THE TAMARIND PAPERS: A JOURNAL OF THE FINE PRINT

INDEX


A
| B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z


 

A

 

A fortiori, 14:31
Abrams, Jonathan, Review of Artists beware by Michael McCann, 5:55 
Abrasive corrections of drawings on stones or metal plates, 2:49
Absent discourse: critical theories andprintmaking, by Ruth Weisberg, 13:8-10
Abstract Expressionism, 13:29, 58, 66, 14:9, 43; (see also Hayter, 14:31-56, Abstract Expressionists, 11:11, 13; 15:58)
Abstract expressionists, attitudes toward lithography, 6:5
Acetate, prepared; see Mylar
Acid-tint process, 1:49-50; 7:24-28; on aluminum plates, 6:48-50
Ackley, Clifford S., 13:60
Acton, David, The Prints of Will Barnet:an addendum, 16:83-92
Adams, Ben Q., Airbrush drawings with polymer materials, 1:25-29; Printing from a lacquer base, 1:30-31; 1:62-64, 1:92
Adams, Clinton, 14:4-5; Melon Slice, 1:108; Second hand store, 14:5; Transition, from Artists' Impressions, 13:64;

ARTICLES:

  • Art as a testament: a conversation with Margo Humphrey, 9:16-26
  • Artist as lithographer, the: a conversation with George McNeil, 7:40-47
  • Being there, 13:11-15; 13:26-27; Bibliography (supplement to TBL), 1:89-91
  • The Case of the absent printer: Childe Hassam's lithographs, 16:49-58;
  • Changingtimes, changing technologies, 11:68;
  • Collotype processes and their applications in lithography, 3:34
  • Color lithography in the 1950s, the Cincinnati biennials: a conversation with Gustave von Groschwitz, 1:86-88
  • Contextually loaded: aconversation with Patrick Nagatani, 15:95-106;
  • Crisis in printmaking, the (participant in panel discussion), 3:44-51
  • Dessin à la pointe: lithographic stone engraving (with John Sommers), 1:1-4
  • Drawing with graphite on stone: a conversation with Ray George, 1:65-69
  • Fake and the faux-graphique, the: a distinction without a difference, 9:6
  • Grant Arnold, lithographer: New York and Woodstock, 1928 to 1940, 3:38-43
  • Gum arabic: is there an alternative? (with John Sommers), 1:46-48
  • Into the crystal ball, the future of lithography (panel discussion; participant in), 8:50-60
  • Joseph Pennell and Bolton Brown, 7:48
  • Leading into the work: a conversation about making prints, with Steven Sorman, 10:4- 15
  • Life and work: thoughts of an artist-printer, a conversation with Irwin Hollander, 8:34-43
  • Lynton R. Kistler and the development of lithography in Los Angeles, 1:100-09
  • Margaret Lowengrund and the Contemporaries, 7:17-23
  • McGarrell, James, a conversation with, 1:49- 56 Mylar method, comment on the, 2:5
  • On art and process (editorial), 2:32
  • On counting blades of grass, 10:50-51
  • On economy of means (editorial), 1:82
  • Original lithographs (editorial), 1:98
  • Pedrara onyx: its use in lithography, 1:41-42
  • Personality of lithography, the: a conversation with Nathan Oliveira, 6:4-9
  • Prints of Andrew Dasburg, the: a complete catalogue, 4:18-25
  • Rubbed stones, middle tones and hot etches: Lawrence Barrett of Colorado, 2:36-41
  • Tamarind: an anniversary album; preface, 4:6-17
  • The Tamarind citation11:9; Technical matters, 6:52-55
  • Theodore H. Cuno(1877-1967), 16:97-100
  • Zinc etching plates as printing elements for lithography (with John Sommers), 1:43

BOOKS AND CATALOGUES REVIEWED:

