Dautricourt has drawn made-up, simulated Arabic letters in white ink on a black paper background. The opened facing pages are the only visible part of the book; the other pages are glued together. -- Source of annotation: Marvin or Ruth Sackner.

Dautricourt has drawn made-up, simulated Chinese ideograms in white ink on a black paper background. Two opened facing pages are the only visible part of the book; the other pages are glued together. -- Source of annotation: Marvin or Ruth Sackner.

Dautricourt has drawn made-up, simulated Chinese ideograms in white ink on a black paper background. Two opened facing pages are the only visible part of the book; the other pages are glued together. -- Source of annotation: Marvin or Ruth Sackner.

Author discusses Dautricourt's sculptural bone and feather fetishes. This piece is stored in the Dautricout box. -- Source of annotation: Marvin or Ruth Sackner.

This poster is an announcement for a book. -- Source of annotation: Marvin or Ruth Sackner.

These works were preparatory drawings for the piece that was commissioned for "The Beauty In Breathing" exhibition. -- Source of annotation: Marvin or Ruth Sackner.

In addition to recent works composed by painting rubberstamped letters and symbols, and, with computer graphics, this catalogue lists works that are held by the Sackner Archive and exhibited in "The Altered Page and "The Beauty in Breathing" exhibitions, both curated by Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

This sculpture is depicted on page 9 of exhibition catalogue, "Sculptures," Galerie Antoine Candau, 1987. -- Source of annotation: Marvin or Ruth Sackner.

Bovine atlas (first cervical vertebra), Indian ink

This exhibition featured bone sculptures with micrographic, written texts onto them. The Sackner Archive holds, "Os," a sculpture depicted as a photograph on page 9. -- Source of annotation: Marvin or Ruth Sackner.

The "sentences" on each page consist of printed line drawings of stones arranged horizontally that might constitute a text that cannot be deciphered by the casual reader. -- Source of annotation: Marvin or Ruth Sackner.

This digital calligraphic work was made from letters traced by Dautricourt in pen and ink and then realized in a computer using Adobe Illustrator and Adobe Photoshop. It was printed on Bristol paper with a laser printer. The text was derived from the book Shamot, from the Torah, the Hebrew Bible, chapters 31, 32 and 35. The Hebrew letter 'lamed' constitutes the background and the center biblical text was printed in muted orange, purple and beige colors. -- Source of annotation: Marvin or Ruth Sackner.

This digital calligraphic work was made from letters traced by Dautricourt in pen and ink and then realized in a computer using Adobe Illustrator and Adobe Photoshop. It was printed on Bristol paper with a laser printer. The text was derived from the book Shamot, from the Torah, the Hebrew Bible, chapters 31, 32 and 35. A large Hebrew bown letter 'shin' formed the background for the Biblical texts printed in red and white. -- Source of annotation: Marvin or Ruth Sackner.

This digital calligraphic work was made from letters traced by Dautricourt in pen and ink and then realized in a computer using Adobe Illustrator and Adobe Photoshop. It was printed on Bristol paper with a laser printer. The text was derived from the book Shamot, from the Torah, the Hebrew Bible, chapters 31, 32 and 35. A block of white text in the center was surrounded by black and red text printed with a larger font size. -- Source of annotation: Marvin or Ruth Sackner.

This digital calligraphic work was made from letters traced by Dautricourt in pen and ink and then realized in a computer using Adobe Illustrator and Adobe Photoshop. It was printed on Bristol paper with a laser printer. The text is derived from the book Shamot, from the Torah, the Hebrew Bible, chapters 31, 32 and 35. A yellow Hebrew letter 'lamed' formed the background with the text printed in black and grey overlying it. -- Source of annotation: Marvin or Ruth Sackner.