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A 3D masterpiece celebrating Harry Potter’s Hogwarts School of Witchcraft and Wizardry from New York Times best-selling pop-up engineer Matthew Reinhart.

Harry Potter: A Pop-Up Guide to Hogwarts is an exhilarating, interactive guide to the iconic school of witchcraft and wizardry. This book features spectacular pop-up re-creations of key locations inside and outside Hogwarts castle, and it opens flat to form a pop-up map of the castle and its grounds – including the Quidditch pitch, the Forbidden Forest, and beyond.

In addition to large pops on each spread, numerous mini-pops will bring to life beloved elements from the Harry Potter films, such as the Marauder’s Map and the Flying Ford Anglia. Each pop will include insightful text about Hogwarts as seen in the films, making for a must-have collectible for fans of the Wizarding World.

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Alan Clark’s passion for cars – that he bought, drove and wrote about over 50 years

Alan Clark was passionate about cars from an early age. He bought his first car – a secondhand 6.5 litre Bentley – while still a schoolboy at Eton and without a driving licence. By the time he was 24 he had been banned from driving three times, not only for speeding but in one instance for driving an open Buick Roadster with a girl on his lap. He dealt in ‘classic’ and vintage cars and soon built up an impressive stable of his own.

One of his first published pieces of journalism appeared in the US magazine, Road and Track, for which he was briefly UK correspondent. BACK FIRE, the title of a column he wrote in Thoroughbred and Classic Cars magazine, ran for three years until his death in September 1999. Alan Clark’s elder son, James Clark – who has inherited his father’s motoring enthusiasms – provides a Prologue; Alan Clark’s widow Jane writes a moving Afterword.

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• At the core of this book is a survey of over one hundred Paris-based firms, amongst which Sormani, Baguès, Barbedienne, Christofle, Lièvre, Viardot, Dasson, Grohé, Sauvrezy, Fourdinois, Beurdeley and Linke
• The author lifts the veil on lesser-known makers such as Mazaroz and Ternisien et Dantant, and reveals important new discoveries about firms that have been all but forgotten for the last century
• Draws on the author’s extensive knowledge of nineteenth-century furniture to describe each maker’s particular style and elucidate any characteristic techniques or materials that may help with an understanding of the work and future attribution
• Includes an innovative chapter that analyses the background of the high quality copies of Ancien Régime furniture made by the upper echelon of the Paris luxury trade, bringing this important social and cultural development into the limelight for the first time

Despite the upheavals of the first decades of the nineteenth century, Paris soon recovered its position as a leading centre for furniture and design in Europe, a position that was to grow and strengthen as the century progressed. Encouraged by royal and imperial regimes, exhibited at the great international fairs, and collected by international aristocrats, bankers and newly wealthy industrialists, Paris furniture by the second half of the century had once again become synonymous with luxury and exquisite craftsmanship.

Furniture makers drew their inspiration from a vast array of historical periods and cultural sources to create new and exciting designs that both appealed to the eclectic tastes of the nineteenth-century amateur and yet suited the demands for comfort and convenience of the luxury consumer. Building on the generations of skills and techniques that had characterised French furniture during the years of the Ancien Régime, contemporary makers exploited technological advances and new materials to produce some of the most creative and inventive pieces ever made, often surpassing the quality achieved by previous generations.

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