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Picture of Henri Cartier-Bresson - The Modern Century
Publisher's Description
Henri Cartier-Bresson is one of the most influential and beloved figures in the history of photography. His early work helped define the creative potential of modern photography, and his unerring ability to capture life on the run made his work synonymous with ‘the decisive moment’ – the title of his first major book.

Released to accompany an exhibition at The Museum of Modern Art, Henri Cartier-Bresson: The Modern Century is the first major publication to make full use of the extensive holdings of the Fondation Henri Cartier-Bresson in Paris – including thousands of prints and a vast resource of documents relating to the photographer’s life and work.

The heart of the book surveys Cartier-Bresson’s career through 300 photographs while a wide-ranging essay by Peter Galassi, Chief Curator of Photography at the Museum of Modern Art, offers an entirely new understanding of Cartier-Bresson’s extraordinary career and its overlapping contexts of journalism and art.

The extensive supporting material – featuring detailed chronologies of the photographer’s professional travels and his picture stories as they appeared in magazines – will revolutionize the study of Cartier-Bresson’s work.

The final section of the book – which runs to more than eighty pages of often newly discovered and systematically ordered reference material based on the hitherto unexplored archive of the Fondation Henri Cartier-Bresson in Paris – is almost a publication in itself.

Publisher: Thames & Hudson
Size: 240 x 305 mm
376 pages, With 456 reproductions in colour and duotone

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Henri Cartier-Bresson
Publisher's Description
Henri Cartier-Bresson is one of the most influential and beloved figures in the history of photography. His early work helped define the creative potential of modern photography, and his unerring ability to capture life on the run made his work synonymous with ‘the decisive moment’ – the title of his first major book.

Released to accompany an exhibition at The Museum of Modern Art, Henri Cartier-Bresson: The Modern Century is the first major publication to make full use of the extensive holdings of the Fondation Henri Cartier-Bresson in Paris – including thousands of prints and a vast resource of documents relating to the photographer’s life and work.

The heart of the book surveys Cartier-Bresson’s career through 300 photographs while a wide-ranging essay by Peter Galassi, Chief Curator of Photography at the Museum of Modern Art, offers an entirely new understanding of Cartier-Bresson’s extraordinary career and its overlapping contexts of journalism and art.

The extensive supporting material – featuring detailed chronologies of the photographer’s professional travels and his picture stories as they appeared in magazines – will revolutionize the study of Cartier-Bresson’s work.

The final section of the book – which runs to more than eighty pages of often newly discovered and systematically ordered reference material based on the hitherto unexplored archive of the Fondation Henri Cartier-Bresson in Paris – is almost a publication in itself.

Publisher: Thames & Hudson
Size: 240 x 305 mm
376 pages, With 456 reproductions in colour and duotone

Usually dispatched within 2 working days
£55.00

Picture of Trinity
Publisher's Description
Trinity is a milestone in the work of Magnum photographer Carl de Keyzer. It is a triptych on the theme of the omnipresence of power and violence. The title itself refers not only to the traditional image of the Supreme Power in classical painting, but also, for example, to the code name of the ominous project with which Oppenheimer lead a team of atomic physicists to produce the first atom bomb. Based on three probing themes, De Keyzer grabs contemporary power, its senseless violence and worldwide devastation by the air with oppressive images: Tableaux d'Histoire, Tableaux de Guerre, Tableaux Politiques.

The first tableaux cast a surprising light on the theatrical that has characterised power since time immemorial and without which it could not exist. The second perspective shows us violence as a timeless, placeless phenomenon. War appears in an aesthetic of the sublime, although subdued and painful, as glorification, heroism and justification are absent. The third part takes us behind the scenes of political power, which should, when all is said and done, actually be the power of the people: the façade, the lobbying, the backrooms, the haggling.

The book has Dutch and English text.

Publisher: Schilt Publishing
Size: 300 x 250 mm
176 pages, 100 colour photos

Usually dispatched within 10 working days
Carl de Keyzer
Publisher's Description
Trinity is a milestone in the work of Magnum photographer Carl de Keyzer. It is a triptych on the theme of the omnipresence of power and violence. The title itself refers not only to the traditional image of the Supreme Power in classical painting, but also, for example, to the code name of the ominous project with which Oppenheimer lead a team of atomic physicists to produce the first atom bomb. Based on three probing themes, De Keyzer grabs contemporary power, its senseless violence and worldwide devastation by the air with oppressive images: Tableaux d'Histoire, Tableaux de Guerre, Tableaux Politiques.

The first tableaux cast a surprising light on the theatrical that has characterised power since time immemorial and without which it could not exist. The second perspective shows us violence as a timeless, placeless phenomenon. War appears in an aesthetic of the sublime, although subdued and painful, as glorification, heroism and justification are absent. The third part takes us behind the scenes of political power, which should, when all is said and done, actually be the power of the people: the façade, the lobbying, the backrooms, the haggling.

The book has Dutch and English text.

