July 1970

35.5 X 31.5cm, b/w offset lithographic offset reproduction of an original photograph of the first version of Finlay's perhaps most famous work. The lithogrpah is tipped on to thick board and with a title card above the image. A exhibition print more than likely.
This image is an important one because the sculpture (a carved wooden work) is installed in the ground in Little Sparta and the last time I saw it was beginning to rot away. I brought that to Finlay's attention and he told me "let it return to nature".
The work is the first version of "EVENING WILL COME. THEY WILL SEW THE BLUE SAIL" and shows the text next to a "sil" which is also a gnomon for a sun dial. This gives the work a different meaning from the later famous print (see separate listing here in prints for a long discussion of that work). The use of a sun dial visual pun emphasises the role of time in this work much more than in the later evolution of the idea. The photograph was taken by Jim Styes

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Little Sparta: Wild Hawthorn Press, 1970
46 × 58.9cm, blue and brown silkscreen on white paper with a drawing by Richard Demarco of a homeward bound boat . The title of the work refers to the way a boat's engine (which was oen the method used to propel the boat at the end of the fishing trip to port) caused a rhythmic splash of white foam. The even spacing of the "put put" meant that the white specks against the blue water looked like a continuous stitch of white cotton. VG.

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Paris: s.p. (Paul-Armand Gette) 1970 10.5 x 13.5cm, 1pp b/w photographic image (taken by Gette) of a bag or some paper blowing past trees and part of the stonework in the Parc Buttes-Chaumont. This was from the second Promenade which took place around May 1970 when Gette joined Christian Boltanski and Jean Le Gac for a dérive (which had previously been used as means to creativity by both the surrealists and the situationists).  During the walk, Boltanski placed some balls of dried earth in an alleyway, PA Gette hung some crystals  and Le Gac documented part of the journey by taking photographs.  On the back of the card there is a message hand-written by Turid (wife of Paul-Armand Gette)in black ink to Paule Léon Bisson-Millet. VG+. Very rare.  ...

Dunsyre: Wild Hawthorn Press, 1970
7.2 x 10.2cm, 14pp. Concertina folded single sheet printed on both sides. Each image is an appropriated headline from the trade journal Fishing News - the headlines are more poetic when isolated from their origins. For example "Fishermen turn to mackerel" alters the story from a decision to change fishing strategy to that of a sea myth. Some of the works show here were published as individual artist's postcards also by the Wild Hawthorn Press. VG. There is a line drawing by Margot Sandeman at the second page of the publication.
One could make the case that this is a folded card rather than an artist's book but traditionally Murray has it in the artist's books section of his catalogue raisonee and we have decided to accept that catagorising with some reservations.

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Sunderland: Ceolfrith Bookshop Gallery, 1970
35 x 28cm, plastic bag with printed card header/closure content of 4 sections of commentary (by Stuart Mills) and 9 poem cards including dsh's GROVE SINGS RIVER A SONG which is a folding sheet designed to stand on a mirrored glass in such a way that the hand-drawn text 'glove sings' is read in its reflection as 'I love sings': the work is dedicated to Ian Hamilton Finlay by dsh.
Finlay's contribution to the publication is smaller in that Homage to Malevich (lackblockblackb version) is reproduced in the essay Concrete Poetry by Stuart Mills and the book Canal Game, the prints Star/Steer and Acrobats, the work Au Pair and three cards from Rapel were exhibited in the show.
Some rust to the staples and minor wear to plastic bag and header but else this is a very hard to find item and the first of the Ceolfrith publications.

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Bern: Benteli Verlag, n.d. (1970)
11 X 18CM, 2pp announcement card for the publication of the book "Von Hodler zur Antiform" edited by Harold Szeemann. Many small images of artists or works on the front, verso subscription details. This card is stamped in blue "Free International University" and signed in red felt-tip pen by Beuys.. VG+.

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Dunsyre: Wild Hawthorn Press, 1970
58 x 51cm, black and silver on white silkscreen. The ship drawn by Ron Costley has elaborate rigging and sails - hence reflecting Mozart's highly complex musical forms. A visual poem.
The image we have used here is from a publication - the print we hold is framed in wood and glass and hard to image without reflections - but the work is in VG+ condition.

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