Centre National de l'Audiovisuel, Luxembourg, 2012. Hardcover in unique marbled paper-covered boards (marbling by Gill). First Edition, First Printing. 152 pages. Edition of 1500 copies. Quarter bound in black leather. Gilt titles. No jacket as issued. 90 color reproductions, with color gate-fold. Book Condition: New/Fine.
Stephen Gill (b.1971) Stephen Gill (b.1971) A group of three volumes, including: INVISIBLE, First Edition of 1000 copies, signed, dated and dedicated by Gill on title page, hardback with yellow dustjacket. London: Nobody in association with the Archive of Modern Conflict, 2005. ANONYMOUS ORIGAMI. First Edition of 1000 copies, softback 8vo with original mylar dustjacket. London: Nobody in association with the Archive of Modern Conflict, 2007. ARCHAEOLOGY IN REVERSE, First Edition of 3000 copies, hardback 8vo, text by Iain Sinclair. London: Nobody in association with the Archive of Modern Conflict, 2007.
Stephen Gill (b.1971) Stephen Gill (b.1971) A BOOK OF BIRDS, SPECIAL PRINT EDITION, 2010. One of 2 Artistâs Proofs, aside from a Limited Edition of 20, signed and dated, photographic booklet with faux bird droppings and feather, together with signed, titled and dated C-print measuring 203 x 253mm, all housed in card slipcase. Japan: Super Labo, 2010.
Stephen Gill (b.1971) Stephen Gill (b.1971) HACKNEY WICK, SPECIAL PRINT EDITION, 2005. Square 8vo (215 x 215 mm), 126pp. Pictorial blue cloth-covered boards after lino prints by Gill, with pictorial endpapers printed in blue and 24pp booklet with found photographs, paintings by Laure Provost, bound in as issued. Together with C-print measuring 209 x 157mm, signed and dated by the photographer in black ink verso, and folded poster. All housed in a handmade slipcase made using the sleeve of a vinyl record purchased by Gill at Hackney Wick market. Signed and numbered 84/100 by Gill on front pastedown. London: Nobody, in association with Archive of Modern Conflict, 2005. References: Neumüller, González, Martin Parrâs Best Books of the Decade pp.26-27, p.77. Parr, Badger, The Photobook: A History Vol.II, p.324
Gill (Stephen) A Series of Disappointments, number 80 of 100 special copies signed by Gill and with an original bromide print & stencil, from an edition limited to 3000, folding concertina style, original print signed & dated in pencil on verso and loosely inserted with stencil, original green and silver cloth, original black cloth drop-back box, Nobody & Archive of Modern Conflict, 2008; ordinary edition, [3 copies in 3 different coloured bindings], each one of 3000 copies signed by Gill, original cloth, 2008; Buried, one of 750 copies signed by Gill and with an original C Type print loosely inserted, original boards textured with mud, slip-case, 2006; Hackney Rag: Stephen Gill Photographs, newspaper format, folded, with an original signed print, together in cellophane bag, Tokyo, 2009; Invisible, original boards, dust-jacket, 2005; Invisible Origami, original wrappers, 2007; B-Sides, original decorated boards, 2010, the last three all one of 1000 copies signed by Gill, all with photographic illustrations by Gill; and 4 others by Gill, 4to & 8vo (13)
Hackney Wick. Print (509 x 405 mm.) Signed and numbered C-print (“1/10”). British experimental, conceptual anddocumentary photographer, whose work has been exhibited internationally along with his books that are a key aspect to Gill’s practice.. In 2005 he published, Hackney Wick, a collection of photographs from this neighborhood in London. See also Parr/Badger, The Photobook, A History, vol, II, page 324
Stephen Gill, British b. 1971- Coming up for air, 2010; C-type print on Kodak Professional Endura photo paper, signed, titled, dated and numbered 26/50 in ink, on the reverse, sheet: 30.5 x 21.2 cm, (unframed) (ARR) Please refer to department for condition report
Stephen Gill, b.1971 Stephen Gill, b.1971 SGI 06 03 123 12, 2004-2007; c-type on photopaper, from the unnumbered edition of 10, sheet 61 x 50.5cm (unframed/mounted) (ARR)
Stephen Gill, British b.1971- SGI 06 03 123 12, 2004-2007; c-type on photopaper, from the unnumbered edition of 10, sheet 61 x 50.5cm (unframed/mounted) (ARR) Please refer to department for condition report
Stephen Gill, British b.1971- Hackney Flowers, 2006; two c-print on Kodak Professional Endura, each signed, dated, titled and numbered 9/20 and 42/100 in pencil and pen respectively, sheets 41 x 31cm and 32 x 25cm (framed) (2) (ARR) Please refer to department for condition report
Stephen Gill b.1971 Stephen Gill b.1971 HACKNEY FLOWERS, 2008, from an edition /10. Chromogenic print, image size, 610 x 505mm, titled, dated, numbered and signed in ink verso.
