Last Copy

• Editorial RM 2022
  
• Softcover, 1st edition
  
• Used: near fine
  

n Solus Vol. I, Pieter Hugo reflects on the values that constitute the fashion industry’s shifting aesthetic through a series of straightforward portraits of street-cast models. Hugo found himself captivated by sitters with unconventional and atypical looks, particularly before they underwent fashion’s machinations of wardrobe, makeup and hair. Drawn to this uniqueness and recalling the sense of not-belonging that is part of the intense experience of youth, Hugo’s invitation to the models was “Simply present yourself”. The resulting photographs embrace vulnerability and frailty as much as they do the agency and idealism of their subjects.

Commenting on the gap between what may be understood as “yourself” and “model”, Hugo notes: “They seem so different to how I felt at their age. I was much more cynical, more nihilistic. They are more comfortable in their bodies than I ever was.”

Display copy some light wear and few faint marks to the cover.  Inside very fine. 

• Eriskay 2016
  
• Softcover, 1st edition
  
• Used: very good
  

(Un)expected is a memorable photo project about the coping process of surviving relatives of suicides in West Flanders.

In 2008 the mother of documentary photographer Peter Dekens (BE) took her life and just recently a friend did the same. West Flanders, the region where he grew up, has one of the highest suicide rates in Europe, one and a half times higher than the European average and twice as many as the Netherlands. Every month in West-Flanders 20 people commit suicide.

During his research Dekens came into contact with people who had experienced a suicide of a loved one. For some this happened totally unexpected, for another the traumatic event was not ­unexpected at all.

(Un)expected contains five stories about the grief of survivors of suicide and the way people cope with their loss in different ways: the sadness, the grieving process, but also the attempts at finding a new way to live.

There is the story of Hanne who takes a daily walk to the woods for months to sit by the tree where Ime took his life. We see how Dekens’ father who continues to perform household tasks on autopilot after his wife’s death. How José repeatedly feels the emotion on the train ride as she passes the spot where Steven left his life. The pain and the fight against depression of Kris who lost her son. And the children of Walter who have to cope with the loss of their mother.

Dekens hopes that the book will play a socially useful role, and that it is seen by caregivers, ­general practitioners, specialists, nurses and ­students in psychology, psychiatry and social work. But above all, he would like the book to be a ­support for survivors and to make the taboo regarding suicide widely debatable.

Display copy with a few marks to the front cover and a blemish to the rear - see photos.  Inside very fine. 

Signed and dated 2016.

• Mack 2020
  
• Hardback, 1st Mack edition
  
• imperfect - see below

A1 - The Great North Road was Paul Graham's first book, published in 1983. Despite the UK having a vibrant photographic scene at the time, there were only handful of monographic books - Chris Killip and Martin Parr had one each - and no dedicated publishers or distributors. Graham had to self-publish A1, but as the first colour book, it had a startling impact on British photography. Uniting the tradition of social documentary with the fresh approach of new colour, A1 - The Great North Road was transformative on photography in the UK and paved the way for a new generation of British colour photographers to emerge, from Nick Waplington to Anna Fox, Richard Billingham to Tom Wood.

Spanning the full length of England and into Edinburgh, Graham travelled repeatedly along the 'Great North Road' with a large format camera, to record the people, buildings, and landscape of early 1980's Britain. Now 40 years old, this book is as much art as it is a historical document of the years of Margaret Thatcher’s government and the UK’s declining industrial base.

1st Mack printing.

Display copy with small mark to rear cover and small nick to pink endpapers and other light wear.

• TBW 2020
• Hardback, 1st edition
• imperfect - see below

A foreboding meditation in the vein of Southern Gothic literature, Drake’s most recent body of work emerged through her collaboration with an enigmatic group of women loosely calling themselves “Knit Club.” The nature of the club is ambiguous. It is a cross between a gang, a cult of mysteries, and a group of friends bound by secrets only they share.

The book follows a narrative structure loosely borrowed from Faulkner’s As I Lay Dying–– that is to say, not one omniscient narrator but many disparate stream-of-consciousness voices. We sense the authorship of the photographs to be collaborative, the result of creative play between Drake and the club in which she found herself embedded, their process a kind of alchemy. In the style of the Gothic, Drake’s masterful use of color to create mood opens the door to the tension between the real and the supernatural. What we find, however, is not grotesque but something vital. A community that manages to exist outside the gaze or control of men. Women, children, and mothers, shrouded in masks and mystery to live a life on their own terms.

Following three critically acclaimed self-released books– Two Rivers (2013), Wild Pigeon (2014), and Internat (2017) –Knit Club is the first book Drake has made in collaboration with a publisher. Drake is the recipient of a Guggenheim fellowship, among many other awards, and became a member of Magnum Photos in 2019.

Sealed copy but with indentations to the cover - see photo.

• TBW / Images Vevey 2024
• Hardback, 1st edition
• Imperfect - see below
  

TBW Books and Éditions Images Vevey are pleased to present Christian Patterson’s Gong Co., a monumental memento mori to the decline and decay of a family-owned grocery store in the heart of the Mississippi Delta, from which the book takes its name. 

When Patterson first encountered the store in 2003, it was still open for business but seemingly stuck in time, its shelves scattered with long-expired products. It was like an unintentional time capsule, and an uncanny fulfillment of Andy Warhol’s prophecy that “Someday, all department stores will become museums, and all museums will become department stores.” Over the next twenty years, Patterson diligently documented the store's slow disintegration. In 2013, its doors were closed, with its contents left inside. Patterson continued to access the store until the day it was gutted in late 2019.

Gong Co. invites readers to engage in a visceral and visual exploration. Through Patterson’s eclectic mix of on-site and studio photographs, monotypes, trompe l’oeil collages, and cryptic handwritten notes, the book becomes a dynamic and multi-layered experience. Marcel Duchamp’s readymades or Dieter Roth’s Flacher Abfall (Flat Waste) come to mind, where everyday objects are transformed into art through context and presentation. The book offers endless opportunities for interpretation.

The book format acts as a sculptural work in itself. Patterson has crafted an artist book object, presented as an aged and worn green, clothbound cover wrapped in a brown paper jacket resembling a grocery sack. Each page is a testament to Patterson’s meticulous attention to detail, incorporating elements such as mold and foxing marks, as if caused by heavy southern humidity, now forever embedded into the book's pages. 

Gong Co. is a profound exploration of how we engage with the artistic representation of America and “the South”—a place shaped in popular imagination by great photographers and writers like William Eggleston, Walker Evans, William Faulkner, and Harper Lee. But Patterson delves more deeply into the impermanence of it all; and of a now long-outworn sense of America itself.

First printing.

Faint bump to one corner, otherwise as new.  See photo.

• GOST 2022
  
• Hardback, 1st edition
• Imperfect see below

The photographs in Gli Isolani (The Islanders) by Alys Tomlinson, inhabit a hinterland between fiction and reality. Over a period of two years, Tomlinson documented the traditional costumes and masks worn during festivals and celebrations on the islands of the Venetian lagoon, Sicily and Sardinia. The images will be published for the first time in this new book, Gli Isolani (The Islanders), and exhibited at Hacklebury Fine Art, London from 7 September – 29 October 2022.

