Gottingen: Verlag Udo Breger, 1971
15 x 21cm, 2pp. Announcement leaflet for the publication The Olsen Excerpts. An image from one of the book pages is reproduced on the front and on the back a short insightful text in English by Finlay about the book.
This example has two punched holes on the top where it has been stored in a ring binder else VG+.

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Göttingen: Verlag Udo Breger, 1971
15.5 x 15,5cm, 20pp plus pictorial wrappers. An artist's book with nine b/w photographic images of a fishing boat (by Diane Tammes) with the registration number KY 64 opposite a page with other fishing codes and boat names taken from the "Olsen Fisherman's Nautical Almanack" to create poems from the names. Finlay apparently also wished the name to bring to memory the poet Olson. VG_

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Little Sparta: Wild Hawthorn Press, 1971
33 x 31.5cm, red and green on white silkscreen in folder. A boat on the water is reflected from below the hull to become a visual pun of a model airplane. In the title, Finlay references the redwing - a winter bird in the UK and is the smallest true thrush which has red flashes on its wings.
This was the first ever Finlay work purchased by Paul Robertson for this collection.
The image we have used here is from a publication - the print we hold is framed in wood and glass and hard to image without reflections - but the work is in VG+ condition. The signed folder is also retained in the frame. Only 300 copies were made.

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Dunsyre: Wild Hawthorn Press, 1971
25.5 x 20.5cm, 6pp white folder with colophon. Laid in is an original lithograph of 'A Full-Rigged Ship in the manner of Fuseli. The Archangel of Archangel' which is drawn as a concrete and visual poem. The ascending lines for the word Archangel are curved upwards (the florid styling being reminiscent of some of Henry Fuseli's work although not all). The owrd becomes the ship itself.
This copy is signed and numbered by Finlay on the cover as part of the limited edition of 300 copies. Murray 5.28

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London: National Poetry Centre, 1971
25.5 x 20.5cm, 6pp (recto only). The programme for this evening debate on "British Modernism, fact or fiction" between Bob Cobbing and Edward Lucie-Smith. The publication consists only of 5 sheets of stapled images of works by Ian Hamilton Finlay, John Furnival, dsh, Bob Cobbing, and one unidentified work and a cover. This is a very scarce item in VG+ condition.

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Dunsyre: Wild Hawthorn Press, 1971
14.8 x 10.4cm, 2pp. Two shades of red on white silkscreen card - the drawing by Ron Costley is of a a flat red rectangle with a square patch with white stitching.
Finlay refers to patching time and time again in his work - La Belle Hollanaise, the harlequin works of PIcasso, the text of Evening will come...

Dunsyre: Wild Hawthorn Press, 1971
10.4 x 14.8cm, 2pp. Red and brown on white silkscreen card - the drawing by Ron Costley is of a tall mast ship with three large sails - two of which have vertical stripes.
The title refers to the Christmas carol with the opening verse "I saw three ships come sailing in/ On Christmas Day, on Christmas Day/I saw three ships come sailing in/On Christmas Day in the morning"
It is not quite clear Finlay's intent here but there are three distinct main masts to the ship. The song is much argued over - given Bethlehem's long distance from the sea then the three ships are presumably metaphors for perhaps the camels of the magi or some other trio, but by the same poeetic process the three ships can be metaphors for the ship's masts here although it is a bit strange having three ships become one. VG+.

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Dunsyre: Wild Hawthorn Press, 1971
10.5 x 14.8cm, 2pp. Blue on white - a design for a wall ceramic drawn by Ron Costley. The concrete poem points to the similarities between the billowing sails and the sea's waves - it is very similar to the previous Sail/Waves 1 card but the line drawing is not in negative and the drawing has minor redesigned elements. Other than tiles Finlay also used this design in other works. VG+.

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Dunsyre: Wild Hawthorn Press, 1971
10.5 x 14.8cm, 2pp. Light blue on white - a design for a wall ceramic drawn by Ron Costley. The concrete poem points to the similarities between the billowing sails and the sea's waves . Other than tiles Finlay also used this design in other works. VG+.

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Sunderland: Ceolfrith Press, 1971
25.2 x 20.5cm, 1pp. Offset lithographic leaflet and announcement with one large concrete poem RING/INS 235 presumably by Finlay (not reproduced anywhere else). Very rare. Murray has this under Miscellaneous but we have recategorised it as an announcement.

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NYC/Koln: Something Else Press, 1971,
157.5 x 12,5cm, 18pp (recto only) plus cover. An artist's book with silkscreens on thick card with interleaving pages and paper back cover (which is often missing because of its fragility). Three ring bindings. A series of visual and concrete poems by Finlay illustrated by Gordon Huntly. For example: 4 Sailing Drifters anre listed as Nobby, Nickey, Lily and Cloud - which Finlay finds an attractive grouping possibly just because of the vocalised rhythm. There is no real theme to the selection of works - this is indeed a "miscellany". One of 1,000 issued - this is in VG+ condition although the metal rings as always show flecks of rust.

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Dunsyre: Wild Hawthorn Press, 1971
15 x 11cm, 12pp (printed recto only with three silkscreened images on thick stock) plus wrappers and pictorial dj - artist's book with lovely colourful small drawings by Gardner above texts by Finlay. A brown sailed tall ship has the legend "An orchard of russets" above its appropriate name Appledore. A brown bottomed boat is a "Rococo walnut" because of its obvious seams, a fur tree is a "pinnate evergreen" which in turn is identified as the sea. One of 300 copies numbered and signed by Finlay on the colophon. VG+.

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