Phillips writes a brilliant review of David Hockney's book on rediscovering the lost techniques of the old masters using lenses, mirrors and darkened rooms for The Times Literary Supplement. -- Source of annotation: Marvin or Ruth Sackner.

The images in the print consist of a drawing of the wine chateaux in the center bordered by four Humument fragments of images of vines with texts that read, "o autumn o red chateau wine; crossing time in a bottle; true companions, the grape, and art; a label for a bottle of art." -- Source of annotation: Marvin or Ruth Sackner.

The images in the print consist of a drawing of the wine chateaux in the center bordered by four Humument fragments of images of vines with texts that read, "the light in bottles emphasized a dream; glasses of music; o red wine of the luxuries of happy retrogression deep deep; true companions, the grape, and art." -- Source of annotation: Marvin or Ruth Sackner.

The images in the print consist of a drawing of the wine chateaux in the center bordered by four Humument fragments of images of vines with texts that read, "o autumn o red chateau art; crossing time in a bottle; o red wine of the luxuries of happy retrogression deep deep; true companions, the grape, and art." -- Source of annotation: Marvin or Ruth Sackner.

The images in the print consist of a drawing of the wine chateaux in the center bordered by four Humument fragments of images of vines with texts that read, "o autumn red chateau art; this light in bottles emphasized a dream; true companions, the grape and art; o red wine of the luxuries of happy retrogression deep deep." -- Source of annotation: Marvin or Ruth Sackner.

The images in the print consist of a drawing of the wine chateaux in the center bordered by four Humument fragments of images of vines with texts that read, "o autumn o red chateau art; chief in the world Our bottles of velvet; o red wine of the luxuries of happy retrogression deep deep; a label for a bottle of art." -- Source of annotation: Marvin or Ruth Sackner.

Phillips comments about this work in Works and Texts 1992, " Although at its first performance in the Cheltenham Festival (1969) dedicated to Stuart Dempster, it was described by the critic of the Daily Telegraph as providing him with 'the most boring fifteen minutes of my life' (little did he know what the eighties would bring his way). I find it as tense to play in as it hopes to be soothing to hear. The first performance was sung by John Tilbury, Moray Walsh and Tom Phillips on BBC3 Music in Our Time in 1969. -- Source of annotation: Marvin or Ruth Sackner.

The ENO presents operas in English with British cast members. Tom Phillips designed the set and also translated the libretto into English. -- Source of annotation: Marvin or Ruth Sackner.

This work includes an invitation card for Arnolfini Gallery show and insert material on another artist, Alan Reynolds. -- Source of annotation: Marvin or Ruth Sackner.

This book includes four color reproductions of Phillips' artworks. -- Source of annotation: Marvin or Ruth Sackner.

This collage is formed from torn papers of the front covers of the magazine, Picture Post, 1938-1943. The gray-black background symbolizes the dark period of the Holocaust and the large, light-gray Jewish star that emerges an emblem of survival. The red border surrounding the star lists dates from the magazine coinciding with the period of the Holocaust. The red border English letters as cut through by Phillips have the appearance of pseudo-Hebrew letters. -- Source of annotation: Marvin or Ruth Sackner.

The slides depict the installation of the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition, curated by Patrick Murphy, consisted of works loaned by the Sackner Archive, Carlos & Rosa de la Cruz, Martin Margulies, and William & Phyliss Mack. The artists from the Sackner Archive consisted of Tom Phillips, Ian Hamilton Finlay, and Genevieve Seille. -- Source of annotation: Marvin or Ruth Sackner.

This issue includes a selection from the typed manuscipt of Hannah Weiner's Clairvoyant Journal as well as F. A. Nettelbeck's Bug Death. -- Source of annotation: Marvin or Ruth Sackner.

Review of "Tom Phillips: The Portrait Works" at the National Portrait Gallery, London. -- Source of annotation: Marvin or Ruth Sackner.

Six photographs from Tom Phillips' book published by the Bodleian Library in Oxford entitled "Women and Hats" are reproduced. The illustrations come from Phillips' extensive collection of postcards in a book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Tom Phillips' review of "Picasso: Creator and Destroyer" by Arianna Stassinopoulos Huffington. -- Source of annotation: Marvin or Ruth Sackner.

Within an outline suggestive of two lungs, Phillips has painted indecipherable hieroglyphics on stretched vellum. The painting of the symbols within the outline was done by first applying a solid coat of paint and then carving out the letters with a surgical scapel. This leaves the unpainted vellum surface in this region roughened to the touch bit at the painting's borders smooth. The 150 year old frame that holds the irregularly shaped vellum was used by a company to dry and stretch vellum, a type of heavy parchment prepared from lambskin. -- Source of annotation: Marvin or Ruth Sackner.