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The Sackner Collection is mentioned as holding Guillot's work. -- Source of annotation: Marvin or Ruth Sackner.

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Titled Dante in Winggield, Phillips writes that Astrid Furnival " has knitted me a new Dante sweater from the olive oil label etc." An actual label is collaged on the right side of this page next to a tag for Dante yarn. The newsprint is an advertisement of Dante's Inferno which is described "in the Sunday Times as stupendous, breathtakingly sumptous...epic...impressive limited de-lux edition took seven years to make." The handwritten dairy continues the tale of progress with a TV Dante. -- Source of annotation: Marvin or Ruth Sackner.

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Titled "Dante on Broadway II" this collage has fragmented newspaper clippings from the New York Times of Le Bernadine Restaurant where Phillips writes that he had lunch with Marvin and Ruth Sackner and Martin and Diane Ackerman. Also collaged is the obituary of Dante scholar John Ciardi, a torn portion of the announcement of Phillip's talk at the Center for Book Arts and an announcement of a concert in Boston with Leo Phillips. -- Source of annotation: Marvin or Ruth Sackner.

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Titled "Dante on Broadway" this collage contains handwritten and collaged additions describing Phillips' opening exhibition at the Center for Book Arts. Collaged elements include a match book cover from the Noho Star, the graphic design logo for Hero Boy, a picture on Mickey Rooney and Judy Garland holding a Broadway sign and the Hebraic calligraphy for 2nd Ave Deli. Phillips comments that there was a "very lively and successful opening on Broadway with lots of people close to me there, Leo and Ruth, the Sackners, the Ackermans and of course Richard [Minsky] who has made such a wonderful job of curating the exhibit ." -- Source of annotation: Marvin or Ruth Sackner.

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This collage follows Phillips from London to Jamaica to Miami Beach. A hand addressed label in the upper right corner from Ruth and Marvin Sackner to Tom Phillips has the following written message: "25th Nov 1986 arrives the Sackner catalogue herein after known as the whopper with a list of their holdings & nominally all the important Dante material." A record of Phillips' diary entries are written on the left side of the collage dating from November,1986 to March 1987. An invitation to an exhibition of Phillips' graphic works at the National Gallery of Jamaica is collaged at the top center. Phillips includes a portion from the Dante piece by Paul Laffoley hanging in the Sackner Archive. l -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive lent the painted triptych, "The Divine Comedy" to the first retrospective exhibition of Laffoley's paintings. This work is illustrated in the fold out pages and mentioned in the essay of Jeanne Marie Wasilik. J.W. Mahoney discussed the photographically reproduced serigraph, "The Alchemy of Breathing." The original drawing of this work was commissioned for the '"Beauty of Breathing" exhibition and is held by the Sackner Archive. Paul Laffoley contributed an insightful autobiographical essay in which he writes about his current project on the Pantheon. He also made collages expressly for illustrating this catalogue. Each of the paintings reproduced in the catalogue has an in depth comment by the Loffoley. The exhibition was curated by Elizabeth Ferrer, Director of the Austin Museum of Art. -- Source of annotation: Marvin or Ruth Sackner.

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Ruth and Marvin Sackner are listed among "America's Top 100 Collectors" as collectors of art with text and artists' books. -- Source of annotation: Marvin or Ruth Sackner.

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Tom Austin wrote an essay, "The Power of the Pen," in which he describes the Sackner Archive as the world's largest privately held collection of text art. The essay is illustrated with eight colored photographs by Chris Little. -- Source of annotation: Marvin or Ruth Sackner.

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Review of the ICA exhibition "Personal Choice: Selections from Four Penn Alumni Collections" at the University of Pennsylvania in which the Sackner Archive participated. -- Source of annotation: Marvin or Ruth Sackner.

