{"title":"PHOTOBOOK \/ SIGNED \u0026 1st EDITIONS","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe most intimate tier of the archive — rare, signed, and first-edition photobooks that carry not just images, but the imprint of the artist’s hand. These are works that mark beginnings: a first printing, a personal signature, a limited run. Some are out of circulation, others never made it beyond small printings or studio shelves. Each book is a piece of photographic history — held, preserved, and now offered as an artifact of both vision and touch.\u003c\/p\u003e","products":[{"product_id":"antoine-dagata-1961-oscurana-1ere-edition","title":"Oscurana — Antoine d’Agata","description":"\u003cp data-start=\"67\" data-end=\"137\"\u003e\u003cstrong data-start=\"67\" data-end=\"137\"\u003eOscurana — Antoine d’Agata (Single Volume from Collective Edition)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"139\" data-end=\"664\"\u003eThis signed volume of \u003cem data-start=\"161\" data-end=\"171\"\u003eOscurana\u003c\/em\u003e by Antoine d’Agata, co-published in 2017 as part of a six-part international editorial project, is part of the Darwin Bookshop because it embodies a radical experiment in collaborative publishing, transgressive aesthetics, and the ethics of witnessing. Each of the six publishers across Latin America and Europe produced their own distinct version of \u003cem data-start=\"523\" data-end=\"533\"\u003eOscurana\u003c\/em\u003e, using a shared structure—same title, dimensions, and central text—yet allowing for different material and visual interpretations.\u003c\/p\u003e\n\u003cp data-start=\"666\" data-end=\"1206\"\u003eThe copy held here is a standalone volume from this constellation, printed on deep black paper with gold handwritten typography, featuring d’Agata’s haunting monochrome photographs of sex, trance, and resistance. Designed and printed by \u003cem data-start=\"903\" data-end=\"919\"\u003eLe Dernier Cri\u003c\/em\u003e in Marseille, under the direction of Pakito Bolino, it fuses underground graphics with d’Agata’s fevered visual language. Each photograph is a confrontation, not a document—bodies blur under duress, light becomes substance, and violence and intimacy co-exist within the same dark frame.\u003c\/p\u003e\n\u003cp data-start=\"1208\" data-end=\"1622\"\u003eThough part of a broader six-volume project, this edition stands alone as a self-contained object and was also issued in a rare boxed set. This particular copy is \u003cstrong data-start=\"1371\" data-end=\"1409\"\u003esigned by d’Agata in Arles in 2021\u003c\/strong\u003e, anchoring it within the performative continuum of his work. At Darwin, \u003cem data-start=\"1482\" data-end=\"1492\"\u003eOscurana\u003c\/em\u003e is held as a key artefact in the landscape of experimental photobook publishing, collective authorship, and embodied photography.\u003c\/p\u003e\n\u003cp data-start=\"1624\" data-end=\"1643\"\u003e\u003cstrong data-start=\"1624\" data-end=\"1643\"\u003eTechnical Sheet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1645\" data-end=\"2122\"\u003eTitle: Oscurana\u003cbr data-start=\"1660\" data-end=\"1663\"\u003eArtist \/ Author: Antoine d’Agata\u003cbr data-start=\"1695\" data-end=\"1698\"\u003eDate: 2017\u003cbr data-start=\"1708\" data-end=\"1711\"\u003eTechnique \/ Printing Method: Offset printing, gold ink on black paper\u003cbr data-start=\"1780\" data-end=\"1783\"\u003eMedium \/ Materials: Softcover, staple-bound\u003cbr data-start=\"1826\" data-end=\"1829\"\u003eDimensions: approx. 