December 1971

Dunsyre: Wild Hawthorn Press, 1971
12.5 x 9.1cm, 4pp. Artist's card with a photographic image of a kite on the front. Internally the text reads: "Willing Wings. A Wild Hawthorn kite sets off on a leaflet raid, it's target The Arts Council of Great Britain, or possibly Fulcrum Press. New Year, 1971."
The kite - one of Finlay's handmade toys - is here weaponised. Finlay by 1971 had fallen out with the Arts Council and also the Fulcrum Press (over the production of the fifth edition of The Dancers Inherit the Party" which they had published claiming it was the first edition. This is the first card published by Finlay with an intent of attacking his enemies.

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Dunsyre: Wild Hawthorn Press, 1971
21 x 12.5cm, 4pp. Artist's card with a reproduced painting by Ian Gardner tipped on the card and opposite a text: "Elegy for Whimbrel and Petrel/petrol". A whimbrel is a wading bird and petrel is another sea bird that spends much of its time on the wing rather than on the sand hence between the two animals both sand and sky birds are represented. The elegy - the poem - is a sad consideration of the effects of pollution on seaside bird life. Opposite the boat in the painting is beached and has its sails ripped - hence it appears petrol fuelled boats are replacing the more traditional vessels much to Finlay's dismay. VG+.

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Edinburgh: Richard Demarco Gallery, 1971
25 x 15cm, 6pp (single sheet printed one side only in turquoise and black). Demarco's monthly programme of events which lists an Ian Hamilton Finlay exhibition of Neon Poems and Net-Floats: the publication doubled as an exhibition catalogue. One b/w image of Finlay (obscured by sails) boating on Lock Echan. VG+ Scarce.

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Dunsyre: Wild Hawthorn Press, 1971
12.4x 16.4cm, 4pp. Christmas card with the image of a fishing boat along with the Port Letters (FR), the Fishing Nos (218), the net tonnage (54), horse power (200) and its name (Xmas Morn). A visual poem by Finlay - a companion work to the two cards published at Christmas for both of the earlier two years.
Finlay's interest in boat names and numbers is reflected in the beauty of Furnival's line drawing. The boat - here drawn by Michael Harvey - like the previous two earlier drawings by John Furnival, is a poem on water. Interestingly Harvey's drawing style cannot be told apart from the earlier Furnival drawings. VG+.
JOINT WITH:
Original mailing envelope hand addressed to Seamus Cooney of the University of Kalamazoo by Finlay and dated November 29 1971. ...

Dunsyre: Wild Hawthorn Press, 1971
10.8 x 13cm, 4pp. Artist's card with a photograph by Dianne Tammes of a Finlay toy boat sailing on the water. Inside is the descriptive text: "Ian Hamilton Finlay's Unicorn. Length o.a. 91/2 in, Tonnage 6oz. Auxiliary clockwork motor". The boat is treated as if it was a full sized boat with its measurements but the auxiliary motor which is clockwork gives the game away.

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Dunsyre: Wild Hawthorn Press, 1971
11.2 x 11.4cm, 4pp. Artist's card with a reproduced drawing by Margot Sandeman of the child's game of conkers on strings and a leaf from the horse chestnut tree. Inside the card is the text: "CATCHES. A big catch is a wee consolation. (After Paul Klee)." VG+.

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Koln: Art Intermedia, 1971
14.8 x 21cm, 6pp folded single folded sheet of card with image of Beuys, a short overlaid text and an exhibition history of the artist (mentioning only 5 previous solo shows although that is not accurate), on the reverse there is anopther text on Beuys by Heiner Bastian. VG+.
JOINT:
Koln: Art Intermedia, 1971
16 x 23cm, printed envelope with an image of Beuys and a text about the edition Tragetasche mit Filzplastik. This envelope is hand addressed to the Fluxus artist Jeff Berner. Slight wear from the postal experience else VG.

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21 x 17.8, 1pp. Original typed letter on red Wild Hawthorn Press stationery to Christopher Carrell of the Sunderland Ceolfrith Bookshop asking about sending stocks of publications to the bookshop, the possibility of sales to others and mentioning the Ron Costley's Street Handout leaflet (an early Finlay exhibition announcement) and mentioning a dispute over invoices with a filmmaker Michael Radford which Finlay felt had over charged for petrol. The letter is signed Aye, Ian. VG+.

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Dusseldorf: Galerie Schmela, 1971 21 x 30cm, 4pp black and red on white card announcement. Three black and white photographs of Beuys performances taken by Ute Klophaus are displayed full sheet. The images are from the performance Celtic+ from 1971 where Beuys took gelatine from a prepared wall and collected in on a platter as part of the event. This is usually regarded as symbolic of the collection of ideas and energy. VG+. ...