Working with a large format 5×4 camera, Gli Isolani draws upon the visual language of Tomlinson’s previous projects, lending the black and white photographs a veil of timelessness. At the project’s genesis, Alys researched the literature and poetry connected to the history and culture of the islands of Italy, exploring tradition and identity, ancient myths, folklore and fairy tales. Set against crumbling stone and rural fields, the images depict the elaborate and uncanny costumes and masks worn for Holy Week, and other events and festivals, often inspired by pagan ritual and beliefs. The fantastical tales and precious costumes have been passed down many generations within these communities where customs run deep. The gestures and the costumes depicted in the photographs draw on the relationship between man and the land, the sacred and the profane, and good and evil.

‘Looking into them, I see ordinary people in extraordinary habits. Pagan and religious. Masked and exposed. Collapsing time, in front of your camera. Within this present-past continuous, devils and saints, hunters and creatures take hold of my rooms. Inhabit them, tacitly. I try to listen to the tales their eyes and gestures tell, to the timbres of the light reverberating in all of these pictures.’

– Sabrina Mandanici

Signed copy.

Imperfect copy with small bump to one corner, otherwise a sealed signed copy.

• Another Place Press 2019
• Softcover, 1st edition with print, 60p
  
• near fine

Doggerland.

Waves crash.

LOVER OF STRANGERS

A path cuts through the worn grass.

I KNOW I HAVE LOST

Now the advertising posters dance, shimmer on glass, huge as the buildings.

EVERYTHING NOW PLEASE

...and we find a layering of screens, of silhouette that doesn't quite make itself out; a cross now in a field.

GOLD IN MY HEAD

Jesus... A flag ; a knotted scarf ; a book (but framed, cased under glass)...

Symbols? We might reflect on that.

Simply? This is a complex joined-up narrative of elements perceived through glass – this is found images, but images all looked-for : sought, perceived even a little in advance, where the right picture is thus in itself its own reflection.

Something of all that is what you see with eyes half-silvered anyway – is no more than just that thing which we all call photography.

But this is something more than that.

For this is Doggerland.


Special edition of 35 copies each with a unique signed A4 print - with print as shown.  Light wear to book edges, near fine.

• Stanley Barker 2024
• Hardback, 1st edition. 72p
  
• Imperfect - see below

Larry Clark was 16 in 1962 when he and his friends started shooting Valo - a drug store nasal inhaler that contained a tremendous amount of amphetamine.

Clark returned to his hometown of Tulsa at 20 after two years serving in Vietnam. Here he graduated from amphetamines to heroin, and upended traditional documentary photography, by turning his camera on himself and his social circle, producing a ground-breaking series of raw and intimate photographs chronicling the disintegration of the American dream. 

Clark’s deeply intimate images exposed the previously unseen lives of suburban American teenagers, living a transgressive, outlaw lifestyle, hanging out in crash pads and committing burglaries and armed robberies to score dope. A small number of these photographs would come to form ‘Tulsa’, a cornerstone of contemporary photography. 

50 years on, Larry Clark has returned to his archive of vintage prints, crafting a powerful vision of his work from 1962-1973, to produce his new book ‘Return’, a meticulously printed, outsized monograph, which is as shocking today as it ever has been, even in a moment in which opioid addiction is more prevalent than ever before.

“I’ve always been interested in small groups of marginalized people who no one would know about otherwise.  I photographed my friends over a ten-year period in this secret world that nobody else could have possibly come in and done except someone from the inside like me. You see us from the time we were teenagers up until our twenties and how everything changed and how we changed. There weren’t supposed to be drugs back then. It was supposed to be mom’s apple pie and white picket fences. When I started making work, I said, “Why can’t you show everything?” - Larry Clark 

Spine of book slightly askew - otherwise book is as new - see photo.  Enjoyment of book unaffected.

• Xavier Barral 2021
  
• Hardback, 1st edition
  
• New
  

To celebrate the 10th title of the collection, we are publishing a new series of photographer Rinko Kawauchi. Last spring, she turned her lenses on swallows at the the birth season, and more particularly, on small nests the birds build away from prying eyes, made of ground, clay, water and dry herbs to protect their clutches. With all the poetry and sense of detail that characterize her work, Rinko Kawauchi reveals the magic of our daily life and the ephemeral beauty of suspended moments. The swallows, thanks to their sharp wings, perch everywhere with great ease and elegance, filled with an opalescent light.

This publication is part of the Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. 

English edition

Sealed copy but with faint bump to one corner - see photo.

• Twin Palms 2012
  
• Hardback, 5th edition
  
• imperfect - see below

At 17 Mike Brodie hopped his first train close to his home in Pensacola, FL thinking he would visit a friend in Mobile, AL. Instead the train went in the opposite direction to Jacksonville, FL. Days later, Brodie rode the same train home, arriving back where he started. Nonetheless, it sparked something and Brodie began to wander across the U.S. by any means that were free - walking, hitchhiking and train hopping. Shortly after, Brodie found a Polaroid camera stuffed behind a carseat. With no training in photography, the instant camera was an opening for Brodie to document his experiences. As a way of staying in touch with his transient community, Brodie shared his pictures on various websites gaining the moniker “The Polaroid Kidd” [sic]. When the Polaroid film he used was discontinued, Brodie switched to 35mm film and a sturdy 1980’s camera. Brodie spent years crisscrossing the U.S. amassing a collection, now appreciated as one of the most impressive archives of American travel photography. When asked about his approach to travel and photography Brodie has said “sometimes I take a train the wrong way or…whatever happens a photo will come out of it, so it doesn’t really matter where I end up.”

5th edition of this photobook classic.

Large bump to bottom edge - cover only affected, pages mostly fine.  Otherwise a new copy.  See photos.

• Loose Joints 2021
• Softcover, 1st edition
• used - good see below

For nearly two decades, Lichtenstein has worked in varied subgenres within photography’s historical archetypes: marginalized contemporary landscapes, refracted still life, performance-based portraiture and process-oriented abstraction. In Recorder, Lichtenstein embarks on an ambitious three-part series of images that recycle and reorient themselves within the limits of technology and photographic vision. 

Every image in Lichtenstein’s layered artist book departs from a singular work: Welcome Water, where Lichtenstein collaborated with J. Stoner Blackwell to make flatbed scans of the artist’s delicate sculptures derived from disposable carrier bags, which were then cut out and stitched into a sprawling sculptural floorpiece. Meditating on the waste and burdensome environmental significance of these single-use plastic objects, Lichtenstein accumulated and activated the detritus of Welcome Water, using the negative cutouts and test-prints of the work to recycle them into new photographic forms.

The results are three series that are both distinct and inseparably intertwined: Holes, a series of black-and-white images reworking Blackwell’s delicate laser-cut interventions to the carrier bags; Grounds, a physical layering of leftover cutout shapes, pinned and affixed, leaving a gaping void at the photographic centre; and finally, Untitled, Lichtenstein’s boldest foray into abstraction, where her source materials were repeatedly printed and scanned, sometimes up to thirty times, to create a giddying and vertiginous collaboration with the entropy of print technology. These works are layered with ink, program errors, exaggerations and obfuscations, eventually liberating her source material into pure free-form visual abstraction.

