Edinburgh: Graeme Murray Gallery, 1992
21 x 15cm, 4pp single folded sheet. A second supplement to the first catalogue raisonne published by Finlay's then dealer covering the entire range of prints, artist books and cards covering the years 1991/1992. VG+.
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Little Sparta: Wild Hawthorn Press, 1992
8.4 x 15.7cm, 4pp card. Two water colour paintings by Gary Hincks of wild growing flowers have two different Finlay definition works noted below each - the first is:
WILDFLOWER, n. a wayside text
and
WILDFLOWER, n. an inflammatory text
VG+.
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Edinburgh: Graeme Murray Gallery/Fruitmarket Gallery 1992
21 x 7.8cm, 4pp announcement card with offers of editions and books released during the solo exhibition with a reproduction of Finlay's Evening Will Come They Will Sew The Blue Sail on the front in blue on white. The card announces the release of the second edition of the print (which was signed and numbered unlike the first edition from 1970). VG+.
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Little Sparta: Wild Hawthorn, n.d. (1999?)
19 x 14.5cm, 4pp green on white printed card (with an image of a second world war fighter plane flying over open water. Internally a 19 x 14.5cm, 4pp green on white printed card with the names of five military airplanes (fighters, bombers and reconnaissance planes) and their dates of service much as one would name dead combatants. All of the planes had names based on popular English forenames. Murray has this (in the supplement to his catalogue raisonee as a poem in a folder so we have continued that classification.
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Little Sparta: Wild Hawthorn Press, 1995
23.2 x 12.5cm, 8pp. A proposal for a public work at the Botanic Gardens, University of Durham where a post of green oak is carved with a combination of numbers that are rearranged in each row (as a "method " used by bellringers) - Finlay notes this references the nearby Cathedral with its bells and the foxglove plants that also have bells. Three watercolour paintings by Ron Costley are reproduced. VG+....
Little Sparta: Wild Hawthorn Press, 1993
23.4 x 18cm, 4pp. A proposal for a permanent installation in a new art museum planned for Germany. The work consists of a sentence from Saint-Just in four different languages:
THE NATIVE LAND IS NOT THE LAND IT IS THE COMMUNITY OF FEELINGS
on the ground of a 60 x 60m terrace. VG+. ...
Little Sparta: Wild Hawthorn Press, n.d. (1992)
10.2 x 6,.6cm, plain manilla envelope content of three 10 x 6cm, 1pp cards. The cards have texts at the top -
shepherd of stones on the grey card
pastor of oaks on the green card
and "pasteur de chenes" a quote from E. Lochac's Obelisque on the last white card. Lochac was a Jewish Ukrainian poet who lived in France and was persecuted by the Nazis. All VG+ in like envelope. ...
Little Sparta: Wild Hawthorn Press, 1992 9.0 x 16.4cm, 2pp. A drawing by Annet Stirling shows a group of leaves behind which the word FiGLEAF can just be read. The reference being the hiding of the genitals of statuary by the absurd placing of a figleaf. VG+...
Little Sparta: Wild Hawthorn Press, 1992
9 x 11.4cm, 8pp plus card wrappers and green printed dust jacket. Two colour photographs by Eva Maria Weinmayer of a tree house which is revealed in the second photograph to be a model and incomplete. The two texts are both from Wittgenstein. The first which shows the seemingly complete treehouse is
"7. What we cannot speak about we must pass over in silence."
and the second with the image that reveals the "tree house" to be fake is
"7.01 What we cannot speak about we must construct."
This is reminiscent of Lawrence Weiner's dictum on conceptual art:
1. The artist may construct the piece.
2. The piece may be fabricated.
3. The piece need not be built.
Each being equal and consistent with the intent of the artist, the decision as to condition rests with the receiver upon the occasion of receivership.
But of course Wittgenstein is interested in truth to which his solution was to say the only possible truth to be known is tautological. Finlay seems to be suggesting that an alternative is to create a new truth.
The treehouse was made by "Kroder, Korner and Weinmayr. VG+.
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Little Sparta: Wild Hawthorn Press, 1992
16.4 x 14.9cm, outer folder content of a concertina 8pp insert printed one side only. A proposal for an "abbreviated doric temple" built on a hillside with four doric pillars but only completing part of a semi-circle. Finlay offers that the structure:
"embodies the original meaning of templum as a space marked out for divination. The stylobate is complete; the part-entabulature and supporting columns delineate "sacred" areas of the sky and, with the autere Latin inscription, frame the "everlasting" - also ephermeral - "temples: of the clouds."
The temple has the phrase "Aetema templa caeli" which translates to "the everlasting temples of the sky" which was cited by Varro in his De Lingua Latina.
There are three drawings by Mark Stewart - plans, sections and side elevations as well as an in situ drawing.
Sadly the printing of the inner pages has been poorly finished and there is sett off between the pages - else VG+. ...
Docking: Coracle, n.d. (1992)
14.5 x 10.5cm, 8pp plus stiff burgundy printed wrappers. A visual poem written by Simon Cutts in praise (and a little critical en passant) of his friend Ian Hamilton Finlay. Inside the book (which looks like a passport) there are 3 pages - the first is I and has a black rectangle of card pasted to the page, the next page has the H and has empty spaces where similar rectangles might be pasted and the final page F has a black card shaped like a guillotine blade.
Not only referencing Finlay's interest in the French revolution - but also a slight hint at the poet's somewhat irascible nature (which moderated in his old age - by the time I met him he was a pussycat) in the darkness of the shapes and the sharpness of the final "blade". A rather nice little work in homage to the man. VG+.
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Little Sparta: Wild Hawthorn Press, 1989
11.6 x 7cm, 20pp plus card wrappers and printed dust jacket. Six drawings by Angela Lemaire are conjoined with Finlay's pithy proverbs.
"The wind is invisible/but we can see which way the trees blow"
This is one of 250 unsigned copies. VG+ but staples are rusty.
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