“Moonwatch Only is certainly one of the best books ever written about a single watch model.” – William Massena – Timezone.com “It is an indescribable reference work and a true must-have for every Speedmaster collector.” – Forbes “This book sets a new standard. Not only for books on the Omega Speedmaster, but for watch books in general. I’ve never seen anything like it, and believe me when I tell you that I could fill an impressive sized wall with books on watches. Authors of other books or publishers should take a look at Moonwatch Only as well to see how it should be done.” – Robert Jan Broer – FratelloWatches “The OMEGA Speedmaster Professional – the Moonwatch – has done things that no other timepiece has done and it’s been worn in places that only a few human beings have been.” – Captain Eugene Cernan, ‘Last man on the moon’ There are very few timepieces in the world that deserve a definitive and comprehensive book such as this one. The OMEGA Speedmaster Professional Moonwatch is one of them. Initially designed for automobile racing teams and engineers, the Omega Speedmaster embarked on a very different trajectory when NASA chose it to accompany astronauts heading for the Moon in 1965. Its involvement in the space adventure has propelled the Moonwatch to the top of the list of celebrated timepieces. After years of research and observation, the authors present a complete panorama of the Moonwatch in a systematic work that is both technical and attractive, making it the inescapable reference book for this legendary watch. This third edition has been enriched with numerous new features including a 16-page gallery of astronauts and their Speedmaster, QR codes to extend your exploration and a detailed story of a vintage Speedmaster.

Passing Through is a book concerned with nature, and our transient connection to it. Consequently, the human figure is seen only occasionally and rather vague, like something from the imagination or a memory. Nigel Grierson’s visual journey through the seasons, treads a fine line between reality and fiction, in his search for abstraction and spirituality:

“As adults, in search of sophistication, and jaded by the rigours of work, it’s easy to lose the natural sense of wonder, and to take for granted the things that fascinated us so much as children. For Rudolph Steiner, the most direct route to spirituality for the adult, involves finding the inner child via the occupation of playing. For me, spirituality lies in nature, in its myriad of forms and colors, and in the elements; earth’s chaotic beauty. On a personal level this book represents a journey; a return to childhood, exploring woodlands, playing in the dirt, finding little treasures and taking something home as a souvenir; the photograph.

I once heard it said that spirits are in fact traces or energies left behind when beings repeat the same actions over and over on the same pathways. Perhaps that is why we can sometimes hear voices in the woods, even after the people have long gone.”

Gary Green’s pensive photographs of a stream near his home in Waterville, Maine were taken between 2017 and 2019. They are imbued with a formal beauty that is revealed in the act of gazing at reflections of the natural world in water. Each frame in this contemplative body of work explores texture, compositional balance, and the contrast between light and shadow. “These photographs… began as meditations on nature: quiet observations of the water and what was reflected, refracted, and shadowed upon its surface. The title is a stanza from Wallace Stevens’s Thirteen Ways of Looking at a Blackbird. The poem invokes, among other themes, the idea that as nature we are all connected: the flora and fauna, the air above and the ground below. ‘A man and a woman are one’, he wrote, ‘A man and a woman and a blackbird are one’.” – Gary Green.

“Common (不二)” is a Buddhist term that comes from the Dictionary of Buddhist Studies. “All matters in the world are originally one and equal, without distinction.” This means that nothing is different from each other.

Born with a congenital disability, Liu Yi underwent more than 20 operations to slowly stretch his body from the “sphere.” He always smiles innocently in life, with paintings, art, and innocence to heal himself while infecting others. Since April 14, 2015, Liu Yi started drawing on his smartphone with his fingers every day. This “assignment” soon became a part of his life.

Common Innocence of Liu Yi is a simple yet satisfying read, with hundreds of little drawings created by the artist, accompanied by his thoughts, the names of paintings given by Jian Guoer during their conversations, as well as comments from professionals.

Text in English and Chinese.

Titled After Morandi, the book presents a real encounter, a dialogue, from which sprang this grouping of photographs that interpret rather than describe Morandi’s artistic legacy. In notes at the end of the book, Green tells us the project was intended as a conversation with the work of Morandi and that, while some of the photographs present a direct response to that, Green hopes that most of them connect more tangentially through materials, objects, and geography.

