Ian Hamilton Finlay
Arbre (Tree), 1976
Wooden sculpture with letter-carving by Michael Harvey, 2640 x 510 x 100 mm.
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
White ceramic tiles with hand-painted text, 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.
H)our Lady, c1977
Devotional tile, with Ron Costley. Gloss blue and white glaze. Circa 1977. 180 x 180 mm.
Wildflower Vases, 1992
Ceramic vases with hand-painted text. 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
Bassin et Cruche, with David Ballantyne, 1987
Large ceramic jug and bowl. 350 x 257 mm.
Adapted from the proposal L’Idylle Des Cerises, 1986. 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.
COR/DAY/LUX, with Andrew Whittle, 1995
Portland stone, 450 x 350 x 80 mm. Exhibited: Ian Hamilton Finlay, Works: Pure and Political, Deichtorhallen, Hamburg, 1995; Butler Gallery, Ireland.