Nobody books (19 resultados)

Hardcover. Condición: New.

Hardcover. Condición: As New. Estado de la sobrecubierta: As New. 1st Edition.

Hardcover. Condición: As New. No Jacket. 1st Edition. Fascinating documentary in the classic, quintessential style associated with Stephen Gill's photography.

Hardcover. Condición: As New. Estado de la sobrecubierta: As New. 1st Edition. First (1st) Edition, 1000 Copies, Hardback, Published in 2005 on occasion of an exhibition at the Victoria Miro Gallery. Book in as new, shrink-wrapped condition.

Hardcover. Condición: Fine.

Hardcover. Condición: Fine.

Hardcover. Condición: Fine. Estado de la sobrecubierta: No Jacket, as Issued. First Edition - Limited. hardcover in cardboard slipcase., no flaws or wear. a pristine copy. contains an envelope with c-type print laid-in. signed by stephen gill on title page with no other inscription. stamped number 701 from edition of 750 on colophon page., 31pp., color illustrations throughout. brief text by stephen gill. Size: 8vo - over 7¾" - 9¾" tall. Signed by the Photographer.…

First Edition. First edition. Small hardcover. Number 739 from an edition of 750 copies. A collection of photographs that were taken in Hackney Wick and then buried there and then dug up for this book. A very near fine copy with a tiny spot to the fore edge of the pages and in a fine cardboard slipcase. No dust jacket as issued. Includes an original photograph in an evnvelope. Signed by Gill on the title page. Signed.…

[126] pp.; 22.4 x 22 cm.; sewn bound; black-and-white & color; edition size 1500; unsigned and unnumbered; offset-printed Artists book featuring color photographs by Stephen Gill documenting a now shut down outdoor market in Hackney Wick, East London. Includes a 24 page special section with paintings by Laure Prouvost. Fine. As new, clean and unmarked.…

Hardcover. Condición: Fine. 1st Edition. Book is in fine condition, excellent. Limited to 3,500 copies with colour photographs.

hardcover. Condición: Good. Our good condition books are generally good for reading but not for gifting or collecting. They could have imperfections such as creasing, fanning, inscriptions, margin notes, yellowing, staining on edge or cover or pages, bumps, scuffs, etc etc (sometimes multiple of these). It's a wide category that encompasses anything that isn't almost-new down to anything that is slightly better than poor. We would NOT recommend gifting Good books - these should be considered reading copies. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only.…

Softcover. Condición: Fine. No Jacket. First Edition. First edition 2020. Fine copy with the saddle stitched booklet by Karl Ove Knausgard - note this copy not signed.

Hardcover. Condición: New. 1st Edition. Signed by Gill, in pencil, to the title page. Printed cloth covered boards with the title to the lower side. No dust jacket, as issued. Photographs by Stephen Gill. Words by Will Self. Edited, sequenced and produced by Stephen Gill. Book design by Melanie Mues. Large 4to (36.2cm x 26.5cm), pp.72, 43 colour photographs. From Stephen Gill: "The series Best Before End is an attempt to reflect and respond to the intensity of inner city life by focusing on the phenomenal rise of energy drinks. These powerful and potentially dangerous stimulants are being sold and consumed in ever-increasing quantities as the demands of modern life and the growth of a 24-hour society almost forbid us to become tired. With Best Before End I decided to give the subject of the series a direct physical presence in the images. The colour negative films were part-processed and soaked in energy drink, which caused image shifts and disruptions and softened the film emulsion. This softening allowed for manual stretching, moving, tearing and distortion of the layers of film emulsion to take place, and further manual shifts were added with a soft brush while the emulsion was still pliable. All the drinks were sourced in East London, which is also where the images were made."   From Will Self: "Tiredness can indeed kill but then whats death if not a big Chandleresque sleep, in which wiseacre gumshoes drive to the end of the night only to discover that its their own involvement in the case that led to the murder-spree. Ill sleep when Im dead, for all sleep is the sleep of reason we need our wits about us: its an accelerated world out there, demanding split-second decision making capability to hit the right button so as to make the right multi-million dollar trade, or order the next pizza, or download the next app. We swim through an orangey brinelight: a carbonated energy field of unified, fizzing awareness; its dreamlike this existence most certainly but its a waking dream, and for that we have energy drinks to thank. Stephen Gills beautiful images, which incorporate energy drinks as an integral part of their processing, capture this strange state of being at once driven and aqueous, simultaneously sweet and oh so bitter. The Best Before End series, memorialises the freewheeling Decline of the West; which, to paraphrase Alfred Jarry, the founding father of pataphysics, is best conceived of as a downhill bicycle race sponsored by a major-brand energy drink, in which all of the pursuit riders have the red head of the Minotaur. For myself, Im way out in front of them and pedalling HARD.". Signed by Author(s).…

Softcover. Condición: Fine. No Jacket. First Edition. First edition 2007 Fine copy in the publishers cloth. Not signed.

