The print depicts the word "Singer" in orange letters on a brown and orange background. In Finlay's homages, that distance is often marked by an ironic wit, what Bann called 'a minor key': a diminution of scale that is friendly and playful, but not without a certain edge to it. The Homage to Pop Art (1973), for instance, restates Cezanne's 'the cylinder, the sphere, the cone' in terms of an ice-cream cone; the Homage to Seurat (1972) transforms the artist's pointillism into a connect-the-numbered -dots painting kit. Other homages are less obviously playful, but no less complex. The Homage to Vuillard (1971) consists of the single word SINGER, printed in warm shades of yellow and brown that recall the intimacy of Vuillard's interiors. The literal meaning of the word (Vuillard as the 'singer,' or celebrator, of domestic life) is both reinforced and slyly commented on by the association of 'Singer' as the leading trade name of sewing machines (Stephen Scobie: Earthquakes& Explorations, Toronto, Canada: University of Toronto Press, 1997, hard cover book, pp 182-189). Another interpretation by Cowling in the exhibition catalogue, Surrealism and After is that Vuillard's mother's corset-making business had a strong influence on his decorated patterns in his paintings. -- Source of annotation: Marvin or Ruth Sackner.