NYC: John Gibson, 1973
10.5 x 15cm, 2pp - announcement card with a reproduced photograph of many Beuys multiples and editions on the floor of the gallery overprinted with the artist's name in brown and verso gallery details. A mailed example in VG+ condition.
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Little Sparta: Wild Hawthorn Press, 1973
16 × 26.5cm, printed white outer folder content of a 16 × 26.5cm offset lithograph with an additional sheet with a key to the drawing. Karl Torok created a drawing of a topiary landscape for Finlay and each element is identifies as a member of a land-owning extended family and its staff eg Gardner, Cook, Great-Uncle William, Mama, Emily & Rose. It may be that this is an actual family portrait of sorts or a metaphor for how elements of a formal garden might be seen as related to each other. What is noticeable is that the father/mother and children are in the centre of the work and the more distant family and staff tend to be found at the sides. VG+.
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Paris: Gallery du Tournesol, 1973
24.5 x 17cm, 8pp artist's book printed black on cream card with four original lithographs of drawings with text by Romero and a short text "Manuel du Voyager" (travel diary) written by Jean Jacques Leveque.
Additional to that on the third page there is an original contribution by Boltanski which is relatively unknown - two photographs of a mother and father with a child and below is the text written by Boltanski (our translation):
"The two photographs must have been taken on the same day and almost in the same place. The little boy in the two pictures must be three or four years old, the sun is shining, the man and the woman look serious and sad, there are ceramic tiles on the steps and a large stone pot in which is planted a tree. The woman is young and beautiful, the man is dressed in white (he stands straight as if at attention). You think you can make out a house. in the picture on the right, the little boy seems to be singing.
Behind the photograph on the left is written in pencil "with my father Seville 1934", behind the one on the right "with my mother Sevilla 1934"
For Juan Romero and his parents whose names I don't know. Christian Boltanski, Mai 1972."
It is not clear if these photographs are really of Romerpo and his parents or a fiction. Romero was a friend of Boltanski's who had organised exhibitions by the former at the same gallery when Boltanski was the director (it was founded by his mother). This contribution is not mentioned in any catalogue raisonne that we know of and is relatively forgotten.
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Dunsyre: Wild Hawthorn Press, 1973.
8 x 11.5cm, 10pp - single folding sheet printed on one side only. An accordion folded sheet that opens out to five b/w vintage photographs from the Battle of Midway. The first image is of planes leaving the US fleet to attack the Japanese but the next four are of explosions which Finlay has designated as Fire Water, Shell Fire, Samphire and Ise. The reference is to the classical belief in four elements Earth, Fine, Air and Water - a theme that the poet expanded in other later works. VG+.
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Dunsyre: Wild Hawthorn Press, 1973.
8.9 x 11.5cm, 1pp - single folding sheet printed black on grey. The drawing of a boat is above various lines representing the water level and waves. the instructions indicate ways of manipulating the card - Trim here, score here, fold here but the joke is that the boat is the type called a Trim. VG+.
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Dunsyre: Wild Hawthorn Press, 1973.
8.9 x 11.5cm, 1pp - single folding sheet printed black on yellow. The drawing of a boat is above various lines representing the water level and waves. the instructions indicate ways of manipulating the card - Trim here, score here, fold here but the joke is that the boat is the type called a Trim. VG+. There were two variants of this item - one on grey paper the other on yellow. This is the latter.
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Dunsyre: Wild Hawthorn Press, 1973.
11.3 x 18.7cm, 6pp - single white card printed on one side only. All in an unprinted custom folder. Typography by Stuart Barrie - the three panels read THE SEA'S WAVES/THE WAVES' SHEAVES/THE SEA'S NAVES. The three texts bring equivalence to the three images - the waves, the moving wheat and an unusual poetic image of the sea having a central part of a church. It is not obvious what Finlay means by the latter but it may be the wake of the ship left behind the moving boat. VG+.
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Dunsyre: Wild Hawthorn Press, 1973.
14 x 12cm, 4pp - with a drawing of anchored boats in a river basin with trees on the shore. The title suggests that the boats are little more than wooden storage units which one cannot argue with when they are left to wait their next journey. Drawing by Michael Harvey. VG+.
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Dunsyre: Wild Hawthorn Press, 1973.
10.2 x 10.2cm, 2pp - with a drawing of a tug by Ron Costley. The drawing is accompanied by the words Der Tag in a Germanic script - the German word for tug.VG+.
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