26 Sep

Posted at 22:24h in Object + Paper Multiples

Edinburgh: Wild Hawthorn Press, 1965
31 x 21 x 18cm., printed shoebox content of a paper sculpture made up from 19 printed cards that are stapled together in such a way that the shape can be varied to create "various permutations of the poem depending on arrangement of the organic curved shapes". The work is most probably meant to be placed to resemble a ship at sea. The words all relate to the earth and elements.
This is by far one of the most rare of Finlay object multiples - it is estimated that fewer than 50 were made. The staples after 60 years are very minorly rusted and the outer box lid has one tear along the fold but else this is in remarkable shape.

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07 Jul

Posted at 10:31h in Letters + Documents

26 x 22.2cm, 1pp. 223 words. A signed typed letter written at Gledfield House, Ardgay, by Finlay on c. 7 June 1965 soon after he had moved from Edinburgh, and just before he moved into the farmhouse on the estate, the first of his garden retreats, where he was to live for the following year: “We are not yet quite settled for we are in the basement of the ‘Big House’ till we get in the farmhouse in some 2 weeks… We still feel upheavaled… The farmhouse looks very nice, especially as it has a real sluice beside it, making a sound of running water. There is quite a large, and quite a wild, garden in front, and a big wood behind…”. Finlay asks to delay sending things to Hunter as “The earthships (the paper sculptural multiple Finaly issued) here need to be assembled and they are at the foot of mounds of heavy boxes… Once we are in the farmhouse we will be able to unpack properly.” The letter is signef=d “Ian” in red ink, with the typed addition “Sue too…”. Folded for mailing, o/w Fine, together with the original mailing envelope addressed in red ink by Finlay with stamp and 1965 franking (which allows dating of the missive)....

11 May

Posted at 10:20h in Page Works & Contributions

Sceaux: Cinquieme Saison, 1965
27 x 26cm folder with a typographic cover designed by Henri Chopin (who was also the publisher and editor) and content of bound in artworks by Francois Dufrene, Jean-Jacques Leveque. Gabriel Paris, Dora Feilane, Henri Chopin, Serge Beguier, Gianni Bertini, Francoise Saint-Thibault, Laura Sheleen, John Giorno, Brion Gysin, Bernard Heidsieck, Les Aelys, Paul-Armand Gette, Alain Jouffroy, Jean-Clarence Lambert and Rodolfo Krasno. No record was included in this special number of OU released for the Biennale.
Finlay contributs one work which was not bound in but rather left loose in the pages so is often missing - STANDING POEM 2. (APPLE/HEART 2) from 1965. This is exactly the same card as the standing poem the Wild Hawthorn Press published and sold separately - one presumes Finlay just extended the print run.

One of 475 hand numbered examples on offset satin (after 50 de tete or Hors Commerce copies). One mark on cover and a diagonal crease but internally VG+ with VG++ Finlay card..

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24 Nov

Posted at 14:09h in Joseph Beuys Postcards

Kranenburg: Hause Van der Grinten, 1963 20.9 x 10.6cm, 4pp. Printed only on the inside with exterior of card blank. Beuy's first ever exhibition invitation with a b/w reproduction of a linocut from 1959 and details of the Van der Grinten collection of Beuys works that were being exhibited in the family's house. The image is a drawing of a piece of ‘chain’ which was a symbolic part of the Büderich War Memorial in Büderich although Beuys typically has added symbols from magnets. It is interesting that some of the artist's formal symbolism and hermetic imagery is already present in this image. Additionally Beuys was still spelling his name as ‘Josef’ at this time (possibly after his father Josef Jakob Beuys). An extremely rare early announcement card in near mint condition. JOINT: As issued - 20.9 x 10.6cm, 1pp insert with details of the signed print issued by the Hause Van der Grinten in 500 examples. Typograsphic only....

01 Jan

Posted at 16:40h in Artist's Postcards

Edinburgh; Wild Hawthorne Press, 1963
20 x 28.5cm, green and mustard printed on light brown card. Very rare folding card (three creases to make an irregular standing rectangle) the very first card sculpture by Finlay.
This example also has the original printed mailing envelope and the instruction leaflet showing how to fold the work.
The evolution of the word PEAR to APPEAR is reversed in the DISAPPEAR to PEAR section of the card. Finlay liked the progression of words and images - the similarity of each step to the previous one added layers of meaning. A fruit - a pear - both becomes visible and invisible in turn. Formed (grown) and consumed even. A very rare item especially with the envelope and the leaflet.

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01 Jan

Posted at 15:37h in Artist's Postcards

N.p.: s.p. (Finlay), 1963
15.5 x 10cm, 4pp (asymmetric fold). Black on yellow card. One of Finlay’s most early of concrete works, this Xmas card has the two texts printed in such a manner that the overlapping front of the card reads LAPPY ISTHMUS FISHES but when opened HAPPY CHRISTMAS WISHES.
The text references the format of newspaper headlines (which Finlay used in several early postcard and bookworks) and suggests the unlikely idea of circulating fish found near a long strip of land which when opened reveals the season's greetings. This card is not found in any catalogue raisonne and is very rare. This example has a handwritten and signed greeting from Finlay.
15.5 x 10cm, 4pp (asymmetric fold). Black on yellow card. One of Finlay’s most early of concrete works, this Xmas card has the two texts printed in such a manner that the overlapping front of the card reads LAPPY ISTHMUS FISHES but when opened HAPPY CHRISTMAS WISHES.

The text references the format of newspaper headlines (which Finlay used in several early postcard and bookworks) and suggests the unlikely idea of circulating fish found near a long strip of land which when opened reveals the season's greetings. This card is not found in any catalogue raisonne and is very rare. This example has a handwritten and signed greeting from Finlay....

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