As Katherine Quinn recalls in the book's foreword, "The idea for the book started when a group of people interested in organizing an exhibition of my husband's artwork came to tour our estate in Bristol, Rhode Island. They brought with them a consultant, a man named Malcolm Grear, a world-renowned graphic designer. The group was clearly overwhelmed by the vast collection of

Full- and mini-size accordian-fold maquettes were used for both design and promotion of the book. BLADs (at bottom) were developed for both editions.

sculptures, paintings, and drawings that Tony had created, so we discussed how to make a selection that would accurately represent the scope and scale of his work.

When asked his opinion, Malcolm Grear said, 'The exhibition would be lacking if it didn't include a representation of the objects Mr. Quinn collected as well as those objects he created.' He explained that he was equally impressed with the books, eggs, masks, rocks, stones, artifacts, and paintings by other artists that were scattered throughout the house and barn. 'The artist's eye is evident everywhere.' The idea appealed to everyone, but the execution of such a visionary project was beyond the budget. A few weeks later, Malcolm reciprocated my tour of the estate and gave