Scope and Contents This page consists of three small rectangular panels in its right third and a collaged, almost obscured text from typed carbon backing on its left two thirds. The uppermost panel on the right side is a collage made from a logograph that also appears in Phillips' Dante's Diary book, entitled "WHYSPEND." The middle panel is a handwritten, micrographic portion of Phillips diary in which he discusses meetings with Peter [Greenaway] and viewing Edward Muybridge original photographs at the V&A. The lowermost panel consists of a rectangular collage made from the Sackner Archive stationery. The section on the right two-thirds of the drawing consists of the circular drawing WHYSPEND collaged onto the typed carbon backing of "the thirty three sheets of notes to accompany the Thames and Hudson edition of Dante. A careworn piece of paper." In this collage, only an illegible shadowy remnant of words remains. This drawing anticipates the typed carbon backing for the translation of Dante's...

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This page is divided into a grid of nine rectangles that are described by Phillips as "nine versions of 'many different tongues' connected to Dante and worked on on Sunday XV/VII, including scrambled script by myself, confused Mallock, random bank numbers, parts of the Sackner letterheading, reproductions of pictures of mine from Stuttgart & the Tate Gallery & Waddington Catalogue (after Dante in his study) & two fake scripts from scratch." -- Source of annotation: Marvin or Ruth Sackner.

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This page is dated August 24 and 28. Phillips has drawn ROTOR in a circle and DANTE AT THE FAIR in a rectangle at the upper left corner of the page. The handwritten text describes a rehearsal of the actors for the filming of A TV Dante. The blurred fragmented photocopies and photographs of a male figure arranged within a arc of a circle that presumably represents a clock, are meant to symbolize the passage of time. -- Source of annotation: Marvin or Ruth Sackner.

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In this drawing, Phillips describes the technical aspects of filming the flight of doves for a sequence of TV Dante. A drawing collaged onto the work is a line drawing of doves. Two colored photographic fragments in this work are stills taken from the Dante Inferno video. -- Source of annotation: Marvin or Ruth Sackner.

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Bluebeard's Castle by Ronald King, "Ein Deutsches Reqyiem - After Brahms" by Tom Phillips, "S.M.S." Issues No.1,3,4,5, "De Morandi" by Ian Tyson, and "Selected Shorter Poems" by Emmett Williams, which were exhibited, are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This booklet was written for a workshop in a grade school class and is a second edition of the book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Canto I/1 Phillips comments: The dense, direct and haunting opening to Dante's Comedy: Just halfway through this journey of our life I came awake to find myself inside a dark wood, way off course, the right road lost. shares immediately with the reader that claustrophobia of accumulated habit and error which reveals to human beings in middle life that they have been building a trap around themselves, which, having had no formal entrance, offers no apparent way out. In this image I have further developed a procedure used in several paintings from 1969 on (cf. Works/Texts to 1974 pp 74 & 184) involving stencilled letters. With the title phrase Una Selva Oscura (a Dark Wood) I have made a linguistic thicket by superimposing letters of different height so that this phrase crosses and cancels itself over and over again. Thus the title, moving in and out of phase, becomes the picture, in the manner of a fugue or canon in music. The motif, and variations on it, reappears throughout...

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On this DVD that runs 72 minutes, "Ruth and Marvin Sackner share their love of words and images with an intimate tour ot their Miami Beach home/museum - the largest private collection of its kind. Over sixty-thousand objects from around the world speak volumes about a compulsive and joyful lifeof collecting art, poetry, and artists books." -- Source of annotation: Marvin or Ruth Sackner.

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On this DVD that runs 72 minutes, "Ruth and Marvin Sackner share their love of words and images with an intimate tour ot their Miami Beach home/museum - the largest private collection of its kind. Over sixty-thousand objects from around the world speak volumes about a compulsive and joyful lifeof collecting art, poetry, and artists books." -- Source of annotation: Marvin or Ruth Sackner.

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This folder is a tribute to Erik Satie, along with an exhibition and concert on the 25th anniversary of his death. Tom Phillips and Ron King contributed the colored prints in addition to the black and white versions also in this folder. The Phillips print is a page of A Humument. There were 50 copies of a signed edtion with handcolored prints by Phillips and King and 30 artist proofs with handcolored prints by Phillips and King in this edition. -- Source of annotation: Marvin or Ruth Sackner.

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This folder is a tribute to Erik Satie, along with an exhibition and concert on the 25th anniversary of his death. This edition contains prints by Tom Phillips and Ron King in black and white. There were 50 copies of a signed edition with handcolored prints by Phillips and King and 30 artist proofs with handcolored prints by Phillips and King in this edition. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition was curated by John Furnival and Dom Sylvester Houedard. The latter wrote an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Tom Phillips, with the assistance of Alice Wood, created this quilt from fragments of fabric from costumes Phillips was designing for "Winter's Tale" at the Globe Theatre in London. Phillips writes, "For Autolycus I had supervised the making of a large patchwork cloak and was fascinated to see how humdrum pieces of the cloths of the world rather than of heaven when juxtaposed sang out as rich and rare. Some of the 'dye and drab' of the cloak of Autolycus started off this present piece." The text is from a poem by the Irish poet, William Butler Yeats titled "He wishes for the cloths of heaven." The poem reads, "Had I the heavens' embroidered cloths, - Enwrought with the golden and silver light, - The blue and the dim and the dark cloths - Of night and light and half-light, - I would spread the cloths under your feet - But I, being poor, have only my dreams; - I have spread my dreams beneath your feet; - Tread softly because you tread on my dreams..." The letters of the poem are...

Scope and Contents Tom Phillips, with the assistance of Alice Wood, created this quilt from fragments of fabric from costumes Phillips was designing for "Winter's Tale" at the Globe Theatre in London. Phillips writes, "For Autolycus I had supervised the making of a large patchwork cloak and was fascinated to see how humdrum pieces of the cloths of the world rather than of heaven when juxtaposed sang out as rich and rare. Some of the 'dye and drab' of the cloak of Autolycus started off this present piece." The text is from a poem by the Irish poet, William Butler Yeats titled "He wishes for the cloths of heaven." The poem reads, "Had I the heavens' embroidered cloths, - Enwrought with the golden and silver light, - The blue and the dim and the dark cloths - Of night and light and half-light, - I would spread the cloths under your feet - But I, being poor, have only my dreams; - I have spread my dreams beneath your feet; - Tread softly because you tread on my dreams..." The letters of the poem are...

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The design of the dust jacket and 40 black and white grainy photographic images were provided by Tom Phillips to illustrate Willliams' poems. The book and its typography were designed by Donato Cinicolo 3 who employed a large variety of typefaces including those from a typewriter. Jonathan Williams also contributed notes on the poems as well as an afterword. A slip inserted into the book states that as a result of a disagreement between the publishers and one of the authors over the book design, the publishers decided not to publish it. Before this decision was reached, 120 copies were bound and distributed to friends of the Trigram Press. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The design of the dust jacket and 40 black and white grainy photographic images were provided by Tom Phillips to illustrate Willliams' poems. The book and its typography were designed by Donato Cinicolo 3 who employed a large variety of typefaces including those from a typewriter. Jonathan Williams also contributed notes on the poems as well as an afterword. -- Source of annotation: Marvin or Ruth Sackner.