Scope and Contents

The colophon called for10 prints in this volume but instead it includes 32 prints. The edition size was 100 copies and 25 copies hors commerce. The pages were silkscreened by Kelpra Studio London. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The colophon called for10 prints in this volume but instead it includes 32 prints. The edition size was 100 copies and 25 copies hors commerce. The pages were silkscreened by Kelpra Studio London. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The colophon called for10 prints in this volume but instead it includes 32 prints. The edition size was 100 copies and 25 copies hors commerce. The pages were silkscreened by Kelpra Studio London. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The colophon called for10 prints in this volume but instead it includes 32 prints. The edition size was 100 copies and 25 copies hors commerce. The pages were silkscreened by Kelpra Studio London. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The colophon called for10 prints in this volume but instead it includes 42 prints. The edition size was 100 copies and 25 copies hors commerce. The pages were silkscreened by Kelpra Studio London. There are two boxes labelled Vol. X. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The colophon called for10 prints in this volume but instead it includes 42 prints. The edition size was 100 copies and 25 copies hors commerce. The pages were silkscreened by Kelpra Studio London. The colophon is not signed.Theer are two boxes labelled Vol. X. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition was held at the time of Tom Phillips' Slade lectures in Oxford. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is an English translation of an article in the periodical, Berenice that compares Sackner to Jacques Doucet, a Parisian couturier who established a great collection of the avant garde of the early twentieth century. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

For this piece that is based on a die, Tom Phillips lettered the text in varying numbered circles. the lettering is in the style of his text based wall sculptures where each letter is linked to adjacent ones. The text is the title of the poem "Un Coup de Des Jamais Abolira le Hazard" by Stephane Mallarme. Phillips writes that, " the first line of the foundation poem of chance procedures (and concrete poetry in general), outlines another dilemma which I translate as 'A throw of dice will never do away with chance'. Each dot on these giant dice incorporates the line and through the mysteries arising from the solid geometry of a transparent cube each "throw" gives rise to new configurations as chance plays its second role. Looked at from the sides, from the corners and from above, the cube's symmetry produces illusions and paradoxes of perception, hints of mirrors and fractures appropriate to each of these statements." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The title is repetitively printed in light brown color on a tan background in a 45 degree orientation. The tie for which this drawing was done was commissioned on behalf of Unicef, United Nations Children's Fund. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The title is printed repetetitively in light brown color on a tan background in a 45 degree orientation. The tie was commissioned on behalf of Unicef, United Nations Children's Fund. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The title is printed repetetitively in light brown color on a tan background in a 45 degree orientation. The tie was commissioned on behalf of Unicef, United Nations Children's Fund. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The text reads " Based on excerpts of skin from postcards of South Africa Rhodesia & South West Africa and of their land and skies." The Sackner Achive hold a photograph of this work. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This collage depicts a newspaper clipping of two photographs of Tom Phillips in France with Peter Greeneway and other attendees at an art and cinema festival. The left side of the collage depicts a drawing of a cubist head on green paper that Phillips made during one of the dinner events.The page is dated XVI.III.LXXXV. Synopsis of the 35 drawings/collages in this suite:he drawings are numbered, viz., in 4 (April, 1985), Phillips mentions having dinner with Marvin Sackner and the Ackermans in London when Marvin inspects the archive copy of Dante's Inferno. In 19, he notes sending original MS books to the Sackners. In 23 (April, 1986), Phillips recalls lunch with Marvin in NYC; in 24 he describes his exhibition at the Center for Book Arts and meeting with the Sackners. In 31 (March, 1987) he mentions meeting the Sackners in Miami and comments on Laffoley's Dante's Divine Comedy paintings (held by the Sackner Archive) through the article that appeared in Sulfur magazine. This work...

Scope and Contents

This page depicts three word drawings in the top center and the large painted word APNAL with the P collaged over with torn handwritten papers. Canto V is framed at the bottom center and "the lustful" is written in graphite five times on the right hand side. On XXVII.XII.LXXXIV Phillips writes "Proof reading the T & H Dante with Hansjorg". The remainder of the handwritten text in green ink describes his work on a TV Dante. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This page is titled "Dante in Strasbourg" and in the upper tight hand corner there is a photogrphay of Phillips standing beneath a plaque at the house of Gustave Dore. This page contains newsprint collaged papers with photographs and text describing Phillips visit to Quimper and presentation with Peter Greenaway at the film festival. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

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.

Scope and Contents

This page is titled " I have measured out my life in coffee spoons." It contains cards, menus, bills with Phillips writing who was with him at each location. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The word Lustful is painted on the center black background with the German word Libestod up side down on the top portion and Lust on the side of the page. The top center contains the lines " Oh Ovid Byron Mills & Boon - Bring me another. Make it soon" -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Titled "Dante in Rotterdam" the upper left corner contains a map of Holland. At the bottom center is a photograph of Phillips wearing his Dante sweater knitted by Astrid Furnival at Angela Flowers Gallery celebrating the publication of Dante's Inferno by Thames and Hudson. In the center section there is an ink sketch for the Quimerexhibition catalogues. The top right contains an invitation to Phillips' lecture "Dante: From Folio to Video" at the Byam Shaw school of Art. -- Source of annotation: Marvin or Ruth Sackner.