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This review of Saul Steinberg's exhibitions at the Morgan Library and the Museum of the City of New York describes "mysterious documents [that] appear often: sheets of impenetrable pseudo-writing punctuated with the featureless photographs, fictive seals and stamps, and incomprehensible signatures of nightmare bureaucracies." The Sackner holds one such documentary drawing. -- Source of annotation: Marvin or Ruth Sackner.

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Bonnie Clearwater, curator of the exhibition, contributed an essay relating the works and underlying themes of the work of Steinberg and Pettibon. -- Source of annotation: Marvin or Ruth Sackner.

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Butor and Rosenberg wrote introductory essays to Steinberg's illustrations that feature viewers gazing at a cubist painting, photographs of people wearing Steinberg decorated paper bag masks, landscape, cityscapes, air mail motifs, cartoons with micrographic calligaphic markings, images involving music records, labyrinths, feigned ancient battles, pyramids, and bird-like people among others. Three hundred copies of the book were released with a signed lithograph; this copy is not part of that edition. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalogue. The Sackners bought Mary Baumeister's assemblage, "Literatur-E" at this auction. -- Source of annotation: Marvin or Ruth Sackner.

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Includes a large number of Finlay listings. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalogue. Depicts an Untitled drawing by Saul Steinberg (No.128) that was purchased by the Sackers at this auction. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue was printed for the retrospective exhibition of Steinberg's work at the Whitney Museum of American Art in 1978. -- Source of annotation: Marvin or Ruth Sackner.

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The art critic Harold Rosenberg described Saul Steinberg as "a writer of pictures, an architect of speech and sounds, a draftsman of philosopical reflections." -- Source of annotation: Marvin or Ruth Sackner.

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Joel Smith is the writer of the texts and editor of the images. The covers are catagorized into sections including At War, Art World, On a Pedestal, Steinberg's Century. Ian Frazier contributed a forward. In addition to the covers, many black and white drawings from the interior pages of The New Yorker are included. -- Source of annotation: Marvin or Ruth Sackner.

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This book is a collection of line drawings that appeared in The New Yorker, Harper's Magazine, Life, etc. It deals with false dicuments, passports, diplomas, certificates, false photographs, false etchings, false wine labels, letters, manuscripts, fingerprints, cowboys, games, rubberstamp architecture, slums, skyscrapers, cacography, etc. There are 350 drawings in this book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In the Diary series, Sterne is quoted, "Maybe I am saying something which is a truism, but I feel that my work all along was like a dairy." The artist "effortlessly weaves paraphases of quotes by poets, novelists, philosphers, and theologians throughout her conversations, enjoying their ability to communicate a polyphony of diverse yet interrelated ideas. She has noted, 'all in all my greatest mentors were always books.' Although establishing direct corollaries between her paintings and books that have influenced her remins impossible, Sterne's Diary series reveals the central role they play in her thought process as well as her work. For several months in 1976, Sterne placed blank, unstretched canvases on the floor of her main living space (which then, as now, functions as kitchen, dining room, and living room), and then drew a grid patterrn on each. Daily, she filled one square grid with either a quote of her own thought and the date. The handwriting in each square alternates...