  • Armstrong and company: artistic lithographers, by Leeds
  • Armstrong Wheeler, 7:35
  • Art and technology: offset prints, by Hanlyn Davies and Hiroshi Murata,7:34-35
  • Czechoslovak prints from 1900 to 1970, by Irena Goldscheider, 10:46
  • Contemporary Japanese prints: symbols of a society in transition, by Lawrence Smith, 10:46
  • Gemini G.E.L.: Art and collaboration, by Ruth E. Fine, 9:37
  • Graphic work of Howard Cook, the: a catalogue raisonne, by Betty and Howard Duffy, 7:86-87
  • Great American Prints, 1900-1950, by June and Norman Kraeft, 8:71
  • John Steuart Curry and Grant Wood: a portrait of rural America by Josh S. Czestochowski, 5:63
  • Prints of Frank Stella, the: a catalogue raisonne, by Richard H. Axsom, 6:58-59
  • Public and private: American prints today, by Barry Walker, 9:37
  • Reginald Neal: a retrospective of his prints, 9:37
  • 17th International Biennial of Graphic Art, at Ljubljana, Yugoslavia, 10:85-86


Adams, Wayman, art school in Elizabethtown, NY, 6:40-42
Adler, Jankel, 14:17
Adrian, Dennis and Richard A. Born, The Chicago imagist print, reviewed, 12:65-66
Ainslie, Patricia, Cecil Buller: a Canadian printmaker in the UnitedStates, 12:38-45
Airbrush drawings: with polymer materials, 1:25-29; processing of, 1:91-94
Albers, Josef, 4:10; 13:28; Day and night, 13:28; Midnight moon, 13:28; White line squares, 13:28; Allegro, 13:28; Homage to the square, 13:28
Alexandre Lunois: a centenary exhibition, reviewed, 6:60
Allen, Lynne, 6:27

  • Aluminum Plate Lithography, 11:68-74;
  • Deletions on photographic plates, 10:83-84
  • Research on surface changes in overprinted flats, 6:53-54
  • The Skin of the world: Leon Golub and NancySpero, 15:57-70
  • Stones crayons, 10:41-42
  • Subtractive drawing and deletion techniques (with Russell Craig), 9:27-30
  • The Tamarind exchange: two American artists in the SovietUnion, with George McNeil, 11:55-68;
  • Technical matters, 9:69-70
  • Tonal washes, transferpapers, and 'power-washes' forrollers, 14:75-77;



Alternative pencils for lithography, 10:40-41
Aluminum plate lithography, 11:68-74; ball-grained, 11:69-70; corrections, 11:73-74; counter etch, 11:70; drawing tools, 11:71, 74; etching, 11:72-73; photo-sensitive, 11:69; processing, 11:71; diazo coatin gs, 12:81-85; sodium silicated aluminum, 12:81-85; "ink dot scum," 12:83; see also: plates, aluminum
Ambiguous space: tradition and non-tradition, by Steve Yates, 12:20-27
American art review, the, 11:29-33, 35 American Art Union, 12:34
American impressions: prints since Pollock, by Riva Castleman, 9:31-32
The Prints of Edouard Manet, by Jay McKean Fisher, 9:71-76
American league against war and fascism 1936 calendar, the, by Peter Walch, 15:19-24
American print workshops: a survey, by Rebecca Schnelker, 12:86-94
American printmaking, a century of, 1880- 1980, by James Watrous, reviewed, 7:84-85
American prints and printmakers: a chronicle of over 400 artists and their prints from 1900 to the present by Una E. Johnson, reviewed, 4:34-7
American prints today, public and private, by Barry Walker, reviewed, 9:37
American prints, 1900-1950, by Richard S. Field, et al, reviewed, 7:29-31
American prints: process and proofs by Judith Goldman, reviewed, 5:54-55
American women of the etching revival, by Phyllis Peet, reviewed, 11:77
Amero, Emilio, 3:8
An interview with Eric Avery, by Barry Walker, 15:71-86
Ancora, Pietra, 12:28
Andrews, Steve, Ocean works workshop, 4:3l
Andrews, Sybil, 14:26-27; Sledgehammers, 14:27
Angeles Press, 4:55
Antreasian, Garo, 1:88, 109; 13:26, 28, 36; 14:4-5; Abra, from Artists' Impressions, 13:65

ARTICLES:

  • Permanent aluminum lithographic plates, 1:61-62

BOOK REVIEWS:

  • Ken Tyler, master printer, and the American print renaissance, by Pat Gilmour, 9:32-36
  • Charles Hullmandel and James Duffield Harding: a study of the English art of drawing on stone, by Christine Swenson, 7:31-33
  • Lithographic research and the Tamarind archives, 13:51-53;
  • Papermaking, by Jules Heller, 2:22

