Scope and Contents This catalogue that illustrates Finlay's prints in chronological order, was compiled by Pia Simig. An in-depth essay by Rosemarie E. Pahlke, "Homesickness for Greek Temples," traces Finlay's themes, poetry, philosophy and describes his garden Stonypath. "The significance of his oeuvre and the widespread admiration it has earned derive primarily from its complexity...He offers us his own unique view of the present and his perception of everyday life, displayed on a background of literary, philosophical and historical connotations. In the process, he arrives at formulations and visual realisations that either spontaneously overwhelm us with their astounding simplicity or challenge us - even those who feel confident of having achieved a modicum of erudition - to find answers to the questions they pose. ..Finlay's works derive their vitality from his excellent powers of observation, a delicate irony, a sense of humour one might refer to as 'British,' a feeling for poetic images (but a...

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Publications Supplement to complement "A Catalogue Raisonne 1958 - 1990." -- Source of annotation: Marvin or Ruth Sackner.

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Review of "Between Poetry and Painting" at the ICA in London. Lucie-Smith states "Concrete poetry is difficult to describe but easy to recognize." Stored with other material about this exhibition. Stored with material dealing with the Archive of "Between Poetry and Painting." -- 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.

Scope and Contents Missing one print, "ballad," a poem dealing with the theme of sailors. Includes a poem entitled "Homage to Malevich" in which a square is made up of the words black and block printed with a bold black typeface. This poem has been critically analyzed by Stephen Scobie (Earthquakes& Explorations, Toronto, Canada: University of Toronto Press, 1997, hard cover book, pp 182-189) as pivotal to the understanding of Finlay's work. "The letter to Garnier indicates also the extent to which Finlay's aesthetic was formed by the artistic movements of the early twentieth century; its reference points are Cubism, Fauvism, and Suprematism. The recourse to painting arose, the letter explains, at the point where verbal language in itself seemed inadequate: 'with the extraordinary (since wholly unexpected) sense that the syntax I had been using, the movement of language in me, at a physical level, was no longer there.' Painting - or, more generally, 'visual language' - provided (for Finlay, and...

Scope and Contents Includes a poem entitled "Homage to Malevich" in which a square is made up of the words black and block printed with a bold black typeface. This poem has been critically analyzed by Stephen Scobie (Earthquakes& Explorations, Toronto, Canada: University of Toronto Press, 1997, hard cover book, pp 182-189) as pivotal to the understanding of Finlay's work. "The letter to Garnier indicates also the extent to which Finlay's aesthetic was formed by the artistic movements of the early twentieth century; its reference points are Cubism, Fauvism, and Suprematism. The recourse to painting arose, the letter explains, at the point where verbal language in itself seemed inadequate: 'with the extraordinary (since wholly unexpected) sense that the syntax I had been using, the movement of language in me, at a physical level, was no longer there.' Painting - or, more generally, 'visual language' - provided (for Finlay, and for many other poets at the time) a way out of this impasse: not by...

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The work is composed of 4 prints each a single word formed from a collage of packets of commercial plant seeds. The height of all the prints is the same with the width smaller or larger depending on the number of the letters in the word. -- Source of annotation: Marvin or Ruth Sackner.

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This issue is an excellent source of writings and images of particularly British concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

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This print accompanied an important exhibition of Maritime Works at the Tate St. Ives from March to June in 2002. The print reads in part, Rose Valley, Carra Rose, White Rose, all signifying ship names. It is signed on the card by the curator of the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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This print accompanied an important exhibition of Maritime Works at the Tate St. Ives from March to June in 2002. The print reads in part Rose Bloom, Lothian Rose,Tudor Rose, all signifying names of ships. It is signed on the card by the curator of the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The poem is printed in a single or two letter vertical arrangement in two phrases on a green background, viz., "When down from heaven gladness pours," and "How neatly the little rowan distibutes itself." -- Source of annotation: Marvin or Ruth Sackner.

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This drawing of a calligraphic design by Cherry for the Schiff brooch used a perspex background as a reflecting surface. Perspex (plexiglas) was eliminated in the final design but the idea for reflection of Schiff in mirror writing was kept for the final design. The Archive for this work is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The word "Schiff," signifying ship, is printed in stylized calligraphy to resemble the shape of a ship and its reflection in the water. Indexbooks WEB 2011: "One of an edition of 350 signed numbered copies, printed by PKM studios, of a 2 x 12 inch lithographed triple foldout thin card strip with the word "Schiff" in a typeface so that the symmetrical upside down repeat, i.e., reflection, of itself makes for a reflection of itself (as if it were a ship). That's metonymy? Part for whole? Nah. More like metaphor, the word for the thing, i.e., substitution." -- Source of annotation: Marvin or Ruth Sackner.

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The word "Schiff," signifying ship, is printed in stylized calligraphy to resemble the shape of a ship and its reflection in the water. ndexbooks WEB 2011: "One of an edition of 350 signed numbered copies, printed by PKM studios, of a 2 x 12 inch lithographed triple foldout thin card strip with the word "Schiff" in a typeface so that the symmetrical upside down repeat, i.e., reflection, of itself makes for a reflection of itself (as if it were a ship). That's metonymy? Part for whole? Nah. More like metaphor, the word for the thing, i.e., substitution." -- Source of annotation: Marvin or Ruth Sackner.

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The image of this card consists of black letters of fishing boat names and numbers arranged in the shape of a mandala on a brown background. -- Source of annotation: Marvin or Ruth Sackner.

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The poem consists of the actual names of Scottish fishing ships with the word, "star" as part of their names arranged in the shape of a mandula. -- Source of annotation: Marvin or Ruth Sackner.