Coracle Press ~ Ireland
(Simon Cutts & Erica Van Horn)

Books about Coracle Books
Boxes of Coracle books
Bookworks by Simon Cutts
Bookworks by Erica Van Horn
Living Locally series by Erica Van Horn

Domestic Interior
By Simon Cutts & Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle, 2021. Unstated.

1 folded sheet producing 4 pages (5.25 x 6.5”). Black knotted string. Housed in sleeve envelope with title printed on one side, publisher and year on the other side.

There is not an artist statement with this very simple one opening book. There is a printed image in black ink on the front cover that reminds me of a headboard of a bedframe. The image is repeated on the interior pages and the back cover. When opened there are strings that attach the front interior cover to the back interior cover. It is like the slats or heavy rope that hold up the mattress on a bedframe.

Erica Van Horn, Journal, 29 January Saturday [2021]: "The act of making a bed look fresh and tidy, with clean sheets, or simply with some pulling and tucking and smoothing, is To Dress The Bed. When someone has been sleeping in a bed and it has not yet been dressed, the expression to describe the disheveled bed is that It Has Been Tossed."
$15

seasonal words
By Harry Gilonis
Clonmel, Tipperary, Ireland: Coracle, 2021. Edition of 300.

236 pages; 175 x 125mm. Printed offset. Casebound. Fine.

Coracle: "These versions of Japanese haiku from various writers, translated by the poet, Harry Gilonis were initially sent out as a daily e-mail; initially to a handful of friends, but the number grew and grew. They were not begun with a set plan, nor duration; they went out from 17 September to 24 December; neatly dividing almost exactly into autumn and winter (by Japanese seasonal definitions).

“Harry Gilonis is a poet, editor, publisher, and critic writing on art, poetry, and music. Since the late 1980s he has written various books of poetry (published by Carcanet Press, among others), and has collaborated with other poets. His writing has been translated into Catalan, Gaelic, German, Polish, and Spanish. In 2018, ‘The Guardian’ published Gilonis’ piece ‘a small alba’ as its Poem of the Week."

Review by Billy Mills at “Elliptical Movements” blog begins “seasonal words is a handsomely produced collection of 100 translations of Japanese haiku, each original transcribed in Romanji with the translation facing on the verso. …”
$30

A Table in Ballybeg
By Simon Cutts & Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle, 2021. Edition of 250.

64 pages; 185 x 145mm. Casebound paper over boards. Four colour offset.

Coracle: "An edition of 250 copies made at the time of the epidemic lockdown in all of Europe, but where life in our valley was much as it usually is, but with no visitors. We have endured almost a year eating our own food, with no abatement. No cafés to visit. No tables to travel to. No take-away. We live in a suspension of the past and of the imagined future, anticipating a time when we can hang up the apron, if only temporarily."

Excerpt: “this selection of dishes and images if largely an accident. What was photographed and sometimes listed becomes what we remember. This assembling is about foo d eaten immediately at the time it is prepared, shared and lingered over with friends. There are not recipes, just a chance occurrence of available produce modified by intention and previous use, sometimes permanent leftovers, the joy of ingredients within an attitude to eating.”
$25

A Walled Garden
A History of the Spandau Garden in the Time of the Architect Albert Speer
By Ian Hamilton Finlay & Ian Gardner
Clonmel, Tipperary, Ireland: Coracle & Saint Paulinus, 2019. Edition of 500.

9.5 x 7"; 192 pages. Casebound in cloth with embossed image and headbands. Numbered.

Coracle: "'Walled Garden' reproduces for the first time the complete set of watercolours from the early nineteen eighties that Ian Gardner made in collaboration with Ian Hamilton Finlay for the unpublished book, 'A Walled Garden: A History of the Spandau Garden in the Time of the Architect Albert Speer'. Finlay conceived the project after corresponding with the former Third Reich architect in the late 1970s, shortly after the publication of Clara and Richard Winston’s English translation of 'Spandau: The Secret Diaries' (1976), Speer’s clandestine record of his twenty-year imprisonment in Spandau prison from 1946 to 1966, where one of his main pre-occupations was the making of a secret rubble garden from the debris of the courtyard. ... with an extensive commentary by Ross Hair."

Albert Speer, letter to Ian Hamilton Finlay, 19 December 1979: “Small designs can be as fascinating as the largest building works in the world. In Spandau I conceived the idea of creating with bricks two sunken stone gardens which would satisfy my longing for architectural expression even more than the important designs I produced until 1942. And so I see in these two stone gardens a work which has found a privileged position amongst other buildings and designs.”

Ian Gardner (1944–2019) - a British watercolorist who taught in the School of Art and Design at Bradford College.

Ian Hamilton-Finlay (1925–2006) - a Scottish poet, writer, artist and gardener.

$90

News in Haiku
Volume II
By Maureen Van Horn
Clonmel, Tipperary, Ireland: Coracle, 2019. Unstated.

6 x 4.25"; 32 pages. Red paper free end pages and pastedowns. Handsewn with green stiff wraps.

Coracle: "Maureen Van Horn began writing haiku for the banner of the second section of the New Hampshire Concord Monitor in 2015. Their rigorous syllabics encapsulate items of current news that might be covered elsewhere in the newspaper with more prosaic and extended narrative. They may capture the banality of events, bordering on an inconsequentiality, in a way that only this form allows."

Birds tweet happily;
Unaware others twitter,
Making much more noise!

$18

Play Book
By Maurice Scully
Clonmel, Tipperary, Ireland: Coracle, 2019. Edition unstated.

5.75 x 8.5"; 188 pages. Printed digitally. Casebound paper over boards.

Coracle: "Play Book' is the new collection of poems by Irish poet, Maurice Scully. His writing began in the early 1970s, and since 1981 he has published 10 books of poetry with publishers such as Wild Honey Press and Shearsman Books. Maurice Scully has been editor of a number of influential magazines (Icarus, and The Beau), and through the 1970s and 1980s organized important readings and literary gatherings, and over the years he has taken part in conferences and festivals in Ireland, the UK, and the US, where his readings are prized as key interpretations of his complex work."
$25

Street Signs
By Peter Downsbrough
Clonmel, Tipperary, Ireland: Coracle Press, 2019. Edition unstated.

72 pages; 160 mm x 240 mm (6.3 x 9.4"). Softcover. Casebound with flaps. Offset printed.

Photographs of street and pavement covers taken in various countries around the world in 2011. Each photograph with location and date documented.

The overriding arch of Downbrough's work is examining the meaning of space and place (see Art Dictionary article accessed 8.19.19 https://www.hatjecantz.de/peter-downsbrough-5626-1.html).

