Scope and Contents

The etching or woodcut black and white image on the card cover by Hincks appears to be a scene taken from Finlay's Little Sparta garden. -- Source of annotation: Marvin or Ruth Sackner.

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A sculptural image of Saint Just is labeled with the anagram, "Satin Juts." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In this book, Stephen Bann who wrote the text, provides a critical analysis of Finlay's Picture (Emblem) Poems, which are reproduced with his commentary, one to a page. The poems include among others "Woodland is Pleasing to the Muses, Et in Arcadia Ego, Out of the Strong Came Forth Sweetness, Through a Dark Wood, Battle of Midway Fourth June 1942 (1) and Battle of Midway Fourth June 1942 (2). -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In this book, Stephen Bann who wrote the text, provides a critical analysis of Finlay's Picture (Emblem) Poems, which are reproduced with commentary, one to a page. The poems include among others "Woodland is Pleasing to the Muses, Et in Arcadia Ego, Out of the Strong Came Forth Sweetness, Through a Dark Wood, Battle of Midway Fourth June 1942 (1) and Battle of Midway Fourth June 1942 (2). -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The photographs consist of images of tree trunks and branches painted by Janet Boulton and photographed by Robin Gillanders. The images satisfy the caption on the first page, viz., HIGHLIGHT, n., a mark, sign, or medal, awarded by the light. The book was printed and bound by Colin Sackett. One copy of this book was given by Finlay to the Sackners as a Christmas gift. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The image on the cover is a line drawing of the hull of a fishing boat. Finlay notes that Henry Riviere, a French painter and printmaker, 1964-1951, had as his favorite subjects the 'chaloupes' of the Breton sardine fishery. -- Source of annotation: Marvin or Ruth Sackner.

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The translucent print with red diagonal stripes overlying the three naval warships places the stripes on their hulls, refering to Agam's abstract markings. The name of these ships are Invincible, Inflexible and Indefatigable, referring to Agam's personality. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The translucent print with red diagonal stripes overlying the three naval warships places the stripes on their hulls, refering to Agam's abstract markings. The name of these ships are Invincible, Inflexible and Indefatigable, referring to Agam's personality. The Sackner Archive also holds a signed and numberd copy of this print. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The manuscript (stored in flat file) provides instructions to the printer for producing this work. One print with red diagonal marks overlays the other print that depicts three warships, Invincible, Inflexible and Indefatigable placed from top to bottom. The combination of the red stripes, the names of the warships, and their arrangement, two shown in left to right direction and the other right to left refer to the personality and work of the Israeli artist Agam. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The photograph taken by Finlay depicts an older man in a toy sailboat on the Stonypath pond. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue depicts a several photograph reproductions of Finlay's works including "Sea Poppy 2," 1968, a sculpture held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The drawing on this card consists of an abstract image of an aircraft carrier. -- Source of annotation: Marvin or Ruth Sackner.

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Card depicts Barque with list of sails innumerated with instructions, "White only." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Stephen Scobie (Earthquakes& Explorations, Toronto, Canada: University of Toronto Press, 1997, hard cover book, pp 182-189) made the following comments on this poem." The reduction of 'Life and Work' to 'Knife and Fork' is in tune with this whole mode of affectionate distancing; but it also has further resonances, which may be seen by juxtaposing Finlay's homage to Kahnweiler with Gertrude Stein's homage to Juan Gris: Therein Juan Gris is not anything but more than anything. He made that thing. He made the thing. He made a thing to be measured. Later having done it he could be sorry it was not why they liked it. And so he made it very well loving and he made it with plainly playing. And he liked a knife and all but reasonably. (Gertrude Stein, 'The Life of Juan Gris The Life and Death of Juan Gris,' transition 4 Uuly 1927]). So here is Juan Gris (1887-1927); and here is his knife ('reasonably': Gertrude Stein, in tribute to her friend); and here are his knife and his fork (and...

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Finlay (Archive entry) indicates that suprematist crosses of Malevich appear to him as abstracted early airplanes and suggests that an image from "Malevich's book" looks like an aerial dogfight. He adds a black cross to the picture with fire from its side to suggest that an enemy plane shot down by the red colored cross-airplane image of Malevich, "ace" of the avant garde. The suprematist elements are given a chalky surface as if colored with crayons. The trade edition of print was unsigned. -- Source of annotation: Marvin or Ruth Sackner.