Cobbing created repeticious text variations on the title "Beethoven Today" by forming poems in either a circular or quadrangular arrangement. The pages have yellow and orange color -- Source of annotation: Marvin or Ruth Sackner.

Cobbing created tautologic variations on the title "Beethoven Today" by forming poems in either a circular or quadrangular arrangement. Al the pages are printed on white paper stock. -- Source of annotation: Marvin or Ruth Sackner.

This print depicts a photograph of a colored neon sculpture that Kriwet made for the cafeteria of the university. -- Source of annotation: Marvin or Ruth Sackner.

This book includes poems of cut-ups begun in 1956. The method was to decide on the number of lines, clip out newspaper lines of the required number, and paste them up in an effective order to give an appearance of a conventional poem. This work antedates Gysin's 1959 cut-ups, usually attributed as the first to employ it. This book also includes cut-ups of earlier cut-ups, and permutations or mutations based on newspaper headlines but originating from phrases clipped from books. -- Source of annotation: Marvin or Ruth Sackner.

The book is cut horizontally through the pages and slightly rotated. The fore-edge and cardboard base are painted green.Internet: Sarah Firmin (Dorothy Carr) (1933-) is a versatile artist, designer and teacher, gaining her painting diploma at St Martin's School of Art. Working at the London College of Printing, (together with Francis Carr, whom she married) Firmin helped pioneer the use of screenprinting as a fine art medium in the late 1940s. They have been credited with producing some of the first screenprints to be made in this country, and for introducing the medium to a number of artists including Eduardo Paolozzi. Firmin took part in numerous group shows and her solo exhibitions include the ICA, 1970; Gardner Art Centre, Sussex University, 1982; and Barbican Centre, 1991. The British Museum and Victoria & Albert Museum hold examples of her work. -- Source of annotation: Marvin or Ruth Sackner.

Each chapter is printed on a small loose sheet which has been rolled to resemble a cigarette. The "novel" is a detective story. The printed box resembles the shape of a cigarette box. -- Source of annotation: Marvin or Ruth Sackner.

This print is from the first version of the work which was mostly destroyed in a fire at Editions Alecto. Less than three copies of the prints from the first version survived. Some images of the prints were recycled in the second version of the book but this was not one of them. This print depicts blurred, Italian text in large, colored stencilled letters on a grey and brown background. In the left lower corner, Phillips has inserted a Humument fragment which reads, "yawning before him like a gulf in the depths of a dream the entrance to hell - memory as mourning merely - To the insensible." A handwritten selection in Italian from the Dante canto for which the print is illustrative has been placed in the upper center half of the print. Finally, Phillips has written 'NO' in the center of the print perhaps because he was dissatisfied that the handwritten text had not been properly centered. -- Source of annotation: Marvin or Ruth Sackner.

This print is one of the proofs for the first edition of Phillips' Dante's Inferno. The completed prints were destroyed in a fire at the Editions Alecto studio and never published as an edition. Phillips subsequently redid the prints in a different manner although he borrowed some of the imagery from the first edition. The prints in a limited edition and a trade edition book were published by Phillips and Thames and Hudson, respectively. This work was shown at the Sackner Archive during Art Basel Miami December 2001. -- Source of annotation: Marvin or Ruth Sackner.