These pages were reprinted from the original 1963 edition designed and typeset by Hansjorg Mayer.This is series IV, book 1 in seeing eye books. -- Source of annotation: Marvin or Ruth Sackner.

Houedard addresses Donato as Danilo, typing the name as an optical image concrete poem. His own signature is also typed as an optical image. He thanks Cinicolo for sending him his project book and indicates that he should tell Hansjorg Mayer that he will send him Dana Atchley's Notebook. -- Source of annotation: Marvin or Ruth Sackner.

Houedard addresses Donato as Danilo, typing the name as an optical image concrete poem. His own signature is also typed as an optical image. He thanks Cinicolo for sending him his project book and indicates that he should tell Hansjorg Mayer that he will send him Dana Atchley's Notebook. -- Source of annotation: Marvin or Ruth Sackner.

Addresses Donato as my dear do don't NATO donato3 donatello donatissimo donatellone. Thanks him for his "squareletter" which pleased the postman (envelope 05-08-1970). Indicates that he is still waiting for a silver ribbon. Complains about Hansjorg Mayer and friends hogging an art show for first year graphic students. The text of the letter is typed in a pattern of wavy rather than the usual straight lines. -- Source of annotation: Marvin or Ruth Sackner.

Addresses Donato as my dear do don't NATO donato3 donatello donatissimo donatellone. Thanks him for his "squareletter" which pleased the postman (envelope 05-08-1970). Indicates that he is still waiting for a silver ribbon. Complains about Hansjorg Mayer and friends hogging an art show for first year graphic students. The text of the letter is typed in a pattern of wavy rather than the usual straight lines. -- Source of annotation: Marvin or Ruth Sackner.

Different parts of Tom Phillips' poster print, "Benches" are collaged onto the covers of the catalogues. -- Source of annotation: Marvin or Ruth Sackner.

This card that is letter is addressed to John Sharkey deals with a request by Hansjorg Mayer for his contributions to his concrete poetry portfolio. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition consisted of four sections: 1) Ray Johnson collages; 2) Michael Morris concrete/constructivist drawings; 3) international concrete poems and 4) film and tapes of sound poetry. Michael Rhodes traces the historic roots of concrete poetry from 1897 to 1964. Edwin Varney contributes an illustrated, critical essay defining concrete poetry that is expressed in concrete poetic terms. Ian Hamilton Finlay and Stephen Scobie collaborate with an essay on definitions of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

Provides list of publications by Hansjorg Mayer. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue in an edition of 100 consists of 75 copies with biographical information and 25 copies with biographical information plus photographic reproductions of the artists. Houedard provided autobiographical details and prices for his typewriter poems. Stored in Houedard box. -- Source of annotation: Marvin or Ruth Sackner.

At this exhibition, three catalogues were published and enclosed within a single slipcase. The first book that depicts the print, "Marine" on its cover, is apparently a reprinting of a catalogue laid out by Hansjorg Mayer which originated at the Kunsthalle Basel in 1990. It contains an introductory essay by Thomas Kellein. It features reproductions of publications by Finlay's Wild Hawthorn Press as well as photographic views of Stoneypath. The second book that depicts the print, "star steer" on its cover, features Finlay's stone, glass, and neon sculptures. It contains critical essays by Peter Weiermair and Stephen Bann. The third book is a biobibliography in English compiled by Pia Simig. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title but this poster was not depicted in the catalogue. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. -- Source of annotation: Marvin or Ruth Sackner.

Bann discusses Furnival organizing transportation of "Clyne" constructions, vowel screens, three columns, Ed Wright's "Four Sails" glass, "Ajar" wooden construction, "Ark/Arc" in plastic...[and] column with "Wave/Wave" to Nottingham, and the possibility of using Mayer's "Ampersands" for a wall or outdoor display. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns setting up, transporting and caring for Furnival's work at the first Brighton Festival as well as asking for an indication of the arrangement of Furnival's panels and whether Houedard could associate with the project. -- Source of annotation: Marvin or Ruth Sackner.