Linocut technique on paper. – Circa 1940’s

These designs were intended for dress fabrics or wall coverings and upholstery designs. Some were entered for national design awards.

Finney explores repetition, rhythm, and the symbolic potential of everyday creatures. Arranged in a stylised grid, each pigeon is framed like a character in an unknown language—part textile, part totem. Finney, often working quietly on the margins of mid-20th-century British art, combines folk craft with modernist clarity, using a precise linocut technique to lend boldness and texture to her work. The recurring motifs evoke both ancient runes and contemporary design, reflecting her interest in the ways pattern can carry meaning across time.