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This finely printed and bound volume is an expanded, more personal version of Ira Resnick’s critically acclaimed photo book The Seventies: A Photographic Journey, featuring twice as many celebrity photos and anecdotes.

In images and words, Resnick re-creates his path through a decade of tremendous change, in the world and in himself – from film school at NYU, through travels in Israel and Canada, to the cultural ferment of Mill Valley and the glamour of Hollywood. Along the way, Resnick’s work as a professional photographer brought him in contact with the leading personalities of his time:

Resnick’s photographs of these iconic figures – many never seen since their original publication in magazines like Rolling Stone, People, and Us – will fascinate anyone with an interest in popular culture. And his personal journey will resonate with anyone who came of age in the 1970s.

This second book in the Aboriginal Arts and Knowledge series documents a body of work created cooperatively by 4 artists: Ted Egan Tjangala, Dinny Nolan Tjampitjinpa, Johnny Possum Tjapaltjarri and Albie Morris Tjampitjinpa. Wamulu, a yellow flower, has traditionally been used during ritual ceremonies in the western desert of Australia. The wamulu flower is gathered, dried, cut up, and mixed with ochre and binders before being applied to the ground. This catalogue for an exhibition at the Fondation Opale showcases an exceptional project that took place near Alice Springs between 2002 and 2005, where this collective of artists used paint made from the wamulu flower, which is most often associated with impermanence, to create contemporary and permanent works of art. At the same time, they honoured the traditional Aboriginal process of communal performance, participation, and song that emphasises the link between the present and the past. Includes an interview with the noted Aboriginal art expert Arnaud Serval, who facilitated the work of the collective.

Text in English and French.

The famous Lion Monument in Lucerne, located in a park in the heart of the city, commemorates the Swiss Guards in the service of the French King Louis XVI who fell in the storming of the Tuileries Palace in Paris on August 10, 1792. The monument, hewn directly into the rockface according to a design by the Danish sculptor Bertel Thorvaldsen, was inaugurated on August 10, 1821. Together with the nearby Glacier Garden, it is today one of the Swiss city’s major tourist attractions.

To mark the memorial’s bicentenary, the Kunsthalle Lucerne launched the Lion Monument 21 program of exhibitions, performances, podiums, and interdisciplinary events. Between 2017 and 2021, they considered the monument from an artistic standpoint. The art projects demonstrated a wide range of artistic stances and related the monument to a variety of themes.

This book documents the entire project through some 400 images, texts, and conversations. It also constitutes a socially committed reference book for the artistic contextualisation of monuments, which records and reflects on the insights of the Lion Monument 21 project.

Text in English and German.

“Terry was everywhere in the ’60s – he knew everything and everyone that was happening” – Keith Richards

Terry O’Neill (1938-2019) was one of the world’s most celebrated and collected photographers. No one captured the front line of fame so broadly – and for so long. Terry O’Neill’s Rock ‘n’ Roll Album contains some of the most famous and powerful music photographs of all time. At the same time, the book includes many intimate personal photos taken ‘behind the scenes’ and at private functions.

Terry O’Neill photographed the giants of the music world – both on and off-stage. For more than fifty years he captured those on the front line of fame in public and in private. David Bowie, Elton John, Led Zeppelin, Amy Winehouse, Dean Martin, The Who, Janis Joplin, AC/DC, Eric Clapton, Sammy Davis Jnr., The Rolling Stones, Bruce Springsteen, Chuck Berry and The Beatles – to name only a few. O’Neill spent more than 30 years photographing Frank Sinatra as his personal photographer, with unprecedented access to the star. He took some of the earliest known photographs of The Beatles, and then forged a lifetime relationship with members of the band that allowed him to photograph their weddings and other private moments. It is this contrast between public and private that makes Terry O’Neill’s Rock ‘n’ Roll Album such a powerful document.

Without a doubt, Terry O’Neill’s work comprises a vital chronicle of rock ‘n’ roll history. To any fan of music or photography, this book will be a must-buy.

