June 1981

Little Sparta: Wild Hawthorn Press, 1981
22.8 x 16.5cm, two colour lithograph in printed folder. Design and drawing by Nicholas Sloan.
Angelica and Medoro are two characters from the 16th-century Italian epic Orlando Furioso by Ludovico Ariosto. Angelica was an Asian princess at the court of Charlemagne who fell in love with the Saracen knight Medoro, and eloped with him to China.
Angelica had a habit of carving the lovers' names onto trees which the print here reflects - and as the folder text explains, Finlay used their French names so that the accents on the words would reflect the marking on the tree bark. Additionally the image resembles an ex libris or bookmark.
One of 300 printed. VG in like folder.

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N.p.: (Pescara): n.p. (Lucrezia De Domizio), 1981 21 × 15.2cm, 2pp artist postcard published by Lucrezia De Domizio as part of the Beuys campaign “Difesa della Natura” - on the front is a portrait of Beys by Buby Durini. This card is signed in red felt tipped pen by Beuys on the front. Minimal text on the back. VG+. ...

Lyon: Le Nouveau Musee, 1981
10.5 x 15cm, 2pp. Colour photographic postcard showing a Boltanski installation of mobile small sculptures which were shown in highly dramatic lighting. This card has been signed by the artist on the front by scratching the surface of the card. Verso image details. VG+.

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Little Sparta: Wild Hawthorn Press, 1981
11.5 x 15.5cm, 1pp. two quotations placed against each other for humour and also making the point that classicism is not dead and is an important theme of civilisation:
"In the back of every dying civilisation sticks a bloody Doric column" - Herbert Read
against
"In for foreground of every revolution invisible, it seems, to the academic stands a perfect classical column" - Claude Chimerique. Claude Chimerique is in fact a spoof figure so the quote is in fact Finlay's response to Read.

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