21 × 28 cm\u003cbr data-start=\"1859\" data-end=\"1862\" data-is-only-node=\"\"\u003eLanguage: French\u003cbr data-start=\"1878\" data-end=\"1881\"\u003ePages: Unpaginated\u003cbr data-start=\"1899\" data-end=\"1902\"\u003ePublisher \/ Editor: Le Dernier Cri (France), part of the \u003cem data-start=\"1959\" data-end=\"1969\"\u003eOscurana\u003c\/em\u003e six-publisher collective\u003cbr data-start=\"1994\" data-end=\"1997\"\u003eSigned: Yes (signed in Arles, 2021)\u003cbr data-start=\"2032\" data-end=\"2035\"\u003eEdition: One of six distinct volumes from the \u003cem data-start=\"2081\" data-end=\"2091\"\u003eOscurana\u003c\/em\u003e project\u003cbr data-start=\"2099\" data-end=\"2102\"\u003eCondition: Near fine\u003c\/p\u003e\n\u003cp data-start=\"2125\" data-end=\"2187\"\u003e \u003c\/p\u003e","brand":"DaRWIN","offers":[{"title":"Default Title","offer_id":51754826826066,"sku":null,"price":140.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/7058\/0818\/files\/MAISONSCLOSES_1_40948610-1e47-4cec-874a-e67f7826da3e.jpg?v=1768064059"},{"product_id":"antoine-dagata-1961-agonie-1ere-edition","title":"Agonie — Antoine d’Agata \u0026 Rafael Garido (signed)","description":"\u003cdiv class=\"LotInfoDescription_description__RFjKp\"\u003e\n\u003cp data-start=\"113\" data-end=\"458\"\u003eThis signed copy of \u003cem data-start=\"133\" data-end=\"141\"\u003eAgonie\u003c\/em\u003e, a collaboration between photographer Antoine d’Agata and writer Rafael Garido, published in 2003 by Actes Sud and Atelier de Visu, is part of the Darwin Bookshop because it marks an early and intensely physical convergence of text and image—where language breaks under the weight of the photographic and vice versa.\u003c\/p\u003e\n\u003cp data-start=\"460\" data-end=\"837\"\u003eBound in black faux leather with minimal white type, the object evokes a dossier or morgue file. Inside, d’Agata’s images unfold in fevered grain: bodies blurred by movement, consumed by shadow, lit by narcotic or sexual tension. Garido’s text—poetic, incantatory, shattered—echoes this descent, not as commentary but as accomplice. This is not a book that explains—it suffers.\u003c\/p\u003e\n\u003cp data-start=\"839\" data-end=\"1320\"\u003ePublished in Marseille and part of the Atelier de Visu’s experimental output, \u003cem data-start=\"917\" data-end=\"925\"\u003eAgonie\u003c\/em\u003e belongs to d’Agata’s early 2000s period, when his work left behind narrative and plunged into embodied darkness. The formal choices—rounded page corners, glossy black cover, and unbound text blocks—amplify the sense of erosion and intimacy. Signed by d’Agata, this copy is held at Darwin as a rare threshold object: the moment when photography stops being observational and becomes existential.\u003c\/p\u003e\n\u003cp data-start=\"1322\" data-end=\"1341\"\u003e\u003cstrong data-start=\"1322\" data-end=\"1341\"\u003eTechnical Sheet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1343\" data-end=\"1678\"\u003eTitle: Agonie\u003cbr data-start=\"1356\" data-end=\"1359\"\u003eArtists \/ Authors: Antoine d’Agata, Rafael Garido\u003cbr data-start=\"1408\" data-end=\"1411\"\u003eDate: 2003\u003cbr data-start=\"1421\" data-end=\"1424\"\u003eTechnique \/ Printing Method: Offset\u003cbr data-start=\"1459\" data-end=\"1462\"\u003eMedium \/ Materials: Hardcover, leatherette cover, rounded corners\u003cbr data-start=\"1527\" data-end=\"1530\"\u003eDimensions: approx. 17 × 23 cm\u003cbr data-start=\"1560\" data-end=\"1563\" data-is-only-node=\"\"\u003eLanguage: French\u003cbr data-start=\"1579\" data-end=\"1582\"\u003ePages: 96\u003cbr data-start=\"1591\" data-end=\"1594\"\u003ePublisher \/ Editor: Actes Sud \/ Atelier de Visu\u003cbr data-start=\"1641\" data-end=\"1644\"\u003eSigned: Yes\u003cbr data-start=\"1655\" data-end=\"1658\"\u003eCondition: Near fine\u003c\/p\u003e\n\u003c\/div\u003e","brand":"DaRWIN","offers":[{"title":"Default Title","offer_id":51757840499026,"sku":null,"price":70.