April 1977

Little Sparta: Wild Hawthorn Press, 1977
56.5 × 68.7cm, two colour silkscreen with typography by Ron Costley from Finlay's instruction. The text is in both English and Latin - and the former says "Here perished Akagi Kaga, Soryu, Hiryu, Yorktown. The seahives consumed with their most choice swarms by their own flame-bearing honey."
This is a second work of a pair of prints based on the American fleet's victory over the Japanese at the battle of Midway on the Fourth of June 1942. The victory left many of the Japanese aircraft with nowhere to land once their carriers were destroyed and they had to ditch in the water and most drowned. One of 300 copies made - this has a companion print Battle of Midway I (see separate listing) These are very large prints - possibly the largest Finlay had ever made. A bit worn at the edges but overall VG.

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Little Sparta: Wild Hawthorn Press, 1977
56.5 × 68.7cm, two colour silkscreen with an image (by Ron Costley from Finlay's instruction) of beehives and trees some of which are aflame. The bees are flying between the hives some on the attack, others presumably in panic. A work based on the American fleet's victory over the Japanese at the battle of Midway on the Fourth of June 1942. The victory left many of the Japanese aircraft with nowhere to land once their carriers were destroyed and they had to ditch in the water and most drowned. One of 300 copies made - this has a companion print Battle of Midway II (see separate listing) These are very large prints - possibly the largest Finlay had ever made. A bit worn at the edges but overall VG.

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Cambridge: Kettle's Yard, 1975
60 x 42cm, olive green and black on white offset lithograph. The line drawing by Ron Costley is a copy of the outline of the original Bernini sculpture of the gods.
There is a text beneath the image: ‘APOLLO AND DAPHNE/ after Bernini/BIBLIOGRAPHY - Ovid, “Metamorphoses”; Rudolf Wittkower, “The Sculptures of Gian Lorenzo Bernini”; Historical Research Unit, Vol. 6, “Uniforms of the SS”’.
The classical story of the pair is one of desire - Apollo being consumed by lust for Daphne (thanks to Eros messing with his motivation) and Daphne desiring to remain chaste (Again this is down to Eros). When Apollo did manage to catch Daphne (presumably with rape his intent) Daphne's father Peneus turned her into an laurel tree - hence saving her virginity.
The Tate Gallery website claims Finlay explained that "the gods and nature ‘were behaving not unlike the Waffen SS’ (who were the first to use a smock with a leaf camouflage pattern, hence its identification with them).
This poster, in which Daphne is wearing a camouflage smock which replaces ‘nature’, was the poster for the title exhibition at the Cambridge Poetry Festival in 1977. It is the same image as in the print APOLLO AND DAPHNE. AFTER BERNINI. 1975 but with exhibition details added at the bottom. Slight crease top right else VG.

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Dunsyre: Wild Hawthorn Press, 1977
15 x 10.7cm, 2pp. Two drawings by Gary Hincks of the same landscape with a large stately home in the distance.
The first drawing is labelled Palladian and the second drawing, which shows molehills disturbing the scene everywhere, is labelled Picturesque.
Thomas Hearne was a 17th century diarist and engraver of landscapes - and they were often in the style of the Picturesque.
The two scenes here are a jokey method of commenting on conflicting styles of drawing/landscaping and architecture, Palladian stressed austerity, classicism and symmetry whereas the Picturesque style emphasised nature and the natural. By including the molehills in the second drawing, Finlay is criticising the style in favour of his neo-classical tastes by making the realities of the wild a destructive force to beauty.
This example was sent by Finlay to Dawn MacLeod has a handwritten note "A wee "get well" top the recalcitrant wrist. Warm wishes, Ian" in black ink. VG+.

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Cambridge: Kettle"s Yard Gallery. 1977
21 x 13.2cm, 30pp plus card covers and printed typographic dust jacket. Design and typography by Ron Costley and essays by Stephen Bann, Douglas Hall, Miles Orvell and Stephen Scobie with a poem "Stonypath" by Kathleen Raine. An exhibition catalogue for a show of works which were "collaborations" with other artists (which is almost all of Finlay;'s works). VG+.

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N.p.: FIU, 1977
11.7 x 17cm, 2pp artist postcard showing a b/w image of Beuys' Plastischer Fuß –Elastischer Fuß (Plastic Foot - Elastic Foot).
The photograph taken by Caroline Tisdale shows a light reflecting on the fat from the installation which melted under the heat of the defective central heating in the Center Beaubourg, on Paris, April 1977. Verso details of the image and a standard postcard design. This card is signed by Beuys in red ink on the front. There are seven variants of this card all similar but very slightly different. VG+.

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N.p.: FIU, 1977
11.7 x 17cm, 2pp artist postcard showing a b/w image of Beuys' Plastischer Fuß –Elastischer Fuß (Plastic Foot - Elastic Foot).
The photograph taken by Caroline Tisdale shows a light reflecting on the fat from the installation which melted under the heat of the defective central heating in the Center Beaubourg, on Paris, April 1977. Verso details of the image and a standard postcard design. This card is signed by Beuys in red ink on the front. There are seven variants of this card all similar but very slightly different. VG+.

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N.p.: FIU, 1977
11.7 x 17cm, 2pp artist postcard showing a b/w image of Beuys' Plastischer Fuß –Elastischer Fuß (Plastic Foot - Elastic Foot).
The photograph taken by Caroline Tisdale shows a light reflecting on the fat from the installation which melted under the heat of the defective central heating in the Center Beaubourg, on Paris, April 1977. Verso details of the image and a standard postcard design. This card is signed by Beuys in red ink on the front. There are seven variants of this card all similar but very slightly different. VG+.

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N.p.: FIU, 1977
11.7 x 17cm, 2pp artist postcard showing a b/w image of Beuys' Plastischer Fuß –Elastischer Fuß (Plastic Foot - Elastic Foot).
The photograph taken by Caroline Tisdale shows a light reflecting on the fat from the installation which melted under the heat of the defective central heating in the Center Beaubourg, on Paris, April 1977. Verso details of the image and a standard postcard design. This card is signed by Beuys in red ink on the front. There are seven variants of this card all similar but very slightly different. VG+.

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N.p.: FIU, 1977
11.7 x 17cm, 2pp artist postcard showing a b/w image of Beuys' Plastischer Fuß –Elastischer Fuß (Plastic Foot - Elastic Foot).
The photograph taken by Caroline Tisdale shows a light reflecting on the fat from the installation which melted under the heat of the defective central heating in the Center Beaubourg, on Paris, April 1977. Verso details of the image and a standard postcard design. This card is signed by Beuys in red ink on the front. There are seven variants of this card all similar but very slightly different. VG+.

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