Peter Downsbrough: “With the word, one takes part in a dialogue, a discourse on its precise meaning. … The word for me is an object. It has both a precise and a vague meaning. It is a universe one is confronted with. But there is no obligatory way of reading.”
$25

The Balthus Poems
By William Minor
Clonmel, Tipperary, Ireland: Coracle Press, 2018. Edition size unstated.

4.5 x 6.5"; 84 pages. Printed digitally. In pictorial wraps.

Coracle Press: "This is the second book from Coracle of William Minor’s poems, after 'tree on the outside' from 2010. Here, by conjecture and statement surrounding the artist’s life and work, he presents an interior with the detail and form of a still-life. An intermediate book, P***y and Pigeon came from Shearsman Press in 2014."

Coracle Press, jacket blurb: "In The Balthus Poems, fragment and detail again achieve a form of still-life, in this case surrounding the life and work of its protagonist. These poems move with their own innate syntax, detailing the enigma of the single phrase in its own space, and cohere through a particularly laconic sensibility."

William Minor is an American poet residing in Los Angeles.
$15

Birdsong
By William M. Roth
Clonmel, Tipperary, Ireland: Coracle, 2017. Unstated.

6.75 x 4.9"; 176 pages. Offset in two colors. Soft covers. Frontispiece and cover photograph by Joan Roth.

Coracle: "Birdsong was written in the late nineteen nineties, and is based almost entirely on incidents and characters from William Roth's life in Ireland. First published posthumously in 2015, this memorial edition is issued to celebrate the inauguration of the William and Joan Roth Lecture at the University of Limerick beginning in April 2017. With postscript by Simon Cutts and Erica Van Horn of anecdotal jottings of lives unduly passed over, and the contribution of William and Joan Roth to the life of the arts in Ireland over a period of more than sixty years."
$18

Four Trees
By Joan Roth
Clonmel, Tipperary, Ireland: Coracle, 2017. Edition of 100.

12 x 8.5"; 16 pages plus japanese tissue interleave. Printed digitally. Casebound with image on front cover. Numbered.

Afterword: "These four photographs in reproduction are taken from a handful of originals by Joan Roth made in the late nineteen nineties and early two thousands, most usually of the trees in the gardens of her house in Hymenstown, New Inn, in County Tipperary, Ireland. Here the two centerfold images are of eucalyptus trees in Elk, California, not native to her more temperate Ireland, but to her other home on the west coast of America.

"Before the digital copies of the images presented here, they were printed as silver nitrate gelatin prints on mould-made paper. Exposed lightly in the darkroom from the negative, more detail and darkness was then added by graphite pencil."
$35

Peal
By Randall Couch
Clonmel, Tipperary, Ireland: Coracle, 2017. Edition of 300.

9.25 x 6.5"; 144 pages. Printed three-colour offset. Typography by Colin Sackett. Casebound with headbands.

Coracle: "Syntax is to word order as melody is to note order. Peal explores the analogy of melody and syntax by applying the methods of bell change ringing to rows of words: poetic lines. Each individual poem begins with a line of four to nine nonrepeating words. That line is then permuted according to one of the methods, resulting in anywhere from 12 to 240 unique variations. By convention, the word corresponding to the heaviest working bell is coloured blue (the “blue line”) and the word corresponding to the treble or highest-pitched bell is coloured red. The starting lines—all quotations—form the cento that opens the book, where their inflections evoke thematic relationships. Their permutations create distinctive visual patterns as well as frequent semantic surprises. The methods have been chosen with an eye to the associations created by juxtaposing their names with the corresponding starting lines."

www.randallcouch.com: "He is a regular panelist on the podcast series PoemTalk sponsored by the Poetry Foundation, PennSound, and Kelly Writers House. … He has published essays and book chapters on Susan Stewart, Harryette Mullen, Gabriela Mistral, Constantine Cavafy, Ezra Pound, and on ethics and reception in poetry translation. His poems have appeared in numerous journals and anthologies including Best New Poets and The Hide-and-Seek Muse. In 2000 and 2008 he was awarded poetry fellowships by the Pennsylvania Council on the Arts."
$45

Brancusi's Sewing Box & Other works
Arrangement by Eiji Watanabe, Simon Cutts, Erica Van Horn & Coracle
Clonmel, Tipperary, Ireland: Coracle, 2016. Unstated.

5.9 x 5.25"; 36 pages. Digital in color. Softcover with flaps. Saddle stitch (stapled) binding.

An illustrated catalogue for an arrangement at MAT Nagoya, Japan in the Minatomachi Potluck Building from September 22nd - October 23rd 2017 presenting the work of three artists against the backdrop of Brancusi's sensibility of art and the everyday.

Introduction: "'Brancusi's Sewing Box & Other Works' is an extension of some recent books and related work from Coracle by Erica Van Horn and Simon Cutts, and new work made by Eiji Watanabe.

"The titlework is a remaking by Eiji Wtanabe of some of the domestic objects of the sculptor Constantin Brancusi, used in his studio in Paris between 1923 and 1957. Towards the end of that period, they were given to his friends Alexandre Istrati and Natalie Dumitresco, around 1947. They in turn, continued to use them in their daily life. Eventually all these implements were put up for sale at the auction house Artcurail in Paris in late 2010. …

"The clarity of these domestic objects endures, whatever disregard their presence engendered in the saleroom. They too are pure sculpture, and exist with the disposition of Brancusi's sensibility, his way of life, of having been made and used by him. We must remember that Brancusi said that 'All Sculpture is furniture!'"
$15

tree on the outside
By William Minor
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2010.
Edition of 300.

4.5 x 5.875"; 156 pages. Offset printed. Perfect bound. Dark green folding self-wrappers with letterpress titles. Design and production by Simon Cutts.

Minimalist poetry by William Minor. The small book begins with no title page. It launches into the poetry from the first turn of the page.

$15

The Pig Poems
Three Poems Concerning Larionov's Provincial Life Series
By Spike Hawkins & (this woman) Erica Van Horn
Tipperary, Ireland: Coracle Press, 1999. Edition of 175.

9.5 x 11.75"; 34 pages. Letterpress printed in two colors. Casebound in bookcloth with title, author, and image printed on front board.

Colophon: "These poems were first published in Spike Hawkins' Poems, Tarasque Press, Nottingham 1966."

Spike Hawkins, Liverpudlian poet, uses pigs in the work of Russian impressionist painter Mikhail Larionov as inspiration for three poems - "Target," "Liddled" and "Boiler." Each poem is accompanied by a different image, some version of a thick black ring (a gear? or gears?).