Who is Samantha McEwen?
Who is this Anglo-American artist born in 1960 in London, about whom Keith Haring declares in one of his interviews: “When I arrived in New York, I spent my time at school (School of Visual Arts). Everything was new and exciting. I was 20 years old. In my drawing class, I was immediately drawn to a girl named Samantha McEwen.” Samantha remembers: “He sat in front of me and said: ‘Can I draw you?’”
Who is this artist, still relatively unknown to this day, who also models for Francesco Clemente and Alex Katz? In the 1980s, Samantha McEwen was one of the few women to exhibit twice in the famous Tony Shafrazi Gallery. She also participates in numerous group exhibitions alongside the leading artists of that flamboyant decade.
However, very few texts exist about her work; art critics are mainly men who write about men. In the numerous articles of the art press on these exhibitions, her name is merely mentioned and rarely accompanied by a few lines. A revealing paradox of that era, Samantha McEwen is found in full-page spreads in the fashion sections of major magazines, such as Interview (Andy Warhol’s magazine) and The New York Times Magazine.
By the late 1980s in New York, most of Samantha’s friends disappear, taken by AIDS or drugs. Samantha McEwen returns to live in London and begins (or simply continues) a long period of obscurity, like most female artists of those generations. It takes until the 2010s for her work to reappear. This happens in 2015 in London, in the famous group exhibition organised by Pace Gallery in homage to the great London art dealer Robert Fraser. 48 artists are presented, 45 men and 3 women.

Text in English and French.

This, the first monograph on acclaimed London- and South Wales-based artist Jacqueline Poncelet (b. 1947, Liège, Belgium), surveys 50 years of the artist’s practice. Working across diverse media, Poncelet transforms patterns from urban and rural contexts, exploring how fashions play out in the ways humans dress, decorate living spaces, and shape architecture.
Having trained in ceramics, Poncelet moved into sculpture, painting, and textiles before turning to public commissions. The publication presents works from different eras, including small-scale ceramics from the 1970s, large, brightly colored paintings and textiles from the 1990s, as well as woven textiles, watercolors, and wallpapers made in the 2020s.
The publication, which includes documentation of In the Making, an exhibition by Poncelet at MIMA, Middlesbrough Institute of Modern Art, in 2024, features a foreword by Laura Sillars; an essay by Elinor Morgan; texts by Salena Barry, Claire Doherty, and Penelope Curtis; and an interview by Hettie Judah. 

Indian Summer presents a group of skillful and expressive figurative paintings in oil on canvas and linen by artist Raghav Babbar (b. 1997) that include intimate portraits as well as large-scale group compositions. Babbar’s sitters span friends from his childhood in Rohtak, a city north-west of Delhi, pan-sellers, dancers from the south of India, family members, as well as himself.
Indian Summer is the first publication on Babbar, which features reproductions of over forty works created from 2020–23 and views of his 2023 exhibitions at Nahmad Projects, London, and Bevilacqua La Masa, Venice. Lock Kresler, Senior Director at Helly Nahmad Gallery, London, introduces the book, explaining his first encounters with Babbar and his practice. An essay by art historian, broadcaster, and commentator Dr Cleo Roberts-Komireddi examines how Babbar uses his materials, treats his subjects, and delves into his sources of inspiration, classic Hindi and Tamil cinema and the School of London artists.
Babbar celebrates the individual as he showcases the diversity of his country in his textural, rich, and joyful portraits that teem with life.

“… It’s as elegant and considered as Bowie himself, a mixture of gallery-level quality and personal scrapbook charm.” — Louder Than War

“…one of the most stunning and possibly heaviest books in the Bowie canon.” — God Is In The TV

“His images are not just records, they are living archives, fragments of history with a capital H…He doesn’t just show; he frames, builds, lights without trickery, but with a sense of rhythm that feels almost musical.” — Eye of Photography

“The result is a rare, career-spanning portrait of the chameleonic rock star, featuring never-before-seen images and candid recollections from a man who knew Bowie as both icon and friend. It’s also a record of proximity: of what it means to move through life alongside an artist who refused to repeat himself.” — Interview magazine

“A book of images by David Bowie’s official tour photographer is every bit as mesmerising as you’d imagine.” —Loupe Magazine

Official photographer to music legend David Bowie, Denis O’Regan presents a personal edit from his unrivalled collection of photographs. Accompanying Bowie on two world tours and enjoying a decades-long relationship with the star, no one photographed Bowie more than Denis O’Regan. As Bowie himself once remarked, ‘Denis, Rock ‘n’ Roll is in your blood’.

