21 Oct

Posted at 22:36h in Monographs & Essays

Wisconsin: The Beloit Poetry Journal, 1966
21 x 14cm, 40pp plus pictorial wrappers. Single number of this long running Chapbook which here dedicates itself to the concrete poets. Works by all the leading figures including Gomringer, de Campos, dsh, Gerhard Ruhm, Pierre Garnier, Edwin Morgan and Robert Lax amongst others are joined by Finlay - who has three page works including a schematic redrawing of his 4 Sails standing poems which as far as we know is not reproduced elsewhere. The cover is also a glass work by Finlay - Rock Wave. VG+.

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18 Sep

Posted at 20:55h in Artist's Books

Edinburgh: Wild Hawthorn Press, 1966
10 x 25.5cm, 28pp (recto only) printed on different coloured papers (of different thicknesses) with card covers. Metal slide binding. Twenty eight concrete poems by Finlay. A rather attractive early book. Quite scarce. Murray has this as 3.19.

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01 Sep

Posted at 16:19h in Poor Old Tired Horse + Broadsides

Stoneypath; Wild Hawthorne Press, 1966
26 x 21cm, 12pp. The twenty-first number of Finlay’s poetry publication - wholly consisting of concrete poems by Edgard Braga and Augusto de Campos; and designed by Nigel Sutton (typography and layout). Unusually printed red on white. VG+ condition. Scarce.
INSERTED:
21 x 10cm, 4pp. Subscription form for the MIGRANT PRESS with bibliographical history.
This was the first number of POTH published at Stonypath (Later Little Sparta) as Finlay moved there with his partner Sue during 1966. After earlier locations in Edinburgh and Fife this was Finlay's final home for the next 50 years until his death in 2006.

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23 Aug

Posted at 23:24h in Wild Hawthorn Press

Dunsyre: Wild Hawthorn Press, 1965
55 x 43cm, black on white silkscreen with 54 x 42cm white on plastic overlay. An abstract pattern which when the overlay is moved creates a kinetic work in the emerging style of Op-Art. This is one of the rarest of Wild Hawthorn Press works to find - sometimes it was sold without the overlay with Finlay's blessing.

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19 Aug

Posted at 09:55h in Artist's Books

Dunsyre: Wild Hawthorn Press, 1966
21 x 9.5cm, 24 pp plus card wrappers and illustrated dustjacket. A series of "constellation" works (as per Gomringer's vanguard poems) where trios of words are placed in a grid and combined to give different word pictures. Each is illustrated by a linocuts by Zeljko Kujundzic. .
This example is signed "love from Ian, 1966" in thick green felt tipped pen on the first blank end page. VG+.

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24 Jul

Posted at 09:05h in Prints + Posters

Nottingham: Tarasque Press, 1966
57 x 44.5cm, silver on grey silkscreen print. Finlay's sixth ever poem/print - here the word STAR is repeated in a pattern resembling the way a boat weaves home in a zigzag manner and with the font size and spacing varying - the last word in the pattern is the word STEER - which gives the clue to the viewer that it is a journey that is being gazed at. Obviously stars for many centuries were the most important guide to direction - something that Finlay has used as a regular theme in his work from his earliest Scots traditional poems to his first ever concrete poem (see our listings elsewhere on this site). VG+.

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18 Jul

Posted at 20:47h in Artist's Books

N.p.: (Edinburgh): Wild Hawthorne Press, 1966
16.5 x 17cm, 20pp (recto only) plus bound in transparent papers. Original card wrappers with printed dust jacket. A series of photographs of ploughed earth by Audrey Walker, printed black and white, overlaid with translucent pages printed with Finlay's minimal concrete poetry. The text uses the metaphor of "turning over the earth" to illustrate the images of digging but the circular photographs represent the planet and Earth is indeed turning. This example is signed and dedicated on the inside front cover by Finlay in black ink to Maxwell Allan the sculptor. VG+ condition. Murray 3.16. Scarce.

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10 Jul

Posted at 18:58h in Page Works & Contributions

Antwerpen: Paul de Vree, 1966 15 6.7cm, 86pp plus original wrappers with design. A single number of a poetry journal with emphasis on concrete and visual poetry. Edited by Paul de Vree (himself a poet) this has contributions from most of the active proponents of the genre including de vries, Blaine, Garniers, Gette, Chopin and, of course, Finlay.
Finlay has two pages - one with Standing Poem 2 and the other 4 sails. VG+.

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15 Jun

Posted at 16:15h in Poor Old Tired Horse + Broadsides

Coaltown of Callange, Ceres, Fife; Wild Hawthorne Press, 1966
26 x 21cm, 12pp. The twentieth number of Finlay’s poetry publication - this number dedicated to a work by Finlay himself (The Tug The barge/The Water The Wind/ The Sky The Cloud) and illustrated by Peter Lyle. A barge moved through a canal and the various elements of the world move around it. VG+ condition.

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19 Apr

Posted at 18:02h in Prints + Posters

Dunsyre: Wild Hawthorn Press, 1966
56 x 43cm, 2pp. red on blue on white paper - a circular design made up of fishing boat numbers typographically set by Alistair Cant on Finlay's instruction. The pattern creates both a planet or the movement in the stars as they appear to spin around the boat as night passes. Stars for boats are essential to allow passage - until modern methods of navigation they were the sailor's only orientation. The pattern creates both a schematic planet or the perceived circular movement in the stars as they appear to spin around the boat as night passes. Stars for sailors are essential to life - until modern methods of navigation they were the only orientation available to the crew and captain of a ship.
This is the first of two large prints with a similar intent - Sea Poppy 2 being in 1968 - the other uses the the names of the boats.
The title Sea Poppy refers to the yellow hornpoppy which only grows on sea shores - again a clear nautical reference.
This design and others like it was used by Finlay in different formats including wall works, object multiples, printed posters and cards - but this printed version uses colours that are hard to see against each other - given the text is more readable in the other formats of this work it is tempting to suggest that the colour clash here was a mistake although some psychedelic designs of the late 60s did deliberately set up such colour clashes.

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15 Apr

Posted at 16:11h in Poor Old Tired Horse + Broadsides

Coaltown of Callange, Ceres, Fife; Wild Hawthorne Press, 1966
26 x 21cm, 12pp. The nineteenth number of Finlay’s poetry publication - this number dedicated to Ronald Johnson and designed by John Furnival. The entire number is given over to a multi-page visual poem entitled IO AND THE OX-EYE DAISY. VG+ condition.
INSERT:
SUBSCRIPTION FORM FOR DOES MAN FORM AESTHETICS FOR HIMSELF? NYC: Definition Press, 28 x 22cm, 1pp black on yellow paper.

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23 Mar

Posted at 23:34h in Wild Hawthorn Press

Dunsyre: Wild Hawthorn Press, 1966
28 x 43.4cm, 8pp publication which has the title concrete poem by Lax in the middle pages. Designed by Emil Antonucci for Lax this is an exceptionally rare publication. The text over the middle two pages takes the phrase "THE SEA MOVES LIKE A DANCER" and a wave pattern. The text moves around in the same way a boat might on the waves. This example has some sunning on the front cover and is also missing the original slide binding. Murray 1.12

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