The inscription around the pool is taken from the "Poem on Nature" by Empedokles, the Presocriatic philosopher. -- Source of annotation: Marvin or Ruth Sackner.

This book and the commission to Finlay were dedicated to Diana, Princess of Wales by the Board of Trustees and Staff of the Serpentine Gallery. The first fold-out page consists of the architectural layout and the second a print enumerating trees in the area arranged as a mandala dedicated to Diana in its center. The commission itself consisted of poetic engravings for eight benches and a tree-plaque placed in the meadow around the Sepentine. The captions on these objects are brief sentences adapted from writings, rendered in Latin and English, on Arcadia by Virgil. -- Source of annotation: Marvin or Ruth Sackner.

The poem to be inscribed as "A Man of Letters R.L.S." on a formal stone with irregular edges is inscribed with a 'one-word poem' and set in the grass within a small grove of birch trees" -- Source of annotation: Marvin or Ruth Sackner.

This memorial to Robert Louis Stevenson takes the form of a sacred grove bounded by an ashlar wall on a half circle and by five silver birch trees (Betula pendula) across the diameter. At the foot of the tree trunk is a stone tree column base inscribed with R.L.S. and Stevenson's dates beneath (1850-1894). The site is a Stevenson sanctuary, an area for reflection that is half private and enclosed and half open to the world, just as are Stevenson's writings. -- Source of annotation: Marvin or Ruth Sackner.

The print depicts a sailboat with yellow sails (rose) passing rocky shoals (rock). -- Source of annotation: Marvin or Ruth Sackner.

These preparatory drawings were intended for glass water-floating sculptures. -- Source of annotation: Marvin or Ruth Sackner.

This is a preparatory drawing done by Keith Bailey under the supervision of Ian Hamilton Finlay for a slate sculpture. It depicts a fighter plane of World War II vintage with a trail of smoke during combat. Angels, Bandits and Saints refers to nicknames of fighter aircraft during that period. Contrails is the condensation trail emitted by jet aircraft exhaust. Contrails form when hot humid air from jet exhaust mixes with environmental air of low vapor pressure and low temperature. The mixing is a result of turbulence generated by the engine exhaust. A different version of this work in collaboration with Ron Costley was made into a medallion. -- Source of annotation: Marvin or Ruth Sackner.

These three prints depict the individual figures in the print Apollo and Daphne: Design for a Wall, 1992. Apollo is depicted in a red symbolizing strength whereas Daphne is printed in camouflaged green indicating uncertainty of pastoral serenity. Laurus depicts a silhouette of a green tree. -- Source of annotation: Marvin or Ruth Sackner.

Consists of a boxed set of nine papercard model gliders to be cut from the prints. Each glider has been embellished with a military decal of the countries that fought World War II along with the name of a garden plant that has been printed on the rear wing. This was published in an unlimited edition. William Allen comments: Outer box made by the cult small press publisher Brian Lane. Box contains bag of elastic bands, nine silkscreen prints of different Arcadian glider kits and an instruction booklet. "Each airplane is embellished with a military decal and the name of an appropriate common garden feature has been printed on the rear wing. When the airplanes have been constructed, they may either be displayed together as a squadron or, if you have access to a garden, they should be carefully placed in the relevant spot to act as markers or name tags and a pleasing focus of interest for when the flowers are out of season." -- Source of annotation: Marvin or Ruth Sackner.

Arrosoir means watering-can, a still-life depicted on this card. The caption under this image states, "The Robespierrists were guillotined on Arrosoir, Watering-can, in Thermidor, Month of Heat (Republican Calendar, 1792-1806). Baveuf described Robespierre as 'the genius in whom resided truly regenerative ideas...' The image of the watering can is depicted with a black ribbon. -- Source of annotation: Marvin or Ruth Sackner.

The cabin of an aircraft carrier above the landing field is used as a metaphor for the accompanying poem by Finlay, "At the field's edge, on the vertiginous cliff-top, stood a solitary hut." The poem is printed on the bottom of the back page. -- Source of annotation: Marvin or Ruth Sackner.

The cabin of an aircraft carrier above the landing field is used as a metaphor for the accompanying poem by Finlay, "At the field's edge, on the vertiginous cliff-top, stood a solitary Hut." This copy is neither signed nor numbered and probably represents an acceptable proof copy. -- Source of annotation: Marvin or Ruth Sackner.

The cabin of an aircraft carrier above the landing field is used as a metaphor for the accompanying poem by Finlay, "At the field's edge, on the vertiginous cliff-top, stood a solitary Hut." The drawing is structured over a Finlay work "sea ms." -- Source of annotation: Marvin or Ruth Sackner.

The bee symbol in this drawing suggests the sea (bee) and hive symbolizing the aircraft carriers. The text is written in old English characters. This drawing served as preparatory drawings for a subsequently realized print that is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The poem on the French tricolor flag reads, "Liberty for Some; Equality for Some; Fraternity for Some" rather than "for All." -- Source of annotation: Marvin or Ruth Sackner.

This is a commercial Swiss match box that advertises a night club, 'Hot Lemon.' Finlay has printed in the same typography on the opposite side, 'Blue Lemon.' The poem that substitutes for the address site of "Hot Lemon" reads, Moray Firth Seine Netter - Fruition - Port Letters / Fishing Nos. INS265. -- 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 classical image is of a six layer cake; the image of neoclassical is of six stacked drums. In each picture, the sizes of each layer become progressively smaller from botton to top. The cake probably refers to Marie Antoinette's pre-revolutionary statement, "Let Them Eat Cake!" and the drums refer to the French revolution. -- Source of annotation: Marvin or Ruth Sackner.