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/7058\/0818\/files\/bookcover_1.jpg?v=1768306376"},{"product_id":"pieter-hugo-kin-first-edition","title":"KIN — Pieter Hugo (First Edition), Aperture 2005","description":"\u003cp data-start=\"39\" data-end=\"1251\"\u003e\u003cem data-start=\"39\" data-end=\"44\"\u003eKIN\u003c\/em\u003e is a defining monograph by Pieter Hugo, capturing the intricate fabric of contemporary life across communities and identities, and a cornerstone in Darwin’s collection for anyone drawn to photography that navigates intimacy and expansiveness with equal precision. First published as Hugo’s first major book, \u003cem data-start=\"353\" data-end=\"358\"\u003eKIN\u003c\/em\u003e brings together the photographer’s early body of work—portraits from \u003cem data-start=\"428\" data-end=\"439\"\u003eNollywood\u003c\/em\u003e to \u003cem data-start=\"443\" data-end=\"466\" data-is-only-node=\"\"\u003eThe Hyena \u0026amp; Other Men\u003c\/em\u003e, \u003cem data-start=\"468\" data-end=\"507\"\u003eBetween the Devil \u0026amp; the Deep Blue Sea\u003c\/em\u003e, and \u003cem data-start=\"513\" data-end=\"530\"\u003ePermanent Error\u003c\/em\u003e—with a singular eye that foregrounds the dignity and complexity of its subjects without concession to spectacle. What binds these disparate bodies is a rigorous attention to presence: Hugo’s subjects are shown in moments where vulnerability and resilience coexist, framed by stark, unadorned pages that amplify their humanity. The sequencing moves with a quiet tension, allowing each portrait to assert its weight and then recede into a larger meditation on kinship, otherness, and the porous boundaries of self and society. In a first edition that has become increasingly rare, \u003cem data-start=\"1110\" data-end=\"1115\"\u003eKIN\u003c\/em\u003e remains essential for readers seeking photographic work that refuses easy answers and instead insists on the enduring power of looking.\u003c\/p\u003e\n\u003cp data-start=\"1253\" data-end=\"1617\"\u003eTechnical Sheet\u003cbr data-start=\"1268\" data-end=\"1271\"\u003eTitle: \u003cem data-start=\"1278\" data-end=\"1283\"\u003eKIN\u003c\/em\u003e\u003cbr data-start=\"1314\" data-end=\"1317\"\u003eEdition: First Edition\u003cbr data-start=\"1339\" data-end=\"1342\"\u003eDate: 2005 (approx., first publication)\u003cbr data-start=\"1381\" data-end=\"1384\"\u003eMedium \/ Materials: Photobook, hardcover\u003cbr data-start=\"1424\" data-end=\"1427\"\u003eDimensions (cm): ~30 × 38 (large‑format)\u003cbr data-start=\"1467\" data-end=\"1470\"\u003eLanguage: English\u003cbr data-start=\"1487\" data-end=\"1490\"\u003ePages: ~180\u003cbr data-start=\"1501\" data-end=\"1504\"\u003ePublisher \/ Editor: Aperture \/ Chris Boot\u003cbr data-start=\"1545\" data-end=\"1548\"\u003eISBN: (varies by printing)\u003cbr data-start=\"1574\" data-end=\"1577\"\u003eCondition: NEW\u003c\/p\u003e","brand":"aperture","offers":[{"title":"Default Title","offer_id":51759326265682,"sku":null,"price":50.