Lichtenstein creates images that are at once challenging and seductive, setting forth a chain reaction of feedback loops in which pictorial space is filled and mutated through collaboration with and against the limits of imaging technologies. Recorder contains profound depths and coalescent shapes that never fully resolve themselves, but within this profundity a clear thread can be drawn, connecting the push-and-pull of photography’s tendency to both record and obscure, with a meditation on waste, consumption, and the environmental changes set loose by the anthropocene. 

With limited 8×10" print (unsigned) of an exclusive unpublished work by the artist. Giclée print on Hahnemühle Rag.

Used copy - Book has light wear to edges/corners.

• Session Press 2024
• Softcover, 1st edition. 184p
  
• imperfect - see below

Session Press is pleased to present Solace, the first U.S. monograph by acclaimed Hong Kong based photographer and film director, Wing Shya. Early in his career, Shya was invited by Wong Kar-wai to serve as an on-set stills photographer for films including Happy Together and In the Mood for Love. Granted rare access to the renowned director’s inner circle, over the years Shya captured poignant behind-the-scenes portraits of iconic actors such as Tony Leung, Leslie Cheung, Maggie Cheung, and Gong Li in unguarded moments between takes. These intimate images form the heart of Solace, interspersed with the best of Shya’s commercial shoots, as well as private snapshots of nature and cityscapes encountered on his travels. The resulting collection is a true testament to Shya’s ability as an eloquent storyteller and deeply introspective observer.

Hong Kong has long captured the West’s imagination as an enigmatic Other with dazzling neon lights and a chaotic electric pulse. However, in Solace, Shya reveals a more personal and meditative Hong Kong. Time slows, inviting the viewer to explore the subtleties of interpersonal chemistries from a distance in ephemeral, quiet moments that showcase Shya’s sensitive and intuitive approach toward his subjects. A nostalgic, dreamlike atmosphere emerges in his expired and exposed film, punctuated by flashes of vibrant color. In the words of William Chang, one of Wong Kar-wai’s most important collaborators, Solace is a “moving achievement that deftly captures ephemeral postures and fleeting snippets in time.”

We hope Solace will introduce an international audience to the sublime nuance of Wing Shya’s work, as well as the rich history and culture of Hong Kong as seen through his eyes.

Imperfect copy with small bump to one corner - see photo.

• Bullfinch 1994
• Hardback, 1st edition
• Used:good - see below

A fascinating celebration of street photography features works by such renowned masters as Atget, Stieglitz, Cartier-Bresson, and Robert Frank, as well as unknown photgraphers, and is filled with detailed text that chronicles the history of this energetic movement.

Used copy of the 1st edition with  mark/general wear and tear to the dustjacket.  Book inside very good.

• Deadbeat Club 2024
• Hardback, 1st edition. 146p
  
• New

In the distance, there's the ocean. But here, it's the land of high, rounded mountains, of rivers, of pastures. Of those who cross, share and tend it. This land is the Basque hinterland. Straddling France and Spain, nestled between the Pyrenees and the Bay of Biscay, it's a proud land of wild beauty, often fantasized about and surrounded by a mystical mist, as if to better protect it from foreign eyes. 

Anne Rearick nevertheless crossed this misty barrier by setting foot for the first time, in 1990, in the small village of Donibane Garazi (Saint-Jean-Pied-de-Port). Since then, and for more than 30 years, Rearick has returned again and again, establishing a deep bond with the inhabitants over generations. And therein lies the strength of Rearick's work: a deep, sincere feeling for the people she photographs. It's not naive romanticism, but an open, tender and generous gaze, characteristic of her long-term work and her humanist vision of photography. Her honest understanding of the photographer's work is evident in her square compositions, where concentration of vision and subtle black and white tones harmonize to convey not only the beauty of the Basque country, but also the reality of its raw land and of its rural world we see evolving over the decades.

Gure Bazterrak, which if it were easy to translate the nuances of Basque language, could be transcribed as « our land », is the representation of the visceral attachment of the inhabitants to this land, and is Rearick's love song to those she has loved and still loves there. 

• Self published 2024
• Hardback, 1st edition 280p
  
• New

An exploration of Los Angeles’ neighborhoods and transient nature through an extensive typological record of its once-loved sofas.

• GOST 2024
• Hardback, 1st edition. 372p
  
• Fine

The History War is a book of photographs, collages and ephemera which beings with a timeline tracing Ukraine’s evolution from the 5th century and its long struggle for independence. The book is divided into six narratives documenting the events and people Larry Towell encountered in his many journeys to Ukraine

Towell first visited Ukraine at the time of the Maidan uprising in 2014, witnessing the final days of the violent clashes between the protestors and police in Kyiv. His photographs show the civilians behind makeshift barricades with home-made weapons, the heavily shielded police and the aftermath of the dead in a half-destroyed Maidan Square. It was this event which led to Towell’s long-term commitment to Ukraine and compelled him to return over the years.

The second chapter focuses on Towell’s time in the wastelands of Chernobyl, site of history’s worst nuclear disaster in 1986 which resulted in many Soviets losing faith in the system. The following chapters focus on Towell’s time on eastern Donbass—a region of neglected coal miners and de-occupied ruins, an embed with the Ukrainian Army in Bakhmut, time with separatists in Donetsk and Luhansk, and finally, the Russian invasion of Ukraine, including the exhumation of civilian
graves and crimes against humanity in Bucha.

Described by Towell as ‘one person’s book on Ukraine’ The History War challenges the possibilities of a photobook and demonstrates how storytelling can be woven together by different fabrics. Taking on the format of a scrapbook, Towell combines
personal notes with ephemera—postcards, found family pictures, playing cards, cigarette packets and rubbish left behind by Russian soldiers to supplement his images.

‘I believe this project is an important testament to a political crisis that will shape international relations and reverberate through the decades to come. It also challenges a world oversaturated with news pictures.’

Signed copy. Blue cover.  Display copy in fine condition.

• Nazraeli Press 2024
  
• Hardback, 1st edition, 16p with print
  
• New
  

In 2015, Daido Moriyama stopped in Los Angeles to photograph the westside following a museum opening of his work in Houston. For two days, he photographed in Santa Monica, Venice and the Marina, in alleyways and private homes. The resulting photographs are presented in his newest contributions to our One Picture Book Series: Daido "Uno" (black and white) and Daido "Dos" (color).

Small format hardback 6" x 8 1/2", 16 pages. Limited to 500 numbered copies, each including a 5"x7" original print that has been signed by the artist.

• Void 2024
  
• Hardback, 1st edition, 176p
  
• New

"Epitome is a fairly personal visual journey—my attempt to look at some things more than once. It consists of pictures shot in war-torn places I was visiting in two subsequent years (2022–2023) and pictures printed from my archive of previous years. The process of making the palm-sized prints became, for me, a meditation, an urge to find personal balance and a contemplative search for meaning in a wartime reality. While navigating the wounded land, I look for a glimmer of hope in people and places. I keep coming back to the same trinity that absorbed me—the soil, body, and warmth of a distant landscape. For me, uncertainty, fragility, and chaos, but also tenderness and hope, are the real essence of the series."—Vic Bakin

Edition of 750 copies.

