This heralds the use throughout the book of a verbal commentary made up of treated fragments of the Victorian Novel A Human Document by W. H. Mallock, which else forms the basis of A Humument (Thames and Hudson 1980). Phillips comments: Having once boasted that Mallock's turgid text was an inexhaustible mine I here put it to its sternest test, to parallel the visual commentary of the plates with verbal glosses that might act as an alternative line of markers as the reader follows Dante's journey. I have been using Mallock's book now for twenty years; another twenty or so and we both might make it to Paradise. The image here presents a marbled world (the world as book) with a missing segment to indicate the hollowed cone of hell, here oriented sideways to act as an arrow pointing into the book. In Taoist cosmology Ch'i, the moving spirit of the universe, is expressed in art by marbling. -- Source of annotation: Marvin or Ruth Sackner.

This suite of stage proofs for the title page was done for the deluxe limited edition of the book; a different title page was utilized for the trade edition published by Thames and Hudson. It includes stages 1, 2, 3, 4, 5, 6, 7 and 8. The firsr five are printed on texts of Phillips translations of the Inferno. -- Source of annotation: Marvin or Ruth Sackner.

The loose sheet announces the replacement of Tom Phillips' Terminal Grey Arrangement 1974/5 with Terminal Greys IV-VII 1971/3. -- Source of annotation: Marvin or Ruth Sackner.

Out of Africa, by Steven Vincent reviews the exhibition curated by Tom Phillips "Africa: Art of a Continent" opening at the Guggenheim Museum. The show which was principally curated for the Royal Academy in London presents the Africa continent's "objects...as works of art equal in aesthetic quality to Western artwork." The Sackner Archive holds the elegant, well illustrated catalog for this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

The cover is a reproduction of one of Tom Phillips' "Conjectured Pictures from the Mappin Art Gallery." An article entitled "Tom Phillips: Or, Empiricism through an English Painter's Eyes" by R.C.Kenedy reviews his works including "A Humument." -- Source of annotation: Marvin or Ruth Sackner.

There is border of micrographic writing that surrounding the images of this print. It reads, "Whether I might write about this pieceof linoleum is pure speculation except that it was found in a much begained (?) condition lying on the rubbish in a step outside of a house on the left hand side of Lyndhurst Grove Camberwell, London SE 15..." In this print there are four paragraphs of micrographic text spaced from each other, a map of Camberwell London, a reproduction of page 53 of A Humument, and two stencilled ink colored sentences. This print constitutes the final print of six drawn from walks 1/2 mile around Phillips studio - it is based on the belief that there are no dull walks, only dull walkers. The texts of the other five prints are brought together in readibel form that includes a map of the walk. -- Source of annotation: Marvin or Ruth Sackner.

John Russell reviews the exhibition of Tom Phillips in the Lefebre Gallery, New York including a detailed description of "A Humument." The Sackners attended this exhibition and the large exhibition in the Basle Kunsthalle. -- Source of annotation: Marvin or Ruth Sackner.

Deals with a print donated by Tom Phillips to support Art Line magazine. -- Source of annotation: Marvin or Ruth Sackner.

Brief review of Tom Phillips' exhibitions in London in November 1992, viz., Royal Academy, Berggruen & Zevi, Angela Flowers. -- Source of annotation: Marvin or Ruth Sackner.

The cover is a reproduction of Tom Phillips' "Dante in His Study." Pat Gilmour reviews Phillips' exhibition at Marlborough Fine Arts. -- Source of annotation: Marvin or Ruth Sackner.

Kevin Powers reviews the trade edition of "A Humument" by Tom Phillips and reproduces page 190. -- Source of annotation: Marvin or Ruth Sackner.

Cover is reproduction of page 191 from "A Humument" by Tom Phillips. -- Source of annotation: Marvin or Ruth Sackner.

This is a gouache drawing that was intended for Ciaran Carson's book of poems, Opera et Cetera, Wake Forest Press, 1996, but not utilized in the printed edition. The text is from Carson's poetry. Carson's book is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is a colored drawing that was intended for Ciaran Carson's book of poems, Opera et Cetera, Wake Forest Press, 1996, but not utilized in the printed edition. The printed page is Carson's poetry. Carson's book is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is a gouache drawing that was intended for Ciaran Carson's book of poems, Opera et Cetera, Wake Forest Press, 1996, but not utilized in the printed edition. The text is from Carson's poetry. Carson's book is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.