Stephen Gill b.1971 Stephen Gill b.1971 POLAND, from the series Poland. Silver gelatin print, image size, 102 x 102, paper size, 177 x 125mm, with photographer blind stamp in lower margin recto.
Stephen Gill (1971) HACKNEY FLOWERS, 2008, from an edition /10. Chromogenic print, image size, 610 x 505mm, titled, dated, numbered and signed in ink verso.
STEPHEN GILL (1971) Untitled (wall with flowers), 2008. From the series "Hackney Flowers". C-print. Image 58.2 x 43.8 cm; Sheet 61 x 51 cm. Verso fully signed, numbered 07/10, inscribed and dated. Under passepartout, framed. Provenance: - Swiss private collection. --------------- STEPHEN GILL (1971) Ohne Titel (Mauer mit Blumen), 2008. Aus der Serie "Hackney Flowers". C-Print. Bildmass 58,2 x 43,8 cm; Blattgrösse 61 x 51 cm. Verso voll signiert, nummeriert 7/10, bezeichnet und datiert. Unter Passepartout, gerahmt. Provenienz: Privatbesitz Schweiz.
STEPHEN GILL (1971) Untitled (bridge with plants), 2008. From the series "Hackney Flowers". C-print. Image 58.2 x 43.8 cm; Sheet 61 x 51 cm. Verso fully signed, numbered 7/10, inscribed and dated. Under passepartout, framed. Provenance: - Swiss private collection. Stephen Gill has again used his surroundings as the inspiration for this beautiful and evocative series. Hackney Flowers has evolved from his series and book Hackney Wick. This times Gill has collected flowers, seeds, berries and objects from Hackney, East London, that were then pressed in his studio and re-photographed alongside his own photographs and found ephemera, thus building up multi-layered images extracted from the area. The resulting project is an interesting 2D-3D mixture – almost a collage. Apparently for this project, Gill has repeated the process that he has used in some past work: he buried some of the base photographs for a period of time allowing them to decay a little. According to the Nobody Books site, the idea is that this burial (and resurrection?) stresses his collaboration with the area. What is immediately striking is the colourful nature of the collection. Seen as a “contact sheet” (see Fig.2), the photos look like some sort of street carnival and invite interest and investigation. The smaller images make it much easier to see the whole effect of a riot of colour and shapes. The base photo looks very flat and aged (as you’d expect perhaps if it was one of the buried ones). The flower or whatever on top looks extremely 3D – almost surrealistic compared with the base photo. The overall effect is that of the flower lifting off the background. Perhaps it’s some metaphor of urban renewal? Robert Adams, as quoted by Alexander (2014) suggests that there are three varieties of landscape pictures: geography, autobiography and metaphor. Taking this approach, we might consider Stephen Gill’s photos as follows: Geography: the uniqueness is not so much about the place, but about how it is decorated by the additions of flowers, seeds, berries etc. The composite is actually quite unique and special and the sheer exuberance of colour makes the overall landscape quite something else. Autobiography: since Gill lives in the area, he has a strong link with the subjects and in a sense his story is also contained in the photos. This connection with the land is evidently strong for him; hence the process of actually burying some of the base photos in the soil for a stronger connection. Metaphor: there is a mix of humour and it seems also the idea of uplifting the ordinary everyday things through decorating the base photo with flowers giving the whole much more meaning than the original photos. ---- If some of the works we have collected examine social issues, others look at the urban environment and our engagement with it. Stephen Gill’s series, Hackney Flowers (2004-06), is a close examination of place. It was made using a cheap plastic camera to take photographs in Hackney Wick, east London. He used the resulting prints as base images which he combined with plant and other material from the area and re-photographed to create visually complex records of place. In some cases, he took this further by burying prints so that they reacted chemically with the soil. --------------- STEPHEN GILL (1971) Ohne Titel (Brücke mit Pflanzen), 2008. Aus der Serie "Hackney