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.

These drawings were done for a sundial sculpture to be made from Portland Stone and Westmorland Slate. The completed sculpture, Umbris Solis, was installed in the National Galleries of Scotland. -- 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.

Temple denotes the exhibition space at Finlay's residence. The caption under an image of a Greek temple includes a definition, a quote from The Metamorphosis of Ovid, and the storming of Finlay's Temple by the Strathclyde region tax collectors who launched a surprise attack on Budget day, March 15, and successfully looted the garden TEMPLE. The definition is "a marbled edifice, a veined edifice; the seat or summit of reason." -- 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 drawings consist of the same phrase appears with slightly different calligraphic styles. -- Source of annotation: Marvin or Ruth Sackner.

These preparatory drawings were intended for glass water-floating sculptures. -- 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.

This is not an English word - its meaning is unclear. -- Source of annotation: Marvin or Ruth Sackner.

This work is based upon a design by the Elizabethan architect, Inago Jones. -- Source of annotation: Marvin or Ruth Sackner.

This photograph depicts a sundial sculpture, "The Four, Seas, -Ons In, Sail. A sail is placed in the center to deflect the sun and cast a shadow. -- 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.

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 photograph appears to be a distorted image of the repeticious title placed on a loose fabric. -- Source of annotation: Marvin or Ruth Sackner.

The photograph appears to be a distorted image of the repeticious title placed on a loose fabric. -- Source of annotation: Marvin or Ruth Sackner.

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.

Flyer advertising a series of exhibitions entitled "The Forest and the Revolution" held from May-October 1981 in Stonypath Garden and the Garden Temple in Finlay's Little Sparta in Lanarck, Scotland. Exhibitions included "Souvenirs of the French Revolution", "Nine Columns", "Names on Trees", "Talismans and Signifiers", "Classic Landscapes", "Pantheon of the Revolution", "Zeno and Epicurus", "Raspberry Camouflage", and "Spartan and Old Roman Promenades", as well as other publications and plantings.

Five prints were adapted by Hinks from drawings by Claude Lorrain (1640, 1642, 1643, 1649). The texts of the tree plaques for this proposal were taken from classical sources in Latin and Greek literature. -- Source of annotation: Marvin or Ruth Sackner.