• GOST 2024
  
• Hardback, 1st edition, 88p
  
• New

Adam Ferguson began photographing Australia’s interior in 2013 in an attempt to dispel sentimental and outdated narratives around the ‘Outback’—a place central to the identity and development of modern day Australia. His photographic survey, made over a 10-year period, depicts fading traditional events, shrinking small towns, Aboriginal connection to Country, the impacts of globalisation and the adversity of climate change to illustrate the complex realities of contemporary life in the ‘Outback’.

The ‘Outback’ has no demarcated border but refers to Australia’s vast and sparsely populated interior—73 percent of Australia’s territory, more than two million square miles—is inhabited by just 5 percent of its 24 million people. In spite of its relatively small population it is an important and diverse segment which defines the character of the country and has been  mythologised in poetry, song, literature and screen. 

Ferguson was originally inspired by Richard Avedon’s portrait project, ‘In the American West’—which shattered romantic notions of the west. Ferguson’s project is similar in scope and ambition but stylistically divergent. As the project evolved it became evident that portraiture alone could not narrate the stories of the people he met. 

‘Part of the experience of living in this huge, sweeping landscape is the relationship each individual has with the land and environment. It made sense to position everybody in the spaces they  occupy. I wanted to construct a scene which complemented, or reinforced the stories of the people I photographed.’

Signed copy.

• Stanley Barker 2024
• Hardback, 1st edition
• New 

In the fall of 1977, Jack Lueders-Booth began teaching photography to the inmates of MCI Framingham, a women’s prison. 

During his decade at the facility, he would make a series of Polaroid images produced collaboratively with the women who lived in the prison. 32 of these images are presented in this new book alongside oral histories taken at the time by Booth. 

Founded in 1878, MCI Framingham was opened to house incarcerated women for the crime of giving birth out of wedlock i.e., begetting, (Hester Prynne’s crime in Nathaniel Hawthorne’s 1850 novel, The Scarlet Letter). Some few years later MCI Framingham began incarcerating women for shoplifting, organised prostitution, using and trafficking drugs, armed robbery, child abuse, and murder. Many women at Framingham were convicted for helping their husbands or boyfriends commit crimes. By the Mid-70s, the correctional facility was part of an ongoing normalisation experiment that sought to mitigate the psychological consequences of incarceration. In Booth’s images, neither inmates nor guards are uniformed, cells are made to look like dormitory rooms, and inmates can furnish and decorate them within the constraints of guidelines. Male inmates were introduced, constituting 20% of the communal population. Many of the inmates in Lueders-Booth’s images had dependent children who were placed in the care of relatives or court-appointed foster parents, they were allowed to visit with an adult.

“My time there was scheduled to end in 1979, but by then I had begun photographing these women, and what began at their request grew to occupy me personally, and fully. I wished to continue and did, remaining at MCI Framingham for another 7 years, photographing, while also tutoring inmates who had a continuing interest in photography.' Jack Luders-Booth 

Included alongside Luders-Booth's images, are a series of anonymized verbal accounts, and poems taken from female prisoners at MCI Framingham Prison

For all of my sisters who have felt the weight of
life’s cruelties as the knife of life’s coldness
pierced their hearts,
And all traces of warmth were drained away.
they vaguely remember something called love,
a distorted version of pimp,
as coat hangers, baseball bats, anything in
reach came at them through the air
And afterwards their pimp says, “It’s because
I love you baby.

-Tina Williams, 1980

Cover colour and image varies - assigned at random.

• Muga / Ediciones Posibles 2024
• Hardback, 1st edition, 80p
• New

Ros Boisier has spent the last few years building an enigmatic photobook through the estrangement and deconstruction of the natural and urban landscape.

There are books that question us and books that accompany us, and there are books that achieve both, like this one. "Inside" is made up of images that can be looked at for a long time without becoming exhausted, without being completely deciphered. Images of slow time, static and ecstatic, before which one hesitates between seeing them or inhabiting them.

"The photographs in 'Inside' are inhabited by a crack that gives them a deep spiritual dimension". Alejandro León Cannock

"Ros Boisier has achieved in 'Inside' the closest thing in photography to being spoken to in a low voice. What she wants to tell you in this photobook is chillingly close to silence". Rubén Ángel Arias

• Editorial RM 2016
• Hardback, 1st edition, 164p
• Imperfect - see below 

Lobismuller tells the story of Manuel Blanco Romasanta, Spain’s bloodiest and most enigmatic serial killer, from a female perspective. Manuel was born Manuela and originally believed to be a woman: according to modern forensic theories, he (or she) may have lived with a rare syndrome of intersexuality.

Blanco Romasanta was dubbed the “Soapmaker,” owing to his habit of using the fat of victims to produce high-quality soap. Although confessing to nine of the seventeen murders now attributed to him, Blanco Romasanta pleaded not guilty, declaring himself the victim of a curse that had transformed him into a wolf…

Out of print.

Imperfect copy with bumped corner - see photos.

• Bluecoat Press 2024
• Hardback, 1st edition.
• New 

Originally shown at The Photographers’ Gallery in 1979, the exhibition garnered critical acclaim, solidifying the work as one of the most important of its generation.

Janine Wiedel is an internationally important documentary photographer whose work spans over five decades. Tutored by Ansel Adams and Nancy and Beaumont Newhall, she photographed the Black Power movement in the late 1960s and Berkeley People’s Park protest and riots of 1969. Arriving in England in 1970, she embarked on a continuous series of long-term projects including five years documenting Irish travellers. Her later work includes the Greenham Common Women’s Camp, the multicultural community squat in St Agnes Place, London, and the BAME and Rastafarian communities in Brixton. Her latest work includes six months photographing in the Calais ‘Jungle’ and Grande-Synthe refugee camp in Dunkirk. Always politically committed, Janine’s outstanding work is in the best traditions of humanist photography.

In 1977, Janine Wiedel set out in her VW campervan to photograph industry in England’s West Midlands – once the heart of the Industrial Revolution. A region that was home to thousands of businesses – from potteries and jewellers to coal mines, steel and iron works – was in steep decline; underinvestment over many decades in both premises and machinery had created a depressing situation where once world-leading businesses were no longer competitive internationally and facing a grim future.

Janine realised that this was a critical turning point in Britain’s industrial history and she set out to document the workers within their working environment. She was given remarkable access by the factories and was welcomed by the workforce, who greatly appreciated her interest in recording not just their daily work routines but also the bonding and social interaction that was so important in often grim factory environments.

Vulcan’s Forge finally honours the original exhibition at The Photographers’ Gallery in over 250+ pages of beautifully duo-tone printed photographs. The book isdivided into sections on each industry with extended captions and background information into each place.

Signed copy.  Faintest of rubbing to spine text - unread, new copy.

• GOST 2024
• Hardback, 1st edition, 304p
• New

‘…what does it mean to live in a land where the people responsible for protecting its citizens can so often be involved in their deaths?’

In the US, approximately 1000 people continue to die each year in encounters with police.  More than any other industrialised nation. My America is an archive of and memorial to victims of these encounters. The photographs, taken at locations where citizens were shot or tasered by law enforcement officers, create a quiet but chilling critique of the contemporary United States. The scale of the book­­­­­­­­­­ attests to the scale of the problem yet Matar asks us to remember these are individuals.

'Of the over 300 sites I visited only seven had any type of memorial. Something about these lives not being recognised, even on the land itself, upset me most. As a nation, we weren't taking stock. We rarely, if ever, marked the ground.'

