Exhibition & Other Posters - Unoriginal Sins

IMAGES FROM THE ARCADIAN DREAM GARDEN. 2025. EXHIBITION POSTER IN CELEBRATION OF 100 YEARS SINCE FINLAY’S BIRTH.

paul robertson — Thu, 31 Jul 2025 14:16:32 +0000

Biggar: Biggar & Upper Clydesdale Museum, 2025
42 x 30cm, 1pp dark green on white offset lithographic exhibition poster with a reproduction of the post card "A Modest Hero" and text. A commemorative exhibition of Finlay's work in his local museum (Little Sparta is ten miles north of Biggar). Only c. 50 printed. VG+.

The post IMAGES FROM THE ARCADIAN DREAM GARDEN. 2025. EXHIBITION POSTER IN CELEBRATION OF 100 YEARS SINCE FINLAY’S BIRTH. appeared first on Unoriginal Sins.

LITTLE SPARTA. 1998.

paul robertson — Sun, 23 Aug 1998 15:47:04 +0000

Nailsworth: Cairn Gallery, 1998

38 x 29cm, 1pp black on gloss paper. Large b/w inkjet (as issued) exhibition poster for a show of images from Little Sparta taken by Janet Boulton and David Paterson. One image of a broken column in situ in Finlay's garden reproduced on the front. Slightly ripped along edges. Not many produced.

The post LITTLE SPARTA. 1998. appeared first on Unoriginal Sins.

IAN HAMILTON FINLAY. SAIL WHOLEMEAL. PRINTS 1963 – 1997. 1997

paul robertson — Sat, 26 Apr 1997 20:15:31 +0000

Dortmund: Museum am Ostwall, 1997
98 x 60cm, full colour offset lithographic exhibition poster with a reproduction of the extremely rare Sail Wholemeal silkcreen by Finlay. An exhibition of prints from Little Sparta. VG+.

The post IAN HAMILTON FINLAY. SAIL WHOLEMEAL. PRINTS 1963 – 1997. 1997 appeared first on Unoriginal Sins.

IAN HAMILTON FINLAY. WORKS: PURE AND POLITICAL. 1995. SIGNED BY FINLAY.

paul robertson — Tue, 26 Sep 1995 15:35:32 +0000

Hamburg: Deichtorhallen Hamberg, 1995

89 x 60cm, b/w offset lithographic exhibition poster with a reproduced photograph of a sculptural work (See Poussin/Hear Lorraine) in situ at Little Sparta. This exhibition poster is unusually signed in pencil by Finlay under the image . VG.

The post IAN HAMILTON FINLAY. WORKS: PURE AND POLITICAL. 1995. SIGNED BY FINLAY. appeared first on Unoriginal Sins.

THE POOR FISHERMAN. 1991.

paul robertson — Fri, 26 Jul 1991 15:23:47 +0000

Edinburgh: Talbot Rice Gallery, n.d. (1991)

69 x 41cm, full colour offset lithographic exhibition poster with a recreation of the painting "The Poor Fisherman" by Puvis De Chavannes - however the mast of the boat has had a revolutionary cockade been added to it. - hence adding a political edge to the image more than the original solely religious intent. The exhibition at the Talbot Rice Gallery that examined the work in some detail and responses to the work.

The post THE POOR FISHERMAN. 1991. appeared first on Unoriginal Sins.

IAN HAMILTON FINLAY. IDEOLOGISCHE AUSSERUNGEN. 1991. SIGNED BY FINLAY.

paul robertson — Sun, 21 Apr 1991 15:31:10 +0000

Frankfurt: Talbot Rice Gallery, 1991

89 x 60cm, B/W offset lithographic exhibition poster with a reproduction of TWO LANDSCAPES OF THE SUBLIME (See separate listing under prints) This exhibition poster is unusually signed in pencil by Finlay under the image (originally by Gary Hincks). VG.

The post IAN HAMILTON FINLAY. IDEOLOGISCHE AUSSERUNGEN. 1991. SIGNED BY FINLAY. appeared first on Unoriginal Sins.