The Pig fell over the upturned
motor car
The Pig fell over the upturned
motor car
Drunk! said Pig
Drunk!

$70 (Last Copy)

Poems Found In a Pioneer Museum
By Susan Howe
Ballybeg, Grange, Tipperary, Ireland: Coracle, 2009. Edition of 300.

3.875 x 5.125"; 35 unbound leaves. 32 letterpress cards. Printed on Canaletto Liscio paper. Two green boards to segregate the poems from the front and back interiors. Two-piece dark green cloth covered binder's box with the title of the book imprinted in the top.

Colophon: "I copied these poems, almost verbatim, from typed identification cards placed beside items in display cases at Salt Lake City's Pioneer Memorial Museum founded in 1901 by the Daughters of Utah Pioneers. The artifacts and memorabilia in their collection date from 1847 when Mormon settlers first entered the Valley of the Great Salt Lake until the joining of the railroads at Promontory, Utah in 1869."

Minimalist jewels presented in Coracle's elegant style.

43: Hair cut from Joseph Smith
Jr. by Mary Ann Smith Stratton
just before he was taken prisoner.
It was given to Henriette Keyes
Whitney Hale, pioneer of 1847.
It was the only thing she had left
from the journey across.

poets.org: "Susan Howe was born in 1937 in Boston, Massachusetts. She is the author of several books of poems and two volumes of criticism. Her most recent poetry collections are The Midnight (2003), Kidnapped (2002), The Europe of Trusts (2002), Pierce-Arrow (1999), Frame Structures: Early Poems 1974-1979 (1996), The Nonconformist's Memorial (1993), The Europe of Trusts: Selected Poems (1990), and Singularities (1990)."
$40

Simon Cutts is a poet, artist and editor who began Coracle in the early 19702. He began making work through concrete poetry.

Percy Grainger's Dash
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle, 2020.

20 pages; 18.5 x 13.5 cm. Casebound, with embossed cover image and coloured endpapers of the score and Grainger's footsteps to his entry. Three tipped-in images.

Coracle: "A history of the rehearsed dash made by the pianist and composer Percy Grainger, to arrive at the entry of the pianoforte in the second movement, the Adagio, of Grieg's Piano Concerto.”

Introduction: “At a morning rehearsal in Sydney Town Hall in 1934, Percy Grainger gave a particularly athletic performance of the Grieg Concerto. During the orchestral tutti of the first movement, just before the cadenza he jumped down from the platform, ran to the back of the hall, where he touched the rear door, ran back again and in one bound was at the keyboard ready for the cadenza. … For Grainger, virtuosity was not restricted to the hands, but also extended to the feet, more as an athlete, and this principal became intrinsically linked to his unique interpretation of rhythm and articulation.”

Wikipedia, 11.30.21: “Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, …”
$25

Unique Forms of Continuity in Space
A sequence by Maud Cotter with text by Simon Cutts
Clonmel, Tipperary, Ireland: Coracle, 2020. Edition of 200.

36 pages; 17.5 x 15 cm. Casebound picnic paper over boards, with embossed cover image. Seven tipped-in images of the series and a facsimile of the 20 cent euro coin holding an image of the futurist piece. Numbered.

Coracle: "A collaboration surrounding Maud Cotter's altered hot water bottle sculptures, referring in turn to the dynamic of Boccioni's work of the same title."

Excerpts: "The 1913 sculpture Unique Forms of Continuity in Space by the Futurist Umberto Boccioni ... borrows from that Hellenistic sculpture of Nike … It is also perhaps in the same vein that the images of split hot water bottles with burgeoning plaster insets run parallel to the products of a sports and shoe company named after the Greek goddess herself. In the manner of such stylistically improbable pairings, initiated by the futurists with their manifesto, why not also these reconstructed hot-water bottles of Maud Cotter becoming pillows and purses, and which at their source and to this day are still called 'mezzo-maritos- in Italy - half-husbands!"

End note: "The seven works illustrated here are taken from the set of 12 bottles made as a single work under that title."

www.smarthistory.org: ”Unique Forms appears on the Italian 20-cent Euro coin and is both Futurism’s most famous symbol and a reminder that the movement itself was dynamic and did not always follow its own declarations. The Futurists sought to clear away the legacy of art’s history so that the future could come more quickly, but Unique Forms has often been compared to the ancient Greek Nike of Samothrace and Gian Lorenzo Bernini’s Apollo and Daphne. The Futurists wanted to destroy the museums, but in the end, their work was added to the canon of Italian sculpture.”
$25

Roger Ackling's Furniture
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle, 2019. Unstated.

4 x 5.75"; 16 pages. Digital colour. Stapled binding. Illustrated wrapper.

Coracle: "['Roger Ackling's Furniture' is one] in the on-going ephemera series. Illustrated essay by Simon Cutts, to correct the erroneously edited version in 'Between the Lines' published as 'Exhibitions at Coracle Press' by Occasional Press as a festschrift for Roger Ackling in 2016."

Coracle held three exhibitions through the years showing Roger Ackling's work. Cutts' essay recaps the ideas of Ackling's work as well as the three exhibitions. Illustrations are work from those exhibitions.
$7.50

a slender horizon of light
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle, 2019. Edition unstated.

4 x 5.75"; 16 pages. Digital colour. Saddle stitch binding (stapled).

One in the on-going ephemera series by Coracle. An illustrated essay by Simon Cutts, after the demise of Bill Culbert in March 2019.

Bill Culbert, wikipedia 1/16/20: " William Franklin Culbert MNZM (23 January 1935 – 28 March 2019) was a New Zealand artist, notable for his use of light in painting, photography, sculpture and installation work, as well as his use of found and recycled materials. … He was born in Port Chalmers, near Dunedin and divided his time between London, Croagnes in southern France, and New Zealand. He was married to artist Pip Culbert (1938–2016) and made many collaborative works with artist Ralph Hotere. ... Culbert began to experiment with electric light in 1967."
$7.50

The Seams of Claude Monet
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle Press, 2018. Edition size unstated.

7.5 x 4.75"; 28 pages. Printed digitally. Casebound with embossed image. Cloth bound.

Coracle Press: "An essay on the specificity of its subject. In order that Les Nymphéas might be accommodated in the Musée de l’Orangerie in 1927, the paintings had to be prepared in sections. For his purpose of instantaneous tonal perception, Monet painted false seams onto the canvas, thus rendering the breaks in the structure of the room, the real seams, indistinguishable. What was made as an astute gesture on the part of Monet, becomes upon further reflection an irony on the whole theoretical aims of the Impressionist movement. A spectator becomes accustomed to seams."
$20

In Nannycatch Beck
By Simon Cutts & Kate van Houton
Clonmel, Tipperary, Ireland: Coracle, 2017. Edition of 300.