Publisher: Schilt Publishing
Size: 300 x 250 mm
176 pages, 100 colour photos

Usually dispatched within 10 working days
£39.90

Picture of THE LAST RESORT

Publisher's Description
When Martin Parr’s The Last Resort was first published and exhibited in 1986 it divided both critics and audiences alike. Some saw it as the ‘finest achievement to date’ of colour photography in Britain whilst others viewed it as ‘an aberration’. With the benefit of hindsight there is little doubt that it transformed documentary photography in Britain and placed Parr amongst the world’s leading photographers. The book is now recognised as a ‘classic’ and is highly sought by collectors worldwide. Whilst this new edition keeps the same imahges and sequence as the original, a new text has been commissioned from Gerry Badger. Steering a perilous course between objectivity and voyeurism, Parr viewed the decaying holiday resort of New Brighton and its holidaymakers in a way that was new, unique and deeply disturbing. And he did so in colour, something which at the time was seen as revolutionary for documentary work. For some his camera seemed cold and cruel as it followed the working classes desperately pursuing their holiday dreams surrounded by dereliction and decay and wading through the apparently endless detritus of a pollution-ridden consumer society. Others felt it showed an affectionate, humorous and humanistic response from Parr. However it was viewed, it was undoubtedly a sharp, bitter satire of the Britain of the Thatcher years. Martin Parr is a member of the prestigious MAGNUM photo agency. Internationally recognised as a brilliant satirist of contemporary life he has led the development of British documentary photography with wit, style, and intelligence in a career that boasts numerous publications and exhibitions. His work is in major galleries and museums worldwide. In a new essay Gerry Badger re-examines the work and its impact on British Photography. Recognised as a leading writer on photography, as well as a photographer and a curator, Gerry Badger was co-author, with Martin Parr, of the two volume The Photobook: A History.

Publisher: Dewi Lewis Publishing
Size: 245mm x 300mm
84 pages, 40 duotones

Publisher's Price: £ 30.00
MARTIN PARR

Publisher's Description
When Martin Parr’s The Last Resort was first published and exhibited in 1986 it divided both critics and audiences alike. Some saw it as the ‘finest achievement to date’ of colour photography in Britain whilst others viewed it as ‘an aberration’. With the benefit of hindsight there is little doubt that it transformed documentary photography in Britain and placed Parr amongst the world’s leading photographers. The book is now recognised as a ‘classic’ and is highly sought by collectors worldwide. Whilst this new edition keeps the same imahges and sequence as the original, a new text has been commissioned from Gerry Badger. Steering a perilous course between objectivity and voyeurism, Parr viewed the decaying holiday resort of New Brighton and its holidaymakers in a way that was new, unique and deeply disturbing. And he did so in colour, something which at the time was seen as revolutionary for documentary work. For some his camera seemed cold and cruel as it followed the working classes desperately pursuing their holiday dreams surrounded by dereliction and decay and wading through the apparently endless detritus of a pollution-ridden consumer society. Others felt it showed an affectionate, humorous and humanistic response from Parr. However it was viewed, it was undoubtedly a sharp, bitter satire of the Britain of the Thatcher years. Martin Parr is a member of the prestigious MAGNUM photo agency. Internationally recognised as a brilliant satirist of contemporary life he has led the development of British documentary photography with wit, style, and intelligence in a career that boasts numerous publications and exhibitions. His work is in major galleries and museums worldwide. In a new essay Gerry Badger re-examines the work and its impact on British Photography. Recognised as a leading writer on photography, as well as a photographer and a curator, Gerry Badger was co-author, with Martin Parr, of the two volume The Photobook: A History.

Publisher: Dewi Lewis Publishing
Size: 245mm x 300mm
84 pages, 40 duotones

Publisher's Price: £ 30.00
£27.00

Picture of Ein Magnum Tagebuch
Publisher's Description
This is a book about the Republic of Georgia today. Ten leading Magnum photographers explore contemporary Georgia, Europe's romantic and spirited far east, each pursuing an individual theme on their journey, and offering a personal journal in both words and pictures. 20 years since the nation became independent from the Soviet Union, and after a decade of war and failed statehood, Georgia is mounting a feisty comeback. Each visiting photographer has fallen in love with this eccentric country, its culture and people – and it shows on every page of the book. With an introduction by Georgia expert Wendell Steavenson, a timeline, a fold out map marking the photographers journeys, and a chapter featuring 60 years of Magnum’s work on Georgia – including Robert Capa’s essay from 1948 and Henri Cartier-Bresson’s from 1956. Magnum Photos, the great photographers’ co-operative, was founded in New York in 1947 and now includes the world’s leading contemporary independent documentary photographers and photojournalists. Editor: Magnum Photos Authors: Wendell Steavenson

Publisher:Kehrer Verlag
Size: 25 x 29 cm
252 pages, 262 duotones

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GEORGISCHER FRÜHLING
Publisher's Description
This is a book about the Republic of Georgia today. Ten leading Magnum photographers explore contemporary Georgia, Europe's romantic and spirited far east, each pursuing an individual theme on their journey, and offering a personal journal in both words and pictures. 20 years since the nation became independent from the Soviet Union, and after a decade of war and failed statehood, Georgia is mounting a feisty comeback. Each visiting photographer has fallen in love with this eccentric country, its culture and people – and it shows on every page of the book. With an introduction by Georgia expert Wendell Steavenson, a timeline, a fold out map marking the photographers journeys, and a chapter featuring 60 years of Magnum’s work on Georgia – including Robert Capa’s essay from 1948 and Henri Cartier-Bresson’s from 1956. Magnum Photos, the great photographers’ co-operative, was founded in New York in 1947 and now includes the world’s leading contemporary independent documentary photographers and photojournalists. Editor: Magnum Photos Authors: Wendell Steavenson

