Wild Hawthorn Press - Unoriginal Sins

TERROR IS THE PIETY OF THE REVOLUTION. A COMMENTARY. 1986.

paul robertson — Wed, 21 May 1986 07:53:29 +0000

Little Sparta: Wild Hawthorn Press, 1986

11 x 7.7cm, 16pp with printed card covers. A text by Stoddart on sculptural works installed in the Garden Temple considers in the main just one - Terror is the Piety of the Revolution - where the author claims it is a work open to interpretation but "it clears a no-man's-land between the two factions of Neo-classicists and Modernists."

Murray places this in his catalogue raisonne as the last work in the "Wild Hawthorn Press" section - by which he really means it is the last of the books/works published by other authors who are not Finlay himself. The gap in time between the 13th publication in that section and this one is 20 years - which makes us question that categorisation although Murray is right (without actually saying so) to note that Finlay did not publish any other authors other than himself and collaborations after 1968 (with the cessation of Poor. Old Tired. Horse.), We have kept to Murray's organisation scheme here but with slight qualms. Scarce book - VG+ although very slight rust to one staple

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DRAWING. TWO PART PRINT WITH PLASTIC OVERLAY. 1966.

paul robertson — Tue, 23 Aug 1966 22:24:41 +0000

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SEA POEM. 1966.

paul robertson — Wed, 23 Mar 1966 22:34:34 +0000

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SPORTS & DIVERTISSMENTS. 1965.

paul robertson — Thu, 20 May 1965 17:04:15 +0000

Edinburgh: WIld Hawthorn Place, 1965

24 x 17cm, 10 internal sheets printed recto only plus card covers. Spiral bound. A collection of poems taken from Eric Satie's notes translated from the French by Johnson and illustrated by John Furnival. One work - PUSS IN THE CORNER - can be seen to be a "constellation" or visual poem relating the a cat stalking a mouse. Ratehr charming. One number of POTH - Poor Old Tired Horse Nr 9 - Finlay's poetry journal also included a couple of these poems but was published two years earlier than this more complete collection. This was officially the press' eleventh book.

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POLAR. 1964.

paul robertson — Sun, 25 Oct 1964 21:42:30 +0000

Dunsyre: Wild Hawthorn Press, 1964

55 x 43cm, blue and light blue on white silkscreen. This visual poem by Furnival is an image of the Great Bear (Ursa Major) made up of the words BEAR, OURS, NU. Much like in the night sky the shape points to the POLE Star but here it is designated POLAR - hence creating a polar bear.
This was the tenth ever print created by the Wild Hawthorn Press and is very rare.
There are pin pricks in the corners of the print where it has been placed on a wall (possibly during poetry readings and then recovered as Finlay often did in the early years. Murray 1.10.
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POEM/PRINT. 1964. THE NINTH PUBLICATION OF THE PRESS.

paul robertson — Fri, 23 Oct 1964 22:19:38 +0000

Dunsyre: Wild Hawthorn Press, 1964

55 x 43cm, red and black silkscreen. Concrete poem typical of Kriwet's style of overlapping text to make larger patterned images. One of 300 such prints made. This was the ninth publication of the press (if one does not take in account the early POTHs). VG condition. Murray has this as 1.9.

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PARADIS. 1964. THE EIGHTH PUBLICATION OF THE PRESS.

paul robertson — Wed, 23 Sep 1964 22:14:12 +0000

Dunsyre: Wild Hawthorn Press, 1964

43 x 55cm, green and blue silkscreen. Concrete poem published by Finlay's Press from the turn of the century experimental poet. Paradis is a sign post of sorts placing an idyllic, mythical place 1.5 km between "here" and "there". This was the eighth publication of the press. Albert-Birot died only 3 years after this publication. VG condition.

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EPITAPH FUR KONRAD BAYER. 1964. THE SEVENTH PUBLICATION OF THE PRESS.

paul robertson — Sun, 23 Aug 1964 22:04:52 +0000

Dunsyre: Wild Hawthorn Press, 1964

58 x 43cm, orange and blue silkscreen. Concrete poem - one of the earliest publications of the press. The print is a number of letters N, O and T placed in such a way that different combinations create small words. NON, NOT, TOT - which have negative overtones in English and German. The larger shape of all the letters looks like an X - another negation.
Bayer was an Austrian writer and poet who was a member of the Wiener Gruppe. Franz Mon was also an experimental poet and like Bayer was also influenced by Dada.
Very good condition - this was the seventh publication (ignoring the POTHs) released by Finlay's press. VG condition.

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FLEECE. 1964. THE SIXTH PUBLICATION OF THE PRESS.

paul robertson — Tue, 23 Jun 1964 21:56:15 +0000

Dunsyre: Wild Hawthorn Press, 1964

58 x 46cm, two colour silkscreen on thin paper. The word FLEECE is surrounded by words made up of the last four letters of the word but transposed into new combinations (ECCE/CEEC/ECEC/CECE) much like a covering (a fleece). The colour patterns also create a cross in the middle of the paper - hence along with ECCE (trans. BEHOLD), and the metaphor of sheep which is often used by christians this gives this work a strong religious flavour. The design was by Alister Cant on Bann's instruction. Very good condition. Murray has this as 1.6.

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CIDADE. CITY. CITY. 1964.

paul robertson — Mon, 18 May 1964 15:04:36 +0000

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A VERY PARTICULAR HILL. 1963.

paul robertson — Tue, 18 Jun 1963 14:57:45 +0000

Edinburgh: WIld Hawthorn Press, 1963

15 x 20.5Ccm, 20pp. Original wrappers that wrap around. A poetry book with 10 verses by Turnbull - with linocuts by Alexander McNeish. This was the fourth book published by The Wild Hawthorn Press. VG+. Murray 1.4.

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FISH-SHEET ONE. 1963

paul robertson — Sat, 02 Feb 1963 20:57:57 +0000

Edinburgh: Wild Hawthorn Press, 1963

21 x 30cm. single folded sheet printed with texts by six contributors. Unique number of this precursor to Finlay's revue Poor Old Tired Horse. Issued in broadside format, Fish Sheet One is composed of quasi-concrete poetic experiments by Pete Brown, Spike Hawkins, J.F. Hendry, Anselm Hollo, Edwin Morgan and Finlay. Folded as issued. A very good+ example of this early and quite elusive production of the press. Ref.: Murray 1.3.

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