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This limited addition multiple was made in commemoration of the 20 years that had elapsed since de Charmoy had exhibited in this gallery (an anouncement of the 1976 exhibition is held by the Sackner Archive). It consisted of a bread roll onto which was applied an icing reading, 1976/1996 HC2. -- Source of annotation: Marvin or Ruth Sackner.

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The drawing depicts a large almost round, unidentifiable mass of densely pack words and letters, numbers and marks written in varied styles. A hanging abstract figure is placed adjacent to this mass. -- Source of annotation: Marvin or Ruth Sackner.

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This print depicts five amorphous shapes filled with dense black abstract markings. -- Source of annotation: Marvin or Ruth Sackner.

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This print depicts two architecturally-like shapes that have dense abstract markings, line drawn faces and clocks. -- Source of annotation: Marvin or Ruth Sackner.

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The text was first written by de Charmoy in English. A French translation by Daniele Devitre was published in RESSAC No.2 Geneva 1981. Illustrations of hands accompany the non-fictional text. -- Source of annotation: Marvin or Ruth Sackner.

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This is a section cut from a larger damaged painting. -- Source of annotation: Marvin or Ruth Sackner.

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The print consists of rubberstamped words in English and French arranged to form a visual poetic image of a landscape. -- Source of annotation: Marvin or Ruth Sackner.

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The print consists of rubberstamped words in English and French arranged to form a visual poetic image of a landscape. -- Source of annotation: Marvin or Ruth Sackner.

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The print depicts a photograph of a seated pope with collaged elements of a female torso in the opening of the papal robe and the body of nude ancient stature pointing his arm at the pope's forehead. A paper doily is collaged below the papal image. -- Source of annotation: Marvin or Ruth Sackner.

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This book contains texts, images, collages, graphics and photographs by the two authors. -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue has several introductory essays including one contributed by Marvin Sackner. Other sections include a) Books, b) Unique Manuscripts & Books, and c) Drawings, Prints, Posters & Miscellaneous. Fifty catalogues had an accompanying print. The print is a red and blue colored concrete poetic landscape image formed by rubberstamping words in French and English. The unbound pages provide translations for the critical essays written in French. The print is stored separately in a de Charmoy box. -- Source of annotation: Marvin or Ruth Sackner.

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This detail of a large painting consists of rubberstampings of the names of contemporary artists and poets utilizing concrete and visual poetry or language in their visual works. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Cozette de Charmoy writes in the colophon, "In 1806 Hegel saw the Rhino pass under his window in the stsreets of Jena. He understood at once. He said to himself 'This is the end of history.' More than a century later, Alexander Kojeve saw the Rhino (a metaphor for Salin) in the streets of Moscow. He understood, he left immediately." the following was taken from a WEB site: "Kojeve was a French philosopher (1902-1968), born Aleksandr Vladimirovich Kozhevnikov in Russia. Kojève studied in Germany (Heidelberg) where, under the supervision of Karl Jaspers, he completed a thesis (Die religöse Philosophie Wladimir Solowjews, 1931) Vladimir Solovyov, a Russian religious philosopher deeply influenced by Hegel. He later settled in Paris, where he taught at the Ecole Pratique des Hautes Etudes. Taking over from Alexandre Koyré, he taught a seminar on Hegel from 1933 till 1939. Along with Jean Hyppolite, he was responsible for the serious introduction of Hegel into French thought. His...

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Depicts an Eiffel Tower like image collaged from other famous buildings in history. -- Source of annotation: Marvin or Ruth Sackner.

The second copy is signed to Sara.

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Depicts different views of the nose. -- Source of annotation: Marvin or Ruth Sackner.

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Print was made using the visual components of the poster from an exhibition at Galerie Annie Lagier with Burka and de Charmoy. -- Source of annotation: Marvin or Ruth Sackner.

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The image in blue and black inks consists of Albert-Birot's poem set in conventional typography, and rubberstamping text and abstract expressionistic flourishes with diagrams by de Charmoy. -- Source of annotation: Marvin or Ruth Sackner.