“Trusted by the stars to make them look good, O’Neill has captured the icons of music for over half a century… Terry O’Neill’s Rock ‘N’ Roll Album, collects a wealth of private moments and memories captured for eternity, with the likes of David Bowie, Bryan Ferry, Dolly Parton, Diana Ross, Bruce Springsteen, Led Zeppelin, Amy Winehouse and even Elvis Presley all the subject of O’Neill’s immaculately placed lens. A life in pictures, a legacy in print. Pay heed to history!” – Simon Harper, Clash Magazine

Deceptively simple or fantastically intricate, ikat technique has been used for many centuries to create extravagant costumes and cloths of deep cultural meaning. The distinctively blurred, feathered or jagged patterns of ikat-dyed textiles are found across much of the world – from Japan in the east to Central and South America in the west, with vast areas of South-east Asia, India, Central Asia and the Middle East in between. The traditional patterns still hold cultural relevance today in significant parts of the long-established ikat-weaving areas. Textile artists and fashion designers in many and varied countries have taken ikat in new directions, respecting traditional forms and palettes while creatively diverging from them.
This is the first time all the different iterations of this textile have been comprehensively brought together in one volume, drawing from the wide-ranging collection of David Paly. It is a journey across the world through the lens of ikat. 

George Byrne’s photography depicts the gritty urbanism of Los Angeles in sublime otherworldliness. Arriving a decade ago, the Australian artist was immediately enthralled by the sprawling cityscape of L.A., mesmerised by the way the sunlight transformed it, into two-dimensional, almost painterly abstractions. In his Post Truth series (2015–22), Byrne reassembles his photos of the urban landscape into striking, ascetic collages of colour and geometric fragments, creating a postmodernist oasis in the metropolis. By masterfully harnessing the malleability of the photographic medium, the photographer situates his work in the space between real and imagined. Byrne’s compositions evoke associations with Miami Beach’s Art Deco, the Memphis Group’s designs, as well as the painting of David Hockney or Ed Ruscha, and at the same time tap into the aesthetics of today’s visual culture played out on Instagram.

The third brilliant volume in the Humanitas series captures the vibrant lives of the Burmese people.
Following the success of Humanitas and Humanitas II: The People of Gujarat, photographer Fredric Roberts now turns his lens to the captivating and controversial country of Burma. The result of eight years of travel throughout the region, the approximately 120 photographs in Humanitas III focus on the spiritually rich lives of the Burmese people. Featuring temples, portraits, scenes of everyday life, and incredible landscape, Humanitas III offers a rare view of a country that has been closed to —or avoided by— many photographers due to its social isolation and reputation for political repression.
Cicero coined the term humanitas (literally, “human nature”) to describe the development of human virtue in all its forms, denoting fortitude, judgment, prudence, eloquence, and even love of honour—which contrasts with our contemporary connotation of humanity (understanding, benevolence, compassion, mercy). The Latin term is certainly a fitting book title as we are struck with respect and awe for Roberts’s subjects’ individual fortitude and eloquence rather than pity for their plight: each photograph tells us a compelling story.
Curated by Britt Salvesen, the department head and curator of the photography department at the Los Angeles County Museum of Art, many of the images present subjects looking directly at the photographer and at the reader, effortlessly prompting a cross-cultural dialogue. Essays by Teri Edelstein and Emma Larkin, an expert journalist/author covering Burma, provide context for Roberts’s photographs by describing the lives of the Burmese peoples.

“Read And Destroy the book that is. After years of archiving photos, scanning slides and looking for funding, a hardcover publication about the seminal UK skate magazine from the late ‘80s to mid- ‘90s can be in your hands very soon.” — Free Skateboard Magazine

“… an important piece of British skateboarding history that demands a space on your bookshelf.” — Slam City Skates London

“It’s an invitation to grab your board, push the boundaries, and immerse yourself in a time when skateboarding was truly a way of life.” — NL Magazine

For British skateboarders in the mid-’80s, RAD (aka Read and Destroy) was more than just a magazine. Before the X Games, before the internet, a whole generation of this once underground subculture relied on RAD to provide a beacon, bringing them together in spirit and in person.

Under the guidance of editor and chief photographer, Tim Leighton-Boyce, RAD took on an experimental, irreverent approach with a vibrant, chaotic energy. The legacy of the magazine is an action-packed photo archive documenting a unique time, place and attitude, capturing the death and rebirth of skateboarding as it evolved into a mainstay of extreme sports and street culture the world over.