3.5 x 4.5"; 5 panel concertina. Double sided. Printed digitally. In plastic wallet.

Poem by Simon Cutts from 1995, with watercolors by Kate van Houten.

Nannycatch Beck is a valley in Cumbria, Great Britain. Coracle: "Nannycatch Beck is encountered in the early stages of Alfred Wainwright's 'Coast to Coast Walk' from St Bees Head in Cumbria to Robin Hood's Bay on the east coast in Yorkshire. Beyond Cleator Moor, the Beck is crossed on the way to Ennerdale Bridge, the first night's rest."

Kate van Houten is an American visual artist living and working in Paris.
$15

The 'X' Mas Files
Cards, Folding Cards & Notes from Stephen Duncalf 1994-1999
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle Press, 2016. unstated.

6 x 5.25"; 44 pages. Digitally printed. Casebound paper over boards. Inset title label.

Afterword: "The 'X' Mas Files is a random cross-section of extracts from the postcards, folding cards, and notes received from Stephen Duncalf during the period 1994 - 1999. Its title is not only an overt pun on the existence of the eponymous movie in dubious taste, but also descriptive of the annual cards and ephemeral offerings that printer-poets, artists and writers sent to each other around this time. These were sent by post, and firmly endorsed the mailing system that has so much part of the life of the time.

"So much so, that the exchange here included two items despatched on floor-covering linoleum, that of the cover paper of this book, and also one isolated in the centre.

"But taken overall, and from different times of the year besides that of supposed celebration, these jottings reveal the searching sensibility of their author, battle-hardened to the point of entrenchment, sheltering in a world of his own making."
$20

Nymphaes
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle Books, 2016. Edition of 120.

7.25 x 3"; 3 gate-folds. Printed digitally. Casebound with purple and yellow end papers. Numbered.

Coracle: "In order that the Water Lilies might be accommodated in the Musée de l’Orangerie in 1927, the paintings had to be worked in sections. For the purposes of instantaneous tonal perception, Monet painted false seams onto the canvas, thus rendering the exact seams indistinguishable. What was made as an astute gesture on the part of Monet, becomes upon further reflection an irony of the whole theoretical aims of the Impressionist movement: a spectator is made used to seams. Camouflages. Gemma Three, London 1968-1972."

Simon Cutts: “The inter-relation of the pages and pastings is only atmospheric, and is a model of walking through rooms where a diagramatic camouflage and deception is happening.I suppose it is a book as some sort of architecture, and there is no explanation to it, only a being lost in rooms and flaps.”
$40

Affinity
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle / Peter Foolen Editions, 2011.
Edition of 300.

7 x 8"; 40 unnumbered pages. Printed in duotone offset lithography by R. Booth, Penryn, Cornwall. Photographs of the A boats of the Everard Line taken from The Allen Collection. Hardback linen covers with embossed block printing in 3 colors. Design by Simon Cutts and Peter Foolen.

Another of Simon Cutts' wonderful but maddening simple and confounding productions. This book combines images of the ships from Everard Line whose names begin with A (Affinity is notably – or not – not present) and a letter on the subject of concrete poetry from idiosyncratic and combative Scottish poet and artist Ian Hamilton Finlay to Pierre Garnier.

As is usual with Coracle productions, there is much to be pondered and learned – and enjoyed – from this mix of particularity and peculiarity.
$40

Utopiary
By Simon Cutts & Karl Torok
London: Coracle, 1988. Edition of 50.

10 x 15"; 32 pages. Letterpress printed on Somerset mould-made paper. Eight computer generated and altered images printed by a paint-jet printer. Half bound in green and brown cloth. Paper title on front board.

The portmanteau title – utopia and topiary – is apt for this combination of minimalist poetry and manipulated images.
$150 (Last Copy)

Coracle is a small publishing press directed by artist and writer Erica Van Horn and poet, artist and editor Simon Cutts from what was a small farm in between the hills of South Tipperary Ireland, since 1996.

of Lichen & Moss
Drawings by Kate Van Houten
with writings by Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle, 2022. Edition of 300.

32 pages; 125 x 140 mm. Digitally printed. Casebound paper over boards.

"of Lichen & Moss" features drawings by Kate Van Houten which accompany short vignettes by Erica Van Horn.

Kate Van Houten has collaborated on Coracle publications before such as "In Nannycatch Beck". She has an interest in nature and natural materials. We often overlook these small offerings of the natural world but she brings them forward with her art.

Vignette by Erica Van Horn, Entry 3: “Every stone in the dry stone wall is covered in moss. The vertical wall is green and soft and undulating. The moss makes it impossible to focus on the edges of the stones.”

Vignette, Entry 7: “I have been amassing a collection of silvery lichen up near the orchard. Each time I walk past I add a few more pieces of lichen or else I add a stick that some lichen attached to it….”
$30

Descriptions of Literature by Gertrude Stein
Handwritten by Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle, 2019. Edition unstated.

5.5 x 6"; 144 pages. Casebound paper over boards.

Erica Van Horn: "Her line length was not made by any particular decision. The length of her lines was determined by the width of her ruled notebook page. I did not worry about my line length being shorter than hers. I did not even think about it. Her sentences went from handwriting and later they were typeset and now they are handwritten again. This is just the way things sometimes happen. Writing someone else’s list has been a joy. Handwriting these sentences by Stein has provided me with a glorious kind of escape. It is not my writing. It is her writing. I am not the author. I am the writer. But as I am writing her writing, it demands all of my attention not to change things to make them into my own. As I write one of her sentences in this list of descriptions, I decide that the sentence I am writing right then is my absolute favourite of these sentences and then when I am involved in another sentence and I have to write it again and again to get it written right, I decide that that sentence is my favourite in this list of sixty-six sentences. Having a favourite is just a small thing because I am immediately on to the next sentence and once again I must copy and consider and write as carefully as my poor stiffening hand will allow. This is an exercise in restraint but it is a freedom too. I love the physical and hypnotic movement of my pen on the page. I love writing by hand."
$25

133 Fruit Labels
By Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle Press, 2018. Edition size unstated.

5.75 x 4"; 56 pages. Printed digital in four colors. Bound in yellow glossy wraps.

Pages of images of fruit labels and their names with an introductory essay by Erica Van Horn.

Coracle Press: "A swatch of 25 sheets of peeled-off individual fruit labels, collected as a way of enhancing an understanding of the French. Essentially, an artist's book as it deals with and classifies its single subject."

