Scope and Contents

The cover drawings were composed by Jean-Pierre Nadau and four ink on paper drawings are illustrated in the catalogue. The descriptive text states that Nadau also draws in ink on large rolls of paper. His compositions, saturated with fantastic architectures, of inscriptions and of people, may reach six metesr in length. The Sackner Archive holds one such drawing titled "Paris Big Bang.' This work is stored in a box with other Nadau material. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The first section, Gastonomie is subtitled "Extracts of a greenish guide 2263 - a selection of the best tables for greedy mandibles." It consists of six illustrations of constructivistic multi-colored designs and three pages of descriptive lists. the second section, Fertilite, consists of grids of 25 colored, fantastic creatures with made-up titles below each crature in the grid boxes. Nadau writes on the back cover "Twenty-third century: The humane vermin is positively auto destructive. Unnamable unknown plants send forth on toxic lemon and fertile humus putrifying ossuaries. Doped by the moist chemicals and radioactivity, the insects become very intelligent, taking (?) the relay, and by consequence constructing gastronomique restaurants." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a densely packed visual novel related to a crime. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book consists of reproductions of Nadau's drawings. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This card accompanied the gift of nine small ink drawings to the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Camille Clovis Trouille, was born on 24 October 1889, in La Fère, France. He worked as a restorer and decorator of department store mannequins, but is remembered as a Sunday painter who trained at the Ecole des Beaux-Arts of Amiens from 1905 to 1910. He died on 24 September 1975 in Paris. His service in World War I gave him a lifelong hatred of the military, expressed in his first major painting Remembrance (1931). The painting depicts a pair of wraith-like soldiers clutching white rabbits, an airborne female contortionist throwing a handful of medals, and the whole scene being blessed by a cross-dressing cardinal. This contempt for the Church as a corrupt institution provided Trouille with the inspiration for decades of pictorial blasphemies: Dialogue at the Carmel (1944) shows a skull wearing a crown of thorns being used as an ornament. The Mummy shows a mummified woman coming to life as a result of a shaft of light falling on a large bust of Andre Breton. The Magician (1944) has...