This book reveals that archive in all its glory, offering an inside view of skateboarding and youth culture from the 1970s, ’80s and ’90s, told primarily through the experiences of the British skate photographers at the core of the magazine’s original editorial team.

“This is the kind of book that can speak to you no matter your genre of preference. If you like animals and wildlife, it’s an obvious choice, but those who like portraiture, fashion, documentary and fine art will also find plenty to enjoy. Highly recommended.” — Amateur Photographer
For many people, horses are among the most fascinating creatures on earth. Their grace, strength and beauty are reflected in their appearance. Capturing this elegance and grace requires a special feeling for these sensitive creatures, which Drew Doggett, one of the world’s best-known horse photographers, clearly possesses. Now, for the first time, the award-winning artist’s most beautiful photographs can be admired in the top-class coffee table book Untamed Spirits: Horses from Around the World.
The impressive portfolio includes photos of wild horses in the Camargue, Sable Island and Iceland. Doggett, who is regarded by connoisseurs as one of the most outstanding horse photographers, not only sets himself apart from other published horse books with his captivating photographs of horses in the wild. Peacefully aesthetic depictions of top-class breeding animals, dressage, hunting and polo horses also adorn the richly illustrated book.
Drew Doggett takes his readers by the hand and guides them through the fascinating and exciting world of horses. His fashion-inspired lens opens up the viewer to a whole new experience of fine animal photography from an artistic perspective.

Face: The Berlin Art Scene showcases the vibrant diversity of artistic expression in Berlin through the lens of photographer Dale Grant. Featuring 200 artists photographed in their studios, the book presents a compelling snapshot of the city’s creative landscape, capturing talents at various stages of their careers; from emerging artists embarking on their artistic journeys to seasoned professionals at the height of their success. This rich compilation not only highlights individual creativity but also celebrates Berlin as a pivotal hub for contemporary art. In addition to the visual narratives presented through Grant’s photographs, the accompanying quotes from artists provide invaluable insights into their personal struggles and artistic triumphs.

Image credits:

9783735610171_1_ALESSAND RO RAUSCHMANN Dale Grant 2024 Photography 28×27 ©/courtesy of Dale Grant
9783735610171_3_CAROLINA DEL PILAR . STILL LIFE Dale Grant 2023 Photography 28×27 ©/courtesy of Dale Grant
9783735610171_4_JUSTINA LOS Dale Grant 2023 Photography 28×27 ©/courtesy of Dale Grant
9783735610171_5_RICHARD CRAWFORD Dale Grant 2023 Photography 28×27 ©/courtesy of Dale Grant
9783735610171_6_SANGHYE OK LEE.STILL LIFE Dale Grant 2024 Photography 28×27 ©/courtesy of Dale Grant

Rising from the Crushing Bowl is a powerful and original study of Seoul’s urban and architectural evolution, told through the lens of an architect who has lived and worked in the city for over four decades. In his book, which is part memoir, part cultural history, and part urban analysis, Sung Hong Kim traces how South Korea’s capital—once a walled city shaped by Confucian ideals—has become a sprawling, vertical metropolis marked by rapid modernisation, deep structural contradictions, and a fierce, creative resilience.

Organised into four parts, Kim surveys Seoul’s urban landscape from the late 14th century to the aftermath of the Korean War, illuminating the layers of occupation, destruction, and imposed planning that have shaped the city’s foundation. Throughout, he questions what it means to build a life and a practice in a city that never quite feels like home. His reflections on displacement, constraint, and ingenuity speak to a broader global condition faced by architects and urban dwellers alike: how to find meaning and agency within environments shaped by forces beyond their control.

At once personal and panoramic, Rising from the Crushing Bowl offers a vital perspective on Seoul as a city of paradoxes, where fragments of history coexist with radical new forms, and where the uneven fabric of urban life reveals the story of a nation that has risen, forcefully and unevenly, from the ruins of war and colonisation to become a cultural and economic powerhouse.

Totems and Other Essays brings together 14 texts by architect, historian, and critic Irénée Scalbert. Written between 1998 and 2025, they reflect nearly three decades of critical engagement with architecture and its cultural contexts. Ranging in length and register—from concise meditations to extended analytical essays—the collection captures the evolution of Scalbert’s thinking as a critic, teacher, and participant in architectural discourse.
Organised thematically into sections on buildings, cities, lectures, and theory, Totems and Other Essays traces a loosely autobiographical arc.

