In 2018 the National Portrait Gallery, the National Gallery and the Royal Academy of Arts will host major exhibitions of the work of Tacita Dean. Each will provide a different encounter with her art. This book brings together new and existing works from all three exhibitions – LANDSCAPE, PORTRAIT, STILL LIFE – with texts offering a unique insight into Dean’s work by leading writers including Alexandra Harris, Alan Hollinghurst and Ali Smith. Published at a particularly prolific period for Dean, this book provides a new and authoritative view of a hugely influential artist who has been at the forefront of British art for over twenty years. The volume is published with three different covers.

Dean Chalkley has been taking compelling cultural photographs since the mid 1990s and his work with the likes of Oasis, Idris Elba and Amy Winehouse is widely celebrated.

At the tail end of the ’90s, Chalkley found himself in Ibiza, the capital of the clubbing world. For many, the turn of the millennium represents the peak of club life, when clubbers would lose themselves for days in the often-surreal abandon of their favourite Spanish party haven. Working for Mixmag, the biggest dance-music magazine in the world, Chalkley amassed a vast archive of images from this unrivalled golden era in the island’s near-history.
Back in Ibiza 1998 – 2003 offers a thrilling deep-dive through those images, illustrating the unfiltered and sometimes unhinged club scene from a world before Snapchat and TikTok reels. This unique collection is essential viewing for partygoers and clubbing fans, a joy to behold, and a nostalgic reminder of what a real party can look like.

In a world where Photoshop creates the stereotype of perfect and flawless images, Steve Dean Mendes decided to row against the tide and do just the opposite as a photographer. By deciding not to retouch his images and to not use makeup for his models, only using natural light in the studio, Steve Dean Mendes created a safe environment for his protagonists, initiating a process of removing all masks. In this series he worked predominantly with women and attempted, through art, to facilitate the experience for self-discovery and acceptance.

His aim? To capture raw and unaltered emotions and to present a story of love, joy, but also of pain, suffering and abandonment. Inspired by the great Flemish Old masters and the Pre-Raphaelite movement, Steve Dean Mendes wanted to show the real human beings behind these protagonists, with all their natural fragility and beauty of their soul.

Text in English and Dutch.

In 1913, psychiatrist, psychoanalyst, and theorist Carl Gustav Jung (1875-1961) experienced powerful visions, often terrifying. However, seeing their great potential value he found ways to encourage further visions and fantasies. Over many years, he recorded his experiences in a series of small journals, added commentaries and transcribed them, using calligraphy and illuminations, into a large, red, leather-bound volume, commonly known as The Red Book. Jung never published the Liber Novus, as he called this pivotal part of his oeuvre, and left no instructions for its final disposition, and it therefore remained unpublished until recently. The large format, leather-bound volume of The Red Book Hours complements the facsimile edition and English-language translation of The Red Book, published in 2009, and draws out insights into Jung’s affinity with art as a means of personal insight. Psychologist and multimedia artist Jill Mellick documents copious research into Jung’s choices regarding media and technique and his careful design of environments in which he could experience creative processes and allow unconscious content to flow forth. Her unlikely journey includes explorations of memory, serendipity, and science. A stunning interplay of texts and images includes magnifications of the wildly colourful and intricately detailed sketches from The Red Book and a selection of Jung’s own pigments, never seen until now, The Red Book Hours presents a more comprehensive picture than ever before of the foundational psychoanalyst’s experience and expression of his rich inner world.

A boxed set in four volumes, each volume in the series represents a core sample of the firm FXFOWLE at this moment in time, highlighting a grouping of four major projects that share a common theme but not necessarily the same typology or program. The themes are threads that weave the work together and as a whole define the design philosophy of the firm. The firm’s emphasis on sustainability is a current that runs through the narrative of each book. Each book focuses on design process and collaboration. Each project is presented in depth and will underscore the methodology, aesthetics, techniques and ethos of the firm. With future volumes planned, these sets will track the progression of ideas that evolve over time through the work that enacts the ideas, and informs the work to come.
REVEAL exposes the territory between architecture and landscape. Buildings and urban plans appaly an ecological approach, merging with the larger structures of the environment. Architecture and constructed systems resonate with natural systems, bringing the experience of landscape to designed space.
FILTER refines the association between architecture and context. Vernacular structures and distinctive local customs provide a frame of reference for the generation of form. Incorporating culture and climate infuses buildings with a sense of place and develops a close bond with the natural environment.
EVOLVE advances the bond bewteen architecture and history. Remaking historic buildings and districts engages culture, heritage, and conservation along with architecture and planning. Materials, methods, and expression foster respect, authenticity, and interconnectivity in buildings old and new.
EFFECT realises the raltionship between architecture and program. The function and use of a building offer a powerful concept tool that may be interpreted and inflected. Crafted alongside the tangible components of a building, the intangible aspects of program enhance form and function.

