The Seams of Claude Monet

Simon Cutts


28pp 185 x 115mm printed digitally and casebound with embossed image. 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.

€15.00 CB

The Struggle of The Fly in Marmalade

Simon Cutts


Digital print in folder 250 x 95mm in four colours with rubber stamp fly and foil bocked cover, after the stanza by W.B.Yeats, to whom it is dedicated. For those who love the world / Serve it with action / And should they write or paint, / Still it is action / The struggle of the fly in marmalade. Edition of 50 numbered copies

€25.00 Pr/P

The Balthus Poems

William Minor


84pp 165 x 115mm printed digitally.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.

€10.00 P

Em & Me

Erica Van Horn


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 ) 192pp 170 x 125 paperback with 6 black and white images. ISBN 978-0-906630-55-6

€12.00 W


Randall Couch


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. 144pp 235 x 170mm, casebound with headbands, printed three-colour offset. Typography by Colin Sackett, and perhaps one of the most elaborate of Coracle productions. 300 copies

€40.00 P

Four Trees

Joan Roth


Sampler of the work of the photographer Joan Roth. Two whole plate images interleaved with japanese tissue, a frontispiece, and a cover image set into the cover of the book. They are taken from a handful of originals 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, but bhere the two centrefolds are of eucalyptus trees in Elk, California. The images are first printed as silver nitrate gelatin prints on mould-made or hand-made paper, exposed lightly in the darkroom from the negative. More detail and darkness is then added by graphite pencil. 100 numbered copies, printed digitally, casebound, 310 x 225mm, with embossed cover image.

€25.00 Ph