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Raines contributes a poem about Stonypath. Bann discusses Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall writes of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzes Finlay's "Pacific." Scobie provides an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay creates a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." Pencilled-in corrections in an unknown hand have been made for two typographic errors, 'r' for 't' on page 7 to change the word 'takes' to 'rakes' and 'n' for 'r' to change the name 'Gallard' to 'Galland.' -- Source of annotation: Marvin or Ruth Sackner.

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The writer describes the scene at the London Artists' Book Fair at the Barbican Centre in November 1997. He stresses the increased appreciated value of artist books, particularly those done by Ian Hamilton Finlay and Bob Cobbing. Writing about Cobbing, he mentions that "His Domestic Ambient Noise" series, in collaboration with the visual poet Lawrence Upton, has run to 157 editions in the past three years. Their cost is 1 pound each or four for 5 pounds. Winsor states that "A rich collector in Miami [Marvin Sackner not identified!] and two assiduous London collectors have all 157." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Gael Turnbull (7 April 1928 - 2 July 2004) was a Scottish poet who was an important precursor of the British Poetry Revival. Turnbull was born in Edinburgh and grew up in the North of England and in Canada. He studied Natural Science at Cambridge University and graduated in Medicine from the University of Pennsylvania in 1951. In 1957, Turnbull started Migrant Press, one of the first British-run presses to focus on poets in the modernist tradition. His work was featured in the groundbreaking Revival anthology Children of Albion: Poetry of the Underground in Britain (1969). His own books include A Gathering of Poems 1950-1980 (1983) and Rattle of Scree: Poems (1997). He was also published in the anthologies The New British Poetry (1988), Other: British and Irish Poetry since 1970 (1999) and Anthology of Twentieth-Century British and Irish Poetry (2001). He returned to Edinburgh in the early 1990s. In this city, he worked on what he termed kinetic poems; texts for installation in...

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This is a listing of the printed material of Ian Hamilton Finlay from 1960 to 1990 donated by the Sackners to the Houghton Library in 1995. It is noted that there are no restrictions on access to this material and the collection is open for research. -- Source of annotation: Marvin or Ruth Sackner.

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This card prints a polemic against Michel Blum, "the intellectual terroist" for his role in rejection of Finlay's commission for the city of Paris. -- Source of annotation: Marvin or Ruth Sackner.

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The poem consists of an array of names for Scottish fishing ships presumably arranged while anchored and fishing. -- Source of annotation: Marvin or Ruth Sackner.

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The image is adapted from "A Handbook of Sailing Barges" by E.S. Cooper. -- Source of annotation: Marvin or Ruth Sackner.

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The image on this card depicts a line drawing of a part of an engine. The significance of the one word poem "gull" is unclear. -- Source of annotation: Marvin or Ruth Sackner.

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This is a critical essay with illustrations of Finlay's work by Douglas Eadie. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition consisted of four sections: 1) Ray Johnson collages; 2) Michael Morris concrete/constructivist drawings; 3) international concrete poems and 4) film and tapes of sound poetry. Michael Rhodes traces the historic roots of concrete poetry from 1897 to 1964. Edwin Varney contributes an illustrated, critical essay defining concrete poetry that is expressed in concrete poetic terms. Ian Hamilton Finlay and Stephen Scobie collaborate with an essay on definitions of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

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This is Vos' doctoral thesis. He mentions that the Sackner and Sohm Archives are excellent sources for reseach on the international concrete poetry movement. He critically reviews definitions of concrete and visual poetry proposed in the past. He relies heavily on the material written by Siegfried J. Schmidt and Nelson Goodman. -- Source of annotation: Marvin or Ruth Sackner.

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Brief notes of explanation are provided for several of the poems in this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue features works by Ian Hamilton Finlay. -- Source of annotation: Marvin or Ruth Sackner.

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This a critical text dealing with issues after the exhibition, "Between Poetry and Painting" at the ICA in London 1966. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue depicts a wide range of Finlay's poems on cards and prints along with several critical analytic essays. -- Source of annotation: Marvin or Ruth Sackner.

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This is a review of a photographic exhibition of Ian Hamilton Finlay's garden in Little Sparta at the Portrait Gallery. The reviewer describes the garden as arguably one of the great art works of art ever made on Scottish soil. "Certainly, it's the greatest ever made of Scottish soil - the realisation of one man's vision of a classical garden in the midst of an untamed land." -- Source of annotation: Marvin or Ruth Sackner.

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Ray Gosling wrote the introductory essay. -- Source of annotation: Marvin or Ruth Sackner.