New York: Béatrice Coron, 2021. One of 2 copies. In this intriguing work, book artist Béatrice Coron has created a book with pages that capture the mystery of the palimpsest. A palimpsest can be defined either as a manuscript or piece of writing material on which the original writing has been effaced to make room for later writing but of which traces remain; or as something reused or altered but still bearing visible traces of its earlier form. For this work Coron has affixed several tiny pieces of paper with handwritten French words to the pages, floating seemingly at random. There are also several pages where some of the paper has been cut out as if words have been erased, but then has handwritten text appearing over the cut-outs, leaving the viewer perhaps to wonder what has disappeared. Coron is perhaps best known for her paper-cutting skills and artistry that she brings to the books and installations she creates. Of these, most are what she calls narrative allegories in silhouette. This new book also draws on her paper-cutting art but in a manner much different from her narrative silhouettes. The book opens as a codex but has an accordion structure. It has grey cloth covered boards. In fine condition. Hand-cut with handwritten text. Size: 8 x 5.5 x .75 inches. ARTB/081921. Fine. More

New York: Béatrice Coron, 2016. Paperback. Number 3 of 6 copies. This witty and amusing work was a collaborative project between paper maker, Aimee Lee and papercut artist, Béatrice Coron, based on texts by Mick Stern. They had great fun creating 18 images and "field notes" of improbable ducks. For example: "Duck blinds - He navigates by Ultrasound, GPS and a cane." Or, "Duck Soup - The Marx Brothers' Favorite Lunch." Coron's handcut Tyvek duck images are laminated within hand-made paper made by Aimee Lee, with handwritten text on each sheet. These 18 sheets can be viewed individually or displayed as an installation. The paper is sewn along the top and bottom? edges to allow for a rod to be inserted for display purposes. Housed in a stiff paper portfolio with title and description on attached tab. In fine condition. Each sheet measures 9 x 9 inches. Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website] ARTISTSB/081921. Fine. More

New York: Béatrice Coron, 2002. Paperback. 1 of 3 copies. Christina Favretto, Head of Special Collections at the University of Miami describes her work in Coron's "artfragments" portfolio: "There is a palpable joy in the work of Béatrice Coron, the kind of joy we felt as children in unwrapping a particularly enticing holiday gift. But...for Béatrice the gift is a sheet of Tyvek...or paper, and the stories to be unearthed and unleashed within and through the medium." Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website]. Inkjet printed text with hand-cut paper illustrations. Size: 4.5 x 6.5 inches. ARTB/081921. Fine. More

New York: Béatrice Coron, 2002. Paperback. 1 of 3 copies. Christina Favretto, Head of Special Collections at the University of Miami describes her work in Coron's "artfragments" portfolio: "There is a palpable joy in the work of Béatrice Coron, the kind of joy we felt as children in unwrapping a particularly enticing holiday gift. But...for Béatrice the gift is a sheet of Tyvek...or paper, and the stories to be unearthed and unleashed within and through the medium." Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website]. Hand-cut on Arches paper. Size: 5.75 x 6.25 x .75 inches. ARTB/081921. Fine. More

New York: Béatrice Coron, 2013. Paperback. 1 of 12 copies. A collaboration between Béatrice Coron and Shirley Sharoff. Christina Favretto, Head of Special Collections at the University of Miami describes her work in Coron's "artfragments" portfolio: "There is a palpable joy in the work of Béatrice Coron, the kind of joy we felt as children in unwrapping a particularly enticing holiday gift. But...for Béatrice the gift is a sheet of Tyvek...or paper, and the stories to be unearthed and unleashed within and through the medium." Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website]. Hand-cut on paper. Size: 6 x 10 x .5 inches. ARTB/081921. Fine. More

New York: Béatrice Coron, 2016. Paperback. Number 3 of 3 copies. This intricate work created by Béatrice Coron beautiful displays her skill and artistry in papercutting. A sea blue book case opens to reveal the mystery, diversity, and wonder of the Galapagos through Coron's hand cut creation, made from a single sheet of black Arches paper. The individual pages unfold to show a scene 44 inches long. The viewer sees silhouettes of water, land, birds, sea creatures, and more. Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website] Christina Favretto, Head of Special Collections at the University of Miami describes Coron's work in Coron's "artfragments" portfolio: "There is a palpable joy in the work of Béatrice Coron, the kind of joy we felt as children in unwrapping a particularly enticing holiday gift. But...for Béatrice the gift is a sheet of Tyvek...or paper, and the stories to be unearthed and unleashed within and through the medium." Size: 8 x 44 inches when unfolded. 5.5 x 8 inches when folded. In fine condition. ARTB/081921. Fine. More

New York: Béatrice Coron, 2001. One of 12 copies. In this lovely book Béatrice Coron illustrates and decorates this poignant poem, "Sardines a l'Huile" (Sardines in Oil) by Georges Fourest. Fourest (1864-1945) was a well-known French writer and poet. His poem describes the sad fate of sardines in their oil filled tins and imagines them freed after death to ascend to a paradise for fish where they may swim and pray for us. Coron combines her papercutting artistry with handmade papers for this book. Ink jet printed. In a cloth covered binding with a cut-out to front cover to display the title. The rear pastedown has a surprising color diorama of fish swimming in the sea. A silver string with a tiny metal fish attaches the text pages to the binding. In fine condition. Measures 5 x 6 inches.  Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website]. ARTB/081921. Fine. More

