Alistair Peebles (17 results)

paperback. Condition: Like New. Most items will be dispatched the same or the next working day. An apparently unread copy in perfect condition. Dust cover is intact with no nicks or tears. Spine has no signs of creasing. Pages are clean and not marred by notes or folds of any kind.

Soft cover. Condition: New. 1st Edition. 4to. Wrappers. 500 copies printed. Joan Ure (nom de plume of Elizabeth Thomson Clark, née Carswell, 1918-1978) was best known for her work for the Scottish theatre, and her collaboration with Ian Hamilton Finlay. The only book she published in her lifetime was Two Plays (1970 - Seven Characters out of the Dream and I See Myself as This Young Girl). Alasdair Gray met Ure through Archie Hind, and is as generous about her as he is bitter about her critical predicament. "Joan's plays had few productions because she worked in Scotland where hardly any theatres use local authors. Her plays were mostly short, witty, and managements distrust new writing that is cleverer than them. They think it may be stupid . . . Since her death in 1978," he writes, "Joan's work has been unfairly neglected. I am glad to see this book of her poems." "There was this woman and she had this tiny talent. / I call it talent for things must have a name. / She had this talent that it happened to be death / to hide. She knew this empirically because, having, / the first time, tried to hide it, she / broke out in a rash. / But she was Scots and difficult to convince . . .".…

Soft cover. Condition: Fine. 1st Edition. 4to. Wrappers. 500 copies printed, this copy signed on the title-page by Alasdair Gray. Joan Ure (nom de plume of Elizabeth Thomson Clark, née Carswell, 1918-1978) was best known for her work for the Scottish theatre, and her collaboration with Ian Hamilton Finlay. The only book she published in her lifetime was Two Plays (1970: Seven Characters out of the Dream and I See Myself as This Young Girl). Alasdair Gray (1934-2019) met Ure through Archie Hind, and is as generous about her as he is bitter about her critical predicament. "Joan's plays had few productions because she worked in Scotland where hardly any theatres use local authors. Her plays were mostly short, witty, and managements distrust new writing that is cleverer than them. They think it may be stupid . . . Since her death in 1978," he writes," Joan's work has been unfairly neglected. I am glad to see this book of her poems." "There was this woman and she had this tiny talent. / I call it talent for things must have a name. / She had this talent that it happened to be death / to hide. She knew this empirically because, having, / the first time, tried to hide it, she / broke out in a rash. / But she was Scots and difficult to convince . . .". Signed by Author(s).…

No Binding. Condition: As New. 1st Edition. In bespoke, blind-stamped glassine envelope with, enclosed in a glassine band, 'One has to Work at a Place . . ': [an essay by way of introduction], two sheets, twice folded. Edition limited to 250 numbered copies. For a year before, in 1966, Ian Hamilton Finlay moved to the farm of Stonypath, at Dunsyre in Lanarkshire (the future "Little Sparta"), he and his wife Sue lived in a farmhouse at Gledfield, near Ardgay on the Dornoch Firth in Sutherland. Alistair Peebles had been investigating the life of the poet/artist/"avant-gardener" for more than 10 years. Visiting Ardgay in May 2019, he did not expect, after half a century, to find any trace of Finlay's occupancy - and was surprised to find that there was . . . 'One has to Work at a Place . . .' is an extended essay, part biography and scholarship, part detective story, dense with information and pertinently illustrated, while The Gledfield Effect itself, five images by Peebles with cunning overlays (a nod to Humphry Repton), is pure art, an avowed homage to Ian Hamilton Finlay. Peebles is a photographer of subtle talent. His biographical inquiry into Finlay is ongoing; as the pandemic delayed the issue of The Gledfield Effect (originally scheduled for March 2020), so his introductory essay was revised before final publication.…

