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This is a review of the Tom Phillips "A Humument" exhibition at the Kamin Gallery, Van Pelt Library of the University of Pennsylvania. The Sackner Archive lent the works to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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Bluebeard's Castle by Ronald King, "Ein Deutsches Reqyiem - After Brahms" by Tom Phillips, "S.M.S." Issues No.1,3,4,5, "De Morandi" by Ian Tyson, and "Selected Shorter Poems" by Emmett Williams, which were exhibited, are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue, "Human Documents: Tom Phillips's Art of the Page" curated by Daniel Traister, preface by Marvin Sackner, from the University of Pennsylvania Libraries, won an award from the Association of College and Research Libraries. Marvin Sackner also participated in the Awards presentations. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition "Africa: The Art of a Continent" at the Guggenheim Museum was curated by Tom Phillips and was a much smaller version of the show initiated at the Royal Academy in London. The Archive holds the RA catalog. The Sackners attended both the London and New York exhibitions. -- Source of annotation: Marvin or Ruth Sackner.

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The cover self-portrait is also depicted in a print published by the Welsh Council and held by the Sackner Archive. The content of this exhibition deals with masks and found objects on walks near Phillips' studio. -- Source of annotation: Marvin or Ruth Sackner.

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In his introductory essay, Robert Hall writes, "Tom Phillips' first one-man show with Angela Flowers was an instant hit that has led to an astonishing, abundant variety of erudite and imaginative creation, not only of figurative paintings and treated books, but (among others) tapestries, calligraphy and manuscripts, of which 'Palimpsest' (1987), worked over in 2004) is an intriguing and beautiful example." -- Source of annotation: Marvin or Ruth Sackner.

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This booklet was written for a workshop in a grade school class and is a second edition of the book. -- Source of annotation: Marvin or Ruth Sackner.

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This issue includes an essay on book collecting and dealing in Russia. -- Source of annotation: Marvin or Ruth Sackner.

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Three of the cards were designed by Tom Phillips with two of them based upon " A Humument" imagery. -- Source of annotation: Marvin or Ruth Sackner.

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This version is actually unique because the final version was entirely printed. It has been designated as Opus 13. In addition, it includes Phillips' handwritten notations. Depicted in Tom Phillips: Works Texts To 1974, page 259. -- Source of annotation: Marvin or Ruth Sackner.

Notes read "Motto variation on Christian Wolff's 'Stones' (from Prose Selection). Little drops of water bore holes in stones. OP. XIII. / Stage proof [silkscreen with gouache] / Aquae guttae saxa excavant. / (Little drops of water bore holes in stones.)" Added: CEND.

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Article (pp 35-63) titled "Art and Artifice describes Phillips' new studio in Camberwell, London, designed by Eric Parry Associates. -- Source of annotation: Marvin or Ruth Sackner.

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This is the archive for the publication "Ginger Snaps," edited by Gibbs and Guthrie. It includes some of the original submissions as well as correspondence from the poets about their works and comments after the book was published. The contributions focused heavily on Gysin and Burroughs' cut-up techniques. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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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.

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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...

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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.