The black and white photographs in My America are of city parks, shopping malls, parking lots,  mobile homes, empty fields, and roadside highways. By photographing these banal landscapes Matar declares that what happened at the locations matters and questions the link between landscape and memory.

'Can a photograph tell us anything about what has happened before the photographer arrives… even if not, I believe there is value in documenting the ground where violence has taken place... Perhaps a photograph can offer ways to remember acts of injustice that have been forgotten or never made transparent.' 

Previously, Matar, an American living in London, spent years documenting sites of state sponsored violence in North Africa, Eastern and Southern Europe. In 2015 she turned her lens on her own country and began researching who, how, and where citizens were dying in police encounters in the US. She created detailed maps in her studio and compiled information about each victim who died in 2015 and 2016.

‘I wanted to address the issue of police violence in a way that wasn’t just polemic.' 

A small grant from the Ford Foundation enabled her to make six road trips over the next four years. She photographed in states with the highest numbers and/or highest rates per capita of lethal encounters—Texas, California, Oklahoma, and New Mexico—travelling alone on highways, back roads, and city streets to reveal something beyond statistics. After Matar finished photographing, she spent two additional years researching the legal outcome of each case. The result is a book designed with respect to the victims but also rich with information about the structural reasons why these events continue to occur at such a high rate.

'In a world where millions of pictures are taken each day, I still believe photographs can contain meaning; they can become evidence of things not seen or heard... if, as I believe, to photograph is a desire to know something deeply and beyond the surface, I must be quiet to see. And attending to something says I acknowledge it matters.'

Signed copy.

• GOST 2024
• Hardback, 1st edition, 264p
• New

What would you do if you had 24 hours to leave your home, what would you take, who would you go with, how would you leave and would you, in effect go?’

The year in which photographer Jillian Edelstein turned 40 she came across an image of her great aunt Minna, of whose existence she had been unaware. The photograph of Minna became the catalyst for a journey to unearth her family history and the discovery of an unknown branch of her family living in Ukraine. Here and There documents Edelstein’s family odyssey and expands to encompass photographs made throughout her career, inextricably linked by the thread of human displacement.

In 2002, the same year that Edelstein had discovered Minna's photograph, she was commissioned to photograph the South African Sangoma shamans, whose rituals employ the intermediary healing powers of their ancestors. A shaman told Edelstein that her own ancestors were in conflict, fuelling her growing determination to untangle her family's hidden history. Thus Edelstein began a journey that took her from her home in London to the heartland of the Ukraine, and to her grandfather’s birthplace in Latvia. In turn the journey led her to the shores of Lesvos, the West Bank, the Jungle in Calais, to the boat graveyard on the island of Lampedusa. In Here and There, Edelstein refracts images and stories of displaced people through the lens of her family’s own mystery—reaching the refugee history we all have in common, whether its details are known or not.  

‘And that’s the theme that runs through my family. A veritable diaspora. South Africa, Israel, Canada, Colombia, United States, Australia, Italy, Mallorca, Ukraine. How many continents can one family possibly inhabit? … I wonder how I would feel if, from the age of my late teens, I never got to see or hear of my siblings ever again.’

Edelstein’s grandfather, two brothers and their sister Minna had grown up in Sassmacken, Latvia, were separated as teenagers and never saw each other again. Minna’s life was a series of escapes from Germans in World War I, the Red Army in the Russian Revolution and during World War II from Ukraine to Uzbekistan where she died, the same year that Edelstein was born.

Signed copy.

• Powerhouse 2017
• Hardback, 1st edition, 204p
• As new

Helen Levitt’s earliest pictures are a unique and irreplaceable look at street life in New York City from the mid-1930s to the end of the 1940s. There are children at play, lovers flirting, husbands and wives, young mothers with their babies, women gossiping, and lonely old men. A majority of these photographs have never been published. Other pictures included in this book are now world-famous, now part of the standard history of photography. Together they provide a record of New York not seen since Levitt’s pioneering solo show at The Museum of Modern Art in 1943.

• Steidl 2023
  
• Hardback, 3rd edition
  
• New

In the mid-1970s, Robert Adams began recording nocturnal scenes near his former home in Longmont, Colorado. Illuminated by moonlight and streetlamp, suburban houses, roads, sidewalks and fields seemed transfigured. 25 years after first publishing a sequence of these pictures in 1985 as Summer Nights, he revisited his project, amending its title and completely re-editing its contents to create a more disquieting and thus more accurate reflection of his experience. Hailed as a new classic, Summer Nights, Walking went out of print soon after it was published in 2009. This sensitively enlarged edition, printed with the same exquisite care as the original, makes this revered body of work available to a new audience.

In stock now.

• Goliga 2023
• Hardback, 1st edition, 500p
• Imperfect - see below

This comprehensive volume is a 100-year history of Japanese photography presented through a broad selection of genre-defining photography magazines. 

Each featured article in this book is fully annotated, illustrated, and accompanied by an explanatory text written by leading scholars of the field. These texts introduce key concepts, terms, and important persons of this history. A broad selection of primary writings has been included as English translations throughout the volume. These writings and discussions by photographers, critics, poets, and editors provided a rich discourse that was essential for the development of Japanese photography. Providing essential background and context to some of the most iconic images in the field, such writings include texts by Araki Nobuyoshi, Fukase Masahisa, Hosoe Eikoh, Kawada Kikuji, Kimura Ihei, Moriyama Daido, Narahara Ikko, Yasui Nakaji, as well as writings by Tanikawa Shuntarō, Terayama Shūji, among many others. 

With over 1,300 illustrations across 500 pages, this book is an invaluable resource for researchers and students exploring Japan's unique photographic history.

Photography magazines were the primary platform for disseminating photography in Japan. Japanese Photography Magazines: 1880s to 1980s is the first survey of this history in any language, presenting an unprecedented exploration of Japan’s rich photography heritage on its own terms. Rather than portraying Japanese photography as a mere adaptation of Western concepts, this book offers a distinct perspective, providing readers with a solid foundation to comprehend Japan's photography from a uniquely Japanese standpoint. In both content and form. this ambitious project addresses the critical need for an approach to photography history that transcends Western-centric viewpoints.

Starting with the earliest camera-related publications in the 19th century through to the end of the magazine's golden era in the 1980s, this book immerses the reader into the work of well-established as well as overlooked photographers, representing a broad range of imagery and approaches. 

Each of the featured magazine stories are accompanied with authoritative historical information, which, as a whole, provides the reader with a balanced and nuanced survey of this history of Japanese photography. This gives the reader a grounding into the core concepts and vocabulary for understanding the definitive characteristic of photography from Japan. Almost all of the stories that are featured in this volume are reproduced in their entirety, making this volume an invaluable resource for researchers, collectors, general readers, and photography fans.

Slightly Imperfect copy with small dent (see photo) to bottom edge, otherwise a near fine to fine copy.

• Blue Lotus Edition / Photo Editions 2024
• hardback, 2nd edition
• Imperfect - see below
  

Yasuhiro Ogawa’s new photobook Into the Silence captures the rugged yet timeless beauty of Japan’s northern region as he follows in the footsteps of the 17th Century poet Matsuo Bashō.

