Scope and Contents

The image of the page contains repeated letter drawings of WE ARE PEOPLE with the letters painted in a brown tone over an orange section in the right-center of the page.The surrounding letters are of beige tones.The text reads,"call it the people! The once and never people - know what I am--the foreigner in this my England" -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This second version of page 100 contains colored abstract markings and is divided into three panels. The center panel is painted with white curved outlines and the two side panels are painted with black outlines. The poem now reads, " I lived in London I am only suburban - terrible pictures in the words - the words slipped from him, but art like a knife gave him surprise and pleasure," -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This page was also printed in Phillips' & Rushdie's book, Merely Connect. Phillips has written J'Accuse!, used first in defense of Alfred Dreyfus in blue & yellow camouflaged letters against the left vertical side of the page and in more easily readable brown hatched letters on the right vertical side of the page. Phillips poem: "attack the attack, and rhetoric of ruin, counsel for the hat of happiness, counsel for the fiction, counsel for the art voice, counsel for the text." -- Source of annotation: Marvin or Ruth Sackner.

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This first page is dated with handpainted Roman numeral 26 Mar 1984. Phillips writes, "A year after our first proper meeting, Peter [Greenaway] and I are ready to start; as usual the waiting for finance causes most of the delay...It was only after I consulted my chronology notes I realized and remembered that Dante's journey actually begins on March 26th. Thus the auspices seemed good indeed." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In this drawing, Tom Phillips describes the rehearsals and actors for the Dante Inferno video. The two colored photographs collaged onto the drawing are stills of a female and two male nudes from the video. There is extensive application of rubberstamping with images that include large numerals, a clock face, Dante's head, and two Egyptian-like eyes, fleur de lise, skull and cross bones, and skull in profile. Some images are crossed out and others may have been used by Phillips in the Dante work, as he discusses rubberstamped images in the handwritten text. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In this drawing, Phillips describes the technical aspects of filming the flight of doves for a sequence of TV Dante. A drawing collaged onto the work is a line drawing of doves. Two colored photographic fragments in this work are stills taken from the Dante Inferno video. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In this drawing, Phillips describes the techical difficulties that he is experiencing at CAL video in making Dante's Inferno video piece and mentions utilization of the Muybridge doves. Several words are painted on the page including Love, history, starlings and amor. The playing card, the six of hearts, torn into two fragments, is placed on the left side of the drawing, adjacent to the three versions of the word "Amor." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The left side of the drawing consists of handwritten instructions for "Attitudes & Positions for Almeida Shoot." The right side continues the dialogue of production schedule and work on the film. Phillips mentions that "Hansjorg Mayer picks up Dante proofs for publication." A drawing of an Egyptian amulet with colored pictograms is placed on the bottom center of the page. To the left of this image, Phillips writes the interpretation of the pictograms. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Phillips describes the difficulties and pleasures of working on-line and rehearsing off-line. He writes, "What an enormous pleasure I have in this collaboration with Peter [Greenaway]. Sets me right back on my toes again." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The notes by Phillips in this drawing describe work on the storyboard at CAL Video with Peter Greenaway. Phillips comments that relations with the video company are "wearing thin" with editing continuing late into the night. The right side of this page consists of a numerical diagram on the top and three drawings, two side and one frontal view of a man's head at the bottom. -- Source of annotation: Marvin or Ruth Sackner.

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Tom Phillips writes about his trip to Japan and regrets not sharing it with Pella Erskind-Tulloch. Images include reproductions of Hiroshima after explosion of the Atomic Bomb interspersed with hand drawn quotes from Dante in the Italian. -- Source of annotation: Marvin or Ruth Sackner.

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This page consists of preparatory charts for filming sequences. The collage elements are ripped, handwritten and drawn pieces of paper. -- Source of annotation: Marvin or Ruth Sackner.

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This page is based on the package of a pornographic film that that Tom Phillips' son Leo found titled "Dante's Inferno." Phillips painted elements to the flattened and ripped box changed "minors" to "Minos," and crossed out portions of male anatomy. Phillips writes in his text that he showed the video tapes to Iris Murdoch and Brian Eno who liked it a lot and found it inventive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

There is border of micrographic writing that surrounding the images of this print. It reads, "Whether I might write about this pieceof linoleum is pure speculation except that it was found in a much begained (?) condition lying on the rubbish in a step outside of a house on the left hand side of Lyndhurst Grove Camberwell, London SE 15..." In this print there are four paragraphs of micrographic text spaced from each other, a map of Camberwell London, a reproduction of page 53 of A Humument, and two stencilled ink colored sentences. This print constitutes the final print of six drawn from walks 1/2 mile around Phillips studio - it is based on the belief that there are no dull walks, only dull walkers. The texts of the other five prints are brought together in readibel form that includes a map of the walk. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This print, which depicts a portrait overlaid by calligraphic poetic text, was reproduced from a drawing by Phillips in conjunction with the Dual Muse exhibition held at the Washington University Art Museum in November 1997. The Sackner Archive lent several works to this exhibition and also attended a symposium which took place there. -- Source of annotation: Marvin or Ruth Sackner.

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This coin was designed by Phillips. The recto contain a profile line portrait of the Queen and the verso states God Save the Queen - Coronation Jubilee Five Pounds 2003. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This coin was designed by Phillips. The recto contain a profile line portrait of the Queen and the verso states God Save the Queen - Coronation Jubilee Five Pounds 2003. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This ninth page from Dante Diary which is not dated, was drawn in Rio de Janeiro. Text at the top left corner reads, "dante in brazil," and on the top right corner, "Waiting for Pella in the New Wave." Pella refers to Tom's friend, the bookbinder Pella Erskine-Tulloch. A collaged "NY & Lakeville," with the name Lakeville scratched out, is placed below this caption. Phillips' handwritten notes explain that the plans to go to Lakeville, Connecticut with Martin and Diane Ackerman were cancelled. Phillips also writes that on his return trip from Brazil to New York via Miami he "was able to smuggle a postcard out of the tourist lounge at 5 a.m. to send to the Sackners whom I'd have loved to have seen." Phillips mentions his search for the Virgin Butterfly native to Brazil. The image of butterflys and poetry from "A Humument" is found in the third illustration of Canto II. ["A butterfly gives meaning to brighten poetry."] In his iconographical notes and commentary on the...