n

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Kozo-shi HM2

Kozo-shi Uwazen DHM9

Kozo-shi Misumi DHM11

Kozo-shi HK22

Kozo-shi DHM14

Kozo-shi Kochi-shi DHM13

Kozo-shi HK23 White

Kozo-shi HK23 Natural

Kozo-shi HK27

Kozo-shi Handmades Japan Kozo-shi HM2 White- 100% Thai Kozo. A very clear, even lightweight sheet. Neutral pH. 4 Deckles. Japan Kozo-shi Uwazen Natural DHM9 40% Kozo, 60% sulphite. Thick with strong dosa sizing. Excellent for printmaking and Western techniques.

Japan Japan Japan Japan

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Kozo-shi Misumi DHM11 - Natural. 30% Kozo, 70% sulphite. Heavyweight, dosa sized sheet. Kozo-shi Kochi-Shi DHM13 - Natural. 30% Kozo, 70% sulphite. Thick with strong dosa sizing.. Kozo-shi DHM14 Natural - 30% Kozo, 70% sulphite. Thick with strong dosa sizing.. Neutral pH. 4 Deckles. Kozo-shi HK Series - Handmade of kozo & sulphite. Crisp sheets in various weights and tones. Neutral pH. 4 Deckles.

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


A R T PA P E R S - J a p a n

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Kozo-shi MM1 Natural

Kozo-shi MM2 White

Kozo-shi M0207

Kozo-shi M0203

Kozo-shi M0202

Kozo-shi M0207-2

Kozo Thick White

Kozo Thick Natural

Kozo-shi M0207-3

Kozo-shi M0206

Kozuke White

Kozuke Ivory

Kozo-shi Machine-mades Japan Kozo-shi MM1 Natural - 30% Kozo, 70% Sulphite Thin and strong. Neutral pH. 2 Deckles. Japan Kozo-shi MM2 White - 70% Bleached Kozo, 30% Sulphite. . Neutral pH. 2 Deckles. Japan Kozo-shi M0200 Series -Kozo mix. Crisp sheets in various weights and tones. Neutral pH. 2 Deckles. Japan Kozo Thick White & Natural - 90% Kozo, 10% Sulphite Thick and strong with internal sizing . Neutral pH. 2 Deckles. Japan Kozuke White & Ivory

Machine-made of 70% kozo. Fine, even sheet formation internally sized for strength & durability. Neutral pH. 4 deckles.

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ART PAPERS - Japan

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Japan Lens Tissue Manilla Hemp - Machinemade of Manilla hemp. Neutral pH. No deckles. Japan Lens Tissue Rayon - Machinemade of 100% rayon. Neutral pH. No deckles. Japan Manila Hemp Natural & Ice Blue Machinemade of 100% Manila hemp. Neutral pH. Crisp sheet with a satin-like sheen. No deckles.

Japan Masa - Machinemade of sulphite. Neutral pH. One side smooth, one textured. No deckles. Japan Mashi Thick Handmade

Handmade by Kanetoshi Ozaki in the Kochi Prefecture of 50% kozo & 50% hemp. The addition of the hemp fibers gives these sheets their strength, color and scratchy surface. The Dosa sizing adds additional surface resiliency. Natural off-white tone. 2 Deckles. Neutral pH. Lens Tissue Manila Hemp

Lens Tissue Rayon

Manila Hemp Natural

Manila Hemp Ice Blue

Masa Cool White (smooth side shown above)

Masa Soft White (rough side shown above)

Mashi Thick

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Mashi Thick which is available sized with dosa or without, has a wonderful, rough surface. Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


A R T PA P E R S - J a p a n

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Japan Mingei-shi Natural SH35

Mould-made of 40% Kozo, 60% Sulphite. Mingei-Shi translates as"folk craft paper." Traditionally used for making dolls and toys and printing into decorative sheets. 2 Deckles. 2 torn edges. Neutral pH.

Japan Mingei-shi Colors

Handmade from a blend of kozo and sulphite. Neutral pH. Dyed sheets. 2 Deckles. 2 torn edges. Mingei-shi Natural SH35

Mingei-shi Grey Green

Mingei-shi Beige

Mingei-shi Lemon

Mingei-shi Spring Green

Mingei-shi Pale Umber

Mingei-shi Lavender

Mingei-shi Magenta

Mingei-shi Red Orange

Mino-Gami HM3

Misu with Clay Pigment

Japan Mino-Gami HM3 - Off-white Mino tissue. Thin yet strong, this paper is ideal for conservation, mounting and repair. 100% Nasu Kozo. Neutral pH. 4 Deckles.

Mino Gami is one of three groups of papers designated as an Important Intangible Cultural Treasure by the Japanese Government.

Japan Misu with Clay Pigment HP55

Handmade from 100% kozo. Neutral pH. Distinctive, laid surface from the unusual sou made of split bamboo. 4 deckles. Natural.

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A R T PA P E R S - J a p a n

Mitsumata Fuji

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Mitsumata Letter Size

Mitsumata Umeda

Japan Mitsumata Fuji - Handmade from 100% Chinese mitsumata. Neutral pH. 4 deckles. Japan Mitsumata Letter - Handmade from 100% mitsumata. Neutral pH. 4 deckles.. Japan Mitsumata Umeda- Handmade from 100% Japanese mitsumata in Echizen Prefecture by

master paper maker Mr. Umeda. Neutral pH. 4 deckles..

Japan Mitsumata & Salago - Machine-made from mitsumata and Philippine gampi (salago). Neutral pH. 4 deckles.

Japan Mitsumata Tissue - Handmade from 100% mitsumata. Neutral pH. 4 deckles. Japan Mitsumata Pink & Grey - Handmade from 100% mitsumata. Neutral pH. 4 deckles. Thin and crisp with magnificent markings from the wooden drying planks.

Japan Mizota Hanban & Mizota Udaban - Handmade of 100% kozo. Hanban and Mitsumata & Salago

Udaban refers to the traditional sheet sizes. Neutral pH. 4 Deckles..

Mitsumata Tissue

Mizota Hanban & Udaban

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Mitsumata Pink No returns or exchanges are allowed

Mitsumata Grey order: 800-950-6111 or: 212-473-7705.


A R T PA P E R S - J a p a n

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Mohachi Handmade

Developed by master papermaker Mohachi Oki, these exceptionally heavyweight sheets are made of hemp, cotton and sulphite. They are also internally sized to give remarkable strength and allow them to perform not only for traditional Japanese, but Western printmaking techniques as well. White with a soft, smooth surface. 4 Deckles. Neutral pH.

Morisa MM26 Haijiro

Morissa MM25 Azabu

Morisa MM23 Shirakabe

Japan Morisa

Machinemade of kozo and sulphite. Neutral pH. One side smooth, one textured. No deckles. Mohachi

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Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Japan

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Japan Mulberry

Handmade of kozo and sulphite. 4 deckles. Neutral pH. White.

One of the first Japanese papers widely distributed in the U.S., our version is closely matched to the original. Soft, strong and versatile .

Japan Mura Rokubu - Handmade of 100% kozo. Off-white with a lightly sratchy surface.

Neutral pH. 4 Deckles.

Japan Mura Udaban

Handmade of 100% kozo. Scroll format. Dried on wooden boards, these distinctive sheets have subtle embossed markings form the boards and a beautiful, deep natural tone. Neutral pH. 4 Deckles. Mulberry

Mura Rokubu

Nara Fukinushi Natural Dyed Uda

Handmade of 100% kozo grown in the Nara Prefecture and made and dyed by National Living Treasure Mr. Hiroyuki Fukinushi. The sheets are colored by soaking the sheets for a full day in traditional, fade resistant, natural dyes. The resulting color depends on the growing season, humidity, temperature and therefore will vary from batch to batch and sometimes from sheet to sheet. 4 Deckles. Neutral pH. Mura Udaban

Nara Fukinishi Dyed Indigo

Nara Fukinishi Dyed Akebi

Nara Fukinishi Dyed Sakaki

Nara Fukinishi Dyed Mimosa

Nara Fukinishi Dyed Mugwort

Nara Fukinishi Dyed Cherry

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Paper is fragile !

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A R T PA P E R S - J a p a n

Nishinouchi 1 Natural

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Nishinouchi 2 White Single Thick

Nishinouchi 3 White Double Thick

Nishinouchi 4

Nishinouchi

Handmade of Hosokawa kozo which is considered some of the finest grown in Japan. Exceptionally strong and beautiful. 4 Deckles. The udaban sheets are available in one weight (1 sou) and in a double weight where two sheets are couched together (2 sou.)

Hosokawa washi is one of three groups of papers designated as an Important Intangible Cultural Treasure by the Japanese Government.

Natsume 4002 Oguni Gami Oguni Chiri

Japan Natsume 4002 Handmade from 100% kozo. Smooth white with shiny white fibers. Neutral pH. 4 deckles.

Japan Oguni Chiri & Ogunigami - Handmade from 100% kozo. Neutral pH. 4 deckles. Japan Ogura

Handmade from Manila hemp, kozo & sulphite. Neutral pH (Natural only). 4 deckles. Coarse, heavily textured surface with swirls of fiber.

Ogura Natural Ogura Grey Ogura Light Brown

Ogura Jade Ogura Violet Ogura Antique Rose

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Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


A R T PA P E R S - J a p a n

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Okawara Handmade Okawara Machine-made Pinkish Natural Okawara Machine-made Greenish Natural

Japan Okawara Handmade - 100% kozo. Neutral pH. Fine laid texture. 4 deckles. Japan Okawara Machine Made - Kozo and sulphite. Neutral pH. 2 deckles. Japan Okawara Student Grade Handmade from kozo and sulphite. Neutral pH. 2 deckles. All varieties of Okawara are well known for their scale, value and performance.

Japan Otoshi Medium Weight - Handmade of kozo and sulphite by Mr. Masahige

Tomokusa. Neutral pH. 4 Deckles. Okawara Student Grade

Japan Rayon M0321 - Machine-made on Shikoku Island of 100% rayon. The sheets have a fabric-like touch and strength. Neutral pH. No deckles. Japan Rayon Gauze - Machine-made of 100% rayon. Neutral pH. No deckles. Japan Salago K

Handmade of 100% Philippine gampi. Smooth, lustrous surface. Neutral pH. 4 deckles.

Japan Sakamoto

Machine--made of Kozo & Sulphite. Smooth one side, textured on the other. Neutral pH. 2 deckles.

Another favorite paper originally carried by Aiko's in Chicago.

Japan Sansui SH8 - Hiromi Collection

Off-White. Mould-made of 10% kozo, 70% sulphite, 15% recycled paper, 5% rayon. Neutral pH. 2 deckles. Otoshi Medium

Rayon M0321

Sakamoto 80 gram

Rayon Gauze

Sansui SH8

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Paper is fragile !

No returns or exchanges are allowed

Salago K order: 800-950-6111 or: 212-473-7705.


A R T PA P E R S - J a p a n

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Seichoshi-Homare Seichosen

Seiko-Sen

Japan Seichoshi-Homare Kozo

Japan Seiko-Sen Mitsumata

Japan Seichosen Kozo

Handmade by Mr. Shigeru Osaki a National Living Treasure. His papers are designated as a Cultural Asset by the Japanese Government. Made in the winter when the cold temperature assures the crispness and purity of the sheet on a mould with a pronounced laid pattern and dried on ginko tree boards in the sunlight. The grain of those old wood panels is often visible in these stunning sheets. All fibers are harvested from the local mountains that surround the Ozaki home. Neutral pH. 4 Deckles.

Sekishu Natural

Sekishu White

Japan Sekishu - Handmade, 80% kozo and 20% sulphite. Neutral pH. 4 deckles. White and Natural.

Thin, strong, affordable and versatile, sekishu is used extensively for repair, hinging and lining fabrics for book binding .

Japan Sekishu-Hanshi Tsuru HP06 - Hiromi Collection Japan Sekishu-Hanshi Mare HP07 - Hiromi Collection

Handmade of 100% Japanese Sekishu kozo by Mr. Akira Kubota in the Shimane Prefecture, all of the green bark is left intact, resulting in a much stronger sheet and a unique, darker tone. Highly praised for restoration and for printing techniques. Tsuru is beaten and dried by machine while Mare is beaten by hand and dried on boards, resulting in a softer, finer sheet.

Japan Sekishu Torinoko Gampi HP60 - Hiromi Collection

Handmade of 100% Japanese gampi by Akira Kubota in the Shimane Prefecture. Dark natural tone gampi with a beautiful luster. Very strong.

Sekishu Hanshi is one of three groups of papers designated as an Important Intangible Cultural Treasure by the Japanese Government.

Sekishu-Hanshi Tsuru HP06

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Sekishu-Hanshi Mare HP07 No returns or exchanges are allowed

Sekishu Torinoko Gampi HP60 order: 800-950-6111 or: 212-473-7705.


A R T PA P E R S - J a p a n

Senka-Shi HM35 (30 gram)

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Senka-Shi HM36 (38 gram)

Senka-Shi HM 37 (44 gram)

Japan Senka-Shi HM35-37 - Hiromi Collection

Handmade of 100% Japanese kozo. These conservation grade papers are made by Yoshifumi Okatsu in the Kochi Prefecture. The differing weights are made by combining two thinner sheets into one during the papermaking process. Neutral pH. 4 Deckles.

Japan Shigure SH15 - Hiromi Collection

Off-White. Mould-made of 50% Kozo, 50% Sulphite. A thin, crisp sheet with subtle, cloud-like swirls of fibers.

Shigure SH15

Shikishi "Shikishi" refers to the very specific size of these sheets - which is small and not quite square. Traditionally used for calligraphy and the mounting of small paintings, these sheets would handle most other techniques as well. 4 Deckles. Neutral pH. Japan Shikishi Kochi - Handmade of kozo & sulphite. Smooth surface. Neutral pH. 4 Deckles. White or Natural. Japan Shikishi Mitsumata Kumohada - Handmade of mitsumata layered on top of a kozo base. Lustrous surface. Natural. Japan Shikishi Mini - Handmade of kozo & sulphite Japan Shikishi Mohachi - Handmade of hemp, cotton & Ssulphite

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ART PAPERS - Japan

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Shikibu Japanese Handmades

The Echizen prefecture is best known today for their extensive varieties of decorative, machinemade sheets, but for hundreds of years, the region has produced many of the finest handmade sheets found in Japan. Unlike other areas of Japan,where we see a decline in the tradition of papermaking, the Echizen Prefecture is experiencing a renaissance - with a new generation of papermakers learning and continuing the old and revered techniques of their masters. These sheets of exceptional quality and beauty were made by master papermaker Futoshi Umedo who specializes in papers made of gampi and mitsumata. All sheets are neutral pH.

Japan Shikibu Gampi-shi White & Colors.

100% Japanese Gampi. Magnificent, lustrous sheets in white, natural and hand-dyed in an array of colors. Neutral pH. 4 Deckles.

Shikibu Gampi 01 White 13 gram

Shikibu Gampi 03 White 26 gram

Shikibu Gampi 06 Natural 13 gram

Shikibu Gampi 08 Natural 20 gram

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A R T PA P E R S - J a p a n

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Shikibu Gampi 40 - Light Blue

Shikibu Gampi 36 - White

Shikibu Gampi 38 - Light Yellow

Shikibu Gampi 41 - Ice Blue

Shikibu Gampi 37 - Off-White

Shikibu Gampi 39 - Yellow

Shikibu Gampi 53 - Royal Blue

Shikibu Gampi 55 - Black

Shikibu Gampi 42 - Leaf Green

Shikibu Gampi 54 - Navy Blue

Shikibu Gampi 56 - Grey

Shikibu Gampi 43 - Green

Shikibu Gampi 52 - Purple

Shikibu Gampi 47 - Beige

Shikibu Gampi 44 - Olive Green

Shikibu Gampi 51 - Plum

Shikibu Gampi 45 - Light Tan

Shikibu Gampi 50 - Orange

Shikibu Gampi 48 - Pink

Shikibu Gampi 46 - Deep Tan

Shikibu Gampi 49 - Red

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A R T PA P E R S - J a p a n

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Japan Shikibu Kizukishi Kozo Dyed

100% Japanese kozo. These strong, sheer sheets are dyed in a subtle range of colors. The sheets are translucent even in the darker colors. The natural tones mimic those found in aged papers, making them particularly useful for restoration of aged documents, books and fabrics. Exceptional quality!

