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. A Humument text of this image reads, "with every nerve / stretched / the hard /exaggeration / ugh / ugh / came / into his / hidden / woman / lacerating / Angry, savage / creature / of his blind / fantastic / cow / the / Once, one / only last / of a new kind / mixed with pain. He / hardly recognized himself." Added: CEND.

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 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. The print depicts stylized raindrops and the accompanying Humument text reads, "down to position Three - pain, and this repeating wretched wretched rain - the wretched hours stretched and stretched intolerable. Each." This work was shown at the Sackner Archive during Art Basel Miami December 2001. -- 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.

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. A Humument text of this image reads, "a conjuror / with his own voice, / by / which / art / the devil, with low whisper / work / the best of men / corrupted, / conquered;" Added: CEND.

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. A Humument text of this image reads, "the Greek / mask / seemed to whisper of / romance / In fact he now under- / stood, for the first time fully, the degree to which his / stirred imagination, and / the power / began to / be / the / Sirens/ [blank] /to them / all" "-- I / gave myself up to the / tempting / call / of possibilities / fool of / futile dreaming" Added: CEND.

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. A text of this image reads, "Semiramis & Dido & Cleopatra & Helen of Troy & Achilles & Paris & Tristan Und Isole De & Romeo and Juliet & Anna Karenina & Emma." -- 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. "the / grave / the / tail / end / rules / a / life ..." Added: CEND.

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 catalogue documents Claus' working methods in producing his graphic works. There are no illustrations of examples per se. The exhibition was done to honor Claus with the Gerhard-Altenbourg Prize. -- Source of annotation: Marvin or Ruth Sackner.

Huth describes his visit to the Sackner Archive on April 13th in the section titled "Home Sweet Museum." -- Source of annotation: Marvin or Ruth Sackner.

Taken from pete spence's Archive 1998. -- Source of annotation: Marvin or Ruth Sackner.

Print was reproduced from a unique collage commissioned by the Sackner Archive. Barron writes specific instructions to the printers on both margins of the proof. This is the second proof run by the printers. -- Source of annotation: Marvin or Ruth Sackner.

Prints were reproduced from a unique collage held by the Sackner Archive. This proof, according to the artist, is the penultimate proof run "before the real thing." Includes specific instructions for changes to the printer. -- Source of annotation: Marvin or Ruth Sackner.

This complex collage, an illustration for Jules Verne's "Aound the World in Eighty Days," depicts a parade and a mob scene with American voting slogans and company names. The main image was cut from an engraving done around 1900. An exhibition catalogue of Kolar, Mesens, Schwitters & Hoffmeister at Grosvenor Gallery, st that Hoffmeister "...was the first artist to use typography as a total compositional medium regardless of the meaning of the actual words, concentrating on the purely visual image." Wescher (Collage 1968) wrote that he was the grand master of collage. This collage is depicted in Adolf Hoffmeister This collage is not depicted in the Adolf Hoffmeister book 1902-1973 edited by Karel Srp on page 283. -- Source of annotation: Marvin or Ruth Sackner.