Applebroog, Ida, Promise I won't die?, 13:57
Arago, Francois-Dominique, 17:viii, 3, 5-10
Arakawa, 1:82
Archives of printmaking workshops, at Rutgers University, 7:4
Arizona State University, the visual arts research institute at, 5:4; 10:70-77
Arjomari papers, 1:34-35
Armitage, Merle, 1:101, 104
Arms, John Taylor, 5:37-38, 42; New York Skyline, 5:38
Armstrong and Company: Artistic Lithographers, by Leeds Armstrong Wheeler, reviewed, 7:35
Arnheim, Rudolph, 13:63
Arnold, Grant, Lithographer, New York and Woodstock, 1928-1940, 3:38-43; Street Scene 3:42; recipient of Tamarind citation, 1986, 9:5
Art and technology: offset prints, by Hanlyn Davies and Hiroshi Murata, reviewed, 7:34-35
Art as a testament: a conversation with Margo Humphrey, by Clinton Adams, 9:16-26
Art Association of Montreal, 12:39
Art Journal, the, 12:33
Art Nouveau Bing, Paris style 1900 (exhibition), 9:44; Art Nouveau Bing, by Gabriel P. Weisberg, reviewed, 10:43-44
Art Nouveau, 12:40
Art students league in New York, 12:39
Arthur Wesley Dow and his influence, by Nancy E. Green, reviewed, 14:81-82
Artist and printer: some matches are made in heaven and others..., by Leonard Lehrer, 8:44-49
Artist as lithographer, the: a conversation between George McNeil and Clinton Adams, 7:40-47
Artistic printing: collaborative printing during the etching revival and early twentieth century by Larry D. Perkins, 11:26-36
Artists beware, by Michael McCann, reviewed, 5:55
Artists' impressions, by Linda Tyler, 13:64-65
Artists' International Association, 14:57-68, 73; Everyman prints, 14:10, 12, 57-61, 65; AIA 1951 lithographs, 14:57, 61, 66-68; School print series, 14:10, 12, 65-68
Artists' lithography in India today, by Charles Stroh, 9:10-15
Asher, Catherine, 2:16
Aspects of American printmaking, 1800-1950, ed. by James F. O' Gorman, reviewed, 12:74-75
At play in the fields of the world: lithographs by Walton Ford, by Kathleen Stewart Howe, 17:x, 97-103
Atelier 17, 14:31-42, 45, 54, 56, 71; (see also S. W. Hayter 14:31-56, Abstract Expressionists, 11:11, 13)
Atkinson, Conrad, Daily Consumernica, 13:48-49
Attinello, Lauren K., 2:51
Avati, Mario, La Metropolitaine, 13:23
Avery, Eric, 15:71-85; As it is, from Damn it, 15:85; Blood test, 15:78; The blue bath from Damn it, 15:79; Death gives birth to beauty, 15:76; Demoiselles d' avignon de San Ygnacio, 15:75; Dishonor and disrespect (Haitian interdiction 1981 to 19--] 15:80; Healing before art, from Damn it, 15:83; Nuclear wish for Las Dure refugee camp, 15:74; Soldiers, 15:73; Starving African child with AIDS, 15:77; Summer boogie woogie, from Damn it, 15:82
Avery, Milton, Nude with long torso, 13:44; Sail boat, 13:44
Axsom, Richard H., The Prints of Frank Stella, a catalogue raisonne, reviewed, 6:58-59