Erica Van Horn, March 6, 2018: "It is not a new thing for me to play with the tiny labels found on fruit. I think my whole family fiddles with them. My father was never happy until all labels were removed from any fruit which came into the house. He took them off and he threw them away. It was a form of tidying. It might have just been fussing.

"I too remove labels from fruit but increasingly I have been doing it in order to save the labels. I began to line them up on a gridded card and then I wrote the name of the fruit in French. I was able to do this as a way to trick myself into believing that it was a vocabulary-building exercise. The only two fruit words I did not already know were those for Persimmon and Pomegranate. Now that I know these words are KAKI and GRENADE, I am no longer learning any new fruit words. But I am still collecting the labels. Vegetables do not have stickers on them. There is no chance that my learning will extend in that direction.

"I began by writing out four fruit words on a card along with four labels. Now I have extended to six words and six sticky labels per card. I very much like how busy the cards are looking. I do not think I can add more to the cards. The fullness is just enough. I cannot stop looking and peeling and coming home with labels, so I have to continue making the cards."
$15

Em & Me
By Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle Press, 2018. Edition size unstated.

6.75 x 5.8"; 192 pages. 6 black-and-white images. Soft cover in pictorial wrappers with flaps for book information.

Coracle Press: "Em was a sheepdog who never lived far from where she was born in Cahir, County Tipperary. She had a sense of place and a gentleness of temperament, and a way of making all events rituals with an eagerness for them to happen again. She led us through all the years we shared together. The narrative and sequence of this book is taken from entries to the writer's on-line Journal Words for Living Locally ( 2007 - 2014 )."

Maurice Scully, poet: "This is a book centered on the relationship of the author & her dog. It is composed from blogs during her dog’s life & so has an episodic & almost poetically repetitive form. A pet’s life is of course an accelerated & condensed version of a human life, of all animal life & its phases, & so tracks the arc from exuberance of youth to the pathos of old age. Such a theme can lend itself to sentimentality, but Van Horn is the opposite of a sentimental writer: she writes of what-is with clarity & intelligence & lets the given speak for her beloved animal, without enlargement, just as her pet’s acuity is a given of nature, beyond adumbration.

"Em & Me is an unfussy, tasteful production, as one takes for granted from Coracle Press, with good paper, good margins, clear font, pleasantly pocket-sized dimensions, attractive matt wrap-round cover & a good all-over feel to it in the hand. There are four protagonists in Em & Me: the dog, its owner, the countryside, & the owner’s human partner, Simon, this latter a shadowy but significant presence. Simon’s making a gravestone for the dog at the end & speaking to the dog’s spirit at her graveside could be mawkish, but it isn’t. Van Horn’s gift for presenting human feeling, human affection, love & sadness, without sentimentality is exceptional.

"Em & Me is about attachment ultimately: to a pet, to a locale, to art, to a life lived with alertness. An exceptional book. Coming from an exceptionally gifted partnership, whose lifelong project is Coracle Press: Erica Van Horn & Simon Cutts."
$15

Too Raucous for a Chorus
with drawings by Laurie Clark
by Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle Press, 2018. Edition of 300.

7 x 4.9"; 64 pages. Printed four-color offset. Casebound and blocked in two colors.

Coracle Press: "With dropped capital drawings by Laurie Clark, an assembly of shorter texts by Erica Van Horn, of the plight of birds encountered in local circumstances."

Erica Van Horn, 14 November 2018: "I am thrilled with my new book. I cannot stop looking at it. As usual, I have been moving it around the house to surprise myself with its presence. The blue cover glows from across the room. I have one copy here and Laurie has one copy in Scotland. … I think it took us ten years to make this book. We always wanted to make a book about birds together but neither of us ever knew what the book might be. My knowledge of birds is so paltry. Finally these texts came together celebrating bird life, marking both small observations and small disasters. Laurie’s drawings could not be more perfect."

Laurie Clark, the illustrator, lives in Pittenweem, a small fishing village on the east coast of Scotland. With the poet Thomas A Clark, in the summer months she runs Cairn gallery, a space for minimal and conceptual art.
$30

eye-drop calendar
By Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle Press, 2017. Edition size unstated.

5.5 x 3.9"; 2 pages. Pamphlet sewn. Red paper covers with title printed on front cover. In plastic sleeve.

One of the inevitable givens, it seems, one deals with age is cataract surgery. Erica Van Horn has taken this incident from her own life and created this life-event pamphlet. The two page calendar — one page for the right eye, one page for the left eye — was created by her physician to help her keep track of when to administer eye drops. This is an annotated version by the artist – her tracking of treatments and notes on what not to do.
$10

Flight Path
By Erica Van Horn
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2011. Edition of 6.

5.25 x 6.75 x .75"; 6 pages. Accordion. Letterpress. Blue cloth covered boards.

Erica Van Horn: "Flight Path came about as a continuation of my love of the concertina. The book can be seen both page-by-page and as a long panorama of activity. Since 1983, I have worked with both folded paper and casebound concertinas. In the case of Flight Path, the hand-painted pages of sky are the ground for the embossed letter-pressed airplane. The piece is a continuation from Antwerp Airport (1993, edition 35), where I used photo copy on hand-painted pages."

Erica Van Horn, additionally: "My painted pages were cut to size and a block was made from my drawing. He [Simon Cutts] then had the tricky job of placing the planes as close as possible to my plans, using our little Adana press. Once they were dry, the pages were then glued down in order. I am quite thrilled with the results as I like the ephemeral nature of the paint with the solidity of the printed plane and the rigid boards."

Nancy Kuhl, "Narrative and Pattern" from The Book Remembers Everything: The Work of Erica Van Horn: "In her books, Erica Van Horn often explores the elements of visual narrative and the ways those elements of visual narrative might be exploited and subverted within the linear structure of the book. In an entirely modern reinterpretation of the heavy use of patterns found in the borders and backgrounds of much Medieval art, the recurrence of visual patterns frame and shape scenes and figures, underscoring what might be thought of as plot in visual narratives. ... Van Horn's frequent use of the accordion format, which looks and functions like a book but can also be unfolded to reveal a many-paneled panorama, provides her narratives with a page-by-page pace while also calling to mind the scope and grandeur of panoramic images."
$825 (Last Copy)

Books about Coracle, Simon Cutts, and Erica Van Horn.

A Concertina of Concertinas
ByCoracle Press
Clonmel, Tipperary, Ireland: Coracle Press, 2019. Edition unstated.

10-panel concertina 140 x 95mm. Colour printed digitally. In acetate sleeve.

