Edited by Brian Lane and Trevor Wells and includes three poems by Cutts. Designated No.121 in bibliography of book entitled "The Printed Performance Brian Lane Works 1966-99." -- Source of annotation: Marvin or Ruth Sackner.

Edited by Brian Lane and Trevor Wells. Designated No.132 in bibliography of book entitled "The Printed Performance Brian Lane Works 1966-99." -- Source of annotation: Marvin or Ruth Sackner.

Edited by Brian Lane and Trevor Wells. Designated No.141 in bibliography of book entitled "The Printed Performance Brian Lane Works 1966-99." The following poem is printed in blue ink on the back inside cover which is white stock paper, A line of thin blue paleness _______________________ A lake This issue was edited by Brian Lane and Trevor Wells. -- Source of annotation: Marvin or Ruth Sackner.

In contrast to the 1st edition, the following poem is printed in blue ink on the back inside cover which is blue stock paper. Edited by Brian Lane and Trevor Wells. A line of thin blue paleness _______________________ A lake -- Source of annotation: Marvin or Ruth Sackner.

Edited by Brian Lane and Trevor Wells. -- Source of annotation: Marvin or Ruth Sackner.

The cover depicts an image of a picnic basket and the title of this work is the caption for it. -- Source of annotation: Marvin or Ruth Sackner.

Cutts collaged candy jimmies on a card to suggest a pointillist painting. According to the catalogue of "The Gabrielle Keiller Collection: Surrealism and After" (held by the Sackner Archive), this piece was made by Cutts in his final year of art college. He dabbed a sponge in PVC glue, applied this to paper, and then immediately dipped the paper into a tin of thousands of candy cake decorations. Although the edition size comprised 50 copies, the process renders each one unique. -- Source of annotation: Marvin or Ruth Sackner.

This book describes the collage work that uses cake decorations called jimmies or jubbies to suggest the tiny brush strokes of pure color seen in pointillist paintings by Seurat and other Neo-impressionist artists. Cutts reprints the correspondence between him and the Arts Council of Great Britain concerning the remounting and reissuing of the work after many of the jimmies had falllen off the card. The handcolored additions are made to a printed page of Homage to Seurat. The Sackner Archive holds a copy of this edition with the jimmies. -- Source of annotation: Marvin or Ruth Sackner.

The title stands for Ian Hamilton Finlay. The page with I is collaged with a black rectangular paper. The page with H has marks where two collages could be placed. The page with F is collaged with a black paper with a hole on top that is the shape of a guillotine blade. -- Source of annotation: Marvin or Ruth Sackner.

Cutts lists the sources for the minimalist, colored, poems in this book, e.g., from Alan Halsey's catalogue, perhaps from Boudin, untraceable quotation from Stephane Mallarme, etc. For example, one poem reads, "the only texts I ever - wrote were the titles." -- Source of annotation: Marvin or Ruth Sackner.

The photographs that were reproduced in this book were taken by Dianne Tammes. -- Source of annotation: Marvin or Ruth Sackner.