From the 2nd century CE to the 19th century, the people of the fertile estuary of the great Mekong River created treasures of sacred art, architecture and accomplished feats of water engineering that are coming to light in Vietnam’s vigorous new archaeological research programmes. The large stilted wooden houses of Oc Eo, the early Venice of the maritime routes of the East in the earliest centuries of the first millennium, drew in ships with precious cargoes from Rome, India and China to trade while waiting for the change of the monsoon wind to continue their voyages.

Chinese annals record that the early polity they called ‘Funan’ ruled 1,000 km of coastline along the shipping route. Among the earliest Mekong Delta Buddhist icons are a breathtakingly elegant 2.7m tall Buddha carved in hardwood that has survived more than 1000 years in the delta mud and a 29cm bronze Buddha that arrived on a trading ship from the 6th century Chinese Northern Qi dynasty. Very early Vishnu statues wear high, floral mitres and clasp war conch-trumpets on their left hip, and Shiva’s face stares out from stone lingas.

The Ho Chi Minh Museum collection conserves diverse masterpieces of the art from Vietnam, from the prehistoric Dong Son drums of the Red River Delta in the north to the vibrant Hindu and Buddhist statuary of the former kingdoms of Champa in Central Vietnam. In addition, there is an immense array of art and imperial furnishings of the last Vietnamese dynasty, the Nguyen, which was founded in the Mekong Delta at the beginning of the 19th century. There are refined inlaid wooden cabinets, sets of the finest blue and white ceramics and embroidered silken court costumes worn by the royal family, as well as huge wooden and ceramic Buddha statues which played crucial social and political roles in establishing the dynasty and quelling its foes.

The eye of the beholder is fascinated by colours. Their symbolic and cultural historical meanings, which have often developed over centuries and are reflected in various narrative forms, are found to be equally fascinating. Thus in traditional folk tales and in literary fairy tales, colours are not just attributes or superficial manifestations but rather have a deeper significance. Why, for example, is the head covering of a little unimposing girl, of all things, red, and why is the beard of a knight who kills women blue? Why does Cinderella wear grey clothing, and what power does Peter Schlemihl’s sold shadow have? The publication traces – colour by colour – these and other exciting questions, all richly portrayed with numerous prints and illustrations from historical fairy tale books.

This book accompanies an exhibition at GRIMM World, Kassel, November 2019 – March 2020.

Text in English and German.

The International Red Cross and Red Crescent Museum houses an extraordinary collection of ‘prisoners’ objects’. These were made by prison inmates and presented to the ICRC delegates who visited them, as provided for by the Geneva Conventions. For over a century, these objects have borne mute witness to the numerous violent episodes that continue to ravage our planet, from Chile, Vietnam, Algeria and Yugoslavia, to Rwanda and Afghanistan. Made from simple materials – whatever comes to hand in a prison – these objects express the need to escape the world of the jailbird. As a Lebanese inmate puts it, ‘Creating is a way of acquiring freedom of expression, it gives us a means to say what we think while everything we see around urges us to keep quiet and to forget who we are.’ While some of these works touch us through their simplicity, others astonish us with their beauty or ingeniousness. Each bears the imprint of a personal story loaded with emotion, inviting us on a journey through time and collective history.

Discover the magic of beloved the classic fairy tale Little Red Riding Hood with The Storyteller sound books. This innovative collection offers young children a new way to experience these timeless tales: designed for those who are not yet able to read independently, each book allows children to explore the stories by turning the pages while listening to the corresponding text read aloud at the touch of a button. The book becomes a modern storyteller, presenting the fairy tales with beautiful illustrations and engaging narration that brings the stories to life.

Other titles in the collection include:

9788854421707   The Storyteller: Peter Pan
9788854421714   The Storyteller: Pinocchio
9788854421721   The Storyteller: Snow White

Ages 4 plus.

The red-figure vases from the National Museum “Domenico Ridola” in Matera and the Rizzon Collection – rich in precious Apulian and Lucanian pieces – offer a unique opportunity to grasp Magna Graecia antiquity from an unusual perspective through the photographs by Luigi Spina. Significant testimony to vase painting between the 5th and 4th centuries BCE, the museum’s artefacts largely date back to the discoveries of Domenico Ridola (1841-1932) and form part of elaborate funerary assemblages, possessing great aesthetic and historical value through which everyday life is reflected in myths.

