Taken from pete spence's Archive 1998. -- Source of annotation: Marvin or Ruth Sackner.

This work, which was commissioned by the Sackner Archive, was subsequently made into a limited edition print with the same title. The main poem in the center of the work, constructed as a paper relief from clippings of newspapers and magazines with varied typefaces and dimensions, begins "I am writing a letter on the back side of a cloud." Other briefer poems are also incorporated into the work using fragments of different languages. The major visual image is a paper relief man-feathered-animal like figure with a poem as its tail. -- Source of annotation: Marvin or Ruth Sackner.

The print was reproduced from a unique collage held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This print was reproduced from a unique collage commissioned by the Sackner Archive; a caption at the bottom of the print makes mention of this. -- Source of annotation: Marvin or Ruth Sackner.

Print was reproduced from a unique collage commissioned by the Sackner Archive. Barron writes specific instructions to the printers on both margins of the proof. This is the second proof run by the printers. -- Source of annotation: Marvin or Ruth Sackner.

Prints were reproduced from a unique collage held by the Sackner Archive. This proof, according to the artist, is the penultimate proof run "before the real thing." Includes specific instructions for changes to the printer. -- Source of annotation: Marvin or Ruth Sackner.

The Sackners purchased a cube sculpture paper covered in Sanesi's typical colored calligraphy of ink and gauche from the exhibition at the Palazzo Reale in Milan in 1983 titled "Jarry e la patafisica." Sanesi was born in 1930 and died in 2002. -- Source of annotation: Marvin or Ruth Sackner.

This complex collage, an illustration for Jules Verne's "Aound the World in Eighty Days," depicts a parade and a mob scene with American voting slogans and company names. The main image was cut from an engraving done around 1900. An exhibition catalogue of Kolar, Mesens, Schwitters & Hoffmeister at Grosvenor Gallery, st that Hoffmeister "...was the first artist to use typography as a total compositional medium regardless of the meaning of the actual words, concentrating on the purely visual image." Wescher (Collage 1968) wrote that he was the grand master of collage. This collage is depicted in Adolf Hoffmeister This collage is not depicted in the Adolf Hoffmeister book 1902-1973 edited by Karel Srp on page 283. -- Source of annotation: Marvin or Ruth Sackner.

Each of the 16 print rerproductions of the collages are stored within a folded unbound page. The German translation of the words in the collages is printed on the inside right cover of the unbound page. The photocollages reproduced in this portfolio are among the best visual poems of this era of Soviet history. The original of the montages are currently housed in the collection of the State Literary Museum, Moscow. -- Source of annotation: Marvin or Ruth Sackner.

Text in the form of an intersecting square grid has been written in black ink on a white painted surface. Spots of red paint are placed at random overlying the grid. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by S.J.Schmidt. -- Source of annotation: Marvin or Ruth Sackner.

Image consists of printed material from magazines that depicts two, posed, female nudes in side view surrounded by Italian and English words and phrases. The title of this work appears as collaged, printed text at the upper left section of the piece. -- Source of annotation: Marvin or Ruth Sackner.

Consists of portraits of 11 art and book arts collectors, including Marvin Sackner who is depicted as a flying airplane. The documentation sheet is attached inside the box top. -- Source of annotation: Marvin or Ruth Sackner.