No Binding. Condition: New. 1st Edition. Single A2 sheet four times folded, with eight illustrative postcards, 105 x 148mm, each a homage to Ian Hamilton Finlay; in bespoke hand-stamped, stringed card envelope. The "Footnote" first issued with the Finlayan jeu d'esprit Rousay Mending, a "mending kit" of eight die-cut printed cards, each bearing three samples, evocatively captioned, of Shetland 2-ply darning wool. Himself an Orcadian by adoption, Alistair Peebles is working on a biography of Ian Hamilton Finlay up to 1966, the year Finlay moved to Stonypath, the farm in Lanarkshire that became Little Sparta. In 2020 Peebles's The Gledfield Effect explored Stonypath's predecessor, a farmhouse at Ardgay in Easter Ross - revisited in his 2025 film The Boat in the Writing Room. Now Rousay Mending, and its 8000-word footnote, interrogate Finlay's short but significant weeks on the Orkney island of Rousay in spring 1959, and provide commentary on the poems that became The Dancers Inherit the Party. Six of Peebles's attractive postcards feature photographs taken by him (the floor at Nethermill, a boat - a yole? - on Swona, Tinto Hill from the Wild Garden at Stonypath, Rousay illustrations for two poems by Alec Finlay, the eight darning-wool cards of Rousay Mending), one a screenprint by him (Orkney Interior: Homage to Ian Hamilton Finlay), and one a poem by him to a woodcut (Finlay's House in Rousay) by Andrew Parkinson.…

8vo. pp [4]. Original publisher's illustrated pale blue covers, lettered black on the front cover. A5 cover with folded A3 sheet tipped in. Drawings by Laura Drever. ISBN: 1907508023 Very good plus. Drever, Laura (illustrator).

No Binding. Condition: Fine. 1st Edition. The first and third each 100 x 150mm, the second 105 x 150mm; the first dated 2008 and from the collection Heaps One , Brae Editions, 2008, the others 2009. The first and second colour photographs, the second a deep wild-flower meadow, "SLOW / WET TAR" superimposed in large white capitals; the third "CHANGED / PRIORITIES / AHEAD" in white on plain black. The Brae Editions imprint began formally in 2007 as the publishing arm of the Porteous Brae Gallery, for a few years a congenial summer project off Graham Place, Stromness, Orkney, hard by Tam MacPhail's "drive-in" bookshop, Stromness Books & Prints. Brae Editions' principal, Alistair Peebles, was influenced by Ian Hamilton Finlay, a sometime Orkney resident; the latter's son Alec Finlay has been a Brae collaborator and Peebles continues in biographical research into Ian Hamilton Finlay, notably (so far) in The Gledfield Effect (2020). …

Soft cover. Condition: Fine. 1st Edition. Pamphlet, wire stapled. Unpaginated. Photographic illustrations. 100 copies printed. Virtually as new condition.

Soft cover. Condition: As New. 1st Edition. Wrappers. Book of photographs from Alistair Peebles, author of the elegant Turning Space (2011), in similar yotsume toji binding (and necessarily limited edition). Two images a page (taken in Orkney, London, Newcastle, Edinburgh and elsewhere), the pairs joined by a "line" (pole, chimney, tree, flare, house vertical, railway line, Nelson's Column &c). A work of wit and art; dedicated to Alec Finlay.…

No Binding. Condition: Fine. White dishcloth, linen, printed in black, folded in sealed plastic bag, as issued, with printed paper packaging: after a Stromness town notice, early 20th-century, "FURIOUS DRIVING / NOTICE IS HEREBY GIVEN / That any person DRIVING FURIOUSLY. RECKLESSLY, or / CARELESSLY, any HORSE, or CART, or CARRIAGE through / the Streets or Roads in the Burgh, shall be liable to a Penalty of / 40 shillings for each offence . . ." Second edition (the first cloot, from 2008, was a mixture of linen and cotton). The Brae Editions imprint began formally in 2007 as the publishing arm of the Porteous Brae Gallery, for a few years a congenial summer project off Graham Place, Stromness, in Orkney, hard by Tam MacPhail's "drive-in" bookshop, Stromness Books & Prints. Brae Editions' principal, Alistair Peebles, was influenced by Ian Hamilton Finlay, a sometime Orkney resident; the latter's son Alec Finlay has been a Brae collaborator and Peebles continues in biographical research into Ian Hamilton Finlay, notably (so far) in The Gledfield Effect (2020). …

Soft cover. Condition: Fine. 1st Edition. 105 x 148mm. Wrappers. "I'm wondering why I find this so interesting - this glistening caravan. It looks as though a mysterious, Tardis-like object has suddenly appeared at Brodgar . . ." Photograph "from the Ness of Brodgar looking towards Hoy". The Brae Editions imprint began formally in 2007 as the publishing arm of the Porteous Brae Gallery, for a few years a congenial summer project off Graham Place, Stromness, in Orkney, hard by Tam MacPhail's "drive-in" bookshop, Stromness Books & Prints. Brae Editions' principal, Alistair Peebles, was influenced by Ian Hamilton Finlay, a sometime Orkney resident; the latter's son Alec Finlay has been a Brae collaborator and Peebles continues in biographical research into Ian Hamilton Finlay, notably (so far) in The Gledfield Effect (2020).…