Earlier pieces echo Scalbert’s formative years in London during a period of architectural ferment marked by the work of James Stirling, Norman Foster, and Richard Rogers, as well as his close association with a generation of contemporaries including Tony Fretton, Adam Caruso and Peter St John, and Tom Emerson and Stephanie Macdonald (6a architects). Later texts expand outward, both geographically and conceptually, as Scalbert brings a speculative and at times personal lens to questions of urbanism, nature, and meaning in contemporary architecture. The book culminates in Lives of a Critic, a postscript that offers candid thoughts on the vocation of architectural criticism in the 21st century.

In April 2027, it will be 50 years since the legendary Studio 54 first opened its doors. The iconic New York nightclub (1977–1986), founded by Steve Rubell and Ian Schrager, became the ultimate symbol of disco, glamour, and unapologetic excess. Known for its notoriously strict door policy and unforgettable parties, Studio 54 attracted the world’s biggest celebrities and defined the nightlife culture of the 1970s. Among its regular visitors was Oscar Abolafia, who captured countless intimate and iconic images of the club’s guests, including some of Hollywood’s most legendary stars. To mark its 50th anniversary, this stunning photo book celebrates Studio 54 through Oscar’s lens.

Time in a bottle; this is a collection that explores the unlocking of history through the identification of its unique seals, using crests and coats-of-arms as the ‘keys’ towards identifying the original owner. This three-volume collection examines the evolution of the sealed bottle from the 1640s to the late 1800s and provides a detailed description to accompany each entry, supported by numerous photographs, including the number of examples known, their condition, and the collections where the bottles and detached seals are held. The laying down of wine to improve its quality and longevity related to the social history of the day, the design of the bottles, their evolution and manufacture, are a reflection of the individuals who ordered and used the bottles at home or in the private gentlemen’s clubs, much influenced by the historic events of the 17th through to the 20th centuries. Wine consumption has a place in cultural history; these collected bottles existed at times of incredible upheaval and social change. From the early colonial settlements of the New World, into the slave markets of Richmond, VA, New Orleans, Charleston, SC, and Philadelphia, and with the plantation owners who amassed vast wealth and prestige as a result of this trade. In the taverns and coffee houses of London, alongside the bear baiting and cock fighting to be found across the River Thames in Southwark, in the cellars of the Oxford colleges and Inns of Court, these sealed bottles give much information on the early drinking habits of the aspiring and upwardly mobile, and the established aristocracy. Contents: Volume One: Dated Sealed Bottles 1650 – 1900 Volume Two: Undated Sealed Bottles 17th Century; Undated Sealed Bottles 1700 – 1900; Crests and Coats of Arms, pre-1700 identified; Crests and Coats of Arms, pre-1700 unidentified; Crests and Coats of Arms, post-1700 identified; Crests and Coats of Arms, post-1700 unidentified Volume Three: Chapter One: What is a Sealed Bottle? Chapter Two: Sealed Bottles from the Seventeenth Century; Chapter Three: Sealed Bottles from the Eighteenth and Nineteenth Centuries; Chapter Four: Heraldry and Sealed Bottles; Chapter Five: Sealed Bottles from the West Country; Chapter Six: Sealed Bottles from Wales; Chapter Seven: Sealed Bottles associated with the American Colonies; Chapter Eight: Sealed Bottles in Major Public Collections; Chapter Nine: Building a Collection; Chapter Ten: Price Guide and Price Trends

“I was impressed by The Stones. They were dressed casually, had mischief in them and were different to other bands.” Terry O Neill

In July 1962, a group of young men played a gig at The Marquee Club on Oxford Street, London. They called themselves ‘The Rollin’ Stones’ and little did they know they would soon be making music history.

