Little Sparta: Wild Hawthorn Press, 1999.
29.5 x 14cm, 12pp plus cards and printed dust jacket. Artist's book with a poems by Johann Wolfgang von Goethe and it's English translation by Samuel Taylor Coleridge which have linocut illustrations by Jo Hincks and then a variant on the poem by Finlay where the original poem's landscape is replaced by a scene of boats (which are blue lemons):

Do you know the land where the blue lemons ride
A silver fountain springs from the vessel's side?
There, in the stern, the orange net-floats glow,
The brown sail shifts, the salt winds gently blow.
DO you know it well, that land, beloved friend?
"Thither with thee, O, thither would I wend!"

The poem also is a thought of death and heaven. FInlay's version is also illustrated by Hincks - making the boat references more obvious (the fountain for example is the bilge water spraying out)>
VG+ example.


Little Sparta: Wild Hawthorn Press, 1999
8 x 9cm, 4pp, black on white card with a linocut by Jo Hincks of sheep in a glade. Inside is a poem by Finlay:

Sheep Folded, Shadows Unfolded


The sheep are home, and the dark is coming - the shadows are "unfolded". Shoreham is a city that famously has plastic sheep as a public artwork. VG+.


Little Sparta: Wild Hawthorn Press, 1999
9 x 7.4cm, 19pp, plus turquoise card covers. Content of three drawings of flowers by Jo Hincks along with quotations about warships - all from the Flower Class of corvettes - found in a book by Preston & Raven from 1942. Each quotation gives the drawing its subject - for instance:

Anemone, Bluebell
Ships with
sheer and flare.


Little Sparta: Wild Hawthorn Press, 1999
33.8 x 11.3cm, 4pp card printed black on white with a drawing of the front of a boat with a Plimsel line which ascends to the number XIX by Jo Hincks. Finlay notes the resemblance of the shape of the front of a boat to a stalk of a flower. This is the first of two cards which have the same image and text - the only difference being size. VG+.


Little Sparta: Wild Hawthorn Press, 1997
17.5 x 20.4cm, 4pp, card printed black on cream with the internal text with a landscape linocut by Jo Hincks.
Internally there is a text:

Everything has been turned into wood and shaped with an axe till it roughly resembles itself. Wooden roads, wooden colours, wooden suns, wooden pine-needles. A wooden field with wooden stoocks like sails on a sea.

K. S-R. is Karl Schmidt-Rottluff the German expressionist who formed the Die Brücke group. Late in his life he made almost exclusively landscape paintings that reflected his angular style (which looks much like the unsubtle edges of woodcuts). VG+.


Little Sparta: Wild Hawthorn Press, 1997
17.6 x 20.5cm, 4pp. A drawing by Jo Hincks of a fifie boat: East coast herring boats. Inside Finlay has a poem:

Lemons without bitterness. Diamonds
without riches. Tabernacles without
ministers. Trees without song.


Lemons are the boats, diamonds the fish which sparkle, tabernacles being the shelter below deck and trees being the masts - simple metaphors for the fishing vessels. VG+.


Little Sparta: Wild Hawthorn Press, 1996
10.5 x 6cm, 4pp. A drawing of a butterfly on the wing by Jo Hincks. Inside is a poem:



The Cabbage White is probably the most commonly seen butterfly. VG+.


Little Sparta: Wild Hawthorn Press, 1996
11.3 x 8.7cm, 4pp card with a drawing of women in a harbour Jo Hincks after M Denis printed black on brown.


The poem suggests that nothing much has changed in these Breton fishing villages, life is a repeating refrain. Finlay also quotes Caroline Boyle-Taylor on this "The painters felt that the peasants' lives had not changes since medieval times". Maurice Denis - the source for the original image - was one of the Symbolists and Les Navis who often documented small communities on canvas especially fishermen. VG+.


Llandudno: Oriel Mostyn, 1996
28 x 22cm, 40pp plus boards, First edition of this artist's book with a commentary by Harry Gilonis published on the occasion of an exhibition in North Wales. One fold out page. A series of linocuts by Jo HIncks illustrate one line poems by Finlay all of which are marine scenes.

"A grey shore between day and night" is "dusk" with an image of a boat.


Little Sparta: Wild Hawthorn Press, 1988
15.4 x 24.4cm, black and light brown on white card - original linocut reproduced in offset lithograph. The print is folded with a text "Every effect remains in its cause, proceeds from it, and reverts upon it." a quote form Proclus, Elements of Theology. The image is of a group of boats close together in a harbour.
When boats are berthed in such a manner there is a tendency for them to move in synchronicity due to the waves. The classical quotation about cause and effect reflects that movement in some poetic manner. VG although there are sadly two ink lines on the outside of the card (where there is no image) and someone stupidly has not realised what the card was.


Little Sparta: Wild Hawthorn Press, 1987
10 x 10cm, 4pp artist's card with a reproduced painting of bunch of growing poppies. Phrygia was a part of heroic Greece but the Phrygain bonnet was accepted as a sign of French revolutionary zeal and worn by republicans. A note on the back of the card notes that the red of the hats often "transformed the streets of Paris into lanes of moving poppies." Painting by Jo Hincks. VG+.