Shikibu Kozo 0 - White

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Shikibu Kozo 1 - Deep Natural

Shikibu Kozo 2 - Light Tan

No returns or exchanges are allowed

Shikibu Kozo 3 - Tan

order: 800-950-6111 or: 212-473-7705.


A R T PA P E R S - J a p a n

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Shikibu Kozo 6 - Silver Grey

Shikibu Kozo 7 - Smoke

Shikibu Kozo 16 - Light Blue

Shikibu Kozo 13 - Blue

Shikibu Kozo 5 - Sienna

Shikibu Kozo 4 - Brown

Shikibu Kozo 11 - Teal

Shikibu Kozo 14 - Navy

Shikibu Kozo 10 - Deep Red

Shikibu Kozo 9 - Amber

Shikibu Kozo 12 - Green

Shikibu Kozo 15 - Black

Japan Shikibu Kozo-shi #27

100% Japanese kozo. Off-white tonality with an exaggerated laid pattern. Neutral pH. 4 Deckles.

Japan Shikibu Mitsumata-shi

100% Japanese Mitsumata. Off-white tonality with a warm, lustrous sheen. Although the sheets are ultrasmooth, they have a remarkable, fabric-like visual texture because of the unusual sou. Neutral pH. 4 Deckles.

Shikibu Kozo #27

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Shikibu Mitsumata-shi No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


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Shikoku Surface Gampi White

Shikoku Surface Gampi Deep Natural

Shojoshi

Japan Shikoku Surface Gampi

A two layer, machinemade sheet. A thin sheet of lustrous, smooth gampi is fused together with an opaque base sheet of kozo, hemp and wood pulp. 2 Deckles. Neutral pH. White or Natural. Excellent for printing techniques including digital ink jet.

Japan Shiramine MM5- Hiromi Collection

Mould-made of 40% Kozo, 60% Sulphite. Dense sheet for printing and painting. Neutral pH. 2 deckles.

Japan Shoji- Handmade of kozo & sulphite. Neutral pH. 4 Deckles. White. Shikoku Surface Gampi White

A middle weight, moderately priced, Aiko favorite.

Japan Shojoshi

Mouldmade of 100% sulphite. These small, thick, sheets have one ultra-smooth surface and one scratchy surface. Excellent for Western printmaking and some drawing techniques. 4 Deckles. Neutral pH. Off-White.

Japan Silk Tissue - Machine-made from gampi and sulphite. Neutral pH. No deckles. Natural. Japan Sugikawashi

Handmade in the style of traditional bark papers of ancient Japan from pulverized cedar bark and hemp fibers. Brown Neutral pH. 4 deckles. Shoji

Silk Tissue

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Tamura Koban

Takefu Natural (textured side seen above)

Takefu NWhite (smooth side seen above)

Japan Takefu - Machine-made of sulphite. Double-sided sheets - smooth & textured. Neutral pH. No deckles. Japan Tamura Koban - Handmade of 100% kozo. Crisp, sized sheet with a natural tone and delicate, laid lines. Neutral pH. 4 deckles.

Taniai 12 - Yabumao-zome

Taniai Handmade

Handmade by the Yoshioka Family in the Kochi Prefecture, these lovely, small sheets are made of 100% kozo. Materials and tools are prepared by hand including the dyes that are derived from local clays, barks and plants. Dried on gingko wood, the sheets have the impressions of the grain. Colors will vary from batch to batch. 4 Deckles. Neutral pH. Taniai 4 - Benigara-zome

Taniai 7 - Yamazakura-zome Dark

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Taniai 6 -Yamazakura-zome

Taniai 12 Akatsuchi-zome

No returns or exchanges are allowed

Taniai 9 - Aizome

order: 800-950-6111 or: 212-473-7705.


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Tengucho HM1 & CS

Japan Tengucho HM1 Handmade- Hiromi Collection

Only one family remains that can master the skill of making this incredible paper. The extreme agitation of the pulp when the sheets are formed, interlocks the kozo fibers to produce this ultra-fine, ultra-strong, sheer tissue. Made in the Kochi Prefecture by Hironao Hamada, a 4th generation paper maker who was trained and is the grandson of the National Living Treasure Mr. Sachio Hamada. The fibers are formed on a silk covered sou and are prepared by cooking in wood ash, making this variety especially stable and preferred for conservation. Neutral pH. 4 deckles. White.

Japan Tengucho CS Handmade

Made as above of 100% kozo prepared by cooking in caustic soda making this paper less expensive.

Japan Tengujoushi Handmade Dyed

Handmade of 100% Kozo and hand-dyed. Colors will vary from batch to batch. 4 Deckles. Tengujoushi Dyed - Pale Brown

Tengujoushi Dyed - Yellow Green

Tengujoushi Dyed - Lavender

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Tengujoushi Dyed - Green

Tengujoushi Dyed - Rose

Tengujoushi Dyed - Pale Blue No returns or exchanges are allowed

Tengujoushi Dyed - Red

Tengujoushi Dyed - Pale Pink order: 800-950-6111 or: 212-473-7705.


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Japan Tengucho Machine-made

White. 100% Thai Kozo cooked in caustic soda. Made in Kochi Prefecture on a machine designed only to make this sheer paper. Used for restoration and many collage techniques. Neutral pH.

Japan Tengucho CT Colors Machine-made

100% Thai Kozo. Thin and strong. For chine colle and many collage techniques. Neutral pH.

Tengucho Machine-made Thin 5 gram

Tengucho CT15 - Pale Blue

Tengucho CT02 - Pink

Tengucho Machine-made W1 9 gram

Tengucho CT11 - Royal Blue

Tengucho CT03 - Red

Tengucho CT18 - Beige

Tengucho CT12 - Purple

Tengucho CT08 - Tea Green

Tengucho CT19 - Chocolate

Tengucho CT10 - Black

Tengucho CT07 - Light Green

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order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Japan

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Torinoko Handmade

Torinoko Brush Strokes

Torinoko Black

Tosa Kasagami

Torinoko White (textured side seen above)

Torinoko Natural (smooth side seen above)

Japan Torinoko Handmade Kozo and sulphite blend. Neutral pH. Soft,absorbent yet strong. 4 Deckles.

Japan Torinoko Machine-made White Natural & Black

100% Sulphite. Used in Japan for Fusuma sliding doors, these sheets are also well suited for drawing and printmaking. Double- sided. Neutral pH No deckles.

Japan Torinoko Brush Strokes

Machine-made of 100% sulphite. Absorbent sheet embossed with brush strokes to resemble those usually found on handmade sheets. Neutral pH. No deckles.

Japan Tosa Kasagami

Handmade of 100% kozo. Lovely sheet formation with visible fine fibers and a soft, scratchy surface. 4 Deckles. Neutral pH.

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ART PAPERS - Japan

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Tosa Hanga

Tosa Kozo #8 Natural

Tosa Maruishi

Tosa Kozo #8 White

Tosazome Purple

Japan Tosa Hanga

Handmade in the Kochi Prefecture from kozo and sulphite. Thick, sturdy, internally sized sheet used extensively for printmaking. Neutral pH. 4 deckles.

Japan Tosa Kozo #8 Natural & White

Handmade of kozo and wood pulp. Internally sized. Dense, even sheet formation. Excellent for printing techniques. 4 Deckles. Neutral pH.

Japan Tosa Maruishi

Handmade in the Kochi Prefecture from kozo and sulphite. Thick, sturdy, internally sized sheet used extensively for printmaking. Neutral pH. 4 deckles.

Japan Tosazome Purple

Handmade of 100% Kozo and hand painted with dosa that has been colored with a natural plant dye. Uneven, purple tone that shows the brushstrokes. Very unusual and beautiful. 4 Deckles.

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ART PAPERS - Japan

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Toyama

Walnut Dyed Kururu Kozo Uwa Senka Uda-Gami HM40 Uda-Gami HM41

Vegetable - Melon

Vegetable - Onion

Vegetable - Sweet Potato

Vegetable - Corn

Japan Toyama - Handmade from 100% kozo. Smooth surface embedded with visible light fibers. 4 deckles. Japan Uda-Gami HM40 & HM41 - Hiromi Collection

Off-white. Uda clay is added to soften the paper, minimize stretching and shrinkage and to prevent worm damage. These sheets are made by Hiroyuki Fukinushi in the Nara Prefecture. Traditional scroll format.

Japan Uwa Senka Small & Long Handmade of 100% kozo. Soft surface with visible fibers and laid marks. Neutral pH. 4 Deckles.

Japan Vegetable Papers - Handmade from a mixture of kozo and vegetable fibers. 4 Deckles: Japan Walnut Dyed Kururu Kozo

Handmade of 100% kozo and hand dyed with natural walnut stain to a beautiful, pale brown tone. Color varies from batch to batch. 4 Deckles. Vegetable - Horse Radish

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ART PAPERS - Japan

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Yatsuo A13 - Natural

Yatsuo A1 - White

Yatsuo B2 - Beige

Yatsuo B25 - Kraft

Yatsuo B27 - Tan

Yatsuo C4 - Brown

Yatsuo C30 - Graize

Yatsuo B8 - Green Grey

Yatsuo B22 - Blue Green

Yatsuo B4 - Grey

Yatsuo C10 - Green

Yatsuo B6 - Cloud Blue

Yatsuo B7 - Grey Blue

Yatsuo C7 - Taupe

Yatsuo B18 Lime

Yatsuo E3 - Apple Green

Yatsuo B12 - Yellow

Yatsuo B15 - Mustard

Japan Yatsuo

Handmade from kozo and sulphite pulp. Neutral pH. Strong, soft surface. 4 deckles. Colors will vary somewhat from batch to batch.

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ART PAPERS - Japan

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Yatsuo C2 - Antique Rose

Yatsuo C8 - Coral

Yatsuo D4 - Dull Red

Yatsuo D1 - Bright Red

Yatsuo C3 - Wine

Yatsuo C16 - Maroon

Yatsuo D3 - Dark Red

Yatsuo E4 - Tomato

Yatsuo C12 - Dark Blue

Yatsuo C6 - Purple

Yatsuo C11 - Orange

Yatsuo B35 - Light Orange

Yatsuo D8 - Black

Yatsuo C3 - Blue Black

Yatsuo B33 - Pink

Yatsuo B32 - Peach

Yatsuo C19 - Aquamarine

Yatsuo E1 - Electric Blue

Yatsuo B28 - Lavender

Yatsuo B31 - Rose

Japan Yatsuo

Handmade from kozo and sulphite pulp. Neutral pH. Strong, soft surface. 4 deckles. Colors will vary somewhat from batch to batch.

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ART PAPERS - Japan

Yame Kozo 1

Yame Kozo 2

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Yame Kozo 3

Yame Zozo 4

Japan Yame Kozo Hadakura

Handmade from 100% kozo, these conservation grade tissues are dyed in 4 tones of natural. Neutral pH. 4 Deckles.

Yuku-shi 13 gram

Yuku-shi 16 gram

Yuku-shi 27 gram

Yuku-shi 41 gram

Japan Yuku-shi Snow Bleached Handmades

Handmade in Gokayama in northeast Japan near the Sea of Japan by Mr. Miyamoto. These sheets of 100% kozo are made following 1200 year old traditions that originated in this area because of its cold, snowy climate. Locally grown kozo is harvested, cleaned of the outer bark and impurities and then bleached in the snow for 7 - 10 days before the fiber is cooked, beaten by hand with a wooden mallet and formed into sheets. No machines or chemicals of any type are used in these processes, resulting in papers that are exceptionally pure. The sheets have a unique warm, natural tone. Neutral pH. 4 Deckles.

Japan Yukyu Natural

Handmade from kozo. Small, lightweight sheets. Neutral pH. 4 Deckles.

Japan Zairei

Machine-made of 50% sulphite, Thai kozo, abaca and straw. Thins, crisp sheet works well in digital applications. Neutral pH. White.

Yukyu Natural

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Zairei No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Korea

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KOREA

Making Hanji, the Korean word for paper has been practiced in Korea for many centuries where the process was first introduced by Japan and China. However, over the years, the Koreans improvised on those initial techniques and developed their own unique system - most notably creating a su (bamboo mould) suspended by a central hinging post that allowed sheets to be formed by collecting the layers of pulp in a side to side slapping fashion. Sheets made this way are known as webal. The Korean mulberry, called dak, used to make the sheets is a close relative of kozo and is prized for its strength and density. Japanese papermakers often import Korean dak for some of their own papers simply because of its difference from the kozo harvested in Japan. Sadly, the finest papers from Korea have become difficult to obtain and even in Korea, webal style papers are rare and costly. Today, like Japan, the Korean Government encourages traditional papermaking by recognizing special skills, giving official status to the artisans and their creations.

Korea Hanji Colors Handmade of 100% dak (Korean mulberry) Soft surface with swirls of fibers and laid marks. Neutral pH. 4 Deckles.

Korean Hanji - K7 Pale Lilac

Korean Hanji - K1 Pink

Korean Hanji - K11 Grey Pink

Korean Hanji - K20 Aquamarine

Korean Hanji - K46 Tan

Korean Hanji - K49 Celery

Korean Hanji - K57 Grey Green

Korean Hanji - K54 Mustard

Korean Hanji - K37 Yellow

Korean Hanji - K22 Putty

Korean Hanji - K21 Grey

Korean Hanji - K29 Lime

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ART PAPERS - Korea

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Korean Hanji - K89 Black

Korean Hanji - K66 Dark Green

Korean Hanji - K64 Green

Korean Hanji - K25 Dark Blue

Korean Hanji - K6 Red

Korean Hanji - K78 Plum

Korean Hanji - K59 Olive

Korean Hanji - K19 Blue

Korean Hanji - K85 Chocolate

Korean Hanji - K12 Lavender

Korean Hanji - K67 Umber

Korea Hanji Colors - Handmade of 100% dak (Korean mulberry) Soft surface with swirls of fibers and laid marks. Neutral pH. 4 Deckles. Korea Hanji Oiled Handmade of 100% dak, this paper has been treated with perila oil that darkens with age and light into uneven, yet remarkably beautiful amber tonalities. This style of paper was originally intended for architectural purposes and was applied in layers as flooring in traditional Korean homes. 4 Deckles.

Korea Hanji Mulberry Mix - Handmade of 50% dak and 50% kozo. Neutral pH. 4 Deckles. Korea Hanji Stone Grey - Handmade of 100% dak and pigmented with ground biotte stone. Neutral pH. 4 Deckles.

Korean Hanji Oiled

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Korean Hanji Mulberry Mix No returns or exchanges are allowed

Korean Hanji Stone Grey order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Nepal

Nepal

Nepalese paper making is an unusual hybrid of techniques that were influenced by both Japan and India. Because of the climate, the herding culture and the isolation of the area, paper making was usually performed by shepherds during the months that they attended their flocks near the forest edge. Because they travelled considerable distances from their villages, it was essential that most of the supplies needed could be found readily along the way. Daphne (Nepalese gampi) grows abundantly in high altitudes and is easily harvested. In their traditional manner of paper making, the fiber was pounded with stones to prepare the pulp before cooking in wood ash. A stream or even a ditch filled with water served as the vat. The moulds which were made of bamboo, were lightweight and portable. The sheet formation as then performed by placing the mould into the vat and floating the beaten pulp on top of the mould. When the fibers were distributed to the paper maker's satisfaction, the mould was then lifted from the vat and turned out onto wooden planks to dry in the sun. This technique produces delightfully inconsistent sheets, each with its own individual character, a smooth surface that faced the wood and a rough outer side. Sheet formation is cloudy with somewhat uneven clumps of pulp. But, paper makers and artists in Nepal are also aware of the more refined characteristics of Japanese papers and therefore, also construct sheets using Japanese methods. This includes controlled cleaning and cooking of the fiber and forming the sheets by lowering the mould into the vat of prepared pulp and vigorously agitating to distribute the fibers evenly before couching. As demand has grown for Nepalese goods, we see many more influences on the methods of the manufacturers. Some use one particular style, many use their own unique combination of techniques to produce these wonderful, useful papers. Because of presentation, it is often easy to forget that almost all Nepalese sheets are made of 100% gampi fiber (daphne or lokta) and therefore can perform in similar ways to their much more expensive, Japanese counterparts. Nepalese sheets are great for printing by hand, chine colle, sumi-e painting and drawing techniques where minimum erasure is required.

