Finlay, Ian Hamilton, 1925-2006
Person
Dates
- Existence: 1925 October 28 - 2006 March 27
Nationality
Scottish
Found in 1986 Collections and/or Records:
Archive for Fleetline File (Cherry Stone, Cherry Blossom) / Finlay, Ian Hamilton., 1975
Item
Identifier: CC-61233-61258
Archive for Flotte Card etc. / Finlay, Ian Hamilton., 1976
Item
Identifier: CC-62303-61236
Archive for Flower Class Corvettes for Planting Troughs / Finlay, Ian Hamilton; Grasby, Richard., 1977
Item
Identifier: CC-61364-68368
Archive for Flowers Class Corvettes / Finlay, Ian Hamilton; Downie, Jim., 1977
Item
Identifier: CC-61377-61319
Archive for Fountain / Vase / Finlay, Ian Hamilton; Quay, David., 1976
Item
Identifier: CC-61365-68367
Archive for Fruitmarket Exhibition / Finlay, Ian Hamilton; Overy, Paul., 1976
Item
Identifier: CC-61332-68332
Archive for "Gloria be to God for Dappled Things..." - Somoa Tank Card / Finlay, Ian Hamilton; Gardner, Ian., 1975
Item
Identifier: CC-61234-68327
Archive for Great Piece of Turf after Albrecht Durer's "Piece of Lawn" / Finlay, Ian Hamilton; Andrew, John., 1974
Item
Identifier: CC-61175-61225
Archive for Greenwich Sundial / Finlay, Ian Hamilton; Harvey, Michael., 1971 - 1973
Item
Identifier: CC-12731-12984
Scope and Contents
From Jan 1971-Jan 1972, Basil Greenhill, Director National Maritime Museum, writes 3 letters to Finlay regarding a commission for a sundial. In April 1972, Finlay writes 2 letters to Michael Harvey dealing with aspects of this sundial. Harvey responds in May 1972 with concerns about images on the cube shape making up the sundial particularly leaving the top blank - "as if whatever should be there had been pinched" and placing the poem on the dial which might interrupt the flow of the poem. Finlay replies to Harvey about his concern about the blank top of the sundial by pointing out that this may be a matter of scale; he feels that the blank top will not compromise the work in an 8" or 10" version but agrees that the sundial will do best at the top. He also accepts Harvey's suggestions for words at the top of the panels but rejects Harvey's idea for using Arabic rather than Roman numerals. Finlay notes the pun on the image of a fleet of ships (fleet=swift, fleet=of hours). In July...
Dates:
1971 - 1973
Archive for Handley Page Heyford / Finlay, Ian Hamilton., 1977
Item
Identifier: CC-61373-68366
Archive for Hard Edged Light Comes After Me / Finlay, Ian Hamilton; Grasby, Richard., 1977
Item
Identifier: CC-61318-61351
Archive for Heroic Emblems and Carrier Strike! / Finlay, Ian Hamilton; Elmslie, Kenward., 1976
Item
Identifier: CC-61406-61306
Archive for Hillside Aeroplanes (Butterfly Zero) / Finlay, Ian Hamilton; Thomson, George L.., 1976
Item
Identifier: CC-61257-61296
Archive for Homage to Agam and At the Field's Edge / Finlay, Ian Hamilton; Button, David., 1976
Item
Identifier: CC-61336-61292
Archive for Homage to L A Doust / Finlay, Ian Hamilton., 1975
Item
Identifier: CC-61218-61248
Scope and Contents
L.A. Doust lived in the United Kingdom during the 1930's and wrote instruction books on drawing. -- Source of annotation: Marvin or Ruth Sackner.
Dates:
1975
Archive for Homage to Malevich / Finlay, Ian Hamilton; Harvey, Michael., 1973
Item
Identifier: CC-12740-12994
Scope and Contents
In July, Finlay writes to Harvey with instructions for two poem-prints, Homage to Malevich & Homage to Lax, & cover for Littack. Detailed instructions are included solely for the Malevich piece. Harvey returns drawings, comments about them & demonstr point by cutting the letter. With minor corrections, Finlay is happy with the drawings. Harvey notes that the chalky effect for the Malevich print will not work with silkscreen. In August, Finlay instructs Stellar Press to make print as a lithograph. -- Source of annotation: Marvin or Ruth Sackner.
Dates:
1973
Archive for Homage to Max Bill (Weapon Series) / Finlay, Ian Hamilton., 1974
Item
Identifier: CC-61240-61210
Archive for Homage to Robert Lax / Finlay, Ian Hamilton; Harvey, Micheal; Lax, Robert., 1974
Item
Identifier: CC-61242-68315
Scope and Contents
This archve includes manuscripts of Finlay'a book as wella as a lettle of critique from Robert Lax himself. -- Source of annotation: Marvin or Ruth Sackner.
Dates:
1974
Archive for Homage to Salvator Rosa / Finlay, Ian Hamilton., 1975
Item
Identifier: CC-61217-61238
Scope and Contents
Salvator Rosa was an Italian Baroque painter and etcher of the Neapolitan school remembered for his wildly romantic or "sublime" landscapes, marine paintings, and battle pictures. He was also an accomplished poet, satirist, actor, and musician. Rosa studied painting in Naples, coming under the influence of the Spanish painter and engraver José de Ribera. Rosa went to Rome in 1635 to study, but he soon contracted malaria. He returned to Naples, where he painted numerous battle and marine pictures and developed his peculiar style of landscape - picturesquely wild scenes of nature with shepherds, seamen, soldiers, or bandits - the whole infused with a romantic poetic quality. His reputation as a painter preceded his return to Rome in 1639. Already famous as an artist, he also became a popular comic actor. During the Carnival of 1639 he rashly satirized the famous architect and sculptor Gian Lorenzo Bernini, thereby making a powerful enemy. For some years thereafter the environment of...
Dates:
1975
Archive for Homage to Watteau Exhibition / Finlay, Ian Hamilton; Murray, Graeme Gallery., 1976
Item
Identifier: CC-61362-61283
Scope and Contents
Antoine Watteau (1684-1721) was a French rococo artist whose charming and graceful paintings show his interest in theater and ballet. He is probably best known for his fetes galantes. These romantic and idealized scenes depict elaborately costumed ladies and gentlemen at play in fanciful outdoor settings. Jean-Antoine Watteau was born on Oct. 10, 1684, in Valenciennes, France. In 1702 he traveled to Paris, where he supported himself by turning out religious pictures and copying the works of popular Dutch artists. In 1704 he began studying with Claude Gillot. Gillot, who designed and executed scenery for the stage, passed on to Watteau his love of the Italian theater and the characters from the commedia dell'arte. In 1708 Watteau began working with Claude Audran, who had the care of the treasures at the Luxembourg Palace. This collection included a group of scenes from the life of Marie de' Medici painted in the early 1600s by the Flemish master Peter Paul Rubens. Rubens's...
Dates:
1976