Edward van Vliet is an international design company specialising in conceptual interior and product design for the corporate sector. The company has a strong focus on hospitality, urban residential, and office sectors. With proven expertise in design and consumer behaviour, Edward van Vliet throws down the gauntlet to the status quo, bringing a fresh mindset to the process of destination design. Specialising in designing premium tailored experiences and products for leading brands, Edward van Vliet delivers unique concepts worldwide which are consistent with the location, culture, and experience desired.

Foreword in English, Arabic, Dutch, French, German, Spanish, Chinese, Japanese.

Antwerp artist Eugeen Van Mieghem (1875-1930) documents the pulsating life around the port of Antwerp at the turn of the twentieth century. Dockers, sack sewers, passengers, local communities and general labourers are the subjects of his lifelong fascination with Antwerp port. His affinity with his subjects makes his work direct and sincere and is unique in the genre of social realism. The port is one of the great gateways to the city, facilitating the constant movement of goods and people – migrations that are essential for the economy as well as for the evolution of people and society. Ports also are scenes of human tragedy, witnessing the forced emigration of families and communities fleeing persecution and poverty, as immortalised in the paintings and drawings of Eugeen Van Mieghem.

Antwerp has strong associations with Irish artists from the late nineteenth century. Many of these artists – including Roderic O’Conor, Walter Osborne and Norman Garstin – were attracted by the pioneering developments in art practice on the Continent, and travelled to Antwerp to study at the Royal Academy of Fine Arts. The result was light-filled fleeting images painted out of doors, en plein air – a radical departure from the official teachings of the established art academies.

It is not known if Van Mieghem and any of those Irish artists ever came into contact with each other, but this exhibition shows for the first time Van Mieghem’s oeuvre alongside that of his Irish peers, proving yet again how vital are ongoing migrations of culture and people in illuminating and understanding our contemporary society.

Around 1900, both the ports of Antwerp and New York ranked high in the select group of world ports. The United States on the other side of the Atlantic was starting a period of unprecedented economic growth following the civil war. During a period of 60 years (1873 – 1934) the Red Star Line shipping company carried a million migrants to the new world. The assassination of Tsar alexander II of Russia in 1881 and subsequent anti-Jewish economic legislation resulted in a massive Jewish exodus. The worst pogroms took place in Kyiv, Odessa and Warsaw. Jews fled in large numbers. Flemish artist Eugeen van Mieghem (1875-1930) was an important witness to massive migration through the port of Antwerp. Numerous publications and exhibitions both in the United States and in Europe (the Jewish museums of Amsterdam, Prague and Budapest) turned van Mieghem into the internationally best-known interpreter of European migration to the United States at the beginning of the 20th century.

“Van Mieghem was a fine draftsman and colorist, whose long forgotten work evokes that of Van Gogh and Kathe Kollwitz. Now it seems to be slowly returning to art-world memory.” — (New York Times, 2006)

In this book, three famous, late 19th-century artists take centre stage: Vincent van Gogh (1853-1890), Paul Cézanne (1839-1906) and Henri Le Fauconnier (1881-1945). They played a crucial role in the genesis of the Bergen School. The works of these great masters are juxtaposed with the oeuvres of the very first Bergen School artists: Leo Gestel, Gerrit Willem van Blaaderen, Else Berg, Mommie Schwarz, Dirk Filarski, Arnout Colnot and the Wiegman brothers. This book paints a new and more nuanced picture of the rise of Expressionism in the Netherlands. Van Gogh, Cézanne, Le Fauconnier & the Bergen School thus represents a valuable addition to the history of Dutch art.

Charley Toorop’s work has its own originality and power. This is not to say that she did not have an eye to the work of other artists. On the contrary. Toorop admired the painting of Piet Mondrian, but also of foreign contemporaries such as Pablo Picasso and Fernand Léger. Yet there is one artist who she believes stood at the cradle of her artistry and for whom she subsequently had respect throughout her life: Vincent van Gogh. His work was for her ‘the breakthrough to a new world’.

Four essays explain her fascination and place it in a broader context. They include her travels to the Borinage and southern France where she saw the landscape and people through Van Gogh’s eyes, her awe of Van Gogh’s ‘deep barren love of reality‘ placed in the social and political engagement of the interwar period and her interest in man’s state of mind.

“When I am working with colours, I feel like a painter. When I am working with metal, I feel like a constructor. And when I am working with toys, I feel like a child.” (Felieke van der Leest).

