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.

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.

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.

Dated 8-14 March 1971.

Consists of representative examples of the different types of Kolar's collages. Gilbert Lascault wrote a critical essay at the end of the book. -- Source of annotation: Marvin or Ruth Sackner.

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

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

A visual poem is printed on each page. -- Source of annotation: Marvin or Ruth Sackner.

This is a complex drawing dealing with a stylized white faced, portrait of a pharmacist working at a counter next to a bed that has bottles placed on its top surface. There is no vanishing point of three dimensionality. Shelves with colored bottles are placed at the top of the drawing along with a pair of white curtains painted with a red cross. Written and printed text surround the image in a chaotic fashion. The paper was made from cardboard egg crate carton material. -- Source of annotation: Marvin or Ruth Sackner.