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ART PAPERS - Nepal

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Nepal Banana Tissue

Handmade from recycled banana bark. Crisp tissue with swirls of fine fibers and bark flecks. 4 Deckles.

Nepal Chautara Lokta

Handmade of 100% daphne in Traditional Nepalese fashion. However the pulp is cleaned of imperfections, cooked and beaten using modern techniques to yield sheets that are consistent and even. Smooth surface with a light sheen. Hand-dyed. 4 deckles. Neutral pH. Because dye crawls, sheets are darker on one side than the other and colors will vary from batch to batch.

Nepal Banana Tissue

Nepal Chautara Lokta - Yellow

Nepal Chautara Lokta - Natural Light Nepal Chautara Natural Heavy

Nepal Chautara Lokta - Gold

Nepal Chautara Lokta - Parrot Green

Nepal Chautara Lokta - Lime

Nepal Chautara Lokta - Grass

Nepal Chautara Lokta - Chestnut

Nepal Chautara Lokta - Kiwi

Nepal Chautara Lokta - Mint

Nepal Chautara Lokta - Sage

Nepal Chautara Lokta - Moss

Nepal Chautara Lokta - Jade

Nepal Chautara Lokta - Olive Brown Nepal Chautara Lokta - Olive Green

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ART PAPERS - Nepal

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Nepal Chautara Lokta - Black

Nepal Chautara Lokta - Forest

Nepal Chautara Lokta - Robbins Egg Nepal Chautara Lokta - Sea Green

Nepal Chautara Lokta - Teal Deep

Nepal Chautara Lokta - Navy

Nepal Chautara Lokta - Denim

Nepal Chautara Lokta - Light Blue

Nepal Chautara Lokta - Turquoise

Nepal Chautara Lokta - Sky Blue

Nepal Chautara Lokta - Royal Blue

Nepal Chautara Lokta - Sapphire

Nepal Chautara Lokta - Oyster

Nepal Chautara Lokta - Violet

Nepal Chautara Lokta - Purple

Nepal Chautara Lokta - Eggplant

Nepal Chautara Lokta

Handmade of 100% daphne in Traditional Nepalese fashion. However the pulp is cleaned of imperfections, cooked and beaten using modern techniques to yield sheets that are consistent and even. Smooth surface with a light sheen. Hand-dyed. 4 deckles. Neutral pH. Because dye crawls, sheets are darker on one side than the other and colors will vary from batch to batch.

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ART PAPERS - Nepal

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Nepal Chautara Lokta - Cranberry

Nepal Chautara Lokta - Burgundy

Nepal Chautara Lokta - Espresso

Nepal Chautara Lokta - Brick

Nepal Chautara Lokta - Red Earth

Nepal Chautara Lokta - Terra Cotta

Nepal Chautara Lokta - Deep Orange Nepal Chautara Lokta - Latte

Nepal Chautara Lokta - Fuchsia

Nepal Chautara Lokta - Red

Nepal Chautara Lokta - Pumpkin

Nepal Chautara Lokta - Clay

Nepal Chautara Lokta - Cerise

Nepal Chautara Lokta - Shrimp

Nepal Chautara Lokta - Pink

Nepal Chautara Lokta - Pebble

Nepal Chautara Lokta

Handmade of 100% daphne in Traditional Nepalese fashion. However the pulp is cleaned of imperfections, cooked and beaten using modern techniques to yield sheets that are consistent and even. Smooth surface with a light sheen. Hand-dyed. 4 deckles. Neutral pH. Because dye crawls, sheets are darker on one side than the other and colors will vary from batch to batch.

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ART PAPERS - Nepal

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Nepal Jazz - Aubergine

Nepal Jazz - Saddle Tan

Nepal Jazz Claret

Nepal Jazz - Grey

Nepal Jazz - Olive Green

Nepal Jazz - Granite

(back side with gauze shown above)

Nepal Jazz

Translucent handmade paper laminated onto gauze-like fabric, lightly creped and dyed. Very strong. Neutral pH. No deckles.

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ART PAPERS - Nepal

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Khadi Himalayan Handmades

Khadi Himalayan Handmades present some of the finest papers from Nepal in both Traditional and Japanese "washi" styles of paper making. Newly revised in 2010, Khadi Himalayan papers have abandoned modern influences and are now preparing all their fiber by hand, closely following centuries old techniques such as cooking in lye of wood ash to insure that these sheets maintain the integrity, resilience and strength of true Nepalese paper traditions. Neutral pH. 4 deckles. For printing and direct painting techniques, these daphne and mitsumata sheets have a crisp finish that allows for some drawing techniques including pen and pencil with light erasure.

Nepal Khadi - L5 Natural

Nepal L10 Natural

Nepal Khadi Himalayan Traditional L

100% Daphne cooked in lye from wood ash. Cloudy sheet formation. Made using the traditional Nepalese techniques.

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ART PAPERS - Nepal

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Nepal Khadi - L20 Natural

Nepal L40 Natural

Nepal Khadi - JL3

Nepal JL4

Nepal Khadi - JM3 Mitsumata

Nepal JM4 Mitsumata

Nepal Khadi Himalayan Traditional L

100% Daphne cooked in lye from wood ash. Cloudy sheet formation. Made using the traditional Nepalese techniques.

Nepal Khadi Himalayan Washi L 100% Daphne cooked in lye from wood ash. Made using the Japanese technique. Nepal Khadi Himalayan Mitsumata Washi 100% mitsumata cooked in lye from wood ash. Smooth surface. Made using the Japanese technique.

171

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Nepal

Note: sheets were scanned on black and white background to show translucency

Nepal Khadi - N1 Natural

Nepal Khadi - N1 Saffron

Nepal Khadi - N1 Rust

Nepal Khadi - N1 Fuchsia

Nepal Khadi - N1 Rose

Nepal Khadi - N1 Plum

Nepal Khadi - N1 Turquoise

Nepal Khadi - N1 Blue

Nepal Khadi - N1 Lime

Nepal Khadi - N1 Olive

Nepal Khadi - N1 Green

Nepal Khadi Himalayan Traditional N1 Natural & Dyed

100% Daphne. Cooked in caustic soda and bleached. Cloudy sheet formation with visible fibers and flecks.

172

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Nepal

Note: sheets were scanned on black and white background to show translucency

Lhakpa Handmades

These sheets are made in the Himalayas at the highest elevation that supports life using traditional Nepalese papermaking techniques. To insure the finer, cleaner sheets, Lhakpa has constructed their vats from concrete rather than utilizing a ditch or a pond. These are some of the largest handmade papers in the world and are exceptional examples of Nepalese papers. One rough side, one smooth. Neutral pH. 4 Deckles.

Smooth side shown

Nepal Lhakpa 20 gram

173

Paper is fragile !

Nepal Lhakpa 40 gram

Rough side shown

Nepal Lhakpa 60 gram

No returns or exchanges are allowed

Nepal Lhakpa Black

order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Nepal / Philippines

Note: sheets were scanned on black and white background to show translucency

Nepal Transparent Deerskin

Deerskins that have been pared down to a transparent membrane. Skins have irregular edges and imperfections. Traditionally used as interleaving in sacred texts. or pounding gold. Very unusual.

Philippine Gan

Philippine Ning

Philippine Handmades

Philippine paper making has been greatly influenced by Japan who favor Philippine gampi in some of their papers. The Philippines extend through different climates that yield a range of materials including gampi, kozo, abaca and salago palm.

Philippine Gan - 100% kozo. Natural with lightly textured surface. 4 deckles. Neutral pH. Philippine Ning - 100% Philippine gampi. Natural with a smooth, satin-like surface. 4 deckles. Neutral pH.

174

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


Note: sheets were scanned on black and white background to show translucency

Thai Garden Plain Smooth

Thai Garden Plain Rough

Thailand

Papermaking in Thailand has been practiced for many centuries. Their influences came from the north, having learned the papermaking processes from both Japan and Korea. Most Thai papers use kozo fiber which is plentiful and grows quickly in Thailand. Because of the warm climate, the kozo that is harvested produces sheet that are highly absorbent and have a soft and spongy touch. As in other Asian Cultures, Thai papers were primarily made by small clans of isolated people that lived in rural areas near to the necessary raw materials. Because of political unrest, during the years 1930 - 1970, papermaking neared extinction as the numbers of households fled from these areas. Fortunately, over the past decade, papermaking has once again emerged. Today, Thailand manufactures a vast array of traditional and inventive decorative sheets. The industry has now relocated within the major cities where it provides employment for many skilled crafts people and consolidates the work forces for both machine-made and handmade practices.

Thailand Garden Plain - Handmade of 100% Thai kozo. Soft, absorbent surface. Neutral pH. Off-white. 4 Deckles. Thailand Mulberry Machine-made Bleached - 100% Thai kozo. White. Neutral pH. 2 deckles. Thailand Mulberry Machine-made Un-bleached - 90% Thai kozo, 10% bamboo. Off-white. Neutral pH. 2 deckles.

Thai Mulberry Bleached 45 gram

175

Paper is fragile !

Thai Mulberry Un-bleached 45 gram No returns or exchanges are allowed

Thai Mulberry Un-bleached 15 gram order: 800-950-6111 or: 212-473-7705.


ART PAPERS - Thailand

Thai Mulberry Sky Blue

Note: sheets were scanned on black and white background to show translucency

Thai Mulberry Tea

Thai Mulberry Mustard

Thai Mulberry Red

Thai Mulberry Pear

Thai Mulberry Purple

Thai Mulberry Black

Thailand Mulberry Machine-made Colors - 100% Thai kozo. Neutral pH. 2 deckles. Thailand Tissue

Handmade from 100% Thai mulberry. Neutral pH. Traditional style, very light, gauze-like tissue made on moulds of woven cloth. 4 deckles. Natural. These charming sheets are uneven and may have small holes and imperfections. They also arrive lightly folded.

Thailand Tissue 10 gram

176

Paper is fragile !

Thailand Tissue 25 gram No returns or exchanges are allowed

Thailand Tissue 30 gram order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

ASIA

■ Special Remarks G - Gampi Paper Size Gr/M2

K - Kozo

M - Mitsumata ■ Small Format ■ Large Format

1 25 100 500 ■

G

K

M

AFRICA Banana Tissue Bvumbe Blue Tissue Giraffe Dung Ncube Terracotta Tissue Zambezi Tissue Zambezi Elephant Dung

18 x 25 18 x 25 16 x 22 18 x 25 18 x 25 18 x 25

30 30 200 30 30 200

4.00 - last of stock 4.00 - last of stock 4.00 - last of stock 4.00 - last of stock 4.00 - last of stock 5.00 - last of stock

■ - imperfect, yet unusual & beautiful sheets

BHUTAN Bhutan Khadi Denar JDK 23 x 31 100 4.40 3.96 Jingshi Tsasho 23 x 31 100 6.00 5.40 Resho 21 x 28 90 5.00 4.50 Tsasho Natural 23 x 31 100 7.10 6.39 Bhutan Egeworthia Laminated 24 x 39 250 9.00 8.10 Bhutan Tenzin Handmades Daphne Thick Natural BHU 113 21 x 34 180 9.60 8.64 Dekar #4 Natural Medium Weight 9 x 12 30 2.60 2.34 Dekar #5 Natural Thin 9 x 12 10 2.20 1.98 Dekar #7 Natural - size A7 6 x 8 60 2.50 2.25 Dekar #8 Natural 4 x 6 120 1.80 1.62 Dekar #9 Dark Natural 4 x 6 120 1.80 1.62 Dekar #4 Natural Medium Weight 9 x 12 30 2.60 2.34 Denak Kap Medium Natural 21 x 32 30 7.70 6.93 Denak Kap Thin Natural 21 x 32 15 5.90 5.31 Denak Trongsa P1 Natural 33½ x 51 120 54.90 49.41 Denak Trongsa P2 Natural 33½ x 51 50 40.00 36.00 Egeworthia Natural BHU 111 21 x 34 45 7.00 6.30 Egeworthia White BHU 112 21 x 34 45 6.50 5.85 Jute #6 Dark Natural 9 x 12 60 2.50 2.25 Mitsumata Thin Natural BHU 04 21 x 29½ 10 5.40 4.86 Mitsumata Natural BHU 05 21 x 34 60 4.00 3.60 Mitsumata White BHU 06 21 x 34 60 4.50 4.05 Mitsumata Thick White BHU 07 21 x 34 120 9.00 8.10 Rural Tsarsho BHU09 21 x 34 200 6.00 5.40 Rural Tsarsho Dyed 12 x 18 200 5.00 4.50 Shawa BHU03 21 x 29½ 180 11.00 9.90

3.67 5.01 4.18 5.93 7.52 8.02 2.17 1.84 2.09 1.50 1.50 2.17 6.43 4.93 45.84 33.40 5.85 5.43 2.09 4.51 3.34 3.76 7.52 5.01 4.18 9.19

■ - traditional sheets with distinct characteristics

■ - heavy weight with a mottled surface ■ - for printmaking, drawing and some watercolor G G ■ G ■ G ■ G ■ G ■ G G ■ G ■ K K

M M M

A Note on Asian Papers and their Applications: With the exception of Indian papers - which are often made more in the style of the West than of the East, most Asian papers have little or no internal sizing and rely on the fibers that are used to give the desired characteristics to the sheets that are produced. Throughout the East, when paper is the chosen ground to work on, it is absorbency and strength that the artist seeks - to record the accuracy or vitality of the sumi-e stroke or the nuance of the printer's ink. Even with those sheets that have in addition, been sized or have been made by mechanical processes, they are made with Eastern techniques in mind and may or may not be suitable for Western techniques - especially those that require wet-into-wet painting, hard pencils, nibs or other drawing materials and erasure. Although, even if you have no desire to use Asian papers in the manner for which they were originally made, the subtleties of tone and touch, their unique visual structure, sense of strength or fragility make the sheets in this section well worth the experimentation needed to incorporate them into your own work.

177

Paper is fragile ! No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

ASIA

■ Special Remarks G - Gampi Paper Size Gr/M2

M - Mitsumata ■ Small Format ■ Large Format

K - Kozo

1 25 100 500 ■

G

K

M

CHINA China An-Jing Clean Bark Un-sized 26 x 52 20 3.00 2.70 2.51 2.25 Clean Bark Sized 26 x 52 20 2.50 2.25 2.09 1.88 Clean Bark Sized 26 x 52 30 6.00 5.40 5.01 4.50

■ - well made sheets for sumi-e painting & printing

Yuemei Chinese Antique Dan Dou Bean Jing-pi Mao Bian #3 Pao Tortoise Yu-Jade

25 x 25 27 x 54 27 x 54 33 x 60 27 x 27 25 x 25 27 x 54 25 x 52

■ - well made sheets for sumi-e painting & printing

Yuemei Juan Silk White & Golden un-mounted

32 " wide

19.50 - per yard

Yuemei Juan Silk Mounted White Yuemei Juan Silk Mounted All Other Colors Yuemei Juan Silk Mounted All Other Colors

26 x 36 8½ x 11 26 x 36

30.00 2.50 20.00

25 24 24 48 48 25 22 48

2.25 5.85 5.85 15.00 2.25 2.25 8.35 9.20

2.03 5.43 5.43 14.03 2.03 2.03 7.50 8.25

4.88 4.88 12.60

■ - pre-sized silk for sumi-e painting & printing ■ - pre-sized & mounted silk for painting & printing

27.00 2.25 18.00

■ - for drawing, painting, collage, book arts

EGYPT Papyrus Natural

6 x 9 8 x 12 12 x 16 16 x 24 24 x 31

150 150 150 150 150

2.00 2.50 3.60 5.50 14.00

1.80 2.25 3.24 4.95 12.60

1.67 2.09 3.01 4.59 11.69

1.50 1.88 2.70 4.13 10.50

Papyrus Flecked Light or Heavy

12 x 16 16 x 24

150 150

4.30 6.30

3.87 5.67

3.59 5.26

3.23 4.73

Papyrus Fermented

8 x 12 12 x 16 16 x 24 24 x 31

150 150 150 150

2.60 4.10 5.90 15.00

2.34 3.69 5.31 13.50

2.17 3.42 4.93 12.53

1.95 3.08 4.43 11.25

Paper Assortment policy 25 Sheet Price - 25 - 99 sheets of one paper, one color, one weight, one size. 100 Sheet Price - 100 - 499 sheets assorted - no less than 10 sheets of each item.* 500 Sheet Price - 500 sheets assorted - no less than 25 sheets of each item.* *"Item" refers to one paper, one color, one weight, one size.