"A Concertina of Concertinas" is a Listing and description of most of the Coracle concertinas over the years.

Coracle Press: "The concertina-form is always with us quietly, openly presenting its facets to the world. Packed away in a box or awkwardly stacked, or standing almost closed on the bookshelf, it may genuinely be the closest to sculpture the printed artefact ever comes. It may be endless in the way the column might have been for Brancusi, an archetype that can be applied to the gathering of parts, perhaps more versatile and certainly more casual than the codex, and as with sculpture, it often defies perspective when stood on a shelf. For Coracle, the concertina has also become the perfect format for the shorter illustrated essay, like this one as bibliography. Mostly, these later productions are printed digitally on Lambeth Cartridge cut to SRA3 size to fit the printer, and their multiple folds grooved and scored by laser from the folding machine - a new possibility from the folding to the middle, and to the middle again, by hand, of the earlier ones. Coracle offers this one by way of thanks to the collection of Stephen Perkins and his accordianpublications blogspot."
$15

Constructed Archive 1959-2016
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle, 2017. Edition size unstated.

8.75 x 6"; 210 pages. Digitally printed with 30 full colour plates. Casebound.

Coracle: "Archive listing of the books, files, and papers of Simon Cutts. The work itself moves from the text on the page through the sequence and development of the book, paper and printing as a form intrinsic to the poem, to versions of smaller plastic objects and larger installations as a means of its resolution."

Simon Cutts, introduction: "This is the archive of the books, files and papers of Simon Cutts, poet, publisher, editor of spaces, and plastic artist. It begins in Nottingham in Britain in the early nineteen sixties as Tarasque Press and later forming Coracle Press in London from the mid-nineteen seventies and in all its later manifestations.

"Notebooks, Diaries and Deskbooks go back as far as the late nineteen fifties and are included until the present date. A large section of photographic documentation of objects made, their exhibition and installation, and the photographic documentation of book and card sequences is also listed.

"Correspondence is often included in the working files previously listed, and the remainder is separately indexed in its own section. This also includes digital files of particular correspondence held under Coracle in the Getty Research Institute.

"The archive is completed by extensive bibliographical, biographical and reference sections, and includes a large section on the locations for both Simon Cutts himself and the places in which he has worked and made books and other objects."
$35

Simon Cutts and Erica Van Horn have been publishing as Coracle Publications for more than 25 years. This section includes samplers of books produced during that time.

A Sampler of Smaller Publications from Coracle
By Simon Cutts & Erica Van Horn
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2012.
Edition of 125.

26 books published by from 1989 to 2012 in a sturdy 11.75 x 14.5 x 2" card box.

1989 by Erica Van Horn (1991)
8 Old Irish Potatoes by Simon Cutts & Erica Van Horn (2011)
After Brancusi by Simon Cutts & Erica Van Horn(2010)
A Canticle for Fred Sandback by Simon Cutts(2003)
Driven Out, Ditched & Deserted by Jason Clark (2008)
FeuillesAlbumesques by Simon Cutts (1982)
Folded Napkins by Erica Van Horn (2006)
Footnotes to a Manual of Shaker Furniture by Simon Cutts (1984)
Forty Funghi by Harry Gilonis with Erica Van Horn(2008)
The A. Goldsworthy Productions by Simon Cutts (2012)
Italian Lesson No.13: Identificazione by Erica Van Horn (1994, 1989, 1992)
Led Astray by Language by Jiri Valoch et al (2006)
Letters from Brno by Jiri Valoch (2010)
A Little Book of Cockles by Laurie Clark & Carla Phillips (2004)
New Potatoes by Helen O’Leary and Paul Chidester (2005)
Palpa by Simon Cutts (1989)
peuran by Harry Gilonis (2007)
Petits-airs for Margot by Simon Cutts (1987)
Rusted by Erica Van Horn (2004)
Short-cuts by Simon Cutts & Erica Van Horn(2011)
Some Alternatives to Flock by John Bevis(2008)
Some More Words for Living Locally by Erica Van Horn(2011)
Sourcebook by Simon Cutts(2004)
Tin Funnel Jug & Dish by Simon Cutts & Erica Van Horn(2005)
With My Left Hand by Erica Van Horn (2006)
With or Without by Erica Van Horn (2010)

There may be a substitution for an item as there are limited quantities for some editions.

A rich stew from this consistently fascinating and rewarding press.
$275

The Book Remembers Everything: "In her Living Locally series, Van Horn celebrates the landscape, culture, and community of her adopted home in rural Tipperary, Ireland. Collecting, documenting, and illustrating the regional language of the area, Van Horn both acknowledges her position as a kind of outsider (a 'blow in,' in the local slang, referring to 'anyone who moves here from somewhere else') and locates herself firmly within the community."

Living Locally
Nos. 1 -40 2001-2019
By Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle, 2020.

34 items in box 7.5 x 10 x 2.5". Paper title label on lid. Books, pamphlets, and cards. Fine.

The complete Living Locally series: 40 items, books, pamphlets, cards. Some works are completely out of print, and this combined set is the only way they can be acquired.

    No.1-8 Some Words For Living Locally 2002 (OP)
    No. 9 Chaynie 2005
    No.10 against mice burn sage 2007
    No.11 Gifts from the Government 2007
    No.12 Small Houses: Buildings of Tom Browne 2007
    No.13 Eight Old Irish Apples 2008 (OP)
    No.14 Rosemary 2008 (OP)
    No.15 Weather Forecast 2008
    No.16 Rain 2009
    No.17 Eight Old Irish Potatoes 2011
    No.18 Some More Words For Living Locally 2011 (OP)
    No.19 A Hot Drop 2012
    No.20 Elderflower 2012
    No.21Born in Clonmel 2012
    No.22The Shop in Grange 2013
    No.23 The Salute 2013
    No.24 Signpost 2013
    No.25 TEA 2013
    No.26 Raft Race 2013
    No.27 Blow-in 2014
    No.28 springs, pins & spirals, blades, hinges & nails, spikes & staples 2014
    No.29 BUS 2014
    No.30 The Cock’s Step 2015
    No.31 I always have an audience (no 1) 2015
    No.32 Abroad 2015
    No.33 Natural Cheese 2015
    No.34 Printing Shed 2015
    No.35 ABOVE 2016
    No.36 A Misplacement of Lichen 2016
    No.37 The Fermoy Pencil 2017
    No.38 I always have an Audience No. 2 2019
    No.39 Distemper Brush 2019
    No.40 Knocklofty Bridge 2019
$175

A Misplacement of Lichen
Living Locally No. 36
By Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle, 2016. Edition of 200.

