At the age of seventy-two, Mary Delany, n�e Mary Granville (1700-1788), embarked upon a series of nearly a thousand botanical collages, or "paper mosaics,” which would prove to be the crowning achievement of her rich creative life. These delicate hand-cut floral designs, made by a method of Mrs. Delany’s own invention, vie with the finest botanical works of her time. More than two centuries later her extraordinary work continues to inspire. Although best known for these collages, Mrs. Delany was also an amateur artist, woman of fashion, and commentator on life and society in 18th-century England and Ireland. Her prolific craft activities not only served to cement personal bonds of friendship, but also allowed her to negotiate the interconnecting artistic, aristocratic, and scientific networks that surrounded her. This ambitious and groundbreaking book, the first to survey the full range of Mrs. Delany’s creative endeavors, reveals the complexity of her engagement with natural science, fashion, and design.

The first comprehensive biography of Mary Granville Delany - the artist and court insider whose flower collages, in particular, continue to inspire widespread admiration Mrs Delany is best remembered for her captivating paper collages of flowers, but her artistic flourishing came late in life. This nuanced, deeply researched biography pulls back the lens to place Delany's art in the broader context of her family life, relationships with royalty, and her endeavor to live as an independent woman. Clarissa Campbell Orr, a noted authority on the eighteenth century court, charts Mary Delany's development from a young woman at the heart of elite circles to beloved godmother and celebrated collagist. Orr traces the varied connections Mary Delany fostered throughout her life and which influenced her intellectual and artistic development: she was friends with prominent figures such as Methodist leader, John Wesley, composer G. F. Handel, the writer Jonathan Swift, and England's leading patron of science, Margaret Bentinck, Duchess of Portland. Mrs Delany reveals its subject to be far more than a widow befriended by George III and Queen Charlotte; she is, instead, restored to her proper place in the era's aristocratic society -and as a ground-breaking artist.

Traces the life and accomplishments of septuagenarian artist Mary Delany, describing her invention of the art of collage late in life after two heart-breaking marriages, in an account that also evaluates the roles of her relationships with such figures as Jonathan Swift, the Duchess of Portland and King George III. 35,000 first printing.

“Roll-up-your-sleeves advice on throwing pottery, growing dahlias, cooking her tried-and-true recipes, and everything in between.” —Martha Stewart Living “Suited to any type of creative, offering up lessons on inspiration and creativity that are sure to bring out your inner talent.” —House Beautiful, Best New Design Books What makes a creative life? For an artist like Frances Palmer, it’s knitting all of one’s passions—all of one’s creativity—into the whole of life. And what an inspiration it is. A renowned potter, an entrepreneur, a gardener, a photographer, a cook, a beekeeper, Palmer has over the course of three decades caught the attention not only of the countless people who collect and use her ceramics but also of designers and design lovers, writers, and fellow artists who marvel at her example. Now, in her first book, she finally tells her story, in her own words and images, distilling from her experiences lessons that will inspire a new generation of makers and entrepreneurs. Life in the Studio is as beautiful and unexpected as Palmer’s pottery, as breathtakingly colorful as her celebrated dahlias, as intimate as the dinners she hosts in her studio for friends and family. There are insights into making pots—the importance of centering, the discovery that clay has a memory. Strategies for how to turn a passion into a business—the value to be found in collaboration, what it means to persevere, how to develop and stick to a routine that will sustain both enthusiasm and productivity. There are also step-by-step instructions (for throwing her beloved Sabine pot, growing dahlias, building an opulent flower arrangement). Even some of her most tried-and-true recipes. The result is a portrait of a unique artist and a singularly generous manual on how to live a creative life.

Mark Laird offers a wealth of visual and literary materials to revolutionize our understanding of the English landscape garden as a powerful cultural expression.

In this charming new cozy mystery series from national bestselling author Vicki Delany, a New York City expat-turned-Cape Cod tea shop owner must solve the murder of a local real estate developer to help her feisty grandmother out of a jam . . . As the proud proprietor and head pastry chef of Tea by the Sea, a traditional English tearoom on the picturesque bluffs of Cape Cod, Lily Roberts has her hands full, often literally. But nothing keeps her busier than steering her sassy grandmother, Rose, away from trouble. Rose operates the grand old Victorian B & B adjacent to Lily’s tea shop. But an aggressive real estate developer, Jack Ford, is pushing hard to rezone nearby land, with an eye toward building a sprawling golf resort, which would drive Rose and Lily out of business. Tempers are already steaming, but things really get sticky when Ford is found dead at the foot of Rose’s property and the police think she had something to do with his dramatic demise. So Lily starts her own investigation and discovers Ford’s been brewing bad blood all over town. Now, it’s down to Lily to stir up some clues, sift through the suspects, and uncover the real killer before Rose is left holding the tea bag. “A satisfying cozy with a beautifully described setting and a cast of charming, small-town characters. Share this new series with fans of Laura Childs’ Tea Shop mysteries.” —Booklist

“Graceful yet precise, poetic yet deeply rooted in research, this exploration of an overlooked painter is gorgeous — a joy to read. Molly Peacock’s insights and empathy with her subject bring to life both Mary Hiester Reid and her luscious flower paintings.” — Charlotte Gray, author of The Massey Murder Molly Peacock uncovers the history of neglected painter Mary Hiester Reid, a trailblazing artist who refused to choose between marriage and a career. Born into a patrician American family in the middle of the nineteenth century, Mary Hiester Reid was determined to be a painter and left behind women’s design schools to enter the art world of men. After she married fellow artist George Reid, she returned with him to his home country of Canada. There she set about creating over 300 stunning still life and landscape paintings, inhabiting a rich, if sometimes difficult, marriage, coping with a younger rival, exhibiting internationally, and becoming well-reviewed. She studied in Paris, traveled in Spain, and divided her time between Canada and the United States where she lived among America’s Arts and Crafts movement titans. She left slender written records; rather, her art became her diary and Flower Diary unfolds with an artwork for each episode of her life. In this sumptuous and precisely researched biography, celebrated poet and biographer Molly Peacock brings Mary Hiester Reid, foremother of painters such as Georgia O’Keefe, out of the shadows, revealing a fascinating, complex woman who insisted on her right to live as a married artist, not as a tragic heroine. Peacock uses her poet’s skill to create a structurally inventive portrait of this extraordinary woman whom modernism almost swept aside, weaving threads of her own marriage with Hiester Reid’s, following the history of empathy and examining how women manage the demands of creativity and domesticity, coping with relationships, stoves, and steamships, too. How do you make room for art when you must go to the market to buy a chicken for dinner? Hiester Reid had her answers, as Peacock gloriously discovers.

In Peacock's new book, she strips away poetry's scary mystique, introducing readers to its pleasures and inspiring them to form their own poetry circles with friends.

Mary Delany’s phrase “the matrimonial trap” illuminates the apprehension with which genteel women of the eighteenth century viewed marriage. These women were generally required to marry in order to secure their futures, yet hindered from freely choosing a husband. They faced marriage anxiously because they lacked the power either to avoid it or to define it for themselves. For some women, the written word became a means by which to exercise the power that they otherwise lacked. Through their writing, they made the inevitable acceptable while registering their dissatisfaction with their circumstances. Rhetoric, exercised both in public and in private, allowed these women to define their identities as individuals and as wives, to lay out and test the boundaries of more egalitarian spousal relationships, and to criticize the traditional marriage system as their culture had defined it.