August 1974

Dunsyre: Wild Hawthorn Press, 1974
25.5 x 10.5cm, 12pp plus card covers and printed dustjacket. Artist's book after Robert Lax's style and typography - each page has a group of descending words (often hyphenated) - in order RICHT-HOFEN (in red) /REIN-HART (in black)/CRIM-SON/BLACK/then RICHT-HOFEN and REIN-HART then CRIM-SON and BLACK - the colours reflect the nickname of the Red Baron, and the minimalist black paintings of Reinhart, The combinations of the words changes the meaning of each page as subtle alterations to the word order infers new imagined images.
One the 5th page Finlay has noted that this proof has missed out a hyphen and he has written on that page thus, On the last colophon page has the word Proof written by Finlay in blue ink and the page is signed. VG+. An unique copy.

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Paris: n.p., 1974
100 x 75cm, hand applied gouache, oil crayon on black and white photograph. This was one of two works taken from the Saynètes comiques series issued as an edition. Boltanski pretended to take on different personalities as if in a Mummer play - here "the joker" laughing and shaking a stick (representing a joker's musical stick). Wearing an anachronistic suit and hat there is no effort taken in trying to make the work realistic - the artist pretending is the important aspect of the image.
Each example of this print was overpainted by Boltanski in gouache and oil crayon adding a further layer of "falseness" - the work is not a colour photograph but pretends to be.
One of 100 signed and numbered examples in VG+ condition. In glass and wood frame.

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Dunsyre: Wild Hawthorn Press, 1973.
8.8 x 19.3cm, 2pp. Artist card with two drawings by Torok which consists of a pink and blue rectangle with horizontal lines denoted as landscape. The second square has the same colouring but has vertical stripes and is labelled Interior. The latter being an image of wallpaper and the former horizons and fields. VG+.

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München: Galerie Thomas, 1974, 14.8 x 21cm, 2pp announcement card for an "upcoming edition" of a book by Beuys which was already sold-out at the publisher (Heiner Bastian; distributed by Schellmann & Klüser) but offered here because the Galerie Thomas secured some copies" "available on a ‘first come, first served’ basis". One drawing of a stag by Beuys on the front with the lower part of the card and order form which was supposedly to be cut off and mailed to the gallery. A bit crumpled on the bottom else in VG+ condition....

Exeter: The Rougemont Press, 1974
27 x 20cm, 16pp. Original pictorial card covers. Artist's book comprising three orange and brown offset designs for sundials (one is a centre-fold double page) and brown divider pages. Each is also a visual/concrete poem - for example the double page sheet has four boats - a clipper, a barque, a mumble bee (name of the boat rather than the type) and Snow - again a type of boat. The four sides of the sundial therefore has one each of these boats and represents the four seasons (Spring- clipper/Summer Mumble Bee/Autumn - wood barque and winter - wood snow) hence adding time passing through the year to the daily cycle of hours. This is one of only 150 signed by numbered copies. Near Fine.

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Edinburgh/New York, Demarco/Ronald Feldman, 1974
10.5 x 15cm, 2pp announcement card for the editioned print here released by Beuys' New York Gallery although the publisher was Demarco. The colour image of the meeting (where Beuys looks bored) between the artist, the socialite and the architect is reproduced on the front, verso information about the print. VG+.

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Little Sparta: Wild Hawthorn Press, 1987
27.9 x 20.9cm, brown on white laid paper silkscreen with a drawing by Ron Costley after Finlay's instructions of a cross section of an aircraft carrier with airplanes and plan from above of the landing strip. Just as certain fruit gourds carry their seeds only at the right moment to discard them to the air so does this weapon of war. One of 350 copies in a light card folder which is signed and numbered in pencil on the back by Finlay. Slight crease bottom left through both folder and print.

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Dunsyre: Wild Hawthorn Press, n.d (1974)
28 x 28cm, printed paper folder content of a 28 x 28cm red, blue and black offset lithographic print.
The image is of two world war fighter planes (one on fire having been shot down) and airborne debris - drawn on Finlay's instruction by Michael Harvey.
The style is clearly that of Malevich's Supremacism - an abstract form that used hard edge geometric shapes to create works - in fact Melevich had created a painting of a plane in flight called "Suprematist Composition: Airplane Flying" in 1914/5 which is similar in many ways albeit in different colours.
The Tate Gallery claims that "Finlay has said that Malevich would have seen himself as ‘the best aeroplane’, and that the victim in the dog-fight might be Vladimir Tatlin, a rival Soviet artist."
One of 300 copies signed and numbered by Finlay on the back of the folder. VG.

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Dunsyre: Wild Hawthorn Press, 1973.
10.2 x 14cm, 2pp. The first of Finlay's cards to feature the Oerlikon cannon (in a painting by Susan Goodricke which gives the weapon a charming air of romance). The name of the gun is altered to O'Erlikon under the image. VG+.

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NYC: Rene Block Gallery, n.d. (1974)
15.2 x 11cm, 1pp. Announcement on thin card for the inaugural exhibition at the gallery in New York and one of Beuys most famous performances where on leafing the aircraft he was wrapped in felt and taken to the gallery on a gurney in an ambulance. In the gallery he lived with a coyote in a space along with copies of the Wall Street Journal, straw, felt and his crook. He spent eight hours a day in the space interacting with the wild animal before being taken back to the airport by the same method. One portrait of the artist by Ute Klophais in negative under text. An important event in the history of art. VG+.

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Paris: Editions Georges Fall, 1974
22 x 16cm, 16pp (self cover). Artist's book which show objects from Annette Messager's first communion along with three photographs of a young girl (not Messager) preparing for the ceremony. The images are "representational" of the various objects and not the actual items used in Boltanski's partner's life. Each has an objective description below as if in a historical journal. Staples are a bit rusty else VG+. Scarce.

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