Publisher:Kehrer Verlag
Size: 25 x 29 cm
252 pages, 262 duotones

Usually dispatched within 10 working days
£32.00

Picture of NOT NIIGATA
Publisher's Description
When traveling in a foreign place, I tend to be fascinated with both the exotic and the mundane. The two are often one and the same, especially in a place where the gap between old and new is astronomical. But what does it mean to photograph with the pretense of documentation? I find it is easy to get caught up in chasing an illusion of what I think a place should look like; preconceptions are powerful and the quest to understand a place often leads to a greater misunderstanding. The best I can do is tell the story of my traveling and responding visually to a place I don’t necessarily understand. It is the story of not understanding Niigata.« Earlier this year, Andrew Phelps was comissioned to take photographs in Japan’s Niigata Prefecture for the »European Eyes on Japan Festival.« The volume Not Niigata presents the artist’s selection from the hundreds of images he brought back from his trip. Phelps (*1967 in Mesa, Arizona, USA) works as a freelance artist in Salzburg, Austria, and is member of the Galerie Fotohof. He has published several photo books (Nature de Luxe, 2004; Higley, 2007; Baghdad Suite, 2008) and has shown his works in numerous solo- and group exhibitions. Authors: Andrew Phelps Artists: Andrew Phelps

Publisher: Kehrer Verlag
Size: 28.5 x 28.5 cm
72 pages, 36 duotones

Usually dispatched within 10 working days
Andrew Phelps
Publisher's Description
When traveling in a foreign place, I tend to be fascinated with both the exotic and the mundane. The two are often one and the same, especially in a place where the gap between old and new is astronomical. But what does it mean to photograph with the pretense of documentation? I find it is easy to get caught up in chasing an illusion of what I think a place should look like; preconceptions are powerful and the quest to understand a place often leads to a greater misunderstanding. The best I can do is tell the story of my traveling and responding visually to a place I don’t necessarily understand. It is the story of not understanding Niigata.« Earlier this year, Andrew Phelps was comissioned to take photographs in Japan’s Niigata Prefecture for the »European Eyes on Japan Festival.« The volume Not Niigata presents the artist’s selection from the hundreds of images he brought back from his trip. Phelps (*1967 in Mesa, Arizona, USA) works as a freelance artist in Salzburg, Austria, and is member of the Galerie Fotohof. He has published several photo books (Nature de Luxe, 2004; Higley, 2007; Baghdad Suite, 2008) and has shown his works in numerous solo- and group exhibitions. Authors: Andrew Phelps Artists: Andrew Phelps

Publisher: Kehrer Verlag
Size: 28.5 x 28.5 cm
72 pages, 36 duotones

Usually dispatched within 10 working days
£35.00

Picture of Fun and Games
Publisher's Description
The work in Lisa Kereszi's new monograph, titled after the name of a Jersey Shore arcade and the Ancient Roman wrestling phrase, “It’s all fun and games, until someone loses an eye,” documents the artist’s self-described obsession with what is hidden behind the facades of strip clubs, haunted houses, nightclubs, bars, and other places of fantasy and entertainment. “I look for places where fantasy falls short upon closer inspection,” Kereszi says. “When you look at a nocturnal place in the light of day, it looks strange and uncanny. Reality becomes surreal. I look at those banal details that I find (a rip or tear, some dirt, a crack) with a documentary, deadpan view, but colored with emotion and desire and a longing for something beyond.” Kereszi’s images are devoid of participants, allowing the viewer to look at what people discard or reject, or are in denial about, and focus on that. Lisa Kereszi’s work is included in the permanent collections of the Whitney Museum of American Art, New York; the Brooklyn Museum of Art; and the Study Collection of the Museum of Modern Art, New York. This first edition of “Fun and Games” is limited to 750 casebound copies.

Publisher: Nazaeli Press
Size: 14 x 12'
72 pages, 50 four-color plates

Usually dispatched within 10 working days
Lisa Kereszi
Publisher's Description
The work in Lisa Kereszi's new monograph, titled after the name of a Jersey Shore arcade and the Ancient Roman wrestling phrase, “It’s all fun and games, until someone loses an eye,” documents the artist’s self-described obsession with what is hidden behind the facades of strip clubs, haunted houses, nightclubs, bars, and other places of fantasy and entertainment. “I look for places where fantasy falls short upon closer inspection,” Kereszi says. “When you look at a nocturnal place in the light of day, it looks strange and uncanny. Reality becomes surreal. I look at those banal details that I find (a rip or tear, some dirt, a crack) with a documentary, deadpan view, but colored with emotion and desire and a longing for something beyond.” Kereszi’s images are devoid of participants, allowing the viewer to look at what people discard or reject, or are in denial about, and focus on that. Lisa Kereszi’s work is included in the permanent collections of the Whitney Museum of American Art, New York; the Brooklyn Museum of Art; and the Study Collection of the Museum of Modern Art, New York. This first edition of “Fun and Games” is limited to 750 casebound copies.

Publisher: Nazaeli Press
Size: 14 x 12'
72 pages, 50 four-color plates

Usually dispatched within 10 working days
£40.00

Picture of Political Images –Soviet Photographs
Publisher's Description
Many artists of the Russian avant-garde wholeheartedly embraced the Revolution as the triumph of a new socialist order. At the same time, they also assigned a special role to photography in the erection of a new society. The camera was confirmed as the ideal technical instrument for social reconfiguration and for the education of the population in an entirely altered way of life. The leaders of this movement developed all-encompassing programmes for the enlistment of photography to replace traditional perception with a new vision. Whereas this innovative potential of photography had developed rather freely during the 1920s, it was later exploited for propaganda. After 1936, all artistic work was absolutely subject to directives of the Party and the wishes of the dictator Stalin.

Daniela Mrázková assembled her unique collection of 234 original photographs by Arkadii Shaikhet, Georgii Zel’ma, Boris Ignatovich, Maks Al’pert, Georgii Petrusov and Aleksandr Rodchenko during the Cold War, to give a voice to “the other Soviet Union”. The pictures in this collection comprise a representative section of the era’s photography, yet they also reflect the unstoppable slide into the abyss of Stalinist despotism. Museum Ludwig, Cologne, bought the collection from Daniela Mrázková in 2008 and is now presenting it within this catalogue.

