The drawing consists of red and black ink spheres and varied sized circles connected by lines. -- Source of annotation: Marvin or Ruth Sackner.

This book is a score for a performance piece given at Magazzini del Sale in conjunction with the exhibition, Materializzazione del Linguaggio, organized for the Venice Biennale by Mirella Bentivoglio. The work was based upon a treated text of John Ruskin's commentary, "The Stones of Venice" (1851-1953). -- Source of annotation: Marvin or Ruth Sackner.

The background of the pages consist of two themes: Japanese calligraphic text and repeated cursive lower case e's. On the center of each page, Hasekura has collaged a small, printed image. The accompanying loose sheet provides titles in English and Japanese for the works. -- Source of annotation: Marvin or Ruth Sackner.

Preface by Michel Leiris. Edited by Marie-Laure Bernadac and Christine Piot. Includes facsimile reproductions of manuscripts. -- Source of annotation: Marvin or Ruth Sackner.

Ken Nordine first recorded the text in 1967 that was rereleased in 1995 by Asphodel Records. Henrik Drescher made the omages. -- 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. 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.

This catalogue features experimental calligraphic paintings by Ben Bella, Brion Gysin, Jean Degottex, Shakir Hassan, and Lee I-Fan. William Burroughs' interview of Brion Gysin is titled "Points de Passage." Pierre Restany contributed an essay on the work of Lee U-Fan. -- Source of annotation: Marvin or Ruth Sackner.

The colors appear so vibrant that it seems that the images were drawn rather than printed. -- Source of annotation: Marvin or Ruth Sackner.

The colored photograph appears to depict a rumpled fabric with Lettrist calligraphic markings. The signees on the card are Lettiste poets -- Source of annotation: Marvin or Ruth Sackner.

The colored photograph appears to depict a rumpled fabric with Lettrist calligraphic markings. -- Source of annotation: Marvin or Ruth Sackner.

The colored photograph appears to depict a rumpled fabric with Lettrist calligraphic markings. -- Source of annotation: Marvin or Ruth Sackner.

The drawing, that forms the back cover, consists of a fragmented rectangle of gold leaf paint placed upon a background of brown paint. This image is Baker's signature style. -- Source of annotation: Marvin or Ruth Sackner.

Also designated as Card #90. -- Source of annotation: Marvin or Ruth Sackner.

Has an appearance reminiscent of a Lettrist painting. -- Source of annotation: Marvin or Ruth Sackner.