Photographs

KY. 1969.

Edinburgh: Ronald Gunn, n.d. (1969) 38 x 30.5cm, b/w silver gelatine photographic print displaying a Ian Hamilton Finlay sculpture installed in Pittencrieff Park, Dunfermline, in 1969. This is one of a number of editioned photographs Finlay issued with Gunn. The back of the print has the photographer's copyright stamp. Some soft creases to the large sheet and one small diagonal crease bottom right (not affecting image) else VG. Scarce.

KY. 1969.

Edinburgh: Ronald Gunn, n.d. (1969) 20 x 25.5cm, b/w silver gelatine photographic print displaying a Ian Hamilton Finlay sculpture (in extreme closeup) installed in Pittencrieff Park, Dunfermline, in 1969. This is one of a number of editioned photographs Finlay issued with Gunn. The back of the print has the photographer's copyright stamp. Some soft creases to the large sheet and one small diagonal crease bottom right (not affecting image) else VG. Scarce.

KY 365. 1969.

Edinburgh: Ronald Gunn, n.d. (1969) 38 x 30.5cm, b/w silver gelatine photographic print displaying a Ian Hamilton Finlay sculpture installed in Pittencrieff Park, Dunfermline, in 1969. The photograph shows a different version of the KY sculpture where the KY stands for a boat (being the code for Kirkcaldy) and the number 365, the days in the year. Additionally nearby tree trunks symbolise the masts of boats - the landscape being therefore compared with a seascape. This is one of a number of editioned photographs Finlay issued with Gunn. The back of the print has the photographer's copyright stamp. Some soft creases to the large sheet and one small diagonal crease bottom right (not affecting image) else VG. Scarce.

SEAS/EASE. 1969.

Edinburgh: Ronald Gunn, n.d. (1969) 38 x 30.5cm, b/w silver gelatine photographic print displaying a Ian Hamilton Finlay sculpture installed in Pittencrieff Park, Dunfermline, in 1969. The photograph shows the work Seas/Ease with the words raised up from the hexagonal back stone to create "waves" which are stilled at the middle with the word ease. One of a number of such prints issued by Finlay in collaboration with Ronald Gunn. The photographer's copyright stamp is found on the back of the photograph. VG+.

ROCK/WAVE. 1969.

Edinburgh: Ronald Gunn, n.d. (1969) 30.5 x 30.8cm, b/w silver gelatine photographic print displaying a portion of a Ian Hamilton Finlay wall relief with the concrete poem rock/wave. This is one of a number of editioned photographs Finlay issued with Gunn. The back of the print has the photographer's copyright stamp. Some soft creases to the large sheet and one small diagonal crease bottom right (not affecting image) else VG. Scarce.

ROCK/WAVE. 1969.

Edinburgh: Ronald Gunn, n.d. (1969) 30.5 x 38cm, b/w silver gelatine photographic print showing Ian Hamilton Finlay's wall relief with the concrete poem rock/wave. The words seem to form a wave that crashes onto the rocks and breaks up. This is one of a number of editioned photographs Finlay issued with Gunn. The back of the print has the photographer's copyright stamp. Some soft creases to the large sheet and one small diagonal crease bottom right (not affecting image) else VG. Scarce.

PLANET NET. 1969.

Edinburgh: Ronald Gunn, n.d. (1969) 38 x 35cm, b/w silver gelatine photographic print showing the signpost in Finlay's garden at Little Sparta - each of the signs has a different form of the word "net" eg ""salmon net", "drift net" and as can be seen here "trawl net" but the final sign reads "planet". This is one of a number of editioned photographs Finlay issued with Gunn. The back of the print has the photographer's copyright stamp. Some soft creases to the large sheet and one small diagonal crease bottom right (not affecting image) else VG. Scarce.

PLANET NET. 1969.

Edinburgh: Ronald Gunn, n.d. (1969) 30.8 x 38cm, b/w silver gelatine photographic print showing a close up of the signpost in FInlay's garden at Little Sparta - each of the signs has a different form of the word "net" eg "salmon net", "drift net" and as can be seen here "herring net" but the final sign reads "planet". This is one of a number of editioned photographs Finlay issued with Gunn. The back of the print has the photographer's copyright stamp. Some soft creases to the large sheet and one small diagonal crease bottom right (not affecting image) else VG. Scarce.

ROCK/WAVE. HIC IACET PARVULUM.... 1969.

