Seascapes by Sugimoto Hiroshi (15 results)

Exhibition invite, 5 x 6 inches; very good condition; an unmailed copy.

Condition: Fine. Number of pages: 78p with numerous col. and monochro. illus. Size: 28x22cm Number of books: 1.

Condition: Fine. Number of pages: 78p Size: 28cm Number of books: 1 book.

Hardcover. Condition: Near Very Good. No Jacket. First Edition. First edition, hardcover, has a lean to the binding, bumps to the spine ends and lower cover corners, short creasing to the lower corner of several pages, slight rubbing to the covers and spine, light wear with a few short scrapes to the hinges, and just a hint of toning starting to the page edges. Overall, this is a solid, Near Very Good copy.

Paperback. Condition: Near Fine. Dust Jacket Condition: Very Good. Soft cover volume in dust jacket. A signature, possibly that of the artist but not authenticated, is found on the lower corner of front endpaper. Very slight shelf wear to edges of DJ and covers and minor rubbing to gloss of jacket. Book remains tightly bound with unmarked contents. Insured domestic Priority Mail and international shipping may require added postage charges.

Paperback. Condition: Very good in wraps. First Edition. 26 x 34cm very good paperback exhibition catalogue some minor wear to top edge front and rear. Full page black and white reproductions throughout together with a short text in Japanese.

Paperback. Condition: new. New Copy. Customer Service Guaranteed.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. Published by Damiani Italy in 2015, here is the first hardback printing of Hiroshi Sugimoto and Takaaki Matsumoto's SEASCAPES flat signed with a flourish in silver ink to the full title page. grey cloth binding, 272 pages of incredible atmospheric photography the book is in near fine condition with some light bumping to the corners. The dust jacket is in good conditionwith some general shelf wear plus some bottom edge creasing and a single closed tear to the rear of thevjacket at the base. The book is extremely heavy and additional postage may be applied to areas OUTSIDE Europe as follows: Rest of the World £20. Canada (please contact for a quote before ordering). Signed by Author(s).

Couverture souple. Condition: Excellent. Edition originale. FINE Softcover FIRST EDITION Exhibition catalogue/ EXCELLENT ETAT/ br. couv. sple. jaq. sple. 33,8x25,6cm. 100 np. pl. phot. n&b. catalogue publié à l'occasion de l'exposition "Hiroshi Sugimoto" Sonnabend Gallery New Yok June 11-September 17, Sagacho Exhibit Space, Tokyo and Zeito Photo Salon, Tokyo, September 30-Ocotber 22 1988 déchirure restaurée sans manque angle haut du dos sinon état neuf.

Softcover with dustjacket; unpaginated; in English with brief text in Japanese; very good condition; light rubbing and edgewear to dj; no internal marks. Foreign shipping may be extra.

Soft cover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. First edition, first printing. Soft cover. Pale taupe heavy wrappers with "Sugimoto" printed on cover and spine, with matching dust jacket. Photographs and introduction (in Japanese) by Hiroshi Sugimoto. Project Director, Kazuko Koike. Edited by Atsuko Koyanagi. Designed by Takaaki Matsumoto/M Plus M Incorporated, New York. Includes a brief biography, list of exhibitions, grants and collections. Unpaginated (100 pp.), with 43 black-and-white plates beautifully printed on heavy coated paper by Mitsumura Printing Co., Ltd., Japan. 10-1/8 x 13-1/4 inches. Published on the occasion of the 1988 exhibition "Hiroshi Sugimoto" at Sonnabend Gallery, New York, Sagacho Exhibit Space, Tokyo and Zeito Photo Salon, Tokyo. Near Fine (a faint 3-inch crease to the lower left corner of the rear cover and a stray linear abrasion on the rear cover, light wear to the extremities), in Near Fine dust jacket (damp stain at heel of spine, 1/8-inch puncture to spine, slight surface wear and foxing to the interior, mostly along the top edge, light wear to the extremities and some light soiling, mostly on the rear panel). Sugimoto's first monograph, this exhibition catalogue introduced readers to the three most significant bodies of work he has produced since the late-1970s. From the artist (on Dioramas): "Upon first arriving in New York in 1974, I did the tourist thing. Eventually I visited the Natural History Museum, where I made a curious discovery: the stuffed animals positioned before painted backdrops looked utterly fake, yet by taking a quick peek with one eye closed, all perspective vanished, and suddenly they looked very real. I'd found a way to see the world as a camera does. However fake the subject, once photographed, it's as good as real." On Theaters: "I'm a habitual self-interlocutor. Around the time I started photographing at the Natural History Museum, one evening I had a near-hallucinatory vision. The question-and-answer session that led up to this vision went something like this: Suppose you shoot a whole movie in a single frame? And the answer: You get a shining screen. Immediately I sprang into action, experimenting toward realizing this vision. Dressed up as a tourist, I walked into a cheap cinema in the East Village with a large-format camera. As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed. That evening, I developed the film, and the vision exploded behind my eyes." On Seascapes: "Water and air. So very commonplace are these substances, they hardly attract attention -- and yet they vouchsafe our very existence. The beginnings of life are shrouded in myth: Let there be water and air. Living phenomena spontaneously generated from water and air in the presence of light, though that could just as easily suggest random coincidence as a Deity. Let's just say that there happened to be a planet with water and air in our solar system, and moreover at precisely the right distance from the sun for the temperatures required to coax forth life. While hardly inconceivable that at least one such planet should exist in the vast reaches of universe, we search in vain for another similar example. Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing.".