178

Paper is fragile ! No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

ASIA

■ Special Remarks G - Gampi Paper Size Gr/M2

M - Mitsumata ■ Small Format ■ Large Format

K - Kozo

1 25 100 500 ■

G

K

M

INDIA ■ - strong fibers, sized for multi-media

Khadi Bagasse Smooth or Rough Banana Smooth or Rough Chapri Colors Cotton Colors - Rough Gunny Sack Smooth or Rough Islamic Sunn Hemp Sunn Hemp

22 x 30 22 x 30 .22 x 30 22 x 30 22 x 30 22 x 30 22 x 30

210 310 100 210 210 100 100

Khadi Watercolor Smooth or Rough Watercolor Smooth or Rough Watercolor Smooth or Rough Watercolor Smooth or Rough Watercolor Rough Watercolor Rough Watercolor Rough Watercolor Rough Watercolor Rough Watercolor Rough "Great White" Watercolor Rough "Atlas" Watercolor Rough "Banyan"

22 x 30 22 x 30 27 x 41 22 x 30 8¼ x 11½ 11¾ x 16½ 13½ x 27½ 22" circle 27 x 41 31 x 78 39 x 54 43 x 63

210 320 320 640 640 640 320 320 640 400 400 400

4.40 5.50 9.00 8.40 2.75 4.25 3.10 5.00 14.75 55.00 42.50 55.00

Khadi Watercolor Packages White Rough A7 White Rough A6 White Rough A5 White Rough A4 White Rough A4 White Rough White Rough White Rough White Rough

2 x 3 4¼ x 5¾ 5¾ x 8¼ 8¼ x 11½ 8¼ x 11½ 8¼ x 8¼ 11¾ x 11¾ 11¾ x 16½ 12 Circles

150 150 150 150 320 320 320 320 320

3.50 - package of 20 sheets 5.60 - package of 20 sheets 8.25 - package of 20 sheets 12.60 - package of 20 sheets 18.50 - package of 20 sheets 14.00 - package of 20 sheets 24.00 - package of 20 sheets 28.00 - package of 20 sheets 26.00 - package of 20 sheets

Khadi Mouldmade Text - Cotton & Gunny

18 x 24

100

2.00

1.80

MHK Jute Single-weight, Natural MHK Jute Double-weight, Natural MHK Jute Double-weight, Stained

22 x 30 22 x 30 22 x 30

170 340 340

8.00 12.00 12.00

7.20 10.80 10.80

Saakaar Banana Heavy Sanganer All styles

25 x 35 22 x 30

150 200

5.25 - last of stock 3.00 2.70 2.43

2.18

Shizen Pastel Color Shizen Professional Watercolor 140 Rough Shizen Professional Watercolor Packages White Rough White Rough White Rough White Rough White Rough White Rough

19 x 25 22 x 30

185 300

2.75 5.00

2.06 3.57

8 x 8 9 x 12 6 x 18 12 x 18 6" circles 8" circles

300 300 300 300 300 300

8.50 - package of 5 sheets 9.50 - package of 5 sheets 13.00 - package of 5 sheets 14.00 - package of 5 sheets 16.50 - package of 5 sheets 18.50 - package of 5 sheets

22 x 30 26 x 39 42 x 53

200 300 300

3.25 8.25 50.00

25 x 38 20 x 30

50 - 75 20

Taja Watercolor Smooth Cream Rough White Rough White

4.40 3.96 3.67 4.40 3.96 3.67 2.25 last of stock 4.40 3.96 3.67 4.40 3.96 3.67 Currently unavailable 4.40 3.96 3.67 3.96 4.95 8.12 7.52 2.48 3.83 2.77 4.50 13.27 49.50 38.21 38.21

2.48 4.50

3.67 4.59 7.53 6.98 2.30 3.55 2.57 4.13 12.31 45.93 35.45 35.45

3.30 3.30 3.30 3.30 3.30 3.30 4.13 6.77 6.27 2.06 3.19 2.31 3.71 11.06 41.25 31.85 31.85

1.67

■ - strong, 100% cotton rag, sized for watercolor

1.50

■ - rare papers in the tradition of Persian book pages

2.30 4.18

■ - crisp sheets for drawing and printing ■ - strong fibers, sized for multi-media ■ - 100% cotton rag with soft, even surface ■ - 100% cotton rag internally & externally sized ■ - 100% cotton rag internally & externally sized

INDONESIA Bamboo Writing Silk Paper

179

2.75 2.00

3.48 1.80

Paper is fragile ! No returns or exchanges are allowed

■ - Crudely made, yet unique surfaces

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

ASIA

■ Special Remarks G - Gampi Paper Size Gr/M2

M - Mitsumata ■ Small Format ■ Large Format

K - Kozo

1 25 100 500 ■

G

K

M

JAPAN Akatosashi 24¾ x 37 25 7.75 6.97 Daitoshi Extra-Thick 30 x 56 45 15.00 13.50 Dry Tear Hinging Tissue 17 x 23½ 12 8.74 7.87 17 x 23½ 20 9.34 8.41 Echizen Hanga Dosa 26 x 38 45 31.50 28.35

■ - specially harvested kozo gives this sheet its color

6.46

5.81

12.53

11.25

7.30 7.80

6.56 7.01

■ - conservation grade for hinging & repair

26.30

23.63

■ - dosa sized

Etchu Card 6 x 8 300 2.50 2.25 2.09 1.88 G Gampi Bicchu Torinoko Natural 71 16½ x 22½ 15 14.50 13.05 12.11 10.88 All Other Colors 16½ x 22½ 15 15.50 13.95 12.94 11.63 Gampi - Hiromi Collection Gampi C - HM33 Gampi HM 5 Gampi Natural MM18S Gampi White MM19S Gampi Natural MM20 Gampi White MM20 Gampi Toyo Natural MM24

25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 37

13 31 15 15 20 20 24

22.50 20.50 14.70 8.00 19.00 12.80 5.50

20.25 18.45 13.23 7.20 17.10 11.52 4.95

18.79 17.12 12.27 6.68 15.87 10.69 4.59

16.88 15.38 11.03 6.00 14.25 9.60 4.13

Gampi F1 Gampi F2 Gampi Double-Sided Gampi Layered Gampi Smooth #43 Gampi Tissue A3 Gampi Torinoko Gampi Toyo MM24 Gampi Udaban

24¾ x 37 25 x 37 21 x 31 25 x 37 25 x 37 11¾ x 16½ 22 x 30 25 x 37 16 x 56

50 20 75 50 32 12 100 24 50

9.50 11.20 9.50 8.00 6.00 8.00 22.00 5.50 18.00

8.55 10.08 8.55 7.20 5.40 7.20 19.80 4.95 16.20

7.93 9.35 7.93 6.68 5.01 6.68 18.37 4.59 15.03

7.13 8.40 7.13 6.00 4.50 6.00 16.50 4.13 13.50

G

G

■ ■

G ■ ■ - lustrous surface, dried between metal plates

Gampishi Usuyou Natural 24½ x 38½ 10 15.50 13.95 12.94 11.63 White 24½ x 38½ 10 10.60 9.54 8.85 7.95

G

Gampi Yamaguchi

18 x 24 17½ x 22 17 x 23 17 x 23

21 28 30 36

16.00 19.00 19.50 20.00

14.40 17.10 17.55 18.00

13.36 15.87 16.28 16.70

12.00 14.25 14.63 15.00

G

Gampi Yuki

24 x 33½

45

14.00

12.60

11.69

10.50

G

Gasenchi Echizen 17½ x 25½ 35 2.96 2.67 2.47 2.22 Gifu Machine-mades 02 Kozo Natural 25 x 38 30 4.50 4.05 3.76 3.38 08 Kozo White 25 x 38 25 3.50 3.15 2.92 2.63 Green Tea Medium Tone 21½ x 31 20 2.50 2.25 2.09 1.88 Green Tea Light Tone 21½ x 31 20 2.00 1.80 1.67 1.50 Mino Colors 21½ x 31 60 2.00 1.80 1.67 1.50 14 Moon Peach Medium 21½ x 31 20 2.50 2.25 2.09 1.88 21 Moon Peach Heavy 25 x 34½ 45 6.80 6.12 5.68 5.10 18 Washi Sized 25 x 34½ 20 4.50 4.05 3.76 3.38

■ - made in the style of Chinese sumi-e papers

Gozen Sized

25 x 37

40

16.00

14.40

13.36

12.00

■ - dosa sized

Goyu

21 x 29

50

6.10

5.49

5.09

4.58

Hanshi

9 x 12

20

180

10.60 - p ackage of 100 sheets

Paper is fragile ! No returns or exchanges are allowed

■ - affordable machine-mades

■ - practice paper, great for book binding projects

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

ASIA

■ Special Remarks G - Gampi Paper Size Gr/M2

M - Mitsumata ■ Small Format ■ Large Format

K - Kozo

1 25 100 500 ■

G

K

M

JAPAN Harukaze SH4 - Hiromi Collection

25 x 35

38

4.76

4.28

3.97

3.57

Hiryu SH12 - Hiromi Collection

25 x 35

38

5.26

4.73

4.39

3.95

Hon-Mino-Gami - Hiromi Collection Hon-Mino-Gami HP01 25½ x 38½ 30 39.20 35.28 32.73 29.40 Uso-Mino-Gami HP02 25 ¼ x 36¼ 15 21.00 18.90 17.54 15.75 Uso-Mino Thin HP04 25 x 36¼ 11 21.00 18.90 17.54 15.75 Chochin HP05 25¼ x 36½ 19 23.90 21.51 19.96 17.93 Hon-Misu-Gami - Hiromi Collection

10 x 25½

35

15.00

13.50

■ - conservation grade

K

■ - conservation grade

K

Honen Sized 25 x 38½ 35 3.60 3.24 3.01 2.70 Hosho - Hiromi Collection Hosho Professional 19 x 24 85 3.80 3.42 3.17 2.85 Hosho Professional 24 x 36 85 11.00 9.90 9.19 8.25 Hosho Kozo 16½ x 22 85 8.00 7.20 Hosho Natural 16½ x 22 85 4.00 3.60 3.34 3.00 Hosho Student Grade 16 x 22 95 3.10 2.79 2.59 2.33 Hosho Iyo 27½ x 39 65 10.00 9.00 8.35 7.50

■ - dosa sized

Hosokawa Ohban 22½ x 35¼ 40 18.85 16.96 15.73 14.13 Inshu Gampi 01 25 x 38½ 20 24.00 21.60 20.04 18.00 Kozo 003 24¾ x 39 17 15.50 13.95 12.94 11.63 Kozo 005 24¾ x 39 20 17.00 15.30 14.20 12.75 Kozo 016 25 x 37 35 8.00 7.20 6.68 6.00 Mitsumata Natural 25 x 37 20 22.00 19.80 18.37 16.50 Mitsumata White 25 x 37 20 16.00 14.40 13.36 12.00 Rydudou Kozo 33 26½ x 38 33 10.00 9.00 8.35 7.50 Rydudou Kozo 55 26½ x 38 55 16.00 14.40 13.36 12.00 Iwano Handmades Akamashi Natural #19 42½ x 77½ 40 100.00 Echizen Gasen Nisoh #17 28 x 53½ 50 20.00 Echizen Kizuki Hosho #30 18 x 21½ 60 30.00 Hanga-shi Gampi #34 42½ x 77½ 85 260.00 Hanga-shi Kozo #32 & #33 42½ x 77½ 85 120.00 Hanga-shi Mitsumata #35 20 x 25 200 50.00 Kumo Hadamashi #24 42½ x 77½ 85 152.00 Shikoshi Colors #12, 13 14 15 42½ x 77½ 45 140.00 Shiromashi Dosa #5 42½ x 77½ 40 100.00

■ - conservation grade

Iyo Glazed 17 x 22 85 3.70 3.33 Izumo Mingei Mitsumata-shi Colors 25 x 37 35 19.00 17.10 Izumo Mingei Mitsumata-shi White Thin 21 x 31 20 12.00 10.80 Izumo Mingei Mitsumata-shi White or Natural 9½ x 11½ 70 9.50 8.55 Izumo Mingei Mitsumata-shi White or Natural 12½ x 19½ 70 20.00 18.00 Jougami 7¼ x 18½ 30 4.00 3.60

■ - conservation grade G K K K K K

M M

■ - some of the finest & largest papers made today ■ ■ - made in the style used by master ukiyo-e printers G ■ K ■ ■ - extraordinary surface and luster M ■ - internally sized & highly prized ■ ■ - deep color sheets often used with gold leaf ■ ■ - hemp and dosa sizing ■

2.78

■ - dried on metal to give a smooth surface

15.87

14.25

■ - conservation grade, lustrous sheets M ■ - heavy weight lustrous sheets M ■

3.34

3.00

24½ x 39

24

6.90

6.21

5.76

5.18

Kakishibu-Shi Kozo Kakishibu-Shi Kozo Kakishibu-Shi Kozo

25 x 38 7½ x 7½ 11 x 15

50 inquire 45 5.50 45 12.00

4.95 10.80

4.59 10.02

4.13 9.00

Kankoshi HK0062

24½ x 38½

83

9.00

8.35

7.50

181

K

3.09

Kaji Natural

10.00

■ - soft, absorbent grades for block prints & sumi-e

■ - small scroll format

■ - persimmon dyed

Paper is fragile ! No returns or exchanges are allowed

■ - unusual, scratchy surface with a deep tone

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

ASIA

■ Special Remarks G - Gampi Paper Size Gr/M2

M - Mitsumata ■ Small Format ■ Large Format

K - Kozo

1 25 100 500 ■

G

K

M

JAPAN Kawashi

26 x 39

70

4.40

3.96

3.67

3.30

■ - works well with digital printers

Kihada Kozo Dyed Kihosen Kana Writing HK0001 Kikuchi

25 x 38 27½ x 53½ 12 x 16

30 28 100

18.00 10.00 5.50

16.20 9.00 4.95

8.35 4.59

7.50 4.13

■ - made in the style of Chinese sumi-e papers ■ K ■

Kikura Kozo Kikura Kozo

25 x 37 25 x 37

21 44

3.80 5.65

3.42 5.09

3.17 4.71

2.85 4.23

Kiraku Kozo Kitakata Natural, Greenish Kitakata Machine-made Kizuki Kozo White & Natural

25 x 39 16 x 20 25 x 38 24 x 39

35 30 30 43

7.20 2.90 7.50 12.00

6.48 2.61 6.75 10.80

6.01 2.42 6.26 10.02

5.40 2.18 5.63 9.00

Kizukishi

24 x 36

14

19.05

17.15

15.91

14.25

Kochi White Kochi Natural

20 x 26 24 x 36

109 14

8.25 9.00

7.43 8.10

6.88 7.52

6.18 6.75

■ - Philippine gampi - great for printing ■ - Philippine gampi - great for printing / digital ■ - conservation grade K ■ - conservation grade

K

■ - thick, smooth surface for printing & painting ■ - rare, lustrous sheets of gampi & kozo

Kozo Gampi Torinokoshi - Tosa Washi Collection HK0013 22 x 30 118 18.68 16.81 HK0016 24¾ x 35¼ 176 43.94 39.55 Kozo Koban