Soft cover. Condition: Fine. 1st Edition. 105 x 148mm. Wrappers. "Hoy's twin hills / the heart's atriums - / ventricles deep in the sea". Peebles looks from below the Black Craig over Billa Croo "with Oyster 1 installation" (a tidal energy converter - once the hope of the future) to the cotton-wool-covered hills of Hoy. The Brae Editions imprint began formally in 2007 as the publishing arm of the Porteous Brae Gallery, for a few years a congenial summer project off Graham Place, Stromness, on mainland Orkney, hard by Tam MacPhail's "drive-in" bookshop, Stromness Books & Prints. Peebles, Brae Editions' principal, was influenced by Ian Hamilton Finlay, a sometime Orkney resident; the latter's son Alec Finlay has been a Brae collaborator and Peebles continues in biographical research into Ian Hamilton Finlay, notably (so far) in The Gledfield Effect (2020).…

Soft cover. Condition: Fine. 1st Edition. 105 x 148mm. Wrappers. "Photograph by Alistair Peebles, June 2011, looking from Harray towards Hoy". The Brae Editions imprint began formally in 2007 as the publishing arm of the Porteous Brae Gallery, for a few years a congenial summer project off Graham Place, Stromness, on mainland Orkney, hard by Tam MacPhail's "drive-in" bookshop, Stromness Books & Prints. Brae Editions' principal, Alistair Peebles, was influenced by Alec Finlay's father Ian Hamilton Finlay, a sometime Orkney resident; Peebles continues in biographical research into Finlay, notably (so far) in The Gledfield Effect (2020).…

No Binding. Condition: Fine. 1st Edition. White linen dishcloth, printed in brown, folded in sealed plastic bag, as issued, with printed paper packaging. "A cloot, third in our series, for Lang Glendye, anagrammatist, Linko Jennhoost, collector, and the expert Darlo Buncar; for Urta Koreina & Elite Brushwork, for Sweet Stay Awhile, Lighter Load, Epic Fuel, Marmalade Kate and So Long Partition; for Fray Today, Montana Dan, Hir Corages and the pure Star Conquerers, kind supporters; for all who exhibited at Porteous Brae Gallery 2007-2008 and for all who read there, visited, helped, advised, sold, sponsored, bought, waited, returned, phoned, let, loaned, delivered, removed, postered, received emails and emailed; for the amenity of the street and its daily variety; for the parking; for all that and for the Sinewy Book and Print man, Columba McGrail, sine qua non. D'Apple Don Caloota Mairfrie 08". Brae Editions/Brae Projects was a child of the Porteous Brae Gallery, for a few years a congenial summer project off Graham Place, Stromness, in Orkney, hard by Tam MacPhail's "drive-in" bookshop, Stromness Books & Prints. Brae's principal, Alistair Peebles, was influenced by Ian Hamilton Finlay, a sometime Orkney resident; the latter's son Alec Finlay has been a Brae collaborator and Peebles continues in biographical research into Ian Hamilton Finlay, notably (so far) in The Gledfield Effect (2020).…

[Orkney, Scotland]: Brae Editions, 2018. 27pp. 4to. Illustrated stiff-paper covers. Very good or better. First edition, first printing; limited to 500 copies. With a foreword by Alasdair Gray. Joan Ure was the nom de plume of Elizabeth Thomson Clark, née Carswell. She collaborated with Ian Hamilton Finlay and was known for her work for the Scottish theatre.…