The work of Dutch jewellery and object artist Felieke van der Leest (born in 1968) expresses the very special affection that she has for animals. With unbridled fantasy she creates pieces that ostentatiously, colourfully and playfully revolve around her little friends. She combines techniques used in textile work, such as crochet, with valuable metals and plastic toy animals. Within the international art jewellery scene she has developed her own special language with which she narrates intelligent and witty stories with her animal protagonists; her pieces inevitably conjure a smile upon the faces of those who view them. Characteristic for Van der Leest is the joy in her work, which is ever present yet sometimes carried off into childhood. Serious themes in her work are also expressed, including environmental protection and human approaches to animals. The current publication comprises jewellery and objects by the renowned artist from 1996 to the present.

Text in English, Norwegian and Dutch.

In 1947 and 1948, Van Johnson was MGM’s top male box office draw. “On screen he was the Pied Piper; Elizabeth Taylor’s lover, he was a war pilot with Spencer Tracy,” writes his friend and decorator Carleton Varney in the introduction for Van Johnson’s Hollywood: A Family Album. Along the way, his wife, Evie Wynn Johnson, an amateur shutterbug captured behind-the-scenes images of their friends some of Hollywood’s most famous stars, such as Gary Cooper, Judy Garland, and Humphrey Bogart on the road, on the set, around the pool, and at their Hollywood home. She put together these casual and candid images in a family album that has never been published before. Their daughter, Schuyler adds her memories to this unique document of Hollywood’s Golden Age.

A selection of 85 Flemish drawings gives an astonishing and representative overview of the art of drawing in the 16th and 17th centuries.

The publication focusses on the drawings subjects and compositions but also on how and why they were created and why an artist chose specific materials, techniques, formats and even sizes. It provides a framework to allow to see drawings in the functional context for which they were created.

Renowned specialists in Flemish drawing discuss rare artworks by famous draughtsmen as Frans Floris, Peter Paul Rubens, Anthony Van Dyck, Jacques Jordaens, Otto van Veen, Jan Fijt but also hidden treasures such as the 10 metres long Panorama of Zeeland by Antoon van den Wijngaerde, a sketchbook of the 12-year-old Rubens, recently discovered drawings by Hans Vredeman de Vries, the extremely rare Italy-sketchbooks by the sculptor Pieter Verbruggen and a newly discovered book-illustration design by Rubens for the Plantin Press.

LUCKY / Udachny by Hanne Van Assche documents a small mining town in the far East of Russia called Udachny – a remote region captured in the icy grip of winter throughout most of the year. Few people choose to live here, but those who do are proud citizens. Yakutia is known as the treasury of Russia. It is one of the world’s richest regions in natural resources. According to a Siberian legend, God once spilled a bag of earthly treasures over this part of the country. A thick layer of permafrost covers large reserves of coal, gas, gold and diamonds. Despite the barren climate most of the year, the heart of the people remains warm. The hospitality and optimism of the inhabitants soothes the harsh climate. It is they who turn the scenery of a frozen and isolated world, defined by extraordinary contrasts, into a vibrant and colourful community.

Ever since winning a travel grant as a 17-year-old to travel from the Netherlands through Belgium and Paris to Arles in Van Gogh’s footsteps, the contemporary master painter and sculptor Anselm Kiefer has been inspired by the Dutchman’s art. Van Gogh has been a profound influence upon the subjects and techniques of Kiefer’s monumental paintings and sculptures, which draw on history, mythology, literature, philosophy and science. Published to coincide with Kiefer’s 80th birthday in 2025, this book celebrates the power and luminous intensity of both artists’ work.

This volume presents anew the influential 20th-century architect Ludwig Mies van der Rohe, whose reputation has unfairly languished. Critics often see him as a chameleon who turned against the vibrant aesthetic culture of Berlin upon emigrating to Chicago and created instead the spare, tectonically obsessed, blank box stylism that looms over so many American downtowns. That prevailing interpretation ignores the aesthetic and conceptual coherence within his oeuvre.

Mies often spoke vaguely of a “great form” emerging within modernity. He spent his career seeking to express this condition in the spaces he designed. Through close analysis of over sixty of his buildings and projects, this study reveals that underlying essence. A formal dialectic of center/periphery threads throughout his production, which gives nascent form to the profound societal tensions he sensed. A peculiar interleafing of the centric and the peripheric dominates his shaping of space.

Rarely is Mies considered formally. Using nearly a hundred new analytical diagrams, this book unlocks fresh interrelations between his compositions and between his career’s phases. Unexpected parallels are struck with nineteenth-century Romantic artists like Caspar David Friedrich and with modernists like Piet Mondrian and Mark Rothko. The strands within Mies’s deep readings on philosophy are expanded by comparing him with regional thinkers. The outlines of the “great form” Mies sensed become clearer.