13½ x 16

55

4.00

3.60

3.34

3.00

Kozo Moriki Natural Kozo Moriki Colors

25 x 37 25 x 37

40 40

13.50 13.50

12.15 12.15

11.27

10.13

Kozoshi Handmades - Hiromi Collection Kozoshi HM2 25 x 38 21 9.00 8.10 7.52 6.75 Kozoshi Uwazen DHM9 25½ x 34½ 79 15.00 13.50 12.53 11.25 Kozoshi Misumi DHM11 25½ x 38 116 19.50 17.55 16.28 14.63 Kozoshi Kochi-Shi DHM13 20 x 26 132 12.00 10.80 10.02 9.00 Kozoshi DHM14 15½ x 17¾ 194 15.00 13.50 12.53 11.25 Kozoshi Machine-mades - Hiromi Collection Kozoshi MM1 25 x 38 24 5.60 5.04 4.68 4.20 Kozoshi MM2 25 x 38 36 5.30 4.77 4.43 3.98 Kozoshi Handmades - Tosa Washi Collection HK0022 Natural 24½ x 38½ 30 8.40 7.56 7.01 6.30 HK0023 Natural 24½ x 38½ 35 8.40 7.56 7.01 6.30 HK0023W White 24½ x 38½ 35 8.40 7.56 7.01 6.30 HK0027 Natural 24½ x 38½ 55 8.50 7.65 7.10 6.38 Kozoshi Machine-mades - Tosa Washi Collection M0202 Natural 24½ x 37 44 6.00 5.40 5.01 4.50 M0203 Natural 24½ x 37 22 4.00 3.60 3.34 3.00 M0206 Natural Sized 24½ x 37 56 3.60 3.24 3.01 2.70 M0207 White Sized 24½ x 37 56 4.00 3.60 3.34 3.00 M0207-2 White 24½ x 37 31 2.80 2.52 2.34 2.10 M0207-3 White 24½ x 37 80 8.20 7.38 6.85 6.15

G

K

M

■ - limited availability ■ - kozo blends ■ - dosa sized ■ - dosa sized ■ - dosa sized ■ - dosa sized ■ - kozo blends

■ - kozo blends

■ - kozo blends

Kozo Thick White & Natural

25 x 38

70

7.85

7.07

6.55

5.89

■ - 90% kozo with slight translucency

Kozuke White & Ivory

25 x 37

44

4.20

3.78

3.51

3.15

■ - kozo blends high quality, economical

Lens Tissue Manilla Hemp 24 x 37 9 2.34 Lens Tissue Rayon 24 x 37 9 1.50 Manila Hemp Natural & Ice Blue 25 x 37 16 2.34

2.11 1.35

1.95 1.24

1.76 1.11

■ - thin for repair, interleaving, collage

2.11

1.95

1.76

■ - thin for repair, interleaving, collage

.99

.92

.83

Masa Cold White & Soft White- also see rolls

182

21 x 31

70

1.10

Paper is fragile ! No returns or exchanges are allowed

■ - student grade double-sided sheet

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

ASIA

■ Special Remarks G - Gampi Paper Size Gr/M2

M - Mitsumata ■ Small Format ■ Large Format

K - Kozo

1 25 100 500 ■

G

K

M

■ - highest quality hemp & kozo ■ - highest quality hemp & kozo, dosa sized

■ ■

JAPAN Mashi Thick Nama Mashi Thick Dosa Sized

60 x 84 60 x 84

110 110

250.00 300.00

Mingei-shi Natural SH35 Mingei-shi Colors

25 x 38 25 x 38

45 40

6.00 6.80

5.40 6.12

5.01 5.68

4.50 5.10

Mino-Gami HM3

25 x 38

24

10.60

9.54

8.85

7.95

■ - conservation grade

Misu with Clay Pigment - Hiromi Collection

25 x 38

20

8.50

7.65

7.10

6.38

■ - clay added for stability, pronounced su markings

Mitsumata Fuji Mitsumata & Salago Mitsumata Letter Mitsumata Tissue Mitsumata Umeda Kochi

25 x 37 25 x 37 8 x 11½ 22 x 27½ 25 x 37

24 24 20 20 24

6.70 5.00 3.00 7.50 20.00

6.03 4.50 2.70 6.75 18.00

5.59 4.18 2.51 6.26 16.70

4.69 3.75 2.25 5.63 15.00

Mizota Hanban Mizota Udaban

12 x 24 12½ x 57

33 33

8.00 12.00

7.20 10.80

6.68 10.02

6.00 9.00

K

M ■ - smooth surface works well with digital printers M ■ ■ - fine tissue M ■ - conservation grade M ■ - scroll format ■ ■ - scroll format

Mohachi Handmade 8½ x 8½ 300 8.00 7.20 6.68 6.00 8½ x 11 300 8.00 7.20 6.68 6.00 10 x 13¾ 300 10.00 9.00 8.35 7.50 16 x 25 185 12.00 10.80 10.02 9.00 22 x 22 300 18.00 16.20 15.03 13.50 22 x 30 300 18.20 16.38 15.20 13.65 31 x 47 500 169.20 152.28 141.28 126.90 Mulberry 24 x 33½ 45 4.80 4.32 4.01 3.60 Mulberry 25 x 38 45 5.00 4.50 4.18 3.75

■ - heavyweight & sized

■ - heavyweight & sized

Mura Binsen 7 x 10 24 2.00 1.80 Mura Rokubu 13½ x 16 35 5.00 4.50 Mura Udaban 16 x 56 64 18.00 16.20 Nara Fukinushi Natural Dyed Uda 12½ x 18 25 12.00 10.80

1.50 3.75 13.50

■ - magnificent scroll

■ ■

10.02

9.00

■ - made & dyed by master papermaker

24 x 36

75

11.00

Nishinouchi N0001 Natural N0002 Ohban White1 Sou N0003 Ohban White 2 Sou N0004 Gaseban White

24 x 36 28½ x 41 28½ x 41 29 x 56

45 30 60 25

18.00 - Last of stock 24.00 - Last of stock 48.50 - Last of stock 30.00 - Last of stock

Oguni Chiri Ogunigami

11¼ x 15 11 x 15¼

60 36

7.00 9.50

Ogura Natural Ogura Colors

24 x 36 24 x 36

108 108

10.65 7.00

Okawara Handmade Okawara Handmade

12 x 16 14 x 38

60 60

3.90 6.20

■ - very popular kozo blend

1.67 4.18 15.03

Natsume 4007

■ - highest quality kozo

6.30 8.55

5.85 7.93

5.25 7.13

■ ■

9.59 8.89 7.99 6.30 - last of stock 3.51 5.58

■ - well known favorite ■ - scroll format

K K

■ ■

3.26 5.18

2.93 4.65

Okawara Machine Made Pinkish Natural 38 x 74 60 19.30 17.37 16.11 Greenish Natural 38 x 74 60 14.10 12.69 11.77 Okawara Student Grade 18 x 25 46 4.10 3.68 3.39

14.47 10.58 3.05

■ ■

Otoshi Medium HK0024

29½ x 56

33

11.60

10.44

9.69

8.70

Rayon Gauze Rayon M0321

25 x 37 23½ x 35

25 50

3.00 4.40

2.70 3.96

2.51 3.67

2.25 3.30

■ - thin & strong

183

Paper is fragile ! No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

ASIA

■ Special Remarks G - Gampi Paper Size Gr/M2

M - Mitsumata ■ Small Format ■ Large Format

K - Kozo

1 25 100 500 ■

G

K

M

K K M

■ ■

JAPAN Sakamoto Sakamoto Heavy

25 x 38½ 25 x 38½

80 110

4.20 4.50

3.78 4.05

3.51 3.76

3.15 3.38

Sansui SH8 - Hiromi Collection

25 x 38

24

5.02 - last of stock

Seichoshi-Homare HK0009 29½ x 40 49 31.00 27.90 Seichosen HM22 - Hiromi Collection 29½ x 55 32 32.80 29.52 Seiko-Sen HM23 - Hiromi Collection 29½ x 55 32 34.50 31.05 Sekishu Natural 24 x 39 30 7.90 7.11 Sekishu White 24 x 39 30 7.55 6.77

25.89 27.39 28.81

23.25 24.60 25.88

6.60 6.28

5.93 5.64

Sekishu-Hanshi Tsuru HP06 20½ x 28 21 13.35 Sekishu-Hanshi Mare HP07 20½ x 28 21 17.60 Sekishu-Hanshi Mare Small - (cut edges) 9¾ x 13¾ 25 5.00 Sekishu Torinoko Gampi HP60 21 x 28½ 17 19.20

12.01 15.84 4.50

11.14 14.70 4.18

10.01 ■ - conservation grade 13.20 ■ - conservation grade 3.75

17.28

16.02

14.39

■ - conservation grade ■ - conservation grade ■ - conservation grade

■ - 80% kozo makes this a stong, versitile sheet

■ - finest

G

Senka-Shi HM35 - Hiromi Collection 25 x 38½ 30 14.45 13.00 12.06 10.83 HM36 25 x 38½ 38 16.90 15.21 14.11 12.68 HM37 25 x 38½ 44 18.80 16.92 15.70 14.10

■ - conservation grade ■ - conservation grade ■ - conservation grade

Shigure SH15 - Hiromi Collection 25 x 38 25 9.90 8.91 8.27 Shikibu Echizen Washi Handmades Gampi-shi 01 White 25 x 37 13 28.00 25.20 23.38 Gampi-shi 03 White 25 x 37 26 43.80 39.42 36.57 Gampi-shi 06 Natural 25 x 37 13 34.70 31.23 28.97 Gampi-shi 08 Natural 25 x 37 26 50.00 45.00 41.75

■ - conservation grade G G G G

Gampi-shi Colors Kizukishi Kozo Dyed Kozo-shi 27 Mitsumata-shi 11

Shikishi Kochi White & Natural Shikishi Kochi Black Shikishi Mini White or Natural

K K K

7.43

12.57 12.57

G K K

20 x 30 25 x 37 24 x 35½ 21½ x 33

13 18 26 20

16.76 16.76 19.20 19.20

15.08 15.08 17.28 17.28

13.99 13.99

9½ x 10½ 9½ x 11½ 5 x 5½

300 300 300

12.50 14.40 3.00

11.25 12.94 2.70

10.44 11.99 2.51

9.38 10.77 2.25

12.44 9.13

11.18 8.21

■ - gampi mounted to heavier stock good for digital

6.10

5.48

Shikoku Surface Gampi Deep Natural 25 x 38 120 14.90 13.41 Shikoku Surface Gampi White 25 x 38 120 10.95 9.85 Shiramine MM5 - Hiromi Collection 25 x 38 110 7.30 6.57 Shoji

24½ x 38½

45

8.50

7.65

7.10

6.38

Shojoshi

4 x 6 8½ x 11¾ 10 x 14 12½ x 18

200 200 200 200

1.40 4.65 6.55 8.90

1.26 4.18 5.89 7.99

1.17 3.86 5.46 7.40

1.05 3.47 4.91 6.65

Silk Tissue

18 x 24 25 x 38

10 10

2.80 5.20

2.52 4.68

2.34 4.34

Sugikawashi

24 x 37

80

12.00

10.80

Tamura Koban

13 x 15

30

4.00

3.60

184

K K

2.10 3.90

M

■ - tissue

■ ■ ■

■ ■ ■ ■

G

■ -made in the tradition of ancient Japan 3.34

3.00

Paper is fragile ! No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPER - PRICES

ASIA

■ Special Remarks G - Gampi Paper Size Gr/M2

M - Mitsumata ■ Small Format ■ Large Format

K - Kozo

1 25 100 500 ■

G

K

M

JAPAN Tengucho Handmade - Hiromi Collection HM1 Tengucho White 21 x 30½ 9 15.00 13.50 12.53 11.25 Tengucho Handmade (Caustic Soda) 21 x 30½ 11 6.98 6.28 5.83 5.24 Tengujoushi Handmade Dyed 21 x 30½ 9 9.50 8.55 7.93 7.13 Tengucho Machine-made Tengucho CT Colors 25 x 37 9 6.00 5.40 5.01 4.50 W1 Tengucho 25 x 38 9 2.10 1.89 1.75 1.58 W1T Tengucho Thin 25 x 38 5 4.60 4.14 3.84 3.45

■ - conservation grade

K

■ - conservation grade ■ - conservation grade

K K

Taniai

10 x 13

22

4.50

4.10

Torinoko Handmade

21 x 31

125

9.00

8.10

Torinoko MMN105 White or Natural 36 x 72 240 13.20 11.88 Torinoko MMN105B Black 36 x 72 240 17.20 15.48 Torinoko Brushstrokes 31 x 43 60 6.50 5.85 Tosa Hanga 25½ x 38 90 17.30 15.57 Tosa Kasagami 15½ x 19 46 8.50 7.65 Tosa Kozo #8 Natural & White 25 x 38 50 9.60 8.64 Tosa Maruishi 25 x 38 100 26.10 23.49 Tosazome Purple Toyama

25 x 33 20 x 26

7.52 11.02 9.90 14.36 12.90 5.43 4.88

14.45 12.98 7.10 6.38 8.02 7.20 21.79 19.58

■ - heavyweight and internally sized for printing ■ ■ - heavyweight and internally sized for printing

120 60

30.00 9.00

8.10

Uda-Gami Thin HM40 - Hiromi Collection 12½ x 58 Uda-Gami Medium HM41 - Hiromi Collection 12½ x 58

26 49

18.00 22.00

16.20 19.80

Uwa Senka Small Uwa Senka Long

12 x 16 14 x 38½

55 55

3.00 7.50

2.70 6.75

2.51 6.26

2.25 5.63

Vegetable Papers

25 x 38

40

12.00

10.80

10.02

9.00

8.77

7.88

7.52

6.75

15.03 13.50 18.37 16.50

■ - conservation grade ■ - conservation grade

K K

K K

■ - conservation grade

K

■ - conservation grade

K

■ ■

Walnut Dyed Kururu Kozo 25 x 38 30 20.00 18.00 Yame Kozo Hadakura S1 - S4

25 x 38

16

10.50

9.45

Yatsuo A Yatsuo 25 x 37 40 6.80 6.12 5.68 5.10 B & C Yatsuo 25 x 36 40 7.30 6.57 6.10 5.48 D & E Yatsuo 25 x 37 40 8.00 7.20 6.68 6.00 Yuku-shi Snow Bleached Handmades 25 x 38 13 16.98 25 x 38 16 19.80 17.82 25 x 38 27 26.40 23.74 25 x 38 41 29.34 26.41 Yukyu Natural 7 x 10 39 2.50 2.25 Zairai 24½ x 36 36 4.10 3.69

185

■ ■

16.53 22.03 24.50

14.85 19.79 22.01

2.09

1.88

3.42

3.08

■ - works well for digital printing

Paper is fragile ! No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.

