Scope and Contents Printed by John Furnival as a single or as two copies, probably trial proofs, and never realized as an edition. Ten prints comprise an identical grid of 64 different ampersands in different colors on different colored paper stock and weights. There are 2 copies of the title page. In 6 prints, a grid of 31 x 32 ampersands is manipulated from a rectangular to an overprinted optical image. Three grids of 64 ampersands are identical. The Sackner copy is the most complete copy of this work. In Ceolfrith 14, Furnival's exhibition catalogue 1971, the work is mentioned by Bann and interpeted by Furnival as an incomplete folder. Getty Research Institute, the only other collection with this work indicated that the prints consist of dense rows of ampersands in a variety of styles, printed and overprinted. Their copy is dated 1969 snd contains 6 prints.. A version called "Amber sands" was constructed in wood by Kenelm Cox for the Brighton Festival, 1967. Cf. Concrete poetry -- Source of...

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The Sackner Archive holds a Clock that was made by Kenelm Cox on behalf of Dom Sylvester Houedard. Also in the Archive is the sculpture Suncycle that was planned with Nicholas Logsdale at the Lisson Gallery, cast in brass and sold as a multiple without a motor. The author title for this book is "Ken Cox." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The Sackner Archive holds a Clock that was made by Kenelm Cox on behalf of Dom Sylvester Houedard. Also in the Archive is the sculpture Suncycle that was planned with Nicholas Logsdale at the Lisson Gallery, cast in brass and sold as a multiple without a motor. The author title for this book is "Ken Cox." -- Source of annotation: Marvin or Ruth Sackner.

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This catologue includes facsimile examples of Finlay's poems, a bibliography, a list of works in the exhibition together with prices, and a history of the Wild Hawthorne Press. -- Source of annotation: Marvin or Ruth Sackner.

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Bann discusses the history and development of the concrete poetry movement in this first broadly based collection of concrete poetry published in book form. Sections are devoted to Latin, Germanic and English poets. Particular attention is paid to pioneers such as Gomringer, the Brazilian Noigandres group and British poets Finlay and Morgan. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue features works by Ian Hamilton Finlay. -- Source of annotation: Marvin or Ruth Sackner.

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This is a listing of the personal holdings of Leiber. Some of these items subsequently appeared in sales catalogues issued by Leiber. -- Source of annotation: Marvin or Ruth Sackner.

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This is the obiturary of Houedard, born February 16, 1924, died January 15, 1992. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition featured concrete poems with fragmented text. It included one visual poem by Toshihiko Schimuzu. -- Source of annotation: Marvin or Ruth Sackner.

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The poem was composed by Bann and the print was designed by Cant. -- Source of annotation: Marvin or Ruth Sackner.

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The introductory essay by Stephen Bann deals with Finlay's belief in the decline of innovation in concrete poetry in the seventies and his own shift toward classicism. -- Source of annotation: Marvin or Ruth Sackner.

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Letter concerns S. Bann's gift to E. Gomringer of four cards of his work which are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Bann reports damage to the screen of Furnival's installation at the Brighton Festival. -- Source of annotation: Marvin or Ruth Sackner.

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Letter discusses catalogue and guide for the Brighton Festival exhibition; asks whether Furnival is in possession of "Arc/Ark" piece and whether Furnival's "Ajar" piece is "still in an exhibition-worthy state." -- Source of annotation: Marvin or Ruth Sackner.