The loose sheet is from one of a series of works of an unlimited edition that are given away free (entitled, Helms Amendment 1987...) -- Source of annotation: Marvin or Ruth Sackner.

Fahlstrom provides instructions for cutting out figures in this print and mounting in other places. The print was part of a portfolio of prints by other artists issued by Tanglewood Press (New York International). *WEB 1998: Sharon Avery-Fahlström. The correct title is "Eddie (Sylvie's brother) in the Desert." Sackner: corrected. -- Source of annotation: Marvin or Ruth Sackner.

Curate is a British term for the assistant to a vicar of the Church of England. The egg shell has been divided into 16 segments, each with a different style of line-drawn hatchings. A lower case letter appears in negative relief on ten of the segments which spells, "excellent." This is a spoof on the British religious tradition. -- Source of annotation: Marvin or Ruth Sackner.

This was the first purchase by the Sackners of a Tom Phillips artwork. It was acquired fom Galerie Bama in Paris. According to the colophon, this is a suite of 12 lithographs bvased on Brahms Opus 45. The images were derived from postcards collected by Phillips in Germany and have inset texts, which are treated fragments of the novel 'A Human Document' by W H Mallock, and titles quoting the textural material of the Requiem itself. One of the prints has been framed and hangs in the first floor hallway. In the BBC Music magazine (JUne 2013), comments about the CD of the month Brahms's 'A German Requiem' included the following.This Requiem does not mention Jesus nor is there a fire-breathing 'Dies Irae' striking fear into souls of potentially errant isteners! This is a requiem that sets a German not Latin text to music and doesn't pray for the well-being of the dead but instead comforts the living. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was the first complete showing of Lissitzky's work in England. David Elliot contributed a chronological essay on Lisstizky's career, and Lissitzky himself a posthumous autobiography and essays descibing his works. The poster, "Beat the Whites with the Red Wedge," which is illustrated in the catalogue was loaned by the Stedelijk van Abbemuseum in Eindhoven as a letterpress reprinting from 1968. The Sackner Archive holds a copy of this important political print which is thought to be an original print from 1919 and differs in imagery from this reprint. The Sackner Archive also holds Proun 2D listed but not illustrated in the catalogue, For the Voice, USSR in Construction, and the catalogue for the International Press Exhibition. -- Source of annotation: Marvin or Ruth Sackner.

The photgraph depicts an inscription carved on black Belgian Marble. It recounts the attempt to create a new Republican Calendar during the French Revolution. -- Source of annotation: Marvin or Ruth Sackner.

The image in shades of brown-grays, tipped to the inside of the card, depicts a sailing ship with hoists resembling bird beaks. The foreground shows the sea with smudges resembling an oil slick. In the background is a shore line. No birds appear in t perhaps because petrol leaks from an oil tanker have contaminated their feeding environment. Whimbrel and Petrel are sea shore birds which might be rendered extinct because of lack of attention to oil spills - hence the use of "Elegy" in the title. -- Source of annotation: Marvin or Ruth Sackner.