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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Dunsyre: Wild Hawthorn Press, 1966
56 x 43cm, 2pp. red on blue on white paper - a circular design made up of fishing boat numbers typographically set by Alistair Cant on Finlay's instruction. The pattern creates both a planet or the movement in the stars as they appear to spin around the boat as night passes. Stars for boats are essential to allow passage - until modern methods of navigation they were the sailor's only orientation. The pattern creates both a schematic planet or the perceived circular movement in the stars as they appear to spin around the boat as night passes. Stars for sailors are essential to life - until modern methods of navigation they were the only orientation available to the crew and captain of a ship.
This is the first of two large prints with a similar intent - Sea Poppy 2 being in 1968 - the other uses the the names of the boats.
The title Sea Poppy refers to the yellow hornpoppy which only grows on sea shores - again a clear nautical reference.
This design and others like it was used by Finlay in different formats including wall works, object multiples, printed posters and cards - but this printed version uses colours that are hard to see against each other - given the text is more readable in the other formats of this work it is tempting to suggest that the colour clash here was a mistake although some psychedelic designs of the late 60s did deliberately set up such colour clashes.

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Coaltown of Callange, Ceres, Fife; Wild Hawthorne Press, 1966
26 x 21cm, 12pp. The nineteenth number of Finlay’s poetry publication - this number dedicated to Ronald Johnson and designed by John Furnival. The entire number is given over to a multi-page visual poem entitled IO AND THE OX-EYE DAISY. VG+ condition.
INSERT:
SUBSCRIPTION FORM FOR DOES MAN FORM AESTHETICS FOR HIMSELF? NYC: Definition Press, 28 x 22cm, 1pp black on yellow paper.

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Paris: Galerie Tournesol, 1966
18 x 21cm, 1pp hand typed letter from Boltanski on Galerie du Tournesol letterhead paper to M. Berg apologising that the gallery will be closed on 7th of April 1966 and that Boltanski will only return to Paris on the 13 April but he would be happy to meet Berg on any other date. He also mentions Berg's interest in the work of Romero. The letter is signed in black ink. VG+.

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Dunsyre: Wild Hawthorn Press, 1966
28 x 43.4cm, 8pp publication which has the title concrete poem by Lax in the middle pages. Designed by Emil Antonucci for Lax this is an exceptionally rare publication. The text over the middle two pages takes the phrase "THE SEA MOVES LIKE A DANCER" and a wave pattern. The text moves around in the same way a boat might on the waves. This example has some sunning on the front cover and is also missing the original slide binding. Murray 1.12

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Wein: Universal-Edition , 1966
14.5 x 20cm, 118pp. Original card covers. First edition of this German translation of a number of short plays by Finlay originally written in the 50s and translated by Estella Schmid. The Estate Hunters and Walking Through Seaweed are two of the works which were later published in a Penguin Anthology "New English Dramatists" in 1970 (see separate listing in this site).
Pages somewhat browned as the paper employed in the printing was cheap. This copy has an inscription in black ink by Finlay to "To Eduard/ with love from Ian/ 15 March 1966."

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Stuttgart: Edition Hansjorg Mayer. 1966
Single sheet, 64 x 48cm, folded three times (24 x 16cm folded size), printed one side only. A single number from the famous Futura series dedicated to the work of Finlay. Five concrete poems are reproduced in b/w....

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