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/7058\/0818\/files\/MAISONSCLOSES_1c917d3a-cad2-4fb9-8d82-1832edbbfa09.jpg?v=1768160250"},{"product_id":"cafe-lehmitz-anders-petersen-1985","title":"Café Lehmitz (Signed Pocket Edition) — Anders Petersen, 1985","description":"\u003cp data-start=\"133\" data-end=\"638\"\u003eThis signed pocket edition of \u003cem data-start=\"163\" data-end=\"177\"\u003eCafé Lehmitz\u003c\/em\u003e, published in 1985 by Schirmer\/Mosel, is Anders Petersen’s own preferred version of his most iconic book. Originally released in 1978, \u003cem data-start=\"313\" data-end=\"327\"\u003eCafé Lehmitz\u003c\/em\u003e launched Petersen’s career and redefined the language of documentary photography. Shot in a working-class bar on the Reeperbahn in Hamburg between 1968 and 1970, the work is a raw, affectionate portrait of a place where rules collapse: sex workers, drunks, lovers, loners — all held in the same intimate frame.\u003c\/p\u003e\n\u003cp data-start=\"640\" data-end=\"1232\"\u003ePetersen doesn’t observe from a distance. He drinks, touches, stays the night. The images are grainy, close, messy, full of flash and emotion. There is no moral hierarchy, only physical proximity and shared time. What makes \u003cem data-start=\"864\" data-end=\"878\"\u003eCafé Lehmitz\u003c\/em\u003e endure is its lack of performance — the trust is real, and the camera feels like part of the furniture. It’s a book that changed the terms for later photographers like Nan Goldin or Antoine d’Agata, proving that documentary could be personal, chaotic, and brutally tender. A cornerstone of postwar European photography, still unmatched in its sincerity.\u003c\/p\u003e\n\u003cp data-start=\"1234\" data-end=\"1594\"\u003eTechnical Sheet\u003cbr data-start=\"1249\" data-end=\"1252\"\u003eTitle: Café Lehmitz (Signed Pocket Edition)\u003cbr data-start=\"1295\" data-end=\"1298\"\u003eArtist \/ Author: Anders Petersen\u003cbr data-start=\"1330\" data-end=\"1333\"\u003eDate: 1985 edition (originally 1978)\u003cbr data-start=\"1369\" data-end=\"1372\"\u003eEdition: Signed\u003cbr data-start=\"1387\" data-end=\"1390\"\u003eTechnique \/ Printing Method: Offset\u003cbr data-start=\"1425\" data-end=\"1428\"\u003eMedium \/ Materials: Softcover\u003cbr data-start=\"1457\" data-end=\"1460\"\u003eDimensions (cm): Approx. 12 × 18\u003cbr data-start=\"1492\" data-end=\"1495\"\u003eLanguage: German\u003cbr data-start=\"1511\" data-end=\"1514\"\u003ePages: Approx. 120\u003cbr data-start=\"1532\" data-end=\"1535\"\u003ePublisher \/ Editor: Schirmer\/Mosel\u003cbr data-start=\"1569\" data-end=\"1572\"\u003eCondition: Very good\u003c\/p\u003e","brand":"DaRWIN","offers":[{"title":"Default Title","offer_id":51776958202194,"sku":null,"price":220.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/7058\/0818\/files\/TODWEBB_copy_copy_2.jpg?v=1770110366"},{"product_id":"pornografie-klaus-staeck-1971","title":"Pornografie – Klaus Staeck, 1971","description":"\u003cp data-end=\"316\" data-start=\"86\"\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-start=\"99\" data-end=\"529\"\u003eThis artist’s book by Klaus Staeck, completed in 1970 and published in 1971 by Anabas Verlag, is part of the Darwin Bookshop because it offers a caustic, politically charged redefinition of pornography—not of sex, but of violence, media and state power. The title \u003cem data-start=\"363\" data-end=\"376\"\u003ePornografie\u003c\/em\u003e is a provocation: what unfolds inside is not erotic at all, but a dense visual essay on the obscenity of authority and the mass spectacle of repression.\u003c\/p\u003e\n\u003cp data-start=\"531\" data-end=\"1020\"\u003eStaeck, a key figure in postwar German political art, assembles a barrage of press photographs, protest images, police brutality, and tabloid fragments. Riot police in helmets become recurring motifs, their visors pixelated like censored genitals. The graphic language is stark: black backgrounds, aggressive crops, and a montage style indebted to Dada and Situationism. It reads like a dossier, a piece of forensic resistance against the hypocritical moral codes of the West German state.