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Includes a photograph of panelists of the symposium "Books As Art" sponsored by the Boca Museum and FAU Friends of the Libraries. The Sackners participated in the panel and lent several books to the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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Sramak indicates that the Sackner Archive holds the following of his books: 1) What Angels Think, and 2) Watching. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This consists of all three books of this epic poem. It is inspired and sourced in fields as diverse as the Old Testament, quantum physics, hermetics, Marcel Duchamp, The Tibetian Book of the Dead, Haitian Voodoo, and the music of Bartok and John Coltrane. Its message is both dark and luminous and is a visionary work summoning "liberation in all its forms."Sue Walker Internet: Brambu Drezi: Words that define liberation, that are beyond boundaries, that testify to the genius of Jake Berry. Brambu Drezi: a Wittgensteinian rendering of: "We feel that even if all possible scientific questions be answered, the problems of life have still not been touched at all. But of course there is then no question left and just this is the answer." Brambu Drezi is an answer. It is without definition; it is a master poem, three books in one, a [dis]connected process, experiential musicology, a study in sound, line, and beat and flow and genesis of what has been and is, collated into an Eliotic time...

Scope and Contents This consists of all three books of this epic poem. It is inspired and sourced in fields as diverse as the Old Testament, quantum physics, hermetics, Marcel Duchamp, The Tibetian Book of the Dead, Haitian Voodoo, and the music of Bartok and John Coltrane. Its message is both dark and luminous and is a visionary work summoning "liberation in all its forms."ue Walker Internet: Brambu Drezi: Words that define liberation, that are beyond boundaries, that testify to the genius of Jake Berry. Brambu Drezi: a Wittgensteinian rendering of: "We feel that even if all possible scientific questions be answered, the problems of life have still not been touched at all. But of course there is then no question left and just this is the answer." Brambu Drezi is an answer. It is without definition; it is a master poem, three books in one, a [dis]connected process, experiential musicology, a study in sound, line, and beat and flow and genesis of what has been and is, collated into an Eliotic time...

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The four books making up this exhibition catalog, which in itself can be classified as an artist book, comprise the topics, Sculpture, Artist and Process, Related Objects, and Bookworks. The latter includes Marvin Sackner's critical essay, "Who Says Thirteen Is Unlucky?" The theme of several of the pieces in the exhibition is Satin's adaptation of John Cage, Jasper Johns and Merce Cunningham's collaborative work, "Dancers on a Plane." -- Source of annotation: Marvin or Ruth Sackner.

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Xenakis's Journal of 1974 is depicted that is also held by the Sackner Archive. The Sackner Archive catalogue of 1984 that list this and other works by Xenakis is listed in the bibliography of this book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This first page from Dante Diary, which is dated from February 28, 1979 to March 19, 1979, includes several indirect references to Ruth and Marvin Sackner. First, there is a sketch of a large drawing which was subsequently acquired by the Sackner Archive, "Letters from a Crane Skin Bag." Then Phillips mentions that Grove Press is working on a portfolio of Dante heads for "Martin Ackerman's [financial] scheme. Phillips introduced Ackerman to the Sackners who became became a close personal friends as well as continuing supporters of Phillips' work. Tom Phillips writes that a portrait of Hilary Hugh-Jones is in progress in the studio. Hugh-Jones was a friend of the Sackners. "Pella meets me from Edinburg" refers to Pella Erskine-Tulloch, Tom's bookbinder and friend whose work is well represented in the Archive. Finally, Phillips composed a poem about Mallarme whose most important work, "Un Coup de Des," became the initial starting point for the Sackner Archive collection. [There was...

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This second page from Dante Diary, which is dated from March 27, 1979 to April 19, 1979, includes a direct reference to Marvin Sackner. Philllips mentions discussing with him regarding self publishing Dante's 'inferno.' There are several, diverse sketches depicted on this page including a portrait of Hilary Hugh-Jones near the center at the the lower border. Her husband Philip Hugh-Jones, a British pulmonary physician was a friend of Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

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This third page from Dante Diary, which is dated from May 10, 1979 to July 10, 1979, mentions Phillips' visit with the Sackners and receiving "good Miami postcards from Sara Sackner." The sketches on its right side depict installation plans for the British Council Show and a standing man wearing shorts viewed from the rear who appears to be in position for urinating against a wall. In addition, Phillips has sketched small drawings of Inferno pages (Una Selva) and a partially completed devil-like figure at the lower right corner. -- Source of annotation: Marvin or Ruth Sackner.