A new and integral Mies emerges, far different from previous interpretations and with enhanced relevance for our contemporary condition.

The moving life of Jan Bontjes van Beek (1899–1969) is closely associated with 20th-century German history. A “strikingly blonde sailor who could dance and play the violin,” he joined the Worpswede artist’s colony in 1919 and later found a home with the Breling family in Fischerhude, who introduced him to ceramics. With the support of his second wife, the architect Rahel Weißbach, he moved to Berlin in 1933, where his studio became a well-known meeting place for artists. Despite having been arrested by the National Socialists and his daughter Cato executed, he could not endure the GDR’s Socialist Unity Party regime either and stepped down from a teaching post at the East Berlin Weißensee art school in 1950. He broke into teaching in West Berlin and, finally, in Hamburg continued his ceramic work, which provided the free thinker with a firm footing. Like no other, he emphasised materiality in form and dynamism in colour. During tumultuous times, he sought out the perfect balance for his vessels, and ultimately for himself.

Text in English and German.

Van Hemessen & Father brings a forgotten family of artistic pioneers back into the spotlight, thereby rewriting the story of the Antwerp Renaissance from a surprising perspective: that of a painter’s studio where father and children worked together, experimented, and left their mark on art history. The book serves as the catalogue for the exhibition of the same name at the Snijders&Rockoxhuis in Antwerp, which, in a modified form, will have a second venue at the National Gallery in London. The focus is on daughter Catharina van Hemessen, the earliest Southern Netherlandish Renaissance painter of whom signed works have survived. She painted as a woman in a man’s world, signed her work with self-assurance and garnered international admiration from art connoisseurs even in her own time. Her work bears witness to artistic finesse and intellectual independence. Her father, Jan Sanders van Hemessen, is regarded as a key figure in the artistic transition from Quinten Massijs to Pieter Bruegel the Elder, with an artistic output that hovered somewhere between medieval mysticism and humanist realism. In the bustling Antwerp of the 16th century, he developed into an influential master with a thriving studio.

A unique opportunity to see rare and beautiful drawings by some of the biggest names in European art.

Chatsworth House in Derbyshire holds one of the finest and most significant private collections of drawings in the world, but they are rarely seen and very little has been published on them.

This book showcases 47 drawings from this exceptional collection, including superb watercolours and drawings by famous German Renaissance artists Albrecht Dürer and Hans Holbein alongside the baroque splendour of Peter Paul Rubens and Anthony van Dyck. It will reveal intimate insights into the artists’ practice and their ways of recording the world.

The captivating selection of drawings will be introduced and contextualised by Charles Noble, Curator of Fine Art at Chatsworth House. Each image will be explained and examined based on rigorous new research, offering new insights into the work of some of art’s biggest names.

In 1889, Saint Rémy de Provence was a small provincial town, already prosperous thanks to the arrival of the train and the cultivation of teasel thistle and its seeds. It was a rural village, home to a local bourgeoisie and already enjoying a certain prosperity and attractiveness. Unknowingly, this population would coexist with a painter who had arrived there for health reasons. For a year, one of the most important pages in the history of art would be written, without the population being truly aware of it.

The “mad artist” would, however, make Saint-Rémy-de-Provence famous, and his works would later be exhibited around the world. How would the city gradually become aware of this unintentional legacy? How would it promote it, draw inspiration from it to develop artistic, cultural, economic, and tourism projects?

This is one of the first books to focus exclusively on Van Gogh’s very prolific period in Saint-Rémy-de-Provence. One of the chosen angles, unprecedented in the literature devoted to the artist, is to recount the ties that the commune and its residents may have had with him, during his lifetime or posthumously. The book includes testimonies from Saint-Rémy families whose members met or worked with the painter, owned works, or were closely linked to his work after his death.

Camiel Van Breedam (°Born 29/06/1936) made his first artworks in 1956: reliefs and small zinc sculptures. Later followed by assemblages, collages, objects, sculptures, environments – exhibited in many places in Belgium and abroad. Influences and inspiration come among others from: his father’s plumber workshop, the region of the river Rupel and the brickyards, Paul Klee, ethnic art, Indians, Joseph Cornell, the Russian avant-garde, Chaïm Soutine, Oskar Schlemmer, Bauhaus, De Stijl, dreams, nightmares and RED.

His social involvement provides the red thread and the binding element.

