Paddy Summerfield – The Holiday Pictures, signed

£30.00

THE HOLIDAY PICTURES

Signed copy – brand new in wrapper

PADDY SUMMERFIELD

‘Life at the sea’s edge is like an ending for a road movie where everyone gathers together. Life dances on, year after year, under sun and cloud, holidaymakers come and go, people change, the sea does not. The imagination begins where the land ends.’

In The Holiday Pictures, Paddy Summerfield does not offer the glamour of Deauville and Biarritz; this is the British seaside, where sunlight can give way to rainy pavements, and overcast skies. And here we all are: children and parents, babies and teenagers, people of all ages and from all over, sharing the magic of the coast. We see them in families, in couples and crowds, or isolated and alone under sunlit skies; we see them bored or lost in thought, dozing or daydreaming, caught up in play or watching sky and sea. They cross the sands, they wander along promenades and piers, and endlessly photograph, making holiday memories.

With The Holiday Pictures, Summerfield tells us our own story, a primal and universal story of the generations at the sea’s edge, looking inwardly at their own feelings, and looking out to the horizons and skies. And the photo sequences imply other narratives, as if someone has walked into the next frame, as if the wave that curls in one picture is seen breaking in the next, where children splash and play.

Oxford-based, Paddy Summerfield, trained at Guildford School of Art in the Photography and the Film departments. His work has been shown in many galleries, including the ICA, The Barbican, The Serpentine Gallery, and The Photographers’ Gallery. His work is in the collections of the Arts Council and of the V&A, as well as in numerous private collections. The Holiday Pictures is his fourth book published by Dewi Lewis, two of which are now out of print, including Mother and Father (2014) which was widely acclaimed, and featured in several lists of the ‘Best Photobooks of The Year’.

Clothbound hardback
220mm x 245mm 132 pages, 73 duotone plates
ISBN: 978-1-911306-48-1
£30.00 UK / $45.00 USA

ALSO BY PADDY SUMMERFIELD
MOTHER AND FATHER
THE OXFORD PICTURES
EMPTY DAYS

Paddy Summerfield – Mother and Father, signed

£250.00

Mother and Father

SIGNED 1st Edition – Rare – brand new

Sean O’Hagan, The Guardian – Ten best photo books of the year

“A profoundly sad and beautiful book”
Sean O’Hagan, The Observer: Photography Book of the Month, Nov. 2014

“….amongst the most deeply moving pictures I have seen.”
Gerry Badger

Mother and Father, is a moving journal of the final years of a sixty-year marriage. For ten years, from 1997 to 2007 Paddy Summerfield photographed his parents, reflecting on the bond between them, which even the effects of Alzheimers could not break. They become symbols in a drama of balance and tension, which is both domestic and epic. As he says: “I recorded my mother’s loss of the world, my father’s loss of his wife and, eventually, my loss of them both.”

The images are primarily taken in their garden, though the central section shows holiday visits to the Welsh coast, where the raven, a Celtic symbol of death, frequently appears alongside their world. Finally, the once cultivated garden becomes a neglected wilderness, in the absence of the two people who spent long days there, who cared for it, and for each other. These thoughtful, often melancholy, images form a personal piece which is simultaneously universal.

Oxford-based, Paddy Summerfield, trained at Guildford School of Art in the Photography and the Film departments. Photographs he took in 1967, when still a first year student, were published in Album, and spreads in Creative Camera received encouraging recognition. Summerfield first exhibited in London in the late 1960s, and has shown at many galleries, including the ICA, The Barbican, The Serpentine Gallery, and The Photographers’ Gallery. In 1976, Sir Nicholas Serota (then director of MOMA, Oxford) invited Summerfield to exhibit Beneath The Dreaming Spires, his first one-man show. His work is held in the collections of the Arts Council and of the V&A, as well as in numerous private collections.