Co-published with Museum Ludwig, Cologne

Publisher: Steidl
Size: 240 x 280 mm
240 pages, 234 photographs

Publisher's Price: £ 30.00
Bodo von Dewitz (ed.)
Publisher's Description
Many artists of the Russian avant-garde wholeheartedly embraced the Revolution as the triumph of a new socialist order. At the same time, they also assigned a special role to photography in the erection of a new society. The camera was confirmed as the ideal technical instrument for social reconfiguration and for the education of the population in an entirely altered way of life. The leaders of this movement developed all-encompassing programmes for the enlistment of photography to replace traditional perception with a new vision. Whereas this innovative potential of photography had developed rather freely during the 1920s, it was later exploited for propaganda. After 1936, all artistic work was absolutely subject to directives of the Party and the wishes of the dictator Stalin.

Daniela Mrázková assembled her unique collection of 234 original photographs by Arkadii Shaikhet, Georgii Zel’ma, Boris Ignatovich, Maks Al’pert, Georgii Petrusov and Aleksandr Rodchenko during the Cold War, to give a voice to “the other Soviet Union”. The pictures in this collection comprise a representative section of the era’s photography, yet they also reflect the unstoppable slide into the abyss of Stalinist despotism. Museum Ludwig, Cologne, bought the collection from Daniela Mrázková in 2008 and is now presenting it within this catalogue.

Co-published with Museum Ludwig, Cologne

Publisher: Steidl
Size: 240 x 280 mm
240 pages, 234 photographs

Publisher's Price: £ 30.00
£27.00

Picture of From Craft to Art
Publisher's Description
Robert Doisneau (1912–1994) is one of the most important representatives of humanistic photography. For many years he has been looked upon as the minstrel of picturesque Paris, with a charming eye and a unique sense of the unexpected visual anecdote. As a result he has been championed as a poet of the 'pure' moment. Doisneau's oeuvre is however much deeper and complex than that reputation suggests.

Contemplating his work as a whole, one discovers Doisneau's pleasure in creating a language to capture the treasures of everyday life. The sensitivity and naturalism of his approach slowly reveal themselves: his images of the modest architecture of the Parisian suburbs for example display gravity, irony and even a degree of hard-heartedness. The Fondation Cartier-Bresson has organized an exhibition of around 100 original prints from Doisneau's estate. From Craft to Art, the catalogue for the upcoming exhibition, presents these treasures alongside a new version of Jean-François Chevrier's essay, first published in 1983, which explores Doisneau's rare ability to capture 'the shining melancholy that separates an individual from the crowd'.

Co-published with Fondation Henri Cartier-Bresson, Paris

Publisher: Stedl
Size: 170 x 240 mm
160 pages

Publisher's Price: £ 34.00
Robert Doisneau
Publisher's Description
Robert Doisneau (1912–1994) is one of the most important representatives of humanistic photography. For many years he has been looked upon as the minstrel of picturesque Paris, with a charming eye and a unique sense of the unexpected visual anecdote. As a result he has been championed as a poet of the 'pure' moment. Doisneau's oeuvre is however much deeper and complex than that reputation suggests.

Contemplating his work as a whole, one discovers Doisneau's pleasure in creating a language to capture the treasures of everyday life. The sensitivity and naturalism of his approach slowly reveal themselves: his images of the modest architecture of the Parisian suburbs for example display gravity, irony and even a degree of hard-heartedness. The Fondation Cartier-Bresson has organized an exhibition of around 100 original prints from Doisneau's estate. From Craft to Art, the catalogue for the upcoming exhibition, presents these treasures alongside a new version of Jean-François Chevrier's essay, first published in 1983, which explores Doisneau's rare ability to capture 'the shining melancholy that separates an individual from the crowd'.

Co-published with Fondation Henri Cartier-Bresson, Paris

Publisher: Stedl
Size: 170 x 240 mm
160 pages

Publisher's Price: £ 34.00
£30.60

Picture of Outside Inside
Publisher's Description
Over the course of his long career Bruce Davidson has travelled the world making reportage stories both on assignment as a member of the Magnum agency and on subjects of personal interest. A few years ago he returned to his archive of negatives housed in a room in his Manhattan apartment and began a ritual of revisiting each and every one of the stories he had made, from his work as a student in 1954 to his urban landscapes in Los Angeles in 2009. Printing in his darkroom alongside the archive, he began to elaborate a very personal selection, discovering forgotten images and throwing new light onto some of his most famous series. Outside Inside is the result of this work, a sumptuous three volume box set with fifty-three chapters over 800 pages. Each chapter is introduced by a short text written by Davidson himself. The result is a celebration of the development of a master of the medium and an autobiography, a photographer’s life seen through his work.

Publisher: Steidl
Size: 230 x 300 mm
944 pages, 834 tritone plates

Tritone printing throughout
Three hardcover books housed in a slipcase
Volume I, 1954 - 1961, 300 pages, 264 photographs
Volume II, 1961 - 1966, 272 pages, 228 photographs
Volume III, 1966 - 2009, 372 pages, 342 photographs


Publisher's Price: £158.00
Bruce Davidson
Publisher's Description
Over the course of his long career Bruce Davidson has travelled the world making reportage stories both on assignment as a member of the Magnum agency and on subjects of personal interest. A few years ago he returned to his archive of negatives housed in a room in his Manhattan apartment and began a ritual of revisiting each and every one of the stories he had made, from his work as a student in 1954 to his urban landscapes in Los Angeles in 2009. Printing in his darkroom alongside the archive, he began to elaborate a very personal selection, discovering forgotten images and throwing new light onto some of his most famous series. Outside Inside is the result of this work, a sumptuous three volume box set with fifty-three chapters over 800 pages. Each chapter is introduced by a short text written by Davidson himself. The result is a celebration of the development of a master of the medium and an autobiography, a photographer’s life seen through his work.

