Cincinatti: University of Cincinatti, 1968 21 x 28cm, 1pp b/w offset lithographic leaflet to promote the Festival - has a collage of press cuttings about the festival performances which includes Hermann Nitsch and Jud Yalkut including a part interview. VG....
Cincinatti: University of Cincinatti, 1968 55 x 35cm, b/w offset lithographic poster for a showing of Yalkut's films at this arts festival. Folded as issued. VG....
Madison, NJ: International Artists Seminar Fairleigh Dickinson University, 1968 31.5 x 21.5cm, 1pp b/w offset news bulletin for two upcoming events at this university, the first featuring Snow and Joyce Wieland, and the second a screening of Yalkut's films followed by a panel of all three artists. VG....
Buffalo State University College of New York at Buffalo", 1968 22 x 21.5cm, 4pp b/w offset folded program for an event in March '68 held as part of that year's Intermedia festival. Featured dance by Trisha Brown Schilchter and Michele Friedman to music by Simone Whitman with an accompanying film by Yalkut. VG. ...
Garnerville: USCO, 1968 28 x 21.5cm, 1pp b/w offset press release on USCO's environmental piece for the Intermedia '68 festival. The works shown were the "Ten Foot Fanflashtic" - an outdoor kenetic structure. VG....
Antwerpen: Wide White Space, 1968
11 x 22.3cm, 2pp announcement card for the 82 minute film of the Beuys and Christiansen performance and the exhibition. Typographic design only - printed black on brown card. VG+.
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Dunsyre: Wild Hawthorn Press, 1968
17 x 12.5cm, 2pp. The card is one of a series that joins boat names together to tell a quasi-story or visual poem. Here Be in Time leads onto Fruitful Vine. The rhyme is by luck but together it creates an optimistic epigram and metaphor. Fine example. Murray has this as Card 4.9. Murray mis-identifies (not unusual) the date here - on the back it is clearly 1968 but the Catalogue Raisonne has it as 1967. ...
London: Axiom Gallery n.d (1968)
22.5 x 13cm, printed brown paper folder content of three large 22 x 12.7cm, 2pp announcement cards each with an image of a work in b/w on the front and on the back gallery details. The three artists are Keith Milow, Ian Hamilton Finlay and John Walker.
This was Finlay's first ever solo show and his announcement card has an image of a sculptural work "The Clouds Anchor " with recto a short biography.
A rare item indeed.
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Dunsyre: Wild Hawthorn Press, 1968
17 x 12.5cm, 2pp. The card is the first of a few that join boat names together to tell a quasi-story or visual poem. Here Anchor of Hope/ Daisy/ Good Design indicates a daisy in the ground that is well rooted - hence a "good design" and is in some way a metaphysical comment on evolution's creation. The card's title has an Asterix which leads to the note "in a tidal bowl, Peterhead" - a clarification that these are boats. Fine example.
Murray has this as Card 4.8. Murray mis-identifies (not unusual) the date here - on the back it is clearly 1968 but his Catalogue Raisonne has it as 1967. ...
Stoneypath; Wild Hawthorne Press, 1967
26 x 21cm, 8pp. The final number of Finlay’s poetry publication. Design and calligraphy by Jim Nicholson. Contributions from Ronald Johnson, Edwin Morgan, George Mackay Brown, Eli Siegel, Jerome Rothenberg, Alkman (translated by Guy Davenport), Hugh Creighton Hill, Stuart Mills, Pedro Xista, Alan Riddell, Martin Seymour-Smith, Kenelm Cox, Giles Gordon, Douglas Young, Edward Lucie-Smith, Stephen Bann, Dick Sheeler, Astrid Gillis, Oswald de Andrade, Ernst Jandl, Gael Turnbull, Aram Saroyan, Jonathan Williams and Ian Hamilton Finlay. VG+.
Finlay whilst not inventing the One Word Poem format certainly helped popularise it - he uses the format in a number of his artist's books. The last poems in this publication are by Finlay and include some of his best known works reformatted in to such a form.
A SEE-SAW
_________
SEA
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Dunsyre: Wild Hawthorn Press, 1967
12.8 x 10.5cm, 32pp. Card covers with printed dust jacket. An artist's book the title of which refers to a wild bird - interestingly not found in Scotland - which had a loud piercing song which is often claimed to be like two stones being hit off each other. The book consists of a number of concrete and experimental poems using different forms different forms.
This copy is unique in that it was send by Finlay to Maxwell Allan (a sculptor and collaborator) and has been annotated with crosses and ticks on most pages (perhaps indicating approval for further works based on them) and on one page an ink text in Finlay's cursive hand: "this is a nice font isn't it?" referring to the typography of the words in "THE BOAT"S/inseparable ripples". An unusual find in an already somewhat scarce book. VG although the cover is slightly grubby through being handled. ...
Stoneypath; Wild Hawthorne Press, 1967
30 x 21cm, 12pp. The twenty-fourth number of Finlay’s poetry publication. Designed by Alistair Cant with photographs by Graham Keen. This is a photographic record of visual poetry works exhibited at different sites during the Brighton Festival and a de facto catalogue for the event. Works by Claus Bremer, Eugen Gomringer, Ian Hamilton Finlay, Hansjörg Mayer, John Furnival, Edwin Morgan, Stephen Bann and Kenelm Cox. VG+.
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