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.

This card also served as an invitation to a private viewing of "A Pittenweem Fancy" by Finlay at Kellie Lodging during the Royal Burgh of Pittenweem Arts Festival. -- Source of annotation: Marvin or Ruth Sackner.

This book is identical to the edition published by Frankfurter Kunstverein except that the colophon is printed in English rather than German. Both editions are held by the Sackner Archive. The poems, printed one to a page, are left in white on different colored backgrounds of narrow rectangles. Some of the poems have also been issued as cards or prints. -- Source of annotation: Marvin or Ruth Sackner.

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

The drawings consist of the same phrase appears with slightly different calligraphic styles. -- Source of annotation: Marvin or Ruth Sackner.

This work was presumably for a unique piece. The seven drawings were mounted on one sheet of paper and the two drawings on another sheet of paper. They consist of slightly different calligraphic styles for these two words. -- Source of annotation: Marvin or Ruth Sackner.

The image depicts a random arrangement of ship's numbers placed within a circular shape. -- Source of annotation: Marvin or Ruth Sackner.

The image depicts a random arrangement of ship's identification numbers placed within a fraction of a circular shape. -- Source of annotation: Marvin or Ruth Sackner.

The essay written by Stephen Bann on the back inside folder explains the metaphor of grouping designs of hulls of sailing ships like sea shells in a display case. Proctor is a ship designer and Costley the artist who made this print. -- Source of annotation: Marvin or Ruth Sackner.

Stephan Bann provides an explanation of the poem in the accompanying leaflet as follows. Thermidor was the month in the French Revolutionary calendar when the summer heat was its most intense, and the grain at its ripest. It was also the month, in 1794, when Robespierre and his followers met their deaths at the guillotine. In the image of this poem, the abrupt cleavage of the word, THER MIDOR, and of the figured sheaf of flowers, suggest the termination of the revolution in its Jacobian sense. -- Source of annotation: Marvin or Ruth Sackner.

A wash-like painting of the sky, the sea, a road, a desert, with "Ulysses Was Here" printed on the road in classical typography. -- Source of annotation: Marvin or Ruth Sackner.

This publication which was edited by Zdenek Felix and Pia Simig was published on the occasion of Finlay's exhibition entitled Works - Pure and Political at Diechtorhallen, Hamburg Germany in 1995. Includes photographs b&w of Finlay's sculptural works, documentation on their significance, and a listing of his collaborators. Archival material forming the basis for several of these works is held by the Sackner Archive, e.g., Max Plank Institute, Stuttgart (1972). -- Source of annotation: Marvin or Ruth Sackner.