Dunsyre: Wild Hawthorn Press, 1971
9.8 x 7cm, 4pp. Artist's card with a reproduced painting by Ian Gardner of a tree in a landscape. Inside the card is the text: "TREE-SHELLS. Instructions: Apply ear to Tree-Shell. Listen for Lakes." The card can be used to create the same auditory illusion as holding a sea-shell to the ear - hence bringing the sound of water (lakes) to the ear. VG+
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Nottingham: Trent Bookshop, 1971)
20.4 x 16.5cM,, 48pp. with colour pictorial wrappers. A double number of this poetry/art magazine edited by Stuart Mills and Simon Cutts - this issue was the last published. and has concrete works by a number of artists/poets but mostly Finlay and Cutts the issue reprints a long letter from lawyers acting against Finlay in the Times Literary Supplement 25.9.69 relating to his legal action against Fulcrum Press and has Finlay's reposte to the letter (only published here we believe) including "If you were a poet, and President Nixon decided to publish you, would you support the Vietnam War?" Seven other poems by Finlay are reprinted and other letters and articles discuss him. A rather nice publication which sadly ended with this high point.
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Little Sparta: Wild Hawthorne Press, 1971
15 x 18cm, 6pp folded card printed with a line drawing by Jim Nicholson of a boat amongst vegetation. The card called A Memory of Summer has additonal information thus "In Trelew Creek, Diur Mrs Thomas Gray's Building of the Hobah" and below that
A ketch
In vech
A is a two-masted sailboat whose mainmast is taller than the mizzen mast (and thr mast can be seen over the flowers in the drawing) and vetch is a fast growing vertical flower which here is being likened to the masts of the boat. The "memory" is from a book called The Merchant Schooners" from 1978 - and refers to the boat being built in the creek hence the boat like the vetch grows naturally during the summer months.
This is one of 300 copies numbered and signed by Finlay.VG+.
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Little Sparta: Wild Hawthorn Press, 19781
76.4 × 69.2cm, red and black on white silkscreen large print. A drawing of a schooner by Ron Costley shows the reef knots of the typical schooner sails - which remind one of the side decorations of the drum of the martyred boy-revolutionary Joseph Barra. The red also reflects his uniform. This is the first reference we know of to the French revolution in Finlay's work - a theme that became much more central in the 80s. This is one of Finlay's most rare editioned works - only 70 copies were made.
The image we have used here is from a publication - the print we hold is framed in wood and glass and hard to image without reflections - but the work is in VG+ condition.
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Dunsyre: Wild Hawthorn Press, 1971
12 x 17.8cm, 6pp (printed one side only), a promotional leaflet promoting the prints and books from Finlay's press. The front fo the leaflet reproduces the silkscreen print A Rock Rose displaying a grounded boat on rocks - creating a colourful equivalent to the sea shore flower. VG+.
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Dunsyre: Wild Hawthorn Press, 1971
4.9 x 14.9cm, 2pp. Pink on white silkscreen - a book-mark which one might consider "a book-flag" in that a book mark flags a place in a book. Additionally the text on one side of the card reads "windflow" and an arrow but when one turns the card over the word becomes "windflower" by the addition of "er" in the same font.
The card if placed on a stick to create a quasi-flag would be pushed in the direction of the "windflow" but could also be seen as a "windflower' flapping in the wind. An ingenious small card work. Typography by Ron Costley.
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Dunsyre: Wild Hawthorn Press, 1971
15.2 x 10.1cm, 2pp. Four colour (green, brown, blue and black) silkscreen of a drawing by Ian Gardner of a growing pot with a stick labelled "daisies" sticking out of it.
The wooden label becomes the daisy - much like in a Magritte a word replaces the thing it represents. A visual form of semiology where the interpretation of a sign becomes the most important and most dominant analysis of a (somewhat pretty) drawing.This example is signed on the back with :"Love from Ian" in black ink. VG+
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Dunsyre: Wild Hawthorn Press, 1971
16.8 x 12.5cm, 2pp. Duotone image of a toy boat made by Finlay on water by Dianne Tammes. Below the image is a two line poem - birch-bark/birch-barque. The former clearly refers to the tree and the latter the square multi-masted boat - but the word barque is an antiquated word for tree bark also. Birch bark peels away from the tree in large panels much like the way sail material is one single surface. The poem moves back and forth between the two meanings and the two visual parallels. VG+.
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Gottingen: Verlag Udo Breger, 1971
15 x 21cm, 2pp. Announcement leaflet for the publication The Olsen Excerpts. An image from one of the book pages is reproduced on the front and on the back a short insightful text in English by Finlay about the book.
This example has two punched holes on the top where it has been stored in a ring binder else VG+.
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Göttingen: Verlag Udo Breger, 1971
15.5 x 15,5cm, 20pp plus pictorial wrappers. An artist's book with nine b/w photographic images of a fishing boat (by Diane Tammes) with the registration number KY 64 opposite a page with other fishing codes and boat names taken from the "Olsen Fisherman's Nautical Almanack" to create poems from the names. Finlay apparently also wished the name to bring to memory the poet Olson. VG_
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Little Sparta: Wild Hawthorn Press, 1971
33 x 31.5cm, red and green on white silkscreen in folder. A boat on the water is reflected from below the hull to become a visual pun of a model airplane. In the title, Finlay references the redwing - a winter bird in the UK and is the smallest true thrush which has red flashes on its wings.
This was the first ever Finlay work purchased by Paul Robertson for this collection.
The image we have used here is from a publication - the print we hold is framed in wood and glass and hard to image without reflections - but the work is in VG+ condition. The signed folder is also retained in the frame. Only 300 copies were made.
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Dunsyre: Wild Hawthorn Press, 1971
25.5 x 20.5cm, 6pp white folder with colophon. Laid in is an original lithograph of 'A Full-Rigged Ship in the manner of Fuseli. The Archangel of Archangel' which is drawn as a concrete and visual poem. The ascending lines for the word Archangel are curved upwards (the florid styling being reminiscent of some of Henry Fuseli's work although not all). The owrd becomes the ship itself.
This copy is signed and numbered by Finlay on the cover as part of the limited edition of 300 copies. Murray 5.28
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