This is another version of a drawing mentioned in Tom Phillips: Works Texts To 1974, page 250. The original drawing entitled, "C.Loopseend" (Opus 4) is in the collection of the Tate Gallery. It is stated that the work is a variant of Opus 2 but the piece is not depicted in the book. The Sackner drawing has the Letter 'I' appended to the title. -- Source of annotation: Marvin or Ruth Sackner.

The duplicate print is inscribed to Sarah (sic). -- 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 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. Ten heads total on this print. Upper left has lime green head off paper. 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. The print depicts an expressionist portrait of Dante with the captions Canto III and Inferno. 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. Word "Eloquence" in lime green on silver arch. 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. The print depicts a stylized portrait of Dante. 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 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. Image of Fleur-de-lis in brown surrounded by two dimensional wall on a grey background. 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. Note at bottom from Phillips that was done in aquatint (unknown). Number XIX.

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. Text reads "fair / Florence, / Vice / good-bye my / exclamation..." 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. "slight and lukewarm, / not / able to love, / We / can't / for / repent..." Added: CEND.

The print depicts deconstructed images all involving women. The texts read from image on left to right and top to bottom, "(1) a course in Sussex; (2) a photograph of a curious muse; (3) constant to the subject - the subject extended - he talked and his range came - pursuing the subject; (4) fair sex in various capitals - the politics show; (5) came across a picture of flesh; and circles - The Art revelation; (6) her, smiling her last. - they were Europe." -- Source of annotation: Marvin or Ruth Sackner.

The print in the center depicts the silhoutte of a girl feeding the doves in black and white and on the background one can see the silhouttes of doves flying as depicted in black and blue. -- Source of annotation: Marvin or Ruth Sackner.

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.

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.

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.