Flowers". C-Print. Bildmass 58,2 x 43,8 cm; Blattgrösse 61 x 51 cm. Verso voll signiert, nummeriert 7/10, bezeichnet und datiert. Unter Passepartout, gerahmt. Provenienz: Privatbesitz Schweiz. Der britische Photograph ist insbesondere für seine Dokumentar-, Konzept- und Experimental-Aufnahmen bekannt. Bevor er zur Kamera greift, liegt in der Regel aber eine lange und ausführliche Vorstudie, in der er den zu photographierenden Gegenstand in seinem Wesen erkundigt. Mit seinen Werken antwortet, umschreibt und reflektiert er intensiv die Zeit, in der wir leben. Seit den 1990er Jahren arbeitet er hauptsächlich in Farbe. Im "Hackney Flowers" Projekt, der Serie, aus der die vorliegenden Aufnahmen (Lose **) stammen, nutzt Gill seine Umgebung als Inspirationsquelle für seine sinnträchtigen Bilder. Er sammelt Blumen, Samen, Beeren und weitere Objekte rundum Hackney im Osten Londons, presst sie und photographiert sie, aufgelegt wiederum auf seinen eigenen Photographien aus der vorgenannte Umgebung, die er mit einer billigen Plastik-Kamera gemacht hat. Daraus ergeben sich neu komponierte Bilder, die einer Collage gleichen und eine dreidimensionale Komponente beinhalten. In "Hackney Flowers" betrachtet Stephen Gill die urbane Umgebung und unser Engagement damit. Stephen Gill has again used his surroundings as the inspiration for this beautiful and evocative series. Hackney Flowers has evolved from his series and book Hackney Wick. This times Gill has collected flowers, seeds, berries and objects from Hackney, East London, that were then pressed in his studio and re-photographed alongside his own photographs and found ephemera, thus building up multi-layered images extracted from the area. The resulting project is an interesting 2D-3D mixture – almost a collage. Apparently for this project, Gill has repeated the process that he has used in some past work: he buried some of the base photographs for a period of time allowing them to decay a little. According to the Nobody Books site, the idea is that this burial (and resurrection?) stresses his collaboration with the area. What is immediately striking is the colourful nature of the collection. Seen as a “contact sheet” (see Fig.2), the photos look like some sort of street carnival and invite interest and investigation. The smaller images make it much easier to see the whole effect of a riot of colour and shapes. The base photo looks very flat and aged (as you’d expect perhaps if it was one of the buried ones). The flower or whatever on top looks extremely 3D – almost surrealistic compared with the base photo. The overall effect is that of the flower lifting off the background. Perhaps it’s some metaphor of urban renewal? Robert Adams, as quoted by Alexander (2014) suggests that there are three varieties of landscape pictures: geography, autobiography and metaphor. Taking this approach, we might consider Stephen Gill’s photos as follows: Geography: the uniqueness is not so much about the place, but about how it is decorated by the additions of flowers, seeds, berries etc. The composite is actually quite unique and special and the sheer exuberance of colour makes the overall landscape quite something else. Autobiography: since Gill lives in the area, he has a strong link with the subjects and in a sense his story is also contained in the photos. This connection with the land is evidently strong for him; hence the process of actually burying some of the base photos in the soil for a stronger connection. Metaphor: there is a mix of humour and it seems also the idea of uplifting the ordinary everyday things through decorating the base photo with flowers giving the whole much more meaning than the original photos. ---- If some of the works we have collected examine social issues, others look at the urban environment and our engagement with it. Stephen Gill’s series, Hackney Flowers (2004-06), is a close examination of place. It was made using a cheap plastic camera to take photographs in Hackney Wick, east London. He used the resulting prints as base images which he combined with plant and other material from the area and re-photographed to create visually complex records of place. In some cases, he took this further by burying prints so that they reacted chemically with the soil.
