9 X 12.4cm, unique vintage b/w photograph of Byars with his head entirely hidden by a white scarf. Photographer unknown. On reverse in blue ink; "James lee Byars/Biennale Venice'. VG+. ...
Dunsyre: Wild Hawthorn Press, 1977
12.5 x 10.3cm, 16pp plus card covers and printed dust jacket. Artist's book with drawings by Martin Fidler with questions by Finlay as if the reader is sitting a test on modern art.
Question 5 reads:" Write a short essay on the theme: The role of the non-flying glider in Post-19th Century non-representational art".
One significant part of Duchamp's Large Glass was called by the latter the "Glider" for instance. We believe we could pass Finlay's test.
VG+ condition.
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Calais, Vermont: Z Press, 1977
23 x 15cm, 54pp plus card covers. First edition of this artist's book designed by Ron Costley and with a commentary by Stephen Bann. The emblems are all drawings of military machines such as tanks or battle ships acting as metaphors associated with Greek mythology:
SEMPRE FESTINA LENTE
HASTEN SLOWLY
is associated with a Sherman tank with a flail which was used to clear minefields - hence moving slowly in order to later move quickly.
This is one of only 50 copies signed and numbered by Finlay in black ink aside from the larger edition of 750 copies. Rare deluxe copy. VG+.
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Little Sparta: Wild Hawthorn Press, 1977
50 x 71cm, blue and light brown/orange silkscreen on white paper with a painting by Jim Nocholson of a group of sailors pulling a metal cable on the deck of a warship. The joke being the slogan having a double meaning - a campaign by the post office (then) for people to use the telegram service. This is one of a number of signed prints by Finlay. VG>
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Vermont: Z Press, 1977
23 x 16cm, 152pp. Original card covers. Poetry anthology edited by Kenward Elmslie.
Finlay contributes Carrier Strike by Finlay and Carl Heideken. Twenty pages (all printed recto) of photographs of toys made by Finlay (mostly boats and military machines) and a title page.
This is a substantial work by Finlay and often forgotten in his milieu. The ironing board that the toy planes are arranged on is denoted as "an aircraft carrier". This example is signed in green ink by Finlay in full on the title page of his section. Murray 8.9
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Milano: Bruna Soletti, 1977
11 x 14.5cm, 1pp typographic announcement card for a show of photography. This example is hand-addressed by Boltanski to M.Berg on the reverse. A mailed example.
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Berlin: Edition Hundertmark, n.d. (1977)
9 x 14cm, 2pp. Artist designed card issued by Hundertmark to be part of the Morris and Trasov organised Image Bank Postcard Show (1971) but later issued in a box set as an edition. Displays printed rubber stamp impressions by Beuys (Fluxus Zone East) and Ken Friedman (Fluxus Zone West). VG+.
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Achberg: Achberger Verlagsanstalt, n.d. (1977).
21 x 10cm, 6pp (single folded sheet) black on brown kraft paper. Promotional leaflet for a Beuys' book. One image of the artist on a beach. This example is signed in pencil on the front panel and stamped in blue with a FIU impression. VG+.
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Arnhem: Stichting Festival, 1977
23.5 x 17cm, 28pp plus card covers. Exhibition catalogue and programme for the annual festival which includes Annette Messager, Pieter Engels, Sigurdur Gudmundsson, Timm Ulrichs, Carolee Schneemann and others. Boltanski exhibited "Les 21 vetements de Francois C. en 1972" and there is one b/w image of part of that work. ...
Amsterdam: Seriaal bv, 1977
14.8 x 11cm, 2pp announcement card for a joint show of the lovers with five b/w images of found drawings on the front. Verso gallery details. A mailed copy.
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Little Sparta: Wild Hawthorn Press, 1977
21 x 30cm, 1pp black on cream paper with a design for jam pot covers (the printed paper placed on the outside of jam lids). The design here is based on Saint Just's famous dictum "TOO MANY LAWS TOO FEW EXAMPLES". Limitation unknown.
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Little Sparta: Wild Hawthorn Press, 1977
9.5 × 12.1Bm, brown on cream paper in folded 4pp light brown folder. The image by Ron Costley is of a stag, a crab together on a beach with the text "Enchantment An ear-alluring sweetness." a line from "On Abstinence from Animal Food" by Porphyry. a translation of part of the poem is printed on the inside of the cover - translated by Thomas Taylor. The section tells of how stags and horses and crabs can be charmed by music - the point being that the animals have more consciousness than usually ascribed to them in the days of the Romans. Porphyry was an early advocate of vegetarianism on spiritual and ethical grounds and this work reflects that philosophy.
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