PROPERTY OF A PERSONAL ACQUAINTANCE
IAN HAMILTON FINLAY CBE (SCOTTISH 1925-2006)
Glasgow Beasts, An A Burd, Haw, An Inseks, An, Aw, a Fush, Papercuts John Picking Pete McGinn, published by The Wild Flounder Press, The Wild Hawthorn Press, 1962; Autumn Poem, photographs by Audrey Walker, designed by Ian Hamilton Finlay, published by The Wild Hawthorn Press 1966, personal inscription in ink from Ian Hamilton Finlay to friend dated October (19)65; Tea-Leaves & Fishes, 28 pages (numbered), published by The Wild Hawthorn Press 1966, personal inscription with good wishes from Ian, Christmas 66; 6 Small Songs, linocuts by Zeljko Kujundzic, published by The Wild Hawthorn Press 1966, personal inscription with love from Ian 1965-66; The Weed Boat Masters Ticket Preliminary Test (Part Two), drawings by Ian Gardner, printed by hand (Salamander Press), Wild Hawthorn Press; So you want to be a Panzer Leader, drawings by Laurie Clark, Wild Hawthorn Press; Picture Book, ‘of 45 copies not very finely printed by Ian Hamilton Finlay at Christmas 1965 this is no.34’, happy Christmas from Ian inscribed in ink; Canal stripe series 4, Wild Hawthorn Press 1964; Rapel 10 fauve and supermatist poems, Wild Hawthorn Press 1963, personal inscription in ink; Telegrams from my Windmill, Wild Hawthorn Press; Tea Kettle Drum Water Lily Cup; Standing Poem 3 (hearts standing poem); I love; Three cards with personal inscriptions in ink from Ian; A collection of Poor Old Tired Horse, Wild Hawthorn Press, including volumes, (5,8,12, 13, 14, 15, 16, 18, 20, 21, 22, 23; Wild Hawthorn Press New Publications lists, including Spring 65, Autumn 65, Winter 66/67, Summer 67; Six copies of 'Glasgow Beasts, an a burd, haw, an inseks, an, aw, a fush', by Ian Hamilton Finlay, papercuts by John Picking, Pete McGinn (38 items)
Ian Hamilton Finlay was a Scottish visual artist, poet, writer and gardener. In 1961, he set up The Wild Hawthorn Press, publishing the work of underappreciated international poets. Notable publications include his Scots reincarnation sequence Glasgow Beasts an a Burd, Gael Turnbull’s A Very Particular Hill (1963), as well as many other iconic works, illustrated with woodcut prints and other artistic collaborations, reflecting Finlay’s visual-literary sensibility. In 1962, he launched periodical, Poor.Old.Tired.Horse, printing rural Scottish lyrics alongside contemporary international poets. Finlay’s concrete practice developed beyond conventional modes, as did his installation work, including ‘poem-objects’, which incorporated sculptures into the natural environment.