Publisher: Steidl
Size: 230 x 300 mm
944 pages, 834 tritone plates

Tritone printing throughout
Three hardcover books housed in a slipcase
Volume I, 1954 - 1961, 300 pages, 264 photographs
Volume II, 1961 - 1966, 272 pages, 228 photographs
Volume III, 1966 - 2009, 372 pages, 342 photographs


Publisher's Price: £158.00
£142.20

Picture of Sophie Ristelhueber: Fait (Books on Books #3)
Click here for more images.

Publisher's Description
Sophie Ristelhueber's Fait, which in French means 'fact' or 'what was done,' remains one of the most powerful statements about the aftermath of war. In October of 1991, Ristelhueber photographed the battle-scarred landscape of Kuwait following the end of the first Gulf war with Iraq. Books on Books 3 presents all 71 black and white and color photographs as seen in the original artist book as it was conceived and designed by Ristelhueber. Marc Meyer of the Musée d'art contemporain de Montréal contributes an essay that discusses Ristelhueber's disturbing yet beautiful achievement.

Publisher: Errata Editions
Size: 9½ x 7'
96 pages, 89 four-colour illustrations

Usually dispatched within 10 working days
Essays by Marc Mayer and Jeffrey Ladd
Click here for more images.

Publisher's Description
Sophie Ristelhueber's Fait, which in French means 'fact' or 'what was done,' remains one of the most powerful statements about the aftermath of war. In October of 1991, Ristelhueber photographed the battle-scarred landscape of Kuwait following the end of the first Gulf war with Iraq. Books on Books 3 presents all 71 black and white and color photographs as seen in the original artist book as it was conceived and designed by Ristelhueber. Marc Meyer of the Musée d'art contemporain de Montréal contributes an essay that discusses Ristelhueber's disturbing yet beautiful achievement.

Publisher: Errata Editions
Size: 9½ x 7'
96 pages, 89 four-colour illustrations

Usually dispatched within 10 working days
£33.00

Picture of Walker Evans: American Photographs (Books on Books #2)
Click here for more images.

Publisher's Description
Walker Evans' American Photographs is arguably the most important photobook ever published. Originally conceived to be a 'catalog' to accompany his one-man show at the Museum of Modern Art in 1938, it continues to go out-of-print for long stretches of time. Books on Books 2 presents the original 1938 edition with its 87 legendary black and white photographs that defined the documentary aesthetic. This volume also reproduces the great Lincoln Kirstein essay and a contemporary piece written by John T. Hill, the author of many books on Evans including Lyric Documentary (Steidl 2006).

Publisher: Errata Editions
Size: 9½ x 7'
112 pages, 98 Duotone and 4 colour illustrations

Usually dispatched within 10 working days
Essays by Lincoln Kirstein, John T. Hill, Jeffrey Ladd
Click here for more images.

Publisher's Description
Walker Evans' American Photographs is arguably the most important photobook ever published. Originally conceived to be a 'catalog' to accompany his one-man show at the Museum of Modern Art in 1938, it continues to go out-of-print for long stretches of time. Books on Books 2 presents the original 1938 edition with its 87 legendary black and white photographs that defined the documentary aesthetic. This volume also reproduces the great Lincoln Kirstein essay and a contemporary piece written by John T. Hill, the author of many books on Evans including Lyric Documentary (Steidl 2006).

Publisher: Errata Editions
Size: 9½ x 7'
112 pages, 98 Duotone and 4 colour illustrations

Usually dispatched within 10 working days
£33.00

Picture of Ideology in Paradise
Signed Copies Available

Publisher's Description
Renowned historian Orville Schell has likened the experience of visiting Pyongyang, capital of the Democratic People’s Republic of Korea (DPRK), akin to that of “visiting a faraway museum where we are able to commune with a series of carefully constructed dioramas based not on life during some past period, but on a far more fantastical world . . . a North Korean hallucination of the future.”

In fact, the experience of looking at Hiroshi Watanabe’s images is eerily like stepping into a Social Realist painting: the ruddy-cheeked young girl playing the accordion, the traditional gowns in brilliant pinks and greens of dancers swirling beneath the omnipresent image of the dear leader and the DPRK flag. One is quietly lulled into the sense that life in North Korea might, in fact, be just as it appears within the frames of these images—normal—instead of like the stories of kidnappings, military posturing, and famine. To Watanabe, it is this sense of tension between the news stories flooding the media in both Japan and in the U.S. and his experiences traveling and photographing—under careful surveillance of his two guides and assigned driver—that interests him in this topic. The results, engaging, yet still mysterious, bring us one side of this closed-off place, introducing us to a vibrant, compelling set of individuals, but still leave us to wonder.

Publisher: Mado-Sha
Size: 210 x 260 mm
120 pages, 112 colour illustrations

Usually dispatched within 2 working days
Hiroshi Watanabe
Signed Copies Available

Publisher's Description
Renowned historian Orville Schell has likened the experience of visiting Pyongyang, capital of the Democratic People’s Republic of Korea (DPRK), akin to that of “visiting a faraway museum where we are able to commune with a series of carefully constructed dioramas based not on life during some past period, but on a far more fantastical world . . . a North Korean hallucination of the future.”

