Finlay Press
In 2001 the press moved to Braidwood, New South Wales, Australia, where it printed its final publication in 2009.
[1] Hansen and Day were graduates of the Graphic Investigation Workshop Archived 2012-03-24 at the Wayback Machine, Australian National University, where they studied under Petr Herel and Peter Finlay.
Earlier books by Hansen were often experimental, unique copies using her own writing, some including textiles for pages, and mostly letterpress printed onto cheap coloured papers.
In 1996 Hansen and Day collaborated on a zine titled PAB[5] (taking its name from the initials of the French poet Pierre Albert-Birot), and invited others to contribute to each issue.
The ABS was renamed the Edition and Artist Book Studio (E+ABS) and was headed by Dianne Fogwell.
Conscious of contemporary changes in paper, inks, bindings and printing techniques, Hansen and Day continued to find a way to a house style suitable for editions of over one hundred that was affordable on both money and time.
[7] Each publication used Magnani paper folded on the fore-edge, stitched with a Japanese binding and bound with a French false cover, then inserted into a slip case made from cardboard (usually a kraft stock).
The first title printed in the house style was Light and Water: Forty Prose Poems 1980-1999 (2002).
[11] Burly Gryphon (1997)[12] - Ingeborg Hansen (prose) - Phil Day (etchings) Hungry Magpies (1997)[13][14] - Bernard Hardy (poetry) - Ingeborg Hansen (lino cut, wood engraving) - Phil Day (etchings) Bomber (1997)[15] - Emma Veal (poem) - Phil Day (etching) Offerings (1997)[16] - G. W. Bot (poem, lino cuts) Fth (1998)[17] - James Pollock (short story) - Ingeborg Hansen (lino cuts) - Phil Day (etchings) The Last Lost Doughnut (1998)[18] - Robin Wallace-Crabbe (play) - Ingeborg Hansen (typography) - Virginia Wallace-Crabbe (bichromate photographs) - Phil Day (lino cut paper masks) Pandora’s Cat (2000)[19] - Robin Wallace-Crabbe (poem) - Ingeborg Hansen (typography) - Katie Clemson (lino cut) Formingle[20] - Craig Charlton (musical composition) - Kirsten Wolf (handmade paper) - Phil Day (etching) I, I Am, A Blind Man (1999)[20] - Petr Herel (etchings) Household: Eleven Poems (1998)[21] - Gary Catalano (poems, lino cuts) - Robin Wallace-Crabbe (lino cuts) - Ingeborg Hansen (lino cuts) - Phil Day (lino cuts) Jabberwocky[22] - Julian McLucas The Seven Proses (2000)[23] - Bernard Hardy (poems, wood engravings) Goodbye Eggcup (2006)[24] - Phil Day (poetry, copper engraving, collograph) Light and Water (2002)[25][26] - Gary Catalano (poetry) - Robin Wallace-Crabbe (etchings and lino cut) A Pile of Hair (2003)[27] - Julian Davies (short story) - John Pratt (etchings and woodcuts) - Phil Day (Monotypes) Through Hoops (2005)[28] - Gina Dow (poetry) - Robin Wallace-Crabbe (etchings) - Phil Day (copper engravings and linocut) - Ingeborg Hansen (wood engravings) Familiar Objects (2005)[29] - Phil Day (essay, lithography – some copies hand coloured) Cat’s Eye (2008)[30] - Julian Davies (short story) - Phil Day (copper plate engravings and monotype) I’ll Build A Stairway To Paradise (2008)[31] - Hartmann Wallis (poetry) - Phil Day (lithography) Day By Day (2009)[32] - James Grieve (translations of Pierre Albert Birot poems) - Phil Day (potato prints) Top Ten Twentieth Century Monsters - Phil Day (lino cut, copper engraving, monotype) Four Men and Their Ideas on the Erotic - Ingeborg Hansen (lino cut) - Robin Wallace-Crabbe (photo etching) - Robert Jones (lino cut) - Julian Davies (monotype) - Phil Day (copper engraving) An Egyptian - Hartmann Wallis (poem) - Robin Wallace-Crabbe (etchings)
