Scope and Contents xIn Phillips' book Works and Text (1992), he indicates that the linoleum block was found on the street near his studio. He recounts a story (page 134) which was inspired by the find. "Every manufactured object is, visually, the point of confluence of unnumbered lines or stylistic development; it is the result of innumerable chance encounters of artists, craftsmen and artisans; is the product of the complete trade and trafic of the world..." There is a micrographic text that forms a border around the image and the documentary text mentioned above. 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..." But it was too faint to be scanned as an image (MAS). This print constitutes one of six prints from walking 1/2 mile around Phillips' studio - it is based on the belief that there are...

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This is Phillips' first musical score (Opus 1). The musical notations are composed of lines and rectangles presented as a constructivitic grid. One side of the print deals with Phillips' instructions for playing the piece. Depicted in Tom Phillips: Works Texts To 1974, page 248. The number is written in red ink adjacent to Phillips' signature on the envelope. -- Source of annotation: Marvin or Ruth Sackner.

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This is Phillips' first musical score (Opus 1). The musical notations are composed of lines and rectangles presented as a constructivitic grid. One side of the print deals with Phillips' instructions for playing the piece. Depicted in Tom Phillips: Works Texts To 1974, page 248. This copy is unnumbered. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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The exhibition was curated by John Furnival and Dom Sylvester Houedard. The latter wrote an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

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This book consists of the program for operas in 2007. The front and back covers are illustrated by Tom Phillips with Humument imagery dealing with opera in the open air. A Humument page is also depicted on page 12. -- Source of annotation: Marvin or Ruth Sackner.

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Image consists of a dense arrangement of indecipherable markings and signs. -- Source of annotation: Marvin or Ruth Sackner.

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This piece (Opus 5) was originally published by AIA gallery in 1966 in an edition of 100; the current copy was reprinted by Tetrad Press in 1972 in an undisclosed tirage. Depicted in Tom Phillips: Works Texts To 1974, page 250. -- Source of annotation: Marvin or Ruth Sackner.

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John Furnival writes a personal note on the top of a review article of the Sensations exhibition at the Royal Academy. The reviewer states, "Tom Phillips showed skulls at the Dulwich Gallery last year, and though they were not as gory as Marc Quinn's cranial efforts at the Sensation show, the availability of a comparison of the work of a grand old man and an Academician to boot, and the oh-so new offering of the anti-Academician tendency was telling. The theme of the body as the surprising temple of the spiritual is perennial and inexhaustible. But the new wave is adding very little, even in terms of style. The forms they are using have already been plundered, and have had the surprise knocked out of them." -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition consisted of books, manuscripts and works on paper from the collection of Grolier Club members. "The Heart of A Humument" from the Sackner Archive was exhibited and illustrated in the catalogue. George Koppelman exhibited Charles Bukowski's "The Genius of the Crowd," Cleveland:7 Flowers Press, 1966 (hand printed and illustrated by da levy). He purchased it for less than $1.00 from Jim Lowell, Asphodel Book Shop at the time of publication. The colophon called for 103 copies but about 40 copies survived since the rest were destroyed by the Cleveland police. Current price (2007) on the internet from Virtuous Books is $14,500. -- Source of annotation: Marvin or Ruth Sackner.

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Alice Wood writes, "Tom [Phillips] thought you might like these notes & templates for your archive. They belong to the "Tread Softly" quilt. With kind regards, Alice. I am so glad it has found such an appropriate home, and will be well looked after." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Tom Phillips, with the assistance of Alice Wood, created this quilt from fragments of fabric from costumes Phillips was designing for "Winter's Tale" at the Globe Theatre in London. Phillips writes, "For Autolycus I had supervised the making of a large patchwork cloak and was fascinated to see how humdrum pieces of the cloths of the world rather than of heaven when juxtaposed sang out as rich and rare. Some of the 'dye and drab' of the cloak of Autolycus started off this present piece." The text is from a poem by the Irish poet, William Butler Yeats titled "He wishes for the cloths of heaven." The poem reads, "Had I the heavens' embroidered cloths, - Enwrought with the golden and silver light, - The blue and the dim and the dark cloths - Of night and light and half-light, - I would spread the cloths under your feet - But I, being poor, have only my dreams; - I have spread my dreams beneath your feet; - Tread softly because you tread on my dreams..." The letters of the poem are...

Scope and Contents Tom Phillips, with the assistance of Alice Wood, created this quilt from fragments of fabric from costumes Phillips was designing for "Winter's Tale" at the Globe Theatre in London. Phillips writes, "For Autolycus I had supervised the making of a large patchwork cloak and was fascinated to see how humdrum pieces of the cloths of the world rather than of heaven when juxtaposed sang out as rich and rare. Some of the 'dye and drab' of the cloak of Autolycus started off this present piece." The text is from a poem by the Irish poet, William Butler Yeats titled "He wishes for the cloths of heaven." The poem reads, "Had I the heavens' embroidered cloths, - Enwrought with the golden and silver light, - The blue and the dim and the dark cloths - Of night and light and half-light, - I would spread the cloths under your feet - But I, being poor, have only my dreams; - I have spread my dreams beneath your feet; - Tread softly because you tread on my dreams..." The letters of the poem are...

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This print depicts two identical images side by side with minor color changes. The poem reads " A most magnificent kind of wonders catalogue - DOCUMENT the universe; and vanish - documenti--libri----multa--admirandi! - at his bedside - all the reading of the thing with the stamp of art. -- Source of annotation: Marvin or Ruth Sackner.

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This work (Opus 7) was included in Exit Magazine issue No.5-6. It is also depicted in Tom Phillips: Works Texts To 1974, page 252. -- Source of annotation: Marvin or Ruth Sackner.

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This is a favorable review of Tom Phillips' book, "The Postcard Century." -- Source of annotation: Marvin or Ruth Sackner.