B

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Backing for printing elements: laminated backing for plates, 1:62; slate, 1:40 
Bacon, Peggy, 11:35-36; Peter Platt printing, 11:36; The promenade deck, 11:36, Bangala, England, 11:46, 48-49,51; Bones, 11:46; Untitled, 11:51
Baker, Joy Purmal, Graphite: its versatility in lithography, 1:97, 110-13; 4:16
Banting, John, 14:13; Brian Howard, portrait of a failure, 14:13
Barcham-Green and Co, see paper
Bark painters, 11:43-54
Bark painting, techniques, 11:43-52; pigments, 11:44; rark style, 11:45, 48, 52; X-raystyle, 11:44
Barker, Albert Winslow, Graphite crayons and sea salt, by Ronald Netsky, 6:18-21; Tenth Month, Second, 6:18
Barnet, Will, 16:83-90; At the kitchen table, 16:87; Cafeteria, 16:85; Central Park siesta, 16:85; The Concert, 16:85; Dawn, 16:90; Father and parrot, 16:86; The figures in a garden, 16:89; Idle hands, 16:85; Love affair, 16:86; The loving couple, 16:86; A Moment's rest, 16:87; Mother's bedroom, 16:87; New England town, 16:84; Portrait of Jeannette, 16:86-87; Rooster and child, 16:88-89; Self-portra it, 16:87-88; Strange birds, 16:88; Subway, 16:84-85; Vigil, 16:90
Barnet, Will, 6:11
Barns-Graham, Wilhelmina, Bryher, Scilly Isles, 14:18
Barr, Thomas, 1:103
Barrett, Lawrence. Rubbed stones, middle tones and hot etches, by Clinton Adams, 2:36-41; Silver cock, 2:39; (Horses in winter), 2:41
Barrett, Riva Helfond, 6:10
Barrett, Timothy, Japanese papermaking: traditions, tools, and techniques, reviewed, 8:70-71
Barrow, Thomas, 15:110, 112; Studio notes (IV), 15:110, 112
Barrow, Thomas. Correspondences and transformations: photography and lithography, by Thomas Barrow, 10:68-69; Strange attractor: a consideration of the photographs of, by John Bloom, 10:64-67; Bilingual Communications, 10:66; I, Cathode Ritual I, 10:64; D owntown Albuquerque, 10, no. 2 (cover); Fan 10:67; Films, 10:68; Revisions 1:99; Untitled, 10:67
Bassham, Ben, John Gadsby Chapman and son: American etchers in Italy, 1850-1884, 12:28-37, Lithographs of Robert Riggs, the, with a catalogue raisonne, reviewed, 11:76
Bassham, Ben, The lithographs of Robert Riggs, 6:32-39; review of A century of American printmaking, 1880-1980, by James Watrous, 7:84-85; review of The prints of Benton Murdoch Spruance: a catalogue raisonne, by Ruth E. Fine and Robert F. Looney, 9:77-79
Batten, John Dickson, 16:39; Eve and the serpent, 16:38
Battle for a market, the: art reproductions in print and photography from 1850-1880, by Pierre-lin Reni�, 17:ix, 41-53
Baudelaire, Charles, on photography, 10:50
Bauer, Heine (chromist for Norman Rockwell), 3:15
Baxter, Charlotte, Tamarind in Canada, 8:25-30
Bearden, Romare, 13:74-75
Beato, Felice, 13:86-87
Bechtold, Louis, 5:18
Being there, by Clinton Adams, 13:11-15
Belle-�poque, 12:56, 58; 16:22
Bellows, George, 2:34-35; 5:18, 38-39; 7:66; Anne, 5:39; Riverfront, 2:34
Ben Shahn and the American racial divide, by Susan H. Edwards, 17:x, 77-86
Benjamin, Walter, 13:8-9; 15:90, 92; The work of art in the age of mechanical reproduction, 13:8-9
Benton, Thomas Hart, 12:47-48, 54, We the people, 13:36; Back from the fields, 13:42
Benton, Thomas Hart, She'll be comin' 'round the mountain, 3:41
Berlin Dada group, 12:25
Berlin Photographic Co., 5:9
Berman, Eugene, 1:105-07; Pisan fantasy, 1:105
Bertrand, Ray, 16:78-80
Bertrand, Raymond, 6:4
Betty Hahn's lithographs, by Conrad Schwable and John Sommers, 3:35-7
Bibliography (supplement to TBL, 1:89-91
Biddle, George, 2:36
Big print, big screen: W. Snyder MacNeil, photography, video and the romantic tradition of graphic variability, by Eugene Parry Janis, 13:66-72
Bigelow, Robert, at University of Calgary, 8:28
Bing, Art Nouveau, Paris style 1900 (exhibition), 9:44; Art Nouveau Bing, Paris Style 1900, by Gabriel Weisberg, reviewed, 10:43-44
Bing, Siegfried, and Art Nouveau, 10:43-44
Bingham, Robert, 17:42-43
Bisti, Dmitri, 11:57-59, 62, 67
Bisttram, Emil, l:105n
Black and white, in praise of, by John Sommers, 9:65
