Dunsyre: Wild Hawthorn Press, 1978
9.6 x 13.8cm, 2pp. Black on white card with a drawing of a German tank amongst silver birch trees by Gary Hincks.
Finlay has a number cards (and some prints) bearing images of the German Panzer force which is often regarded (if not entirely true) as the most effective of the land war weapons of the conflict. This tank pictured by Hincks is specifically a Tiger 308 of the schwere Panzer Abteilung 502 and was one of the heavy weapons to aid in the (failed) push to conquer Russia.
The Silver Birch is also a tree that is found from Scotland to the East - it does not stretch south in Europe except at much higher altitudes - thus may also be regarded as "invading" Russia.
In any case, the tank symbolises death for Finlay and when shown in beautiful landscapes is a real reminder of the painting "In Arcadia Ego" by Poussin which is meant to remind humans that they too will die someday. VG+.

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Bern: Kunstmuseum Bern, 1978 21 x 15cm, 4pp. The programme for Byars' famous minimalist action that took place in the museum where he whispered inside the galleries reserved for the Old Masters. This is the extremely hard to find "programme"/museum handout for that event with a text in Germany by Jurgen Glaesemer. VG+. ...

Dunsyre: Wild Hawthorn Press, 1978
7.0 x 9.5cm, 28pp plus printed card covers. Drawings of early planes based on vintage models by C. Tissiman are joined with their model names ascribed to famous artists, poets and composers such as Warhol, Betjeman and Maxwell.
"Waco Yoc" is suggestde as being by Kust Schwitters presumably because of the latter's interest in sound poetry while "Fokker D" is given to Andy Warhol - possibly because of its mass production in German factories. But it is hard to know all of the associations of the names for Finlay - was Bücker Bestmann assigned to John Betjeman just because of the similarity in names (Betjeman comes from St Benjamin apparently)? However the book title "Trailblazers" suggests that Finlay is saying these artists are foremost and revolutionary - which given his enemy Hugh McDiarmid is included is a little surprising (although I guess Finlay had to accept McDiarmid's role in re-popularising Scottish poetry even if they were no longer friends although McDiarmid had been Finlay's best man at his first marriage). VG+ condition.

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Munster: Verlag Murken-Altrogge, 1978 10.5 x 15cm, 2pp announcement card for the release of a Beuys multiple "CUPRUM 0.3% UNGUENTUM METALLICUM PRAERPARATUM" in a very small edition of only 10 copies. One duotone image of the artist on the front holding the work, verso details of the publication. One very slight paper scuff top left on the reverse else VG+. Scarce....

Dunsyre: Wild Hawthorn Press, 1978
15 x 10.5cm, 2pp. Black on white card with a photograph by Dave Paterson of a toy military airplane made by Finlay which has been attached to a cross bar with string to create a marionette. The plane is painted in British camouflage and decals. The wings both are in two parts and one has been allowed to drop as if the plane has been damaged in a dogfight. This is a companion card to the previous one (Marionette 1) and presumably shows the after effect of encounter with an enemy. VG+.

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Dunsyre: Wild Hawthorn Press, 1978
15 x 10.5cm, 2pp. Black on white card with a photograph by Dave Paterson of a toy military airplane made by Finlay which has been attached to a cross bar with string to create a marionette. The plane is painted in British camouflage and decals. The plane is flying amidst clouds (cottonwool?) and ready for battle. This is a companion card to the next one (Marionette 12) and presumably shows the fighter before any encounter with an enemy. VG+.

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N.p.(Edinburgh): Robert Matthew, Johnson-Marshall and Partners, 1978
21 x 30cm, 43pp plus printed glossy covers. A set of proposals by Finlay for architectural and sculptural interventions in the Peterhead Power Station which was to be build. The book was published by the architects as part of the proposals for the site. The drawings by Ian Appleton are given very clear explanations by Finlay - proposed are a wall of glass floats, four stones with carves words indicating the theoretical structure of classical and other universes in fours (suits of cards, directions, elements, primary colours), a maze made out of fishermen's nets (which we would dearly like to see realised), a large stone carving of the SEA'S WAVES'S SHEAVES (which was installed elsewhere eventually), a concrete poem TERRA/MARE to be carved in Caithness Stone, various inscriptions of natural boulders (including SEApink) to be placed on site which remind one of the later PEBBLES series of works, a sundial with the inscriptions Rete Luci Tentu/A Net for the Light, names of fishing boats carved into garden slabs, a large sculpture of a bronze oar placed on a hill far away from the station which would visually reflect the chimney of the newly built station and also be a sort of sundial gnomon along with a site layout which shows the various shadows cast by the oar on the landscape at different times, a large rock with "It's Scotland's Atlantis" carved on it (with the word oil crossed out) an unusually political work by Finlay, and, finally, a carved oar into the face of a heap of sawn boulders (referencing `Ullysses).
To the best of our knowledge none were actualised. The sheer number of wonderful ideas proffered by Finlay for this project is quite astonishing.
This is a wonderful book although the style of the architectural drawings are strange for a Finlay collaboration - one suspects he did not choose the artist.
Murray places this book in amongst other artist's books by Finlay but we have recategorised it as a "proposal" as it clearly is just that and because of the style of the book it does not feel or look like a Finlay publication. This is a rarity and very hard to find. VG+.

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Dunsyre: Wild Hawthorn Press, 1978
8 x 16.6cm, 2pp. A card with two abstract drawings by Jim Downie - one representing the romantic interest of Wordsworth (trees) and the other the Dazzle form of camouflage invented by Edward Wadsworth to help defend ships at sea. Finlay clearly enjoys the slight change in spelling between the names and the resulting hard edge vs organic images. VG+.

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Paris: Editions du Chene, n.d. (1978)
30 x 21cm, 2pp, b/w offset for the first of Boltanski's "reconstitution" artist's books which reprinted a number of earlier works made since 1969 and with two essays by Andreas Franze and Michael Schwartz. Also notes the deluxe version of the book which is signed and numbered with an original work included from an edition of 20 copies. Slight paper damage to the bottom of the leaflet elss VG. Scarce ephemera.

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Guntramsdorf: Nevidal + Seidl, 1978 10.5 x 15cm, 2pp artist postcard with an image on the front of 6 b/w photographs of Beuys ;aid out on a table. Verso a postcard design. The card is signed by Beuys across the image in red felt tipped pen. VG+. Scarce and not noted in any published source. ...

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