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This collaged is titiled "The Emissary Quest for Aname Films - KGP Productions." The entire surface is pointed by Phillips with seveal ghostly figures and masks emerging from the colorful and shadowy background. -- Source of annotation: Marvin or Ruth Sackner.

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This collage follows Phillips from London to Jamaica to Miami Beach. A hand addressed label in the upper right corner from Ruth and Marvin Sackner to Tom Phillips has the following written message: "25th Nov 1986 arrives the Sackner catalogue herein after known as the whopper with a list of their holdings & nominally all the important Dante material." A record of Phillips' diary entries are written on the left side of the collage dating from November,1986 to March 1987. An invitation to an exhibition of Phillips' graphic works at the National Gallery of Jamaica is collaged at the top center. Phillips includes a portion from the Dante piece by Paul Laffoley hanging in the Sackner Archive. l -- Source of annotation: Marvin or Ruth Sackner.

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This collage is titled "Dante at the Match" and it is based on Phillips' 50th birthday celebration match at the Oval cricket stadium. The invitation on the right side is headed "Tom Phillips and the Rest of the Art World" and lists the players, bowlers, batsmen and umpires, the rest of the art world and those who attended.The left side has collaged fragments of Tom's portraits, a picture of his birthday cake, and a newspaper article that states an urn of Dante's ashes were discovered in Rome. -- Source of annotation: Marvin or Ruth Sackner.

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This collage is titled "Dante at the Match" and shows newspaper images of Phillips at bat, the crowd of participants in his 50th birthday celebration at the Oval and a photograph with Frank Auerbach and others. -- Source of annotation: Marvin or Ruth Sackner.

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Titled "Dante & Habeas Corpus" this collage contains an of a figure resembling Dante overlooking a scene in Florence on the cover of a cardiology journal meeting in a symposium in Florence. A newspaper article titled "Ashen-faced Italians search for Dante's dust is pasted at the bottom of the page that reviews the search for Dante's remains. An invitation to "An Infernal Celebration" in Sydney, Australia is included along with Phillips' writing "1st exhibition in Australia scheduled at the National gallery who have still not actually purchased a copy of Dante yet are giving me a one man show of prints. Plan to take a copy out with me." -- Source of annotation: Marvin or Ruth Sackner.

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Dante's Tent & Sylvia's Globe is the title of this collage.Two fragments from "A Humument are included on this page. One reads "fortunate tom Middle Ages, and all my magi," and a second fragment reads "elves crowd the castles." A map of Brighton is on the top right side showing where Phillips parked his car on Grenville Street.The bottom right is a note thanking Phillips for his talk at the Art Libraries Society and a copy the ARLIS logo. -- 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 This page consists of three small rectangular panels in its right third and a collaged, almost obscured text from typed carbon backing on its left two thirds. The uppermost panel on the right side is a collage made from a logograph that also appears in Phillips' Dante's Diary book, entitled "WHYSPEND." The middle panel is a handwritten, micrographic portion of Phillips diary in which he discusses meetings with Peter [Greenaway] and viewing Edward Muybridge original photographs at the V&A. The lowermost panel consists of a rectangular collage made from the Sackner Archive stationery. The section on the right two-thirds of the drawing consists of the circular drawing WHYSPEND collaged onto the typed carbon backing of "the thirty three sheets of notes to accompany the Thames and Hudson edition of Dante. A careworn piece of paper." In this collage, only an illegible shadowy remnant of words remains. This drawing anticipates the typed carbon backing for the translation of Dante's...

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Phillips draws a minotour while in Crete that is the central image in this drawing. He writes that "while I draw Minos, Pella [Erskind-Tullock] plays Parsiphae." A torn drawing of a red heart, as might depicted on a playing card, is collaged onto the lower right corner. -- Source of annotation: Marvin or Ruth Sackner.

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This page is divided into a grid of nine rectangles that are described by Phillips as "nine versions of 'many different tongues' connected to Dante and worked on on Sunday XV/VII, including scrambled script by myself, confused Mallock, random bank numbers, parts of the Sackner letterheading, reproductions of pictures of mine from Stuttgart & the Tate Gallery & Waddington Catalogue (after Dante in his study) & two fake scripts from scratch." -- Source of annotation: Marvin or Ruth Sackner.

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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.

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This page is dated August 24 and 28. Phillips has drawn ROTOR in a circle and DANTE AT THE FAIR in a rectangle at the upper left corner of the page. The handwritten text describes a rehearsal of the actors for the filming of A TV Dante. The blurred fragmented photocopies and photographs of a male figure arranged within a arc of a circle that presumably represents a clock, are meant to symbolize the passage of time. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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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.

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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.

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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.