Black printmakers and the WPA: a symposium, by Ellen Sragow, 13:73-76
Black, Brigadier General Mitchell, 17:100, 102
Black, Dorrit, 14:27; Backs of houses, Veere, 14:27, 30
Black-and-white prints, 13:60-64
Blackburn, Robert, 13:74-76; Checker game (club room), 13:76
Blackburn, Robert, An investment in an idea, by Elizabeth Jones, 6:10-14; 1:88; Windowed
Blake, Peter, Beachboys, 13:31
Blake, William, technique of text on copper plate, 13:37
Blanc, Paul, 16:13-23; Beggar on crutches with old beggar woman, 16:19; The Blind child and the paralytic, 16:14, 19; Old beggar on crutches seen from the back, 16:20; Old beggar on crutches seen from the front, 16:21; Perse verance, 16:15; Without tobacco, 16:20
Blanch, Arnold, 3:39, 41
Blanch, Lucille, 3:41
Blanquart-Evrard, Louis, 17:ix, 51
Blended inking, see color-blend prints
Blindstamps, see chops
Bloch, E. Maurice, 2:55
Bloom, John, Strange attractor: a consideration of the photographs of Thomas Barrow, 10:64- 67
Bloxham, Rebecca, Lo-shu washes, 6:22-24
Bohrod, Aaron, 3:40
Bokashi, 16:41
Bolton, Clarence, 3:41
Bonnard, Pierre, 16:27-35; Almanach du p�re ubu, 16:33-35
Bonner, Mary, 5:40
Book art in Russia, 11:62; sanizdat, 11:62; de luxe, 11:62
Book reviews:
Books in review, see title and/or author
Booth, Judy, review of Fine prints: collecting, buying, and selling, by Cecile Schapiro and Lauris Mason, 2:24-25
Boswell, Peyton, 5:42
Bowne, William, 1:104
Boys, Thomas Shotter, 17:4-5; Quai Malaquais, 17:4-5
Bracquemond, F�lix, 13:87-88
Bray, H. P., 7:50
Brice, William, 1:105n
Brice, William, Untitled #4, from Artists' Impressions, 13:64
Brief guide to siligraphy, a: waterless lithography, by Veda Ozelle, 15:117-132
Britain, survey of print workshops in, 9:45
British color linocuts: the critical response between the wars, by Stephen Coppel, 14:21-30
British museum's contribution to print scholarship, the, by Charles Newton, 14:6-13
Britko, Stephen, 1:42
Britton, Daniel, Water tusche washes, observations of collaboration between Leonard Lehrer and Wayne Kimball, 3:25-27
Broadd, Harry A., slide sets by, reviewed, 5:5
Brody, Jacqueline, editor, Print collector's newsletter, 13:13, 44
Broken stones and whooping cranes: thoughts of a wilful artist, by June Wayne, 13:16-27
Broker, Karen, Man/state I, 3:57
Bronzing, concerns with, 4:28-30
Brooklyn museum national print exhibition, by Barry Walker, 13:41-44
Brooklyn Museum, curators of Prints and drawings, Una E. Johnson, 1947-1969, 13:41-43; Jo Miller, 1968-1975, 13:43-44; Gene Baro, 1976-1982, 13:43-44; The National print exhibition, 13:41-44
Brown, Bolton (author). My ten years in lithography, 5:8-25; 36-54; Pennellism and the Pennells, 7:49-71
Brown, Bolton, 13:11
Brown, Bolton, A reminiscence, by S. Dale Phillips, 2:34-35: Bolton Brown and Joseph Pennell, by Clinton Adams, 7:48; crayonstone method of, 9:68; friendship with Albert W. Barker, 6:18-20; as printer for Joseph Pennell, 7:66; Lake ladies, 5:43; Moonlit w oods, 5:11; Picnic, 5:23; Rustic bridge, 5:49; Storm, 5:3; A study of trees by a river, 5:14; Summer shower, 3:41
Brown; [Bolton], Pennell, and Whistler: eradicating errors and presenting a non- partisan view, by Nicholas Smale, 8:68-70
Bryson, Bernarda, 1:87
Bryson, Norman, 13:9-10
Budek slide sets, reviewed, 5:5
Buffered papers: a new concern, 4:30
Buller, Cecil, 12:38-45; Associate Academician from National Academy of Design, 12:43-44; Dancers 12:41-42; Duality, 12:43; Song of Solomon: kneeling (I am my beloved and my beloved is mine), 12:38, 43; Jazz 12:42; La dies of the burlesque, 12:43-44; Man-machines, 12:42-43; Memory fragments, 12:44; Mood, 12:41; Self-portrait, 12:44-45; Shadow of war, 12:44-45; Summer afternoon, 12:40
Bulun, Johnny Bulun,11:42,48-49; Sacred water holes surrounded by totemic animals of the artist's clan, 11:42; Gunungu, 11:49
Burks, Myrna (North light editions), 4:55
Butler, James, 1:5-7: An improved device for critical color registration, 1:8-11