15.3 cm x 11.8 cm. Printed letterpress. One folded card. In plastic wallet. With fragment of lichen.

"A Misplacement of Lichen" continues Erica Van Horn's observations of the land in which she lives. No. 36 of her "Living Locally" series contains a pressed and dried lichen specimen gathered from near her home in Tipperary, Ireland - from the route to Tullameghlan.
$15

I always have an audience for my work
Living Locally No. 31
By Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle Books, 2015. Edition of 300.

105 x 150mm; 12 pages. 4-page laminated cover. Saddle-stitched binding. Printed digitally.

Van Horn continues the series with this picture book of black and white cows grazing contentedly in the Irish countryside.
$10

Living Locally
By Erica Van Horn
Clonmel, Tipperary, Ireland: Coracle Press, 2014. Edition unstated.

144 pages; 230 x 140mm. Offset in 2-colours. Sewn paperback with flaps.

Coracle Press: "An edited selection from the on-line journal from 2007 to the present and an endorsement of the on-going series of the same title."

"'Living Locally' selects entries from a daily journal written over five years about rural life in and around a farming valley in Tipperary, to the north of the Knockmealdown Mountains. With needle-sharp observation and in plain words, Van Horn makes remarkable what might otherwise have gone unrecorded: the familiarity of neighbours, of animals and of weather, the regularity of the patterns of transaction on roads and in nearby villages and towns, and, from an outsider's perspective, the unfamiliarity of speech and custom. What results is a human geography whose immediacy recalls earlier local and rural records and enquiries, such as the diary of Francis Kilvert in the Welsh Borders in the 1870s, or Cecil Torr's recollections from his Dartmoor village, 'Small Talk at Wreyland'. In common with these is a concern with both the colloquial and the vernacular, and the strangeness found in such a concentration of repetition and usage."

Susan Howe: "Erica Van Horn has produced a meticulous field guide of what it means to be an American discovering the embedded, entangled mysteries of being Irish."

All such jewels should be this affordable.
$20

Bedhangings II
By Susan Howe
Clonemel, Tipperary, Ireland: Coracle, 2002. Edition of 300.

5 x 6.25"; 26 leaves. Letterpress with printed endpapers. Casebound with embossed inlay on cover.

In Bedhangings II distinguished American poet Susan Howe (American Book Award Winner, Guggenheim fellowship, member of the Academy of Arts and Sciences) teases meaning from the movement of language.

Secrecy let me light you in
In shadow something other
echoed and re-echoed only

The dark who can veneer it
That conjoint abstraction will
come to snow let us go back

(SOLD)

Black Bob
By Colin Sackett
Clonemel, Tipperary, Ireland: Coracle, 2008. [Edition of 200.]

4.5 x 6.75"; 124 pages. Letterpress printed. Paper over boards casebound.

A reprint in green covers of the original edition (1989), which had blue covers.

Black Bob, a fictional Border Collie from Selkirk, Scotland, originally appeared in The Dandy, a long-running children's comic, in 1944. This revision of the narrative version of comic art consists of one spread, showing the dog and his master heading three sheep by a rural stream, repeated 63 times. The title information that appears on the front board is repeated but reversed on the back cover.
(SOLD)

Coracle - Small Formats
By Simon Cutts & Erica Van Horn
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2015.

9 x 12.5 x 2.5" cloth-covered clamshell box with title embossed on spine containing 10 books.

Ten Coracle publications brought together in one box:

        Petits Airs for Margot (1986) by Simon Cutts
        Docking Competitions (1996) by Erica Van Horn
        lines from walls (1996) by Simon Cutts
        The Cot Notebook (2004) by Thomas Cuddihy
        eclogue (2004) by Simon Cutts
        onglet (2009) by Simon Cutts
        Poems Found in a Pioneer Museum (2009) by Susan Howe
        with and without (2009) by Erica Van Horn
        Some More Notes (2010) by Simon Cutts & Bill Culbert
        Modern Dutch Interiors (2014) by Simon Cutts & Erica Van Horn

(SOLD)

Cork City
By Peter Downsbrough
Clonmel, Tipperary, Ireland: Coracle, 2017. Edition of 300.

9 x 6"; 60 pages. Offset printed. Casebound. Contact strip of the city photographs set into the cover.

Coracle: "Printed photographs made on the visit to Cork in 2011, to participate in the 'In Other Words' exhibition at the Glucksman Gallery. ... [C]ontains two maps of the city ... The images convey the parallels and verticals of his photographs set in the sequence of book form, his usual medium."

Peter Downsbrough was born (1940) in New Jersey but now lives and works in Brussels.

Art Dictionary, (accessed 5/25/18): "Peter Downsbrough … studied art and architecture and, like Robert Barry, Sol LeWitt, and Lawrence Weiner, is one of the artists who continue to use the book as another space to present their work. Since the early seventies, he has incorporated text and line drawings into his books, later integrating maps and photos of urban spaces. His consistent and sharply delineated oeuvre is devoted to examining the meaning of space and place."
(SOLD)

Fly Falls in Milk Jug: News in Haiku
By Maureen Van Horn
Clonmel, Tipperary, Ireland: Coracle, 2017. Edition of 100.

6 x 4.25"; 32 pages. Casebound. Numbered.

Coracle: "Selection of haiku from the banner heading of the second section of the Concord Monitor, Concord, New Hampshire. These seventeen syllable forms encapsulate items of current news that may well be covered elsewhere in the newspaper by more extended description. This book is a collection of some of those haiku to date, a celebration of their range and task."

Haikus by Pittsfield, New Hampshire, poet Maureen Van Horn.
(SOLD/Out of print)

I prefer the streams of the mountains to the sea
By Simon Cutts
Clonmel, Tipperary, Ireland: Coracle, 2017. Unstated.

5.9 x 4.1"; 16 pages. Digital and lettterpress printing. Saddle stitched (stapled) bound in white covers with title in black on front cover.

Coracle: "An eighth book in the ephemera series, this one charts the history of the author's poem from the late sixties in its various guises and appearances on paper to installation."

Simon Cutts: "A poem begun in 1969 as a postcard hand-written by Robin Bailhole, issued by Tarasque Press, and has taken different material forms and placements. It was re-issued in 1971 with the addition of the word 'still', using the same script as the earlier postcard. Then in 1992, it was issued again with the placement of the word 'still' at the end of the poem and printed in dark green and thermographed. Ian Hamilton Finlay re-interpreted the poem, with annotations, for his book "straiks' of 1973. The poem remained fallow at times, but always constant. It was then made as a blue neon of the poem for 'Some Versions of Light', a collective exhibition in 2004 ... Finally the neon version of the poem was permanently installed in the grounds of Chateau de Rouret, Grasse, in the Alpes-Maritimes in France in 2012. From 2014, the poem also resides as a thin film of vinyl lettering on the gable end of the house in Ballybeg, Tipperary, Ireland, where it was first painted as a sign in 1998."
(SOLD)

Kidnapped
By Susan Howe
Clonemel, Tipperary, Ireland: Coracle, 2002. Edition of 300.

