Paris:Galerie Bama, 1974
18 x 13.5cm, 2pp announcement card for a French exhibition of multiples, books and exhibition catalogues from the period 1948 to 1972. Reproduction of a Beuys text on the front. A mailed copy with stamp and typed address. VG+.
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Heidelberg: Edition Staeck, 1974
15 x 10.5cm, 2pp artist's postcard with the title text "Edition Staeck liefert sofort alle gebohnerte un gewichste Ware von Beuys." which roughly translates as "Staeck immediately delivers all polished and unweighted goods from Beuys." This example of this card has been overwritten in red ink by Beuys with a signed dedication. VG+. Schellman: P19.
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Koln: Karsten Greve, 1974
10.5 x 15cm, 2pp announcement card for a group show of drawings by Beuys, Buthe, Kounellis and Twombly. One work by Beuys reproduced on the front. VG+ but a mailed and type addressed example and with one tiny pinhole where it has been pinned to a board in the past.
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Dunsyre: Wild Hawthorn Press, 1974
11.7 x 12cm, 24pp (double folded and printed recto only) plus card covers and printed dustjacket. Artist's book with eight concrete and visual poems such as
ELEGY FOR A
wheelbarr w
o
The "o" becoming the single wheel of the barrow.
There are also images of a wooden sculpture of fish on a line made by Finlay himself. VG+
This is one of 350 signed and numbered copies on colophon.
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Dunsyre: Wild Hawthorn Press, 1973.
10.5 x 15cm, 2pp. Green on white with three drawings by Sydney McK. Glen of a cube, an ice cream cone and an ice cream wafer. Below is a quote "Treat Nature as the Cube, the Cone and the Slider" ( a slider is a Scottish way of referring to a ice cream wafer - there is a rich vernacular around the ice cream van including "oysters", "pokey hats"
and thankfully lost mildly racist names such as "blackman", "double blackman" for chocolate wafers. The original quote is from Cezanne - "Treat nature by the cylinder, the sphere, the cone, everything in proper perspective so that each side of an object or a plane is directed towards a central point."
Finlay calls this an homage to pop art - probably because of the use of ice cream imagery matches the interest in day to day common objects in that art movement.
A lot of Finlay's 1970s cards are humorous in content - some what different from his usual stern and serious image. They are not his best work - they amuse for a moment or two but earlier and later works are probably better. VG+.
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Copenhague: Information Tirsdag, 8 Feb 1974
29 x 38cm, newspaper clipping from the Danish newspaper sent to Boltanski by M. Berg with an article which mentions Boltanski in a large review and reproduced one of the artist's archival works - displaying the belongings of a death citizen, Paper a bit browned and folded for mailing else VG....
London: Whitechapel Gallery, 1990
57 x 42cm, black on cream offset lithographic exhibition poster with an image of the famous Boltanski at 5 years and 3 months apart. Artist's first show in Denmark. VG+.
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NYC: John Gibson Gallery, 1974
10.5 x 15cm, 2pp. Announcement card for a second show of editions and multiples. On the front of the card is a well known image of the Beuys family watching Star Trek which is overprinted in Browncross. VG+ condition.
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Paris: Galerie Sonnabend, n.d. (1973)
11.5 x 16.5cm, 1pp typographic announcement card for Boltanski's first solo show in America, only months before he has his first show outside of France in Oxford in the UK. A mailed copy with handwritten address (not by Boltanski). VG+ although slight marks from the franking process. Scarce.
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Little Sparta: Wild Hawthorn Press, 1973
30.5 x 61.0cm, two colour offset lithograph with an image (by George Oliver) of a modern tank in leafy camouflage. The word Arcadia below refers to an unspoilt rural paradise.
The Tate Gallery says of this work (and there is little more to add so we quote it here): "In this print, Finlay draws an ironic parallel between this idea of a natural paradise and the camouflage patterns on a tank. There is also an echo of the Latin phrase ‘Et in Arcadia Ego’ (‘I too was in Arcadia’), used by the seventeenth-century French artist Nicolas Poussin in a painting of a group of shepherds discovering a tomb. Like Poussin, Finlay reminds us that death is present everywhere, even in paradise."
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Copenhagen: Louisiana Revy, 1973
35 x 25cm, 48pp plus wrappers. A single number of this artist's journal associated with the museum. This issue (n 2) has an original two-page contribution by Botlanski - a text translated in to Danish, "OM SIG SELV" which translates to "ABOUT YOURSELF" and is a text taken from a long interview with Uffe Harder. and a page of photographs from an uncredited "Inventory" work showing 40 belongings to an unnamed individual. Not referenced in any catalogue raisonne. VG+.
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Penland: Jargon Society, 1973.
16.7 x 10cm, 48pp. Original pictorial wrappers. A memorial publication for Lorine Niedecker who had died 3 years earlier. Each of 32 poets contributed a work to the book. Finlay who had published her poetry book "My Friend Tree" as the first ever Wild Hawthorn Press book contributed the back cover image of "SONG/ WIND/WOOD" which honours here Niedecker's love for nature.
Jonathan Williams edited this small delight and there are poems by dsh, Gael Turnbull, John Furnival and others. VG condition.
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