Finlay supplies notes that provide his interpretation of each of the six poems in this broadside. This work was loaned to the Museum of Modern Art NYC for their exhibition, "Eye on Europe: prints, books & mutiples 1960 to now." -- Source of annotation: Marvin or Ruth Sackner.

Concrete poems were created from collated headlines. Eight were composed by the art students and five by Finlay. Ann Stevenson who did "Water Wheels in Whirl" is known as Ann Noel and is the wife of Emmett Williams. Work is dedicated to Eve Furnival, and cover of portfolio consists of a grid of identical child-drawn images of Finlay entitled "The Flying Scatsman." In this copy, the title page has a typographic error, viz., Published dy (sic) Openings Press...(this was not observed in another copy formerly held by the Sackner Archive). Ian Hamilton Finlay's "13 evelines," were sent to John Furnival's daughter Eve as postcards on thirteen consecutive days by students in Furnival's Bath Academy of Art class. It was subsequently printed as this portfolio. -- Source of annotation: Marvin or Ruth Sackner.

The phrase "Black Block" is printed in lower case letters to form five squares in the shape of a cross. Unclear as to whether this version was authorized by Finlay. This is a varient of Finlay's version which appeared in Rapel (1963). There is another lithographic print with the same title composed with Michael Harvey abd published by Wild Hawthorn Press (19745). -- Source of annotation: Marvin or Ruth Sackner.

Drawing is a seascape with a sailboat with a single sale known as a ketch. The poem splits the word sketch into s & ketch. -- Source of annotation: Marvin or Ruth Sackner.

This card depicts the five Olympic ring logograph but substitutes their colored lines with the names of fishing ships. -- Source of annotation: Marvin or Ruth Sackner.

The edition includes 1000 copies in paper wrappers, 200 copies numbered and signed by Finlay and 26 copies handbound in boards by Earle Gray lettered and signed by Finlay. Consists of a collection of previously published concrete poems and seven sundial drawings. Stephen Bann contributes an afterword of seven pages. In it, he describes Finlay's widespread usage of metaphor and calls attention to his current work based upon Classicism and Symbolism. -- Source of annotation: Marvin or Ruth Sackner.

The edition includes 1000 copies in paper wrappers, 200 copies numbered and signed by Finlay and 26 copies handbound in boards by Earle Gray lettered and signed by Finlay. Consists of a collection of previously published concrete poems and seven sundial drawings. Stephen Bann contributes an afterword of seven pages. In it, he describes Finlay's widespread usage of metaphor and calls attention to his current work based upon Classicism and Symbolism. -- Source of annotation: Marvin or Ruth Sackner.

The edition includes 1000 copies in paper wrappers, 200 copies numbered and signed by Finlay and 26 copies handbound in boards by Earle Gray lettered and signed by Finlay. Contains a collection of previously published concrete poems and seven sundial drawings. Stephen Bann contributes an afterword of seven pages. In it, he describes Finlay's widespread usage of metaphor and calls attention to his current work based upon Classicism and Symbolism. -- Source of annotation: Marvin or Ruth Sackner.

The shape of this poem is a simplified labyrinth. -- Source of annotation: Marvin or Ruth Sackner.

Includes comments by Finlay on his poem, "Acrobats." -- Source of annotation: Marvin or Ruth Sackner.

The introductory essay by Stephen Bann deals with Finlay's belief in the decline of innovation in concrete poetry in the seventies and his own shift toward classicism. -- Source of annotation: Marvin or Ruth Sackner.

The title of this piece "book of onomasticens" (Houedard's imaginary book?) is derived from onomastics that means the study of the origins and forms of proper names or the study of the origins and forms of terms used in specialized fields. The Sackner Archive holds one book dealing with this subject, Michael Temple's The Name of the Poet: Onomastics and Anonymity in the Works of Stephane Mallarme." -- Source of annotation: Marvin or Ruth Sackner.

The title of this piece "book of onomasticens" (Houedard's imaginary book?) is derived from onomastics that means the study of the origins and forms of proper names or the study of the origins and forms of terms used in specialized fields. The Sackner Archive holds one book dealing with this subject, Michael Temple's The Name of the Poet: Onomastics and Anonymity in the Works of Stephane Mallarme." -- Source of annotation: Marvin or Ruth Sackner.

The title of this piece "book of onomastikens" (Houedard's imaginary book?) is derived from onomastics that means the study of the origins and forms of proper names or the study of the origins and forms of terms used in specialized fields. The Sackner Archive holds one book dealing with this subject, Michael Temple's The Name of the Poet: Onomastics and Anonymity in the Works of Stephane Mallarme." This may have been part of a letter to Ian Hamilton Finlay. -- Source of annotation: Marvin or Ruth Sackner.

The title of this piece "book of onomastikens" (Houedard's imaginary book?) is derived from onomastics that means the study of the origins and forms of proper names or the study of the origins and forms of terms used in specialized fields. The Sackner Archive holds one book dealing with this subject, Michael Temple's The Name of the Poet: Onomastics and Anonymity in the Works of Stephane Mallarme." -- Source of annotation: Marvin or Ruth Sackner.

The title of this piece "book of onomastikens" (Houedard's imaginary book?) is derived from onomastics that means the study of the origins and forms of proper names or the study of the origins and forms of terms used in specialized fields. The Sackner Archive holds one book dealing with this subject, Michael Temple's The Name of the Poet: Onomastics and Anonymity in the Works of Stephane Mallarme." Houedard has drawn three designs for the mongram IHF in the lower left corner. This page appears to be the second page ot a typewrite rpoem with the saame title and identified by RKS & MAS as 2.3. It is signed luv silvester formed by an assay of dense, typed dashes. This may have been part of a letter to Ian Hamilton Finlay. -- Source of annotation: Marvin or Ruth Sackner.

Three typed blocks of letters are typed to using the letters a-h-m-l-t-n-f-n-l-y and i-a-a-i-e-i-a.The verso has the phrase work sleeves written in graphite and nicholas & Fiona [Logsdale] written in green ink. -- Source of annotation: Marvin or Ruth Sackner.

Prudence Carlson wrote the essay for this catalogue. The Sackners attended this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

At this exhibition, three catalogues were published and enclosed within a single slipcase. The first book that depicts the print, "Marine" on its cover, is apparently a reprinting of a catalogue laid out by Hansjorg Mayer which originated at the Kunsthalle Basel in 1990. It contains an introductory essay by Thomas Kellein. It features reproductions of publications by Finlay's Wild Hawthorn Press as well as photographic views of Stoneypath. The second book that depicts the print, "star steer" on its cover, features Finlay's stone, glass, and neon sculptures. It contains critical essays by Peter Weiermair and Stephen Bann. The third book is a biobibliography in English compiled by Pia Simig. -- Source of annotation: Marvin or Ruth Sackner.