Brae editions (26 résultats)

paperback. Etat : 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. Etat : 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 . . .".…

paperback. Etat : Very Good. Most items will be dispatched the same or the next working day. A copy that has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Soft cover. Etat : As New. 1st Edition. Wrappers. 750 copies printed. "On the island of Hoy, to the west of Orkney, a woman sat one evening in the common room of the outdoor centre, sewing a cover for a stone. The small black stone was one she had picked up on a walk the group had made to the beach, a week or so previously, near the start of their short stay on the island. She gave the finished object to a friend she had made there, on leaving, a memory of time well spent . . ." Striking and original account - an "artists' book" of fragments and close-up recollections, illustrated with the author's watercolours and drawings - of "several years in the life of a woman, during which her father was diagnosed with and died from cancer". What are human relationships? What is the nature of art? Amy Todman is an artist, based in Glasgow, and shares with her publisher, Alistair Peebles, an interest in Ian Hamilton Finlay. Her book is subtle, elegant and affecting. …

Soft cover. Etat : As New. 1st Edition. Wrappers. Winner of the National Library of Scotland's Callum Macdonald Memorial Award, 2012. A serene conjunction of drawings in monochrome by Lesley Drever, illustrator earlier for Alistair Peebles's Brae Editions of Harry Gilonis's Reading Hölderlin on Orkney (2010), and words by Lesley Harrison, author of One Bird Flying: poems from the Great Road (Mariscat Press, 2009). "Beautifully uplifting - a perfect union of line and land, words and flight" (Kathleen Jamie, back-cover puff). Harrison observed her birds from the Orkney island of Eday: "gannet // four o clock. / floating / paper thin above the / drop"; "heron // it is the shadow of itself; / it is its shadow. / first the shadow, then the bird"; "sandpiper // vagrant. /an attitude of birds / over water, skimming waves" . . .…

Card Wrappers. Etat : Fine. First Edition. (36pp.) Sharp copy. Laura Drever (illustrateur).

Etat : New. 2014. Paperback. . . . . .

Etat : New. 2014. Paperback. . . . . . Books ship from the US and Ireland.

Soft cover. Etat : 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).…

Soft cover. Etat : Fine. 1st Edition. Wrappers. "Orkney lives on in my imagination," writes Seamus Heaney, "as the place where the horses - in Edwin Muir's poem of that name - arrived with drumming hooves out of 'some wilderness of the broken world'. To the islanders in Muir's post-atomic world, those horses appeared like an omen of possibility . . ." The editors explain: "The idea for this collection began with our shared interest in the futures that may exist for Orkney, and especially the ways in which the islands' imagined futures relate to the character of the landscape." This might seem a solemn project, a "handbook" like a "survey"; it is, rather, an anthology of celebration and hope. (Many of the submissions are poems.) Next to Heaney, contributors include Andro Linklater, Pam Beasant, Andrew Appleby, Michael Longley, Alec Finlay, Morag MacInnes, Michael Schmidt, Pradip Malde, Cameron Stout and Andrew Greig. …

First edition. 27 pp. Fine in stapled wrappers. Selected and edited by Richie McCaffery and Alistair Peebles. One of 500 copies. Gray contributes a foreword to this collection.

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 (illustrateur).

Paperback. Etat : Fine. First Edition. Wraps. 8vo. pp 6. Pamphlet. Original publisher's illustrated covers, lettered white. 100 copies printed. Illustrated by Andrew Parkinson and Alistair Peebles. New orker, no. 2. ISBN: 9781907508035 Fine.

Soft cover. Etat : Near Fine. No Jacket. 1st Edition. Attractively illustrated writings from Todman collected over a two year period during which she lost her father. From an edition of 750. In fine internal order. Light wear only to blue card covers. 8vo. Unpaginated.

No Binding. Etat : 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 has 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. Etat : 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. Etat : Fine. 1st Edition. Pamphlet, wire stapled. Unpaginated. Photographic illustrations. 100 copies printed. Virtually as new condition.

Softcover/Paperback. Etat : Fine. First Edition. An enigmatic alphabet book, that gets as far as 'J', of poems, fragments, colour illustrations; beginning on the Orkney island of Hoy, and dedicated to the author's 'dad, his memory, and for the confusion and clarity of times like these.' Printed wrappers. Fine. 750 copies. book.…

Soft cover. Etat : 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. Etat : 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. Etat : Fine. 1st Edition. 8vo. Pp 15. Original card wraps, wire stapled. 300 copies printed.

Soft cover. Etat : Fine. Reprint. Unpaginated. A single sheet folder within card wraps. Drever, Laura (illustrateur).

Soft cover. Etat : 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. Etat : 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. Etat : 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. Etat : 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). …