Dunsyre: Wild Hawthorn Press, 1977
15 x 10.7cm, 2pp. Two drawings by Gary Hincks of the same landscape with a large stately home in the distance.
The first drawing is labelled Palladian and the second drawing, which shows molehills disturbing the scene everywhere, is labelled Picturesque.
Thomas Hearne was a 17th century diarist and engraver of landscapes - and they were often in the style of the Picturesque.
The two scenes here are a jokey method of commenting on conflicting styles of drawing/landscaping and architecture, Palladian stressed austerity, classicism and symmetry whereas the Picturesque style emphasised nature and the natural. By including the molehills in the second drawing, Finlay is criticising the style in favour of his neo-classical tastes by making the realities of the wild a destructive force to beauty.
This example was sent by Finlay to Dawn MacLeod has a handwritten note "A wee "get well" top the recalcitrant wrist. Warm wishes, Ian" in black ink. VG+.

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Cambridge: Kettle"s Yard Gallery. 1977
21 x 13.2cm, 30pp plus card covers and printed typographic dust jacket. Design and typography by Ron Costley and essays by Stephen Bann, Douglas Hall, Miles Orvell and Stephen Scobie with a poem "Stonypath" by Kathleen Raine. An exhibition catalogue for a show of works which were "collaborations" with other artists (which is almost all of Finlay;'s works). VG+.

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Dunsyre: Wild Hawthorn Press, 1977
15 x 10.4cm, 2pp. A drawing by Michael Harvey of a gravestone with the title German text - Beware! Mines - and a skull and crossbones motif, it is covered in snow. This is a reference to the German attack on Russia which stumbled badly due to poor supply but also because of the vicious Russian weather. Much like Napolean's army before them, many died due to the cold conditions as they retreated back to their homelands. VG+.

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Dunsyre: Wild Hawthorn Press, 1977
12 x 9cm, 1pp. A list of seven painters are shown on a "in Memoriam" card. The first five of those named have had their Christian names changed to "Robert" whereas the last two - Robert Colquhoun and Robert MacBryde - have retained their real names ie Robert.
Finlay had met Colquhoun and Macbryde at Glasgow School of Art during the 40s at a time when they were the most feted of Scottish artists. Sadly both died early in the 60s (within 3 years of each other) - they were lovers - and were known by most as "The Two Roberts". By extending the roll call of "Roberts" Finlay is in some way placing his two acquaintances in the pantheon that includes Masson, Picabia, Ozenfant, Schwitters and Metzinger. VG+.

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Bologna: Galleria comunale d'art moderna di Bologna, 1977 20 x 20cm, 16pp plus wrappers. Exhibition catalogue for a worldwide survey visual poetry show with works from Anceschi, Andrafe, Boso, Caraballo, Herman, Ogaz, Oswald Weiner, Zabala, Viola, Setsuko and others as well as Finlay collaborating with Maxwell Allan alongside Bob Cobbing, John Furnival, Lillane Lyn, David Mayor and Alan Ridell from Britain. Curated by Giuliano Della Casa and Alessandro Serra. Finlay's work is not illustrated not mentioned in the catalogue essay by Adriano Spatola.
JOINT: Bologna: Galleria comunale d'art moderna di Bologna, 1977 20 x 20cm, 1pp typographic announcement leaflet with Finlay being the only British artist mentioned in the leaflet. VG+.

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33 x 20.5cm, 1pp xerox copy of a letter sent by Ian Hamilton Finlay to his friend and collaborator Rod Gathercole relating to a set of epigrams Finlay called Persiflages. The letter notes some examples (not all eventually used) such as "My favourite flowers are leaves.". The letter also points to Finlay supplying outline sketches for drawings. The book was later published with drawings by Gathercole. VG.

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Dunsyre: Wild Hawthorn Press, 1977
10.5 x 15.6cm, 2pp. A photograph by Carl Heideken of a Oerlikon cannon below which the word LYRE has been added by Finlay. On the reverse of the card there is a quotation from Jean Cocteau "With us, there is a house, a lamp, a plate of soup, a fire, wine and pipes art the back of every important work of art."
Visually the cannon's ammunition looks like the strings of a harp (lyre) so Finlay sees a visual correspondence between the gun and the musical instrument (both also make noise) and by adding the quote he is also suggesting that art may well be violent as well as based on the homely values of Cocteau. VG+>

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Dunsyre: Wild Hawthorn Press, 1976
25 x 55cm offset lithograph in green and black on off white paper. A drawing by John Borg Manduca is printed in green and has elements of camouflage - hence Finlay's question: "Are Aircraft Carriers Urban or Rural?" makes sense as the huge vessel looks like greenery in the countryside. elsewhere Finlay has taken up this theme with a different print called "Topiary Aircraft Carrier".Murray has this as 5.56. VG+ condition.

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Dunsyre, : Wild Hawthorn Press, 1976 12 x 11cm,28pp plus card wrappers and printed blue dust jacket. Artist's book displaying two b/w photogrpahs of sculptural works in stone (both war planes) by John Andrews and nine poems by Finlay including:

UNTITLED
after Aram Saroyan

LOTS
lots

Aram Saroyan is an American minimalist poet. The word LOTS plays in opposition to the form. Finlay's poem hints at the complexity found in Saroyan's poems despite their (relative) lack of words or even letters.
This is one of 350 signed and numbered copies. VG+.

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Toronto: Couch House Press, 1976
19.6 x 20.2cm , 60pp plus blue card covers. An A-Z of pictures of Finlay's model boats, airplanes, weapons and kites by Paterson along with an alphabet - B is "Battle fleets are like families" shows a number of warships placed in size order like a bad family portrait. Not all of the texts are poetic - some simply describe the toys.
One of 1,000 copies printed this example is VG+.

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Dunsyre: Wild Hawthorn Press, 1976
15 x 10cm, 1pp. A line drawing by Laurie Clark of a ship steering towards the viewer with its name on the prow: it can be seen to be a model because of the large faucet to be found in the background.
Finlay was fond of making and playing with toy boats from early in his career. VG+.

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