■ ■


ART PAPER - PRICES

ASIA

■ Special Remarks G - Gampi Paper Size Gr/M2

K - Kozo

M - Mitsumata ■ Small Format ■ Large Format

1 25 100 500 ■

G

K

M

■ - Korean Dak ■ - Oiled surface deepens in color over time ■ - Korean Dak & Kozo blend ■ - Korean Dak & grey stone pigment

KOREA Hanji Colors Hanji Oiled Hanji Mulberry Mix Hanji Stone Grey

25 x 37 30 x 56 26 x 38 30 x 57

40 40 40 40

5.00 50.00 10.00 20.00

4.50

4.18

Chautara Lokta Natural Chautara Lokta Natural & Colors

20 x 26 20 x 26

20 65

Jazz

19 x 29

60

3.75

9.00

8.35

2.50 4.25

2.25 3.83

2.09 3.56

1.88 3.20

■ - Nepalese gampi ■ - Nepalese gampi

5.20

4.68

4.34

3.90

■ - tissue mounted on gauze makes these very strong

NEPAL

Khadi Himalayan Mitsumata JM3 20 x 32 30 4.40 3.96 3.67 3.30 Mitsumata JM4 20 x 32 60 5.00 4.50 4.18 3.75 Traditional L5 N 19 x 26 10 1.80 1.56 1.47 1.32 Traditional L10 N 19 x 26 30 1.80 1.56 1.47 1.32 Traditional L20 N 19 x 26 90 3.00 2.70 2.51 2.25 Traditional L40 N 19 x 26 140 4.40 3.96 3.67 3.30 Traditional N1 Natural 19 x 26 30 1.80 1.56 1.47 1.32 Traditional N1 Dyed 19 x 26 30 1.80 1.56 1.47 1.32 Washi L - JL 3. 20 x 32 30 4.40 3.96 3.67 3.30 Washi L - JL4 Smooth, medium weight. 20 x 32 60 4.40 3.96 3.67 3.30 Lhakpa Natural 8½ x 11 30 2.50 2.25 2.09 Natural 12½ x 18½ 50 4.00 3.60 3.34 Natural 27½ x 39 60 25.00 Natural 39 x 68 20 30.00 Natural 39 x 68 40 50.00 Natural 39 x 68 60 80.00 Natural 58 x 118 60 180.00 Black. 27½ x 39 150 25.00 Transparent Deerskin

■ - imperfect skin membranes used for pounding gold

16 x 20 (approximate)

35.00

■ - Nepalese mitsumata

M

G

G

G

G ■ G ■ G G ■ G ■ G ■ G ■ G

PHILIPPINES Gan Ning

27½ x 53 27½ x 53

18 18

7.70 5.80

6.85 5.25

6.34 4.82

5.69 4.33

■ K G ■

THAILAND Garden Plain Smooth 22 x 30 100 3.75 3.37 3.13 2.81 Garden Plain Rough 22 x 30 100 2.90 2.61 2.42 2.18 Mulberry Machinemade Bleached 25 x 37 45 4.00 3.60 3.34 3.00 Machinemade Colors 25 x 37 45 4.40 3.96 3.67 3.30 Machinemade Unbleached 25 x 37 15 1.75 1.58 1.46 1.31 Machinemade Unbleached 25 x 37 45 4.00 3.60 3.34 3.00 Tissue 19 x 21½ 10 1.30 1.17 1.09 0.98 Tissue 19 x 21½ 25 1.30 1.17 1.09 0.98 Tissue 31½ x 39 30 4.00 3.60 3.34 3.00

186

Paper is fragile ! No returns or exchanges are allowed

K K

K K K K K K K

order: 800-950-6111 or: 212-473-7705.


ART PAPER - ROLLS

Japan Note: papers were scanned on black and white background to show translucency

Chiri

Color Kozo

Daitoku

Gampi 19 White

Gampi 18 Natural

Gampi Kashiki 18 gram

Gampi 20 White

Gampi 20 Natural

Gampi Kashiki 19 gram

Haini

Gampi Toyo MM24

Gampi Kashiki 25 gram

Japan Chiri Natural

100% kozo fiber. Neutral pH. Tan, with fibers and dark brown flakes.

Japan Color Kozo HPCR-CO

100% Japanese kozo made by direct dye process into a color that is especially suited for the repair of old documents. Commissioned by the Tokyo Restoration Conservation Center. Neutral pH. (7.3)

Japan Daitoku White

Kozo and sulphite blend. Wide, heavyweight paper. Neutral pH.

Japan Gampi MM 18-19 / MM 20 Natural & White 100% gampi prepared by hand to insure quality and to avoid the use of chemicals that could effect the archival standards. Neutral pH.

Japan Gampi Kashiki Natural 100% Japanese gampi. Neutral pH.

Japan Gampi Toyo MM 24 Natural 95% Philippine gampi, 5% straw. Neutral pH.

Japan Haini White

100% Tosa kozo. Exceptionally fine quality. White. Neutral pH.

Roll Chiri Daitoku Gampi MM 18 Natural MM 19 White MM 20 Natural MM 20 White Gampi Kashiki Gampi Kashiki Gampi Kashiki Gampi Toyo MM24 Haini

Size G/m2 36 x 10 yards 36 75½ x 22 yards 105 38 x 10 yards 38 x 10 yards 38 x 10 yards 38 x 10 yards 39 x 10 yards 39 x 10 yards 39 x 10 yards 43 x 11 yards 38 x 60 yards

15 15 20 20 8 19 25 24 5

The following Japanese papers are also sold by the yard. Roll Width G/m2 Color Kozo (limited stock) 38 5 Gampi Kashiki 39 8 Gampi Kashiki 39 19 Gampi Kashiki 39 25 Haini 38 5

Price 80.00 320.00 220.00 142.00 315.00 210.00 185.50 269.00 386.00 79.00 626.00 Yard 19.00 18.55 26.90 38.63 17.40

Due to the fragility of the material, we cannot roll down more than 10 continuous yards of any paper.

187

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPER - ROLLS

Japan Note: papers were scanned on black and white background to show translucency

Hosho Thick

Kitakata Natural

Haruki

Kikura 21 gram

Kikura 44 gram

Kinwashi White

Kinwashi Natural

Kinwashi Unryu

Kozo-shi 206

Kozo-shi 207

Kozo-shi MM1

Japan Haruki White

Machine-made in Japan from 100% Kozo. "Cloud Dragon Paper." White with long swirls of white kozo fibers. Neutral pH.

Japan Hosho Thick White 100% sulphite. Thick, opaque and soft. White. Neutral pH.

Japan Kikura Kozo Natural Kozo and sulphite. Strong, cloudy formation. Neutral pH.

Japan Kinwashi White & Cream & Golden Unryu

Manila hemp and sulphite pulp. Smooth with fine, straw-like fibers.

Japan Kitakata Natural

90% Philippine gampi. Neutral pH.

Japan Kozo-shi MM1 Natural

30% kozo & sulphite. Natural. Neutral pH.

Japan Kozo-shi 206 Natural Sized & Kozo 207 White Kozo & sulphite blend. Neutral pH.

Roll Haruki Hosho Thick Haruki Hosho Thick Kikura Kozo Kikura Kozo Kikura Kozo Kinwashi GoldenUnryu Kinwashi Cream Kinwashi White Kitakata Kitakata Kozo-shi MM1 Kozo 206 Natural Sized Kozo 207 White

Size G/m2 Price 38 x 10 yards 73 142.50 45 x 22 yards 140 240.00 38 x 10 yards 73 142.50 45 x 10 yards 140 162.50 38 x 10 yards 21 60.00 38 x 10 yards 44 82.50 38 x 10 yards 65 123.00 38 x 10 yards 55 70.00 36 x 10 yards 55 69.00 36 x 10 yards 55 69.00 38 x 10 yards 30 97.50 16 x 10 yards 35 42.00 47 x 65 yards 38 475.00 38 x 10 yards 56 62.00 38 x 10 yards 56 70.00

The following Japanese paper is also sold by the yard. Roll Width G/m2 Kozo-shi MM1 47 38

Yard 10.85

Due to the fragility of the material, we cannot roll down more than 10 continuous yards of any paper.

188

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPER - ROLLS

Japan Note: papers were scanned on black and white background to show translucency

Kozo Thick White

Kozo Thick Natural

Kozuke White

Kozuke Ivory

Japanese Mulberry 26 gram

Masa Cool White (smooth side shown above)

Japanese Mulberry Heavyweight 52 gram

Masa Soft White (textured side shown above) Kumogarashi

Japan Kozo Thick White & Natural 90% kozo. Neutral pH.

Japan Kozuke White & Ivory 70% kozo. Neutral pH.

Japan Kumogarashi

10% kozo, 90% manila hemp.

Japan Masa Cool White & Soft White

100 % sulphite. One side smooth, one side Cold Pressed. No deckles.

Japan Misu White

Exceptionally fine, 100% Japanese kozo. Neutral pH.

Japan Mulberry& Mulberry Heavyweight

A blend of sulphite and kozo. Neutral pH. White

Misu

Roll Kozo Thick White or Natural Kozuke White or Ivory Kozuke White or Ivory Kumogarashi Masa Cool or Soft White Misu Misu Mulberry Mulberry Mulberry Heavy Weight Mulberry Heavy Weight

Size G/m2 38 x 10 yards 38 x 10 yards 38 x 65 yards 38 x 10 yards 42 x 30 yards 39 x 10 yards 39 x 60 yards 27 x 10 yards 38 x 10 yards 27 x 10 yards 38 x 10 yards

Price

70 115.00 44 60.00 44 306.00 27 69.00 77 80.00 24 178.00 24 625.00 26 35.00 26 40.00 52 55.00 52 75.00

The following Japanese paper is also sold by the yard. Roll Width G/m2 Yard Misu 39 35 19.00

Due to the fragility of the material, we cannot roll down more than 10 continuous yards of any paper.

189

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPER - ROLLS

Japan Note: papers were scanned on black and white background to show translucency

Okawara

Sekishu 10 gram

Shiramine

Sekishu 15 gram

Shikoku Surface Gampi Deep Natural

Ogura Lace - Asarakusui

Sekishu 20 gram

Shikoku Surface Gampi White

Sekishu 30 gram

Sekishu 25 gram

Japan Ogura Lace - Asarakusui Natural

100% manila hemp. Pierced, lace-like surface. Natural tone.

Japan Okawara Natural

Machine-made of Kozo and Sulphite. Smooth one side, light texture on the other. Natural. Neutral pH.

Japan Sekishu Off-White

100% Tosa kozo from the Kochi Prefecture. Special care is taken in the preparation of these fibers to insure the finest quality product.

Japan Shikoku Surface Gampi Natural & White

A two layer, machinemade sheet. A thin sheet of lustrous, smooth gampi is fused together with an opaque base sheet of kozo, hemp and wood pulp. Neutral pH.

Roll Ogura Lace Okawara Sekishu Sekishu Sekishu Sekishu Sekishu Shikoku Gampi White Shikoku Gampi Natural Shiramine Shiramine

Size G/m2 47 x 10 yards 27 38 x 10 yards 60 38 x 66 yards 10 38 x 66 yards 15 38 x 66 yards 20 38 x 66 yards 25 38 x 66 yards 30 38 x 11 yards 110 38 x 11 yards 110 40 x 10 yards 107 40 x 54 yards 107

Price 65.00 88.00 452.00 495.00 520.00 545.00 580.00 155.00 240.00 160.00 580.00

The following Japanese papers are also sold by the yard. Roll Width G/m2 Yard Japan Shiramine White Sekishu 38 10 12.55 40% Japanese kozo, 60% sulphite. Heavy weight. Neutral pH. Sekishu 38 15 13.70 Sekishu 38 20 14.40 Sekishu 38 25 15.10 Sekishu 38 30 16.10 Due to the fragility of the material, we cannot roll down more than 10 continuous yards of any paper.

190

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


ART PAPER - ROLLS

Japan & Thailand Note: papers were scanned on black and white background to show translucency

Sumi-e Hosho

Torinoko Natural (smooth side seen above)

Tengucho 3 gram

Sumi-e Kozo

Torinoko White (textured side seen above)

Tengucho Thin 5 gram

Takefu Natural (textured side seen above)

Takefu White (smooth side seen above)

Tengucho W1 9 gram

Japan Sumi-e White

Machine-made in Japan. Cold Pressed. No deckles. White.

Japan Tengucho White

Very sheer tissues prepared by cooking in caustic soda Neutral pH. Tengucho W1 - 100% Thai Kozo, made in Tokushima Prefecture. Tengucho Thin - 100% Thai Kozo, made in Kochi Prefecture. Tengucho 3 gram - 100% Japanese Kozo, made in Kochi Prefecture.

Japan Takefu White & Natural

Roll Sumi-e Sumi-e Sumi-e Takefu White & Natural Tengucho W1 Tengucho 5 gram Tengucho 3 gram Torinoko White/Natural

Size G/m2 8 x 20 feet 30 11 x 20 yards 30 18 x 10 yards 30 38 x 20 yards 100 38 x 20 yards 9 38 x 20 yards 5 38 x 11 yards 3 79 x 22 yards 235

Price 8.90 16.50 13.50 130.00 60.00 93.00 71.00 385.00

100% sulphite. Heavy weight with a durable surface. Neutral pH.

Japan Torinoko White & Natural

100% sulphite. Heavy weight with a durable surface. Neutral pH.

Thai Mulberry Un-Bleached

Thai Mulberry Bleached

Thailand Mulberry

Machine-made in Thailand. 100% kozo. Neutral pH.

Thailand Unryu

Machine-made in Thailand. 100% kozo. Neutral pH.

191

Paper is fragile !

Thai Unryu White

Thai Unryu Black

Roll Mulberry Bleached Mulberry Unbleached Unryu White & Black

No returns or exchanges are allowed

Size G/m2 37 x 11 yards 45 37 x 11 yards 45 39 x 11 yards 25

Price 56.00 56.00 58.00

order: 800-950-6111 or: 212-473-7705.


ART PAPER - ROLLS

Japan Conservation Tissues Note: papers were scanned on black and white background to show translucency

Japanese Conservation Tissues

Machine-made in Japan, these synthetic based materials are exceptionally strong even when wet, making them ideal for conservation, bookbinding and mounting. These products are paste resistant so it is possible to lay directly on freshly pasted areas before weighting them without worry of adhesion.

Japan Atsukuchi Rayon Paper Thick HPCR50

HPCR50 Atsukuchi Rayon Thick

Used as a blotting material since the rayon draws moisture away due to capillary action. Very strong. Rayon will expand when wet.

Japan Usukuchi Rayon Paper Thin HPCR51

Almost transparent gauze similar to Atsukuchi Rayon Paper.

HPCR51-12 Usukuchi Rayon Thin 12 gram

Japan Polypropylene HPCR52 Polypropylene does not expand as much as rayon when wet. Japan Mesh Paper HPCR53 For blotting, covering work areas and wrapping for storage.

Roll Size G/m2 Roll Yard HPCR 50 37 x 60 meters 52 160.00 4.75 HPCR 51 39 x 100 meters 12 215.00 3.50 HPCR 51 39 x 100 meters 18 240.00 4.00 HPCR 52 39 x 60 meters 20 229.00 5.00 HPCR 53 39 x 50 meters 15 Limited supply 6.00 HPCR51-18 Usukuchi Rayon Thin 18 gram

Due to the fragility of the material, we cannot roll down more than 10 continuous yards of any paper.

Japanese interleaving Tissues Japan Mori Tissue HPCR52 Polypropylene

Machine made of 100% sulphite in the Kochi Prefecture. Neutral pH, buffered tissue for interleaving. Also used for printing labels for lamination.

Japan Pure Guard

HPCR53 Mesh

Machine made of 100% sulphite in the Kochi Prefecture. Un- buffered, neutral pH tissue for interleaving. Roll Size G/m2 Roll Mori 35 x 50 meters 20 80.00 Pure Guard 43 x 30 meters 45 100.00

Mori Tissue

Pure Guard

192

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


digital papers Arches / Canson / Rives Digital

All 100% cotton with special coating for digital prints. Archival, museum quality.

Arches Velin Rag - Mouldmade. White. Cold pressed, textured surface. Aquarelle Rag - Mouldmade. Traditional-white. Cold pressed, textured surface. Canson Edition Rag - Machine made. White. Vellum surface. Canson Photographique Canson Photographique - Duo Sided - Machine made. White. Ultra-smooth surface. Arches Cover Digital

Arches Digital BFK Rives - Mould made. White. Vellum surface. Size Gr/M2

Ink-jet papers Arches Velin Digital Arches Aquarelle Digital Arches / Canson Edition Digital Arches / Canson Photographique Digital Arches / Canson Photographique Duo Digital Arches / BFK Rives Digital

17 x 22 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22

250 240 310 210 220 310

1 25 100 500 8.10 8.10 7.70 6.30 7.60 10.00

7.29 6.74 6.05 7.29 6.74 6.05 6.93 6.41 5.76 5.67 5.25 4.71 6.85 6.34 5.69 9.00 8.35 7.50

Arches Aquarelle Digital

BFK Digital

Canson Edition / Photographique Digital

Colorado Gloss Digital

Colorado Digital Gloss

Machine-made of 100% sulphite. Photo style in gloss finish. Neutral pH. Ink-jet papers Colorado Digital Gloss

Size Gr/M2 17 x 22

245

1 25 100 500 6.75

6.06

5.62

5.05

Entrada Digital Bright White

Machine-made of 100% cotton. Coated both sides. Neutral pH. Ink-jet papers Entrada Digital Bright White Entrada Digital Bright White

Size Gr/M2 17 x 22 17 x 22

190 300

1 25 100 500 6.00 6.35

5.39 5.71

5.00 5.30

Entrada Digital

4.49 4.76

Innova Digital

Museum grade, mouldmade papers from England. Compatible with dye and pigment based inks, the special coating creates a surface that is resistant to water, scuffing and abrasion making Innova ideal for portfolio presentations. Neutral pH.

