Note that "Tonto or" No.7 pamphlet that was included in this collection is stored in a portfolio box with other issues of "Tonto or." This collection also includes two Standing Poems by Ian Hamilton Finlay and Opening Numbers 2 & 4 edited by John Furnival. -- Source of annotation: Marvin or Ruth Sackner.

Typewriter poems are printed on two of the translucent paper pages. -- Source of annotation: Marvin or Ruth Sackner.

In the title, Bory indicates his debt to the calligrams of Apollinaire. This archive includes preliminary drawings and collages for the book with the same title as well as corrected galleys. -- Source of annotation: Marvin or Ruth Sackner.

The linear, black printed text is laid out with mixed typefaces and sizes. The maquette is a sketch book with chaotically arranged handwritten text that employs several colored inks and calligraphic styles. The manuscript appears to have made with a combination of photocopying and colored letraset type. -- Source of annotation: Marvin or Ruth Sackner.

Includes a photocopy of Mallarme's Un Coup de Des (1914), -- Source of annotation: Marvin or Ruth Sackner.

The book is a diary of Bory's trip to Japan along with 25 concrete and visual poems about his experience there. The poems are designated calligrammes by Bory. The sketches for the concrete poems in ink and graphite were subsequently printed from a computer with a laseror nk jet printed -- Source of annotation: Marvin or Ruth Sackner.

Leiber's catalogues show a consistent, innovative design. This issue with alphabetical notebook tabs sponsored by Rose Holtz, references several offerings to the Sackner Archive Catalog of 1986. -- Source of annotation: Marvin or Ruth Sackner.

This is a catalogue of works being sold by an Italian collector, Mauro Corinaldi in Milan, whom the Sackners know. -- Source of annotation: Marvin or Ruth Sackner.

Each page presents a single concrete or visual poem. In the title, Bory indicates his debt to the calligrams of Apollinaire. -- Source of annotation: Marvin or Ruth Sackner.

Includes essays by Cesar Espinosa and Emily Hicks, and statements by Vincenzo Accame, Pierre Garnier and Max Bense. -- Source of annotation: Marvin or Ruth Sackner.

This book is one of the most extensive collection of word-image material with emphasis on concrete poems ever commercially published. The text is brief, e.g., a preface by Jean-Francois Bory and a postface by Isabelle Maunet-Salliet. Each image is printed one to a page. Although the emphasis is on French poets, there are images from poets all over the world. Significant omissions that are bound to occur in such a large undertaking include among others d.a. levy, Dick Higgins, Dom Silvester Houedard, Steve McCaffery, bill bissett, Edgardo-Antonio Vigo, Leon Ferrari, Mira Schendel, Ana Hatherly, Herman de Vries, Ernesto M. de Melo e Castro, Ben, Herman Damen, Enzo Miglietta, Carlfriedrich Claus, Alan Riddell, and Rachid Koriachi. -- Source of annotation: Marvin or Ruth Sackner.

The title "Looping" refers to a pilot in a stunt airplane performing a loop maneuver. Each page depicts a visual poetic image of the event but on the final page, the airplane crashes. -- Source of annotation: Marvin or Ruth Sackner.

This book prints Bory's concrete poems and includes reproductions of prints which are held by the Sackner Archive, viz., Hommage a Pavlov and Stock Market Report. -- Source of annotation: Marvin or Ruth Sackner.

Card produced in association with the 1967 Biennale exhibition at the Musee d'Art Moderne. -- Source of annotation: Marvin or Ruth Sackner.

In the letter collaged to the front cover, Bory expresses his disappointment that the Sackner archive did not acquire his recent manuscript from Gallery Jacques Donguy. Bory writes that in the future "Europa will be an hell and i would like to save my creative work in the New World. Am I wrong?" Touched by the tone of this message, the Sackners subsequently purchased copy A and the manuscript for this book. The latter is stored in the Archive of this publication. -- Source of annotation: Marvin or Ruth Sackner.