New Year's card. -- Source of annotation: Marvin or Ruth Sackner.

The styrofoam objects on the cover have the appearance of two breasts. This second edition of this book object differs from every page ranging from subtle ornamentation, typeface, layout or content. -- Source of annotation: Marvin or Ruth Sackner.

This is Jandl's first book. -- Source of annotation: Marvin or Ruth Sackner.

In Sep 1973, Finlay writes to Michael Harvey requesting that Harvey and Goodricke make a ceramic-concrete maquette, based upon a Ron Costley sketch, for the Stuttgart Max Plank project. Finlay provides detailed instructions on the lettering for the work. A month later, he comments on the Harvey efforts indicating that he wants a "Matisse'y" effect which depends upon a flat surface as opposed to a kinetic effect that looses the balance between the visual and the word part. -- Source of annotation: Marvin or Ruth Sackner.

This is the catalogue for an international exhibition of concrete, intermedia, and related work at Arlington Mill, Bibury, Gloucestershire held from July to September, 1966. This copy also has poet's names in graphite handwriting scrawled on the back cover. -- Source of annotation: Marvin or Ruth Sackner.

This is the catalogue for an international exhibition of concrete, intermedia, and related work at Arlington Mill, Bibury, Gloucestershire held from July to September, 1966. -- Source of annotation: Marvin or Ruth Sackner.

The cover illustration is a Signografia by Clemente Padin. Henri Chopin contributed a critical essay. This work is stored in the Vigo box. -- Source of annotation: Marvin or Ruth Sackner.

The analysis of the poem is based upon the version printed in Solt's "Concrete Poetry: A World View," rather than its initial publication in Noigandres 5. -- Source of annotation: Marvin or Ruth Sackner.

This book mainly deals with examples of convention poems written by German speaking poets along with a critical analysis by Breuer. -- Source of annotation: Marvin or Ruth Sackner.

The colophon states that the first 100 copies were numbered and signed by all the contributors. This copy is not in this first series and the incomplete list of signatures was obtained by the previous owner some time after the book was published. This book is a Festschrift in honor of Helmut Hessenbuttel; it is also designated Portrait 1 in a series by the publisher. -- Source of annotation: Marvin or Ruth Sackner.

Page 2 of the four pages is missing. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue includes a photographic reproduction of Schauffelen's Erdglobus 1977, a poem object held by the Sackner Archive. Two copies have a pasted on correction caption for Kurt-Schwitters-Platz, the other does not (Kurt-Schitters-Platz). -- Source of annotation: Marvin or Ruth Sackner.

Camoron in a personal communication notes that these pages contain "suggestions for everyone I shd invite to contribute to 'oxpo" - the expo at Oxford I curated - with my notes & check marks, perforated for use in a binder, not graphically interesting but packed with names & comments on concrete poets &c." Houedard comments in this letter"now this time yiou better REALLY get me in touchw/ this stinking FAMILY & none of your branchmanagers..." Houedard mentions Suzanne Bernard and her galerie in Paris but it is no longer in business (2014). -- Source of annotation: Marvin or Ruth Sackner.

Typographic rendition by Dieter Sdun of permutation poem "Chanson" by Ernest Jandl. Stored in Sdun box. -- Source of annotation: Marvin or Ruth Sackner.