Scope and Contents

An article by Jeremy Musson, "Bollards of Peckham Rye," describes the imaginative renewal scheme for the public spaces in Peckham, London. Tom Phillips is pictured in front of the gate and arch he designed for a garden inspired by flying birds and falling leaves, and in front of mosaic mural that reads "I love Peckham." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book constitutes an early working draft of Phillips' translation of Dante's Inferno. The text begins with Canto V (From that initial circle I went down), and ends with Canto XXVI (Florence, rejoice! You're so important now). The pages include drawings and handwriting in red, brown, blue, green and black ink. About seventy-five of these small drawings which accompany the text (but not necessarily illustrating it) depict images of strange gargoyle-like creatures, optical elements, animals, and an opened book. Tom Phillips' poem on page one sets the tone for the project, "impure suburban night - corrupt with orange light - be silent for my concentration's weak - your planes, though high are not the muse I seek - I want to hear this old Italian speak." The endpapers are red and white fleurs-de-lis and include a book plate depicting Dante reading in his study which is signed by Phillips.Page 2 marks the beginning of Canto V. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The binding and typing of this first volume of the final typescript translation (with handwritten ink corrections by Phillips) was done by Pella Erskine-Tulloch although her usual gold stamped name is missing from the inside back cover. The Roman numerals from I to XXXIII are stamped on each of the three volumes within a hexagon, pointing downward with the initials TP stamped at the bottom. The numbers from I to X are in gold leaf signifying the contents of the volume. The hexagon outline is stamped Dante Inferno repetitively in very small type. The spine of each volume contains the title Inferno in black stencilled letters over which Dante Inferno is repetitively stamped in gold. The top edges of the three volumes are gilded and stamped with multiple fleurs-de-lis. The endpapers are printed with "Una Selva" stencilled text. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This second translation contains many handwritten corrections by Phillips. The white binding by Pella Erskine-Tulloch repeats the theme of volume 1 and 2 with fleurs-dei-lys and an uncolored portrait of Dante in his study. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This volume of typed translations has more alterations and additions than the first typescript of cantos. On ten pages, Phillips has written "retype" in a decorative script and included a small ink cartoon-like drawing of a human or angel at a typewriter. The human image is a caricature of Pella Erskine-Tulloch. One cartoon bubble with this caricature reads, "Say Mr Dante I think your comedy is simply divine!" Another states, "A canto a day wipes the blues away." This Phillipsian humor referring to a great, poetic work of translation, can be found not only in the Inferno, but in many of his visual and literary works including his book dedicated to Rushdie, "Merely Connect," and in several pages of "A Humument," and in his introduction to "The Portrait Works" from the National Portrait Gallery.The binding by Pella Erskine-Tulloch repeats the theme of volume I with fleurs-di-lis and a portrait of Dante in his study, with the latter now presented in a coral color on both covers. --...

Scope and Contents

The writer describes his collection of prostitutes' business cards found on public phone booths in London. He notes that he was pleased that "Tom Phillips was an aficionado. There's a man with a sharp eye for whatever happens to combine artistic and anthropological interest. Of course he has a respectable excuse for his fascination: something to do with the cards representing the survival of 'folk art' in our city centres." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Title page was designed by Tom Phillips; missing dust jacket designed by Phillips. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Dust jacket and title page were designed by Tom Phillips. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book deals with Phillips' response to the political situation which developed after Rushdie wrote "The Satanic Verses" and the Ayatollah Khomeini of Iran offered one million dollars for his assassination because he believed that the book was offensive to Islam. Phillips uses Humument imagery to respond to this false accusation. An image of Rushdie captioned "Jack Hughes" with a painting of Dreyfus in the background signifies the French statement by Emile Zola, "J'Accuse." -- Source of annotation: Marvin or Ruth Sackner.