Scope and Contents In this Archive, Finlay indicates that this booklet is a collection of 'one-word poems' about boats. The boats are illustrated, as types, in silhouette-form, and the words are to be thought of as being a kind of 'verbal silhouette' or boat-epigram. He explains the reasons for selection of the boat types into the booklet and states that "the idea will be to keep the printed text the same size - as it were - as the illustrations, so that the text can be thought of as kind of a 'verbal' silhouette." These instructions are provided to Laurie Clark for the illustrations and to Michael Harvey for the text layout. In a letter dated 15 August 1973 to Tom and Laurie Clark about the project, he discusses the writings of Simone Weil, is pleased that they liked "Straiks," brings up the Fulcrum Press controversy, mentions ideas for the illustrations of "Silhouettes" that Laurie should draw, and recommends two books to be read. In a letter dated 1 October 1973 to Tom and Laurie Clark, Finlay...

Scope and Contents In 1971, Finlay sends letters to Michael Harvey, Udo Breger, and bp Nichol (Nichol letter not in Archive) asking assistance in publishing A Boy's Alphabet Book based upon photographs of his toy airplane, glider and ship models to be accompanied by a poem for each letter of the alphabet. He selects Diane Tammes as the photographer for this project and 3 of her b&w photographs are included in this Archive. Nichol replies in June 1973 that Coach House Press may be interested in publishing the book. Nichol replies to Finlay in July 1973 indicating that plans for publishing the book by Coach House Press are still progresing. Finlay replies that he is still looking for a photographer to do the images and brings up the Fulcrum Press legal battle. Nichol acknowledges receipt of the manuscript and photographs (Dave Paterson) in Nov 1974. Finlay replies that he is pleased with its acceptance. Archive contains three manuscripts for the text, designated first shot, second shot and third...

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In Oct 1973, Harvey writes to Finlay with descriptions of proposals for the Portsmith City Art Project, viz., Water's & Sky's Hours and Numbered Sails. He also sends Finlay drawings which are cataloged separately in the Sackner Archive. Finlay replied within a week with minor modifications prior to their submission into the competition. He adds a note of encouragement to Harvey, "So the question is, who will get the Third Prize (As we have won the First and Second)." -- Source of annotation: Marvin or Ruth Sackner.

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The medallion with this title is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Finlay begins this project in Jan-Feb 1972 with a letter to M. Harvey explaining that he wants to redo Wave/Rock for Stonypath, first constructed and then destroyed for the park at Dunfernline. He supplies a sketch for its placement. Then there ensues a correspondence from members of S.A.C. (Dunbar, Buchanan) to Finlay about funding this project and Finlay's comments. From July-Aug 1972, Finlay expresses disappointment with the Scottish Arts Council response siting for the sculpture mentioning his failed Zulu film project. In Aug 1972, Finlay contacts Harvey to make the drawing for Wave/Rock & provides detailed instructions for a concrete bridge, 16 feet in length with letters incised into tiles. Harvey responds to this directive in September. Finlay receives the drawing and notes variance with his instructions that must be corrected. This does not appear to be a major problem. In Sep, Murray writes Finlay about its fabrication. The correspondence between Finlay and Buchanan of...

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The stapled pages consist of Finlay's handwritten text and drawing of the Norfolk Wherry, a type of sailing ship. The maquette with calligraphic, printed letterforms and a drawing of a Norfolk Wherry was made by Michael Harvey. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In Nov 1973, Finlay writes to Norman Cherry, a jewelry designer in Kelso about a project for making a brooch from a poem, "Windflower," a little mauve colored flower that trembles in the wind. This poem had been written for the Stuttgart Max Plank project. He requests that the brooch adapted from his poem should be made with material that undulates with movement of one who is wearing it and structured with letters 'pretty in themselves.' He indicates that the long "f" makes a natural stem for the brooch. Cherry replies in Dec 1973 with a suggestion for suspending the letters rather than using a single strip of metal as Finlay suggested. This solution is unsatisfactory to Finlay who provides further ideas. In Jan 1974, Cherry writes to Finlay that a new idea appears to lead to a workable solution and describes how the brooch will be made of almost paper thinness silver. In May-June, Finlay & Cherry exchange letters on progress of making the brooch in this manner and Finlay...

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Finlay provides instructions to John Thorpe, a woodcarver, for making a wooden sundial at Stonypath. He also explains the poem that he has written after Claudel, the French poet, translated by Edward Lucie-Smith. The poem was supposed to be written on a fan with fan its first word, but in Finlay's version "fan" is eliminated since the dial itself is fanlike. The poem begins, viz., "Poems written upon the breath" (metaphor for breeze). Harvey's letters deal with the drawings. -- Source of annotation: Marvin or Ruth Sackner.

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The words, Beautiful Kydippe, incised into a tree-bark by Callimachus (270 B.C.) are transcribed into a stone plaque (print image) shaped to the trunk of a tree. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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This design done by Harvey of Kamikaze & American fighter planes drawn in graphite on the background of an aircraft carrier drawn in ink was not utilized in the final version of the game because the concept of a box container was discarded. -- Source of annotation: Marvin or Ruth Sackner.

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The word "Capital" at the top of this print is set in large capital bold letters and the word "Ship" in smaller normal typeface. -- Source of annotation: Marvin or Ruth Sackner.