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Ana Hatherly's article is titled "Enigmas Barrocos Portugueses" -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive holds an anonymous Victorian scrapbook or commonplace book on the subjects of 1) Anagrams, 2) Charades, 3) Enigmas, 4) Epigrams, 5) Epigraphs, 6) Rebuses, 7) Conundrums, 7) Sermons, 8) Puzzles, 9) Maxims, 10) Musick, 11) Transpositions, 12) Matrimony, 13) Miscellaneous Drolleries, 14) Drawings & Prints, 15) Prose, 16) Verse, 17) Blank-Verse, and 18) Parodies. This exhibition catalogue portrayed the collection of rare books and manuscripts that was displayed at the Beinecke Rare Book and Manuscript Library from late July to September, 2001 The event was presented in two parts: (1) the meaning of "commonplace" and how it developed over the centuries and (2) how manuscripts were used in scholarly studies. Commonplace Books contains descriptions from titles such as the first modern history of commonplace books Polyhistor, literarius, philosophicus et practicus. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalogue. The Sackners purchased Tim Rollins' portfolio " The Temptation of Saint Antony I-XIV)" from this auction. Duchamp's "The Large Glass and Related Works" and Samuel Beckett and Jasper Johns' "Fizzles," were also offered at this auction. -- Source of annotation: Marvin or Ruth Sackner.

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The cover illustration is from The Divine Comedy, a verse translation by Phillips published by Thames & Hudson in 1983. -- Source of annotation: Marvin or Ruth Sackner.

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The binding and typing of this first volume of the final typescript translation (with handwritten ink corrections by Phillips) was done by Pella Erskine-Tulloch although her usual gold stamped name is missing from the inside back cover. The Roman numerals from I to XXXIII are stamped on each of the three volumes within a hexagon, pointing downward with the initials TP stamped at the bottom. The numbers from I to X are in gold leaf signifying the contents of the volume. The hexagon outline is stamped Dante Inferno repetitively in very small type. The spine of each volume contains the title Inferno in black stencilled letters over which Dante Inferno is repetitively stamped in gold. The top edges of the three volumes are gilded and stamped with multiple fleurs-de-lis. The endpapers are printed with "Una Selva" stencilled text. -- Source of annotation: Marvin or Ruth Sackner.

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This second translation contains many handwritten corrections by Phillips. The white binding by Pella Erskine-Tulloch repeats the theme of volume 1 and 2 with fleurs-dei-lys and an uncolored portrait of Dante in his study. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This volume of typed translations has more alterations and additions than the first typescript of cantos. On ten pages, Phillips has written "retype" in a decorative script and included a small ink cartoon-like drawing of a human or angel at a typewriter. The human image is a caricature of Pella Erskine-Tulloch. One cartoon bubble with this caricature reads, "Say Mr Dante I think your comedy is simply divine!" Another states, "A canto a day wipes the blues away." This Phillipsian humor referring to a great, poetic work of translation, can be found not only in the Inferno, but in many of his visual and literary works including his book dedicated to Rushdie, "Merely Connect," and in several pages of "A Humument," and in his introduction to "The Portrait Works" from the National Portrait Gallery.The binding by Pella Erskine-Tulloch repeats the theme of volume I with fleurs-di-lis and a portrait of Dante in his study, with the latter now presented in a coral color on both covers. --...

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In one section of book, there are several lines of verse in which all words begin with letter "P," and in another section, with the letter "C." All letters of the words in another poem are capitalized where the letters also represent Roman numerals. The words in some poems also employ mixtures of upright and italicized typefaces. Dick Higgins in his book "Pattern Poetry" cited this book. -- Source of annotation: Marvin or Ruth Sackner.

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This profusely illustrated catalogue includes two books that contain examples of shaped poetry: 1) Jean Grisel. Les premiers oeuvres poetiques de Jehen Grisel rouennois. Rouen, France. 1599. and 2) Jean Henry. Le Jardin de contemlation. Paris. 1516. -- Source of annotation: Marvin or Ruth Sackner.

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This is an anthology of German "Nonesense Poetry." -- Source of annotation: Marvin or Ruth Sackner.

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This issue deals with the history of book plates. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In the introduction, Bennett writes that his text in this book is a transduction of the original Spanish. "A transduction is a process involving homophonic translation and other associative maneuvers to create a new text whose aim is to bring to light one of the innumerable sub-texts that surround any linguistic artifact." The font used for John M Bennett's transduction is Johnee's Scrawlphabet, created from Bennett's own calligraphy by James Wiese.Oak Knoll Books: "The book was created to celebrate the 400th anniversary of the publication of the First Part of El Ingenioso Hidalgo Don Quixote de al Mancha in 1605. The passages in this book are taken from the following two edition of Don Quixote, Part II, Chapter 44 - one printed in Brussels in 1662, and an English translation generally attributed to Thomas Shelton printed in 1620. The original transduction is by Bennet who is the Curator of the Avant Writing Collection at The Ohio State University Rare Books and Manuscripts...

Scope and Contents In the introduction, Bennett writes that his text in this book is a transduction of the original Spanish. "A transduction is a process involving homophonic translation and other associative maneuvers to create a new text whose aim is to bring to light one of the innumerable sub-texts that surround any linguistic artifact." The font used for John M Bennett's transduction is Johnee's Scrawlphabet, created from Bennett's own calligraphy by James Wiese.Oak Knoll Books "The book was created to celebrate the 400th anniversary of the publication of the First Part of El Ingenioso Hidalgo Don Quixote de al Mancha in 1605. The passages in this book are taken from the following two edition of Don Quixote, Part II, Chapter 44 - one printed in Brussels in 1662, and an English translation generally attributed to Thomas Shelton printed in 1620. The original transduction is by Bennet who is the Curator of the Avant Writing Collection at The Ohio State University Rare Books and Manuscripts Library....

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The poems in this book were composed by three 17th century German poets and typographically laid out by Ruhm. -- Source of annotation: Marvin or Ruth Sackner.

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This issue reprints 14th & 15th century visual poems. -- Source of annotation: Marvin or Ruth Sackner.

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This book is heavily oriented toward ancient handwritten shaped poems. Peignot includes poems from ancient times to the present, There are also sections on Islamic, Hebraic and Chinese shaped poems. Several pages of Hrabaus Maurus poems are reproduced on page 46; the Sackner Archive holds a copy of this book. Page 51 depicts a battle formation formed from letters written by Nicholas Machievelli in 'The Art of War.' Page 91 depicts a page of shaped poems attibuted to an unidentified poet i Journal universel No.288, 1861. The Sackner Archive holds the same text in Journal Amusant, No.288,1861. Peignot's unidentified poet of the eight shaped poems in this issue was Amedee Pommier, the founder of "Cirque des poetes." -- Source of annotation: Marvin or Ruth Sackner.