In fact, the experience of looking at Hiroshi Watanabe’s images is eerily like stepping into a Social Realist painting: the ruddy-cheeked young girl playing the accordion, the traditional gowns in brilliant pinks and greens of dancers swirling beneath the omnipresent image of the dear leader and the DPRK flag. One is quietly lulled into the sense that life in North Korea might, in fact, be just as it appears within the frames of these images—normal—instead of like the stories of kidnappings, military posturing, and famine. To Watanabe, it is this sense of tension between the news stories flooding the media in both Japan and in the U.S. and his experiences traveling and photographing—under careful surveillance of his two guides and assigned driver—that interests him in this topic. The results, engaging, yet still mysterious, bring us one side of this closed-off place, introducing us to a vibrant, compelling set of individuals, but still leave us to wonder.

Publisher: Mado-Sha
Size: 210 x 260 mm
120 pages, 112 colour illustrations

Usually dispatched within 2 working days
£40.00

Picture of Lovin’ It
Publisher's Description
These photographs from Shanghai explore the new culture rapidly developing in China as it expands its domestic market at breakneck speed. As elsewhere in the world, the appeal of modern consumer goods and the benefits they bring is there for all to see. But such rapid change has its dark side. As the not-so-old cultural structures become increasingly irrelevant there are threats to social cohesion as communal identity gives way to individuality and alienation. What we are seeing now is a new Cultural Revolution, a capitalist Cultural Revolution that is more complete, more total, and no less ideological than the Cultural Revolution that was instigated by Chairman Mao in the 1960s.

Lovin’ It is introduced by John Gittings, for many years foreign leader-writer and East Asia editor at The Guardian. Gittings first visited China in 1971 during the Cultural Revolution and in 2001 he opened the Guardian’s first staff bureau on the Chinese mainland, in Shanghai.

The book also includes an interview with Hinton by writer and cultural critic Nigel Warburton.

Publisher: Dewi Lewis
Size: 240 x 180 mm
112 pages, 100 colour photographs

Usually dispatched within 10 working days
Adam Hinton
Publisher's Description
These photographs from Shanghai explore the new culture rapidly developing in China as it expands its domestic market at breakneck speed. As elsewhere in the world, the appeal of modern consumer goods and the benefits they bring is there for all to see. But such rapid change has its dark side. As the not-so-old cultural structures become increasingly irrelevant there are threats to social cohesion as communal identity gives way to individuality and alienation. What we are seeing now is a new Cultural Revolution, a capitalist Cultural Revolution that is more complete, more total, and no less ideological than the Cultural Revolution that was instigated by Chairman Mao in the 1960s.

Lovin’ It is introduced by John Gittings, for many years foreign leader-writer and East Asia editor at The Guardian. Gittings first visited China in 1971 during the Cultural Revolution and in 2001 he opened the Guardian’s first staff bureau on the Chinese mainland, in Shanghai.

The book also includes an interview with Hinton by writer and cultural critic Nigel Warburton.

Publisher: Dewi Lewis
Size: 240 x 180 mm
112 pages, 100 colour photographs

Usually dispatched within 10 working days
£16.99

Picture of French Kiss
Publisher's Description
Swedish born, Anders Petersen is a world renowned photographer, noted for his intimate and personal documentary-style black-and-white photographs.

Petersen explores the fringes of society and his images depict a raw, and sometimes disturbingly brutal, social portrait. Taken in the South of France, French Kiss is characteristic Petersen, exuding the poetic sadness, restlessness and sense of urgency that runs through all his work. When the work was first shown at Arles Photography Festival the response was astounding:

‘They made everything else on display at the huge photography festival pale in comparison. They became the ‘buzz’ in Arles. And everyone realized that Anders Petersen (that wildly energetic 62-year-old guy) is still making some of the most arresting personal documentary photographs today - Jim Casper, Lenswork.

Petersen first became known for his series Café Lehmitz, a daily chronicle of the regulars – transvestites, prostitutes, drug addicts and harbour workers – of a Hamburg bar in the Reeperbahn, the city’s once notorious red-light district. Starting in 1967, Petersen continued the project for three years. The photobook of the same name was published eight years later, in 1978, first in Germany, and then in France (1979) and Sweden (1982). Café Lehmitz has since become regarded as a seminal book in the history of European photography.

Anders Petersen has published more than 20 books and his work has been exhibited widely.

Publisher: Dewi Lewis
Size: 245 x 162 mm
120 pages, 90 duotone photographs

Usually dispatched within 10 working days
Anders Petersen
Publisher's Description
Swedish born, Anders Petersen is a world renowned photographer, noted for his intimate and personal documentary-style black-and-white photographs.

Petersen explores the fringes of society and his images depict a raw, and sometimes disturbingly brutal, social portrait. Taken in the South of France, French Kiss is characteristic Petersen, exuding the poetic sadness, restlessness and sense of urgency that runs through all his work. When the work was first shown at Arles Photography Festival the response was astounding:

‘They made everything else on display at the huge photography festival pale in comparison. They became the ‘buzz’ in Arles. And everyone realized that Anders Petersen (that wildly energetic 62-year-old guy) is still making some of the most arresting personal documentary photographs today - Jim Casper, Lenswork.

Petersen first became known for his series Café Lehmitz, a daily chronicle of the regulars – transvestites, prostitutes, drug addicts and harbour workers – of a Hamburg bar in the Reeperbahn, the city’s once notorious red-light district. Starting in 1967, Petersen continued the project for three years. The photobook of the same name was published eight years later, in 1978, first in Germany, and then in France (1979) and Sweden (1982). Café Lehmitz has since become regarded as a seminal book in the history of European photography.

Anders Petersen has published more than 20 books and his work has been exhibited widely.

