Scope and Contents

Cepl has partially cancelled blocks of text with multicolor crayons. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The material for each print in the book or project is stored in individual folders or envelopes. Material is also included that was not utilized in the final version of the book. For example, in the print, On the Corner..., the typed poem was considered but rejected, e.g., die neue SS: Lightening bilts shaved in - black on black - in the Razored and Jerrocombed hair - in the Razored and Jerrocombed hair. The title page content and layout changed considerably over the five years it took to produce the book. A section contains poems that were not used in the final version of this book. The Sackners provided financial support for this project. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This archve includes manuscripts of Finlay'a book as wella as a lettle of critique from Robert Lax himself. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The text was first written by de Charmoy in English. A French translation by Daniele Devitre was published in RESSAC No.2 Geneva 1981. Illustrations of hands accompany the non-fictional text. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The linear, black printed text is laid out with mixed typefaces and sizes. The maquette is a sketch book with chaotically arranged handwritten text that employs several colored inks and calligraphic styles. The manuscript appears to have made with a combination of photocopying and colored letraset type. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The communication has been rendered in the form of a booklet. Cinicolo mentions that he has been accepted by St. Martin's as a graduate student. The carbon paper is yellow stock. A mirror image poem by DC# using the word mirror is contained in the booklet. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

X/3 The shut book, which itself extends the theme of the opening illustration, represents the answer to Dante's question on the perception of time by the inhabitants of Hell. Time, for them, diminishes towards the present and their awareness of events will cease altogether at the Last Judgement which will mark the closing of the book of future time. All this is embodied here in the picture of a book drawn in exaggerated reverse perspective with human events lying as it were beyond it, shut and clasped as it is. The book features reinforcing imagery in the form of an eclipse, a handless watch, and the final letters of the alphabet (Z and Omega). The collage elements representing the medley of human activity come appropriately enough from old copies of the Illustrated London News. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

XXV/4 The fragments of Laocoon that were used as the frontispiece of this Canto in an emblematic and formal way are here reassembled (as the reptilian elements in the text reassemble and change) to make a more organic figuration. The classical elements are rearranged to form a mannerist/romantic group, a transcription of the original energies of the sculpture. The colouring is intended to recall the muscular feats of Michelangelo's supermen and the sexual implications of the formal elements are given free reign as if to combine the themes of the preceding illustrations. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Canto XXVI/1 GODI FIORENZA, the opening cry of this canto is here writ large (very large in fact since the original drawing for the lettering is fifty inches high) and in sombre colours, to stress its irony. The only gleam of relief lies in the slight displacement of positive and negative plates which, so to speak, by deliberate error serves to outline the words which would otherwise be almost indistinguishable. A Florence which Dante castigates for its loss of honour and brightness is here characterised by a lily in bloodless grey. The coarseness of texture implies a slogan in the manner of wall graffiti (`Up Arsenal' etc.) -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents XXXIII/3 The first personaliiies we meet in hell are Paolo and Francesca. Francesca's is the first voice we hear and she is the only woman from among Hell's denizens who speaks at all. She can thus, as has been pointed out in the notes to Canto V, be taken to stand for Eve, the primal sinner, whose child Cain gives his name to the region we have just passed through. Thus the first and last couples we meet are locked together, the one in love and the other in hate. In both cases only one of the pair speaks to tell a story which might elicit pity. The shadow of Eve is therefore thrown from a moon-like enlargement in negative of her name, from, as it were, the beginning to the end of Hell, set forever in a sky of dark stars. The shadow comes to rest on the coupled skulls of Ruggiero and Ugolino, which are themselves merely tilted and joined adaptations of the heads (after Michelangelo's Adam and Eve) of Paolo and Francesca from Canto V/4. -- Source of annotation: Marvin or Ruth...

Scope and Contents This consists of a stage 1 proof and stage 2 proof (the final print) for the frontispiece of the deluxe limited edition of the book; it also served as the illustration for the dust jacket of the trade edition published by Thames and Hudson. The Stage 1 proof indicated that the image was the Editions Electo version. Phillips comments are as follows: This print in the original edition is a twenty-seven colour screenprint and is loosely based on a small reproduction of a painting attributed (equally loosely I think) to Signorelli. I have departed from this source in almost all respects and have introduced a back window which looks out on a quasi-metaphysical landscape that includes a rocky outcrop (derived from a nude photograph in an erotic magazine called in Depth') in front of which stands a cypress tree; a traditional reference to death but here also in form and position relating to a phallus. The juxtaposition recalls the idea (cf. Canto XXXIV/3) that any visit to the underworld...

Scope and Contents

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.

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This is a review of the Tuttles' books exhibited at the New York Public Library. -- Source of annotation: Marvin or Ruth Sackner.

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A love story of two fish-like creatures swimming against the current. The design features water-like marbled paper and a small red cellophane fish on a string. The pages of the central small book turn in a wave-like fashion. This book is enclosed in the slipcase with Dreamfish -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

A love story of two fish-like creatures swimming against the current. The design features water-like marbled paper and a small red cellophane fish on a string. The pages of the central small book turn in a wave-like fashion. This book is enclosed in the slipcase with Dreamfish -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

A fish story told within the shape of a fish. This book is enclosed in the slipcase with Delta. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

A fish story told within the shape of a fish. This book is enclosed in the slipcase with Delta. -- Source of annotation: Marvin or Ruth Sackner.