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called this pivotal part of his oeuvre, and left no instructions for its final disposition, and it therefore remained unpublished until recently.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.

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.

Packed with pictures, Red Print tells the story of modern-day China through its propaganda regime. It encourages us to review the past of this fascinating country through how the governing bodies presented themselves to the Chinese people.In the current era, where mass communication and information explosion is the norm, such simple propaganda posters are a source of historical interest and design inspiration. This book will be a vital addition to any collector’s library, and the simple, yet aesthetically attractive style of these posters will appeal to designers worldwide.

As the seat of archbishops, Canterbury Cathedral has been one of Britain’s most important buildings for over 1400 years. However, the church as we know it evolved most spectacularly between the eleventh to the fourteenth centuries. Within its designs are references to a world we have forgotten: its relationship to Rome, mythology, hidden geometry and the display of saintly relics. Architectural historian and broadcaster Jonathan Foyle explains how Canterbury’s turbulent and brilliant past shaped the cathedral, leaving us today with an extraordinary composite work of architecture. The book features specially commissioned images by the architectural photographer Robert Greshoff as well as carefully selected archival illustrations, and includes a number of the author’s own drawings. An additional chapter by Heather Newton covers the cathedral’s modern conservation programme .

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.

For Red X Thread, the gold- and silversmith and designer Franz Bette (b. 1941) developed a new body of work which reflected his experiences in Asia. For this, he incorporated new elements to his artistic approach, extending his Western-influenced vocabulary of steel, silver, gold and plastic by adding materials with Asian connotations, such as porcelain, paper, bamboo, wood and textile. He works with these materials, aware of their tradition and meaning in Asian culture. Many new impulses have led Franz Bette to special formulations in his poetic language, to organic ephemerality instead of geometric constructions. His jewellery shifts between drawing and sculpture, far removed from all monumentality.

The exhibition Red X Thread: Franz Bette – Jewellery, ALIEN Art, Kaohsiung (TW) runs from 15 February 2019 – 23 June 2019.

Text in English, Chinese 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.

“It is often said that great things take time and after a twelve year hiatus from publishing, renowned artist Swoon has returned with the must-have monograph, THE RED SKEIN.” — Quiet Lunch
In 224 pages, with more than 200 colour images, this book explores the work of Caledonia Curry, also known as Swoon, and her aim “to bring a human presence to the street in a delicate way”. Covering her works on the street and in the studio, animation projects, collaborations, museum installations and community-based projects, The Red Skein is the most interesting and valuable collection of the artist’s works. Of particular interest is “Persephone, Medea, Hecate: Constructing a crossroads for art and psychedelic-assisted therapy”, an intimate and moving text in which Caledonia explains her background and what art means for her.
The in-depth book includes an introduction by bestselling author Dr Gabor Mate, a Hungarian physician with huge expertise on a range of topics including addiction, stress, and childhood development. There are also essays by RJ Rushmore (one of the youngest and most respected critics of street and graffiti art in the world), Melena Ryzik (New York Times reporter who was part of a team that won a Pulitzer Prize in 2018 for reporting on workplace sexual harassment), Jerry Saltz (American art critic, senior art critic for The Village Voice and columnist for New York magazine) and Pedro Alonzo (Boston-based independent curator and Adjunct Curator at Dallas Contemporary). Other contributors include Hans Ulrich Obrist (director of Serpentine Gallery, Art curator, critic and historian of art), Jeffrey Deitch (art dealer and curator, director of the Moca 2010-2013) and Judy Chicago (feminist artist, art educator and writer).

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.

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.

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.

