Cambridge: Form Magazine, 1966 24 x 24cm, 32pp plus typographic wrappers. This single number from series of magazines edited by Philip Steadman, Mike Weaver and Stephen Bann - here the third number which contains a section called "Poems by Ian Hamilton Finlay" which reproduced four works = Star/Steer, Purse-net Boat, Line Boats and the untitled but usually known as Planet. Interestingly the "circle" of Planet is placed more anti-clockwise than the print in Linea Sur of the same work (the reason may just be a mistake in layout in one of the publications). Purse-net Boa and Line Boats are less commonly found and there is an annotation by Finlay explaining that a Purse-seine is a "new kind of net that makes an actual ring arund the fish. It has been immensely profitable.".
Elsewhere there are works by Ernst Jandl, Paul de Vree, Kenneth Robinson and articles Charles Biederman, 'The Electrical -Mechanical Spectacle' by El Lissitzky., Great Little Magazines No 3: 'G' with work by Kurt Schwitters, Theo van Doesburg, Mies van der Rohe, and Miklos Bandi. VG+

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N.p. (Ceres?): s.p. (FInlay? or Tarasque Press?), 1966
23.2 x 11cm, 2pp plus blue printed wrappers. An unusual artist's book which appears to be hand made and has on the front a concrete poem by Finlay:

Arcady ABCDEFGHIJKLMNOPQRSTUVWXYZ

then stapled inside is a much smaller sheet of orange paper (Finlay likes the combination of blue and orange - a colour scheme he uses often in prints and books) on which is a handwritten note in blue ink from Finlay: "Happy Christmas and love to Martin from Ian - Christmas '66"
This small book is in VG condition but two stains (brown marks) to the front of the wrappers and some creasing to the top of the sheet
JOINT TO THE BOOK:
20 x 12.5cm, 1pp hand-typed insert on pink typing paper: "Some questions on the poem, for Christmas Day." listing questions that may be asked of the poem and the writer's intent. VG+.t
JOINT TO THE BOOK:
20 x 12.5cm, 1pp hand-typed insert on green typing paper: "A question on the questions, for Boxing Day." Some browning to the centre of the page near the fold else VG.

This is an early and somewhat limited run artist's book, one of the inner typed sheets are mentioned in the Murray catalogue raisonne as the second "miscellaneous" item (7.2) but clearly Murray did not know of the rest of the publication.
Issued at Xmas, the poem by listing all of the letters of the alphabet and comparing them to Arcady (the mythical utopian country - a place to strive to live) Finlay is suggesting the world of letters, words and symbols is an utopian land for poets.
The additional typed letters may just be fun things to do on Christmas Day and Boxing Day but are really clues to how to 'read' the poem. And in the second letter how to 'read' the questions.
The hand typed and hand-written aspects of this publication may indicate that very few were produced - it is not unique given that Murray had an example of one of the letters but we have never seen another copy. Murray has this as being published by the Tarasque Press and that is possible but the hand- made aspects would suggest it was Finlay himself. Reading the published letters between Bann and Finlay for the months around Xmas 1966 does not find any reference to the book at all so we are for now flummoxed.

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Edinburgh: Wild Hawthorn Press, 1966
9.7 x 138cm, 16pp (recto only). Original wrappers with printed mustard dust jacket. Small artist's book with childlike drawings Emil Antonucci, which are mostly visual puns by Finlay but also all are patches of some kind. Finlay has used the metaphor of a patch in many different works and formats - often as a symbol of the poverty or resourcefulness of rural communities. The print here is light blue and black on white. Murray has this as 3.20.
Another in the series of books which Finlay has entitled with the word Stripe in the title.

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Paris: Gallery du Tournesol, November 1966
25 x 36cm, 28pp on uncut cartridge paper - an artist's book with 10 original lithographs by Juan Romero and a poetic text. Loose signatures which were released uncut (probably awaiting private binding). Published by Boltanski as part of his activities as a gallerist during his first steps in the artworld. VG+. Extremely rare.

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Dunsyre: Wild Hawthorn Press, 1967 21 x 15cm, 4pp offset lithographic price list for the Press. This is the first mention of the change of address as Finlays had just moved to Dunsyre and the Stoneypath Farm. Additional is a long list of new publications as the Press became more prolific. Sea Poem by Robert Lax, Vasarely's early print and other early books and standing cards such as 4 Sails are mentioned as well as POTHs. VG+. ...

Wisconsin: The Beloit Poetry Journal, 1966
21 x 14cm, 40pp plus pictorial wrappers. Single number of this long running Chapbook which here dedicates itself to the concrete poets. Works by all the leading figures including Gomringer, de Campos, dsh, Gerhard Ruhm, Poierre Garnier, Edwin Morgan and Robert Lax amongst others are joined by Finlay - who has three page works including a schematic redrawing of his 4 Sails standing poems which as best we know is not reproduced elsewhere. The cover is also a glass work by Finlay - Rock Wave. VG+.

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Edinburgh: Wild Hawthorn Press, 1966
10 x 25.5cm, 28pp (recto only) printed on different coloured papers (of different thicknesses) with card covers. Metal slide binding. Twenty eight concrete poems by Finlay. A rather attractive early book. Quite scarce. Murray has this as 3.19.

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Stoneypath; Wild Hawthorne Press, 1966
26 x 21cm, 12pp. The twenty-first number of Finlay’s poetry publication - wholly consisting of concrete poems by Edgard Braga and Augusto de Campos; and designed by Nigel Sutton (typography and layout). Unusually printed red on white. VG+ condition. Scarce.
INSERTED:
21 x 10cm, 4pp. Subscription form for the MIGRANT PRESS with bibliographical history.
This was the first number of POTH published at Stonypath (Later Little Sparta) as Finlay moved there with his partner Sue during 1966. After earlier locations in Edinburgh and Fife this was Finlay's final home for the next 50 years until his death in 2006.

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Dunsyre: Wild Hawthorn Press, 1965
55 x 43cm, black on white silkscreen with 54 x 42cm white on plastic overlay. An abstract pattern which when the overlay is moved creates a kinetic work in the emerging style of Op-Art. This is one of the rarest of Wild Hawthorn Press works to find - sometimes it was sold without the overlay with Finlay's blessing.

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Dunsyre: Wild Hawthorn Press, 1966
21 x 9.5cm, 24 pp plus card wrappers and illustrated dustjacket. A series of "constellation" works (as per Gomringer's vanguard poems) where trios of words are placed in a grid and combined to give different word pictures. Each is illustrated by a linocuts by Zeljko Kujundzic. .
This example is signed "love from Ian, 1966" in thick green felt tipped pen on the first blank end page. VG+.

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Paris: Editions Jean Pierre Oswald, 1966 17.4 x 10.4cm, 160pp plus card covers. First edition of this novel with added poems for which Boltanski was commissioned to create two drawings on the front and back wrappers. The drawings are of an abstracted figure (an egg shape with legs) in a city of tower blocks on the front of the book and on the back, and the same figure in the countryside near a river seen from above. This was Boltanski's first ever published work and is the first entry in Jennifer Flay's catalogue raisonnee. VG+ although the covers are slightly browned. Rare. Ref Flay Catalogue Page 5.

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