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Napoli: Linea Sud, 1967
22 x 16cm, unpaginated (40pp) plus one fold out page and original printed wrappers. A single number of this avant garde art journal here dedicated to experimental and visual poetry (poesia visiva). Included are L. Caruso, G. Desiato, E. Villa, I. Isou, M. Lemaitre, (unusually this journal includes Lettrisme as experimental visual poetry when it is often overlooked) J.P. Garnier and others. However importantly there are also two folded poem silkscreen posters by Ian Hamilton Finlay (each opens to 60 x 36cm) which are different in format to other prints of the same works - one is Planet which is printed in brown and somewhat loosely - and the other - is SEEM SEA which appears to be very similar to the Wild Hawthorn Press print SEAM with a similar use of the space between the letters of the word. Printed in blue this is a another nautical inspired work by the poet - with elements of alliteration and homophony playing with the relative placing of the works on the page. This print was only ever published as this insert into the magazine and is very rare - the journal is often found without the prints or with one or the other missing. This is a complete publication in VG+ condition with like prints.
We feel these works should be categorised as prints in their own right and not as contributions to a magazine.

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Dunsyre: Wild Hawthorn Press, 1967
57 x 44.5cm, black silkscreen on gold thin paper. A concrete poem where the word "ajar" is repeated several times in a vertical column. Because of the repetition of the same letters "wedge shapes" can be left in the text and the words still read easily diagonally - hence reflecting the angles of an item being "ajar".
Finlay's choice of paper was perhaps a mistake here as it is poor quality and many copies we have seen have the same fault as here - an ugly diagonal crease as the paper is brittle and always seems to us to be wrapping paper that could be better used for wrapping than print. Murray 5.9.

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Dunsyre: Wild Hawthorn Press, 1967
12.8 x 10.5cm, 32pp. Card covers with printed dust jacket. An artist's book the title of which refers to a wild bird - interestingly not found in Scotland - which had a loud piercing song which is often claimed to be like two stones being hit off each other. The concrete and experimental poems inside take different forms but one new format found here are two phrases one above the other which together give a poetic description.

THE BOAT'S BLUE PRINT
water

On consideration of the couplet one can see that the displacement of water by a boat might be seen in relativistic terms that the water is forming the shape of the boat above. Poetic if not good physics.

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Copenhague: Berg, 12 Fevrier 1967
21 x 15cm, 1ppOriginal carbon copy of a typed and signed letter from M Berg noting Boltanski's news of the new gallery and that he was obtaining great pleasure from the Romero painting that he had bought.
After asking if there would be a new Romero exhibition this year, Berg mentions for the first time the novel he is involved with and asks if Romero might be interested in designing the cover?
Finally he also gives notice that he most likely will visit the Gallery in May of 1967.

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Stoneypath; Wild Hawthorne Press, 1967
30 x 21cm, 12pp. The twenty-second number of Finlay’s poetry publication - works by Charles Biederman and designed by Philip Steadman (typography). The text uses the metaphor of reading a book and turning a page to how new ideas and times enter life. Two b/w images of forrest landscapes. This number of POTH is much more like a standalone artist's book than the more typical journal. VG+ condition. Scarce.
INSERT:
23 x 14cm, 1pp. Black on blue. A promotional leaflet for Biederman's book Art as the evolution of visual knowledge. Art History Publishers.

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