Three wooden objects and a thimble are placed upright in a bed of beige colored gravel like a dessert landscape. The text is rubberstamped on paper inside the lid and reads "I am the grain of truth...I hold the vessels of history and shatter them at Inside the lid is a small coffin-like wooden box; a black box on the outside has a metal capital "F." This sculpture symbolizes the puppeteer, a founder of an imaginary civilization, the Hegamons, who is described on p. 17 of the book in the title. -- Source of annotation: Marvin or Ruth Sackner.

This print was commissioned by the Temple University School of Pharmacy, Marvin Sackner's undergraduate college. It depicts the counter of the old Morgan Pharmacy originally housed at 17th & Walnut St., Philadelphia. -- Source of annotation: Marvin or Ruth Sackner.

2700 copies were bound in soft covers. -- Source of annotation: Marvin or Ruth Sackner.

This a photocopied facsimile of a sketchbook. The original was in black and white rendered with ink. Laffoley notes that this facsimile is complete. -- Source of annotation: Marvin or Ruth Sackner.

Includes clipping from the periodical "Performance" reviewing the exhibition. The catalogue features a reproduction of "The Crisis of Western Education," a wall sculpture held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The proceeds from this book went to support people with AIDS. -- Source of annotation: Marvin or Ruth Sackner.

These drawings were made on pages 12 & 5, and pages 28 & 21 of a book on astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The pages themselves have engravings and marginalia that Macia has incorporated into his new images. Macia related that he was inspired to make these drawings after visiting the Sackner Archive and viewing Tom Phillips' A Humument. -- Source of annotation: Marvin or Ruth Sackner.

These drawings were made on pages 68 & 89, and pages 112 & 15?] of a book on astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The pages themselves have engravings and marginalia that Macia has incorporated into his new images. -- Source of annotation: Marvin or Ruth Sackner.

These drawings were made on pages 32 & 17, and pages 42 & 39 of a book on astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The pages themselves have engravings and marginalia that Macia has incorporated into his new images. The relief elements were cut from other pages in the book. -- Source of annotation: Marvin or Ruth Sackner.

These drawings were made on pages 110 & 99, and pages 70 & 75 of a book on astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The main image in the upper drawing is a spider; Macia has created its web by repetitive writing of a poem by e.e. cummings, when skies are, in an almost micrographic style. -- Source of annotation: Marvin or Ruth Sackner.

These drawings were made on pages 46 & 35, and pages 54[?] & 61 of a book on astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The pages themselves have engravings and marginalia that Macia has incorporated into his new images. The upper drawing depicts Macia's conception of the Tower of Babel. -- Source of annotation: Marvin or Ruth Sackner.

This is a collage novel with words. It contrasts to Max Ernst's collage novels that are written without words. The copious number of illustrations for the novel consist of copperplate engravings collages mostly taken from issues of the Illustrated London News 1860-1900. -- Source of annotation: Marvin or Ruth Sackner.

This is a reprinting of the hard cover book published by Gabberbochus. The copious number of illustrations for the novel consist of copperplate engravings collages mostly taken from issues of the Illustrated London News 1860-1900. -- Source of annotation: Marvin or Ruth Sackner.

This a photocopied facsimile of a sketchbook. The original was in ink and color with a single collage. Laffoley notes that this facsimile is incomplete. -- Source of annotation: Marvin or Ruth Sackner.

The collage on the recto was made by John Held, Jr. -- Source of annotation: Marvin or Ruth Sackner.

Commissioned for "The Beauty In Breathing" exhibition. The upper half of this picture depicts a tube-like structure connected to a larger semi-circular one, presumably a highly stylized representation of the lungs. White squiggley lines on a black ground within the latter give an appearance of oceanic tides, thereby providing a metaphor for the title of this work, i.e. Tidal Breathing. The lower half of the picture contains untranslatable hieroglyphics by Ely, his charactistic gestural marks. -- Source of annotation: Marvin or Ruth Sackner.

Barbera was a student in the New World School of the Arts in Miami and was inspired to make this collage when she saw the exhibition "Visual Hothouse" in the Centre Gallery MDCC, that was on loan from the Sackner collection. -- Source of annotation: Marvin or Ruth Sackner.