\u003c\/p\u003e\n\u003cp data-start=\"1022\" data-end=\"1375\"\u003ePublished at a moment of deep unrest—shortly after 1968, amid RAF trials and violent protest crackdowns—\u003cem data-start=\"1126\" data-end=\"1139\"\u003ePornografie\u003c\/em\u003e is not a photobook in the classic sense but a critical object. It weaponises design to ask: What kind of images are allowed to circulate, and which ones are suppressed? What violence is deemed acceptable, and which bodies are punished?\u003c\/p\u003e\n\u003cp data-start=\"1377\" data-end=\"1495\"\u003eA rare early work by one of Germany’s most radical image-makers, and a chilling document of mediated authoritarianism.\u003c\/p\u003e\n\u003cp data-start=\"1497\" data-end=\"1516\"\u003e\u003cstrong data-start=\"1497\" data-end=\"1516\"\u003eTechnical Sheet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1518\" data-end=\"1537\"\u003eTitle\u003cbr data-start=\"1523\" data-end=\"1526\"\u003ePornografie\u003c\/p\u003e\n\u003cp data-start=\"1539\" data-end=\"1569\"\u003eArtist \/ Author\u003cbr data-start=\"1554\" data-end=\"1557\"\u003eKlaus Staeck\u003c\/p\u003e\n\u003cp data-start=\"1571\" data-end=\"1582\"\u003eDate\u003cbr data-start=\"1575\" data-end=\"1578\"\u003e1971\u003c\/p\u003e\n\u003cp data-start=\"1584\" data-end=\"1629\"\u003eTechnique \/ Printing Method\u003cbr data-start=\"1611\" data-end=\"1614\"\u003eOffset printing\u003c\/p\u003e\n\u003cp data-start=\"1631\" data-end=\"1661\"\u003eMedium \/ Materials\u003cbr data-start=\"1649\" data-end=\"1652\"\u003eSoftcover\u003c\/p\u003e\n\u003cp data-start=\"1663\" data-end=\"1695\"\u003eDimensions (cm)\u003cbr data-start=\"1678\" data-end=\"1681\"\u003e29.5 x 23.5 cm\u003c\/p\u003e\n\u003cp data-start=\"1697\" data-end=\"1714\"\u003eLanguage\u003cbr data-start=\"1705\" data-end=\"1708\"\u003eGerman\u003c\/p\u003e\n\u003cp data-start=\"1716\" data-end=\"1749\"\u003ePages\u003cbr data-start=\"1721\" data-end=\"1724\"\u003eUnpaginated (approx. 120)\u003c\/p\u003e\n\u003cp data-start=\"1751\" data-end=\"1810\"\u003ePublisher \/ Editor\u003cbr data-start=\"1769\" data-end=\"1772\"\u003eAnabas Verlag \/ H.C. Schmolck (Editor)\u003c\/p\u003e\n\u003cp data-start=\"1812\" data-end=\"1832\"\u003eISBN\u003cbr data-start=\"1816\" data-end=\"1819\"\u003e3-87038-020-9\u003c\/p\u003e\n\u003cp data-start=\"1834\" data-end=\"1889\"\u003eCondition\u003cbr data-start=\"1843\" data-end=\"1846\"\u003eUsed — cover has damage, and some pages are detached \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"DaRWIN","offers":[{"title":"Default Title","offer_id":51777156972882,"sku":null,"price":280.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/7058\/0818\/files\/MAISONSCLOSES_ecc19558-ee61-4f7e-ae3b-860d3ef56606.jpg?v=1768213758"},{"product_id":"antoine-d-agata-amp-francis-bacon-2020","title":"Francis Bacon \/ Antoine d’Agata — Antoine d’Agata (signed)","description":"\u003cp data-end=\"288\" data-start=\"91\"\u003e \u003c\/p\u003e\n\u003cp\u003eThis double-volume publication by Antoine d’Agata, published by The Eyes in 2020, is part of the Darwin Bookshop because it stages a visceral encounter between two artists who work the body into a site of rupture, obsession and metaphysical unease. Bound in black covers with bold red titling—one volume bearing d’Agata’s name, the other Bacon’s—the set is a dark duet of violence and intimacy, painting and photography, flesh and shadow.