Arbre (Tree), 1976
Wooden sculpture with letter-carving by Michael Harvey, 264 x 51 x 10 cm. Exhibited in the grounds
of the Serpentine Gallery as part of Finlay’s seminal one man show in 1977. The sculpture belonged
to the Estate of Lesley Lendrum – one of Finlay’s closest friends and confidantes during the period –
and was installed in her garden up until her death in 2012. Reproduced in Ian Hamilton Finlay:
Selections (Alec Finlay (ed.), University of California Press, London, 2012, p.45) in a black and white
photograph of Sue Finlay standing by the work outside the Serpentine with some of Finlay’s collaborators of the 1970s, including Stephen Bann, Andrew Dempsey, John Thorpe, Sue Finlay, John Andrew, Ron Costley and Michael Harvey.
Zephyr INS6, Shepherd Lad KY216 & Amaryllis BCK55, 1977
150 x 150 mm each. See Homage to Ian Hamilton Finlay (Victoria Miro Gallery, 1987, plate 13
and Catalogue Maritime Works (Tate St. Ives, 2002, p. 41). This group of three tiles have been
exhibited at Tate St. Ives and Tate Britain. Other tiles available on request. £2,250
COR/DAY/LUX, with Andrew Whittle, 1995
450 x 350 x 80 mm, Portland stone, exhibited: Ian Hamilton Finlay, Works: Pure and Political,
Deichtorhallen, Hamburg, 1995; and also at Butler Gallery, Ireland
Wildflower Vases, 1992
137 x 85 mm / 96 x 82 mm. Exhibited at Victoria Miro Gallery (2004) and Sfeir Semmler gallery.
The texts were used 12 times. Unnumbered edition of 3. £1,500 each
Shadows Icon, with Caroline Webb, 1988
255 x 165 x 42 mm unfolded, unique carved oak indoor sundial with gnomon. £6,000
WAVE, Glass Poem, 1992
176 x 575 x 60 mm, edition of 14, etched glass with wood base. Wave is an essential poem by IHF,
originally realised in book form in 1969. The conceit of the poem relies upon the repetition of
the wave-like ‘transposition’ sign throughout the text.
Flotte De Peche, Glass Poem, 1987
509 x 402 mm. No edition size given but likely 3-5 were made. Large glass poem exhibited in
Galerie Claire Burrus’ Pastorales show, Paris 1987. £8,500
Harvester/Gleaner, with Caroline Webb, 2000
307 x 383 x 52 mm. Slate with stone base. Front text reads: “For Harvester read Gleaner”.
Back text gives boat identification numbers for ‘Harvester’ & ‘Gleaner’ then reads “EU Erratum”.
Comment on the European Fishing policies & laws – classic Finlay metaphors combining sea
& land motifs. The piece was originally intended for the garden at Stonypath – but was bought
directly from Finlay before it became permanently installed.
Circe, with Andrew Daish, 1997
100 mm diameter – circular carved slate (Ref: Maritime Works catalogue, 2002, p.42)
Bassin et Cruche, with David Ballantyne, 1987
350 x 257 mm. Adapted from the proposal L’Idylle Des Cerises, 1986. Large ceramic jug and bowl.
Ian Hamilton Finlay with David Ballantyne, 1987. Exhibited at: Fondation Cartier pour l’Art
Contemporain, Paris (1987), and Victoria Miro Gallery, London (Idylls, 1990). Ref: p. 67:
“Poursuites Revolutionaires” (1987). Two versions were made – one for Paris and one for London. £7,000
163 mm x 105 mm, cast metal multiple mounted on wooden block with etched metal label.
Bought directly from the artist at Stonypath. Un-numbered: Edition of 5.
Telephone Jar, unique ceramic work with Roger Bunn, c. 1982105 x 110 x 110 mm. A pot with an old-fashioned telephone set on the lid. Inscribed around the main vessel are a series of telephone code numbers with the corresponding texts, reading: ‘Dial-an-Oracle / Dhelphoi. Dial-a-Mermain / Copenhagen. Dial-a-Ruin / Rome. Dial-a-Windmill / Amsterdam. Dial-an-Old Frog / Osaka. Dial-a-Lake / Lucerne’. The names of the artist and his collaborator have been etched on the base. Undated. Bought directly from Stonypath in 1983. £3,250
Each blanket measures: 1770 x 1370 mm, ed. of 20.
The Divided Meadows of Aphrodite, 2002
A Heart Shape, 2002
Sails Waves, 2001
See ‘Maritime Works’ for images.