Scope and Contents

Image was taken from a detail of a painting by William Gillies. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Image was taken from a detail of a painting by William Gillies. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The image on the card is a graphite landscape drawing. The definition of (Classical) landscape written by Finlay, reads, a stand of concepts. -- Source of annotation: Marvin or Ruth Sackner.

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The classical image is of a six layer cake; the image of neoclassical is of six stacked drums. In each picture, the sizes of each layer become progressively smaller from botton to top. The cake probably refers to Marie Antoinette's pre-revolutionary statement, "Let Them Eat Cake!" and the drums refer to the French revolution. -- Source of annotation: Marvin or Ruth Sackner.

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The card depicts the number, "529.DE" in light blue with its letters fractured from painting upon the slats of the blue, boat hull. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The card depicts the phrase, "Clinker Built" in black outlined, white letters with a fractured appearance from being drawn upon the slats of the boat hull. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: "An explosion of little architectural magazines in the 1960s and 1970s instigated a radical transformation in architectural culture, as the magazines acted as a site of innovation and debate. Clip/Stamp/Fold takes stock of seventy little magazines from this period. The book brings together a remarkable range of documents and original research which the project has produced during its continuous travels over the last four years starting with the exhibition at the Storefront in November 2006. The book features transcripts from the "Small Talks" events in which editors and designers were invited to discuss their magazines; a stocktaking of over 100 significant issues that tracks the changing density and progression of the little magazine phenomenon; transcripts of more than forty interviews with magazine editors and designers from all over the world; a selection of magazine facsimiles; and a fold out poster that offers a mosaic image of more than 1,200 covers examined...

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Announces closing of Stonypath Garden and Garden Temple as a result of forced entry by the Strathclyde region tax collectors. -- Source of annotation: Marvin or Ruth Sackner.

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In this photograph of a sculpture, Finlay uses leaves floating in a bowl as a metaphor for clouds. The word "cloud" is engraved on a stone with a hand pointed downward to the leaves and upwards to the sky. -- Source of annotation: Marvin or Ruth Sackner.

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The poem is printed in single or double white letters on a grey background, "Clouds your incredible capitals crown the tall grey columns of Rain." -- Source of annotation: Marvin or Ruth Sackner.

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The label is embroidered with the word, "INCONNU." -- Source of annotation: Marvin or Ruth Sackner.

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The image on the cover is a sail boat and the caption is "A Keel with a Tuck in It." -- Source of annotation: Marvin or Ruth Sackner.

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The cover image is adapted from Ben Nicholson's painting, "Three Goblets." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The cover image is adapted from Ben Nicholson's painting, "Three Goblets." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue, that was written by Christopher McIntosh, provides a long critical essay. He mentions the runic symbol of the SS as an example which evolved from the interchangeable f's and s's in the 18th century symbolizing grace, elegance and high culture. He notes that Finlay's interest in the SS symbol is an example of coincidence, for this has passed into the visual symbology of "pop" culture; the rock group "Kiss" use it and it is frequently scrawled as grafitti. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book consists of a collection of the following essays. Raines contributed a poem about Stonypath. Bann discussed Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall wrote of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzed Finlay's "Pacific." Scobie provided an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay created a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." -- Source of annotation: Marvin or Ruth Sackner.