Publisher: Dewi Lewis
Size: 245 x 162 mm
120 pages, 90 duotone photographs

Usually dispatched within 10 working days
£19.99

Picture of Alexandr Hackenschmied
Publisher's Description
Born in 1907, Alexandr Hackenschmied is one of the founders of modern Czech photography and film. He is better known here as Sasha Hammid, the name he took upon becoming a United States citizen in 1947, having fled Nazi persecution in his native Czechoslovakia in 1939. Since then he and his wife, Maya Deren, have played a key role in American avantgarde film. Both by himself and in collaboration with other artists, Hackenschmied made a number of important documentaries--including the 1964 film To Be Alive!, made with Francis Thompson, which was awarded an Oscar for Best Documentary in 1967. His photographic work, though less well known here, is equally worthy of praise. In it we see his dynamic conception of space--honed with years of experience as a cameraman and editor--and the combination of formal perfection with deep emotional resonance, the meeting of the artist's mind with the mind of the audience.

Publisher: Torst
Size: 6.25 x 7'
140 pages, 99 duotone

Usually dispatched within 14 working days
Alexandr Hackenschmied
Publisher's Description
Born in 1907, Alexandr Hackenschmied is one of the founders of modern Czech photography and film. He is better known here as Sasha Hammid, the name he took upon becoming a United States citizen in 1947, having fled Nazi persecution in his native Czechoslovakia in 1939. Since then he and his wife, Maya Deren, have played a key role in American avantgarde film. Both by himself and in collaboration with other artists, Hackenschmied made a number of important documentaries--including the 1964 film To Be Alive!, made with Francis Thompson, which was awarded an Oscar for Best Documentary in 1967. His photographic work, though less well known here, is equally worthy of praise. In it we see his dynamic conception of space--honed with years of experience as a cameraman and editor--and the combination of formal perfection with deep emotional resonance, the meeting of the artist's mind with the mind of the audience.

Publisher: Torst
Size: 6.25 x 7'
140 pages, 99 duotone

Usually dispatched within 14 working days
£13.00

Picture of A Few Streets, A Few People
Publisher's Description
In Our Man in Havana Graham Greene wrote that ‘to each man a city consists of no more than a few streets, a few houses, a few people. Remove those few and the city no longer exists except as a pain in the memory, like the pain of an amputated leg no longer there.’

In this, his third book, John Comino-James shows us the world that is contained within just a few streets in the very ordinary neighbourhood of Cayo Hueso in Havana, Cuba. Through portraits and candid observation he builds an honest and intimate record of a small and tight-knit community. This is not the Havana of the tourist, but a city in which people go about their daily lives, dealing with the everyday realities that have resulted from decades of political isolation.

In a powerful and beautifully written afterword Comino-James intersperses his experiences of several vists to the area, with fascinating information on the history of Cuba and the city of Havana.

Publisher: Dewi Lewis Publishing
Size: 225mm x 245mm
156 pages, 121 duotone photographs

Usually dispatched within 2 working days

We will be hosting an event at Stills Gallery with John Comino-James on Thursday 16 November. For more information see the events section of this website.
John Comino-James
Publisher's Description
In Our Man in Havana Graham Greene wrote that ‘to each man a city consists of no more than a few streets, a few houses, a few people. Remove those few and the city no longer exists except as a pain in the memory, like the pain of an amputated leg no longer there.’

In this, his third book, John Comino-James shows us the world that is contained within just a few streets in the very ordinary neighbourhood of Cayo Hueso in Havana, Cuba. Through portraits and candid observation he builds an honest and intimate record of a small and tight-knit community. This is not the Havana of the tourist, but a city in which people go about their daily lives, dealing with the everyday realities that have resulted from decades of political isolation.

In a powerful and beautifully written afterword Comino-James intersperses his experiences of several vists to the area, with fascinating information on the history of Cuba and the city of Havana.

Publisher: Dewi Lewis Publishing
Size: 225mm x 245mm
156 pages, 121 duotone photographs

Usually dispatched within 2 working days

We will be hosting an event at Stills Gallery with John Comino-James on Thursday 16 November. For more information see the events section of this website.
£19.99

Picture of Common Sense (Signed)

Signed copy

Publisher's Description
Internationally recognised as a brilliant satirist of contemporary life Martin Parr has led the development of the British documentary tradition with wit, style, and intelligence in a career that boasts numerous publications and exhibitions. His work is held by major galleries and museums worldwide.

Common Sense combines extravagantly lurid and luscious colour with Parr’s trademark sense of irony. Though hilariously funny – as always with Parr’s work – there is a sharp and biting edge to the humour.

The launch of this extraordinary book was celebrated by simultaneous exhibitions in more than 40 different cities world-wide including making it probably the largest exhibition of work ever held by one artist – a truly global project.

Publisher: Dewi Lewis
Size: 206mm x 300mm
160 pages, 158 colour photographs

Usually dispatched within 2 working days

Martin Parr

Signed copy

Publisher's Description
Internationally recognised as a brilliant satirist of contemporary life Martin Parr has led the development of the British documentary tradition with wit, style, and intelligence in a career that boasts numerous publications and exhibitions. His work is held by major galleries and museums worldwide.

Common Sense combines extravagantly lurid and luscious colour with Parr’s trademark sense of irony. Though hilariously funny – as always with Parr’s work – there is a sharp and biting edge to the humour.

The launch of this extraordinary book was celebrated by simultaneous exhibitions in more than 40 different cities world-wide including making it probably the largest exhibition of work ever held by one artist – a truly global project.