The story of Matsuo Bashō's journey through the northern provinces of Japan in the 17th century, is recounted in his travelogue "The Narrow Road to the Deep North,” ("Oku no Hosomichi”). In the summer of 1689, Bashō set out on his journey with his traveling companion Sora. They traveled on foot, carrying only minimal provisions and staying in humble lodgings along the way. Bashō was seeking inspiration for his poetry, and he found it in the natural beauty and cultural richness of the places he visited.

Like Bashō before him, Ogawa set out on a journey through the Tōhoku region, unlike Bashō, who traveled on foot with pen in hand, Ogawa preferred to move by train with camera in hand.  His photographs capture the rugged beauty of the landscape, from snow-covered mountains to misty forests and along deserted roads with glimpses of wild oceans, often shot through foggy windows on a train in motion. Through his lens, Ogawa reveals a world that is both remote and timeless, a world in stillness and motion.

Despite the passage of centuries, the challenges faced by Bashō on his journey are still evident in Ogawa’s photographs. The loneliness and isolation of the road are palpable in the shots of empty trains, lone tracks or roads and desolate hotel interiors. So are the physical challenges of traversing rough terrain and inclement weather documented in his muted photographs.  There is a marked contrast between the beauty and tranquility of the landscape and the harsh realities of life in this remote region. From plain coastal towns to empty streets, Ogawa’s images reveal the toll that economic decline and depopulation have taken on the area. Yet there remains a sense of hope and resilience.

Signed copy.

With faint corner wear, and small damage near spine. See photos.

• Gyldendal 2012
• Hardback, 1st edition
• Near fine - see below

Scarce Krass Clement title.

Some light rubbing to corners/spine ends.  Inside fine.

• Osiris 2019
• Hardback, 1st edition
• New

In his photobook “Holy Onion”, Japanese photographer Motoyuki Daifu concentrates on his mother, photographed while she peels an onion in the family’s kitchen (both mother and kitchen are familiar to us from Daifu’s previous works portraying his family’s life).

In 35 continuous photographs, Daifu captures his mother peeling onions, frame by frame. The photographs are taken only moments apart, as Daifu’s mother cuts into the onion in her hand, scratches her nose, look at the camera, back at the onion, wipe her eyes. The book’s accordion design, with some images separated by white pages, others grouped together, adds to the continuous nature of the sequence. As the images progress, small details in the setting change, and by the end of the book, the plate with onion peels is again empty, the process ready to start all over again. With “Holy Onion”, Daifu pays close attention to the intricacies of mundane tasks and accentuates the beauty within (almost automatic) everyday routines.

The book also features an essay by Chris Fujiwara (in English).

• Xavier Barral 2012
• Hardback, 1st French edition
• Used: good - see below
  

"She was called successively Rachel, Monique, Szyndler, Calle, Pagliero, Gonthier, Sindler," reads the first lines of Sophie Calle: Rachel Monique, embroidered on the cover. "My mother liked people to talk about her. Her life did not appear in my work, and that annoyed her. When I set up my camera at the bottom of the bed in which she lay dying--fearing that she would pass away in my absence, whereas I wanted to be present and hear her last words--she exclaimed, 'Finally.'"

Sophie Calle: Rachel Monique tells the story of Monique Szyndler, Sophie Calle's mother who died in 2007, through diary excerpts and photographs selected by the artist from family albums. Described as "haunting" and "a mystery novel that tirelessly searches for a missing person," the Rachel Monique project honors a daughter's complicated relationship with her mother and the artist's deeply felt grief.

This volume, presenting Calle's installation of Rachel Monique at the Palais de Tokyo, was designed in close collaboration with the artist. The cover text is embroidered to create a precious object, and all of the texts relating to the installation are beautifully embossed. Sophie Calle: Rachel Monique is a highly personal and moving book, intimate and universal in its expressions of mourning and memory.

French edition (no english text).

Bump to edge of cover - see photo - pages largely unaffected.

• Skinnerboox 2015
  
• Hardback 1st edition
  
• Near fine
  

That it is not about ‘hurried’ photography, not really about contemplation, but as Ezio D’Agostino says himself, ‘about a photographic process which derives from my archaeology training’. This means confronting time and pacting with it. The archaeologist, such as the photographer, divides the territory so that he can better explore it. The archaeologist digs it, then, with a layered and depth approach, he reveals the layers that will provide elements of interpretation and knowledge. Through his frame (which belongs only to him and which seldom has the scientific knowledge of the archaeologist), the photographer, too, divides, slices and cuts the space we know and we experiment so that we can see it differently, with other perspectives. This lack of spectacular reveals a cut tree trunk surrounded by dying grass, which still resists while a poor plant, leaning on a green fence, tries, whereas dying, to climb out from a metallic gate. A bit further, in-depth, by the pool numbers define a podium, a winner and his runner-ups. Then, soft chalk houses on a blackboard, half erased, a child’s drawing, a small bird lost on the red back of a plastic chair, waste behind a transparent and red plastic garbage bag, chromias and signs. A calm reading of a world which is not, sharp angles, material meeting, reflection and, as always, light such as the one that makes drops of water vibrating when they get away from some humble string lights. - Christian Caujolle

Still sealed - faint shelfwear only.

• Self 2017
• hardback 1st edition
  
• Used: Near Fine
  

"J.B. about men floating in the air" was inspired by the story of two Lithuanian-American pilots who tried to set a new world record by flying over the Atlantic into Eastern Europe in the early 1930s. I found a reference to the attempt in a Joseph Brodsky poem and decided to create my own ‘parallel world’ in black-and-white images.

My story is about the dream of every person to break out from the vice of all kinds of prohibitions and fly away to a distant unknown in search of unlimited freedom and find there his true motherland and real home.

Also it is a story about a personal attempt doomed to fail to find a way to himself through time and space, breaking the invisible boundary between himself and his mirror twin, the mortal Castor and immortal Pollux.

At first I made a series of mockumentary photographs to get the effect of stopped time, but then decided that it was necessary to increase a gap between the documentary and imaginary world, therefore I added a few collages and drawings.

In the result the book was made in Leporello format, which allows the viewers to choose how to browse the images and find their own ending in this story.

2nd edition of 300 numbered copies.  Signed.   Faint shelfwear to white cover.

• Aperture 2012
• Hardback, 1st edition
• Very good - Near fine

A growing appreciation of the photobook has inspired a flood of new scholarship and connoisseurship of the form―few as surprising and inspiring as The Latin American Photobook, the culmination of a four-year, cross-continental research effort led by Horacio Fernández, author of the seminal volume, Fotografia Pública. Compiled with the input of a committee of researchers, scholars, and photographers, including Marcelo Brodsky, Iatã Cannabrava, Pablo Ortiz Monasterio, and Martin Parr, The Latin American Photobook presents one hundred and fifty volumes from Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Ecuador, Mexico, Nicaragua, Peru, and Venezuela. The Latin American Photobook begins with the 1920s and continues up to today, providing revelatory perspectives on the undercharted history of Latin American photography, and featuring work by great figures such as Claudia Andujar, Barbara Brändli, Manuel Álvarez Bravo, Horacio Coppola, Paz Errázuriz, Graciela Iturbide, Sara Facio, Paolo Gasparini, Daniel González, Boris Kossoy, Sergio Larrain, and many others. The book is divided into thematic sections such as The City, Conceptual Art and Photography, and Photography and Literature, a category uniquely important to Latin America. Fernandez’s texts, exhaustively researched and richly illustrated, offer insights not only on each individual title and photographer, but on the multivalent social, political, and artistic histories of the region as well. This book is an unparalleled resource for those interested in Latin American photography or in discovering these heretofore unknown gems in the history of the photobook at large.

