Venice: Gallerie Bevilacqua La Masa, 2000 21 x 10cm, 2pp announcement card for a posthumous survey of Beuys' intervention in Venice over his years. One work in colour on front, verso gallery details. VG+. ...
Venice: s.p., 2000
60.5 x 83.5cm, full colour offset print (wide margins) - one of an unlimited (in theory) prints/ floor posters issued by Monk during the Venice Biennale. The image is of the artist's mother and father with a small monkey (presumably standing in for the artist). We have no information whatsoever if Jonathan Monk was indeed a "little monkey"when a child? This example is unusually signed by Monk in blue ink under the image - slight damage on the left top but else VG.
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Glasgow: WAX366, 2003 13 x 29.5cm, 2pp offset green on white lithographic print with ten green drawings of the outlines of leaves. The leaves were all "selected from, the terraced olive groves which surround Partigliano in Tuscana. Signed on the back by Bellingham in pencil. Limitation unknown. VG+....
Glasgow: WAX366, 2000
43 x 19cm, plastic folder content of a portfolio of five prints (all 42 x 18.5cm) and a cover sheet on card - the five AEIOU charts are derived from Kandolt Ring and Snellen Illiterate E optometry charts. One of 100 signed and numbered examples. VG+. ...
Glasgow: Wax366, 2000
9 x 16cm, 2pp artist postcard with the title text showing white on grey on the front, verso publisher details. VG+
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Glasgow: Wax366, 2000
14.5 x 9cm, 800 plus silver paper wrappers. Artist's book - all the pages are blank apart from the centre page which has the text "ripples in the gutter" in silver ink. A visual poem. Staples very slightly rusted else VG. Limitation not known but not many. ...
30 x 21cm, full colour high quality inkjet reproduction of a photograph of Finlay collaborator Janet Boulton alongside three of her paintings of Finlay toy and one large Ian Hamilton Finlay model boat. Taken at an unknown exhibition. From Boulton's personal archive. ...
Little Sparta: Wild Hawthorn Press, 2000
8 x 17.9cm, 4pp artist's card with a landscape drawing by Gary Hincks. Internally there is a poem by Finlay:
THE OTHER WAY TO EDINBURGH
(Farmsteads, streams,
serious woods),
the rainstorm's portcullis
closes the view.
One of a number of such cards with detailed illustrations of poems, in the same dramatic style, by Hincks all published in the same year. Finlay's reference to the rainstorm's portcullis is the raging rain coming down in sheets that look like vertical lines on the horizon. VG+.
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Tokyo: Gallery 360 (degrees), 2000
15 x 10.5cm, 2pp announcement card for a posthumous show of signed posters by Beuys one such poster reproduced on the front. VG+.
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London: Pump House Gallery, 2000
15.5 x 10.3cm, printed brown envelope content of Sweet Pea Early Multiflora Gigantea mixed seeds. This seed packet was the announcement object for a group show which included Thomas A. CLark, Mat Collishaw, Anya Gallaccio, Michael Landy and FInlay amongst others. Unopened and unusual.
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N.p.: n.p., n.d.
15 x 10cm, 1pp. Full colour photograph of a stone sculptural work presented on the floor. This image is signed in black in k on the side by Finlay in full. VG+.
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Glasgow: WAX336, 2000
9 x 15cm, 4pp. Artist's card which alternates lower case "i"s in the fonts Johnston and Gill Sans on the front in white and blue. The shape of the dot over each eye differs between fonts: one is rounded and the other a diamond shape. Edward Johnston designed his font for the London Transport network in 1915, and Eric Gill designed his font around 1927.
The poem inside the card reads:
Johston's diamonds
Gill's pearls
Early concrete poem card by Bellingham. VG+.
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