The newly-cleaned stained glass of Canterbury Cathedral in Kent, England is a revelation – the vibrant colour and breathtaking detail are newly visible to today’s visitors. The finest of this glass has been reproduced within a lavishly designed book to be enjoyed by tourists and general readers alike. In this book, Michael Michael has the pleasure of selecting the most beautiful and important pieces of glass on display at the Cathedral. His text sets these within the context of the biblical stories they depict. Communicating his passion for the glass and his understanding of its art and historical context, this book will appeal to non-specialists who are interested in the meanings behind single images and narrative sequences of glass. An additional chapter written by Sebastian Strobl outlines the fascinating history of changing methods of restoration and conservation, as well as the work carried out today by the Cathedral’s expert team.

In the series Collection of Ancient Calligraphy and Painting Handscrolls: Calligraphy, 10 masterpieces from famous masters of different dynasties are collected, covering mainstream scripts such as regular script, semi-cursive script, cursive script and so on. These treasured copybooks for calligraphy lovers are presented in the traditional format of a handscroll, which can be opened in sequence.

“Interesting…useful for photographers as a reference book.” —Amateur Photographer

Has pink always been feminine and blue a man’s colour? Why are we green with envy? Which colour is most expensive and who is the Goddess of Turquoise? Looking for answers, author Joanna Zoelzer has come across remarkable and entertaining facts about colours. In this beautiful coffee table book, we traverse the colour spectrum with 150 remarkable stories of our experience, understanding and theories of colour. With insights from art, nature, psychology and science, this is an amusing, entertaining, and vibrant journey through the cultural history of colour.

In the series Collection of Ancient Calligraphy and Painting Handscrolls: Calligraphy, 10 masterpieces from famous masters — mostly of the Song Dynasty — are collected, covering mainstream scripts such as regular script, semi-cursive script, cursive script and so on. These treasured copybooks for calligraphy lovers are presented in the traditional format of a handscroll, which can be opened in sequence.

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.

Red Dot’s annual agendas have become coveted collector’s items in their own right. Published in letter-size format, the bilingual (English/German) day books present the latest design novelties. The 52 weeks of the year are each given a full page, while the facing pages feature the latest outstanding design achievements, including winners of the Red Dot Design Award. The Design Diary is a perfect promotional gift and has been on Red Dot Edition’s bestseller list year after year. Text in English and German.

In this new collection, the black, white, red Baby Montessori board books, the scientific studies on the visual development and the Montessori theory on the visual skills of new-borns are combined to stimulate the attitude of babies in recognising shapes and figures with net borders. The four board books propose progressive visual complexity, starting from black and white contrast and moving on with a third vibrant colour: red. Red is recognised by the baby from the third month of life forward. The variety of subjects (animals, vegetables, fruits, path to follow with the fingers) keep the interest of the baby during the first year of life. Ages: 0 to 12 months

In this new collection, the black, white, and red Baby Montessori board books, the scientific studies on the visual development and the Montessori theory on the visual skills of new-borns are combined to stimulate the attitude of babies in recognising shapes and figures with net borders. The four board books propose progressive visual complexity, starting from black and white contrast and moving on with a third vibrant colour: red. Red is recognised by the baby from the third month of life forward. The variety of subjects (animals, vegetables, fruits, path to follow with the fingers) keep the interest of the baby during the first year of life. Ages: 0 to 12 months

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.

The Visual Biography of Color is a first chance at a second look at colour, which is so often overlooked in every day living. While other books discuss the phenomenon of colour from a cultural perspective, The Visual Biography of Color reveals colour through time by using information graphics and other forms of data visualisation to visually describe colour’s cultural role. The book moves the reader through the visible spectrum, as they turn the pages they exist inside of red, then orange, then yellow. In red, they encounter the evolution of red states in the U.S., the compilation of every red subway line in every major world city collapsed onto a single page, and they see a radiant wheel that displays every major song that has red in its title. As they continue to move through the book they’ll read about how artists, musicians, and other great thinkers have considered individual colours. Colour is vital as a communicating cultural mechanism. Instead of a pure revelation of conceit, the book embraces what one might consider high-brow and low-brow culture, embracing colloquialisms and idioms that reveal how deeply embedded the idea of color is in our colour-filled world.