\u003c\/p\u003e\n\u003cp data-start=\"562\" data-end=\"1103\"\u003eD’Agata’s photographs push the edge of visibility: blurred, overexposed, limbs contorted mid-act, his subjects half-submerged in narcotic or erotic delirium. The camera becomes an extension of the body, implicating both author and viewer in acts that reject moral clarity. Printed on dense Munken Lynx paper, these images are paired against works by Francis Bacon, reproduced from the ISC Modern Art Gallery, that echo with similar convulsions—painted torsos split by mirrors, human forms crumpling into furniture, desire rendered grotesque.\u003c\/p\u003e\n\u003cp data-start=\"1105\" data-end=\"1467\"\u003eThis second edition also includes essays by Bruno Sabatier, Perrine Le Querrec and Léa Bismuth, who reflect on the links between these two visual vocabularies of pain. It is a rare editorial pairing, not just comparative but dialogic. D’Agata does not interpret Bacon—he inhabits him, pushing photography to match the painter’s capacity for existential violence.\u003c\/p\u003e\n\u003cp data-start=\"1469\" data-end=\"1488\"\u003e\u003cstrong data-start=\"1469\" data-end=\"1488\"\u003eTechnical Sheet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1490\" data-end=\"1529\"\u003eTitle\u003cbr data-start=\"1495\" data-end=\"1498\"\u003eFrancis Bacon \/ Antoine d’Agata\u003c\/p\u003e\n\u003cp data-start=\"1531\" data-end=\"1564\"\u003eArtist \/ Author\u003cbr data-start=\"1546\" data-end=\"1549\"\u003eAntoine d’Agata\u003c\/p\u003e\n\u003cp data-start=\"1566\" data-end=\"1599\"\u003eDate\u003cbr data-start=\"1570\" data-end=\"1573\"\u003e2020 (second edition 2021)\u003c\/p\u003e\n\u003cp data-start=\"1601\" data-end=\"1646\"\u003eTechnique \/ Printing Method\u003cbr data-start=\"1628\" data-end=\"1631\"\u003eOffset printing\u003c\/p\u003e\n\u003cp data-start=\"1648\" data-end=\"1713\"\u003eMedium \/ Materials\u003cbr data-start=\"1666\" data-end=\"1669\"\u003eSoftcover, two-volume set housed in slipcase\u003c\/p\u003e\n\u003cp data-start=\"1715\" data-end=\"1739\"\u003eEdition\u003cbr data-start=\"1722\" data-end=\"1725\"\u003eSecond edition\u003c\/p\u003e\n\u003cp data-start=\"1741\" data-end=\"1785\"\u003eSigned\u003cbr data-start=\"1747\" data-end=\"1750\"\u003eYes (signed by d’Agata, dated 2021)\u003c\/p\u003e\n\u003cp data-start=\"1787\" data-end=\"1835\"\u003eDimensions (cm)\u003cbr data-start=\"1802\" data-end=\"1805\"\u003eEach volume approx. 24 x 17 cm\u003c\/p\u003e\n\u003cp data-start=\"1837\" data-end=\"1854\"\u003eLanguage\u003cbr data-start=\"1845\" data-end=\"1848\"\u003eFrench\u003c\/p\u003e\n\u003cp data-start=\"1856\" data-end=\"1900\"\u003ePages\u003cbr data-start=\"1861\" data-end=\"1864\"\u003eNot stated (approx. 100+ per volume)\u003c\/p\u003e\n\u003cp data-start=\"1902\" data-end=\"1942\"\u003ePublisher \/ Editor\u003cbr data-start=\"1920\" data-end=\"1923\"\u003eThe Eyes Publishing\u003c\/p\u003e\n\u003cp data-start=\"1944\" data-end=\"1968\"\u003eISBN\u003cbr data-start=\"1948\" data-end=\"1951\"\u003e979-10-92727-42-5\u003c\/p\u003e\n\u003cp data-start=\"1970\" data-end=\"1985\"\u003eCondition\u003cbr data-start=\"1979\" data-end=\"1982\"\u003eNew\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"DaRWIN","offers":[{"title":"Default Title","offer_id":51777162346834,"sku":null,"price":180.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/7058\/0818\/files\/MAISONSCLOSES_2_95dd4294-39b2-4d9e-9e1c-da97a9db5801.jpg?v=1768211063"},{"product_id":"a-bastard-son-brian-sergio","title":"A Bastard Son — Brian Sergio","description":"\u003cp\u003e\u003cspan\u003eA Bastard Son is an uncompromising photographic exploration of masculinity, violence, and survival on the margins of contemporary Filipino society. Shot entirely in black and white, Brian Sergio’s images burn with unfiltered energy—portraits of boys and young men suspended in a volatile mix of aggression, vulnerability, and play. These are not sanitized depictions of urban poverty, but confrontational moments of youth in motion, steeped in sweat, defiance, and defiant beauty.