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Little Sparta: Wild Hawthorn Press, 1984
14 x 9.7cm, 48pp (printed recto only) and printed white wrappers.
Artist's book with 16 quotations from Hagel paired with other classical and modern quotations from Hereclitus, Wittgenstein, Zeno, Coleridge, Pythagorus and Finlay himself. The conjoining of the tests brings new meaning to the Hegelian bon mots. This was a Christmas publication from the Press which was often sent out as gifts to friends and colleagues - this copy has a handwritten dedication "Stuart from Ian as always". VG+.

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Little Sparta: Wild Hawthorn Press, 1984
8.8 x 10.2cm , 4pp black and red on white card.
The card lists twelve new names of the months of the year (much like the way the French Revolutionary calendar renamed the year. The names "Month of the Hurricane", "Month of the Snowman" mostly reflect the weather but there are also references to the events of 1793 but one line is printed in festive red "Month of the Pocket Battleship" which one may assume is the month around Christmas (this being a Christmas card). December is hence now the 4th month and a pocket battleship being a toy may be seen as a children's gift.,BR> This example of the card has a relatively long (for a small card) message from Finlay to Stuart (Mills?) "doesn't this card remind you a wee line of Old Times, even if it is not printed in 60's sepia? I thinkI made it especially for you. How are you? That rotten firm never answered my letter about their rotten clockwork boat. Love to all, your chum, Ian. 12.12.84". An insightful short missive. VG+.

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Bonn: Stadtisches Kunstmuseum, 1984
10 x 21cm, 6pp announcement leaflet with a b/w image of Beuys installing Das Ende des 20 Jahrhunderts (1983) in b/w on the front. Internally details of the Beuys show along with two other exhibitions by Oskar Schlemmer and Jans-Peter Adamski. One b/w image of a painting from the museum's permanent collection also. This example is signed in red felt tipped pen by Beuys over the image. VG+.

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Dusseldorf: Kusthalle, 1984 30 x 21cm, 2pp announcement leaflet for a large group show intended to place contemporary German art in its contest. The show which included Beuys, Polke, Richter, Uecker, Baselitz, {enck, Lupertz, Mack, Prem, Fischer and others. The work Infiltration homogen for Konzertflogel from 1966 is reproduced in colour (a felt wrapped piano). The leaflet is folded and slightly grubby else VG. ...

Pescara: Lucrecia De Domizio, 1984
16 x 22cm, announcement card for the title sculpture which was first exhibited at the F.I.A.C. in the Grand Palais. A multiple was issued where a printed blotting paper was to be dipped into olive oil before being placed in a green envelope. This example is signed by Beuys and with a blue FIU rubber stamp impression. VG+.

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Little Sparta: Wild Hawthorn Press, 1984
8.8 x 10.2cm , 1pp black and red on white card.
The card has an illustration by Mark Stewart after a painting by Jacques Blanchard of Paris and Oenone. Oenone was Paris' first wife who he dumped for Helen of Troy. The card has a cut-out which creates a small version of a tree plaque in three dimensions. The card refers to five oval plaques having been made each with the names of classical lovers and five rectangular plaques with tree names. They were exhibited in the "English Garden: in Merian Park, Basel". VG+.

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Dusseldorf: city of Dusseldorf, 1984 9 x 9cm, 1pp adhesive label which was the announcement for the two month long promotion of art in the city of Dusseldorf curated by Kasper König and displaying a huge number of different artists including Beuys. The logo of the show was the title VON HIER AUS in Jospeh Beuys' holograph. This is an unused example with original backing paper and glue extant. Rare. ...

57 x 10 x 44cm, etched glass on custom made wooden stand. The concrete poem is made up of a number of anagrams of the word "DAZZLE" although the word itself is not found on the etched glass plate. This is an unique sculptural version of a poem first published in 1979 as an artist's book by Finlay. The Dazzle ships were battleships in the second world war where zigzag patterns were painted on the side to help camouflage the outlines of the vessel. By showing all of the mixed up letters but not the original word Finlay is creating a visual poem abstracting the real life boats. We do not know the date of this work - we suspect it is from the 1980s. In VG+ condition,...

Little Sparta: Wild Hawthorn Press, 1984
10 x 10.5cm, 1pp artist's card with a drawing of a marble temple in a landscape by Mark Stewart below which Finlay has added a definition work:
TEMPLE, n, a marble edifice, a veined edifice; the sear or summit of reason.
and two quotations from Ovid's Metamorphses and Finlay's own Despatches from the Little Spartan War. In the former quote Philemon and Baucis have their hut turned into a Temple - which Finlay clearly regards as a similar process to his own renaming of a building on the estate as the Garden Temple. The second quote notes how Strathclyde raided the Garden Temple to take away artworks in lieu of what they claimed was unpaid rates. Clearly Finlay saw the second events as sacrilegious. VG+.

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Rotterdam: Galerie 't Venster, 1984
21 x 15cm, 2pp announcement card printed yellow and black with a shadow play image on the front and verso gallery details. VG+.

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Dusseldorf: Konrad Fischer, 1984
15 x 10.5cm, 2pp artist postcard with an unusual Beuys work on the front - a hanging mobius strip which filled the gallery space. Some of these cards were issued in a signed edition by Beuys but this is not one of them. VG+.

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