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Finlay has written a name in red colored ink on each page. -- Source of annotation: Marvin or Ruth Sackner.

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This first proposal for an environmental work by Finlay was originally published in 1979 in an edition of five copies and here is reproduced as a section in Mr. Aislabie's Gardens. It is based upon a description by Jean-Jacques Rosseau (1712-1778). It consists of minimalist poems on plaques held by trees along with plans for a nature environment. -- Source of annotation: Marvin or Ruth Sackner.

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The name Gertrude Jekyll who was a famous British gardener is inscribed in the drawing which relates to a quotation from Gertude Stein, the American expatriate writer. Since Stein in German means glass, these factors are interelated with the design. -- Source of annotation: Marvin or Ruth Sackner.

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The card depicts a photograph made by Gloria Wilson of a wall with white painted, handwritten names of fishing boats. -- Source of annotation: Marvin or Ruth Sackner.

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These are preparatory drawings for an unrealized work. -- Source of annotation: Marvin or Ruth Sackner.

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This page includes the text of the poems for the printed booklet. On the verso, Finlay provides the meaning of the acronyms for two of the poems, viz., "The Sonnet's Poem: S.W.A.L.K." (Sealed With A Loving Kiss) and "The Forrest Poem: St A.G." (St Anthony Guide). -- Source of annotation: Marvin or Ruth Sackner.

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The line (sentence) on the inside of the unfolded card reads, "The mute dispenser of the vernal shower." Vernal means youth or pertaining to spring and "vernal shower." It was utilized in a poem by Thomas Gray (British, 1771-1771) as "Sweet is the breath of vernal shower,The bee's collected treasures sweet, Sweet music's melting full, but sweeter yet. The still small voice of gratitude." -- Source of annotation: Marvin or Ruth Sackner.

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Deals with an oil painting by Hornel dated 1918 being shown in the Demarco Gallery. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In Nov 1972, Finlay writes to Vincent Butler, who built the aircraft carrier sculpture for Stonypath, expressing his displeasure with the quality of the drawing for the Wild Stone project. Finlay indicates that unless Butler can produce a better drawing, their collaboration should cease. No reply from Butler is contained within this Archive and letters from Finlay to Peter Lyle, Michael Harvey, and George Thorpe are sent requesting their assistance with the project along with those of Butler. Finlay writes that the poems to be inscribed upon the Six Wild Stones are one word poems analogous to Japanese Haiku where art is a matter of brevity and suggestion and wild (native) stones in a formal area is equivalent to a Japanese rock Garden. Examples include the poem Curfew "Curlew." Curlew is a bird heard mostly on still, misty days or in the evening with a long, sad cry. Finlay includes a plan on graphite tracing paper, ...a large area mown grass ...stone paving slats...stone poems...

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This plan for a projected U-boat sculpture depicts line drawings of a conning tower separated by a moat from a cow staring at it. -- Source of annotation: Marvin or Ruth Sackner.

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The sketch is titled "Hommage to John Betjeman," and this is a subtitle that also appears on the card. The card depicts ships alongside a list of their female names. On the proof copy, instructions have been written by Finlay to "Lighten grey/green" color in which the card is printed. The trade copy has this corrected color. -- Source of annotation: Marvin or Ruth Sackner.

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In May 1973, Finlay writes Norman Cherry, a jewelry designer in Kelso, to make a brooch using his Schiff (German word for ship) poem composed for the Stuttgart Max Plank project. He offers several designs including Schiff depicted as a reflection in a pool which is ultimately accepted. The two exchange letters on the progress of the work which is completed in Aug 1973. A letter dated Nov 1973 from Finlay to Buchwald, architect of the Stuttgart project, offers the silver brooch for sale. -- Source of annotation: Marvin or Ruth Sackner.

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The stapled pages consist of Finlay's handwritten text and drawing of the Norfolk Wherry, a type of sailing ship. The maquette with calligraphic, printed letterforms and a drawing of a Norfolk Wherry was made by Michael Harvey. -- Source of annotation: Marvin or Ruth Sackner.

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Feine describes in extensive detail an archive of 40 Finlay works that were subsequently purchased by the Sackner Archive. This list is filed under Finlay. -- Source of annotation: Marvin or Ruth Sackner.

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The cabin of an aircraft carrier above the landing field is used as a metaphor for the accompanying poem by Finlay, "At the field's edge, on the vertiginous cliff-top, stood a solitary Hut." The drawing is structured over a Finlay work "sea ms." -- Source of annotation: Marvin or Ruth Sackner.

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These are preparatory drawings for a plaque to be mounted on a tree. Comments written on these drawings explain the artist's intent. -- Source of annotation: Marvin or Ruth Sackner.

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Finlay comments on the verso of this card that the text moves from the plain (or Doric) tree-bark to the Baoque via the elaborate barque or three-masted sailing ship. -- Source of annotation: Marvin or Ruth Sackner.

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Finlay writes about the World War II Battle of Midway4 June 1942 in poetic terms, viz., ...the great sea hives/consumed with their choicest swarms by their own flaming honey. The bee symbol is used to suggest the sea (bee) and hive symbolizing the aircraft carriers. The text is hand written and served as preparatory texts for a subsequently realized print that is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.