Paris: Fondation Cartier pour l'Art Contemporain, 1987
18 x 18cm, 2pp typographic announcement card for a photographic exhibition of 9 images taken of Little Sparta by Boudinet. VG+.

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Paris: Galerie Claire Burrus, 1987
15 x 21.3cm, 2pp announcement card for a solo show of 13 sculptural works by Finlay. A sculptural work - ROUGH OARS WITH THE LEAVES STILL ON THEM - reproduced in black on cream on the front. VG+.

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N.p.: n.p., 1987
A standard b/w photographic 35mm slide with an image of a Finlay sculptural intervention in the landscape - here the work "FIVE COLUMNS FOR KROLLER" The work is to be found at the Kroller- Muller Museum in the Netherlands. The slide was prepared for a book "Art in America" (which is strange given the geographical location of the work pictured). VG+.

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N.p.: n.p., 1987
A standard colour photographic 35mm slide with an image of a Finlay sculptural intervention in the landscape - here the work "A VIEW TO THE TEMPLE." The work was part of the Documenta 8 in Kassel.. The slide was prepared for a book "Art in America" (which is strange given the geographical location of the work pictured). VG+.

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Paris: Galerie Claire Burrus, 1987
20 x 17cm, 6pp exhibition catalogue for a solo show of 13 sculptural works by Finlay. A long text in French and English by Thomas A. Clark. VG+.

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Little Sparta: Wild Hawthorn Press, 1987
12 x 8.5cm, 1pp. Artist's card with a drawing of a bust of Saint-Just. The title has a double meaning - that of a dashing young man and also a reference to the fact that Saint-Just was regarded as the "Angel of Death" by many on the National Convention because of his announcements of those who were to be arrested and probably guillotined. A young blade indeed. VG+.
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Little Sparta: Wild Hawthorn Press, 1987
12 x 8.5cm, 1pp. Artist's card with a none too flattering portrait of one of Finlay's enemies, Catherine Millet, and under neath the title "LA TRICOTEUSE". A tricoteuse was the nickname (a knitting woman) given to the rather bloodthirsty women next to the guillotine who supposedly knitted as the heads dropped. VG+.

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Little Sparta: Wild Hawthorn Press, 1987
21.2 x 19.5cm, printed black on dark grey outer folder content of a single 21.2 x 19.5cm offset lithograph on bright red paper paper.
The folder has " DER UNTERGANG DES ABENDLANDES" printed at the top which is a reference to Oswald Spengler's theoretical history "Decline of the West" from 1918. The inner sheet has "effulgence of the robin" printed black in the middle of the sheet all in lower case.
Spengler (a controversial historian) can clearly be seen as a classicist and it is tempting to think Finlay is approving here of his belief in the higher aesthetics of an earlier age. Additionally the phrase" From the Nabis Series" references the short lived Nabis group of painters -Pierre Bonnard, Maurice Denis, Paul Ranson, Édouard Vuillard, Ker-Xavier Roussel, Félix Vallotton, and Paul Sérusier. symbolists who took their name from the Hebrew nebiim (which means prophet). The bright red of the insert on one level references the bright colours of the group but also may well be seen as the classical a symbol of redemption. VG+>

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Little Sparta: Wild Hawthorn Press, 1987
12 x 8.5cm, 1pp. Artist's card with a photograph of a sculpted head of the author of Follies. A National Trust Guide which had angered Finlay for its description of Little Sparta. The head was later used in the sculpture Three Heads (now in the Glasgow Museum of Modern Art) - the sculpture shows the three heads of Waldemar Januszczak, Gwyn Headley and Catherine Millet in baskets as if they had been guillotined. Finlay was not that forgiving a man in his middle age.
Interestingly the work went missing from the storage of the museum and had to be remade in 2013. VG+.

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Little Sparta: Wild Hawthorn Press, 1987
12 x 8.5cm, 1pp. Artist's card with a photograph of a sculpted head of the Guardian critic that Finlay used in the sculpture Three Heads (now in the Glasgow Museum of Modern Art) - the sculpture shows the three heads of Waldemar Januszczak, Gwyn Headley and Catherine Millet in baskets as if they had been guillotined. Finlay was not that forgiving a man in his middle age.
Interestingly the work went missing from the storage of the museum and had to be remade in 2013. VG+.

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