From the door of Olympic Studios, where Bowie recorded Diamond Dogs in 1974, to live stadium shows in the 1990s, Denis’s full archive is at last opened and many unseen images revealed for the first time. David Bowie by Denis O’Regan tells Bowie’s musical story in pictures, with O’Regan’s own words relaying his experience of documenting that incredible journey.

Author of the hugely successful Ricochet: David Bowie 1983 (Particular Books, 2018), O’Regan has toured with the biggest stars from The Rolling Stones and Queen to Pink Floyd and Duran Duran, to name a few. But it is his photographs of David Bowie, taken over two decades at over 200 concerts worldwide, that he is best known for. David Bowie the showman and David behind-the scenes, O’Regan has captured it all in this showcase of one of the world’s most talented performers.

Over five decades, the painter Humphrey Ocean RA’s work has filtered into our national culture. This includes his series of portraits entitled A handbook of modern life displayed at the National Portrait Gallery in 2013; his portrait of Christopher Le Brun, President of the Royal Academy of Arts; and the cover of Sir Paul McCartney’s 2007 album Memory Almost Full, which featured one of the Chair series. Ocean’s practice encompasses painting, printmaking, sculpture, book-making and drawing. Of the last, he has said: ‘Paper is lovely, immediate and personal. I draw as an end in itself.’ In 2019 his exhibition ‘Birds, Cars and Chairs’ was on display at the Royal Academy of Arts. Of these subjects, he says: ‘Birds, cars and chairs are, in that order, ancient, modern and intimate. Without them life would be a lot less bearable.’ These works are reproduced alongside others in the book to provide a fascinating overview of Ocean’s career, with an essay by Ben Thomas, which sets out to discover exactly what it is that makes Ocean’s art so appealing and universal.

“Ms. Ruttenberg’s latest efforts make her a force to contend with as a narrator and symbolist, a form maker and colorist.” – Roberta Smith, New York Times The Nature of the Beast is a comprehensive retrospective of artist Kathy Ruttenberg’s work in the past six years including ceramics, drawings, and watercolors. With text by curator and art historian Charles Stuckey, the book also features a tour of her eccentric estate and studio in upstate New York where pigs, rabbits, chickens, and goats roam free. Her most recent show at Stux Gallery in Manhattan for the Fall of 2014 culminate in a conversation between Ruttenberg and Sir John Richardson which is also featured.

In 1917 Pablo Picasso traveled to Rome and Naples with Jean Cocteau and Igor Stravinskij. During this trip, for the first time, he could admire directly Hellenistic and Roman sculpture, that of the Renaissance and Baroque eras, but also the Roman frescoes of Pompei. The first exhibition dedicated to Picasso’s sculpture to be held in Rome, and its accompanying catalogue, are conceived as a journey through the centuries that chronologically follows the interpretation of forms and different themes – stories and myths, bodies and figures, objects and fragments – in sculpture. The exhibition of masterpieces of the great Spanish master is accompanied by previously unpublished images of his sculpture studios (by Edward Quinn) that narrate the context in which these works were born. The catalogue includes essays that explore the visual and conceptual dialogue between the works of Picasso and works of the past, illustrating and examining over fifty works, some of which have never been exhibited before.

John Russell Pope is one of America’s most famous architects, responsible for many major works, including the Jefferson Memorial, the House of the Temple and the West Building of the National Gallery of Art. Made in association with the ICAA (the Institute of Classical Architecture & Art), The Architecture of John Russell Pope, Selected Works: Public Buildings is the second volume of a two-part monograph. Following the first volume, which featured Pope’s highly much-admired houses, this second volume covers his public buildings, which include some of the most important civic structures in America, such as the memorial enclosing Abraham Lincoln’s log cabin in Kentucky, Constitution Hall in Washington DC, and the Payne Whitney Gymnasium at Yale University. Originally published during the 1920s, Pope’s exquisite floorplans and sketches accompany period photographs and the original commentary by art historian and traditionalist Royal Cortissoz to create a comprehensive and visually stunning account of a true titan of American design. 

