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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.

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Rooksmoor is the name of Furnival's house/village. The image depicts a black and white rendition of a Lungwort that was adapted from a watercolor sent to the Sackners as part of a letter (1991) from Furnival. In The Locative and Vocative Case. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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Edited by Greg Evason. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Greg Evason. -- Source of annotation: Marvin or Ruth Sackner.

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The label is embroidered with the word, "INCONNU." -- Source of annotation: Marvin or Ruth Sackner.

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The image on the cover is a sail boat and the caption is "A Keel with a Tuck in It." -- Source of annotation: Marvin or Ruth Sackner.

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The cover image is adapted from Ben Nicholson's painting, "Three Goblets." -- Source of annotation: Marvin or Ruth Sackner.

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The cover image is adapted from Ben Nicholson's painting, "Three Goblets." -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Erthos Albino de Souza. The unbound pages are dated 1981 as if taken from the author's sketch book. He lived from 1890-1994. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue, that was written by Christopher McIntosh, provides a long critical essay. He mentions the runic symbol of the SS as an example which evolved from the interchangeable f's and s's in the 18th century symbolizing grace, elegance and high culture. He notes that Finlay's interest in the SS symbol is an example of coincidence, for this has passed into the visual symbology of "pop" culture; the rock group "Kiss" use it and it is frequently scrawled as grafitti. -- Source of annotation: Marvin or Ruth Sackner.

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Each print has a picture of a female face, an abstract design and a quoted phrase. -- Source of annotation: Marvin or Ruth Sackner.

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This book consists of a collection of the following essays. Raines contributed a poem about Stonypath. Bann discussed Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall wrote of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzed Finlay's "Pacific." Scobie provided an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay created a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." -- Source of annotation: Marvin or Ruth Sackner.

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Raines contributes a poem about Stonypath. Bann discusses Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall writes of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzes Finlay's "Pacific." Scobie provides an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay creates a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." Pencilled-in corrections in an unknown hand have been made for two typographic errors, 'r' for 't' on page 7 to change the word 'takes' to 'rakes' and 'n' for 'r' to change the name 'Gallard' to 'Galland.' -- Source of annotation: Marvin or Ruth Sackner.

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The print depicts a line drawing of a self-portrait head. A letter to Chopin from Janco is reproduced below it in white ink on a gray background. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: "At 18, Corita Kent (1918-1986) entered the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles, where she taught art and eventually ran the art department. After more than 30 years, at the end of the 1960s, she left the order to devote herself to making her own work. Over a 35-year career she made watercolors, posters, books and banners--and most of all, serigraphs--in an accessible and dynamic style that appropriated techniques from advertising, consumerism and graffiti. The earliest of it, which she began showing in 1951, borrowed phrases and depicted images from the Bible; by the 1960s, she was using song lyrics and publicity slogans as raw material. Eschewing convention, she produced cheap, readily available multiples, including a postage stamp. Her work was popular but largely neglected by the art establishment--though it was always embraced by such design luminaries as Charles and Ray Eames, Buckminster Fuller and Saul Bass. More...