Despite its limited number of inhabitants and rather small surface, the Belgian province of Limburg has a great number of designers with an international reputation. Based on the 10 principles of good design by Dieter Rams this book discovers the roots of Limburg’s top design of the last 25 years. With famous names such as Martin Margiela, Raf Simons, Bram Boo, Dieter Bikkembergs and Pieter Stockmans but also unknown or almost invisible design. Text in English and Dutch.

Following on from the 2017 House 1 project, a public architectural intervention in Zurich, ALICE’s teaching programme and the All About Space series enter the realm of urban and suburban space. The series’ latest volume Beyond the Object: The Imagination of Space proposes an alternative idea and cultural history of architecture that is derived from the notion of spatial design rather than that of technical objects and constructions. Thus current topics like urban planning, the correlation of public and private spaces, social and economic development are wrapped up into more general questions: What are our common and scientific understandings of space and spatial correlations and how can they apply to contemporary architectural practice and education? The underlying narrative of Beyond the Object: The Imagination of Space is loosely tied to the exemplary urban context of Zurich. Yet it addresses the topic with decidedly global scope. And like the previous books The Invention of Space and House 1 Catalogue, the new volume combines fact with fiction to broaden the view upon future scenarios.

ALICE (Atelier de la conception de l’espace) is an educational laboratory affiliated to the Ecole Polytéchnique Fédérale de Lausanne’s (EPFL) School of Architecture. Its objective is to provide students with the first essential tools for the trade of architecture. With the new series All About Space, faculty and students aim to share their work with the public. The four books, published annually between 2015 and 2018, combine fact, fiction and speculation with ALICE’s approach to work, focusing on the creative understanding of space as a human condition. The initial volume The Invention of Space explores how space is invented in terms of the various cultural practices involved with spatial design. It captures individual experience and investigates common invention and comprehension of space, embracing topics such as the history, metaphysics, or politics of environmental, virtual or simulative space. The book concludes with also exploring the spatial conditions of thought, emotion, fantasy, and imagination.

During the late 1970s and early 1980s, New York City was financially and socially bankrupt, but the art and music scene was flourishing. During these years, the downtown New York music scene – no wave, hip-hop, disco funk and club culture – shaped Jean-Michel Basquiat as both a musician and an artist. This catalogue for a travelling exhibition explores how Basquiat’s painting has parallels in his music (sampling, cut-up, rapping), and takes a new look at his production as a writer and a poet in light of his connections with the then-emerging hip-hop culture. This beautifully illustrated exhibition catalogue of rarely seen photographs and images sheds new light on Basquiat as a musician, exploring how his art and music are related, and how they reflect on his identity as a Black artist in the United States, the downtown New York music scene, and contemporary culture.

This volume documents a group of gouache studies by Bridget Riley from 1969 to 1972 that reflects a major reconfiguration of Riley’s style. The shapes formed in these gouaches are arranged from a limited selection of colours – namely violet, green and pink – to explore the visual relationship between ‘contrast and harmony’.

Accompanying full colour illustrations, a conversation between the artist and Robert Kudielka from 1972 posits the works within the context of Bridget Riley’s oeuvre.

Gerhard Richter describes himself as a “classical painter,” and the exhibition at the Fondation Louis Vuitton in Paris aims to showcase the complete evolution of his career, spanning over six decades. It will highlight both the continuities and disruptions in his work, which includes not only painting but also exquisite drawings, over-painted photographs, and sculptures. Located in Frank Gehry’s iconic building in Bois de Boulogne, the exhibition will be organised chronologically, allowing visitors to appreciate the unique characteristics of each piece. Trained in Dresden, Richter is interested in historical genres of painting and seeks to reinterpret them in the context of contemporary times, revealing beauty and ethical issues through seemingly conventional subjects. He has also explored various painting techniques, creating works that range from quiet and refined to those bursting with energy, reflecting his physical engagement in the creative process.

When he discovered that his home country, the Netherlands, was the second largest food exporter in the world after the US, photographer Kadir van Lohuizen was interested to learn more. He wanted to discover the world behind our food production. Where is our food produced? And how is it distributed across our world? Like a fly on the wall, Van Lohuizen follows the entire process, in the Netherlands, in Kenya, the US, the United Arab Emirates and China. The scale and efficiency of most food companies raises as much respect as questions: What are the effects of these production and consumption chains on the planet? And how future-proof is this? Food for thought, indeed. In this book, which was also partly conceived as a food atlas, Van Lohuizen bundles his images, but together with experts he also takes a closer look at the facts and figures behind the global food industry and shows unique infographics.