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This twelth page from Dante Diary which is dated 15 November1979 contains many ink drawings of constructed brick-like forms. In one a young painted face emerges.Tom writes of his efforts to find backers for the Dante project. He is looking for a helper/factotum and John Furnival sent a girl called Debbie who seems promising.Tom writes that he "finished complete first boo kof 2nd draft. Did study for frontspiece for Stereo Headphones..Virgil drawing finished." -- Source of annotation: Marvin or Ruth Sackner.

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This letter to the Sackners is handwritten in a circle on the back of a round cardboard advertising French Camembert cheese. -- Source of annotation: Marvin or Ruth Sackner.

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This letter to the Sackners is handwritten in a circle on the back of a round cardboard advertising French Camembert cheese. -- Source of annotation: Marvin or Ruth Sackner.

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Half of an egg shell is depicted on the right side; the caption in bold cursive text is placed in the lower center of the drawing. The word "legs" references the shape on the left that also resembles a knee. -- Source of annotation: Marvin or Ruth Sackner.

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Viewed from above, the two parts of the egg shell in this drawing might be interpreted as the thigh meeting the knee. -- Source of annotation: Marvin or Ruth Sackner.

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The drawing depicts an image of an egg shell with radiating bands as a spoof on the Japanese flag icon of the Rising Sun. -- Source of annotation: Marvin or Ruth Sackner.

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Image and caption are a word play on Ying/Yang. -- Source of annotation: Marvin or Ruth Sackner.

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A notation on the lower right corner reads "February 14 - Nix Gay / Valentine (for John Furnival project)." -- Source of annotation: Marvin or Ruth Sackner.

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This print is reproduced on page 6 of John Furnival's book, 'Lost for Words' (2011). Nicole Rabetaud contributed a piece to P.O.T.H. No.13. -- Source of annotation: Marvin or Ruth Sackner.

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The letter is written in a circular pattern starting from the top left corner. The paper is edged with a pinking shears and is folded in Origami fashion. Furnival discusses Chopin's visit in August and describes his various art projects. -- Source of annotation: Marvin or Ruth Sackner.

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Houedard mentions Jonathan Williams, Ronald Johnson, John and Astrid Furnival and Ken Cox. Houedard writes at the page bottom, "just did poem for polluted lake: dedicated to ernst jandl: vienna circle: WA wa wa - WA wa wa - LLLLL - tz tz" The Polluted Lake Series was edited and published by d.a. levy. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This work is partially printed and partially hand-colored.The text reads,"Mr. J. Atkinson Grimshaw confers with his friend, the Butterfly of Battersea Reach, as to the proportions of mastic to copal in the constitution of Noctournal Sauce" Wikipidia: John Atkinson Grimshaw (6 September 1836 "“ 13 October 1893) was a Victorian-era artist, a "remarkable and imaginative painter" known for his city night-scenes and landscapes. His early paintings were signed "JAG," "J. A. Grimshaw," or "John Atkinson Grimshaw," though he finally settled on "Atkinson Grimshaw." Grimshaw's primary influence was the Pre-Raphaelites. True to the Pre-Raphaelite style, he created landscapes of accurate colour, lighting, vivid detail,and realism. He painted landscapes that typified seasons or a type of weather; city and suburban street scenes and moonlit views of the docks in London, Leeds, Liverpool, and Glasgow also figured largely in his art. His careful painting and skill in lighting effects meant that he...

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Appears to be a montage of ideas for what was to become Furnival's classically drawn visual poems. The elements consist of architectural elements, sign numbers, and lettering. Stored in Odds & Sods. -- Source of annotation: Marvin or Ruth Sackner.

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In this poem, Furnival plays with permutations of bear, the personal pronouns, ours & nous (we in English from the French), and son using his distinctive calligraphic printed letterform style. This print is depicted in Furnival's "Lost For Words" (2011) page 56. -- Source of annotation: Marvin or Ruth Sackner.

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The poem was presented in a bold, classic calligraphic style. It was subsequently utilized in Openings Press Card Series No.14. The verso depicts an incomplete line drawing of a non-objective shape. The print is depicted on page 132 of Furnival's book, "The Locative-Vocative Cases." -- Source of annotation: Marvin or Ruth Sackner.

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Depicts three visual poetic word columns. The Archive also holds this print backed on museum board. -- Source of annotation: Marvin or Ruth Sackner.

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Depicts three visual poetic word columns and several circles with optical effects from interlacing short lines. This print is depicted on page 44 of Furnival's book "Lost for Words" (2011). -- Source of annotation: Marvin or Ruth Sackner.

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Commissioned for "The Beauty in Breathing" exhibition. This screen of three hinged panels and a moveable panel of the letter "A" with recto-verso imagery is written in several languages with text alluding to the title. The five vowel sounds, especially the "A" are incorporated as major features of the design because vowels are the "only letters in the alphabet that represent sound made by breathing alone." The "A" is made prominent because it symbolizes creation. This standing screen is depicted in Furnival's "Lost For Words" (2011) on page 83. However, it is mislabeled as "Vowel Screen" (1986). -- Source of annotation: Marvin or Ruth Sackner.