Little Sparta: Wild Hawthorn Press, 1996
14 x 6cm, 4pp black on blue artist's card with a drawing by John Andrew of a boat on the front. On the back there is a "definition" work:
Mirror, n. a boat we can see ourselves in.
A comment that not only suggests a boat may have characteristics of the owner but has a double meaning that one can imagine oneself sailing it. VG+.
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Little Sparta: Wild Hawthorn Press, 1994
13.0 x 15.4cm, 4pp. A tipped on colour photograph by Antonia Reeve of a Finlay wall sculpture by John Andrew. The marble inscription reads: "For the first time men earnestly relied upon heaven chronology became historical and astronomical at the same time." a quote by Michelet and an explanatory note by Finlay noting how the Republican calendar "ended" time. VG+.
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Dunsyre, : Wild Hawthorn Press, 1976
12 x 11cm,28pp plus card wrappers and printed blue dust jacket. Artist's book displaying two b/w photogrpahs of sculptural works in stone (both war planes) by John Andrews and nine poems by Finlay including:
UNTITLED
after Aram Saroyan
LOTS
lots
Aram Saroyan is an American minimalist poet. The word LOTS plays in opposition to the form. Finlay's poem hints at the complexity found in Saroyan's poems despite their (relative) lack of words or even letters.
This is one of 350 signed and numbered copies. VG+.
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Dunsyre: Wild Hawthorn Press, 1975.
20 x 15.2cm, 2pp. A photograph of an installation in the Stonypath (later Little Sparta) of a ground stone that reads "See POUSSIN, Hear LORRAINE." in front of a small lake. Both names are painters, the first tending to paint arcadian scenes, the other views of rivers and sea ports. Photo by Michael McQueen, the sculpture who worked to Finlay's instruction was John Andrew. VG+.
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Dunsyre: Wild Hawthorn Press, 1975
58.5 x 48.5cm, blue on white silkscreen. The image is of a number of airplanes with their wings raised (as found in the belly of an aircraft carrier) so to allow them to be placed more closely to each other. Finlay by adding the title Lullaby indicates that these planes might be seen as somehow sleeping - and the visual image reminds one of young birds in a nest. Hence this is a visual poem - the image having double meanings and hinting at subtle meanings.
The image we have used here is from a publication - the print we hold is framed in wood and glass and hard to image without reflections - but the work is in VG+ condition.
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Dunsyre: Wild Hawthorn Press, 1975.
20 x 15.2cm, 2pp. A photograph of a garden sculpture depicting the world's first ever nuclear submarine - USS Nautilus. The work is in concrete and an abstracted shape of the hull and towers. Photo by Michael McQueen, the sculpture who worked to Finlay's instruction was John Andrew. VG+.
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Dunsyre: Wild Hawthorn Press, 1975.
15.2 x 20cm, 2pp. A photograph of a garden stone plaque with Albert Durer's well known monogram. Title of the work is after Durer's famous watercolour painting "The Great Piece of Turf" from 1503 which shows a bunch of wild flowers. The placing of the plaque is like most sitings in Stonypath (now Little Sparta) great considered and the photograph shows how it is next to a group of uncultured wild plants. Photo by Michael McQueen, the sculpture who worked to Finlay's instruction was John Andrew. This was the first of three cards which all show garden scenes. VG+.
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Dunsyre: Wild Hawthorn Press, 1975
15 x 10.5cm, 2pp. The front of the card with a drawing by John Andrew of stored planes with partially raised wings to allow more to be stored together (probably in the guts of an aircraft carried) is compared with birds in the nest and the lulling of a lullaby. This image is also found as a print and on various other Finlay works - and is discussed elsewhere on this site. VG+.
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Stanard white mailing envelope with printed Wild Hawthorn Press address on it. Unmailed.
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