Finlay's Christmas card consists of a list of 13 words which succinctly tell the Christmas story. The first several words seem to be made-up words. -- Source of annotation: Marvin or Ruth Sackner.

This book includes reproductions of "Book 14 T that consisted of abstract markings rendered on the mimeograph machine. The book reproduces 'The Para-Concrete Manifesto (1996)' is from the original mimeograph printing. Some of the pages inside 'untitled (1964)' also reproduced in the book were based upon images used for levy's '6 cleveland prints' (renegade press, 1964). There were 5 copies published; probably each one different from the other. Here, copy #2. is reprinted. The pages are colored abstract markings with some containing letter pictures. -- Source of annotation: Marvin or Ruth Sackner.

This issue contains illustrated articles on the genesis of the letter 'L,' film posters, and "Love Letters." Allan Haley contributed a biography entitled, "William Caxton: The Modest Translator." Marion Muller's essay "Meant to Be Seen and Not Heard" about concrete and shaped poetry dealt with an exhibition of Arion Press' Shaped Poetry portfolio at MJS Books & Graphics in New York. -- Source of annotation: Marvin or Ruth Sackner.

A wash-like painting of the sky, the sea, a road, a desert, with "Ulysses Was Here" printed on the road in classical typography. -- Source of annotation: Marvin or Ruth Sackner.

This is the preparatory drawing for the Welsh Slate sculpture that is also pictured in a card and a print with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This proposal for a revolutionary garden in Versailles was never carried out owing to a political perception in France that Finlay espoused pro-Nazi, anti-semitic views (this opinion is not shared by the Sackners). -- Source of annotation: Marvin or Ruth Sackner.

This book was also designated as Frozen Waffles #2 - Special Issue. -- Source of annotation: Marvin or Ruth Sackner.

This depicts a photograph by Diane Tammes of a model ship built by Finlay. -- Source of annotation: Marvin or Ruth Sackner.

This book reproduces photographs of polished stones calligraphically inscribed with minimalist poetry referenced to mythology. The latter is printed on facing pages to the photographs. Finlay provides an explanation of the meaning of some of the more obscure phrases inscribed on the pebbles. Finally, he lists Detached Sentences on the Pebble at the end of the book, e.g., A pebble is a crumb of ancient geology, Kettle's Ward in Cambridge, England is the "Louvre" of the pebble, etc. -- Source of annotation: Marvin or Ruth Sackner.

Photographs of sculptures in Little Sparta, Finlay's garden, by David Paterson done on Christmas 1995. Designed by Finlay and Simig. The title of the book, Unsigned, refers to the name of a model boat in Finlay's collection. A photograph of it is printed in the book which consists only of the photographs. -- Source of annotation: Marvin or Ruth Sackner.

Simon Cutts is the publisher of Coracle Press. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was designed by Ian Hamilton Finlay and Pia Simig and took place at Tate St. Ives from March 23 to June 30, 2002. -- Source of annotation: Marvin or Ruth Sackner.

The catalogue was designed by Ron Costley. It includes a long critical introduction by Stephen Bann focusing on Finlay's contributions to concrete poetry and his swing toward neo- classicism in the picture poems carried out by inscriptions on stone plaques in the garden. The catalogue also has a reprinting of Finlay's "A Wartime Garden." The illustrations depict several unique stone, neon, and glass sculptures. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by Thomas Kellein. Layout design was done by Hansjorg Mayer. The cover depicts a picture poem, "Homage to Modern Art." The catalogue is a retrospective of Finlay's ouevre. -- Source of annotation: Marvin or Ruth Sackner.

The critical essay was contributed by the Canadian poet, Stephen Scobie. He states that Finlay is "a Classical artist" in contrast to "a Romantic artist." who attempts to create the artistic world out of an isolated consciousness whereas the Classical artist works within tradition as emphasized by Finlay's Hommage series to other artists. As Scobie indicates, to call Finlay a Classical artist seems paradoxical since his work appears so experimental or inventive but "Classicism" refers to -- Source of annotation: Marvin or Ruth Sackner.

Finlay draws an analogy to the page of a book and the sail of a boat in the text on the page of this spiral spine book, viz., Spiral Binding (page to cover) Spiral Binding (mast to sail). -- Source of annotation: Marvin or Ruth Sackner.