Innova Digital Photo FibaPrint Ultra Smooth - Mouldmade of sulphite. Ultra-smooth,

Innova Photo FibaPrint Digital

bright white surface.

Innova Digital Photo Smooth Cotton Innova Digital Photo Smooth Cotton Duo 2-Sided - Mouldmade of 100% cotton. Ultra-

smooth, white surface.

Ink-jet papers Innova Photo FibaPrint Innova Photo Smooth Cotton Innova Photo Smooth Cotton Innova Photo Smooth Duo

Size Gr/M2 17 x 22 17 x 22 17 x 22 17 x 22

280 215 310 255

1 25 100 500 5.05 5.70 6.72 9.90

4.52 5.63 6.04 8.87

4.20 4.76 5.61 8.23

3.77 4.28 5.04 7.39

Innova Photo Smooth Digital

193

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


digital papers Hahnemühle Digital Papers

Made in Germany. Specially coated stock for home computers. Once printed, these papers stabilize the colors and make the prints less water soluble. All varieties are neutral pH.

Allegretto - Mould-made from high alpha cellulose. Off-white. Textured Surface. Albrecht Durer - Mould-made from high alpha cellulose. German Etching - Mould-made from high alpha cellulose. Natural Art Duo - Machine-made from high alpha cellulose. Natural White Smooth surface. Photo Rag - Machine-made from cotton and high alpha cellulose. Photo Rag Duo 2-Sided - Machine-made from cotton and high alpha cellulose. William Turner - Mould-made from high alpha cellulose. Torchon - Machine-made from high alpha cellulose. Rough surface. Ink-jet papers Digital Allegretto Digital Albrecht Durer Digital German Etching Digital Natural Art Duo Digital Photo Rag Digital Photo Rag Digital Photo Rag Duo-Sided Digital William Turner Digital William Turner Digital Torchon

Size Gr/M2 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22

1 25 100 500

210 6.35 5.73 5.31 4.77 210 8.00 7.19 6.68 6.00 310 8.70 7.83 7.27 6.53 256 9.00 8.10 7.52 6.75 188 7.35 6.59 6.11 5.49 308 9.80 8.79 8.15 7.32 276 11.15 10.00 9.28 8.33 190 7.45 6.67 6.19 5.56 310 9.80 8.80 8.16 7.33 285 8.25 7.39 6.86 6.16

HahnemÜhle Allegretto Digital

HahnemÜhle Photo Rag Digital

HahnemÜhle German Etch Digitall

HahnemÜhle Albrecht Durer Digital

HahnemÜhle Natural Art Digital

HahnemÜhle Torchon Digital

Hahnemühle Digital Paper Pads Soft Felt - Allegretto - 160 gram Coarse Felt - Albrecht Durer - 210 gram Heavy Parchment - Torchon - 285 gram

15 sheet pads

8½ x 11

10.00

HahnemÜhle William Turner Digital

194

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


digital papers Lumijet Silk Digital Bookweight Duo

Machine-made. Neutral pH. Coated both sides. White.

Museo Digital

Machine-made in the U.S. by Crane's of 100% cotton. Neutral pH. White.

LumiJet Silk Digital

Somerset Enhanced Satin

Somerset Enhanced Velvet

Somerset Enhanced Digital

Mould-made in England of 100% cotton. Neutral pH. Radiant White. Ink-jet papers

Size Gr/M2

1 25 100 500

Lumijet Digital

17 x 24

170

7.25

6.53

6.05

5.44

Museo Digital

17 x 22

250

6.80

6.12

5.65

5.07

Somerset Satin Somerset Satin Somerset Satin Somerset Satin Somerset Velvet Somerset Velvet Somerset Velvet Somerset Velvet Somerset Velvet Somerset Velvet Somerset Velvet

8½ x 11 11 x 17 13 x 19 17 x 22 8½ x 11 11 x 17 13 x 19 17 x 22 13 x 11 yard roll 24 x 11 yard roll 36 x 11 yard roll

300 2.20 300 4.35 300 5.30 300 8.15 225 2.20 225 4.00 225 4.60 225 7.50 255 129.00 255 212.00 255 288.00

Asuka Natural 48 gram

Museo Digital

1.98 1.83 1.65 3.92 3.63 3.26 4.77 4.42 3.96 7.32 6.80 6.10 1.98 1.83 1.65 3.60 3.32 3.45 4.14 3.84 3.45 6.75 6.25 5.60

Asuka White 75 gram

Asuka Natural 150 gram

Note: Japanese papers were scanned on black and white background to show translucency

Japanese Digital Papers Asuka White & Natural

Machinemade of sulphite. Smooth surface coated on both sides. Neutral pH. Ink-jet papers

Asuka White & Natural Asuka White & Natural Asuka White & Natural Asuka White & Natural Asuka White & Natural Asuka White & Natural

195

Paper is fragile !

Size Gr/M2 17 x 22 17 x 22 17 x 22 44 x 20 meter roll 44 x 20 meter roll 44 x 20 meter roll

48 75 150 48 75 150

1 25 100 500 1.80 2.00 3.00 98.00 132.00 265.00

1.62 1.80 2.70

1.50 1.67 2.51

1.35 1.50 2.25

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


digital papers Note: Japanese papers were scanned on black and white background to show translucency

Japanese Digital Papers Aya

Machinemade of hemp and sulphite. Smooth surface coated on both sides for digital printing. Neutral pH. White No deckles. Ink-jet papers

Size Gr/M2

1 25 100 500

Aya White Aya White A2

8½ x 11 16½ x 23¼

125 125

2.40 7.75

Aya White

44 x 15 meter roll

125

326.25

2.16 6.95

2.00 6.48

1.80 5.82

Digital Kozo

Machinemade of kozo and sulphite. Translucent sheet coated on both sides for digital printing. Neutral pH. White. No deckles. Ink-jet papers

Size Gr/M2

Aya White Digital

1 25 100 500

Kozo White

8½ x 11

70

2.00

Kozo White

44 x 15 meter roll

70

410.00

1.80

1.67

1.50

Niyodo Kozo

Machinemade of kozo and sulphite. Translucent sheets coated on both sides for digital printing. Neutral pH. White. No deckles. Ink-jet papers

Size Gr/M2

1 25 100 500

Niyoda Kozo White

17 x 22

25

4.00

3.60

3.34

3.00

Niyoda Kozo White Niyoda Kozo White Niyoda Kozo White

8½ x 11 13 x 19 17 x 22

48 48 48

1.25 2.90 4.50

1.12 2.61 4.05

1.04 2.42 3.76

.93 2.18 3.38

Niyoda Kozo White

43 x 20 meter roll

48

455.00

Kozo Digital

Niyodo White

Machinemade of kozo and sulphite. Translucent sheets coated on both sides for digital printing. Neutral pH. White. No deckles. Ink-jet papers

Size Gr/M2

1 25 100 500

Niyoda White Niyoda White Niyoda White

8½ x 11 13 x 19 17 x 22

63 63 63

1.10 2.40 4.00

Niyoda White

43 x 20 meter roll

63

404.50

.99 2.16 3.60

.92 2.00 3.34

.83 1.80 3.00

Niyoda Kozo 25 Digital 25 gram

Niyoda Kozo 25 Digital 48 gram

Niyoda White Digital

196

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


M U S E U M & C O N S E RV A T I O N B O A R D S

Polar White

White

Antique

Natural

Warm White

Olde White

Cream

Ivory

Black

Medium Grey

Neutral Grey

RISING MUSEUM BOARDS 100% cotton, neutral pH. / archival board. Buffered for stability. Ply Black 2 Ply 4 Ply 4 Ply

Size 32 x 40 32 x 40 40 x 60

1 12.35 24.70 46.30

25

100

500

11.10 22.22 41.67

10.29 20.60 38.66

9.24 18.50 34.72

16.83

15.60

14.01

Fawn, Light Grey, Neutral Grey, Grey, Zinc 4 Ply 32 x 40 19.80 17.82

16.54

14.85

Cream, Ivory, Olde White, Polar White 4 Ply 32 x 40 18.70

White, Warm White, Antique, Natural, Polar White 2 ply 32 x 40 9.35 8.41 7.80 4 ply 32 x 40 18.70 16.83 15.60 4 Ply 40 x 60 35.10 31.59 29.27 8 ply 32 x 40 47.10 42.67 39.30 8 ply 40 x 60 88.50 79.65 73.88 White 4 Ply 48 x 96 95.10 85.59 79.41 4 Ply 60 x 104 128.30 115.47 107.13

197

Paper is fragile !

7.01 14.01 36.29 35.30 66.34 71.32 93.23

Fawn

Zinc

rising Photomount Board 100% cotton, neutral pH. / archival board. Not buffered. Ply White 4 Ply

Size 32 x 40

Conservatiom Sno-White

1 23.20

25 20.88

100 19.34

500 17.37

Conservstion White

Conservation Board 100% sulphite, neutral pH. / archival board. Buffered for stability. Ply Size Sno-White, White 4 Ply 32 x 40

No returns or exchanges are allowed

1 12.35

25 11.10

100 10.29

order: 800-950-6111 or: 212-473-7705.

500 9.24


BOARDS Arches Watercolor Boards 100% cotton, mould-made Arches mounted onto archival board. Hot Press Cold Press Binder’s Board – Acid-free Neutral pH grey board. Chipboard Grey industrial pulpboard. CORRUGATED Industrial kraft paper with 1/8" corrugated core. FOMECORE FIREPROOF FOMECORE FOMECORE ARCHIVAL Two sheets of smooth, white paper with a foam core. FOMECORE Black Black foam with a black paper front and back.

GATORBOARD

Very strong, rigid fomecore board with industrial paper backing.

MULTIMEDIA ARTBOARD A neutral pH, non-buckling painting board made of resin-saturated, cellulose fibers for use with a wide range of media. The vellum surface is usable on both sides and requires no surface preparation. POSTER BOARD Inexpensive tagboard in 6 ply. Used extensively for mock-ups, mounting, model building as well as for posters. Brown, Canary, Coral, Dark Blue, Green, Grey, Light Blue, Olive, Orange, Red, White.

Scratch BoardS ESDEE Commercial Grade Made in England. Clay-coated cardstock in inked (Black) or uninked (White). For illustration and reverse drawing. SCRATCHART Student Grade Inexpensive scratchboard for school and studio. STRATHMORE ILLUSTRATION 100% cotton, white on white illustration board available in Regular (Kid) and High (Hot Pressed) surfaces. Taskboard Architectural model-making board that is very easy to cut, sand, bend and glue. 1/16" Thick.

198

Paper is fragile !

Board Size Arches Watercolor Hot Press / Cold Press 20 x 30 Binder's Board .067 20 x 30¼ .067 30¼ x 40¼ .082 20 x 30¼ .082 30¼ x 40¼ .098 20 x 30¼ .098 30¼ x 40¼ Chipboard 1/32" (#53) 29 x 45 1/16" (#27) 34 x 45 1/8" (#17) 30 x 40 3/16" (#10) 30 x 40 Corrugated 24 x 36 30 x 40 36 x 48 40 x 60 48 x 96 Fomecore Fireproof 3/16" 48 x 96 Fomecore 3/16" Thick 8 x 10 9 x 12 11 x 14 16 x 20 20 x 30 30 x 40 40 x 60 48 x 96 1/2" Thick 48 x 96 Fomecore Archival 3/16" Thick 32 x 40 40 x 60 Fomecore Black 3/16" Thick 20 x 30 32 x 40 Gatorboard 1/2" Thick 48 x 96 Poster Board White 6 ply 22 x 28 Colors 6 Ply 22 x 28 Scratch Board Esdee White 9 x 12 12 x 19 19 x 24 Black 9 x 12 12 x 19 19 x 24 Scratch Board Scratch Art White 11 x 14 22 x 28 Black 11 x 14 22 x 28 Strathmore Illustration Lightweight Vellum 22 x 30 Vellum Heavyweight 20 x 30 30 x 40 High Heavyweight 20 x 30 30 x 40 Taskboard 20 x 30

No returns or exchanges are allowed

1 25 100 12.40 3.96 7.20 4.96 9.00 5.95 10.80

3.57 6.49 4.46 8.11 5.35 9.73

3.01 6.02 3.76 7.52 4.51 9.03

1.35 2.50 4.60 7.30 1.45 1.95 2.80 3.65 8.50

1.22 2.25 4.14 6.57 1.31 1.76 2.52 3.29 7.65

1.13 2.09 3.84 6.10 1.22 1.64 2.34 3.05 7.10

34.00

30.60

28.39

1.20 1.50 2.40 2.75 3.05 4.75 9.60 16.85 37.50

1.08 1.35 2.16 2.48 2.75 4.28 8.64 15.17 33.75

1.00 1.25 2.00 2.30 2.55 3.97 8.02 14.07 31.31

10.60 16.40

9.54 14.76

8.85 13.69

3.95 7.80

3.56 7.02

3.30 6.51

110.00 99.00 91.85 1.03 .93 .87 1.55 1.40 1.29 7.00 14.00 28.00 7.50 14.50 28.50 1.25 2.95 1.50 3.50 9.89 11.99 23.99 13.99 27.99 6.00

5.40

order: 800-950-6111 or: 212-473-7705.

5.01


stationery

Magnani Arturo - Whites

Mouldmade in Italy from 100% high alpha cellulose. Neutral pH. 260 gram cards /120 gram envelopes. White or Soft White. Item 800 E 700 EWG 700 E 700 S 700 LC

Description Euro- style Wedding Envelope to hold envelope 700EWG Euro- style Wedding Envelope with unglued flap. Euro- style Wedding Envelope Single "Euro- style" Wedding Card Folded "Euro- style" Wedding Card

Size 6½ x 8½ 6¼ x 8¼ 6¼ x 8¼ 6 x 8 7¾ x 11¾

1 1.30 1.20 1.30 .65 1.00

100 .81 .74 .84 .39 .62

500 1000 .75 .68 .69 .62 .78 .70 .37 .33 .58 .52

600 E 600 S 600 LC 600 AC

Invitation Envelope Single Invitation Card Folded Invitation Card Long Folded Invitation Card

4¾ x 7 4½ x 6¾ 6¾ x 9 4½ x 13½

.80 .40 .60 .60

.50 .23 .36 .36

.46 .21 .34 .34

.41 .19 .30 .30

500 E 500 SC 500 LC

R.S.V.P. Envelope Single R.S.V.P. Card Folded R.S.V.P. Card

3½ x 5½ 3¼ x 5¼ 5¼ x 6¾

.60 .30 .55

.36 .17 .35

.34 .15 .32

.30 .14 .29

400 E 400 SC

Calling Card Envelope Calling Card

2¾ x 4 2½ x 3¾

.55 .35

.34 .21

.31 .20

.28 .18

7 SQE Wedding Envelope 7½ x 7½ 1.65 1.06 .98 .88 7 SQEWG Wedding Envelope with unglued flap 7¼ x 7¼ 1.65 1.06 .98 .88 7 SQS Wedding Card 7 x 7 .85 .53 .49 .44 6 SQE Invitation Envelope 6½ x 6½ 1.05 .67 .62 .56 6 SQS Single Invitation Card 6¼ x 6¼ .70 .42 .39 .35 6 SQLC Double Invitation Card 6¼ x 12½ 1.30 .82 .76 .68 5 SQE R.S.V.P. Envelope 5½ x 5½ 1.05 .66 .61 .55 5 SQSC Single R.S.V.P. Card 5¼ x 5¼ .50 .31 .29 .26 5 SQLC Double R.S.V.P. Card 5¼ x 10½ .95 .59 .55 .49 750 GC Gate Fold Heavyweight Folded Card (fits 700E Envelope) 7½ x 12 2.15 1.36 1.26 1.14 650 TC Tea Invitation Heavyweight Single Card 4 x 9 .90 .57 .53 .48 650 E Tea Invitation Envelope 4¼ x 9 1.85 1.17 1.08 .97 550 MC Monarch Heavyweight Card 3 x 7 .70 .43 .40 .36 550 E Monarch Envelope 4 x 7½ 1.50 .94 .87 .78 450 PC Heavyweight Place Card 4 x 4 .40 .25 .23 .21

199

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


stationery Magnani Arturo - Color Cards & Envelopes Lavender

Light Blue

Pale Green

Pink

Stone Grey

Yellow

See more detailed descriptions on previous page. Master sheets of Arturo are also available Item 800 E 700 EWG 700 E 700 S 700 LC

Description Envelope Envelope - no glue Inner Envelope Single Card Folded Card

Size 6½ x 8½ 6¼ x 8¼ 6¼ x 8¼ 6 x 8 7¾ x 11¾

1 1.50 1.35 1.40 .70 1.15

100 .94 .86 .88 .44 .72

500 1000 .87 .79 .80 .72 .82 .73 .41 .37 .67 .60

600 E 600 S 600 LC 600 AC

Envelope Single Card Folded Card Long Folded Card

4¾ x 7 4½ x 6¾ 6¾ x 9 4½ x 13½

.90 .45 .70 .65

.57 .27 .42 .40

.53 .25 .39 .37

.48 .22 .35 .33

500 E 500 SC 500 LC

Envelope Single Card Folded Card

3½ x 5½ 3¼ x 5¼ 5¼ x 6¾

.70 .30 .65

.42 .19 .41

.39 .18 .38

.35 .16 .34

400 E 400 SC

Envelope Calling Card

2¾ x 4 2½ x 3¾

.65 .40

.39 .24

.36 .23

.33 .20

Fabriano Medioevalis

Mouldmade in Italy from 100% high alpha cellulose with an off-white, cold pressed surface and torn edges. Neutral pH. Description 206 E Invitation Envelope 206 S Single Invitation Card 206 L Folded Invitation Card 206 A Long Folded Invitation Card 207 E Euro- style Wedding Envelope 207 S Single "Euro- style" Wedding Card 207 L Folded "Euro- style" Wedding Card 208 E R.S.V.P. Envelope 208 S Single R.S.V.P. Card 208 L Folded R.S.V.P. Card 209 E Calling Card Envelope 209 S Calling Card

200

Paper is fragile !