Edinburgh: Ronald Gunn, n.d. (1969) 30.5 x 38cm, b/w silver gelatine photographic print showing Ian Hamilton Finlay's wall relief with the concrete poem rock/wave alongside a stone sculpture inscribed "HIC IACET PARVULUM QUODDAM EX AQUA LONGIORE EXCERPTUM" (HERE LIES A SMALL BREAK IN THE WATER). This is one of a number of editioned photographs Finlay issued with Gunn. The back of the print has the photographer's copyright stamp. Some soft creases to the large sheet and one small diagonal crease bottom right (not affecting image) else VG. Scarce.

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EVENING WILL COME. THEY WILL SEW THE BLUE SAIL. OFFSET EXHIBITION PRINT. c. 1970.

35.5 X 31.5cm, b/w offset lithographic offset reproduction of an original photograph of the first version of Finlay's perhaps most famous work. The lithogrpah is tipped on to thick board and with a title card above the image. A exhibition print more than likely. This image is an important one because the sculpture (a carved wooden work) is installed in the ground in Little Sparta and the last time I saw it was beginning to rot away. I brought that to Finlay's attention and he told me "let it return to nature". The work is the first version of "EVENING WILL COME. THEY WILL SEW THE BLUE SAIL" and shows the text next to a "sil" which is also a gnomon for a sun dial. This gives the work a different meaning from the later famous print (see separate listing here in prints for a long discussion of that work). The use of a sun dial visual pun emphasises the role of time in this work much more than in the later evolution of the idea. The photograph was taken by Jim Styes

PAGE FROM "A SAILOR'S CALENDAR". 1972.

Sutherland: George A. Oliver, 1972 25.5 x 20.5cm, b/w silver gelatine photographic print showing a page from the artist's book "A Sailor's Calendar" as published by Dick Higgin's Something Else Press. The photo was taken by George Oliver and sent by Finlay to an Italian Collector. Label on reverse and photographer's stamp in red. Dated 29/2/72 in red ink.

BARQUE. 1972.

N.p.: n.p., n.d. (c. 1972) 19.5 x 25cm, b/w silver gelatine photographic print showing a carved stone found in Little Sparta with the word "Barque". One of a small number of photographs sent by Finlay to an Italian collector. The photo is believed to be taken by James Styles. VG+.

TRISTAM'S SAIL. 1972.

N.p.: n.p., n.d. (c. 1972) 24.5 x 20cm, b/w silver gelatine photographic print showing a sundial sited in a pond at Little Sparta. The text on the sundail reads "Tristan's Sail. WInd Shadow." believed to be taken by James Styles and sent by Finlay to an Italian Collector. VG+.

THE POET'S GARDEN - WITH AIRPCRAFT CARRIER BIRD-BATH (HOMAGE TO THE VILLA D'ESTES). 1972.

N.p.: n.p., n.d. (c. 1972) 20 x 25cm, b/w silver gelatine photographic print showing a view of the poet's garden at Little Sparta and in particular the Aircraft Bird Bath. The photo is believed to be taken by James Styles and sent by Finlay to an Italian Collector. The image was later used in various Finlay publications. VG+.

NUCLEAR SAIL - SCULPTURE MONOLITH. 1973.

Sutherland: George A. Oliver, 1973 25.5 x 20.5cm, b/w silver gelatine photographic print showing a sculptural installation at Little Sparta (next to the lake known as Loch Echen) of a nuclear submarine fin which Finla compares to a boat's sail. The photo was taken by George Oliver and sent by Finlay to an Italian Collector. Label on reverse and photographer's stamp in red.

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ORIGINAL PHOTOGRAPH OF "THE TATE GALLERY PAYS £500 FOR TWO WOODEN WORDS AND A FISHING NET". 1976.

NYC: n.p., 1976 20.5 x 25.2cm, b/w silver gelatine original photograph of a man (probably a journalist) looking at the newly purchased Ian Hamilton Finlay work "STARLIT WATERS" which the Tate Gallery in London had recently purchased. A press photograph with extensive text on the reverse intended by the journalist used for a "shock horror" story about the purchase. The work had been bought only 6 months after the "fire brick scandal" (actually a major press made up story about the Tate buying an extreme minimalist work by Carl Andre which consisted of 144 bricks) so this image was an attempt by a journalist to recreate that public outrage at perceived mis-use of public funds. Of course, the journalist was either just being opportunist or stupid. Very good condition. Not unique as copies were sent to various newspaper. Photographer unknown.

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PORTRAIT OF IAN HAMILTON FINLAY. c. 1985 VERY LARGE VINTAGE PHOTOGRAPH.