Liverpool’s unique history as an international port and a cultural melting pot has given it a character all its own. The city has produced music that conquered the world and is home to more historic buildings than any other British metropolis outside London. It features two magnificent cathedrals and many world famous museums. But beyond its renowned exterior, is an eclectic assortment of places hidden and unknown.
This deliciously offbeat guidebook will lead you to a different Liverpool: down tunnels, up skyscrapers, and into secret bars, speciality shops, and disused factories. You will see Balenciaga trainers and vintage planes, rolling bridges and disappearing statues, Liver birds and celebrity suitcases, home-baked cakes and cast-iron churches.
Stroll under the palms in a magical glasshouse, explore a 1950s kitchen or a museum of false teeth. Relax in a hip tea bar with over 50 varieties of tea (loose leaf naturally). Marvel at the world’s most expensive book or largest brick building (27 million bricks!). Go underground to explore a network of mysterious tunnels or a perfectly preserved World War II bunker. Drink in a prison cell, picnic in a graveyard, or stay in the hotel where Winston Churchill and Bob Dylan were guests.
Think you know Liverpool? Think again! Whether you’re a long-time local, a first-time tourist, or a repeat visitor, prepare to be charmed and intrigued by 111 eccentric and unusual spots you’d never expect to find in the city best known for football and the Fab Four.

After Tour Paris 13, a spectacular new project has come into being in Paris. The elevated section of metro line 6 now passes through an “open-air museum” all along the Boulevard Vincent Auriol: Boulevard Paris 13 with its immense murals, executed by the greatest international artists, and which can be viewed as if in a gallery of a gigantic museum.
You can enjoy or repeat this unparalleled experience through a richly illustrated book that relates the genesis and making of the project!

Text in English and French.

British realist art of the 1920s and 1930s is visually stunning – strong, seductive and demonstrating extraordinary technical skill. Despite this, it is often overshadowed by abstract art. This book presents the very first overview of British realist painting of the period, showcasing outstanding works from private and public collections across the UK. Of the forty artists featured in the show, many were major figures in the 1920s and 1930s but later passed out of fashion as abstraction and Pop Art became the dominant trends in the post-war years. In the last decade their work has re-emerged and interest in them has grown. Interwar realist art embraces a number of different styles, but is characterized by fine drawing, meticulous craftsmanship, a tendency towards classicism and an aversion to impressionism and visible brushwork. Artists such as Gerald Leslie Brockhurst, Meredith Frampton, James Cowie and Winifred Knights combine fastidious Old Master detail with 1920s modernity. Stanley Spencer spans various camps while Lucian Freud’s early work can be seen as a realist coda which continued into the 1940s and beyond. Featuring many Scottish and women artists, this book promises a fascinating insight into this captivating period of British art.

This absorbing introduction to the story of Rembrandt s rampant fame and influence in Britain is filled with beautiful images. The story of ‘Rembrandt mania’ began in 18th-century Britain with passionate, and often eccentric, collectors acquiring artworks by any and every means. As the craze for Rembrandt ebbed and flowed, each new wave of enthusiasm brought him ever-greater fame and influence, and collectors became increasingly ingenious. This master’s impact not only on collectors and the public but also on British artists over the last four centuries is explored, with lavish paintings, drawings and prints from artists such as Henry Raeburn, Joshua Reynolds and James Abbott McNeill Whistler shown alongside some of Rembrandt’s most famous masterpieces.