UNCOVER DISCOVER. NEW ART FOR GLASGOW. 1990.

paul robertson — Tue, 26 Jun 1990 20:21:19 +0000

Glasgow: Third Eye Centre 1990
83 x 59cm, orange and black offset lithographic exhibition poster for a number of public artworks by artists in Glasgow - including Judith Barry, Stuart Brisley, Peter Fischli and David Weiss, Rosemary Trockel and Ian Hamilton Finlay amongst others. Finlay's work is still visible today - the Bridge Pillars at the River Clyde at the Broomielaw. VG.

The post UNCOVER DISCOVER. NEW ART FOR GLASGOW. 1990. appeared first on Unoriginal Sins.

1789. IAN HAMILTON FINLAY. 1794. 1989.

paul robertson — Fri, 22 Dec 1989 16:35:49 +0000

Hamberg: Hamburger Kunsthalle, 1989

84 x 60cm, duotone offset lithograph exhibition poster with a full sheet image of Finlay's Aphrodite of the Terror sculpture and floating text. An exhibition looking at Finlay's work relating to the French revolution. Folded as issued else VG.

The post 1789. IAN HAMILTON FINLAY. 1794. 1989. appeared first on Unoriginal Sins.

IAN HAMILTON FINLAY. 1977. LONDON.

paul robertson — Tue, 26 Dec 1978 16:22:00 +0000

London: Arts Council of Great Britain/Serpentine Gallery, 1978

58 x 41cm, three colour offset lithographic exhibition poster with a reproduction of a work "Of famous arcady ye are" - a tank hiding in greenery: a favourite Finlay trope, here with a quotation from John Milton. This was an exhibition that was later exhibited in Wales and used the same poster design. Formerly folded else VG.

The post IAN HAMILTON FINLAY. 1977. LONDON. appeared first on Unoriginal Sins.

IAN HAMILTON FINLAY. 1978. CARDIFF.

paul robertson — Tue, 26 Sep 1978 15:16:07 +0000

Cardiff: Arts Council of Great Britain, 1978

58 x 41cm, three colour offset lithographic exhibition poster with a reproduction of a work "Of famous arcady ye are" - a tank hiding in greenery: a favourite Finlay trope, here with a quotation from John Milton. This was an exhibition that had previously been in London the year before. Formerly folded else VG.

The post IAN HAMILTON FINLAY. 1978. CARDIFF. appeared first on Unoriginal Sins.

IAN HAMILTON FINLAY. COLLABORATIONS. 1977. PART OF CAMBRIDGE POETRY FESTIVAL.

paul robertson — Sun, 24 Apr 1977 14:02:28 +0000

Cambridge: Kettle's Yard, 1975

60 x 42cm, olive green and black on white offset lithograph. The line drawing by Ron Costley is a copy of the outline of the original Bernini sculpture of the gods.

There is a text beneath the image: ‘APOLLO AND DAPHNE/ after Bernini/BIBLIOGRAPHY - Ovid, “Metamorphoses”; Rudolf Wittkower, “The Sculptures of Gian Lorenzo Bernini”; Historical Research Unit, Vol. 6, “Uniforms of the SS”’.

The classical story of the pair is one of desire - Apollo being consumed by lust for Daphne (thanks to Eros messing with his motivation) and Daphne desiring to remain chaste (Again this is down to Eros). When Apollo did manage to catch Daphne (presumably with rape his intent) Daphne's father Peneus turned her into an laurel tree - hence saving her virginity.

The Tate Gallery website claims Finlay explained that "the gods and nature ‘were behaving not unlike the Waffen SS’ (who were the first to use a smock with a leaf camouflage pattern, hence its identification with them).

This poster, in which Daphne is wearing a camouflage smock which replaces ‘nature’, was the poster for the title exhibition at the Cambridge Poetry Festival in 1977. It is the same image as in the print APOLLO AND DAPHNE. AFTER BERNINI. 1975 but with exhibition details added at the bottom. Slight crease top right else VG.

The post IAN HAMILTON FINLAY. COLLABORATIONS. 1977. PART OF CAMBRIDGE POETRY FESTIVAL. appeared first on Unoriginal Sins.