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This is a reproduction of page 85 of Mallock's "A Human Document." -- Source of annotation: Marvin or Ruth Sackner.

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Each page is reproduction of Mallock's "A Human Document." All are marked up with pen or pencil, but each page is visually and stylistically unique.

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This is a mainly an ink hatched drawing that was intended for Ciaran Carson's book of poems, Opera et Cetera, Wake Forest Press, 1996, but not utilized in the printed edition. The text is from A Human Document by Mallock. Carson's book is also held by the Sackner Archive. This small fragament contains the following poem: "monsieur art sage monsieur h - dix-huit luding I heard him claim our name - ch - hc - reve omph enderi St ! - tribute to h - ink beau-payin you with his tongue wit." The protagonist in this poem, H C, is Henri Chopin. -- Source of annotation: Marvin or Ruth Sackner.

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One of the prints depicts most of the lines obliterated with brown paint and the other one with white paint. -- Source of annotation: Marvin or Ruth Sackner.

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For this piece that is based on a die, Tom Phillips lettered the text in varying numbered circles. the lettering is in the style of his text based wall sculptures where each letter is linked to adjacent ones. The text is the title of the poem "Un Coup de Des Jamais Abolira le Hazard" by Stephane Mallarme. Phillips writes that, " the first line of the foundation poem of chance procedures (and concrete poetry in general), outlines another dilemma which I translate as 'A throw of dice will never do away with chance'. Each dot on these giant dice incorporates the line and through the mysteries arising from the solid geometry of a transparent cube each "throw" gives rise to new configurations as chance plays its second role. Looked at from the sides, from the corners and from above, the cube's symmetry produces illusions and paradoxes of perception, hints of mirrors and fractures appropriate to each of these statements." -- Source of annotation: Marvin or Ruth Sackner.

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This is a colored drawing that was intended for Ciaran Carson's book of poems, Opera et Cetera, Wake Forest Press, 1996, but not utilized in the printed edition. The printed page is Carson's poetry. Carson's book is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This is a gouache drawing that was intended for Ciaran Carson's book of poems, Opera et Cetera, Wake Forest Press, 1996, but not utilized in the printed edition. The text is from Carson's poetry. Carson's book is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Signs Ltd. of Bellenden Road have, after some adjustments I made to the prototype, produced, in laminated plastic with perspex slide, a handsome multiple of my favourite device. This comment about the work originates from Phillips' Works/Texts to 1974 (1974), p. 266. "A shop that I pass regularly on the way to the studio had a small red and white plastic sign saying C LOOPSEEND. Since the shop sold yams and sweet potatoes I assumed that this was the name of the proprietor; the double vowels suggested Dutch however and I was puzzled each time I passed it. Having seen this name for about a year and having thought it odd but probably liable to rational explanation, I suddenly came across its double in a second-hand shop in Ipswich in 1965. I was about to ask the shopkeeper whether he was any relative of his namesake in Camberwell when I noticed, in the back of the shop, many piles of similar nameplates, each bearing the inscription C LOOPSEEND. For some reason I made no enquiry in the...

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The collages constitute the original artwork of illustrations for the book by Malcolm Bradbury "Cuts" which is held by Sackner Archive. Cuts refers to U.K. governmental 'cuts' of the budget. -- Source of annotation: Marvin or Ruth Sackner.

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This unusual exhibition catalog, which itself can be classified as an artist book, consists of booklets with reproductions from limited editioned artist and illustrated books. -- Source of annotation: Marvin or Ruth Sackner.

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This sculpture contains forty words hand printed in ink on the sides of ten wooden square blocks. Each block, that can rotate on a wooden dowel through hand movement, measures 11.4 x 11.4 x 2 cm. The words selected by Phillips for each block are: Modernism, Miami Beach, Moonlight, Memory - Inspires, Indulges, Identities, Ignores - Ambiguous, Amorous, Artistic, Abstract - Madness, Mythology, Miracles, Moments - Idiotically, Inwardly, Ineptly, Intensely - Brainless, Backward, Bohemian, Beautiful - Egoists, Emotions, Erections, Eccentrics - Always, Artfully, Already, Absurdly - Confuse, Clarify, Complete, Celebrate - History, Heartache, Happiness, Hysteria. The first letter of each block vertically spells Miami Beach.Illustrated in "Works and Text 1992 " on page 110. -- Source of annotation: Marvin or Ruth Sackner.

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Tom Phillips writes in his brochure dealing with this series of works that he painted small pictures when he had little time while working on the translating and illustrating of Dante's Inferno. It occurred to him that he could recapture the original impression of a larger space "not by making the works bigger but by making the context in which they were to be viewed smaller." He described the small paintings set into miniature gallery walls as "National Gallery of Lilliput." -- Source of annotation: Marvin or Ruth Sackner.

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The booklet with the 26 treated pages has an abstract line drawing on its cover, the booklet with 69 treated pages has the roman numeral "II" on its cover with the title "Les Tres Riches Heures de Fleur." The first booklet describes and illustrates trips to Kenya, Verona, Dusseldorf with Phillips' assistant/bookbinder Pella Erskine Tulloch. He also describes and illustrates her musical tastes. The first sketch of her portrait appears on one of the pages; the Sackner Archive holds the completed painted portrait. In the booklet with 69 treated pages (concertina II), Phillips mentions drawing and painting Pella's portrait and comments on his own activities. -- Source of annotation: Marvin or Ruth Sackner.

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John Russell contributed an introductory essay that analyzed Phillips' painting "Benches" as well as "A Humument." "Oh, those reds," a painting from 1969 to 1973, that is depicted in black & white in the catalogue is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This print was constructed according to rules of the golden section but most of the lines have been erased even though this version is designated as the final proof. The print was not editioned but a musical piece with the same title was cokmposed in 1991. This was recorded on a compact disc in 1997, a work also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This print was constructed according to rules of the golden section with these lines retained in gold ink. The print was not editioned but a musical piece with the same title was composed in 1991 and recorded on a compact disc in 1997. The disc is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This object was formed from by photocopied hand lettered text in the style Phillips uses for his text based sculptures, where each letter is physically linked to adjacent ones. The photocopied sentence of the title, glued onto the cube is repeated twice on each of its surfaces. The Sackner Archive also holds the hand-drawn maquette for this work. The text is by the philosopher Ludwig Wittgenstein. -- Source of annotation: Marvin or Ruth Sackner.

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For this piece, Tom Phillips lettered the text in the style he used for his text based wall sculptures. Each letter is linked to adjacent ones. The sentence of the title is repeated twice on each surface of the cube. The text is by the philospher Ludwig Wittgenstein.Phillips writes, "The series of cubes began with a cage of wire made for The Globe Theatre's production of A Winter's Tale. A cage of wire words followed to exemplify Wittgenstein's proposition 'The Limits of My Language are the Limits of My World'. Printing this on an acrylic cube where the inside can be seen and, by an oddity of optics, experienced from the outside seemed to unite the reading of a statement with its perception as a metaphor. Reversing the text on the outside in a later version emphasised the trap of language that Wittgenstein describes." -- Source of annotation: Marvin or Ruth Sackner.

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For this maquette, Tom Phillips hand lettered the text in the style he used for his text based wall sculptures. He marked design changes in small, red symbols. Each letter is linked to adjacent ones. The sentence of the title is repeated twice on each surface of the cube and hand-drawn on each surface of the wooden cube. The maquette is slightly smaller than the finished work that is also held by the Sackner Archive. The text is by the philospher Ludwig Wittgenstein. -- Source of annotation: Marvin or Ruth Sackner.