Photographs

IAN HAMILTON FINLAY

PHOTOGRAPHS

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

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.

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.

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 stream
the black stream
the 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+.

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+.

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+.

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+.

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+.

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+.

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+.

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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