Describes difficulties in designing the Newcastle catalogue in a piecemeal fashion. -- Source of annotation: Marvin or Ruth Sackner.

Discusses problems of collecting monies from persons who asked him to do typewriter poems but then claim that they cannot pay. Also, notes that a printer wants to do his Reversal Poems in type. -- Source of annotation: Marvin or Ruth Sackner.

This letter provides the final art work for Houedard's reversal poem, "mind-ache." The letter is typed on dc3 stationary.The two drawings are on heavier bond paper and one contains handwritten typographic instructions for fonts and letter size. -- Source of annotation: Marvin or Ruth Sackner.

The letter is typed on silver reflective paper. Cinicolo responds to Houedard's letter (06-09-1970) that addressed him with several nicknames. -- Source of annotation: Marvin or Ruth Sackner.

Typed on green paper; Cinicolo requests that Houedard return his book, Sky Blue, for a postgraduate interview. -- Source of annotation: Marvin or Ruth Sackner.

The arrangement of the typewriting, viz., upside down phrases interspaced between right-side-up text, provides an abstract visual image. -- Source of annotation: Marvin or Ruth Sackner.

Typed on tan paper stock. Cinicolo thanks Houedard for referring Clive Adams, the art dealer, to him. Later in 1993,Clive Adams and Cinicolo 3 met with the Sackners and Adams sold them this archive of correspondence between Cinicolo 3 and Houedard. -- Source of annotation: Marvin or Ruth Sackner.

Cinicolo informs Houedard about progress of the Newcastle catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Cinicolo writes that he is sending a tape based on his "bocks 22." -- Source of annotation: Marvin or Ruth Sackner.

Cinicolo mentions receiving credo in om & gum cox by Houedard. Also, states that Typograms has been a success and he plans another book. -- Source of annotation: Marvin or Ruth Sackner.

Cinicola writes about expenses incurred in producing Newcastle catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Cinicolo describes his progress in producing Houedard's Newcastle catalog. The letteris addressed to Houedard as "d sy." In this letter and in several others the y is dotted and refers to Houedard's explanation of the varient spellings of this name Silvester/ Sylvester with either a y or an i depending on the graphic design and typography of his piece. -- Source of annotation: Marvin or Ruth Sackner.

Cinicolo expresses disappointment with the V&A museum show of concrete poetry particularly with reference to the construction of the 3 dimensional pieces. -- Source of annotation: Marvin or Ruth Sackner.

Cinicolo writes that he is now working near his home in a design studio with a consortium of engineers and architects rather than in London. Includes a minimalist typed version of a house. At the bottom of the page Cinicolo types a greeting to Houedard for Easter. -- Source of annotation: Marvin or Ruth Sackner.

Cinicolo announces change of address and inquires whether Houedard received his isosceles triangle letter. -- Source of annotation: Marvin or Ruth Sackner.

This letter is typed on yellow blotting paper. Cinicolo mentions that he plans to publish his book, 'Typograms,' himself in an edition of 100 since there has been little outside interest in it. -- Source of annotation: Marvin or Ruth Sackner.

Donato describes the problems in producing Houedard's Newcastle catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Cinicolo mentions meeting Peter Mayer at Goldsmiths School of Art. -- Source of annotation: Marvin or Ruth Sackner.

This letter on black paper has been typed using a silver ribbon. Cinicolo mentions a meeting with Anthony Harwood that Houedard had arranged. -- Source of annotation: Marvin or Ruth Sackner.

The letter and envelope have the shape of an Isoceles triangle. Cinicolo thanks Houedard for his hospitality during his visit to Prinknash abbey. -- Source of annotation: Marvin or Ruth Sackner.