Dunsyre: Wild Hawthorn Press, 1967 21 x 15cm, 4pp offset lithographic price list for the Press. This is the first mention of the change of address as Finlays had just moved to Dunsyre and the Stoneypath Farm. Additional is a long list of new publications as the Press became more prolific. Sea Poem by Robert Lax, Vasarely's early print and other early books and standing cards such as 4 Sails are mentioned as well as POTHs. VG+. ...
Wisconsin: The Beloit Poetry Journal, 1966
21 x 14cm, 40pp plus pictorial wrappers. Single number of this long running Chapbook which here dedicates itself to the concrete poets. Works by all the leading figures including Gomringer, de Campos, dsh, Gerhard Ruhm, Poierre Garnier, Edwin Morgan and Robert Lax amongst others are joined by Finlay - who has three page works including a schematic redrawing of his 4 Sails standing poems which as best we know is not reproduced elsewhere. The cover is also a glass work by Finlay - Rock Wave. VG+.
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Edinburgh: Wild Hawthorn Press, 1966
10 x 25.5cm, 28pp (recto only) printed on different coloured papers (of different thicknesses) with card covers. Metal slide binding. Twenty eight concrete poems by Finlay. A rather attractive early book. Quite scarce. Murray has this as 3.19.
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Stoneypath; Wild Hawthorne Press, 1966
26 x 21cm, 12pp. The twenty-first number of Finlay’s poetry publication - wholly consisting of concrete poems by Edgard Braga and Augusto de Campos; and designed by Nigel Sutton (typography and layout). Unusually printed red on white. VG+ condition. Scarce.
INSERTED:
21 x 10cm, 4pp. Subscription form for the MIGRANT PRESS with bibliographical history.
This was the first number of POTH published at Stonypath (Later Little Sparta) as Finlay moved there with his partner Sue during 1966. After earlier locations in Edinburgh and Fife this was Finlay's final home for the next 50 years until his death in 2006.
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Dunsyre: Wild Hawthorn Press, 1965
55 x 43cm, black on white silkscreen with 54 x 42cm white on plastic overlay. An abstract pattern which when the overlay is moved creates a kinetic work in the emerging style of Op-Art. This is one of the rarest of Wild Hawthorn Press works to find - sometimes it was sold without the overlay with Finlay's blessing.
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Dunsyre: Wild Hawthorn Press, 1966
21 x 9.5cm, 24 pp plus card wrappers and illustrated dustjacket. A series of "constellation" works (as per Gomringer's vanguard poems) where trios of words are placed in a grid and combined to give different word pictures. Each is illustrated by a linocuts by Zeljko Kujundzic. .
This example is signed "love from Ian, 1966" in thick green felt tipped pen on the first blank end page. VG+.
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Paris: Editions Jean Pierre Oswald, 1966
17.4 x 10.4cm, 160pp plus card covers. First edition of this novel with added poems for which Boltanski was commissioned to create two drawings on the front and back wrappers. The drawings are of an abstracted figure (an egg shape with legs) in a city of tower blocks on the front of the book and on the back, and the same figure in the countryside near a river seen from above.
This was Boltanski's first ever published work and is the first entry in Jennifer Flay's catalogue raisonnee.
VG+ although the covers are slightly browned. Rare. Ref Flay Catalogue Page 5.
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Nottingham: Tarasque Press, 1966
57 x 44.5cm, silver on grey silkscreen print. Finlay's sixth ever poem/print - here the word STAR is repeated in a pattern resembling the way a boat weaves home in a zigzag manner and with the font size and spacing varying - the last word in the pattern is the word STEER - which gives the clue to the viewer that it is a journey that is being gazed at. Obviously stars for many centuries were the most important guide to direction - something that Finlay has used as a regular theme in his work from his earliest Scots traditional poems to his first ever concrete poem (see our listings elsewhere on this site). VG+.
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N.p.: (Edinburgh): Wild Hawthorne Press, 1966
16.5 x 17cm, 20pp (recto only) plus bound in transparent papers. Original card wrappers with printed dust jacket. A series of photographs of ploughed earth by Audrey Walker, printed black and white, overlaid with translucent pages printed with Finlay's minimal concrete poetry. The text uses the metaphor of "turning over the earth" to illustrate the images of digging but the circular photographs represent the planet and Earth is indeed turning. This example is signed and dedicated on the inside front cover by Finlay in black ink to Maxwell Allan the sculptor. VG+ condition. Murray 3.16. Scarce.
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Antwerpen: Paul de Vree, 1966
15 6.7cm, 86pp plus original wrappers with design. A single number of a poetry journal with emphasis on concrete and visual poetry. Edited by Paul de Vree (himself a poet) this has contributions from most of the active proponents of the genre including de vries, Blaine, Garniers, Gette, Chopin and, of course, Finlay.
Finlay has two pages - one with Standing Poem 2 and the other 4 sails. VG+.
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Berlin: Edition 2 Rene Block Galerie, 1966 11 x 10.5cm. 1pp black on brown card. Announcement for an edition and exhibition at the famous gallery. The edition consisted of a canvas covered box with a signed drawing with 2 brown crosses, 1 divided felt cross, and two printed 2 texts (interestingly one one box contained a gas mask instead of a drawing). VG+ - although a mailed example with handwritten address stamp and franking. Scarce....
Coaltown of Callange, Ceres, Fife; Wild Hawthorne Press, 1966
26 x 21cm, 12pp. The twentieth number of Finlay’s poetry publication - this number dedicated to a work by Finlay himself (The Tug The barge/The Water The Wind/ The Sky The Cloud) and illustrated by Peter Lyle. A barge moved through a canal and the various elements of the world move around it. VG+ condition.
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