Soft cover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. First edition, first printing. Soft cover. Pale taupe heavy wrappers with "Sugimoto" printed on cover and spine, with matching dust jacket. Photographs and introduction (in Japanese) by Hiroshi Sugimoto. Project Director, Kazuko Koike. Edited by Atsuko Koyanagi. Designed by Takaaki Matsumoto/M Plus M Incorporated, New York. Includes a brief biography, list of exhibitions, grants and collections. Unpaginated (100 pp.), with 43 black-and-white plates beautifully printed on heavy coated paper by Mitsumura Printing Co., Ltd., Japan. 10-1/8 x 13-1/4 inches. Published on the occasion of the 1988 exhibition "Hiroshi Sugimoto" at Sonnabend Gallery, New York, Sagacho Exhibit Space, Tokyo and Zeito Photo Salon, Tokyo. Near Fine (two very light 1/2 to 1-inch creases and a 1/2-inch linear indentation to the front cover (these imperfections are only visible in raking light), and a light bump to the lower left rear corner, not affecting pages), in Near Fine dust jacket (slight surface wear and slight toning or aging to the interior, mostly along the top edge; light wear to the extremities). Sugimoto's first monograph, this exhibition catalogue introduced readers to the three most significant bodies of work he has produced since the late-1970s. From the artist (on Dioramas): "Upon first arriving in New York in 1974, I did the tourist thing. Eventually I visited the Natural History Museum, where I made a curious discovery: the stuffed animals positioned before painted backdrops looked utterly fake, yet by taking a quick peek with one eye closed, all perspective vanished, and suddenly they looked very real. I'd found a way to see the world as a camera does. However fake the subject, once photographed, it's as good as real." On Theaters: "I'm a habitual self-interlocutor. Around the time I started photographing at the Natural History Museum, one evening I had a near-hallucinatory vision. The question-and-answer session that led up to this vision went something like this: Suppose you shoot a whole movie in a single frame? And the answer: You get a shining screen. Immediately I sprang into action, experimenting toward realizing this vision. Dressed up as a tourist, I walked into a cheap cinema in the East Village with a large-format camera. As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed. That evening, I developed the film, and the vision exploded behind my eyes." On Seascapes: "Water and air. So very commonplace are these substances, they hardly attract attention -- and yet they vouchsafe our very existence. The beginnings of life are shrouded in myth: Let there be water and air. Living phenomena spontaneously generated from water and air in the presence of light, though that could just as easily suggest random coincidence as a Deity. Let's just say that there happened to be a planet with water and air in our solar system, and moreover at precisely the right distance from the sun for the temperatures required to coax forth life. While hardly inconceivable that at least one such planet should exist in the vast reaches of universe, we search in vain for another similar example. Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing.".

Paperback. Condition: New. As new clean tight and bright large oblong format jacketed softcover. oversized and overweight. Please email for photos. Larger books or sets may require additional shipping charges. Books sent via US Postal.

Soft cover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. First edition, first printing. Signed "Sugimoto" in silver marker on the title page by Sugimoto. Soft cover. Pale taupe heavy wrappers with "Sugimoto" printed on cover and spine, with matching dust jacket. Photographs and introduction (in Japanese) by Hiroshi Sugimoto. Project Director, Kazuko Koike. Edited by Atsuko Koyanagi. Designed by Takaaki Matsumoto/M Plus M Incorporated, New York. Includes a brief biography, list of exhibitions, grants and collections. Unpaginated (100 pp.), with 43 black-and-white plates beautifully printed on heavy coated paper by Mitsumura Printing Co., Ltd., Japan. 10-1/8 x 13-1/4 inches. Published on the occasion of the 1988 exhibition "Hiroshi Sugimoto" at Sonnabend Gallery, New York, Sagacho Exhibit Space, Tokyo and Zeito Photo Salon, Tokyo. Near Fine in Near Fine dust jacket (faint creasing to lower right corner, affecting the dust jacket, wrappers and pages; light wear to top edge of jacket flaps; rear corners slightly blunted; light surface wear). Sugimoto's first monograph, this exhibition catalogue introduced readers to the three most significant bodies of work he has produced since the late-1970s. From the artist (on Dioramas): "Upon first arriving in New York in 1974, I did the tourist thing. Eventually I visited the Natural History Museum, where I made a curious discovery: the stuffed animals positioned before painted backdrops looked utterly fake, yet by taking a quick peek with one eye closed, all perspective vanished, and suddenly they looked very real. I'd found a way to see the world as a camera does. However fake the subject, once photographed, it's as good as real." On Theaters: "I'm a habitual self-interlocutor. Around the time I started photographing at the Natural History Museum, one evening I had a near-hallucinatory vision. The question-and-answer session that led up to this vision went something like this: Suppose you shoot a whole movie in a single frame? And the answer: You get a shining screen. Immediately I sprang into action, experimenting toward realizing this vision. Dressed up as a tourist, I walked into a cheap cinema in the East Village with a large-format camera. As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed. That evening, I developed the film, and the vision exploded behind my eyes." On Seascapes: "Water and air. So very commonplace are these substances, they hardly attract attention -- and yet they vouchsafe our very existence. The beginnings of life are shrouded in myth: Let there be water and air. Living phenomena spontaneously generated from water and air in the presence of light, though that could just as easily suggest random coincidence as a Deity. Let's just say that there happened to be a planet with water and air in our solar system, and moreover at precisely the right distance from the sun for the temperatures required to coax forth life. While hardly inconceivable that at least one such planet should exist in the vast reaches of universe, we search in vain for another similar example. Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing." Signed by Author.