32 Seiten mit 29 ganzs. Farbaufnahmen, 8° (19,7 x 14 cm), Orig.-Pappbd. mit Deckel- u. Rückentitel. Im Orig.-Schuber. Erschienen in einer Auflage von 750 numerierten Exemplaren. Dies ist die Nummer 306. - Von Stephen Gill a. Titel eh. signiert und mit 1 Orig.-Foto (C-Print) in beiliegendem Umschlag ("Bury your own"). - Die Fotos entstanden während des Hackney Wick Projektes und wurden für einige Tage in der Erde vergraben, dann wieder ausgegraben und als Buch herausgebracht. Der Einband selbst wurde mit einer Erdschicht versehen, wobei es vorkommt, daß einem kleine Erdkrümel entgegenrieseln, wenn man das Buch dem Schuber entnimmt. Sprache: Deutsch.…

Hardcover. Condición: New. Estado de la sobrecubierta: No dust jacket as issued. 1st Edition. First edition, first printing. Limited edition of 100 copies (and 5 Artist's Proofs), with an original pigment print, signed and numbered in pencil on the reverse by Gill (paper size 9-5/8 x 7-1/4 inches; image size 8-3/8 x 6-1/8 inches). Hardcover. Unique marbled paper-covered boards (marbling by Gill), quarter-bound in black leather, with title debossed in gold on cover and spine and speckled text block; no dust jacket as issued; contained in a custom black cloth-covered clamshell box. The book is signed and numbered on the title page in pencil by Gill. Photographs by Stephen Gill. 152 pp., with a double gatefold, with 90 four-color plates. 11-1/4 x 8-5/8 inches. [Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume III. (London and New York: Phaidon, 2014)]. New. Print, book and clamshell in flawless condition. From the artist: "In the summer of 2010 I was asked if I would be interested in making a photographic response to an area containing a pond situated within an industrial wasteland -- the remains of the deceased steelmaking industry in Dudelange, Luxembourg. My only previous experience with ponds had been during my teenage years, when an obsession with pond life led me to spend long hours in my bedroom wearing a lab coat and peering into a microscope. That obsessive immersion into a strange and disorientating world had a profound effect on me personally, and certainly left its mark on many of the photographic studies I have subsequently produced. I knew that the pond in Dudelange would be teeming with unseen life now that its industrial past had come to an end. From the 1920s until it was put out of use in 2006 the pond had been used to cool the blast furnaces, and tiny but dense communities would be now forming and thriving in the absence of that extreme heat. For the eight months leading up to my first visit to the territory, my mind increasingly started tuning into microscopic worlds within worlds, and I became ever more aware of the many parallels between patterns and processes in the pond and those in our own lives as individual humans within societies. Slowly I became committed to the idea of attempting to bring these two apparently disparate worlds -- so physically close yet so different in scale -- visually closer together. Grappling with the idea of knitting together these parts of life that coexist but don't belong together nor are ever usually seen together, I decided to make a photographic study that would resemble a kind of tapestry. The University of Luxembourg kindly taught me to use one of their medical microscopes so that I was able to study single drops of the water, and I began searching the pond for diatoms and other minuscule creatures and plant life. The more I thought about the human factor that was so essential to the series forming in my head, the more I wanted to involve local people from the small town of Dudelange, which has a substantial community of families with Portuguese and Italian origins. Many of these people used to work in the steelmaking industry. For health and safety reasons it was not possible to invite people to come to the cooling ponds, so I decided instead to take the pond to the people. I filled a red plastic mop bucket with water from the pond, and dipped my underwater camera into this pond water prior to making portraits of the Dudelange residents. Later on I also dipped the prints into the pond itself, so microscopic life was also transferred onto the surface of the paper." Signed by Author. …

Hardcover. Condición: New. Estado de la sobrecubierta: New. 1st Edition. SHIPPING NOTE: due to size and weight (e.g., multi-volume sets), additional shipping fees apply (calculated at checkout). First edition, first printing. Two volumes of photographs taken in Japan between 2008 and 2009, each with an original C-Type print. New. Prints, books and clamshells in flawless condition. Coming Up for Air: Limited edition of 100 copies (this being 62/100), with an original C-Type print, signed, numbered and dated by Gill on the reverse (paper size 11-3/8 x 8-3/4 inches; image size 10-5/8 x 7-1/8 inches). Hardcover. Dark green debossed cloth-covered boards, with hand-painted and numbered acetate dust jacket; contained in a custom debossed green cloth-covered clamshell box. The book is also signed and numbered by Gill. Photographs by Stephen Gill. 106 pp., including 1 gatefold, with 98 four-color plates. 13-1/4 x 10 inches. B-Sides: Limited edition of 100 copies (this being 55/100), with an original C-Type print signed, numbered, and dated by Gill on the reverse (paper size 11-3/8 x 8-3/4 inches; image size 10-5/8 x 7-1/8 inches). Hardcover. Illustrated green cloth-covered boards; no dust jacket as issued; contained in a custom burgundy cloth-covered clamshell box. The book is also signed and numbered by Gill. Photographs and printed endpaper etchings by Stephen Gill. 72 pp., with 35 four-color plates. 13-1/4 x 10 inches. Signed by Author.…

32 pp. + 1 loose C-print. Mostly illustrations. Publisher's buried hardvover, in slip-case, c-print in envelope. No. 448 of 750 printed copies. Signed by artist on title-page.

Hardcover. Künstler: Gill, Stephen . Verleger: Nobody Books . Datum: 2006. Englisch . 8to. (Oktavformat). OPappbd., mit Erde bearbeitet in OSchuber. Eines von 750 Expl. Dieses traegt die Nummer 437 von 750 mit einer beiliegenden orig. Photographie (C-print). sehr gutes Exemplar.