Little Sparta: Wild Hawthorn Press, 1999
16.2 x 12cm, 20pp plus card covers and dust jacket. Printed on thick laid cream paper. String bound. Artist's book with various texts by Finlay displayed over a drawing of a crate by Gary Hinks.
PLEDGE (FOR PIA)
YOUR NEEDLE AND THREAD
IN THE SAIL OF MY ZULU.
VG+. ...
Little Sparta: Wild Hawthorn Press, 1999 10 x 10.6cm, 8pp plus card covers. String bound. Artist's book with 3 small landscape drawings by Kathleen Lindsley below each of which is a referejnce to a literary figure - for example a ploughed field is "A Remembrance of Robert Burns: Furrow". VG+. ...
Little Sparta: s.p. Finlay, n.d. (c. 1990s)
21 x 30cm, 11 pages all original xerox printed one side only and stapled three times on left to create a document. The letter (annotated later with short remarks by Finlay) was sent originally in 1962/1963 to Cid Corman who edited Origin (one of the first publications to put Finlay in print) where he praises the magazine, talks about how he writes and feels isolated in doing that and unsure of what he is doing is good and discusses his own mental health (he complains about anxiety). Attached are a number of poems in traditional form from The Dancers Inherit The Party. AN insightful document indeed.
This was sent to Janet Boulton in July 1999.
JOINT:
KNOWING THE LAND WHERE NEON BLOOMS: IAN HAMILTON FINLAY'S INSTALLATION IN ERFURT.
n.p.: s.p., 1999
30 x 21cm, 3pp (recto only) stapled. An essay by Harry Gilonis about Finlay's installation of neon works.
JOINT:
XEROX COPY OF ARTICLE IN JOURNAL OF GARDEN HISTORY BY STEPHEN BANN. 1981.
30 x 21cm, 13pp (recto only) stapled. An essay by Bann about Little Sparta with lots of phtographs.
JOINT:
31 x 21.5cm, original mailing envelope with handwritten notes of the contents by Finlay. Torn badly when opened at top.
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Little Sparta: Wild Hawthorn Press, n.d. (1999) 10 1 x 14cm, 1pp. Artist's postcard black on blue with a text taken from Mixed fragments by Novalis in which the post sees similarities between metaphysical romance and the adoption of a pen name. VG+. . ...
Little Sparta: Wild Hawthorn Press, n.d. (1999) 8.2 x 9.5 cm, 2pp artist's card black on blue with a text that Finlay has used on several occasions on the front: FOR "HARVESTER" READ "GLEANER" on the reverse the two boat numbers PD98 and CN 444 are reproduced along with the title EU Erratum. The original boat's name was changed from Harvester to Gleaner when Britain joined the European Union. VG+. ...
Little Sparta: Wild Hawthorn Press, 1999
6.5 x 10cm, 4pp, black on white artist's card on opening one sees a drawing by Jennie Spiers of an upturned boat in a forest and opposite there is a Finlay haiku;
The upturned boat's
snowdrift
soldiers on.
The shape of the boat the wrong way up clearly reminds Finlay of how snow clumps in heaps. And what is more, Finlay knows how to write a classical format of Haiku with the middle word "cutting" the meaning of the scene. VG+.
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Little Sparta: Wild Hawthorn Press, 1999
8 x 9cm, 4pp, black on white card with a linocut by Jo Hincks of sheep in a glade. Inside is a poem by Finlay:
Sheep Folded, Shadows Unfolded
Shoreham
The sheep are home, and the dark is coming - the shadows are "unfolded". Shoreham is a city that famously has plastic sheep as a public artwork. VG+.
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Little Sparta: Wild Hawthorn Press, 1999
14.4 x 10cm, 2pp, black on white artist's card. The drawing by Gary Hincks is of a memorial "grave" stone for Henry Vaughan which can be found in the Little Sparta garden. There is a Pilcrow (¶) at the top of the marker which Finlay explains the poet used in place of a title when certain poems were to be regarded as elegies. Clearly this visual poem is also an elegy for Vaughan.VG+.
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Little Sparta: Wild Hawthorn Press, 1999
6.3 x 12.1cm, 4pp, black on rippled blue/white artist's card. The one line poem inside reads:
Morning: the mountains lifting off the mist
A more common saying would be that the mist is lifting off the mountains but by this reversal Finlay is suggesting the early morning scene of misty mountains gives an illusion of the hills being pulled above the clouds. VG+.
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Stuttgart: Revolver, 1999
21 x 10cm, 1pp announcement card with a photograph of the artist's parent walking a dog plus gallery text. A promotional card for the artist's book. VG+. This example is signed on the back in pencil by Monk.
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Beelitz, Kehayoff, 1999
11,5 x 17 x 3cm, two-part cardboard box with mounted title-sticker on lid content of a a folded text sheet with a colour drawing of the exhibition site and a text in English. Additionally there are 39, 10.5 x 15cm, 2pp colour post-cards. This was the exhibition catalogue for the exhibition shared between Boltanski, Ilya Kabakov and Jean Kalman. Each card shows an installation view of the works which were sited in a former sanatorium near Berlin. The text by Kabakov explains the background to the project. VG+.
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München. Gina Kehayoff. 2000
31 x 29.2cm, printed folder with ribbon content of 29 cardboard pages with mounted (photo corners) colour photographs of the various installations by the three artists in a former sanatorium outside Berlin. Additionally there is a large colour poster showing the layout of the project and a text in English by Ilya Kabakov.,br.
There is also a colophon sheet tipped onto the inside back of the folder signed and numbered by all three artists in pencil. One of of 69 deluxe copies. VG+.
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