This evocative new book captures the youth, the times and the spirit of The Stones’ formative early years. And documenting 1963-1965 were two young photographers just starting out in their careers. Terry O’Neill, aged just 25, had a few years’ experience photographing musicians and knew that this group had the same magic as another British phenomenon that just recently started to chart, The Beatles. As the band was starting to record and tour, Gered Mankowitz came along. His first shoot, the now famous Mason’s Yard session, was so fruitful, Gered was asked to tag along on tour to America. Gered was a mere 19 when he picked up his camera and joined the band on stage in 1965. Between these two legendary photographers, they chronicle the band’s beginnings and these indelible images are forever placed in music’s consciousness. The photography throughout this book is embellished with various memories and interviews, celebrating the early days and giving an insight into what it must have felt like to go from a small club in Soho with no record deal to touring the world a few years later with a number one record. Terry O’Neill and Gered Mankowitz, two of the most respected, collected and exhibited photographers in the world were sitting in the front-row.

In 2016, London’s Saatchi Gallery hosted the first ever major exhibition dedicated to the band: Exhibitionism, a career-spanning, museum-style display of Stones artefacts and memorabilia. The publication of this book coincided with the opening of this ground-breaking exhibition.

Weimin He’s 324 ink drawings, pen sketches and woodblock prints comprise an intimate record of the progress of construction in the newly designed Ashmolean Museum that opened late last year. An unusual approach to documentation in the age of digital photography, the catalogue provides a delightful art experience for readers who will never set foot in the Ashmolean, which is the museum for the University of Oxford.

Weimin has drawn workers lifting roof beams, welding metal rods and pouring cement into the mixer. He gives us behind-the-scenes portraits of museum personnel, making each individual come alive, for example, an objects conservator at her work and a researcher in the prints room at his. An artist-in-residence at the museum and an art scholar, Weimin employed Chinese drawing and woodblock printmaking methods. His portraits were drawn on pi, xuan papers or album leaves, with Chinese brushes and inks that have been used for over a millennium. Seven of the prints and the catalogue were presented to Queen Elizabeth for the museum’s opening.

Khoan and Michael Sullivan began collecting modern Chinese painting in Sichuan in Western China in the 1940s and their collection developed over the course of more than half a century to include paintings by the principal artists of late twentieth century China, as well as works by a new generation.
Many of the works presented in this complete catalogue of their collection were given to Khoan and Michael Sullivan by the artists themselves, so that this is at once a work of scholarship and a record of many friendships.
This edition has been revised and extended to incorporate new works collected since this book was first published in 2001, and an updated further reading section.

History Today carried a feature in 2015, describing The Origin of Museums as “a cult book [that] spawned a new discipline in the history of collecting”. Indeed, the first publication of this book in 1985 undoubtedly marked a propitious moment in the development of interest, in what has since grown to be a dynamic subject-area in its own right. That an appetite for such matters was already there is confirmed by the fact that the first impression sold out within a few months, a second impression a year or two later, and the third in 1989. There was to be no further printing by the original publishers, Oxford University Press. However in 2001 a new edition appeared with a new publisher. Demand again proved buoyant, but within a few months the company failed; having operated on a print-on-demand basis, it left behind it no unsold stock. The Origins of Museums reverted to a scarce (though much sought-after) volume. With original copies now selling for hundreds, if not thousands of pounds, the Ashmolean is proud to make this important volume readily available again.

The Rawlinson collection of seal matrices in the University of Oxford is the most important early collection of European seal matrices to survive. Created by Dr Richard Rawlinson (1690-1755) in the first half of the eighteenth century, it consists of 830 matrices ranging in date from the 13th to the early 18th century. It includes the collection of seal matrices formed by Giovanni Andrea Lorenzani, a Roman bronze caster, which Rawlinson acquired in Rome together with a catalogue written in 1708.

This collection is primarily Italian, but the Rawlinson collection also includes examples from many other countries England, Wales, Scotland, Ireland, France, Germany Spain, and Scandinavia as well as Italy. The study of seals was much neglected in the middle of the twentieth century, but the study now attracts greater interest. This is due to their visual appeal, sense of identity and their representation of symbols. This book will appeal to a wide variety of readers from those interested in collecting, Jacobitism, history of the early eighteenth century, the Grand Tour, antiquaries, and seals and seal matrices. This book has four introductory chapters which set the scene for the collecting of seal matrices, tell the life of Richard Rawlinson and Giovanni Andrea Lorenzani, analyse their collections and relate the history of the collection after Rawlinson’s death in 1755. One hundred seals, all illustrated, are described in detail, with much unpublished data, and an indication is given of the contribution they make to the sigillography of the different countries.

