February 1996

Paris: Yvon Lambert 1996
41 x 30.6cm, outer folder eight 40 x 30cm, 1pp b/w reproductions of appropriated photographs printed on semi-opaque paper and with eight transparent 40 x 30cm overlays with text printed in red.
The short titles associated with each image seem incongruous - an image of a young woman in swimming costume with a blanket over her head is noted as "La Belle Hotesse" (the Beautiful Hostess), a priest with a baby is denoted as Intense Souffrance (intense suffering). However the overlays can be moved around and placed over different images - and the titles given new context. Or more accurately the photographs are given new associations with any new text - which one may suggest is the point of the work: an anonymous image is read by a viewer using conscious and unconscious visual cues but when a language descriptor is added new associations are formed and the semantic context changed. Concessions are made.
This is one of only 50 signed and numbered examples on a colophon sheet. VG+

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Little Sparta: Wild Hawthorn Press, 1996
9.9 x 13.9cm, 1pp black on blue card with the epigram:

All that we did not want to catch, we kept, and all that we wanted to take home we throw over the side

The card reflects a then current political dispute about conservation of fish - the European Community forcing fishermen to take account of their actions when over-fishing which of course was unpopular amongst the working fleet. The original epigram apparently referred to lice (All that we caught we left behind, and all that we did not catch we carry home" from the Epigrams of Homer. Finlay spins this with some mis-placed sympathy for the modern fisherman. VG+.

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Little Sparta: Wild Hawthorn Press, 1996
9.5 x 16cm, 1pp black on white card with a photograph of Loch Echen at Little Sparta.

THE AERONAUT PRINZ EUGEN

sank
somewhere
here

An effigy
now
of itself

Prinz Eugene was the German Battle Cruiser from the second world war and was scuttled after the war remaining partly emerged. FInlay's poem seems to remember a crashed model (and its occupant) named after the real boat which one presumes ended up in the Loch (actually a large pool). VG+.

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Little Sparta: Wild Hawthorn Press, 1996
8.4 x 12.6cm, 4pp black on white folding card with the drawing by Gary Hincks of a second world war bomber with a woman as "nose art". The poem internally reads:

1943

Lovely ladies lolling in lingerie
on the noses of B17's. (sic)

The alliterative first line brings to mind real seductresses and the second clearly places the reality of the second world war habit of having female images painted on the front of the bomber planes. VG+.

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Little Sparta: Wild Hawthorn Press, 2000
7 x 12.6cm, 4pp artist's card with a landscape drawing by Kathleen Lindsley. Internally there is a definition work by Finlay:

(Classical) landscape, n. a stand of concepts.

Finlay's definition is aware of the long traditions and ideas behind both landscape gardening and the painting of such scenes. VG+.

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Little Sparta: Wild Hawthorn Press, 1996
10.6 x 8cm, 20pp plus card covers. Artist's book dedicated to Colin Sackett which can be read in both directions - in one direction every right hand page has the word "runnel" and if turned around and read in the opposite direction the the word repeated is "funnel". Hence in one direct the words run off the page like a stream (a runnel) but in the other move away like the expelled steam from a funnel. Interestingly the name "sackett" is regarded as having the meaning of an opponent - someone who goes opposite to you. VG apart from the staples are a bit rusted.

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