According to the Finlay bibliography, few copies of this work were made. Also, the catalogue gives a publication date of 1968. The abstract images were reproduced as linocuts after drawings by John Furnival. It also missdates publication as 1968. According to Celery City books, there were not more than 30 copies printed. -- Source of annotation: Marvin or Ruth Sackner.

This card is a print of one of the pages from the book with the same title. However, the poem "Tugboat a drag says barge," is printed in uppercase letters here whereas the same page in the book is printed in lower case letters. Further, the colors of the words differ in registry. Finally, the poem on the verso has a different layout than the page in the book. This card is cited in the Finlay bibliography as a "trial card." -- Source of annotation: Marvin or Ruth Sackner.

The image on this card depicts a line drawing of water flowing past pebbles. The image relates to the title. -- Source of annotation: Marvin or Ruth Sackner.

The etching or woodcut black and white image on the card cover by Hincks appears to be a scene taken from Finlay's Little Sparta garden. -- Source of annotation: Marvin or Ruth Sackner.

A sculptural image of Saint Just is labeled with the anagram, "Satin Juts." -- Source of annotation: Marvin or Ruth Sackner.

In this book, Stephen Bann who wrote the text, provides a critical analysis of Finlay's Picture (Emblem) Poems, which are reproduced with his commentary, one to a page. The poems include among others "Woodland is Pleasing to the Muses, Et in Arcadia Ego, Out of the Strong Came Forth Sweetness, Through a Dark Wood, Battle of Midway Fourth June 1942 (1) and Battle of Midway Fourth June 1942 (2). -- Source of annotation: Marvin or Ruth Sackner.

In this book, Stephen Bann who wrote the text, provides a critical analysis of Finlay's Picture (Emblem) Poems, which are reproduced with commentary, one to a page. The poems include among others "Woodland is Pleasing to the Muses, Et in Arcadia Ego, Out of the Strong Came Forth Sweetness, Through a Dark Wood, Battle of Midway Fourth June 1942 (1) and Battle of Midway Fourth June 1942 (2). -- Source of annotation: Marvin or Ruth Sackner.

The photographs consist of images of tree trunks and branches painted by Janet Boulton and photographed by Robin Gillanders. The images satisfy the caption on the first page, viz., HIGHLIGHT, n., a mark, sign, or medal, awarded by the light. The book was printed and bound by Colin Sackett. One copy of this book was given by Finlay to the Sackners as a Christmas gift. -- Source of annotation: Marvin or Ruth Sackner.

This drawing consists of a handwritten text with signs and animal figures in black ink upon a white painted background. -- Source of annotation: Marvin or Ruth Sackner.

The title translates into falling down. -- Source of annotation: Marvin or Ruth Sackner.

The image on the cover is a line drawing of the hull of a fishing boat. Finlay notes that Henry Riviere, a French painter and printmaker, 1964-1951, had as his favorite subjects the 'chaloupes' of the Breton sardine fishery. -- Source of annotation: Marvin or Ruth Sackner.

The translucent print with red diagonal stripes overlying the three naval warships places the stripes on their hulls, refering to Agam's abstract markings. The name of these ships are Invincible, Inflexible and Indefatigable, referring to Agam's personality. -- Source of annotation: Marvin or Ruth Sackner.

The translucent print with red diagonal stripes overlying the three naval warships places the stripes on their hulls, refering to Agam's abstract markings. The name of these ships are Invincible, Inflexible and Indefatigable, referring to Agam's personality. The Sackner Archive also holds a signed and numberd copy of this print. -- Source of annotation: Marvin or Ruth Sackner.

The manuscript (stored in flat file) provides instructions to the printer for producing this work. One print with red diagonal marks overlays the other print that depicts three warships, Invincible, Inflexible and Indefatigable placed from top to bottom. The combination of the red stripes, the names of the warships, and their arrangement, two shown in left to right direction and the other right to left refer to the personality and work of the Israeli artist Agam. -- Source of annotation: Marvin or Ruth Sackner.

The photograph taken by Finlay depicts an older man in a toy sailboat on the Stonypath pond. -- Source of annotation: Marvin or Ruth Sackner.

The image of this card includes "A Humument" imagery. The poem reads "only staring at portions of the park." -- Source of annotation: Marvin or Ruth Sackner.

The image of this card includes "A Humument" imagery. The poem reads "only staring at portions of the park." -- Source of annotation: Marvin or Ruth Sackner.

Cutts collaged candy jimmies on a card to suggest a pointillist painting. According to the catalogue of "The Gabrielle Keiller Collection: Surrealism and After" (held by the Sackner Archive), this piece was made by Cutts in his final year of art college. He dabbed a sponge in PVC glue, applied this to paper, and then immediately dipped the paper into a tin of thousands of candy cake decorations. Although the edition size comprised 50 copies, the process renders each one unique. -- Source of annotation: Marvin or Ruth Sackner.