The book reproduces photographs and maquettes of original furniture by Satie. -- Source of annotation: Marvin or Ruth Sackner.

The book reproduces photographs and maquettes of original furniture by Satie. -- Source of annotation: Marvin or Ruth Sackner.

This book is not listed in Acquaviva's Bientot les Lettristes (1946-1977) although he was well aware of it. Indeed, in a personal communication to the Sackners, he pointed out that Isou considered all copies 'false' unless they were signed by him; the Sackner copy therefor is 'false.' Further, an internet search of databases revealed only one copy in the Getty Research Institute Research Library Catalog. -- Source of annotation: Marvin or Ruth Sackner.

This book is not listed in Acquaviva's Bientot les Lettristes (1946-1977). This book is not listed in Acquaviva's Bientot les Lettristes (1946-1977) although he was well aware of it. Indeed, in a personal communication to the Sackners, he pointed out that Isou considered all copies 'false' unless they were signed by him; the Sackner copy therefor is 'false.' Further, an internet search of databases revealed only one copy in the Getty Research Institute Research Library Catalog. -- Source of annotation: Marvin or Ruth Sackner.

This book is not listed in Acquaviva's Bientot les Lettristes (1946-1977). This book is not listed in Acquaviva's Bientot les Lettristes (1946-1977) although he was well aware of it. Indeed, in a personal communication to the Sackners, he pointed out that Isou considered all copies 'false' unless they were signed by him; the Sackner copy therefor is 'false.' Further, an internet search of databases revealed no copies including the Getty Research Institute Research Library Catalog that lists cours No.1 and No.2. -- Source of annotation: Marvin or Ruth Sackner.

This book is not listed in Acquaviva's Bientot les Lettristes (1946-1977). This book is not listed in Acquaviva's Bientot les Lettristes (1946-1977) although he was well aware of it. Indeed, in a personal communication to the Sackners, he pointed out that Isou considered all copies 'false' unless they were signed by him; the Sackner copy therefor is 'false.' Further, an internet search of databases revealed no copies including the Getty Research Institute Research Library Catalog that lists cours No.1 and No.2. -- Source of annotation: Marvin or Ruth Sackner.

The drawing consists of a spray painted surface, a portrait of Isadore Isou, abstract letter forms, a small collage addition of Satie's work and a handprinted Lettrist text. The text is subtitled "de la sclerose dans un monde artistique...Reponse aus detracteurs de l'art contemporain." -- Source of annotation: Marvin or Ruth Sackner.

This is an attack on the writers of the "new" novel by Isou. The watercolor was done by Lemaitre. The ordinary edition is Lettrisme No.17. -- Source of annotation: Marvin or Ruth Sackner.

Discusses sound poetry and body music. -- Source of annotation: Marvin or Ruth Sackner.

In one copy, there is a letter enclosed from Scott Helmes to the Sackners mentioning that he didn't get to see much of the show because the gallery didn't open on time. There is also a newspaper clipping of a review by Alan Artner, the art critic of the Chicago Tribune. -- Source of annotation: Marvin or Ruth Sackner.

This is a letter to the editor of Afterimage as a rebuttal to an essay by David Trend on Lettrisme. -- Source of annotation: Marvin or Ruth Sackner.

The back cover is printed for issue number 5 and incorrectly used orf issue 4. -- Source of annotation: Marvin or Ruth Sackner.

This issue in two volumes deals with a theoretical discussion of the Lettrist movement. -- Source of annotation: Marvin or Ruth Sackner.

The pamphlet is a facsimile of the review Front de la Jeunesse published in spring 1950 by the Lettrist movement -- Source of annotation: Marvin or Ruth Sackner.