Display copy with some light wear to cover, inside fine.

• Apperture 2022
• Hardback, 50th Anniversary Edition
• New

When Diane Arbus died in 1971 at the age of 48, she was already a significant influence—even something of a legend—for serious photographers, although only a relatively small number of her most important pictures were widely known at the time. The publication of Diane Arbus: An Aperture Monograph in 1972—along with the posthumous retrospective at The Museum of Modern Art—offered the general public its first encounter with the breadth and power of her achievements. The response was unprecedented. The monograph, composed of 80 photographs, was edited and designed by the painter Marvin Israel, Diane Arbus' friend and colleague, and by her daughter Doon Arbus. Their goal in producing the book was to remain as faithful as possible to the standards by which Arbus judged her own work and to the ways in which she hoped it would be seen. Universally acknowledged as a photobook classic, Diane Arbus: An Aperture Monograph is a timeless masterpiece with editions in five languages, and remains the foundation of her international reputation. A quarter of a century has done nothing to diminish the riveting impact of these pictures or the controversy they inspire. Arbus' photographs penetrate the psyche with all the force of a personal encounter and, in doing so, transform the way we see the world and the people in it.

• RM 2016
• Softcover, 1st edition
• NEW

We are living in the midst of a photographic renaissance in which we have become accustomed to consuming imagery with the same greed and gusto that we consume fast food. In order to cope with the deluge of images being force fed into our retinas on a daily basis we now consume images with- out digesting them properly, or at all. People rarely stop to take a closer look; to read, appreciate or question an image. Image Tsunami is a sizeable overview of the enormous collection of images that Kessels lives with, remixes and edits. It s a representation of the overload of imagery that is (rapidly expanding) in his head. The book can inspire others to make their own remixes of these images and maybe stop to appreciate a few along the way.

• VOID 2022
• Hardback, 1st edition
• New

“Whether a photo was taken yesterday or two years ago is immaterial. Inspired by theories of non-linear time, astrophysics and quantum mechanics, Julie van der Vaart has begun experimenting in the darkroom. [...] A photo is prosaically a record of the past, but now it remains eternally afloat in imaginary time.” - Merel Bem

• Stanley Barker 2022
• Hardback, 1st edition
• New
  

“In the middle of a December night a few years ago I was woken by the phone ringing downstairs. Nothing ever good comes of such a call and this time it was news that my younger brother had been admitted to hospital, and the doctor caring for him had rung to say he thought it unlikely he would live through the night. I drove to see him and sat with him through the early hours, in the eerie quiet of the emergency ward, until late in the morning when it appeared he would pull through.”

“When I got home that afternoon I decided to go for a walk by the river. As the dark of the dusk gradually gathered I sat on a log to sift through the thoughts and emotions of the day. Gradually I became absorbed in what was in front of me; the turbulence of the streams surface as the water raced around the bend, the waving of the reeds and the branches of the overhanging tree, and the pink of the clouds being pushed across the sky by a south-westerly breeze. When mallard ducks pushed out from the bank to swim across the river in search of a safe haven for the night, I picked up the small digital camera I had just started to use and quickly took a picture.”

"In the middle of another night, a couple of years after the first call, the phone rang again, with the same message. I went off to the hospital once more to sit by Andy’s side, however that time he did not make it through. As I write this on the cusp of the Spring Equinox in 2021, I have just come to the end of another season by the river – The Fifth Winter. It is hard to stop, such are the profound pleasures of witnessing and sharing the quiet wonders of a winter’s morning, on a bend in the river. ”

- Jem Southam

 For the past four winters the English artist Jem Southam has repeatedly visited a short stretch of riverbank along the floodplain of the River Exe. He stands and watches, as the dusk fades into darkness or as the light of dawn gathers, witnessing the different passage of each winter. In the evenings, long past sunset, swans, geese and ducks arrive on the river to spend the night in safety. In the mornings the birds wake, preen, feed and socialise as they prepare for the new day.

These periods of subtle drama have played out continuously for millennia, as the world spins and each new day dawns the spectacle repeats itself. However, it is endlessly varied, and in the photographs in this book, Jem Southam notates and narrates the subtle shifts and dramas of the theatrical space around him.  

• Kehrer 2009
• Hardback, 1st edition
• Used: near fine

A stunning portrait of Somerset and its people, as captured by Venetia Dearden, who herself grew up in the western county. On her return, she documented the efforts and intentions of the individuals and families living a life they believe in, reflective of their ethics, voice, identity and indivduality. Dearden's pictures highlight the humanism that influences their social and political existence. These intimate insights transcend universal key issues of family, production, consumption and the intentions of ethical living.

Used copy in near fine condition.

• Deadbeat Club Press 2022
• Hardback, 1st edition
• Good - see below

 “Hollywood Boulevard, Walk of Fame, 1970s. You were there, with your camera, with your love of life and people. It seems you turned the sidewalk into a little stage, and everyone came for a momentary audition. Some wanted to be famous, some were ok with a walk-on part, most were just happy to see you.”

Display copy with general scuffing to black cover, and small bump to one corner. 

• Stanley Barker 2022
• Hardback, 1st edition
• Near fine - see below

“Local fairs and carnivals have a long history in America. Even as we lose our connection to our agricultural past, there is something timeless about gathering at the fair.” - Anthony Blasko

Since 2013 the American artist Anthony Blasko has been attending The Plant City Strawberry Festival, an 11-day community event celebrating the annual strawberry harvest in Florida, USA. 

Blasko’s beautifully rich images are produced at dusk, when the light starts to drop and the fair lights come on, bathing the attractions, vendors, and visitors, in the late afternoon light. 

Wrapping has been opened to check book condition.  Near fine.

• Dewi Lewis 2022
• Hardback, 2nd printing
• Used - see below

John Alinder, son of a farmer, was born in 1878 in the village of Sävasta, Altuna parish, in Uppland, a province in eastern central Sweden. Alinder remained in the village all his life. He chose not to take over his parents’ farm and instead became a self-taught photographer and jack of all trades. He was a music lover, holder of the Swedish agency for the British record label and gramophone brand His Master’s Voice. For a time he ran a country shop from his home, and he even operated an illicit bar for a while. From the 1910s to the 1930s he portrayed the local people, the landscape around them and their way of life. He often photographed them in their homes and gardens, using the technology of the time, glass plates. These he developed in a small darkroom he had built and then made the prints in the sunlight

The Alinder collection was “discovered” in the 1980s when a curator found over 8,000 glass plates stacked away in a library basement. Children placed on chairs, people perched in trees, labourers, confirmation candidates and old ladies; often depicted against a background of foliage and sprawling greenery penetrated by sunlight. Alinder’s portraiture allows for the magic of chance, both liberating and defining the subjects. Often they are looking straight into the camera. As if they can see us. As if their gaze can travel the hundred years or so that lie between their time and ours. As if they were saying, “You are alive now, but we were once alive.”

