London: Serpentine Gallery, 1977
19 x 14cm, 56pp plus 16ppp b/w plates. Original wrappers . An exhibition catalogue with a long essay by Stephan Bann illustrated throughout. One of the first long essays on Finlay by his long term friend and collaborator Bann. VG+.
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Dunsyre: Wild Hawthorn Press, 1972
12 x 16.6cm, 2pp artist's postcard with the text drawn by Stuart Barrie: "Jean Gris. His knife and fork" as if on a book cover. Daniel-Henry Kahnweiler was a famous art dealer who worked with the cubists and other avant garde artists including Gris who drew one of the best known portraits of Kahnweiler - who in turn wrote a seminal work on the painter. The reference to "knife and fork" suggests that the dealer was essential to Gris' practice (and may be a quote from the latter about Kahnweiler, we do not know?). It is also worth pointing out that the colour of the drawing here is grey - which is a translation of the painter's surname. VG+
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Dunsyre: Wild Hawthorn Press, 1972
13.5 x 16cm, 2pp - Harvey's drawing of an Barque (a ship with three or more masts) has numbers associated with each part as if a "painting by numbers" - only every colour is a virginal white. Williams was a long term friend and collaborator/publisher of Finlay. In truth this is the one Finlay reference/meaning I cannot fathom - if you know then do get in touch.
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Little Sparta: Wild Hawthorn Press, 1972
24.2×32.2cm. three part folding card with various texts silkscreened in black on grey. The card which is folded into three gate folded nested sheets opens up to show different texts - THE HAY STACK'S WHISP and THE SMOKE STACK'S WHISP. Typograsphy and design by Michael Harvey
Finlay (as elsewhere) brings correspondence between boats and processed fields of wheat.
HMS D1 was one of eight D-class submarine built for the Royal Navy during the first decade of the 20th century and was one of the first diesel submarines which replaced petrol vessels. Being a submarine sometimes only the chimney stack could be seen above the water line - like wheat stacks on a harvested field.
Murray has this as a print - which is absurd - we are catagorising it as a folding card for this collection. Very good condition.
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Dunsyre: Wild Hawthorn Press, 1972
38 x 51cm black on grey silkscreen with a drawing of the Nazi Admiral Hipper-class heavy cruiser Prinz Eugen by Ron Costley. Prinz Eugen served with Nazi Germany's Kriegsmarine during World War II.
The work is a "homage" to the concrete poet Eugen Gomringer - and by the correspondence of the entitled ship with the artist, FInlay is suggesting Gomringer is a prince amongst poets. One of 300 signed and numbered prints.
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Dunsyre: Wild Hawthorn Press, 1972
5.4 x 17.6cm, 6pp (single paper sheet printed one side only), the image is a b/w photograph by Dianne Tammes of a tree branch above a stream over laid with the title words - BLUE/WATERS/BARK. "Blue water" is a term usually used to mean deep ocean but here the water is shallow. The addition of the word bark indicates "surface" - hence a shallow stream is the "bark/surface" of a deeper sea. VG+.
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Dunsyre: Wild Hawthorn Press, 1972
13.5 x 16cm, 2pp - Gardner's drawing of an old fashioned cast metal iron on its side references the sinking of the civil war "Iron Ship" Monitor 16 miles off Cape Hatteras with the loss of sixteen men. Paintings of the ship show it floundering on its side before going down. VG+
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Dusseldorf: Galerie Schmela, 1972
10.5 x 15cm, 2pp announcement card for a book and exhibition of Beuys drawings with an image of one such drawing by Beuys on the front, verso gallery details. Price of the book was 38 DM. one small pin hole on card else VG+.
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Dunsyre: Wild Hawthorn Press, 1972
22.5 x 15cm, 2pp - three colour screenprint with a drawing of sails by Ian Gardner on the front. Brown, and blue are colour associated with Wittgenstein's famous books which discuss the role of context in the understanding of language ("language games") and by extension signifiers such as a drawing. Famously Wittgenstein noted an ambiguous drawing such as the famous rabbit/duck was an example of "seeing that" versus "seeing as".
Here the abstract painting of a sail can also be seen as a river passing through the land to reach the sea. Deeper than one might imagine on first viewing this was also Finlay's largest silkscreen card. VG+
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Bruxelles: POUR ecrire la liberte, n.d. (1972?)
15 x 10.5cm, 2pp. Artist's postcard displaying a b/w image of two placards made by Beuys for Documenta V suggesting the the Red Army Faktion terrorists should be shown around Dokumenta by Durer. Baader and Meinhof were at this point standing trial for terrorist activities in Germany. Verso publisher's details and postcard design. We think this was available in Kassel during Dokumenta but have not been able to confirm this. VG+.
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Dunsyre: Wild Hawthorn Press, 1972
10.5 x 15cm, 2pp - three colour screenprint with images of the Olympic rings on the two colour background red and blue. Design by Costley after Finlay's instruction. The card is a homage to the boat builders Walter Reekie at St. Monans where "ring netters" were built (a form of bottom fishing that was found not to be quite as environmentally destructive as pulling heavier nets over the bottom as the nets were much lighter). The boats are represented here by the rings and the blue is presumably the sea and the red a setting or early morning sky. 1972 was an Olympic year so the card was (unofficially) released as part of those events although those Olympics became the most tragic in history after the terrorist attack on the Israeli athletes.
Finlay re-issued a similar card in 1996 - another Olympic yearVG+.
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Dunsyre: Wild Hawthorn Press, 1972
45 x 18.5cm, orange silkscreen on shaped card with additional triangular card both spiral bound to create a stand-up paper sculpture that resembles a yacht with sails up. This is one of Finlay's most rare works only issued in 70 signed and numbered copies (there were blue versions of the work also). Co-designed with Ron Costley. This examplee has a very slight bend at the top else VG. Murray places this as a print but it is clearly closer to an object multiple and that is where we have catalogued it.
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