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The numbers of Scottish fishing ships, printed in red, are arranged in a mandala on a blue background. -- Source of annotation: Marvin or Ruth Sackner.

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The poem consists of the actual names of Scottish fishing ships with the word, "star" as part of their names arranged in the shape of a mandula. -- Source of annotation: Marvin or Ruth Sackner.

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Depicts names of Scottish fishing ships with Star as a component of their names printed in green and arranged as a mandala on a blue background. -- Source of annotation: Marvin or Ruth Sackner.

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The image consists of fishing boat names arranged in the shape of a mandala. -- Source of annotation: Marvin or Ruth Sackner.

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The poem consists of the actual names of Scottish fishing ships with the word, "star" as part of their names arranged in the shape of a mandula. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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

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

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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.

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The poems demonstrate the effect of silhouetting by two sail boats against the moon in summer and against snow drifts in winter. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was curated by Gillo Dorfles and Alain Arias-Misson. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was curated by Gillo Dorfles and Alain Arias-Misson. -- Source of annotation: Marvin or Ruth Sackner.

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The photographs of the sculpture in Finlay's garden were made by Dave Patterson. Two brief introductory essays by Bernard Lassus and Stephen Bann are included in the first four pages. The remainder of this book consists of photographs. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Harriet Staff reviewed the book in Poetry News November 28, 2012: Ian Hamilton Finlay's new book, Selections (UC Press 2012), edited with an introduction by Alec Finlay, has been reviewed over at Booktryst. Alastair Johnston writes of Finlay's later-life recognition, noting that "[a]mong the most fatal accolades one can achieve is to be called "greatest living' anything." What follows is his poetic work in biographical context, down to the garden art (the post also includes great photos of Finlay's early books and ephemera; and links to other concrete poets and related resources): This new book compacts much of his writing into one volume. His early poems are mostly negligible, but the odd memorable line occurs ("The dancers inherit the party"-- also the title of his first book of poems). Glasgow Beasts is a charming series of childlike verses written in broad Gleskae dialect. (Finlay's early battles with the dole come off like an episode of Rab C Nesbit.)In 1963, Finlay began to...

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Review of an exhibition of garden sculptures executed by Finlay at Stockwood Craft Museum and Gardens, Bedfordshire, England. -- Source of annotation: Marvin or Ruth Sackner.

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A bollard is a thick low post on a wharf which is used to moor ships with a rope. This book depicts bollards for a decoration of a Scottish Shopping Centre, The Gyle - Edinburgh. Reproductions of drawings are depicted one to a page. Each is inscribed with the name of a ship which also alludes to a poem or quotation generally from classical literature as indicated in footnotes. -- Source of annotation: Marvin or Ruth Sackner.

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The definitions are taken from quotations in the classic literature. -- Source of annotation: Marvin or Ruth Sackner.

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Depicts seven flattened paper, seed packets with identical images om one side, a watering can and flowers; the name of seven leaders of the French revolution is a metaphor for the seeds, e.g., Robespierre, Saint-Just, Couthin, etc. On the other side of the packet, a tri-color ribbon is attached to the middle of a tombstone. These packets have outlines to allow cutting and folding to form a three dimensional seed packet. They are a metaphor to the events of the French revolution. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Brownjohn was an American graphic designer who emigrated to London in the 1960's. "The design profession doesn't produce many larger-than-life figures. Robert Brownjohn-BJ, to just about everyone who knew him, and everyone did-was one. His gifts were immense, as were his appetites. Enfant terrible and visionary, he was both. Mick and the Stones wanted to hang with him. Of course it couldn't last. Robert Brownjohn was simply too big for this world. He died in 1970 at the age of 45, a victim of his own excesses. Today, he is best remembered for his sexy James Bond credit sequences. But Brownjohn's legacy is far more significant, and his story has all the drama and pathos of a Hollywood blockbuster. Now, for the first time, this extraordinary life and career is remembered in print, with all its richness and complexity. Robert Brownjohn: Sex and Typography tracks the story of this legend from his early years as the prized student of Laszlo Moholy-Nagy to his days as a visionary star in...