This is a polemic against Finlay's critics of his books on the staff of the Glasgow Herald. -- Source of annotation: Marvin or Ruth Sackner.

This is a duplicate print from Finlay's portfolio Headlines:Eavelines. The word, "turnover" in this copy are orange whereas the print in the portfolio is brown.The verso has the following inscription: "from Evalines / Headlines by I.H.F. and students at Bath Academy of Art Openings Press." -- Source of annotation: Marvin or Ruth Sackner.

The photographs consist of images of tree trunks and branches painted by Janet Boulton and photographed by Robin Gillanders. The images satisfy the caption on the first page, viz., HIGHLIGHT, n., a mark, sign, or medal, awarded by the light. The book was printed and bound by Colin Sackett. One copy of this book was given by Finlay to the Sackners as a Christmas gift. -- Source of annotation: Marvin or Ruth Sackner.

Depicts a sailing ship with its name "Mozart." -- Source of annotation: Marvin or Ruth Sackner.

Printed on white paper. The image on the inside back cover is a small, hand drawn, black square. -- Source of annotation: Marvin or Ruth Sackner.

Printed on gray paper; the Sackner Archive also has a copy printed on white paper. The image on the inside back cover is a small, hand drawn, black square. -- 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.

According to this book, published to commemorate Christmas 2000, HUFF, n. is defined as follows: a fit of anger, sulks, or offended dignity (Chambers); a fit of petulance caused by an affront (Oxford); an armed withdrawal (IHF). The pages consist of black and white photographs of plants in Finlay's gardens as well as wood or stone engraved benches with aphorisms. -- Source of annotation: Marvin or Ruth Sackner.

Hulls (1) consists of 43 leaves of intersperced single names of fishing boats, one to a page, with varied numbers of colored paper stock signifying the colors on their hulls. Hulls (2) uses the names of the colors, black on 22 leaves of white paper stock to identify the hulls. The books were made by Colin Sackett. -- Source of annotation: Marvin or Ruth Sackner.

Perhaps the best treatment accorded to the life and work of a concrete poet. -- 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.

This poem is included in Finlay's Headlines:Eavelines but this drawing has a totally different layout than the print included in the portfolio. -- Source of annotation: Marvin or Ruth Sackner.

Finlay combines line images of airplanes with analogies to butterflies and a cherry blossom. This work consists of a folded sheet of light blue, blank tissue paper containing a second, slightly smaller, folded sheet of white tissue paper with line drawings of aeroplanes and text (in blue). -- Source of annotation: Marvin or Ruth Sackner.

Two versions of a landscape by Johann Christian Reinhart are altered by the words Xaipe and W ave inscribed into stones in the foreground. The former means hail or farewell in Greek and ave in the latter picture means the same in Latin. The addition of w creating the word wave relates to the flowing spring. There is a stone in Finlay's garden inscribed WAVE/ave. Printed by the Stellar Press. -- Source of annotation: Marvin or Ruth Sackner.

This admonishment in Italian by the Saint-Just Vigilantes means in English, "Abandon every hope to you that enter!" It refers to the Strathclyde tax collectors with whom Finlay had a major dispute. This print appeared in two versions, printed in red and in black; this version is printed in black; the other version in red is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This admonishment in Italian by the Saint-Just Vigilantes means in English, "Abandon every hope to you that enter!" It refers to the Strathclyde tax collectors with whom Finlay had a major dispute. This print appeared in two versions, printed in red and in black; this version is printed in red; the other version in black is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.