This book shows Alinder’s portraits for the first time. Published in collaboration with Upplandsmuseet and Landskrona Foto, it coincides with the launch of the first major exhibition of his work. He is a unique portrait photographer whose work can match other acknowledged photographers from the same period, such as Gertrude Käsebier, Mike Disfarmer or August Sander, and whilst he worked within the confines of his own small village, it is clear that such an original and skilled photographer deserves to be showcased to a broader, world-wide audience.

2nd printing.   DIsplay copy with wear to edges and obi band.  Inside fine.

• Twin Palms 2022
• Hardback, 1st edition, 304p
• New

For the past twelve years, Stacy Kranitz has been making photographs in the Appalachian region of the United States in order to explore how photography can solidify or demystify stereotypes, and interpret memory and history in a region where the medium has failed to provide an equitable depiction of its people. Rather than reinforcing conventional views of Appalachia as a poverty-ridden region, or by selectively dwelling on positive aspects of the place and its people to offset problematic stereotypes, this work insists that each of these options are equally problematic ways of looking at place.

This work does not attempt to illustrate a certain type of injustice in the hope of remedying it. Instead, Kranitz has come to Appalachia to open up a new kind of narrative, one that examines our understanding of culture and place in a manner that is poised between notions of right and wrong.

As the narrative of As it Was Give(n) To Me unfolds, the book provides an intimate perspective on a region forced to transition away from coal extraction as its dominant source of economic stability, an opioid epidemic that has wreaked havoc on communities, and the role of Appalachia in a politically divided nation.

• Steidl 2011
• Hardback, 1st edition, 116p
• Used: near fine

• 1605 Publishers 2022
• Hardback, 1st edition
• good - see below

'Beauty's counter weight
Dark eyes falling, gesture, hands.
Infinitely joining key & lock & later maybe man.
Newton's only perfect proposition quietly realized.
Simply said: the true & trembling task.'

"After Beauty" is inspired by a poem of an artist and a poet Walter Fields, which also begins the book. According to Sullivan, it's more than just beauty that makes someone beautiful, it's the person's character and the attitude towards life.

"There is something magical about publishing that somehow makes the work more real. I love the conversations between the images on a printed page and the stories that unfold as you move through a book. I am so thrilled to share the pages of this book with some of Walter Fields' poetry..." - Maura adds.

Edition of 500 copies.  Signed to a bookplate.

Small dent to top edge of cover and first few pages - see photos.  Otherwise as new.

• Journal 2021
• Hardback, 1st edition
• See below - imperfect

Using Dante’s Inferno as a loose narrative set in the contemporary world, the book is as a personal journey expressed through images that reveal a sense of unreality – a kind of veiled dreamscape – but at the same time reminiscent of the underlying unease of living in a world unable to deal with major crises threatening a fragile human existence. As such, the book is also a personal response to the current covid pandemic. 

The word “interregnum” describes a period with lack of clear leadership in a country, organisation or social order. Failed states will often be in an interregnum. 

Ronny Rønning explores a visual language that can represent the anxieties of living in a world seemingly out of control. The images has a reference to reality, but also contains something more ambivalent – an empty, dark, and foreboding landscape, as after the catastrophe, with only remnants of human life. 

As part of finding a visual language for the book, Ronny Rønning has experimented with the photo medium. He has used an analogue camera, black & white film and flash. During development the film has been exposed to light in an attempt to find a visual expression appropriate for the book’s topic. 

Text in English.

Display copy with marks/scuffs to the black linen cover, inside as new.

• TBW 2021
• Softcover, 2nd edition
• New

With Family Car Trouble, Gus Powell plays with the form of the novel, both as material object and as narrative vehicle for expressing interior life. The work records and reckons with the arrival of children, the departure of a father, and the maintenance of a difficult 1992 Volvo 940 station wagon. 

A new classic of the Automotive Bereavement Parenting genre.

New softcover edition (first edition was hardback).


Note: video depicts sold out hardback edition.

• Chose Commune 2021
• Hardback, 1st edition
• Near fine

“Sub Sole (in Latin, beneath the sun), an ensemble of photographs made between 2017 and 2020, in the region of the Mediterranean Sea, follows the mythological itinerary of the voyage of Ulysses: Ceuta, Naples, Athens, Palermo, Istanbul, Tunis and Lampedusa. Crossroads of cultures, cradle of foundation myths, the Mediterranean is, today more than ever, marked by migrations, exile and displacement. Over the course of seven voyages and numerous chance encounters, Mascaro goes in search of the young people who inhabit and traverse this region. The literary narratives which the artist drew upon for his work are like the invisible companions of these photographs. They imbue the contemporary images with an ancient substance. Beneath the sun, political, economic, existential, and poetic implications intersect, beneath the harsh, hot Mediterranean light whose rhythm shapes human life.” Sonia Voss

Signed copy.

Display copy with very light wear to cover.

• Kominek 2021
• Softcover, 1st edition, 148pp
• New

Mabel, Betty & Bette is an exploration of the often elusive nature of identity. In this series of images and in the film of the same title, the female figure acts as a threshold between two worlds. Mabel, Betty & Bette explores female archetypes as both actual bodies and mythic spaces upon which projections of self and society fall. In particular, Yemchuk focuses on moments of change, crisis or loss of self as embodied by an expanding cast of over 50 women photographed in carefully chosen places that have charged artifice evoking both the familiar and bizarre.

Yemchuk constructs and captures the amnesiac moment when the dreamer wakes; an intersection between parallel universes; the alarm and confusion that accompany the void between dreaming and waking. She has created three fictional women, Mabel, Betty and Bette. Each photograph portrays one of the three women as conveyed by a cast member in one of three corresponding wigs. These images are punctuated by collages exploring female archetypes of the Golden Age of Hollywood. Three different storylines written by the artist are personified by three sets of wigs worn by the different cast members. At the center of this project is a moving image work filmed in Yemchuk’s native Ukraine, with the Ukrainian artist Anna Domashyna performing as all three characters.

Signed and numbered to a sticker inside the rear cover.

• Mack 2021
• Hardback, 1st edition
• New

The Shabbiness of Beauty is a visual dialogue that crosses generational divides with the easy intimacy of a late-night phone call. Multidisciplinary artist Moyra Davey delved into Peter Hujar’s archives and emerged mainly with little-known, scarcely seen images. In response to these, Davey created her own images that draw out an idiosyncratic selection of shared subjects. Side by side, the powerfully composed images admire, tease, and enhance one another in the manner of fierce friends, forming a visual exploration of physicality and sexuality that crackles with wit, tenderness, and perspicacity. Spiritually anchored in New York City – even as they range out to rural corners of Quebec and Pennsylvania – these images crystallise tensions between city and country, human and animal. Nudes pose with unruly chickens; human bodies are abstracted toward topography; seascapes and urban landscapes share the same tremulous plasticity. These continuities are punctuated by stark differences of approach: Davey’s self-aware postmodernism against Hujar’s humanism and embrace of darkroom manipulation. The rich dialogue between these photographs is personal and angular, ultimately offering an illuminating reintroduction to each celebrated artist through communion with the other’s work.

The signed edition includes a slip signed by the artist and bound into the inside back cover.