Clothbound hardback
205mm x 245mm
96 pages, 83 duotone photographs
ISBN: 978-1-907893-61-2

ALSO BY PADDY SUMMERFIELD
EMPTY DAYS
THE OXFORD PICTURES
THE HOLIDAY PICTURES

Paddy Summerfield – The Oxford Pictures, signed

£80.00

The Oxford Pictures

Signed First Edition – Rare

“a properly nostalgic vision, but one that is devoid of any sentimentality… to many it may seem bleak and unduly pessimistic” – Gerry Badger

Between 1968 to 1978, Paddy Summerfield photographed Oxford students in the summer terms. No older than his subjects, he shared their uncertainties: “I was young and unsure and found a way to show this. I felt like an outsider, and lonely, that there was always something going on, parties and drinking, but elsewhere. Often, I sensed a loneliness in the students I photographed. We were all lonely together.”

Though he found his subjects beside the rivers and on sunlit college lawns, Summerfield’s images primarily express the insecurities and pain of youth. His psychological approach is driven by the tension between the yearning for love, and sexual anxiety. Solitary figures represent his own isolation, an experience that many will recognise. Rituals are played out, frivolity and romance give way to revision and exams, then celebrations that collapse into debauchery, and regret. The students depart and are replaced; only the stones remain.

Oxford-based, Summerfield, trained at Guildford School of Art in the Photography and the Film departments. Photographs he took in 1967, when still a first year student, were published in Album, and spreads in Creative Camera received encouraging recognition. His work has been shown in many galleries, including the ICA, The Barbican, The Serpentine Gallery, and The Photographers’ Gallery. In 1976, Sir Nicholas Serota (then director of MOMA, Oxford) invited Summerfield to exhibit ‘Beneath The Dreaming Spires’, his first one-man show. His work is in the collections of the Arts Council and of the V&A, as well as in numerous private collections. His first book, Mother And Father (2014. Dewi Lewis Publishing) was widely reviewed, and included in several lists of the ‘Best Photobooks of 2014’.

Clothbound hardback with tipped in image
57 duotone photographs
96 pages, 220mm x 245mm
ISBN: 978-1-907893-99-5

ALSO BY PADDY SUMMERFIELD
MOTHER AND FATHER
EMPTY DAYS
THE HOLIDAY PICTURES

Paddy Summerfield – Empty Days, signed

£30.00

EMPTY DAYS

Signed – 1st Edition – brand new

… a sustained enquiry and search for understanding and meaning in a sometimes-bleak interior landscape … the great success of ‘Empty Days’ is in drawing the viewer fully into Paddy’s world… and as in life, it is both rewarding and on occasions disturbing.
– John Goto in Photomonitor, March 2018

In run-down streets and shabby cafés Paddy Summerfield found his pictures for Empty Days. Among the tragic lives he encountered, lives that touched him because they reflected his own struggles, he made images that would tell their stories, his own story.

“This is the world I know, it could be anywhere, a place we have all seen before. I am sad, the world is sad. I don’t know if I take photographs to embrace sadness or or push it away.”

For Empty Days Summerfield has found emblems of the great themes: religion, sex, and death. Yet among the bleakness of various addictions, the ravages of drinking, of pills, he shows no spiritual comfort, no sexual joy, only the search for love in an unloving world, an unsatisfied spiritual longing. Along pavements and pathways, in claustrophobic rooms or open spaces, he finds the isolated figures, lost in thought or caught in a flash of emotion, to express the yearnings and pain that so many of us share. And where no people are shown, the human traces – an abandoned bicycle, a fallen doll, a tangle of nettles and barbed wire – continue themes of loss and melancholy. Yet however powerless or worn down the people and places shown, these pictures offer compassion, not judgement. A handful of troubling portraits, suggesting powerful and complex emotions, punctuate Empty Days, and intensify our sense of a narrative, albeit elusive and incomplete, as the photographs lead us through a fragile and fragmented world to an ending that suggests the possibility of hope.

Oxford-based, Paddy Summerfield, trained at Guildford School of Art in the Photography and the Film departments. His work has been shown in many galleries, including the ICA, The Barbican, The Serpentine Gallery, and The Photographers’ Gallery. His work is in the collections of the Arts Council and of the V&A, as well as in numerous private collections. Empty Days is his third book published by Dewi Lewis. His earlier book Mother and Father (2014) was widely acclaimed, and featured in several lists of the ‘Best Photobooks of The Year’.

