Card No.17 was scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

Card No.12 was scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

Card No.8 was scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

Card No.16 was scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

Card No.13 was scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

This is an exhibition catalogue of the prIvate collection of rubber stamps of Scott Helmes and Bill (Picasso) Gaglione. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner gift of "Rayonist Composition" by Mikhail Larionov, gifts to the department of drawings, and "a substantial number of rare small-edition artist periodicals" to the library are acknowledged. Marvin Sackner's membership on the Library Committee is also mentioned. -- Source of annotation: Marvin or Ruth Sackner.

This print was silkscreened by Dave Pike at Ipswich. This score (Opus 2) consists of wavy black heavy curved lines with thinner red line intersections. Phillips provides directions on one side of the folded print in his own handwriting. The letter to John (Furnival?) describes a broadsheet/poster drawing for publication. He mentions that the musical print is "...something David Bedford asked me to do - an indeterminate piece for any number of people (to use where he teaches) -so, for interest, I enclose that too." Depicted in Tom Phillips: Works Texts To 1974, page 249. -- Source of annotation: Marvin or Ruth Sackner.

This book takes the form of conversations between Cage and Retallack ranging from his theories of chance, composition, collaborations, and the aesthetics of multi media work. A critical essay traces Cage's earlier years and works. A detailed section of the book is devoted to Cage's Mesostic poetry. -- Source of annotation: Marvin or Ruth Sackner.

Card No.18 was scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

The name bill at the top of this letter and luv at the bottom of the letter are typed with closely spaced dashes. Bill's idenity is unknown to the Sackners. The poem typed within two separate frames consisting of apostrophes read:" could be a beauty s in even the greyness somewhere a wimd enforces the freedom of water?" -- Source of annotation: Marvin or Ruth Sackner.

This is a letter to Cord [Coyty] written on a letterhead from Bon Secors Nursing Home in Wincheste Hantsr. -- Source of annotation: Marvin or Ruth Sackner.

This is a letter written on a letterhead from Bon Secors Nursing Home in Winchester. Houedard has typed on the top "as from prinknash abbey." Houedard writes that he has "been frantica ly busy all year - had 12 exhibitions in last 9 months - & of course thousands of dreadful ladytourists all ariving in their mammywaggons." -- Source of annotation: Marvin or Ruth Sackner.

The body of this letter deals with making an introduction to John Furnival and dropping names of concrete poets prominent on the international scene. The left margin has several concrete poems by Houedard typed in black ink. Houedard typed his name at the bottom of the letter by forming each letter by overtyping the letter 'e'. -- Source of annotation: Marvin or Ruth Sackner.

This is a letter to John Sharkey that concerns writing letters to appear in the Guardian newspaper. -- Source of annotation: Marvin or Ruth Sackner.

Houedard writes that it was a pleasure to see the Sharkeys. He discusses the public's conception of monks and their sexual orientation. He also advises John to get in touch with Andrew Rawlisnon and Robert Tait and mentions that John Furnival has been busy making harmonograph machines. He also lists and describes poetry machines made by John Furnival. -- Source of annotation: Marvin or Ruth Sackner.