Publisher: Dewi Lewis
Size: 206mm x 300mm
160 pages, 158 colour photographs

Usually dispatched within 2 working days

£25.00

Picture of After the Flood
Publisher's Description
In late September 2005, Robert Polidori traveled to New Orleans to record the destruction caused by Hurricane Katrina and by the city’s broken levees. He found the streets deserted, and, without electricity, eerily dark. The next day he began to photograph, house by house: 'All the places I went in, the doors were just open. They had been opened by what I collectively call ‘the army,’ of maybe 20 National Guards from New Hampshire, 15 policemen from Minneapolis, 20 firefighters from New York... On maybe half of them or a third of them that I went in, I think that the occupants had been there prior. And some of them did leave certain funeral-like mementos before they left. Maybe right after the waters receded they had the chance to just--to go back to their place and just see, and realize there’s nothing worth saving.' Amidst all this, Polidori has found something worth saving, has created mementos for those who could not return, documenting the paradoxically beautiful wreckage. In classical terms, he has found ruins. The abandoned houses he recorded were still waterlogged as he entered and as he learned (by trial and error, a process that including finding a dead body) the language of signs and codes in which rescue workers had spray-painted each house’s siding. He sees the resulting photographs as the work of a psychological witness, mapping the lives of the absent and deceased through what remains of their belongings and their homes.

Publisher: Steidl
Size: 38.5 cm x 30 cm
320 pages, 300 colour plates

Usually dispatched within 2 working days
Robert Polidori
Publisher's Description
In late September 2005, Robert Polidori traveled to New Orleans to record the destruction caused by Hurricane Katrina and by the city’s broken levees. He found the streets deserted, and, without electricity, eerily dark. The next day he began to photograph, house by house: 'All the places I went in, the doors were just open. They had been opened by what I collectively call ‘the army,’ of maybe 20 National Guards from New Hampshire, 15 policemen from Minneapolis, 20 firefighters from New York... On maybe half of them or a third of them that I went in, I think that the occupants had been there prior. And some of them did leave certain funeral-like mementos before they left. Maybe right after the waters receded they had the chance to just--to go back to their place and just see, and realize there’s nothing worth saving.' Amidst all this, Polidori has found something worth saving, has created mementos for those who could not return, documenting the paradoxically beautiful wreckage. In classical terms, he has found ruins. The abandoned houses he recorded were still waterlogged as he entered and as he learned (by trial and error, a process that including finding a dead body) the language of signs and codes in which rescue workers had spray-painted each house’s siding. He sees the resulting photographs as the work of a psychological witness, mapping the lives of the absent and deceased through what remains of their belongings and their homes.

Publisher: Steidl
Size: 38.5 cm x 30 cm
320 pages, 300 colour plates

Usually dispatched within 2 working days
£50.00

Picture of England / Scotland 1960 (New Edition)

Publisher's Description

In 1960, after an intense year photographing a notorious Brooklyn street gang “The Jokers”, Bruce Davidson decided to remove himself from the tension and depression of that work. He received an assignment to photograph Marilyn Monroe during the making of John Houston’s The Misfits in the Nevada desert, and then travelled to London on commission for Queen magazine. Published by Jocelyn Stevens, Queen was devoted to British lifestyle and Davidson was charged, with no specific agenda, to spend a couple of months touring England and Scotland to create a visual portrait of the two countries.

England / Scotland 1960 offers a poetic insight into the heart of English and Scottish cultures. Reflecting a post-war era in which the revolutions of the 1960s had not quite yet entered the mainstream, Davidson’s photographs reveal societies driven by difference – the extremes of city and country life, of the landed gentry and the common people. Published for the first time in its entirety in 2005, this new edition has a larger ideal format chosen by Davidson initially for his Black & White (2012), and now the standard size for his future publications with Steidl.

Publisher: Steidl

Size: 23.5 cm x 27 cm

192 pages, 120 tritone plates

Bruce Davidson
Published for the first time in its entirety in 2005, this new edition has a larger ideal format chosen by Davidson initially for his Black & White (2012), and now the standard size for his future publications with Steidl.
£28.80

Picture of Vietnam Inc
Publisher’s Description
First published in 1971, Vietnam Inc. was crucial in changing public attitudes in the United States, turning the tide of opinion and ultimately helping to put an end to the Vietnam War. Philip Jones GriffithsEclassic account of the war was the outcome of three yearsEreporting and is one of the most detailed surveys of any conflict. Showing us the true horrors of the war as well as a study of Vietnamese rural life, the author creates a compelling argument against the de-humanizing power of the modern war machine and American imperialism. Rare and highly sought-after, the book has become one of the enduring classics of photo-journalism. It is now available in this new edition Ea careful recreation of the original with Philip Jones GriffithsEpersonal layouts and commentaries. A new introduction by US linguist and political critic Noam Chomsky discusses the book’s impact in changing public opinion.

Publisher: Phaidon Press
Size: 280 x 202mm
224 pages, 266 black & white photographs

Publisher's Price: £ 22.95
Philip Jones Griffiths
Publisher’s Description
First published in 1971, Vietnam Inc. was crucial in changing public attitudes in the United States, turning the tide of opinion and ultimately helping to put an end to the Vietnam War. Philip Jones GriffithsEclassic account of the war was the outcome of three yearsEreporting and is one of the most detailed surveys of any conflict. Showing us the true horrors of the war as well as a study of Vietnamese rural life, the author creates a compelling argument against the de-humanizing power of the modern war machine and American imperialism. Rare and highly sought-after, the book has become one of the enduring classics of photo-journalism. It is now available in this new edition Ea careful recreation of the original with Philip Jones GriffithsEpersonal layouts and commentaries. A new introduction by US linguist and political critic Noam Chomsky discusses the book’s impact in changing public opinion.

Publisher: Phaidon Press
Size: 280 x 202mm
224 pages, 266 black & white photographs

Publisher's Price: £ 22.95
£20.66

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