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Little Sparta: Wild Hawthorn Press, 1988
31.4 x 22cm, 52pp plus card covers and dustjacket. A series of "definitions", one of Finlay's innovations in experimental poetry where a word is given an alternative meaning by the addition of a classical or modern quotation. For example:

PATCH, n.
1. A whole part.
The trousers and jumpers of men vary in hue from the brightest orange vermilion to the palest rose pink, and are decorated with every imaginable sort of PATCH.
Peter Anson, The Breton Sardine Fisheries.

As we have noted elsewhere Finlay regards a patch as a symbol of warm, caring as well as poverty.
Slight bumping to corners of the book - else VG+. One of 250 copies published at Christmas 1988....

La Rochelle: Maison de la culture La Rochelle., 1978
15 x 10.5cm, 40pp plus card covers. Exhibition catalogue consisting only of reproductions (four in colour) of mostly performance related works by the artist including his dalliance with dance as a set designer - Le Saut de l'ange from 1987 (with two images in b/w from the work and one painting/sketch), other works include his performance of the 70s and shadow plays. The sections are: Saynete Comiques, La Punition Injuste, La Baiser Cache, L'Anniversaire, Les Compositions, Les Ombres and the dance work.
The dance work can be seen here: https://www.numeridanse.tv/en/dance-videotheque/le-saut-de-lange-0
Rusted stitches else VG+. Very scarce.

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Little Sparta: Wild Hawthorn Press, 1988
30 x 42cm, black on white offset lithograph. One print from a number which Finlay denoted as the Picabia Series (there were red on white versions of these works also). Each of the series is a witty reworking of a well known saying - here "Don't Cast your Revolutions before Swine". A revolution, this poster suggests , should not be wasted on an unwilling or undeserving populus. VG.

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Little Sparta: Wild Hawthorn Press, 1988
30 x 42cm, black on white offset lithograph. One print from a number which Finlay denoted as the Picabia Series (there were red on white versions of these works also). Each of the series is a witty reworking of a well known saying - here "Spare the Blade and Spoil the Factions". A suggestion that one should be decisive in one's oppression of your opponents. VG.

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Little Sparta: Wild Hawthorn Press, 1988
30 x 42cm, black on white offset lithograph. One print from a number which Finlay denoted as the Picabia Series (there were red on white versions of these works also). Each of the series is a witty reworking of a well known saying - here "Don't Put All Your Heads in One Basket". A reworking of "don't put all your eggs in one basket" but referencing the heads severed from the victims of the Terror. Perhaps revolutionaries should be more careful in how they treat their opponents lest like Robespierre you end up in the same basket.

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Little Sparta: Wild Hawthorn Press, 1988
42 X 30cm, black on white offset lithograph. One print from a number which Finlay denoted as the Picabia Series (there were red on white versions of these works also). Each of the series is a witty reworking of a well known saying - here "Parisians Spoil the French" being a remark that might well be not only a glib comment on Paris and its dwellers (with two possible meanings - one posItive, the other less so) but also a reference to the way Paris dominated the country during the years of the French revolution (and had to put down several violent uprisings as a result).

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London: Victoria Miro, 1988
29 x 15.5cm, opens to 20 x 31cm, 16pp self cover). Fourth of the gallery’s intermittently printed journal here entirely dedicated to Ian Hamilton Finlay with essays by Keith Brookwell, Robert Johnson, Joan Hughson, and Nicholas Sloan. Issued on the occasion of the exhibition in the London gallery. Scarce. VG+.

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Little Sparta: Wild Hawthorn Press, 1988
82 x 54.5cm, black on off white silkscreen. A large print with a drawing by Hincks of a funeral urn draped with a cloth. The style might be regarded as neoclassical. The text below indicates that the urn contains the ashes of possibly someone who died in 1789 or more likely the French Revolution itself in some sense. Finlay produced this work in the year just before the bicentennial of the storming of the Bastille (which many regard as the beginning of the revolution). One of 200 produced.

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Rotterdam: Galerie Bebert, 19888
21 x 15cm, 4pp outer card content of two 21 x 15cm, 1pp red on white semi-opaque paper with details of opening and a potted biography of Boltanski in Dutch. VG+.

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NYC: n.p., 1988
5 x 5cm, colour transparency with a colour image of the Boltanski installation "The Storehouse" from 1988. Handwritten legend on the plastic which mis-identifies the work as "The Great Caution" - a slide provided by a gallery to press or clients. VG+.

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