ArchivesSpace at the University of Iowa

Scope and Contents George L Thomson, DA (Edin) FSSJ, craftsman; born December 15, 1916, died January 2, 2001. With the death of George Thomson, Scotland has lost a craftsman and calligrapher extraordinary, known internationally to many for his teaching books, the last of which, Rubber Stamps and How to Make Them, showed his unequalled skill with a fine needle and an eraser to produce delightful engravings. His self-portrait in this medium is a little masterpiece and an excellent likeness. George left school at 14 and found difficulty getting a job owing to his stunted growth. However, he was enrolled eventually at Edinburgh College of Art, but not as a diploma student as his goal was to train for commercial art. He took his two-year prescribed course and then opted for calligraphy, lino-cutting with animals, fish, and birds as subject matter, and for this he devoted much of his time drawing at the zoo. His lino-cuts were eventually printed on vellum and beautifully bound in leather. Unusual for such...

Scope and Contents In July 1972, Mr. Greenhill, Director of the National Maritime Museum, sends Finlay a letter thanking him for donated prints and catalogues and mentions the validity of depicting "Little Secret" on stone as an average topsail schooner. The next letter from Finlay to George Thomson dated Dec 1973 discusses the significance of a printer's sign (meaning reverse order of letters) and the drawing of the image for "Little Secret." Finlay also sends a letter to James Allen requesting red sandstone for this project. In June 1974, Thomson sends a letter to Finlay in a exceptional calligraphic script indicating that illness has prevented him from completing "Numbered Sails" (aka Little Secret). Finlay sends further details to Allen about the stone for the sculpture. Finlay writes Thomson in June with corrections to his drawing and indicates that Allen will do the stone carving. Thompson replies in July with an outstanding calligraphic script agreeing to these corrections which Finlay...

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Exhibited at Serpentine Gallery, London. -- Source of annotation: Marvin or Ruth Sackner.

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The word "butterfly" is written on each card in a different style. This work consists of an Illustrated envelope with enclosures. The illustration is of a twig with buds (in green) which has a label attached to it (in brown) with the word 'Butterfly'. The illustration is entitled Butterfly Garden. The envelope contains twelve tags made of yellow card , with a hole at one end and the word 'Butterfly' in either brown or blue, and in varying styles. Twelve small string ties are also enclosed, of fine, white silky cotton (or possibly silk). -- Source of annotation: Marvin or Ruth Sackner.

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The poems are captions to variations of the letter "X." -- Source of annotation: Marvin or Ruth Sackner.

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The poems are captions to variations of the letter "X." -- Source of annotation: Marvin or Ruth Sackner.

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Five names of ships and the names of their ports have been written in green color with a traditional calligraphic style. *WEB 1998: Publisher's name misspelt. Date wrong -- should be 1978. Sackner: corrected. -- Source of annotation: Marvin or Ruth Sackner.

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At Finlay's Serpentine exhibition (1977) in which Bernini's "Apollo and Daphne" was shown, the Nazi SS organization was equated with nature. It signified the ultimate 'wildness' on a scale whose other 'cultivated' extreme was the 18th century. This book traces the progression (or descent) from the civilized script of this period in which 'f's were customerly substituted for 's's - to the double lightening stroke emblem of the SS; a gradation between 'Culture' and 'Nature.' -- Source of annotation: Marvin or Ruth Sackner.

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The card depicts the hand drawn title on one fold and the words, "Water Lily Cup" on the other fold. The poem is printed in red and black with the red words forming "Kettle Water Cup." -- Source of annotation: Marvin or Ruth Sackner.