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These drawings were done for a sundial sculpture to be made from Portland Stone and Westmorland Slate. The completed sculpture, Umbris Solis, was installed in the National Galleries of Scotland. -- Source of annotation: Marvin or Ruth Sackner.

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The image depicts a random arrangement of ship's identification numbers placed within a fraction of a circular shape. -- Source of annotation: Marvin or Ruth Sackner.

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The image depicts a random arrangement of ship's numbers placed within a circular shape. -- Source of annotation: Marvin or Ruth Sackner.

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The image depicts a random arrangement of ship's identification numbers placed within a circular shape. -- Source of annotation: Marvin or Ruth Sackner.

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The definitions are taken from quotations in the classic literature. -- Source of annotation: Marvin or Ruth Sackner.

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At Finlay's Serpentine exhibition (1977) in which Bernini's "Apollo and Daphne" was shown, the Nazi SS organization was equated with nature. It signified the ultimate 'wildness' on a scale whose other 'cultivated' extreme was the 18th century. This book traces the progression (or descent) from the civilized script of this period in which 'f's were customerly substituted for 's's - to the double lightening stroke emblem of the SS; a gradation between 'Culture' and 'Nature.' -- Source of annotation: Marvin or Ruth Sackner.

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This is a preparatory drawing for a sculpture with the same title. -- Source of annotation: Marvin or Ruth Sackner.

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The poem references the bird, Swallow, in experimental calligraphy. -- Source of annotation: Marvin or Ruth Sackner.

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The card depicts the hand drawn title on one fold and the words, "Water Lily Cup" on the other fold. The poem is printed in red and black with the red words forming "Kettle Water Cup." -- Source of annotation: Marvin or Ruth Sackner.

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In contrast to the trade edition in which the words are printed in black and red, the maquette is drawn solely in black ink. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book explores the ways in which books represent art and literature, and how the marriage of word and image can create a work of art in its own right. Chapters include the following: Illumination, Bindings, Documentary Manuscripts, Children's Books, Comics, Poetry and Experimental Typography, Book Art and Contemporary Art and Publishing. It also includes a history of the National Art Library in the Victoria and Albert Museum. Several examples of the books depicted in this catalogue are held by the Sackner Archive. In addition, several of the contemporary artist/poets works are represented in the Archive.Some definitions are of the book/poetry forms are not in the mainstream of classification. For example, Bob Cobbing's abstract sound poetry scores are classified as visual poetry in contrast to the more usual classification of visual poetry along the lines of poesia visiva.Under the citation of the John-Eric Broaddus book, Marvin Sackner's comments about his working methods are...

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In this poem contrasts the styles of two architects, Voysey and Lutyens. -- Source of annotation: Marvin or Ruth Sackner.

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The card is folded twice to give three panels. -- Source of annotation: Marvin or Ruth Sackner.

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This depicts a stone sculpture engraved with the title. The calligraphy of the word "ripples" is formed such that it could also be read "nipples." The verso os rubberstamped indicating that Ronald Gunn holds the copyright - it is not depicted in the Finlay book of Prints 1963-1997. -- Source of annotation: Marvin or Ruth Sackner.

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This is the preparatory drawing for the Welsh Slate sculpture that is also pictured in a card and a print with the same title. -- Source of annotation: Marvin or Ruth Sackner.

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The poem has a green background color for the white text suggesting the green watercress and hence a subliminal picture poem. -- Source of annotation: Marvin or Ruth Sackner.