Article discusses France's cancellation of Ian Hamilton Finlay's contract to design a garden in Versailles, accusing him of anti-Semitism and neo-Nazism. -- Source of annotation: Marvin or Ruth Sackner.

Article describes the St. Just Vigilantes' defense of Ian Hamilton Finlay after the French government cancelled his commission stating that the artist was "inspired by Nazism." -- Source of annotation: Marvin or Ruth Sackner.

Deals with posters put up during the Festival of Dada and Surrealism supporting Finlay's cause when his work was cancelled by the French government. -- Source of annotation: Marvin or Ruth Sackner.

These documents include an essay by Thomas A. Clark on Finlay's controversial sculpture, OSSO at ARC in 1987 that included the logo of the Waffen SS. This work was considered by Art Press, a Parisian based journal as being pro-Nazi whereas Clark argues that it is anti-Nazi. They includes a copy of a protest letter on Finlay's behalf by Sol Lewitt to Jack Lang, the French cultural minister. Stephen Bann contributes a critical essay on Finlay's proposal for a revolutionary garden in Vers -- Source of annotation: Marvin or Ruth Sackner.

This is an attack on The National Trust book, "Follies" which was adversely critical of Finlay's Garden Temple by painting a picture of the Trust with quotes lifted from the book. -- Source of annotation: Marvin or Ruth Sackner.

The texts reproduce statements by the French revolutionary, Louis-Antoine Saint-Just 1767-1794 and refer to Finlay's contemporaneous disagreement with his local tax collectors. Finlay's book on prints 1963-1997 depicts the prints in black on a grey background. The prints here are printed in red and black. -- Source of annotation: Marvin or Ruth Sackner.

This is a polemic against Finlay's critics of his books on the staff of the Glasgow Herald. -- Source of annotation: Marvin or Ruth Sackner.

This is the English version of the "Le tricot etait..." another print made by Finlay. The image of this print in Finlay's book Prints 1963-1997 is depicted in black whereas this version is printed in red. -- Source of annotation: Marvin or Ruth Sackner.

The title translates in English to "Knitting was a reserved occupation" and Finlay has done another print with the same layout as this one in English. It is a reference to a quotation made in 1794 in the French revolution. Finlay then directs it at the editorial board of the Art Press who contributed to the refusal of his Parisian commission. He equates "occupation" to a hostile force "occupying" a country and in turn addresses them as "knitters." He also did a picture poem card on "knitters." The image of this print in Finlay's book Prints 1963-1997 is depicted in black whereas this version is printed in red. -- Source of annotation: Marvin or Ruth Sackner.

The black & white photograph on this card depicts wax drippings from the stolen candlesticks, TERROR and VIRTUE. Accompanying documentation, la liberte ou la mort in the center of the scene, is a study of the rhetoric of the Revolution by the French poet, Roche. -- Source of annotation: Marvin or Ruth Sackner.

Includes discussions of the National Trust's book Guide to Follies regarding Finlay's sculptural garden and the rejection of Finlay's commission for the city of Paris involving a monument to League of the Rights of Man. -- Source of annotation: Marvin or Ruth Sackner.

This is a polemic against the Glasgow Herald that gave an unfavorable review to Finlay's book, "Glasfow Beasts." -- Source of annotation: Marvin or Ruth Sackner.

Announces the closing of the Garden and the Garden Temple as a result of Little Sparta's War with the tax collectors of Strathclyde Region. The Reed-Pipe image is an air cooled machine gun. Finlay's political aphorisms printed in a caption from More Detached Sentences surrounding this picture poem include 'To change the interpretation of law, is to change the law,' and 'Democracy celebrates confusion and calls it freedom' among others. -- Source of annotation: Marvin or Ruth Sackner.

Deals with Finlay's problems with the Scottish art establishment. -- Source of annotation: Marvin or Ruth Sackner.

Thus a commentary about one of Finlay's inscriptions in the Garden Temple in Little Sparta. -- Source of annotation: Marvin or Ruth Sackner.

The recto text deals with Finlay's artworks stolen by the Strathclyde region's tax collectors. The verso quotes a text by Blunt on the Paintings of Poussin dealing with TERROR and VIRTUE in Arcadia. -- Source of annotation: Marvin or Ruth Sackner.

This Christmas presentation book subtitled "On the Way to Little Sparta" was conceived by Finlay and photographed by Robin Gillanders. It relates the closing of Finlay's famed garden by the Scottish government. The sign on the first gate into the garden reads, "Following the authority's action against the Garden Temple, Little Sparta is closed to the public." The second gate sign reads, "Strathclyde Region made war on Little Sparta - Strathclyde Region is no more." The third gate sign reads, "Closed with the support of The Scottish Arts Council." -- Source of annotation: Marvin or Ruth Sackner.

Printed by Stellar Press, this is an attack on the adverse criticism of Finlay's Garden Temple for its architecture in the book, Follies, A National Trust Guide. In this print, Finlay reviews the etymology of the word "folly" and notes that it is derived from the latin word "follis" meaning a ball, balloon or bellows. -- Source of annotation: Marvin or Ruth Sackner.