ArchivesSpace at the University of Iowa

Scope and Contents

This collage is titled "Welcome Back to A TV Dante." There is a collaged parking ticket on the left side of the page from Dante Rd that Phillips writes he had sought for years . Astrid or John Furnival provided him with the photographs of L'Inferno restaurant on the bottom left and Leo Phillips took the photograph of the Thames & Hudson Dante in the window of Zwemmer's book store. -- 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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This is an exhibition review of British Art from the Sackner Archive held at the Bass museum. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is the catalogue for the XV Sao Paulo Bienal. The title was also termed 'Cratylus.' The cover design was taken from a painting by Tom Phillips. In this catalogue, Hiouedard made the following comments: Dom Sylvester Houedard was born on the island of Guernsey. He studied at Jesus College Oxford and in 1949 joined the Benedictine Abbey at Prinknash in Gloucestershire; he was ordained as priest in 1959. He was a pioneer of British concrete poetry and regularly contributed to magazines and exhibitions from the early 1960s until his death. He became literary editor of the Jerusalem Bible in 1961, and founded the Gloucestershire Ode Construction Company in 1967. One copy is stored as a reference text, the other alphabetically on the shelf. "During 1945 I realised the typewriter's control of verticals and horizontals, balancing its mechanism for release from its own imposed grid, (and) offered possibilities that suggested (I was in India at the time) the grading of Islamic...

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This twelth page from Dante Diary which is dated 15 November1979 contains many ink drawings of constructed brick-like forms. In one a young painted face emerges.Tom writes of his efforts to find backers for the Dante project. He is looking for a helper/factotum and John Furnival sent a girl called Debbie who seems promising.Tom writes that he "finished complete first boo kof 2nd draft. Did study for frontspiece for Stereo Headphones..Virgil drawing finished." -- Source of annotation: Marvin or Ruth Sackner.

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This folder is a tribute to Erik Satie, along with an exhibition and concert on the 25th anniversary of his death. Tom Phillips and Ron King contributed the colored prints in addition to the black and white versions also in this folder. The Phillips print is a page of A Humument. There were 50 copies of a signed edtion with handcolored prints by Phillips and King and 30 artist proofs with handcolored prints by Phillips and King in this edition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This folder is a tribute to Erik Satie, along with an exhibition and concert on the 25th anniversary of his death. This edition contains prints by Tom Phillips and Ron King in black and white. There were 50 copies of a signed edition with handcolored prints by Phillips and King and 30 artist proofs with handcolored prints by Phillips and King in this edition. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalog. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition was curated by John Furnival and Dom Sylvester Houedard. The latter wrote an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

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John Furnival writes a personal note on the top of a review article of the Sensations exhibition at the Royal Academy. The reviewer states, "Tom Phillips showed skulls at the Dulwich Gallery last year, and though they were not as gory as Marc Quinn's cranial efforts at the Sensation show, the availability of a comparison of the work of a grand old man and an Academician to boot, and the oh-so new offering of the anti-Academician tendency was telling. The theme of the body as the surprising temple of the spiritual is perennial and inexhaustible. But the new wave is adding very little, even in terms of style. The forms they are using have already been plundered, and have had the surprise knocked out of them." -- Source of annotation: Marvin or Ruth Sackner.

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Review of small magazines published in England and America from the 19th century to contemporary times. -- Source of annotation: Marvin or Ruth Sackner.

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Consists of a listing of works by Jonathan Williams. -- Source of annotation: Marvin or Ruth Sackner.

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Advertises portfolio of 25 etchings of French Chateaux wines by six British artists. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Kate Rawlinson and Wallace Harper with works from the Sackner Archive. It was structured into four groups of visual/verbal works: ideograms, alphabets, words and stories. Drucker provided an outstanding introductory critical essay to the works in the exhibition despite being able to work with photographic reproductions only. -- Source of annotation: Marvin or Ruth Sackner.

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This consists of letters, cards and messages on scraps of paper from the participants who sent rocks to Furnival's wall project. Furnival mounted most of them on cardboard backings. The rock wall was erected at the Furnival's house in Stroud. -- Source of annotation: Marvin or Ruth Sackner.