This book uses the busts on the Chantrey Wall in the Ashmolean Museum to give an introduction to the remarkable career of Francis Chantrey (1781-1841), and the collection in the Ashmolean. The book charts the progress of the busts from Chantrey’s workshop to a Victorian national treasure: the first monographic collection of British sculpture to become a part of a permanent museum collection. It follows the return of the busts from basement storage to their conservation and triumphant redisplay in the new building.

The book begins and ends with the Chantrey Wall, one of the most photographed displays of recent years providing non-specialist readers an introduction to one of the giants of British sculpture, and one of the most important sculpture collections in the country.

The Baga, along with the Nalu and the Landuma, are a small rice-growing community living along the coast of Guinea, in West Africa. They became famous following the discovery of their extraordinary sculptures by explorers, colonial administrators, ethnologists, collectors, and art dealers towards the end of the nineteenth century. Nowadays, the art of the Baga is admired in the public and private collections of northern European countries. Their works consist mainly of different types of wooden masks and statues of various sizes, as well as wonderful percussion instruments, chiefs’ seats, and other skilfully carved utilitarian objects. All these sacred objects were once created and used as important features in their ritual behaviour based on the manifestation of their divinities, ancestor worship, rites of passage, secret brotherhoods, and the performance of important social ceremonies like weddings, funerals, and harvesting. But more recently they have also included entirely new sculpted works created by talented, highly skilled craftsmen who were influenced by colonisation and newly introduced religions, while at the same time finding inspiration in traditional myths and legends. Fascinating examples of this eclecticism are the figures of colonists depicted standing, on horseback, or riding birds, the many different kinds of female busts representing Mami Wata, the sea goddess, winged figures, bestiaries associated with tales and legends, and the personifications of the heroic founders of their villages. To this day, the young men of the Baga continue to make certain commemorative and emblematic objects, such as the large D’mba mask, and still produce sculptures connected with their history and culture. All these artefacts have their place in the dances and events that play such an important part in village life and in relations between villages and beyond.

The youngest of the four children, Charles Spencer was the only one to follow his father’s footsteps. In 1914, the year of his father’s death, Charles took control of the flourishing family business. While attending Oxford in 1894, his future path seemed fairly clearly mapped out for him by family tradition. Before graduation, however, he set out on a tour of Europe, like many a well-to-do young man before him. The experience was recorded in a series of notebooks, which lay forgotten in a drawer for years, until they were collected after the author’s death by his daughter Margaret, and were privately printed. The Tuscany that Charles describes is a Tuscany of city-states and belltowers, of good red wine and of country traditions. In his description not a word is mentioned about Leonardo da Vinci, and only the briefest mention is made of Michelangelo; but Piero della Francesca and Caravaggio are lovingly dwelt upon, as are wayside votive tabernacles. Travels in Tuscany presents an everyday Tuscany as seen by a tranquil English traveller and lover of art and fine food.

Jane Brettle captures the diversity of Scotland’s Police forces in this group of work by highlighting the differences in geography, population density and community across the country and the challenges that these bring. This group of photographs clearly shows the extent of the Scottish Police’s work including community liaison, armed response, forensics, detective and mounted personnel. Brettle captures the individuality of the officers and support staff in their working environment. In addition, in two essays, the work of Jane Brettle is discussed as well as the development of contemporary policing in Scotland. Included in the book are personal captions written by the officers and support staff who were involved in this innovative project.

J.M.W. Turner 1775-1851 was perhaps the most prolific and innovative of all British artists. His outstanding watercolours in the Scottish National Gallery are one of the most popular features of its collection. Bequeathed to the Gallery in 1899 by the distinguished collector Henry Vaughan, they have been exhibited, as he requested, every January for over 100 years. Renowned for their excellent state of preservation, they provide a remarkable overview of many of the most important aspects of Turner’s career.

This richly illustrated book provides a commentary on the watercolours, addressing questions of technique and function, as well as considering some of the numerous contacts Turner had with other artists, collectors and dealers. The introduction concentrates on Henry Vaughan, one of the greatest enthusiasts for British art in the late nineteenth century, whose diverse collections have not previously been fully appreciated.