In the book, black is the protagonist: it enhances the red figures and brings out the keen eye of photographer Luigi Spina. Anatomical details, drapery, and decorative motifs emerge in all their strength without the filter of museum cases, while touches of white enrich the vases’ bichrome palette.

Photographing a work of art means capturing its deep meaning to communicate it to the world. Far from the idea of a museum catalogue, the volume is rather a figurative atlas of antiquity.

Text in English and Italian.

More than any other civilisation, China is renowned for its long tradition of ceramic production, from its terracotta and stoneware works in ancient times to the imperial porcelain manufactured at Jingdezhen from the end of the fourteenth century. These works have been admired and collected over centuries for their outstanding quality and refinement. Now two hundred masterpieces from prominent private collections around the world have been brought together for the first time in a new book. The Baur Collections in Geneva, formed between 1928 and 1951, and the Zhuyuetang Collection (the Bamboo and Moon Pavilion in Hong Kong), which has been building since the late 1980s, reveal the elegance and variety of imperial monochrome porcelain wares produced during the Ming (1368-1644) and Qing (1644-1911) dynasties, which followed on from the Tang (618-907) and Song (960-1279) periods. These restrained pieces – both profane and sacred – exemplify the values of simplicity and modesty espoused by classical Chinese texts. With chapters devoted to the historical, cultural and technical contexts in which these pieces were made, this book will be a key reference on Chinese monochrome ceramics for all lovers of the subject, as well as students, researchers and connoisseurs.

Text in English and French with Chinese summaries.

Using the formalist conventions of an ironic heritage, William Ludwig Lutgens attains the expression of something sincere. Like the philosophical idiot who did his utmost best to unlearn all the fallacies he was acquitted with since birth and now only knows he knows nothing, the artist made the world into his own theatre wherein he can stomp around like a bull in a china shop with the grace of a prima ballerina. Forcing a pathway to possible exits by presenting us with the alloy of his observations, imagination and scattershot references. Not merely asking questions, which seems to be the hype in contemporary art nowadays, he is unraveling the framework wherein these questions originate. The image deconstructed by the story of its creation, alternating between the power and impotence of the theatrical madness at the end of the world as we know it. William Ludwig Lutgens presents with his Comedy of Humours the dysfunctional family of man.

Text in English and Dutch.

Carbon is everywhere — in the soil, in the air, in life. Carbon is the foundation of architecture and the built environment. Carbon is also infamous for intensifying the climate catastrophes around us. And architects — by the nature of their education and practice are transforming this carbon into the built environment. Twelve critical essays in this book present a constellation of voices surrounding carbon and its relationship with architecture, renovation, material, form, and design pedagogy. The renovation of two buildings on the Equator — at the School of Design and Environment (SDE), National University of Singapore — serve as the protagonists for these reflections. The essays raise key questions on the values embedded in the architecture of architecture schools. What principles might a low-carbon future embody? What do renovations mean for rapidly urbanising Asia? How can they transform the relationship between climate and architecture on the Equator? Do they demand new equatorial forms? How can material innovations influence their design? How can the design of architecture schools influence a new generation of architects towards a sustainable future? These and other questions are set forth within while illustrating the models of thought that have shaped the architecture of SDE 1 & 3, offering ways to sustainably transform carbon in the context of our warming world.

teNeues NYC Stationery is proud to share our newest offering, classic Playing Cards with our signature style curated from museum art and illustrations from our favourite artists around the world printed on embossed, premium blue-core card stock in a gift box with flip-top magnetic closure. 

Red Cardinal by Allyn Howard is a charming rendition of a beloved back-yard bird, a favourite among all ages. 

Our little portable box is giftable and great for travel, fits in any bag and the magnetic closure keeps the cards together between games.

• Standard deck of 54 playing cards including 2x joker cards
• Full-colour, richly -printed artwork on embossed, blue-core card stock
• Giftable flip-top box with magnetic closure
• Box measures: 69 x 95 x 25 mm

Allyn Howard is a painter and illustrator based in Brooklyn, New York. Inspired by her childhood, her work reflects an interest in nature, often from the vantage point of small curious animals. Allyn uses water-based acrylics on wood, paper, and canvas, merging a decorative style with a colourful, painterly one.