STEPHEN GILL (1971) Untitled (garden chair with flowers), 2008. From the series "Hackney Flowers". C-Print. Image 58.2 x 43.8 cm; Sheet 61 x 51 cm. Verso fully signed, numbered 7/10, inscribed and dated. Under passepartout, framed. Provenance: - Swiss private collection. --------------- STEPHEN GILL (1971) Ohne Titel (Gartenstuhl mit Blumen), 2008. Aus der Serie "Hackney Flowers". C-Print. Bildmass 58,2 x 43,8 cm; Blattgrösse 61 x 51 cm. Verso voll signiert, nummeriert 7/10, bezeichnet und datiert. Unter Passepartout, gerahmt. Provenienz: Privatbesitz Schweiz. Der britische Photograph ist insbesondere für seine Dokumentar-, Konzept- und Experimental-Aufnahmen bekannt. Bevor er zur Kamera greift, abolviert er in der Regel aber eine lange und ausführliche Vorstudie, in der er den zu photographierenden Gegenstand in seinem Wesen erkundet. Mit seinen Werken beantwortet, umschreibt und reflektiert er intensiv die Zeit, in der wir leben. Seit den 1990er Jahren arbeitet er hauptsächlich in Farbe. Im "Hackney Flowers" Projekt, der Serie, aus der die vorliegenden Aufnahmen (Lose **) stammen, nutzt Gill seine Umgebung als Inspirationsquelle für seine sinnträchtigen Bilder. Er sammelt Blumen, Samen, Beeren und weitere Objekte rundum Hackney im Osten Londons, presst diese und photographiert sie, aufgelegt wiederum auf seine eigenen Photographien aus der vorgenannten Umgebung, die er mit einer billigen Plastik-Kamera gemacht hat. Daraus ergeben sich neu komponierte Bilder, die einer Collage gleichen und eine dreidimensionale Komponente beinhalten. In "Hackney Flowers" betrachtet Stephen Gill die urbane Umgebung und unser Engagement darin, eine Kritik und ein Mahnmal zugleich.
STEPHEN GILL. Hackney Flowers. The special edition, illustrated with numerous elegant reproductions of Gill's photographs made in and inspired by east London. 4to, gray and orange pictorial cloth; photo-pictorial slipcase, lightly soiled. SPECIAL EDITION AP 2/5 ISSUED WITH A PHOTOGRAPH AND SIGNED BY GILL. (London): Nobody/the Archive of Modern Conflict, (2007) WITH--Stephen Gill. C-print, the image measuring 8x6 inches (20.3x15.2 cm.), the sheet slightly larger, with Gill's signature and date, in pencil, on verso; enclosed in a paper folder. 2007.
STEPHEN GILL (* 1971) * Untitled (from the ‘Hackney Flowers’ series), London 2004-2006 C-print Signed, dated and numbered by the photographer on the reverse, edition no. 7/10 LITERATURE Stephen Gill, Hackney Flowers, London 2007, s. p. 68 x 58
STEPHEN GILL (* 1971) * Untitled (from the ‘Hackney Flowers’ series), London 2004-2006 C-print Signed, dated and numbered by the photographer on the reverse, edition no. 7/10 LITERATURE Stephen Gill, Hackney Flowers, London 2007 68 x 58
STEPHEN GILL (* 1971) * Untitled (from the ‘Hackney Flowers’ series), London 2004-2006 C-print Signed, dated and numbered by the photographer on the reverse, edition no. 7/10 LITERATURE Stephen Gill, Hackney Flowers, London 2007, s.p. 68 x 58
Warming Down. 71 p. with 15 original color photographs on Fujicolor Crystal Archive paper. 19,3 x 13,8 cm. Original orange leather boards with gilt pressed title on spine (intentional signs of aging). London, Nobody, 2008. First edition. Signed in black ink by the artist and numbered 086/130 on the endpaper. Gill is a London based experimental photographer with strong ties to his local surroundings. The book offered here is the culmination of his photographic exploration of Hackney Wick, an area of North London which was developed for the 2012 Olympics. These unique books are ex-Hackney Wick Library music score books, in which Gill has included his own photographs, as well as letter press printing, a lino print and a pressed flower from Hackney Wick. - Excellent condition.
Untitled from Hackney Flowers, 2005-2006 Colour coupler print, printed 2007. 58.7 x 43.8 cm. (23 1/8 x 17 1/4 in). Signed, titled dated and numbered 1/2 AP in ink on the verso.
Untitled from Hackney Flowers, 2005-2006 Colour coupler print, printed 2007. 58.4 x 44.1 cm. (23 x 17 3/8 in). Signed, titled, dated and numbered 2/2 AP in ink on the verso.