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePublished by Zen Foto Gallery in Tokyo and designed with minimalist power by Koichi Ino, the book’s red linen cover frames the haunting gaze of a young boy—both subject and symbol of a generation left to invent itself in the absence of structure. Sergio’s work sits at the intersection of documentary and psychological theatre, echoing the raw edge of Nan Goldin and the subcultural intimacy of early Ryan McGinley, but filtered through the charged streets of Manila.\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA Bastard Son is a visceral visual statement: political without slogans, poetic without sentimentality. A testament to Sergio’s bold, immersive practice and a crucial addition to the emerging canon of contemporary Southeast Asian photography.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTechnical Sheet\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan\u003eObject: Photobook\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eTitle: A Bastard Son\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eArtist \/ Author: Brian Sergio\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eDate: November 1, 2018\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eText: Robin Titchener (English text)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eDesign: Koichi Ino\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eProject Management: Bonnie Pong-Wai Ma\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ePublisher \/ Editor: Zen Foto Gallery (Tokyo, Japan)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ePrinting \u0026amp; Binding: CGK Formaprint, Philippines\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eLanguage: English \/ Japanese\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eMedium \/ Materials: Hardcover, red linen with tipped-in photograph\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eEdition: first \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ePages:  80–100\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eDimensions: . 25 x 18 cm\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eISBN: 978-4-905453-73-4\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eCondition: Excellent\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eProvenance: Darwin Collection\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"DaRWIN","offers":[{"title":"Default Title","offer_id":51880679571794,"sku":null,"price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/7058\/0818\/files\/TODWEBB_1_86423150-eacd-4558-b237-f32ca44b9055.jpg?v=1767992826"},{"product_id":"nollywood-pieter-hugo-edicion-especial-2009","title":"Nollywood — Pieter Hugo,  Special Edition (Signed + C print) , 2009","description":"\u003cp data-start=\"148\" data-end=\"719\"\u003eThis special edition of \u003cem data-start=\"172\" data-end=\"183\"\u003eNollywood\u003c\/em\u003e by Pieter Hugo, published by Prestel in 2009, is part of the Darwin Bookshop for its brutal, theatrical clarity in documenting Africa’s second-largest film industry—and the imagined worlds it generates. Produced in Nigeria in collaboration with local actors and communities, Hugo’s staged portraits re-enact the hallucinatory iconography of Nollywood cinema: ritual killings, zombie brides, corrupt officials, spirits caught mid-exorcism. The result is an unsettling taxonomy of visual archetypes, both hyper-stylised and deeply local.