Rembrandt in a red beret: the vanishings and reappearances of a self-portrait follows the fortunes of a fascinating painting along two lines. First is the history of the painting as a precious collector’s object, a story almost too unlikely to be true. In 1823 it was bought by the future King Willem II as one of his first purchases for the greatest collection of paintings ever assembled by a Dutch individual. For nearly a hundred years it remained with his heirs, coming to Weimar. Then, in 1921 it was stolen from the Weimar Museum, to turn up in 1945 in Dayton, Ohio, owned by a man who said he bought it in 1934 from a German sailor on the New York waterfront. What followed is revealed in this book for the first time, based on declassified U.S. government information. In 1947 the U.S. government seized the Rembrandt under such strict terms that 20 years later, when it wanted to return it to Germany, it was forced to go into legislative and diplomatic gymnastics to do so. Upon its return, an heir to the Weimar title sued for its restitution, and after seven years of one trial after another, she got it. She sold it in 1983 to the private collector who still owns it. Since 1921 it has been on public display only for 10 days in Dayton (1947) and 10 weeks in Washington (1967). The book also traces the critical history of the painting as a Rembrandt. In 1969 his authorship was disputed by Horst Gerson, an opinion that was seconded by the Rembrandt Research Project. Examining all the evidence and arguments, the eminent Rembrandt specialist Gary Schwartz comes to the conclusion that there is no reason not to accept the painting for what it looks like – a self-portrait of the great master, painted by his own hand.

This exhibition catalogue for a show at the Neue Sammlung (Design Museum) in Munich documents the first solo show by Swiss jewellery artist Therese Hilbert, former student of Max Fröhlich in Zurich and Hermann Jünger in Munich. It features 250 works, going back 50 years and beginning with her earliest, unknown pieces through to her newest work created in 2020. One of her life-long passions is volcanoes: she has climbed many of them and has used them as a theme in her jewellery design for many years. The sense of heat below the surface of her minimalist designs underlines her passion for the subject. Her work is in the collections of the Design Museum (Munich), the National Gallery of Victoria, the Dallas Museum of Art, and Museum of Arts and Design (New York).

Features texts by Heike Endter, Otto Künzli, Ellen Maurer-Zilioli, Pravu Mazumdar, Angelika Nollert, Warwick Freeman and Petra Hölscher.

Text in English and German.

Be inspired by captivating fashion photography showcasing catwalk creations, street styles, monochromatic looks, colour combinations, accessories, and iconic outfits. Accompanying these inspiring images are concise texts that delve into the history and evolution of colour in fashion, revealing fascinating stories from the fashion world.

This illustrated book series presents the mega theme of colours in fashion in a fresh and innovative manner. The unique blend of inspiring fashion photography and engaging narratives makes these books a must-have for fashion enthusiasts. With their stylish design and luxurious feel, these illustrated books become coveted fashion icons in their own right.

Whether as the ultimate gift or as stylish fashion icons for the coffee table or bookshelf, these books epitomise impeccable style.

The ultimate volume on Ferrari production enhanced by the artistic photos of Christian Martin. Immerse yourself in a visual journey through legendary Ferrari models: 250 GTO, Testarossa, F40 and more.

This exceptional work on Ferrari fuses art, automobile photography and a catalogue raisonné. It offers a captivating journey through legendary Ferrari models, such as the 250 GTO, the Testarossa, the F40, the Enzo, and the 458 Italia. You will also discover rare treasures, including the Ferrari P4/5, a unique creation by Battista Pininfarina.

Christian Martin sublimates each model with photos that capture speed, elegance and sensuality. His photos pay homage to the vision of Enzo Ferrari, where each curve of the bodywork evokes movement and power. The legendary Ferrari models appear here in their best light, revealing a timeless aesthetic.

This book goes beyond a simple automobile collection. It is a visual and emotional immersion in the world of the prancing horse. Page after page, it celebrates the mechanical treasures that continue to fascinate generations of enthusiasts. A unique experience where art and speed meet to offer a vibrant tribute to Ferrari.

Text in English and French.

In her paintings, the Swiss artist Regula Syz (b. 1946) opens up a space for contradiction. They depict blossoming life, but also foreboding and destruction. To this end, the artist works with elementary manifestations of the life cycle, which she links to humankind’s internal and external struggles. Regula Syz’s oeuvre, which spans more than fifty years, is characterised by a turning point in 1999: a studio residency in Genoa marked her transition from precise watercolour techniques to large-format acrylic paintings; beauty and harmony were followed by expressiveness and movement. Red Raven – Black Poppy focuses on this second phase of her work, though it also features earlier works and excerpts from her sketchbooks, allowing for a comprehensive exploration of Syz’s artistic practice.

Text in English and German.