40.5 x 30.5cm, b/w silver gelatine original photograph of Finlay in front of one of his French revolution inspired sculpture "TERROR IS THE PIETY OF THE REVOLUTION". This was the portrait of Finlay taken by Christopher Barker for his book on British Poets. The correspondence between Finlay and Barker arranging the photo-shoot (Finlay agreed but did not enjoy the experience) is online on this site in the letters section. Sadly this print has a big paper lack bottom right on it but thankfully what is lost is a bit of the stonewall work. else Vg. Probably not unique but not many printed at the time.

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SEASONS. 1994. ONE OF 35 SIGNED & NUMBERED PHOTOGRAPHS. FROM "DEAR STIEGLITZ".

Peninsula: Wild Hawthorn Press, 1985 50 x 40cm, silver gelatine print. The photograph of the stream by Robin Gillanders is combined with a short poem by Finlay. the brown streamthe black streamthe blue stream the silver stream The same phrase is repeated with only the colour changing each time. Gillander's photograph is in b/w so one might imagine it in different colours as per the poem - and the water having a different history each time - silver being related to fish or speed, blue in reflections or the sea, black from coal or dirt or darkness and brown from pollution or soil. This edition is from a portfolio called ‘Dear Stieglitz,’ named in homage to Alfred Stieglitz, the photographer and gallery owner who published the art-photography journal ‘Camera Work’ in the early Twentieth century. On the reverse is a label with details of the portfolio and image and it is signed by Finlay and numbered in pencil from the edition of only 35 copies. VG+.

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ANCHORS WERE CAST. 1987.

21 x 26.5cm, b/w silver gelatine photographic print of an unique sculptural work created under Finlay's instruction by John Andrew. The image is of an anchor which has been sunk into foliage - bringing Finlay's oft comparison of fruit with boats to life or at least stone. The texts from Virgil is "Anchors were cast from prows" which is also a pun. VG+.

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STERNS STOOD ALONG THE BEACH. 1987.

21 x 26.5cm, b/w silver gelatine photographic print of an unique sculptural work created under Finlay's instruction by John Andrew. The image is of a boat anchored to the beach - a reference to Ullysses. The texts from Virgil is "Sterns stood along the beach". VG+.

TWO COLOUR PHOTOGRAPHS OF SCULPTURES 1987.

Two colour photographs (both 10 x 15cm) of two sculptural works by Finlay - Anchors were cast and Sterns stood. Exact date unknown but circa 1987.

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35MM COLOUR SLIDE. 1987. NAMES ON PLAQUES/NAMES ON TREES.

N.p.: n.p., 1987 A standard full colour photographic 35mm slide with an image of a Finlay sculptural intervention in the landscape - here a tree plaque with a relevant name on it installed at the Château de Kerguéhennec. The work is called "Names of plaques, names of trees." 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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35MM COLOUR SLIDE. 1987. SEE POUSSIN, HEAR LORRAINE.

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 "See Poussin, hear Lorraine" (for a discussion of this work see separate listing on cards). The work is to be found in Little Sparta, Scotland. 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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35MM COLOUR SLIDE. 1987. WOOD WIND SONG.

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 "WOOD WIND SONG" (for a discussion of this work see separate listing on cards). The work is to be found in Little Sparta, Scotland. 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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35MM COLOUR SLIDE. 1987. A VIEW TO THE TEMPLE.

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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35MM COLOUR SLIDE. 1987. FIVE COLUMNS FOR KROLLER.

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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35MM COLOUR SLIDE. 1987. GREAT PIECE OF TURF.

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 "Great Piece of Turf" (for a discussion of this work see separate listing on cards). The work is to be found in Little Sparta, Scotland. The slide was prepared for a book "Art in America" (which is strange given the geographical location of the work pictured). VG+.

PHOTOGRAPH OF STEM&STERN WARER'S EDGE. c. 1990

A colour photograph (10 x 15cm) of two wooden works by Finlay - Water's Edge/Water Sedge and Stem & Stern. Date unknown.

PRESS PORTRAIT OF IAN HAMILTON FINLAY. 1990.

Hartford: Wadsworth Atheneum, 1991 25.4 x 20cm, b/w silver gelatine press photograph taken by John Ravenal in 1990 in Little Sparta and distributed for the exhibition Ian Hamilton Finlay Matrix 116. The gate behind him reads Julie et Saint Preux - a reference to Rousseau's 1761 novel "Julie, or the New Heloise" where the two protagonists are lovers at the behest of Julie's unknowing husband who invites St Preux to educate his wife. Information label verso else VG+.

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PORTRAIT OF IAN HAMILTON FINLAY IN LITTLE SPARTA. 1994.

Essen: Werner J. Hannappel, 1994 17.8 x 24cm, b/w high gloss photograph of Finlay sitting in his conservatory. Taken for an exhibition in Hamburg - Works: Pure and Political, 1995. Probably a print sent to newspapers for use in publicity. Several labels on back for photographer and exhibition venue.