Size 4½ x 7 4½ x 6¾ 6¾ x 9 4½ x 13½ 6¼ x 8¼ 6 x 8 8 x 12 3½ x 5½ 3¼ x 5¼ 5¼ x 7 2¾ x 4 2½ x 3¾

No returns or exchanges are allowed

1 .99 .46 .73 .73 .49 .80 1.24 .71 .34 .70 .68 .42

100 .64 .30 .47 .47 .95 .51 .80 .45 .22 .45 .44 .27

500 1000 .59 .53 .27 .25 .43 .39 .43 .39 .88 .79 .47 .43 .74 .66 .42 .38 .20 .18 .42 .37 .40 .36 .25 .23

order: 800-950-6111 or: 212-473-7705.


stationery

5" tall - centered on the sheet

Angel Watermark

AMALFI Stationery

Handmade from 100% cotton in Amalfi, Italy in a mill that has been producing papers since the 14th Century. The mill uses traditional methods and craftsmanship of papermaking that have been employed since the Middle Ages. Amalfi paper is a light cream with a soft feel and a cold pressed texture. All sheets and envelopes have deckle edges. Neutral pH. Item Calling Card

Size 2¾ x 3¾

1 .65

100 500 .40 .36

4½ x 6½ Folds to 4½ x 6½ 4¾ x 6¾

1.05 1.35 1.35

.63 .81 .81

.58 .75 .75

Long Flat Card Double Long Flat Card Envelope

4¼ x 8 Folds to 4¼ x 8 4½ x 8¼

1.20 1.50 1.50

.72 .90 .90

.67 .84 .84

Informal Note (Double RSVP) RSVP Card RSVP Envelope

Folds to 3¼ x 5 3¼ x 5 3½ x 5¼

1.05 .90 1.05

.63 .54 .63

.58 .50 .58

Amalfi Watermark Stationery Lightweight Amalfi Watermark Stationery Heavyweight Envelope (Fold sheets in thirds) Envelope (Fold sheets in half )

8¼ x 12¼ 8¼ x 12¼ 4¼ x 8½ 6½ x 9

1.35 1.65 1.50 1.80

.81 .99 .90 1.08

.75 .92 .84 1.00

Angel Watermark Stationery Lightweight Angel Watermark Wedding Heavyweight Envelope (Fold sheets in quarters) Envelope (Fold sheets in half )

8¾ x 12¼ 8¾ x 12¼ 4¾ x 7 6½ x 9

1.35 1.65 1.35 1.80

.81 .99 .81 1.08

.75 .92 .75 1.00

Wedding Cards Heavyweight - two deckles Envelope

6¼ x 8¾ 6½ x 9

1.50 1.80

.90 1.08

.84 1.00

Flat Cards (Invitation) Double Flat Cards (Invitation) Envelope

3½" tall - centered at bottom of the sheet Crest Watermark

201

Paper is fragile !

No returns or exchanges are allowed

order: 800-950-6111 or: 212-473-7705.


glossary of paper terms KOZO A variety of mulberry plants with exceptionally tough, strong fibers which grow wild in Japan and the Far East. Its long threads do not shrink or expand. The climate where the kozo is grown and harvested has a great effect on the qualities that the resulting sheets will possess. More than half of Asia’s paper is made from kozo fiber. LAID A type of screen covering for a mould consisting of a series of very fine vertical and horizontal wires constructed within the frame to allow for drainage. The surface of this screen leaves a laid line pattern in the surface of the paper. This laid pattern may vary widely. Chain Laid Refers to a paper in which the laid lines are more prominent and spaced further apart. LB./REAM The weight of 500 sheets (1 ream) of a paper of a given size. It is not a good comparative measure as it varies depending on a paper's size. LINEN/LINEN FLAX The fibers of the linen (or flax) plant are long and tubular with thicker walls than those of the cotton plant. In addition to the raw, unspun fibers, linen rags can also be used to make pulp for papermaking. Linen has an element within it that naturally repels water and thus acts as a sort of sizing. It yields a hard, strong paper, but is likely to expand and contract irratically as moisture effects the sheet. Because of this, it is a difficult fiber for the papermaker to work with and is not as commonly used as cotton in today's papermaking. LOFT DRYING Damp sheets are pinned or draped onto lines and allowed to dry slowly and naturally by the movement of air around them. This was traditionally done in the lofts of the mill - thus the term. The temperature and speed of drying will effect the resulting sheet. Loft dried sheets are usually more "alive" with a charateristic wavy surface and a remarkable "rattle" or crispness. The sheets can later be pressed or stretched to flatten. All of the finest watercolor papers were traditionally loft dried.

NEUTRAL pH The balance between acid and alkaline components. 7.0 is considered absolute neutral on a 14 point scale where 0.0 is the most acidic and 13 is the most alkaline. The numbers below 7.0 contain more acid; above are more alkaline. Neutral ph then, refers to materials that are between the range of 6.5 - 8.5. Papers may acquire acidity by frequent handling or improper storage. Often papers are buffered to reach correct pH and help maintain that range. RICE PAPER A common misnomer used to mean Oriental paper, the term probably comes from a misunderstanding by Westerners of the similarities between the vast amounts of water used in both the manufacturing of paper and the cultivation of rice in the rice paddies. There are no papers made of rice, as the plant's short fibers would produce sheets of poor quality - although rice starch was used as a sizing in some papermaking traditions. ROUGH The natural, grainy surface of paper formed by the texture of the felts and/ or dried without re-pressing. SIZING A solution of starch, gelatine, animal glue or synthetic materials added to the paper to make it more resistant to moisture and to control the level of absorption. Internal Sizing The solution is added to the wet pulp before forming the sheet. The most common internal sizing is rosin, from the resinous gums of pine trees, which is added to alum (aluminum sulphate). The alum helps the rosin adhere to the paper fibers and keeps it from dissolving in water. It also gives the paper a harder surface. Tub Sizing Papers are passed through a vat of solution, usually of gelatine, after their manufacture to increase resistance to moisture. SU The removable, flexible surface of a Japanese papermaking mould. It is usually made of bamboo strips, woven together with silk cords.

MACHINE-MADE Paper made in a continuous web using a Fourdrinier machine which allows the pulp to run over the polished surface of large, steam-heated cylinders and eventually out the end perfectly dry and ready to be cut into sheets. The speed of manufacturing will greatly effect the structure and qualities of the resulting paper. MITSUMATA A bast fiber shrub which mostly grows in Western Japan and other Far Eastern countries. The fibers are of uniform thickness with blunt ends. They are very flexible and elastic. and the resulting sheets have a softness to the touch and a subtle shimmering surface. Difficult to harvest and process for papermaking, mitsumata is no longer commonly used. MOULD A wooden frame fit with a laid or woven screen. With the removable deckle, it is used to form the wet pulp into a sheet of paper. MOULDMADE Paper made with a cylinder-mould machine invented in the 19th century to speed up the hand papermaking process yet to produce sheets with "handmade" qualities. The initial preparation of the pulp is similar to the handmade process, although pulpers and refiners are used instead of a beater. The cylinder machines, which take the place of the vatman, coucher, and layer, are covered with a metal screen that work at low speed. The pulp adheres to the screen and as the cylinder revolves, a layer of wet fibers is placed onto a wet felt and through press rolls which squeeze out the water. It is then dried against steam-heated metal cylinders. Watermarks can be accurately carried by the screen and two deckled edges can be produced using this machine.

SULPHITE PULP Chemical wood-pulp obtained by cutting wood into small pieces and cooking it with calcium bisulphate or sodium sulphite to remove natural resins and break down the cellulose fibers, making them more suitable for papermaking. A process developed during the Industrial Revolution to speed the preparation of the pulp, sulphite pulp can contain acids that, if not neutralized, can continue to effect the fibers and cause discoloration and deteoration. However, most sulphite pulps today are neuralized and buffered and can produce high quality papers with excellent aging properties. VELLUM A confusing term that has a several meanings, vellum is actually animal skin that has been prepared on both sides and has an even, fine texture. Today, the term can also refer to papers that have that fine textured surface or a translucent material that resembles the thinner forms of animal skin once used for illumination, pounding gold leaf and tracing. WATERLEAF A paper containing no sizing. WATERMARK A design or lettering that can be seen when the paper is held up to the light that may indicate its name, date, or identity. It is usually produced by carefully forming the wires of the laid or wove screen to vary the fiber density during the papermaking process. Photographic techniques have also been used to produce watermarks. WOVE The mould screen made by weaving together wires in both directions and similar in appearance to woven fabric. Woven papers were first introduced by The Whatman Mill and are without any significant directional pattern on their surface.

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glossary of paper terms ABACA The manila plant or abaca is cultivated in the Philippines, Asia and South America, where its long stalks and leaves are harvested for paper production. Manila fiber papers are very strong and are a natural light buff color. Also known as Manila Hemp, it is not actually a hemp fiber, but is related to the banana. ACID FREE Acidic on a pH scale ranges from 0.0 (most acidic) through 6.5 (almost neutral) with 7.0 as the center of the 14 point scale. The range between 6.5 to 8.5 is usually considered as Neutral pH. Technically then, the term Acid-Free can refer to anything with a pH of 6.0 through 14 (which is highly alkaline.) ALKALI Chemicals used in the cooking process to dissolve non-cellulose materials These include caustic soda, soda ash, lime and wood ash in Asian techniques and calcium bisulphate and sodium sulphite in Western techniques. BAST A fiber derived from the inner bark or stems of plants and includes linen, hemp, jute, ramie, gampi, mitsumata and mulberry. BLEACHING A chemical process to whiten the natural hue of raw materials. The resulting paper is not as strong or permanent as the natural fiber. Cotton is naturally white which makes bleaching less common. BUFFERING The addition of an alkaline substance, usuallly calcium or magnesium carbonate, to help absorb acids and to stabilize the pH balance. Buffered papers typically have a pH toward the alkaline (8.5) to offset excess acidity. CALENDERING A pressing process which smooths or glazes the sheet during the finishing process. CALIPER Measurement of thickness usually expressed in thousandths of an inch. One point or one mil equals one thousandth of an inch. CELLULOSE The main part of the cell wall of a plant and the basic substance of paper. Most plant material, with the exception of cotton, also contains varying amounts of other materials such as lignin, which must be removed before being used as paper pulp. COUCHING Refers to the process of removal, stacking or layering of the newly formed sheets. Different papermaking traditions couch in different ways including onto felts made of various materials (wool, linen, silk, etc.) which can give unique qualities and surfaces to the finished sheets. COLD PRESSED (C.P.) A surface between rough and smooth that is formed by running the sheets through cold polished metal rollers or, in hand papermaking, re-pressing the wet sheets without intermediate felts to smooth out any very rough surfaces. Also called "Not" as in "Not Hot Pressed." COTTON A seed hair fiber that easily yields the pure cellulose essential for papermaking. Cotton fibers are long, strong, and flexible and excellent for the production of fine papers. Papermakers use either cotton linters or cotton rag to produce papers. Cotton Linters The shorter fibers left behind after ginning the cotton. After they are washed and boiled, they are made into soft, blotter-like sheets to be used in hand papermaking. Cotton Rag Made from the textile cotton fibers used in the manufacture of cotton thread. These fibers are longer and tougher than the linter fibers. To make the pulp old cotton rags are broken down by papermakers.

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DAPHNE Known in Asia as the Nepal paper plant, it is a thin bast fiber with tapering ends and varying lengths native to Nepal and the Himalayas where it is used in hand papermaking. Nepalese Gampi. DECKLE The removeable part of a paper mould which establishes the sheet size and holds the pulp in place while the sheet is formed. Deckle Edge The rough, ragged, or wavy edges on all sides of handmade paper and two sides of mouldmade paper formed by small amounts of fiber trapped and thinned between the edges of the deckle and the mould during papermaking. DOSA Most commonly used sizing in Japanese papermaking made from animal glue and alum. ESPARTO The leaves of this tough, wiry North African grass produce a soft, elastic paper with an even texture. Esparto grass looks similar to hay; its fibers are short and tubular. It does not produce paper of great strength. FELT FINISH, FELT SIDE Surface characteristics that result from the material used to couch and dry the sheets. The felt side is considered the front of the sheet. GAMPI A bast fiber plant traditionally used in Japanese papermaking, with long, thin, shiny fibers of uniform thickness. Although gampi grows wild in much of the Far East, it has resisted cultivation and Japan now imports its fiber from China and Korea. This has resulted in a decline in its use in paper production. GRAIN DIRECTION Term used to indicate the direction that most of the fibers are arranged in a finished sheet of paper. Handmade papers have little grain direction as the fibers are usually agitated in all directions and the paermaking process is slow. Machinemade papers create specific grain direction from the rotation of the cylinder that contains the pulp and the speed by which the sheets are processed. Grain direction runs parallel to the natural deckles on a mouldmade sheet. A sheet folds with greater ease and is less likely to crack with the grain. Books should always be bound with the grain of the sheet parallel to the spine. GRAMS/METER2 Weight in grams of one square meter of paper. A good comparative measure that does not vary with paper size. HANDMADE Prepared pulp is placed in a basin (or vat) agitated to suspend it and then transferred onto a mould which creates the sheet. The type of fibers, how the pulp is transferred to the mould, the type of mould used, how the sheet is couched and dried varies greatly around the world and gives each style and type of paper its unique personality. HEMP A strong bast fiber similar to linen, but with a tendency to split during the beating process, producing a harder, coarser paper. One of the oldest paper fibers on record. HIGH ALPHA CELLULOSE The purest form of wood pulp that has been processed without acids and considered to have the same longevity as cotton. HOLLANDER BEATER A beating machine first introduced in Holland in 1680 which is used to efficiently crush and fibrillate the fibers of the raw material or rags to make pulp. HOT PRESSED (H.P.) The smooth surface of a sheet of paper made by passing it through hot metal plates or rollers.

Paper is fragile ! returns No returns or exchanges are allowed order: 800-950-6111 or: 212-473-7705. Paper is fragile ! No or exchanges are allowed order: 800-950-6111 or: 212-473-7705.

New York Central Fine Art Paper Catalogue  

The full-color guide to our selection of Fine Art Papers from around the world.

New York Central Fine Art Paper Catalogue  

The full-color guide to our selection of Fine Art Papers from around the world.

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