Scope and Contents In March 1973, Finlay writes to Stephen Bann to compliment him on an account of a Tarasque weekend and to discuss a poem in French by Claudel, from "100 Phrases for Fans," that had been translated and sent to him by Edward Lucie-Smith. He encloses a copy of this poem which he retyped with his own modifications as well as a letter from Smith. Finlay requests Bann's opinion as to the appropriateness for him to interpret the poem's layout as a sundial inscription and of Finlay's rendition. Still in March 1973, Finlay writes to Edward Lucie-Smith for clarification of Claudel's poem that he had sent to Finlay previously. The poem reads Fan (opposite page), Poems written upon the breath. Finlay asks Smith as to why "Fan" is on the opposite page and why the words have been split. Finlay wonders whether the disjointed words equate to a fan-picture when the fan is closed and if the phrase in the poem, "written upon a breath" signifies that the fan makes a little breathing. Bann responds to...

Scope and Contents Finlay begins this project in Jan-Feb 1972 with a letter to M. Harvey explaining that he wants to redo Wave/Rock for Stonypath, first constructed and then destroyed for the park at Dunfernline. He supplies a sketch for its placement. Then there ensues a correspondence from members of S.A.C. (Dunbar, Buchanan) to Finlay about funding this project and Finlay's comments. From July-Aug 1972, Finlay expresses disappointment with the Scottish Arts Council response siting for the sculpture mentioning his failed Zulu film project. In Aug 1972, Finlay contacts Harvey to make the drawing for Wave/Rock & provides detailed instructions for a concrete bridge, 16 feet in length with letters incised into tiles. Harvey responds to this directive in September. Finlay receives the drawing and notes variance with his instructions that must be corrected. This does not appear to be a major problem. In Sep, Murray writes Finlay about its fabrication. The correspondence between Finlay and Buchanan of...

Scope and Contents In Nov 1973, Finlay writes to Norman Cherry, a jewelry designer in Kelso about a project for making a brooch from a poem, "Windflower," a little mauve colored flower that trembles in the wind. This poem had been written for the Stuttgart Max Plank project. He requests that the brooch adapted from his poem should be made with material that undulates with movement of one who is wearing it and structured with letters 'pretty in themselves.' He indicates that the long "f" makes a natural stem for the brooch. Cherry replies in Dec 1973 with a suggestion for suspending the letters rather than using a single strip of metal as Finlay suggested. This solution is unsatisfactory to Finlay who provides further ideas. In Jan 1974, Cherry writes to Finlay that a new idea appears to lead to a workable solution and describes how the brooch will be made of almost paper thinness silver. In May-June, Finlay & Cherry exchange letters on progress of making the brooch in this manner and Finlay...

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This is a commercial Swiss match box that advertises a night club, 'Hot Lemon.' Finlay has printed in the same typography on the opposite side, 'Blue Lemon.' The poem that substitutes for the address site of "Hot Lemon" reads, Moray Firth Seine Netter - Fruition - Port Letters / Fishing Nos. INS265. -- Source of annotation: Marvin or Ruth Sackner.

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The word "Capital" at the top of this print is set in large capital bold letters and the word "Ship" in smaller normal typeface. -- Source of annotation: Marvin or Ruth Sackner.

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Seine is a fishing net...Purse may mean to gather up. The image consists of partially overprinted red colored "purse' words overlying green colored "seine" words -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue was designed by Finlay. The 10 photographs in this book from Finlay's garden are captioned with text from Finlay's "Detached Sentances on Gardening." -- Source of annotation: Marvin or Ruth Sackner.