In May 1973, Finlay writes to Harvey that L. MacDermid suggested to the Kelso City Council that a permanent work of Finlay's be installed at the opening of the Kelso arts festival in Sep 1973. Finlay is unsure of the scale, price and type of work desired but proposes three sundials and considers A Solemnity of Sundials (from Sailor's Calendar) most appropriate because Kelso is on the Tweed river (a salmon river) & Solemnity depicts sundials, swallows & fish. He wants Harvey to provide sketches. Within 2 weeks Harvey does the sketches, preferring A Solemnity of Sundials to the other suggestion, Dividing the Light (from Poetry Review). A sketch of Solemnity is included in this archive. In June 1973, Finlay writes to L. MacDermid with his ordered preferences for a vertical sundial, Dividing...,A Solemnity...& A Garden of Sea-Stones with rationale for each in the city of Kelso. He also praises Harvey for his quick dispatch. Finlay writes MacDermid about the final plans in August. Harvey writes a long letter to Finlay in August on several topics among which that he is happy that George Thomson likes his book since Thomson is a classic calligrapher and Harvey states, "I get better results by drawing written letters than if I try to write them...calligraphy not being one of my skills. I would love to meet G.T. to discuss all this." He sends progress notes on fabrication of the Kelso sundial, Malevich and Lax Homages, Littack cover, cube sundial, Schiff, and Arcadia projects. In mid-August, Finlay replies to Harvey's letters taking each point one by one. He is concerned about the Kelso group changing the site of the Solemnity sundial and with technical details of fabrication. He declares disgust with Fulcrum Press' (supported by the British Art Council) claim of publishing the 1st ed. of his book. He then addresses technical details of the Harvey projects. MacDermid writes 3 letters to Finlay in early September as to the progress of the exhibition and siting of the Solemnity sundial in Kelso. Harvey notes in Sep 1973 that the cube sundial will soon be delivered to the "client" (name unmentioned in this Archive, was to be purchased by National Maritime Museum). Finlay sends a letter of acknowledgement, mentions a visit from art students at Richard Demarco's school who talked about "creative groups, Happenings, Dance and what they got from the experience ...sounded as congenial as piano wire." Poole, secretary of the Kelso Arts Festival acknowledges receipt of Finlay's bill in Oct 1973. In Oct, MacDermid writes Finlay with details of the winding up of the Kelso Arts Festival and problems with paying for Solemnity, 350 pounds initially allotted and 750 pounds cost. Poole sends Finlay 350 pounds with the balance payable when funds become available. Poole writes about damage to a ceramic, Winter Garden, whose costs (subsequently 17 pounds) will be negotiated. Finlay rejects partial payment and requests return of Solemnity. In an Oct letter, an embarrassed MacDermid trys to soothe the matter. In Oct, Poole acknowledges return of 350 pounds from Finlay. MacDermid provides progress on raising the money for Solemnity. Finlay responds to MacDermid with his feelings about the ill treatment accorded him by the Kelso Committee in terms of ordering the more expensive piece, i.e., Dividing the Light carved on stone would have come closer to the estimate. Finlay addresses a letter to Poole in Oct about the bureaucratic process in Kelso and resends the itemized bill. Poole sends a letter of apology. In Nov 1973, Finlay writes to Poole enumerating the contradictions in his letters, viz., Kelso no longer wants the sundial, may want it if money is available from SAC, regards itself as having purchased it, and has submitted it for a Saltire Award. He states that "a washing-machine company would not allow itself to be treated in this way. Nor will I." MacDermid sends a payment plan to Finlay in Nov 1973 but this plan falls apart two weeks later. He writes that he will store Solemnity personally and pay it from a personal loan. In Dec 1973, Finlay writes to Harvey and several others summarizing his understanding of the dispute with Kelso. Carlaw, Town Clerk of Kelso replies that Finlay can collect his sculpture, the town refuses to pay more than 350 pounds. An angry Finlay sends a letter back to Carlaw rejecting his assertions with copies to Harvey, DeMarco, the Saltire Society and Steele (MP) of Kelso. Letters to the town council in support of Finlay's position from the preceding are also included in this Archive. In Jan 1974, letters from Finlay, Harvey, Demarco, and Carlaw give their understanding of the dispute. A dejected MacDermid in a letter dated Jan 1974 accepts responsibility for what went wrong in the Kelso project and feels that he could have settled the matter if Finlay had given him a chance. He also takes exception with Finlay's adverse opinion of Poole and wishes that Sue Finlay can visit him in Kelso for further explanations. The rancor continues through April 1974 with no indication as to whether Finlay was paid. An undated letter from Trevor Winkfield, the British expatriate artist to the Kelso town council indicates that the Long Island Cultural society wants to stay in Kelso on their trip to Europe and view the Finlay Sundial, the maquette of which is in Nelson Rockefeller's collection. Winkfield writes, "It is refreshing to find someone in Finlay's own country recognizing him for the genius he is..." -- Source of annotation: Marvin or Ruth Sackner.