33 x 20.5cm, 1pp xerox copy of a letter sent by Ian Hamilton Finlay to his friend and collaborator Rod Gathercole relating to a set of epigrams Finlay called Persiflages. The letter notes some examples (not all eventually used) such as "My favourite flowers are leaves.". The letter also points to Finlay supplying outline sketches for drawings. The book was later published with drawings by Gathercole. VG.
London: Serpentine Gallery, n.d. (1977) 30 x 21cm, 1pp green and b/w offset - the press release for the large scale Finlay solo show at the Serpentine Gallery. Folded for mailing else VG+. JOINT Mailing envelope to Seamus Cooney in Michigan. Neatly opened.
Dunsyre: Wild Hawthorn Press, 1980
11.3 x 16.6cm, 1pp. A handwritten "reminder" note from Sue Finlay to Harry Warschauer asking for payment of £9.91 for publications from the Wild Hawthorn Press. The card is the Motoring Chocolate Soldier (Panzer Grenadier) from 1976. Some creases from the mailing process.
Little Sparta: s.p. (Finlay), 3 March 1981
30 x 21cm, vintage spirit duplicate of a reply to Finlay from the Strathclyde Consumer Protection department: Finlay had asked the department to take up a complaint against the Region's own Financial Collection Agencies. The department indicates that they do not regard the "Wild Hawthorn Press" as an individual and therefore refuse to act on Finlay's complaint.
The xerox is a poor copy but legible.
Little Sparta: Finlay, n.d. (c. 1981)
Two original xerox stapled sheets of a letter both 30 x 21cm, 1pp. A long and important letter from Finlay to a collaborator in which he details the thinking behind various works and booklets.
Four different sections all deal with different publications Finlay is working on.
The first RIPPLE - discusses a publication which is a single sheet but where the choice of paper and colour is an important part of the work. The text would be minimal based on design of Dr Johnson's Dictionary.
The second is TWO EPICURIAN POEMS - where first Finlay discusses the choice of paper and binding and printing for the book but then goes on to explain that "epicurian" can mean an "extreme refinement of sensation" so the choice of thick rough papers reflects that emphasis on feeling.
The next section deals with 3 DEVELOPMENTS - another small planned booklet. After describing how he would like some of the typography set, Finlay then turns to the choice of paper again. Finlay notes the placing of blank pages to split sections up is important and then explains two distinct sections within the concept are respectively a development of the drawings in a Pythagorean way and then a Heraclitean evolution. The third section is not discussed.
The final work discussed is LES CIMETIERES DE NAUFRAGES and notes its relationship to Symbolism (along with an earlier "print" called Bois D'Amour which he had added to the letter) . Again the choice of paper and typography is to the fore in the discussion. The colour choice of mauve and blue Finlay regards as similar to that of Symbolist paintings . Finlay explains that the cemeteries found in Brittany for sailors lost at sea represent for him a symbol of something gone and missing and unable to be rescued or found - and that Symbolist art is as that also. He then says that the choice of the title being in French "seems preferable".
This letter does not indicate who it was sent to but we can surmise a printer or typographer collaborator. What the letter does show is the importance of the medium utilised for Finlay - all aspects of a printed work are to be controlled and have meaning. This is one of the few documents that shows his thought process in the making of the book rather than its intellectual genesis.
Little Sparta: Wild Hawthorn Press, 1981
17.8 x 12.1cm, 8pp plus printed card covers. By the 80s the press published small catalogues of new works and old stock. previously they had circulated single sheets or even xeroxes. This was a sign of increasing financial success and improvements in print technology/affordability). VG+
Little Sparta: Saint-Just Vigilantes (Finlay), n.d. (c. 1982)
30 x 21cm, vintage spirit duplicate of public leaflet written by Finlay quoting Saint Just and arguing the difference between a revolutionary and a reactionary and a further quotation by Denis Roche argues that it is the change in language that takes place during a revolution that is truly revolutionary.
Further short texts by Finlay alter a C.H. Sisson's quote in favour of revolutionary action. The leaflet which was handed out at a public demonstration in support of Finlay is "dedicated to the memory of the poet Robert Kenedy". Poor quality of reproduction as issued but else VG+.
25 x 20cm, original carbon copy on typing paper dated 21.9.82.
A letter sent by Ian Hamilton Finlay to the Strathclyde Region Sheriff officer relying to a letter from the Sheriff Officer of the previous day.
Finlay was threatened with a forced sale of assets as Strathclyde Regional Council had argued that because he was using the barn on his property as an art gallery, he would be liable to pay higher rates. Finlay in turn claimed the space was a "temple" and hence fell under legislation for religious buildings. Here Finlay informs the Sheriff that he feels the Region has not allowed any discussion and that due process has not really been followed. Yet he also says "I know it is not your professional responsibility to discuss these matters" so one is tempted to read the letter as an opening salvo in a PR battle.
This copy is hand corrected in blue ink by Finlay and is also signed at the bottom in ink - and there is a further not for the friend to whom he sent the copy: "Good wishes; we missed your peaceful visit - Ian" again in blue ink.
Little Sparta: Finlay, 1982
Standard hand addressed DL manilla postal envelope to Harry Warschauer franked 22 September 1982. Notable for the red rubber stamp impression added by Finlay to the front: "STRATHCLYDE - THE INFERNAL REGION". Return address stamping on back. Slightly roughly opened.
25 x 20cm, original carbon copy on typing paper. A letter sent by Susan Finlay (Ian Hamilton Finlay's then wife) to Councillor Logan who was then the Chairman of the Scottish Arts Council Art Committee. The letter is combative in tone - Sue Finlay was responding in anger to a letter sent from the Arts Council to Finlay in which the Arts Council refused to help the poet in his dispute with the Strathclyde Regional Council. We do not know exactly the year of this letter but we guess it to be c. 1982. This copy is signed at the bottom of the letter in red ink by Sue Finlay and probably sent to a supporter of the Finlay's campaign for information (as was their want in these days of pre-internet).
Little Sparta: Finlay, 26th September, 1982
30 x 21cm, 1pp original carbon copy on typing paper.
A copy of a letter sent by Finlay to the Chairman of the Scottish Arts Council.
The letter thanks him sarcastically for a letter of "three sentences (one of them three words long)"
Like all barbarians , you are unable to see that there is a difference between using words and using language.
For too long we have hung on your words, expecting language.
Now you should be hung on your words, to save language.
Words may produce the arrestment of my work but they will never rise to language in a mind such as yours.
Mors consilio artium.
The latin translates to "Death to the Arts Council".
This copy of the original letter is signed by hand in red ink.
25 x 20cm, original carbon copy on typing paper dated 9.10.82.
A letter sent by Ian Hamilton Finlay to the "Minister of the Arts" asking the latter to intervene in the ongoing dispute over the rating of Finlay's "Temple" building. That request however characteristically is not a polite one - Finlay refers to the Chairman of the Strathclyde Regional Finance Committee as a "Lollygarch" and after some verbal insults tells the Minister in uncertain terms that they should "remind Strathclyde Region that there is such a thing as law.". He then adds further insult to insult by writing" I would write to you in more moderate tones if you had ever shown the SLIGHEST (sic) CAPACITY to respond to a serious thought" following which Finlay then jokes that the mistake was the typewriter's - "fame has gone to its head"!
The P.S. is of interest also - Finlay describes his idea of a "civilised country" - little girls playing Mozart behind trees being high on his list it seems.
Signed in blue ink "Ian". This was a copy sent to a friend for reasons of disseminating information.
