The phrase "Black Block" is printed in lower case letters to form five squares in the shape of a cross. Unclear as to whether this version was authorized by Finlay. This is a varient of Finlay's version which appeared in Rapel (1963). There is another lithographic print with the same title composed with Michael Harvey abd published by Wild Hawthorn Press (19745). -- Source of annotation: Marvin or Ruth Sackner.

Thus poem is subtitled, "Dictionary poem in SN." On the left side of the card, Mayer presents an English translation from a text by Mallarme, "Les Mots Anglais (1877) that deals with creation of words. For example, Mallarme states that 'sneer' and 'snake' lead a reader of English to regard the diagraph 'SN' as being sinister. He then uses 'SN' to create a layout of words with such a beginning through incorporation of the vowels, e.g., snag, snail, sneak, sneeze, snide, sniper, snob, snot, snub, snuff. -- Source of annotation: Marvin or Ruth Sackner.

Three impressions of this print, published in Ruby Editions Portfolio 1, were superimposed on each other. The Ruby Edition Portfolios are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Drawing is a seascape with a sailboat with a single sale known as a ketch. The poem splits the word sketch into s & ketch. -- Source of annotation: Marvin or Ruth Sackner.

This card depicts the five Olympic ring logograph but substitutes their colored lines with the names of fishing ships. -- Source of annotation: Marvin or Ruth Sackner.

The image on a CD was given to the Sackner Archive by Klaus Peter Dencker. -- Source of annotation: Marvin or Ruth Sackner.

This poem deals with the role of Napoleon III in the Salon exhibition in Paris in 1863 and lists several painters of that time, viz., Manet, Fantin-Latour. Whistler, Guillaumin, along with Salon des Refusee and the dates 1863 and 1963, the 100th year anniversary of this event. Wilkipedia: Pissarro agreed with a group of these young, artists about the importance of portraying individuals in natural settings, and expressed his dislike of any artifice or grandeur in his works, despite what the Salon demanded for its exhibits. In 1863, almost all of the group's paintings were rejected by the Salon, and French Emperor Napoleon III instead decided to place their paintings in a separate exhibit hall, the Salon des Refusés. However, only works of Pissarro and Cézanne were included, and the separate exhibit brought a hostile response from both the officials of the Salon and the public. -- Source of annotation: Marvin or Ruth Sackner.

This print was released in hommage to Mautz's 75th birthday. -- Source of annotation: Marvin or Ruth Sackner.

This copy is from the unsigned edition = 50 copies were signed and numbered. Works by Emmett Williams depicted in this catalogue that are also held by the Sackner Archive include Alphabet Square (1956/83), she loves me from Mayer's concrete poetry, britain, canada united states, An Opera(1960/1987), Mat Mot No.6 (1965), Shakespeares XXC TH (1979), and La Dernier Pomme Frite (1989). -- Source of annotation: Marvin or Ruth Sackner.

The cover illustration depicts the tetragram JHWH in Hebrew letters as designed by Daniel. Several concrete poems in this book are based on permutations of these four letters. Another section deals with permutations and combinations of the words, picture, drawing, writing, and text among others. -- Source of annotation: Marvin or Ruth Sackner.

The edition includes 1000 copies in paper wrappers, 200 copies numbered and signed by Finlay and 26 copies handbound in boards by Earle Gray lettered and signed by Finlay. Contains a collection of previously published concrete poems and seven sundial drawings. Stephen Bann contributes an afterword of seven pages. In it, he describes Finlay's widespread usage of metaphor and calls attention to his current work based upon Classicism and Symbolism. -- Source of annotation: Marvin or Ruth Sackner.

The edition includes 1000 copies in paper wrappers, 200 copies numbered and signed by Finlay and 26 copies handbound in boards by Earle Gray lettered and signed by Finlay. Consists of a collection of previously published concrete poems and seven sundial drawings. Stephen Bann contributes an afterword of seven pages. In it, he describes Finlay's widespread usage of metaphor and calls attention to his current work based upon Classicism and Symbolism. -- Source of annotation: Marvin or Ruth Sackner.

The edition includes 1000 copies in paper wrappers, 200 copies numbered and signed by Finlay and 26 copies handbound in boards by Earle Gray lettered and signed by Finlay. Consists of a collection of previously published concrete poems and seven sundial drawings. Stephen Bann contributes an afterword of seven pages. In it, he describes Finlay's widespread usage of metaphor and calls attention to his current work based upon Classicism and Symbolism. -- Source of annotation: Marvin or Ruth Sackner.

The word "horizon' is rubberstamped in different colors. -- Source of annotation: Marvin or Ruth Sackner.