Hardback 112 pages
220mm x 245mm 75 duotone plates
ISBN: 978-1-911306-23-8

ALSO BY PADDY SUMMERFIELD
MOTHER AND FATHER
THE OXFORD PICTURES
THE HOLIDAY PICTURES

Alex Schneideman – WANT MORE, signed

£30.00

1st Edition – Rare – Mint – Signed

Want More
Alex Schneideman
With texts by Paul Dolan and Harry Eyres

‘This is a study of mass consumer excess in which somehow, with all the choice, there is still not quite enough.… Portraying frozen moments in the lives of alienated consumers, it is a timely publication.’ — Irish Times
‘The pictures [reveal] a gap between the fantasy and the lived reality.’ — B+W Photography
_____________

Want More is a stark and hard-hitting portrayal of late capitalism in action. In a series of arresting, atmospheric, and strikingly beautiful images, Alex Schneideman captures the alienating and numbing effects of mass consumerism as he photographs shoppers in stores, at the mall, and on the street. Tedium, anxiety, frustration, and exhaustion are the dominant emotions in evidence as his subjects appear ground down by their duty as consumer-citizens to spend, spend, spend. Mostly unaware of the photographer’s lens, these individuals of all ages and backgrounds unwittingly express a collective desire that is both inescapable and universal, one that transcends a specific time and place.

Wherever we look, haunted and desperate faces betray a driven compulsion to consume. Recurring gestures, expressions, and clothes reflect the homogeneity of modern material life. Inconspicuous details – words inscribed on shop fronts and advertisements, the watchful and seductive eyes of models and mannequins, the chance coming together of random elements – contain a hidden logic that reveals further truths about our global consumerist society and the relentless imperative to buy. But amidst these scenes of joyless alienation there remains the potential for human love and beauty.

A foreword by behavioural scientist Paul Dola­­­n considers the photographs as evidence of the old adage that money cannot buy us happiness, while writer Harry Eyres celebrates the photographer’s gift for serendipity and his use of dark, ironic humour to examine the effects of constantly wanting more.

Positioned somewhere between documentary and art photography, Want More confronts us with the lived reality of the ‘have-it-all’ culture – of needing the latest products and coolest brands – and shows how the contemporary world works, and works on all of us.

Markéta Luskačová – To Remember, signed

£50.00

Marketa Luskacová spent years documenting the street musicians that inhabited London’s markets throughout the 1970s. “The street musicians themselves were often quite lonely men, yet their music lessened the loneliness of the street, the people in it and my own loneliness.” – Marketa Luskacová

It is this intimate series that is presented in To Remember, Luskacová’s self published 2016 photobook.

Self published, 2016
h300 x w225 mm
119 pages
68 b&w photographs
Introduction by John Berger
Hardback

Matthew Finn – Mother (signed)

£35.00
WITH AN ESSAY BY ELIZABETH EDWARDS

Over a thirty year period, from 1987 onwards, Matthew Finn collaborated with his mother, Jean, to document her everyday life through a series of portraits taken in her home in Leeds. This is a record of the ordinary, of a daily routine with which we are all familiar. It is also a record of the gradual shift from middle age to old age, and, in Jean’s case, to the onset of mixed dementia and a move from the family home into residential care.

It is a poignant body of work, filled with warmth yet conscious of the fragility of life. Quiet domestic interiors act as a stage for life’s everyday details, and though the focus is on the individual the bond between mother and son is a powerful constant, even as the balance of that relationship begins to change. As Matthew Finn has said, “For my mother and I, this switch of roles was quick. Diagnosed with mixed dementia two years ago, she fell silent and our collaboration was over. I no longer exist to her and she cannot recognise herself. What remains are these pictures.”

Born in Leeds in 1971, Matthew studied photography at The University of Derby before gaining an MA at Westminster. The recipient of the 2015 Jerwood/ Photoworks Award, his work has been exhibited widely including shows at The Jerwood Space, London, Impressions Gallery, Bradford and Open Eye gallery Liverpool. Finn is currently involved with the Hull International Photography Festival of which he is a patron.

In her essay, Elizabeth Edwards explores the context of the work. A visual and historical anthropologist, Professor Edwards has worked extensively on the relationships between photography, anthropology and history, on the social practices of photography, on the materiality of photographs and on photography and historical imagination.

Hardback
280mm x 200mm, 96 pages
ISBN: 978-1-911306-14-6