Before finding a place as a celebrated author and household name, Charles Dickens was the beleaguered son of a perpetually impoverished family, proving a failure at everything from court reporting to pot polishing. This story, adapted from his cherished works of fiction, imagines his life at this young age. In the entries of Charles Dickens: His Journal, we meet a floundering Dickens just as he throws up his hands, withdraws his paltry savings, and sets out for Canterbury like the pilgrims of old. He places himself in the hands of the world, depending in part on the strength of his last shillings, in part on his own quick wits, but most of all upon the patchy hospitality of unforgettable characters he meets along the way. Can we believe what we read? According to Dickens, all of his tales are true reflections of life – fragmentary and highly improbable. For readers unfamiliar with the author’s work, this is a remarkable introduction to Dickens’ brilliant humour and to his indelible characters, who come to life as soon as we read their names. For Dickens enthusiasts, this is a smart, exhilarating romp through the pages of a timeless writer, celebrating caricatures and scenes too often overlooked.

Through an extraordinary selection from the Beken Marine Photography Archive of the work of four generations of famous photographers (the Beken family), this book retraces the fundamental stages of the evolution of the unsurpassable ‘Beken style’, bringing together some of the most artistic images of sailboats ever shot. These wonderful and legendary pictures, accompanied by detailed texts and plentiful information, will lead the reader through time, to discover the wonderful world of yachting photography.

The Bekens began their love affair with marine photography in 1888, when Alfred Edward (1855–1915) moved from Canterbury (Kent) to the Isle of Wight with his son Frank (1880–1970). He purchased a pharmacy in Birmingham Road in the seaport of Cowes, a town that was already famous for international yacht racing and for the world’s oldest regular regatta, the renowned Cowes Week. Alfred and young Frank started shooting photographs to capture sailing yachts at their best, and racing yachts in action, a real challenge at that time as it still is today. These beautiful photographs started being sold in the pharmacy as souvenirs, and in the space of a few years they would have caught the attention of the world of yacht racing and sailing aficionados, earning the Beken family a large number of followers all over the world for the extraordinary quality of their images.

Queen Victoria, King George V, and most recently the Duke of Edinburgh awarded the company a Royal Warrant for excellence. Frank’s artistic inheritance was carried on by his son Keith (1914– 2007), who succeeded him in the creation of fantastic sailboats photographs. Today, Kenneth Beken (b. 1951, the fourth in the line of family photographers), together with yacht master Peter Mumford, is leading the way in the latest digital photography, and creating wonderful colour images: “Now that digital cameras and printers are as good as the traditional darkroom methods,” he says, “the company has gone totally digital.” Today the Beken Marine Photography Archive features more than 200,000 different photographs of incalculable value, from historical monochrome masterpieces to contemporary digital images of the highest quality and technical perfection.

Never reprinted since their first, posthumous appearance in 1935, these woodcuts were the only printed versions of his work to receive Rodin’s full approval. Mostly self-educated, Rodin was a passionate re-reader of his favourite books, and Ovid’s Love Elegies occupied a special place in his imagination. These woodcut illustrations were taken from the astonishingly free and improvisatory life drawings he made in his later years. For many people these are the most entrancing manifestation of his genius. Privately published in 1939 in a very strictly limited edition, these 31 beautiful images are very rarely seen. This edition marries Rodin’s illustrations to Christopher Marlowe’s glittering translation, which was ceremonially burnt by the Archbishop of Canterbury in 1599.

In this unique study of wine through the ages, journalist and World War I frontline reporter, Hubert Warner Allen (1881–1968) casts an observant eye over the way wine appears in literature, from the words of the Roman connoisseurs to the excesses of Chaucer’s Canterbury Tales heroes, taking in the debatable wisdom of the 18th-century epicurean Jean Anthelme Brillat-Savarin and the sagacity of the legendary Edwardian wine-writer, George Saintsbury – and many more. Warner Allen’s observations are both fascinating and highly entertaining. As Harry Eyres, who introduces this book, says: “Literary, historical, discursive, personal: this is very much the opposite of modern wine writing, and presents another era seen through a glass darkly.”

The Classic Editions breathe new life into some of the finest wine-related titles written in the English language over the last 150 years. Although these books are very much products of their time – a time when the world of fine wine was confined mostly to the frontiers of France and the Iberian Peninsula and a First Growth Bordeaux or Grand Cru Burgundy wouldn’t be beyond the average purse – together they recapture a world of convivial, enthusiastic amateurs and larger-than-life characters whose love of fine vintages mirrored that of life itself.