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THE EVOLUTION OF THE BOAT. 1995.

London: Edward Woodman, 1995 20.5 x 25.5cm, b/w silver gelatine original photograph of the Finlay public work "THE EVOLUTION OF THE BOAT" installed on a canal side in London. The work being a metal plaque with the text: EVOLUTION OF THE BOAT long boatnarrow boat Short flying BOAT Unique print showing the situation of the work.

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THE EVOLUTION OF THE BOAT. 1995.

London: Edward Woodman, 1995 20.5 x 25.5cm, b/w silver gelatine original photograph of the Finlay public work "THE EVOLUTION OF THE BOAT" installed on a canal side in London. The work being a metal plaque with the text: EVOLUTION OF THE BOAT long boatnarrow boat Short flying BOAT Unique print showing a close up of the metal plaque.

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UNTITLED. AIRCRAFT CARRIER. (FROM LITTLE SPARTA: PORTRAIT OF A GARDEN). 1998.

30 x 24cm, b/w original photograph taken by Robin Gillanders of Little Sparta for his book "‘Little Sparta, Portrait of a Garden". This shows one of Finlay's garden sculptures of an aircraft carrier. Gillanders took the images between 1994 and 1998. Originally a gift from the photographer to Janet Boulton, one of Finlay's later collaborators and a friend to both Gillanders and the poet. VG+.

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UNTITLED. (SUBMARINE FROM LITTLE SPARTA: PORTRAIT OF A GARDEN). 1998.

30 x 24cm, b/w original photograph taken by Robin Gillanders of Little Sparta for his book "‘Little Sparta, Portrait of a Garden". This shows one of Finlay's garden sculptures of a submarine. Gillanders took the images between 1994 and 2004. Originally a gift from the photographer to Janet Boulton, one of Finlay's later collaborators and a friend to both Gillanders and the poet. VG+.

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UNTITLED (FROM LITTLE SPARTA: PORTRAIT OF A GARDEN). 1998. UNIQUE PHOTOGRAPHIC PRINT.

25 x 19.8cm, original vintage silver gelatine photograph of a sculpture (wheel barrow) in Little Sparta taken by Finlay's collaborator Robin Gillanders in 1998. In original glass and wood frame. Purchased at a charity auction in the same year.

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PORTRAIT OF IAN HAMILTON FINLAY & JANET BOULTON. c. 1998.

30 x 24cm, b/w original photograph taken by Robin Gillanders of Ian Hamilton Finlay with his mutual friend and Finlay collaborator Janet Boulton. Originally a gift from the photographer to Janet Boulton. VG+.

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COLOUR PHOTOGRAPH OF A SCULPTURAL WORK. SIGNED BY FINLAY.

N.p.: n.p., n.d. 15 x 10cm, 1pp. Full colour photograph of a stone sculptural work presented on the floor. This image is signed in black in k on the side by Finlay in full. VG+.

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PORTRAIT OF JANET BOULTON WITH FINLAY TOY BOAT. c. 2000.

30 x 21cm, full colour high quality inkjet reproduction of a photograph of Finlay collaborator Janet Boulton alongside three of her paintings of Finlay toy and one large Ian Hamilton Finlay model boat. Taken at an unknown exhibition. From Boulton's personal archive.

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PHOTOGRAPH OF "EVENING WILL COME..." DOOR.

N.p.: n.p., n.d. (c. 2005) 14.3 x 10.2cm, full colour commercially processed photograph of a Finlay work painted on a terrace house front door. VG+.

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IAN'S FLEET. 2012. ONE OF 50 SIGNED & NUMBERED COPIES WITH ORIGINAL B/W PHOTOGRAPH.

Eindhoven Peter Foolen Editions, 2012 20 x 245.5cm, unpaginated, Original card covers, Photographic record of one afternoon at Little Sparta where Finlay sailed his toy boats on the Loch. Black and white photographs throughout. This is one of 50 numbered copies with a signed and editioned b/w photograph of the boats appended aside from the edition of 300 copies. VG+ in unopened plastic wrapping.

PHOTOGRAPH OF MAQUETTE FOR ET IN ARCADIA EGO. c. 2008.

Two colour photographs (each 10 x 15cm) of a small maquette for a major installation in Den Haag - ET IN ARCADIA EGO . This work was stolen from the Ingleby Gallery and it is known who the thief is (the work was in his bathroom on display for many years) but despite the person writing this telling the police who and where the work was they refused to investigate without further evidence. The same thief also stole significant items from Richard Demarco's storage unit in Edinburgh in 2013. There you have it.

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