No Binding. Condition: New. 1st Edition. Hinged metal tin, 110 x 80 x 25mm, with printed wraparound band, enclosing eight die-cut printed darning wool cards, each bearing three samples of different-coloured Shetland 2-ply wool (three colours representing shades of Ian Hamilton Finlay's favourite drink, tea), each sample with a hand-stamped caption ("HOME / DREAM / ISLAND", "BURN / MILL / TROUT", "HAYSTACK / PEAT / CUITHE" &c); together with a printed postcard of the eight cards and "Rousay Mending: a footnote", single A2 sheet four times folded, 8000 words of biography and context, in bespoke hand-stamped card box. Edition limited to 60 numbered copies signed by the author. A poetic, playfully allusive tribute to Ian Hamilton Finlay, illuminating his under-recognised connection to Orkney. When George Mackay Brown reviewed Glasgow Beasts, an a Burd Haw, an Inseks, an, Aw, a Fush for The Orcadian in 1962, he introduced the author as one of Orkney's own. In a piece headed "New Poems by a Rousay Writer", he wrote, "Many Orcadians know Ian H. Finlay, the writer who has stayed mainly in Rousay for different periods, and is an Orkney writer by adoption and inspiration." The book was in Glasgow dialect, and by then Ian Hamilton Finlay (1925-2006), future creator of what has been described as "Scotland's greatest 20th-century work of art", the Arcadian garden Little Sparta, had moved to Edinburgh and started the Wild Hawthorn Press (alias the Wild Flounder Press), publisher of most of the concrete poetry for which he first became known. Alistair Peebles, himself an Orcadian by adoption, is working on a biography of the poet/artist up to 1966, when Finlay moved to the farm that became the garden, at Dunsyre in Lanarkshire. Rousay Mending is a Finlayan homage to the man, drawing from the same well-springs that fed Finlay, in the island off the West Mainland of Orkney where he lived in the winter of 1955-6 and the spring of 1959 - working not as a "shepherd" as has been claimed, but, in 1959, as a roadman - and where, in 2005, six months before his death, he oversaw the installation of the last of his major artworks, a grand commission from the Pier Arts Centre, 14 tonnes of Portland stone carved by his long-time collaborator Nicholas Sloan - Gods of the Earth / Gods of the Sea. The idea for Rousay Mending first came to Peebles, he writes, in 2019. "I scribbled it down on a piece of paper and Blu-Tacked it to a bookshelf: 'A Rousay Repair Kit (for Ian Hamilton Finlay)'. What I had in mind as regards his 1959 visit to Rousay was both his work on the roads, i.e. road building and mending, and more importantly the personally restorative effect of the visit and in due course its creatively seminal impact on his career. I was also thinking of his habitual fisherman's jumper, which is easily associated not only with his mythic identity, and his fondness for the island, but in photographs often looks in need of mending." Ian Hamilton Finlay came to regard Rousay as his artistic birthplace: in the words of his son Alec, "His longing for the island never left". Signed by Author(s).…

Condition: Neuf. Edition française parue en mars 2017, 30,5 x 21,5 cm, 43 journaux agrafés sous boîte tampographiée à chaud (ill. en bichromie et n&b) Boîte réunissant la collection complète (43 livraisons) du journal papier du Cabinet du livre d'artiste, Sans niveau ni mètre, publiée à l'occasion de ses 10 ans d'existence.Conçu comme un lieu consacré au phénomène « livre d'artiste », le Cabinet du livre d'artiste est un projet des éditions Incertain Sens, installé sur le campus Villejean de l'université Rennes 2, et répondant à un souci de diffusion de l'art auprès d'un public non spécialisé. Il a été réalisé en 2006 par l'artiste et écrivain Bruno Di Rosa qui a choisi pour sa fabrication une esthétique du bricolage et de la récupération : « Sans niveau ni mètre », titre repris pour la revue gratuite publiée et distribuée à chaque exposition à 1000 exemplaires. En 2014, un nouveau mobilier a été réalisé par Sarah Chantrel et Samir Mougas pour le Cabinet, qui a toutefois conservé son titre d'origine.Contributions de E Il Topo, Atelier de grève Rennais, André Balthazar, Alain Bernardini, Marie Boivent, Marie-Hélène Breuil, Denis Briand, Leszek Brogowski, Philippe Cazal, Bertrand Clavez, Jil Daniel, Herman de Vries, Bruno Di Rosa, Peter Downsbrough, Ernest T., Joseph Ernst, Ian Hamilton Finlay, Fred Forest, Brad Freeman, Fucking Good Art, Antonio Gallego, Nicolas Giraud, Noreen Graham, Ben Kinmont, Pascal Le Coq, Lefevre Jean Claude, Stéphane Le Mercier, Laurent Marissal, Roberto Martinez, Anne Moeglin-Delcroix, Jean-Claude Moineau, Maurizio Nannucci, Aurélie Noury, Ben Patterson, Alistair Peebles, Michael Phillips, Michalis Pichler, Benoît Police, Hubert Renard, Dieter Roth, Claude Rutault, Tom Sowden, Taroop & Glabel, Mathieu Tremblin, Christophe Viart, Bernard Villers, Jan Voss, Éric Watier.…