Little Sparta: Wild Hawthorn Press, 1990
21.4 x 13.7cm, 4pp red outer folder. Internally a 21.4 x 13.7cm, 4pp sheet with a poem:

THE REVOLUTION

The Revolution is frozen; all
principles are weakened; there
remain only red bonnets
worn by Intrigue.

The waves in the rye grass
never reach the shore.

The poem is denoted to be from S-J (Saint-Just) and IHF (Finlay himself). Finlay is comparing Saint-Just's complaint of the stagnation of the revolution to the movement of grass in wind which may look similar to waves but do not affect the sea.
This is one of a series of works which the Wild hawthorn Press denoted as "Poems in folders". VG+.

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Little Sparta: Wild Hawthorn Press, 1990
14 x 12.4cm, 4pp and printed card wrappers. Internally are two poems by Finlay.

TOMBSTONE
Sundial
without
a gnomon

opposite to

MARBLE
Parachute
of
the gods.

Both images are of stones. The tombstone is a reminder of the passing of time even without the gnomon. The beauty of marble has landed from the heavens above.

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Nevers: Centre d'art contemporain, 1990
15 x 10.5cm, Two bound in printed 6pp single sheets in outer 8pp wrappers. Ostensibly an exhibition catalogue but in fact a joint artist's book with Cutts. The two sections of the inner fold outs have on the left a text "a line of thin pale blue" and the sheet is bound in by a blue thread. This is claimed to be a "translation of a line by Mallame (a poet who can lay claim to have published the first ever concrete poem). On the right section there is a text: "a line of thin pale red" and the sheet is bound in by a blue thread. This is a "translation of a line by Chenier." André Marie Chénier was a poet who lost his life on the guillotine only three days before the overthrown of Robespierre.
The first is a line referring to the horizon, the second to the line of blood from the throats of the murdered - opponents of the Terror sometime wore thin red threads around their body to indicate their mourning for the dead.
A lovely artist's book - the theme (red thread) of which Finlay used in sculptures such as Aphrodite of the Terror from 1987.
Explanatory texts in English and French. . VG+.

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Berlin: Galerie Jule Kewenig, 1990
49.5 x 39cm, 8pp (self cover). Exhibition catalogue in the form of a tabloid newspaper, two large b/w images of sculptural works by Finlay, an illustrated text in English and German on the Battle of Little Sparta and a double centre fold displaying the Crate Furniture for Sans-culottes. Folded into sixes as issued. VG+.

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London: Victoria Miro Gallery, 1990
21 x 15cm, 4pp. Original printed pink glossy wrappers . An exhibition catalogue with no illustrations only a commentary by Stephan Bann internally on the them of Idylls in Finlay's output with particular emphasis on the neo-classical works. VG+.

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Little Sparta: Wild Hawthorn Press, 1987 29.6 x 21cm, 4pp folded sheet with a proposal for a walled pool with "granite, water and white neon". Finlay notes "the proposed sculpture treats the building's entrance hall as an atrium: it brings the 'clouds' (in five languages, including Spanish) down through the distinctive tower and dome, to be reflected in the pool. There is a reproduced colour drawing of the pool in plan and in side by Andrew Townsend. VG+. ...

Little Sparta: Wild Hawthorn Press, N.D. (1990)
19 x 13.3cm, 1pp artist's card with a drawing by Gary Hincks of American battle decals (stars) placed such as there is a visual correspondence with a patch of water-lilies. VG+. ...

Edinburgh: Morning Star Press, n.d.
4 x 0.5cm, machine embroidered name patch issued as part of a book publication by the Press – here separately mounted by stitching onto a 5.4 x 18.7cm unprinted card. The red thread has three names of boats "Tom", "Dick" and "Harry" but together reminds one of the cliche. VG+ condition.

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