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.
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.
Shadows Icon, with Caroline Webb, 1988
255 x 165 x 42 mm unfolded: unique carved oak indoor sundial with gnomon.
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.
Circe, with Andrew Daish, 1997
100mm diameter – circular carved slate (Ref: Maritime Works catalogue, 2002, p.42)
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.
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.
VIRGIL DISCOVERED THE EVENING,
ROUSSEAU THE FIRST WILDFLOWER.
A WILDFLOWER IS IDEOLOGICAL
LIKE A BADGE.
THE RATIONALE OF A WILDFLOWER,
IT’S GOVERNING PRINCIPLE
IS ALWAYS DISTINCT.
A BANK OF WILDFLOWERS IS LIKE A PAGE
OF THE BIBLE, A BED OF GARDEN FLOWERS LIKE
A PAGE OF THE BIBLE DESIGNED TO BE
READ AS LITERATURE.
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.
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.
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.
TERROR/VIRTUE MEDAL, British Art Medal Society/ Wild Hawthorn Press, 1984
52mm diameter cast bronze medal.
163 mm x 105 mm, cast metal multiple mounted on wooden block with etched metal label. Bought directly from the artist at Stonypath. Unnumbered: Edition of 5.
The Blue & the Brown Poems, Jargon Society, 1968
Complete set of 12 prints, Murray ref: 3.28.
Telephone Jar, unique ceramic work with Roger Bunn, c. 1982
105 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.