This book is a visual survey of Quentin's works, who was born in 1923, that begins with his student realistic drawings, 1940-1944. The first calligraphic and hieroglyphic drawings appear in 1944-1946. Some are on paper and hemp, others are incised on clay tablets. The Sackner Archive holds a drawing from this period. Quentin's work in architecture and graphic design begins in the early sixties. In the seventies, he begins to do jewelry and flatware design with calligraphic, concrete poetic imagery. In the early eighties, he executes large concrete poetic sculptures in French and Arabic languages. -- Source of annotation: Marvin or Ruth Sackner.

This book is a visual survey of Quentin's works, who was born in 1923, that begins with his student realistic drawings, 1940-1944. The first calligraphic and hieroglyphic drawings appear in 1944-1946. The Sackner Archive holds a drawing from this period. Some are on paper and hemp, others are incised on clay tablets. Quentin's work in architecture and graphic design begins in the early sixties. In the seventies, he begins to do jewelry and flatware design with calligraphic, concrete poetic imagery. In the early eighties, he executes large concrete poetic sculptures in French and Arabic languages.The calligraphic drawing accompanying this book is entitled "Art." -- Source of annotation: Marvin or Ruth Sackner.

Contains photograph of Memoire II, 1989, a large collage held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The hieroglyphics and interspersed letters are laid out in a form of a text. It anticipates visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

The four borders of this work consist of the cut-out letters of the title. -- Source of annotation: Marvin or Ruth Sackner.

This is a copy of Drucker's catalogue essay for the exhibition "Symbols to Stories" at the Centre Gallery, Miami-Dade Community College from the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.