New York: Béatrice Coron, 2013. Paperback. Number 6 of 6 copies. This is an inventive book that renowned book artist Béatrice Coron did with her frequent collaborator, the poet Mick Stern. In his poem, Stern asked an onion, "Who am I?" The onion replies by instructing the seeker to look inside of the inside; peel away name and address; peel off family, country, religion; remove language, gender, and race; teling the seeker that he is left as a tear that dried on his mother's cheek as she chopped an onion. Coron's illustrates the poem by cutting an onion shape on each page that gets smaller as the pages are turned. The shape on the last page is the mother's tear. Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website]. Hand-cut on textured white Fabriano paper. Housed in a yellow paper sleeve with a cut-out revealing the onion shapes of the book's pages. In fine condition. Size: 6 x 7 inches. Unpaginated [13 pages printed on verso only]. ARTB/081921. Fine. More

New York: Béatrice Coron, 2014. Paperback. Number 2 of 6 copies. This poignant yet also exuberant book is a collaboration by well known book artist Béatrice Coron with painter, Laura James, and poet, Tiffany Osedra Miller. Coron describes her book work: "For more than 20 years I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website]. In this accordion book, Coron's evocative papercuts are married to Laura James's colorful painted pages, with Miller's lovely poem handwritten across the pages in black. The covers are black with a white and red title label to the front and colophon on rear cover. The backs of the pages are painted gold. Hand-cut and painted on Arches paper with hand-written text. Housed in a yellow cloth covered book case. Size: 66 x 6 inches when open. 5 x 5.5 inches when closed. Unpaginated [10 pages] ARTB/081921. Fine. More

London: W. Rawlins, S. Roycroft and H. Sawbridge, assigns of Richard and Edward Atkins, 1683. Hardcover. The third impression, carefully corrected, with the addition of many thousand of references never before printed. George Croke (1560-1642) began reporting law cases in 1581, and is mentioned as an advocate in his own reports in 1588. He established a lucrative practice and built up estates in Oxfordshire and Buckinghamshire. Croke’s law reports, published after his death in a translation from the law French by Harbottle Grimston his son-in-law, soon occupied a considerable place in the authoritative literature of the common law. The 12 active years which he spent on the King’s bench coincided with some of the great constitutional cases of the century. This is the last of three volumes that covered the reigns of Elizabeth I, James VI, and Charles I. Bound in contemporary brown leather with red title label to spine. Leather is rubbed, chipped, and bumped. Offsetting to pastedowns and free endpapers. Early ownership signatures on front pastedown. Title page is torn along the right margin and all pages have aging to margins. Still very good. Quarto volume. 610 pages plus two tables of cases and of abstracts of matters and points of law. LAW/041412. Very Good. More

London: Archibald Constable & Co, 1909. Hardcover. Cyril Davenport (1848-1941) was a bookbinder and author who wrote extensively on the history of bookbinding. He also wrote on topics as diverse as jewelry design, architecture, heraldry, the English royal regalia, mezzotints and other types of illustrative reproduction. This book by Davenport was owned by Thomas Parkin, who apparently organized a series of lectures by him on some of his areas of expertise, including one on heraldry. Tipped in are several articles from 1914 from the Hastings and St. Leonards Observer reporting on the talks. Tipped in is a note from Davenport to Parkin about an upcoming visit. Another note from an unidentified correspondent to Parkin cancels a visit and asks about one of Davenport's books about bindings. Tipped in the rear of the book is a 1910 copy of the Journal of the Royal Society of the Arts that includes the text of a Davenport lecture on miniatures. Bound in maroon cloth that is bumped with signs of handling and with a faded spine. Interior pages are clean and bright. Illustrated throughout with black and white images of the book stamps. Very good. Small octavo. 451 pages, BOB/040521. Very Good. More

Madrid: Industrial Grafica, 1930. Hardcover. A handsome copy of De Winthuysen's classic work on Spanish gardens. De Winthuysen (1874-1956) was a well known Spanish artist and garden designer. He worked on the recovery and redesign in neo-Classical style of various gardens in Spain, many photographed in black and white and described in this volume. Bound in full brown leather with original paper covers and spine bound in. Accession number stamped on original paper front paper cover. Leather is very good with slight bumping, some rubbing along spine, and small chip to rear upper corner. Scratch on first cover. Red leather spine label with title and author. Inner dentelles and marbled red, green, and gold endpapers. Interior pages are also in very good condition. Owner bookplate affixed to rear free endpaper. A lovely book honoring the creation and design of gardens. In Spanish. Small quarto. 131 pages plus index. GARD/052021. Very Good. More

London and New York: Harper & Brothers, 1898. First English edition. A nice copy of this classic work by George Du Maurier, with his own black and white illustrations throughout. Bound in publisher's dark blue cloth with gilt titling to spine and front cover, and gilt vignette illustration to front cover. Some wear, bumping and rubbing. Slightly cocked. T.e.g. Light aging to text pages and a bit of foxing to first and last few pages. Ownership signature on half title and bookplate of collector Mark Samuels Lasner affixed to front pastedown. Very good condition. 471 pages plus 4 pages of publisher ads. LIT/042121. More