One of six glass lenses designed by Finlay and interpreted by Stevens, engraved on two sides with a decorative representation of a ship, its name and inscription composed by Finlay. The inscription reads "Where the wind frets the whitecaps." There is a printed, folded brochure which describes and documents the six glass lenses. -- Source of annotation: Marvin or Ruth Sackner.

One of six glass lenses designed by Finlay and interpreted by Stevens, engraved on two sides with a decorative representation of a ship, its name and inscription composed by Finlay. The inscription reads "Where the wind frets the whitecaps." There is a printed, folded brochure which describes and documents the six glass lenses. -- Source of annotation: Marvin or Ruth Sackner.

The card depicts a grid for the 12 months in which each panel depicts an activity in Finlay's garden. -- Source of annotation: Marvin or Ruth Sackner.

The image is a hat in the style worn during the French revolution placed on top of a basket decorated with flowers. Finlay captions the image with a quote from Gerd Neumann's book, "Callimachus" (1981). "Seen in this way, the lost CAPITAL, is an envoy; a parody of the now solely burlesque treatment of history in this post-modernism and, as a consequence, a double negation as well, yet without the desirable positive change in values, at least from the perspective of making history." -- Source of annotation: Marvin or Ruth Sackner.

The print consists of a text from R.R. Palmer "Twelve Who Ruled" and relates the appearance of Saint-Just who when led to the guillotine wore a carnation in his buttonhole. The print and two red loose sheets are cut in two parts in the shape of the guillotine, to symbolize the execution, the red carnation, and his blood. -- Source of annotation: Marvin or Ruth Sackner.

The photograph is an image of the upper pool at Little Sparta. -- Source of annotation: Marvin or Ruth Sackner.

The text reads, "A big catch is a wee consolation. (After Paul Klee) -- Source of annotation: Marvin or Ruth Sackner.

The poem prints the word, "daisy," in varied typefaces seven times in a vertical row. Daisy chain is a means for hooking up multiple peripherals to a personal computer. The different typefaces constitute a simile for the different peripherals. -- Source of annotation: Marvin or Ruth Sackner.

The text on one sheet reads "glades of sunlight" and is printed on warm, golden paper. The second sheet reads "forests of cloud" and is printed on purple earthy paper. -- Source of annotation: Marvin or Ruth Sackner.

The card depicts a line drawing of a flower bouquet and a caption, Charm, n., a something pleasing in a person or thing; it came in with the Revolution and went out with the war. Revolution refers to the French Revolution in this poem. -- Source of annotation: Marvin or Ruth Sackner.

John Flaxman (175-1826) was a British-born Swedenborgian sculptor, painter, designer and illustrator. -- Source of annotation: Marvin or Ruth Sackner.

Image was taken from a detail of a painting by William Gillies. -- Source of annotation: Marvin or Ruth Sackner.

The image on the card is a graphite landscape drawing. The definition of (Classical) landscape written by Finlay, reads, a stand of concepts. -- Source of annotation: Marvin or Ruth Sackner.

The card depicts the number, "529.DE" in light blue with its letters fractured from painting upon the slats of the blue, boat hull. -- Source of annotation: Marvin or Ruth Sackner.

The card depicts the phrase, "Clinker Built" in black outlined, white letters with a fractured appearance from being drawn upon the slats of the boat hull. -- Source of annotation: Marvin or Ruth Sackner.

In this photograph of a sculpture, Finlay uses leaves floating in a bowl as a metaphor for clouds. The word "cloud" is engraved on a stone with a hand pointed downward to the leaves and upwards to the sky. -- Source of annotation: Marvin or Ruth Sackner.