\u003c\/p\u003e\n\u003cp data-start=\"721\" data-end=\"1281\"\u003eThis collector’s edition, limited to 150 copies, includes a signed and numbered C-print titled \u003cem data-start=\"816\" data-end=\"860\"\u003eSong Iyke with Ebube, Thank God and Mpompo\u003c\/em\u003e, Enugu, Nigeria, 2008. The photograph is signature Hugo—raw light, scorched landscape, and a cast of boys embodying myth and menace with the casual confidence of children raised among ghosts. The book itself is bound in black faux leather with gilt titling, inset with an image of a man in a suit standing over a freshly slaughtered cow, drenched in red. It's a hard object: sacred and cinematic, staged yet documentary.\u003c\/p\u003e\n\u003cp data-start=\"1283\" data-end=\"1579\"\u003eWith essays by Chris Abani, Stacy Hardy, and Zina Saro-Wiwa, this volume situates Hugo’s work within a broader narrative of African self-representation and the seductive power of fiction. Each photograph suggests that performance is not escape, but survival; not illusion, but cultural assertion.\u003c\/p\u003e\n\u003cp data-start=\"1581\" data-end=\"1600\"\u003e\u003cstrong data-start=\"1581\" data-end=\"1600\"\u003eTechnical Sheet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1602\" data-end=\"1637\"\u003eTitle\u003cbr data-start=\"1607\" data-end=\"1610\"\u003eNollywood (Special Edition)\u003c\/p\u003e\n\u003cp data-start=\"1639\" data-end=\"1668\"\u003eArtist \/ Author\u003cbr data-start=\"1654\" data-end=\"1657\"\u003ePieter Hugo\u003c\/p\u003e\n\u003cp data-start=\"1670\" data-end=\"1681\"\u003eDate\u003cbr data-start=\"1674\" data-end=\"1677\"\u003e2009\u003c\/p\u003e\n\u003cp data-start=\"1683\" data-end=\"1760\"\u003eTechnique \/ Printing Method\u003cbr data-start=\"1710\" data-end=\"1713\"\u003eOffset printing\u003cbr data-start=\"1728\" data-end=\"1731\"\u003eC-print (signed and numbered)\u003c\/p\u003e\n\u003cp data-start=\"1762\" data-end=\"1888\"\u003eMedium \/ Materials\u003cbr data-start=\"1780\" data-end=\"1783\"\u003eHardcover, faux leather with gold embossing and tipped-in image\u003cbr data-start=\"1846\" data-end=\"1849\"\u003eAccompanied by loose photographic print\u003c\/p\u003e\n\u003cp data-start=\"1890\" data-end=\"1990\"\u003eEdition\u003cbr data-start=\"1897\" data-end=\"1900\"\u003eSpecial edition of 150 copies (this is No. 129\/150)\u003cbr data-start=\"1951\" data-end=\"1954\"\u003eIncludes signed and numbered C-print\u003c\/p\u003e\n\u003cp data-start=\"1992\" data-end=\"2021\"\u003eSigned\u003cbr data-start=\"1998\" data-end=\"2001\"\u003eYes (book and print)\u003c\/p\u003e\n\u003cp data-start=\"2023\" data-end=\"2081\"\u003eDimensions (cm)\u003cbr data-start=\"2038\" data-end=\"2041\"\u003eBook: 29 x 29 cm\u003cbr data-start=\"2057\" data-end=\"2060\"\u003ePrint: 27.5 x 27.5 cm\u003c\/p\u003e\n\u003cp data-start=\"2083\" data-end=\"2101\"\u003eLanguage\u003cbr data-start=\"2091\" data-end=\"2094\"\u003eEnglish\u003c\/p\u003e\n\u003cp data-start=\"2103\" data-end=\"2114\"\u003ePages\u003cbr data-start=\"2108\" data-end=\"2111\"\u003e160\u003c\/p\u003e\n\u003cp data-start=\"2116\" data-end=\"2144\"\u003ePublisher \/ Editor\u003cbr data-start=\"2134\" data-end=\"2137\"\u003ePrestel\u003c\/p\u003e\n\u003cp data-start=\"2146\" data-end=\"2161\"\u003eCondition\u003cbr data-start=\"2155\" data-end=\"2158\"\u003eNew\u003c\/p\u003e","brand":"DaRWIN","offers":[{"title":"Default Title","offer_id":51893767766354,"sku":null,"price":700.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/7058\/0818\/files\/MAISONSCLOSES_1_f8deed02-3ee5-4ee3-89f8-d7d28d963a01.jpg?v=1768210682"}],"url":"https:\/\/thedarwin.es\/collections\/signed-1st-editions.oembed","provider":"DaRWIN","version":"1.0","type":"link"}