5.5 x 8.125"; 98 pages. Offset with five 4-colour tip-ins. Casebound in illustrated dust jacket. Photographs by Peter Hare and Susan Howe.

A dense mélange of memoir, essay, and poetry - all revolving around reading - Kidnapped (the allusion and pun are exemplary) is an early version of Howe's much acclaimed The Midnight.

Susan Howe, interviewed by Jon Thompson of Free Verse: "I don't think I would have noticed the ramifications of obsolete interleafs in old volumes had I not been brought up in a household where everyone loved books and where the theatre and lecturing was of central importance. Authors such as Eliot, Woolf, Wilde, Yeats, Synge, and Joyce were as familiar as bread and butter, but so were Dickens, George Eliot, Tolstoy, Hugo, the Brontës, Thackeray, and Jane Austen. You might say that the interleaf in Uncle John's copy of The Master of Ballantrae is a punctum. Through it I conjure up everything I feel about odd volumes as uncanny objects. The semi-transparent sheet is a curtain or maybe a scrim. On one side is the author of 'Dr. Jekyll and Mr. Hyde,' A Child's Garden of Verses, Kidnapped and Ballantrae; on the other, an assortment of real personalities who surrounded my childhood. That obediently disobedient thin piece of paper can transport me anywhere. If it were a character it would be Bartleby."

Reader of poetry this book
contains all poetry THOOR
BALLYEE in seven notes for
stage representation May
countryside you reader of
poetry that I am forgotten
Long notes seem necessary
Unworthy players ask for
legend familiar in legend
the arrow king and no king

(SOLD)

a line only a word
By Simon Cutts
Ballybeg, Grange, Clonmel, Tipperary, Ireland: Coracle, 2013.
Edition of 200.

4.75 x 6.25"; 4 Japanese-fold double pages glued to the spine of the book. Paper covers with title on front cover.

Coracle: " Permutational poem for Robert Lax and Cid Corman made translucent and only readable in certain conditions of light and air."

(SOLD)

The Purification of Fagus sylvatica var pendula
By Paul Etienne Lincoln
Ireland / New York: Coracle / Granary, 2005. Edition of 600.

8.5 x 10.25"; 50 pages. Offset printed in two colors. The images are printed on coated stock, the text on Snowden Cartridge. Casebound in Avon midnight blue clothhes.

Colophon: "The Purification of Fagus sylvatica var pendula was produced and first exhibited for the exhibition Crossing the Line, organized by The Queens Museum of Art, June 24 - October 7, 2001."

Paul Etienne Lincoln, from the beginning of The Purification of Fagus sylvatica var pendula: "Situated at the perimeter of Weeping Beech Tree Park in Queens, New York, was a small pavilion looking on to a stump of the oldest weeping beech in America. In 1847 Samuel Bowne Parsons, a Quaker and a nurseryman, purchased a shoot of weeping beech, Fagus sylvatica var pendula, in Belgium, while traveling in search of unusual plants. On his return to the United States he planted the shoot at the site of the stump, then part of Parson's nurseries. Every weeping beech in America is descended from this one tree. Regrettably, the stump is all that remains, as shortly after this venerable tree's 150th anniversary in 1997 it died and was cut down. The tree had, however spawned seven progeny, which still grow in a circle around the original beech."

Granary: "Comprised of text, diagrams, and 50 black and white photographs, The Purification records the series of experiments and performance which detail the afterlife of a specimen of local vegetation. It is emblematic of Lincoln's inquiry into the origin and production of memory and our ethereal relationship to that intangible evidence of our consciousness. In this pursuit, Lincoln has employed diverse forms and themes, ranging from examination of historical figures to detailing anything from New York City infrastructure to 'household' machines that dispense gin-and-tonics (mixed at varying strengths).

"Over the past two decades, Lincoln has committed himself to creating complex installations, recordings and documentation on a wide range of subject matter. The Purification follows his investigation of the weeping beech as a way of detailing the process of examination and history-writing, which is ever shifting and defining the world around us."
(SOLD)

Selected Postcards 2017
1978-2017
By Erica Van Horn, Simon Cutts, et al
Clonmel, Tipperary, Ireland: Coracle, 2017. Unstated.

5.5 x 7 x1.4" green paper covered box containing 51 postcards (50 postcards + title card). Printed by letterpress, four-colour offset and digitally, even handpainted, on millboard and card of various weights.

An assortment of Coracle postcards by Erica Van Horn, Simon Cutts, John Bevis, Les Coleman, Tony Cragg, Bill Culbert, Chris Drury, Stephen Duncalf, Harry Gilonis, Antony Gormley, Percy Grainger, Bernard Lassus, Richard Long, Paul Lincoln, Kay Roberts, Colin Sackett, Patrick Saytour, Yoko Terauchi. These cards document projects and books, collaborations and individuals of the press' history since 1978.
(SOLD)

Some More Words for Living Locally
Living Locally No.18
By Erica Van Horn
Tipperary, Ireland: Coracle Books, 2011. Edition of 200.

4 x 6"; 24 pages. Photocopy and letterpress in 5 colors. Illustrated wraps. Hand sewn binding. Paper title label on front cover.

A sequel to the earlier edition of 2002, with more involved contexts and narratives.

The Book Remembers Everything / The Art of Erica Van Horn Exhibition, Beinecke Library: "In her Living Locally series, Van Horn celebrates the landscape, culture, and community of her adopted home in rural Tipperary, Ireland. Collecting, documenting, and illustrating the regional language of the area, Van Horn both acknowledges her position as a kind of outsider (a 'blow in,' in the local slang, referring to 'anyone who moves here from somewhere else') and locates herself firmly within the community. The Living Locally series also calls attention to Van Horn’s sheer love of the curious and quirky turns she finds in English, the aurally pleasing sound combinations, the paradoxically conflicting meanings from one locale to another, and the language’s endless flexibility and transformability."

The car mechanic always reminds me
that I am not from here. It has become
a bit of a game for him. When I say Two
Thirty, he says Half Two. Then I ask if
that isn't what I just said. He says No,
you said Two Thirty. Here it is Half Two.

(SOLD/Out of Print)