A new title in the Design series and an excellent introduction to the life and work of this versatile Russian artist. Alexander Mikhailovich Rodchenko (1891-1953) was a central figure in the Russian Constructivist art movement; a radical activist, a pioneer of photomontage, a theorist, and a teacher. He was an active force in the organization of the first museums of modern art that arose in Russia in the first years after the Russian Revolution of 1917. Attending art school in 1914 in Kazan was to be a defining influence: that year Russian Futurists performed in the town, and Rodchenko saw their leading figures in action. It transformed his vision and he was still working with Futurist artists and their ideas twenty-five years later. And it was at art school where Rodchenko first met the artist Varvara Stepanova, with whom he collaborated extensively, and who would become his life-long partner. Central in the re-examination of art and its place in society after the Revolution, and in the search for a new culture without the class implications of the past, Rodchenko’s radical approach proposed a new understanding of a constructed, rather than a tastefully composed, culture. This concise, comprehensive and informative work focuses largely on Rodchenko’s graphic work in the form of book jackets, posters and advertising. Also avaliable: Claud Lovat Fraser ISBN: 9781851496631 GPO ISBN: 9781851495962 Peter Blake ISBN: 9781851496181 FHK Henrion ISBN: 9781851496327 David Gentleman ISBN: 9781851495955 David Mellor ISBN: 9781851496037 E.McKnight Kauffer ISBN: 9781851495207 Edward Bawden and Eric Ravilious ISBN: 9781851495009 El Lissitzky ISBN: 9781851496198 Festival of Britain 1951 ISBN: 9781851495337 Harold Curwen & Oliver Simon: Curwen Press ISBN: 9781851495719 Jan Le Witt and George Him ISBN: 9781851495665 Paul Nash and John Nash ISBN: 9781851495191 Abram Games ISBN: 9781851496778

This richly illustrated book explores the intriguing world of Léon Spilliaert’s interiors and still lifes. In nine thematic chapters, Anne Adriaens-Pannier unravels the “secret alchemy” of his silent spaces, where interiors function as self-portraits in absentia. His austere rooms, tables, and everyday objects reveal an intense inner life. Featuring numerous full-page reproductions, this publication offers a layered perspective on one of the most introspective figures of Belgian modernism. Published to accompany the exhibition La porte entrouverte at Gallery Patrick Derom, held from 3 June to 29 August 2026.

This is the first study of a fascinating, international phenomenon in the art of the past century. Naked portraiture is an original hybrid of the traditional genres of the nude and portrait, and has been created by an astonishing range of major artists, in many different media and in a variety of major artistic centres. Martin Hammer’s ground-breaking book compares work by painters such as Egon Schiele, Paula Modersohn-Becker, Pierre Bonnard, Stanley Spencer, Lucian Freud, Tracey Emin and Jenny Saville. The analysis encompasses a rich tradition of naked portraiture using photographic media, produced by figures such as Alfred Stieglitz, Richard Avedon, Diane Arbus, Boris Mikhailov, Nan Goldin, Gary Schneider and Melanie Manchot. The subjects are men and woman, old and young, black and white, healthy and disabled. They might be lovers, close relatives or friends, with their nakedness suggesting the intimacy and tenderness existing between artist and subject. Conversely, the artist might not know them beyond the circumstance of making the pictures. Many of the images represent the artists themselves, with nudity carrying connotations of self-exploration, vulnerability, playfulness or fantasy. Martin Hammer’s innovative study seeks to explain naked portraiture as a symptom of wider currents in modern culture, a visual parallel to various other manifestations of an impulse to reveal what is hidden, profound, or authentic, beneath the surface facade. The book also opens up for consideration the wider issue of how and why the genre of portraiture has been radically extended and reinvented, in so many different ways, within the art of the last hundred years.

The Monarch of the Glen by Sir Edwin Landseer (1802-1873) is one of the most celebrated paintings of the nineteenth century. It was acquired by the National Galleries of Scotland in 2017. In this new book, the first to focus in detail on this iconic picture, Christopher Baker explores its complex and fascinating history. He places Landseer’s work in the context of the artist’s meteoric career, considers the circumstances of its high-profile commission and its extraordinary subsequent reputation. When so much Victorian art fell out of fashion, Landseer’s Monarch took on a new role as marketing image, bringing it global recognition. It also inspired the work of many other artists, ranging from Sir Bernard Partridge and Ronald Searle to Sir Peter Blake and Peter Saville. Today the picture has an intriguing status, being seen by some as a splendid celebration of Scotland’s natural wonders and by others as an archaic trophy. This publication will make a significant contribution to the debates that it continues to stimulate.