April 1972

21 x 17.8, 4pp (each recto only, stapled top left). Original carbon copy of a typed letter on red Wild Hawthorn Press stationery to Christopher Carrell of the Sunderland Ceolfrith Bookshop. A long discussion of the budget and content of a putative exhibition of works by Finlay. at the MacRobert Centre at Stirling University. The original budget and size of the exhibition seems to have been reduced to Finlay's unhappiness but he is willing to continue to create new work. Interestingly the costs to create the works are discussed here as well as other prosaic matters as to why some works are not going to be made - including a fear relating to one glass sculpture that "the students would kick it in". An interesting letter in relation to the way such a show was organised and how Finlay couold easily be upset when things did not go immediately as planned. The letter has some hand-written annotations by Finlay in black in and it is signed in ink by Finlay also. Slight wear but over all VG+.

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Nottingham: The Tarasque Press, 1972
22.5 x 20cm, 28pp plus pictorial wrappers. Exhibition catalogue of show of concrete poetry works edited by Stephen Bann. Contributions by Simon Cutts, Ian Gardner, Stuart Mills and Finlay who has three pages of b/w photographs (4 images) taken by Stuart Mills. Slight grubbiness along outer spine else VG. Scarce Catalogue.

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Berlin: Edition Hundertmark, n.d. (1972) 10.5 x 15cm, 2pp artist designed postcard with two reproductions of rubber stamp impressions - one Fluxus Zone West by Beuys and the other Fluxus West by Ken Friedman. 1,000 copies were released and used in part for the Image Bank postcard collection but also there were 36 signed examples found in a limited edition "Ken Friedman Box" released by Hundertmark. This is an unsigned one in VG+ condition....

Torino: Galerie LP, n.d. (1972)
15 x 21cm, 2pp announcement card for a show of films and object multiples - on the front of the the card is a photograph of "Schlitten" multiple - the Sled which references the Beuysian myth of the artist being returned to civilisation by Tartars after crash landing in Siberia as a Luftwaffe gunner. The construction of the work however also hints at an animal nature to the sledge, light and felt. Verso gallery details. VG+ although some corner creases.

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Dunsyre: Wild Hawthorn Press, 1972
10.5 x 15cm, 2pp - artist card printed purple on white with a "join the dots" drawing on the front which if completed shows a harbour scene with three boats that could well be the subject matter of a Seurat painting. And by the use of the dots Finlay also references the pointilliste technique of painting with small blobs of colour (Seurat being the best known of that art school and thus the card becomes an homage to him.) Drawing by Ron Costley. VG+.

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