This is aimage of Xmas Rose, a fishing boat, with a listing of its Port Letters, Fishing Numbers, Radio Call Sign, Net Tonnage, and Gross Tonnage. With the exception of the name Xmas Rose printed in red, the remainder iis printed in black. -- Source of annotation: Marvin or Ruth Sackner.

This represents a posthumous homage to Dom Sylvester Houedard from John Furnival who reprinted the poet's most famous poems and included a photographic silkscreened portrait as well as two photographs of the poet. Contains a tribute page by Marina Warner which she begins with "A letter from dom Sylvester Houedard was an archive (though always succinct), a poem (of an unusual kind), and, sometimes, a personal message of touching kindness..." Marina Warner provided an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

The cover of the card depicts Emmett Williams' poem "SolDIEer." -- Source of annotation: Marvin or Ruth Sackner.

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.

A man's portrait is in the foreground. Behind him are the spires and roof tops of an British city. Stored in Odds & Sods. -- Source of annotation: Marvin or Ruth Sackner.

The edition size is unknown. This print is depicted on page 142 of Furnival's book, "The Locative-Vocartive Cases." -- Source of annotation: Marvin or Ruth Sackner.

This manifesto on the "New Poetry" was drawn up by an international group of poets who are listed as contributors. Other poets working in this field are cited in the contributor field. According to this document, the new poetry can be classified as concrete poetry, phonetic poetry, objective poetry, visual poetry, and sound poetry, Othe related poetries include cybernetic poetry, serial poetry, permutations, word sounds, etc. The major periodicals publishing new poetry are as follows: 1) Germany: Rot, Texturen; 2) England: Poor Old Tired Horse; 3) Belgium: De Tafelronde; 4) Brazil: Invencao, Praxis; 5) France: Cinqueme Saison, Les Lettres; 6) Holland: Kentering; 7) Japan: Vou; 8) Switzerland: Konkrete Poesie; 9) Austria: Manuskripte. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue features the prints of Ian Hamilton Finlay. -- Source of annotation: Marvin or Ruth Sackner.

Depicts purple overprinted letters, the A and Omega, in the shape of a regular cross. -- Source of annotation: Marvin or Ruth Sackner.

This is a reprinting of a print from the portfolio, "Evelines, Headlines," done in collaboration with Furnival's first group of students and Ian Hamilton Finlay. According to Furnival, the portfolio sprang from a drawing that his daughter did of The Flying Scotsman - literally a Scotsman in a kilt with angel's wings. With respect to this poem, it might be a take-off on Basho's famous poem, Frog Pond Plop. -- Source of annotation: Marvin or Ruth Sackner.

The print depicts a drawing of a tree barren of leaves, presumably in the Furnival's house in southern France that is captioned "What sort of Job!" -- Source of annotation: Marvin or Ruth Sackner.

A large grainy photographic portrait of Eric Satie is the center image with the words "Real I" drawn in three dimensions at the top and "Sing" at the bottom. The title can also be pronounced "realizing." -- Source of annotation: Marvin or Ruth Sackner.

Depicts a low resolution photographic portrait of Erik Satie surrounded by handcolored colored borders. Stored in Odds & Sods. -- Source of annotation: Marvin or Ruth Sackner.

The drawing is dominated by the listing of four silkscreened words listed from top to bottom, viz., Norther, Easter, Wester and Souther. Wide colored lines in a meandering fashion like unwound, tangled tape from a casette cross, encircle and go under the four directional words. The caption below these words reads, Regional News: one line the shortest distance between two points bing the prettiest. On the right side, Furnival draws in graphite, Paris c'est beauborg n'est pastiche. -- Source of annotation: Marvin or Ruth Sackner.

This book reproduces segments from Furnival's standing screens as well as presenting an anti-Vietnam war collage. -- Source of annotation: Marvin or Ruth Sackner.

In an introductory essay, Mary Ellen Solt traces concrete poetry historically and analyzes spcifically the work of Lax as related to Eugen Gomringer, Augusto De Campos and Ian Hamilton Finlay. Michael Basinski and Robert Bertholf provide an essay on "Zines," a generic term for a self-generated, cheaply produced (folded and stapled photocopied sheets), radically independent magazine. The exhibition included works of 167 international, concrete and visual poets. -- Source of annotation: Marvin or Ruth Sackner.

This print is part of the Nailsworth series and depicts Bronowski, a famous art-populariser in the fifties, who as a Polish Jew escaped from the Nazis; he worked as a scientist in England. The Furnivals lived in this cottage prior to moving to Rooksmoor. Stored in the Locative and Vocative Case. -- Source of annotation: Marvin or Ruth Sackner.

Caption for a line drawing of Sam Palmer (identity?) lying on Salisbury Plain (Stonehedge) in the night and "cogitating whether the moon is Fulvous (tawny), Gibbous (whether the moon is more than half full) or Fulgurant (flashing like lightening). This drawing is stored in Odds & Sods. -- Source of annotation: Marvin or Ruth Sackner.