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The bookbinding and clamshell case were made by Pella Erskine-Tulloch. The poem on the front cover reads, writing - my thoughts interlacing fold consciousness, and on the back cover the poem reads Words - words! Make me blossum -- Source of annotation: Marvin or Ruth Sackner.

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The bookbinding and clamshell case were made by Pella Erskine-Tulloch. The poem on the front cover reads, will art - fall on - his words, and on the back cover serious, syllables -- Source of annotation: Marvin or Ruth Sackner.

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Reproduces in color the painting by Tom Phillips, "The Sackner Artchive," taken from the Phillips' exhibition catalog, Works and Texts 1992. This painting was commissioned by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The first copy was acquired in 1991; a second copy with slightly different color registrations and higher prices published in 2007 is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The first copy was acquired in 1991 and held by the Sackner Archive; this second copy with slightly different color registrations and higher prices was published in 2007. -- Source of annotation: Marvin or Ruth Sackner.

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This object was formed from by photocopied hand lettered text in the style Phillips uses for his text based sculptures, where each letter is physically linked to adjacent ones. The photocopied sentence of the title, glued onto the cube is repeated twice on each of its surfaces. The Sackner Archive also holds the hand-drawn maquette for this work. The text is by the philosopher Ludwig Wittgenstein. -- Source of annotation: Marvin or Ruth Sackner.

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For this piece, Tom Phillips lettered the text in the style he used for his text based wall sculptures. Each letter is linked to adjacent ones. The sentence of the title is repeated twice on each surface of the cube. The text is by the philospher Ludwig Wittgenstein.Phillips writes, "The series of cubes began with a cage of wire made for The Globe Theatre's production of A Winter's Tale. A cage of wire words followed to exemplify Wittgenstein's proposition 'The Limits of My Language are the Limits of My World'. Printing this on an acrylic cube where the inside can be seen and, by an oddity of optics, experienced from the outside seemed to unite the reading of a statement with its perception as a metaphor. Reversing the text on the outside in a later version emphasised the trap of language that Wittgenstein describes." -- Source of annotation: Marvin or Ruth Sackner.

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For this maquette, Tom Phillips hand lettered the text in the style he used for his text based wall sculptures. He marked design changes in small, red symbols. Each letter is linked to adjacent ones. The sentence of the title is repeated twice on each surface of the cube and hand-drawn on each surface of the wooden cube. The maquette is slightly smaller than the finished work that is also held by the Sackner Archive. The text is by the philospher Ludwig Wittgenstein. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Phillips presented this paper to the Architecture forum in the Reynolds Room of the Royal Academy of Arts on October 28, 2002. This reading version is formated into nine parts and 157 statements describing ornament which Phillips states "...is high art hidden everywhere. Ornament is the stylistic signature of time and place and peoples." Statement 109: The use of calligraphy in ornament is as old as writing itself and the graffiti artists of the late 20th century in New York brought calligraphic expression to a new height comparable with the best of Islamic letter-based art or mediaeval illumination." 110: Ornament, however, including the calligraphic type, has its own mode of communication. In that it has meaning it bypasses the customary modes of literal or metaphorical and inhabits Dante's final category of signification, the anagological, wher form embodies truth directly, making as it were a spiritual equation." Stored in box with Phillips notebooks, -- Source of annotation:...

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The content of the image is mainly taken from pages of A Humument. -- Source of annotation: Marvin or Ruth Sackner.

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Portraits of Ruth and Marvin Sackner, both held by the Archive, are reproduced in the catalogue. "The Dante Binding" (depicted on page 29), a portrait of Pella Erskine-Tulloch is also held by the Sackner Archive. Edward Lucie Smith signed his portrait on page 37 at a talk of his book "My Jamaica" held at Books & Books in Coral Gables that the Sackners attended. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The Postcard Century tells the story of the last hundred years in its own words and images. Two thousand picture postcards and their messages provide a living account of the daily existence of people and a vivid glimpse of what mattered to them, pleased them, shocked or amused them via the cards they chose to send. Tom Phillips provides a commentary on the visual material, giving a perceptive and thoughtful context for the messages. This book gives a unique glimpse into the hearts and minds of the people who lived through the most turbulent century in our history. Phillips' introduces this book with a history and account of postcards and postcard collecting. Phillips indicates in the introduction that the book is arranged such that each annual section features a view of Picadilly Circus and another of the New York skyline, all posted in the that year. This choice relates to one of his artistic parallel streams of creativity, images changed by the passage of time. Further, this...

Scope and Contents The Postcard Century tells the story of the last hundred years in its own words and images. Two thousand picture postcards and their messages provide a living account of the daily existence of people and a vivid glimpse of what mattered to them, pleased them, shocked or amused them via the cards they chose to send. Tom Phillips provides a commentary on the visual material, giving a perceptive and thoughtful context for the messages. This book gives a unique glimpse into the hearts and minds of the people who lived through the most turbulent century in our history. Phillips' introduces this book with a history and account of postcards and postcard collecting. Phillips indicates in the introduction that the book is arranged such that each annual section features a view of Picadilly Circus and another of the New York skyline, all posted in the that year. This choice relates to one of his artistic parallel streams of creativity, images changed by the passage of time. Further, this...

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Reviews the restoration of the Globe Theatre in London for Shakespearean plays and specifically mentions Tom Phillips' production design of "The Winter's Tale." -- Source of annotation: Marvin or Ruth Sackner.

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The poem reads, "The cliche kiss, engraved upon the air - a rain of rice when wrong boys finger the yellow sand; - Two that look then burst the loaded bus" -- Source of annotation: Marvin or Ruth Sackner.

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Central image is a photograph standing near Tom Phillips' Curriculum Vitae painting. -- Source of annotation: Marvin or Ruth Sackner.

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Central image is a scanned photograph of Marvin Sackner standing near Tom Phillips' Curriculum Vitae painting. -- Source of annotation: Marvin or Ruth Sackner.