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Bohn analyzes Apollinaire's exhibition catalog dealing with Leopold Survage and Irene Lagut using calligrams of prose as the vehicle for his critique. Bohn is especially intrigued with the rare handcolored edition of the catalog that he mentions is owned by the Columbia University rare book collection; it was the only copy he was able to find. Just after publication of his book, Bohn visited the Sackner Archive and learned of its handcolored edition - too late to include in the book. -- Source of annotation: Marvin or Ruth Sackner.

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Includes a review of French shaped poetry written prior to Mallarme. In this book, calligraphic poems of Apollinaire have been translated into the Czech language -- Source of annotation: Marvin or Ruth Sackner.

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Tiziano Santi contributed an essay "Between Word and Image" which traces the history of visual and concrete poetry through Dada, Futurism, calligrams, Cubism, Fluxus happenings and the contemporary Italian poets. Manfredo Massironi's essay describes the beginnings of classical calligraphy in Europe and the Middle East. This book also served as a caalogue for the Belle Lettre Award winners. The works were grouped into the following categories: traditional calligraphy, expressive calligraphy, words and images, words and abstract for, the word as image, and conceptual works. There are several reproductions of pages by Brody Neuenschwander for "The Pillow Book" by Peter Greenaway. Brody Neuenschwander was awarded the first prize Belle Lettere Award for "the Book of Silence;" Canto Five of Dante's Inferno by Ingmire is described in a separate chapter. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition consisted of 30 calligraphic poems cut from paper, numbers 19 to 25 were later published in a portfolio, "Siete Caligramas," a work also held by the Sackner Archive. In this catalogue, Zeller expains how he found the text for his first calligram in a dream. -- Source of annotation: Marvin or Ruth Sackner.

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The pages of this book have been deacidified. -- Source of annotation: Marvin or Ruth Sackner.

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Features examples of Arabic and Oriental shaped poems. -- Source of annotation: Marvin or Ruth Sackner.

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This book is an anthology of visual and picture poems made by students from kindergarten to the 12th grade living in Seattle, Washington. The poems and teaching methods are analyzed by the author who was a poet-in-residence in the school system in Seattle. In the final chapter, he presents and comments on poems by established adult poets. -- Source of annotation: Marvin or Ruth Sackner.

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This unnumbered copy includes reproductions of two calligrams by Apollinaire. This copy was owned by Saint-John Pearse and carries his initials near the title page as well as some marginalia. Saint-John Perse (also Saint-Leger Leger;[1] pseudonyms of Alexis Leger) (31 May 1887--20 September 1975) was a French poet-diplomat, awarded the Nobel Prize for Literature in 1960 "for the soaring flight and evocative imagery of his poetry." He was a major French diplomat from 1914 to 1940, after which he lived primarily in the United States until 1967. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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The cover reproduces a lettered painting by Paul Klee. This copy is the first printing; the duplicate copy is the second printing. -- Source of annotation: Marvin or Ruth Sackner.

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Includes detailed descriptions of "Cabaret Voltaire" and "Parole in Liberta Futuriste" both of which are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The main part of the text consists of conventional poetry by Apollinaire. A section at the back of the book contains six pages of calligraphic handwritten poems designated "poemes ideogrammatiques," and ten pages of drawings and handwritten prose. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Wikipedia: Ludwig Zeller Ocampo (1927-) is a Chilean, surreal visual artist/poet ow living in Mexico. His father came from Chile from Germany to work as a manufacturer of dynamite to the copper mines. From childhood he was a voracious reader and thanks to that learned poetry. Along with his first wife, Wera Zeller, translated to Spanish German Romantics. He was a cCutting-edge innovator and directed the Gallery of Ministry of Education in Chile from 1952-1968. That same year he left the gallery, founded the literary magazine and the Moon Coffee House in Villavicencio Street in Aubrey neighborhood of Santiago. In 1970, he organized the exhibition Surrealism in Chile in the Catholic University, which, in addition to his works, exhibited those of Roberto Matta, Nemesio Antunez, Enrique Zanartu, Opazo Rodolfo Sepulveda Viterbo, Valentina Cruz, Susana Wald and others. He left Chile the following year, along with his wife, artist Susana Wald, and three of her four children. They...

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...