Scope and Contents

The artist composed the work on an Olympia Splendid 99. In a personal communication to Marvin Sackner in 2013, Mott stated that the his typewritings were inflenced by Margaret, his first wife's (died in 1990) weavings plus reading on knots, quipu, etc and not by reading Monk's Pond that he was unaware of until the 1980s. He further mentioned that he employed "various degrees pf pressure to give variations and life to the work." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The artist composed the work on an Olympia Splendid 99. In a personal communication to Marvin Sackner in 2013, Mott stated that his typewritings were influenced by Margaret, his first wife's (died in 1990) weavings plus reading on knots, quipu, etc and not by the reading of Monk's Pond that he was unaware of until the 1980s. He further mentioned that he employed "various degrees of pressure to give variations and life to the work." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The artist composed the work on an Olympia Splendid 99. In a personal communication to Marvin Sackner in 2013, Mott stated that the his typewritings were inflenced by Margaret, his first wife's (died in 1990) weavings plus reading on knots, quipu, etc and not by the reading of Monk's Pond that he was unaware of until the 1980s. He further mentioned that he employed "various degrees pf pressure to give variations and life to the work." Wikipedia: Gustav II Adolf (9 December 1594 "“ 6 November 1632, O.S.); widely known in English by his Latinized name Gustavus Adolphus, or as Gustavus Adolphus the Great (Swedish: Gustav Adolf den store, Latin: Gustavus Adolphus Magnus, a formal posthumous distinction passed by the Riksdag of the Estates in 1634); was the King of Sweden from 1611 to 1632 and is credited as the founder of Sweden as a Great Power (Swedish: Stormaktstiden). He led Sweden to military supremacy during the Thirty Years War, helping to determine the political as well as...

Scope and Contents

The artist composed the work on an Olympia Splendid 99. In a personal communication to Marvin Sackner in 2013, Mott stated that the his typewritings were inflenced by Margaret, his first wife's (died in 1990) weavings plus reading on knots, quipu, etc and not by the reading of Monk's Pond that he was unaware of until the 1980s. He further mentioned that he employed "various degrees of pressure to give variations and life to the work." Mott mentionsthat this piece was to pay a tribute to one of his favorite painters of Church Interiors, Pieter Jamsz Saenredam.. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The artist composed the work on an Olympia Splendid 99. In a personal communication to Marvin Sackner in 2013, Mott stated that the his typewritings were influenced by Margaret, his first wife's (died in 1990) weavings plus reading on knots, quipu, etc and not by reading Monk's Pond that he was unaware of until the 1980s. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The artist composed the work on an Olympia Splendid 99. In a personal communication to Marvin Sackner in 2013, Mott stated that his typewritings were influenced by Margaret, his first wife's (died in 1990) weavings plus reading on knots, quipu, etc and not by the reading of Monk's Pond that he was unaware of until the 1980s. He further mentioned that he employed "various degrees of pressure to give variations and life to the work." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The artist composed the work on an Olympia Splendid 99. In a personal communication to Marvin Sackner in 2013, Mott stated that his typewritings were influenced by Margaret, his first wife's (died in 1990) weavings plus reading on knots, quipu, etc and not by the reading of Monk's Pond that he was unaware of until the 1980s. He further mentioned that he employed "various degrees of pressure to give variations and life to the work." -- Source of annotation: Marvin or Ruth Sackner.