London: Jonathan Cape, 1986
21.4 x 14.7cm, 5664pp plus original boards and pictorial dust jacket. First edition of this "guide" to "follies". This was the book that made Finlay so angry because of the short review of Stoneypath (later Little Sparta) and his ire is understandable. The paragraph reads:
Near the village of DUNSYRE about two miles west of the Peebles-Lanark border is Stoneypath, a bogland garden developed from 1967 onwards by the peet Ian Hamilton Finlay. it is a fine and justly famed new garden, but although there isd an Apollo Temple, a broken column or two, and an avalanche of poetic mottoes and inscriptions, the insistent namedropping of pastoral painters and writers and garden theorists tend to get on one's nerves. Everything in Stoneypath is on such a small and fragile scale that one starts hankering for something more manly, like a Wallace monument or a sturdy Gothick eye catcher."
Given Little Sparta has been voted by artists, critics and the general public to be the greatest Scottish artwork of modern times, it is fair to judge Gwyn Headley and Wim Meulenkamp harshly. Their comment " insistent namedropping" is crass and clearly shows that the works they saw were beyond their capabilities. VG+.

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Little Sparta: Wild Hawthorn Press, n.d.. (1986) 12.7 x 8.2cm, 2pp printed green and black on cream card. A text by Anthony Blunt (then the Queen's curator and later to be revealed as a traitor) from his book "The Paintings Of Poussin" explains the work Et in Arcadia Ego (Blunt refers to it as the Arcadian Shepherds - a lesser used title) which Finlay has often referred to in his works. The text has been altered however to suggest that the message on the tomb in the painting says "Terror" and Virtue" instead of Et In Arcadia ego. Finlay has referenced the French Revolution by this substitution and his view that terror was a direct consequence of virtue and that the former is somehow a pure form of conscience.

On the back of the card is a reminder on the third anniversary of the "Strathclyde Region's assault on the Garden Temple" where the local authority took in lieu of disputed rates two works by Finlay. The card complains that the Scottish Arts Council and the Secretary of State for Scotland and the Arts Minister have not "upheld the law" in the artist's opinion. VG+. ...

Little Sparta: Wild Hawthorn Press, 1986
9 x 10.5cm, 4pp artist's card with a line drawing of a pear by Stephanie Kedik on the front, and internally two poems:

very fine
late cherry

fine late
large pear

The poems reference texts in Thomas Jefferson's garden as noted in the book he wrote in 1769. Pears and cherries were important to the President and he delighted in growing both. VG+. ...

Munchen: Edition Schellmann, 1986
15 x 21cm, 1pp announcement card for the first edition of the catalogue raisonne of multiples and editions by Beuys. The image on the card is the work Flag from 1974 where a model train was equipped with a red flag by Beuys. The book was published in the year of the artist's death but was planned in advance of that event. VG+.

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Little Sparta: Wild Hawthorn Press, 1986
11.5 x 17.7, 1pp card with noting the third anniversary of Strathclyde Regions "assault" on the Garden Temple at Little Sparta below which Finlay has written printed green on cream:BR> "all wars grow mossy".
The line reminds the reader that all statues and commemorative stones ultimately are covered in growth and the event forgotten. This is one of my favourite Finlay aphorisms - time passes and what seems memorable goes from public consciousness.
This card on the back has a black rubber stamp impression from Finlay that reads "FEBRUARY 4/DAY OF THE FLUTE". VG+.

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Little Sparta: Wild Hawthorn Press, 1983
81 x 21.8cm, black on green folding offset lithograph. A concrete poem with the repeat words urn and column placed one above the other (with column broken up into COL and UMN) to create the vision of a column topped with an urn. One of the more simple of such poems but there is an additional element of the the strong vertical lines of the ascenders in the font to reflect the vertical lines one might get in a classical column.

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Koln/Monchengladbach: Konig/Museumsverein Mönchengladbach, 1986
15 x 10.5cm,4pp. Promotional and subscription card for the title book on Beuys and the 7000 Eichen project. One b/w image of the artist with tree and basalt stone. Published in the month immediately after the artist's death. VG+.

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Heidelberg: Edition Staeck, 1980.
15 x 10.5cm, 2pp artist's postcard which de facto criticises various academic and artists for supporting the SDP in elections - the attack calling the support "kitsch".. VG+. Schellman: P47.

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Heidelberg: Edition Staeck, 1977
10.5 x 15cm, 2pp artist's postcard with a text drawing by Beuys on a yellow lined background - the text translates as "Whoever won't think gets kicked out". One of the unnumbered and unsigned copies. VG+. Schellman: P44.

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