C

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Cage, John, collaboration with Irwin Hollander, 8:38-39, 42 
Cahn, Joshua Binyon, 13:28-29
Calder, Alexander, 14:46-47
Callot, Jacques, Beggar on crutches, wearing a hat, 16:18
Calotype, paper negative, 13:67; 17:17-18
Cameron, Julia Margaret, English portraiture, 13:67-68
Canada, Tamarind in, by Charlotte Baxter, 8:25- 31
Canadian Print and Portfolio, 7:47
Canberra school of art, 11:43-52; Jorg Schmeisser, 11:46; Butler, Roger, 11:43; Tipungwuti, Anthony, 11:43
Carborundum print, 13:75
Carborundum, reclaiming of, 1:94-95
Carey, Frances and Antony Griffiths, Avant-Garde British printmaking, 1940-1960, exhibition catalogue, 14:6-13
Carey, Frances, Monotype in Britain, the, 14:14-20
Carles Jr., Arthur B., 13:77-81; Abstraction (last painting), 13:80; An Actress as Cleopatra, 13:78, 80; Dorziat, 13:77, 79; Dorziat, Reciting, II, IV, VII, X, 13:79-81; Flowers, 13:78; Floral fragment, 13: 78; Interior with woman at the piano, 13:79; The Marseillaise, 13:79; Self-portrait in studio, 13:77' 80; Self-portrait with pipe, 13:79
Carman, Albert, 3:8
Carrara marble,see marble
Carrington, FitzRoy, 5:44
Carrington, Noel, 8:22-23
Carroll, John, 3:39; Head, 3:40
Cary, Elizabeth Luther, 5:23n
Case of the absent printer, the:Childe Hassam's lithographs, by Clinton Adams, 16:49-58
Case, John M., 12:81-84
Casebere, James, 17:x, 87-95; Cafeteria and cell with toilet, 17:88, 90, 94; Digital sing sing, 17:92-93; Home, 17:88, 90; Home and prison, 17:88-89; Industry, 17:94; Panopticon #1 and # 2, 17:88, 90, 94; 15:110-111; Prison typology (in 9 parts), 15:110; 17:88, 90-94
Castleman, Riva, American impressions: prints since Pollock, reviewed, 9:31-32; participant in panel discussion: Into the crystal ball, the future of lithography, 8:50-60
Castleman, Riva, Since 1960: contemporary prints at the museum of modern art, 13:45-46
Catalogue of the New York etching club exhibition, 11:34
Catalogues raisonnes, 12:62-68
Cate, Phillip Dennis, 16:102; Forums of the absurd: three Avant-Garde lithographic publications at the turn of the last century, 16:27-36 Cavell, Stanley, 12:20-21
Cate, Phillip Dennis, The Paris Cry: graphic artists and the Dreyfus Affair, reviewed, 10:86-87; review of Lithography: two hundred years of history art, and technique, by Domenico Porzio, et al, 7:85-86; review of Art Nouveau Bing, by Gabriel P. Weisberg, 10:43-44
Caveat emptor: the lithographic stone market, 1:75-76; erratum, 1:82
Cecil Buller: a Canadian printmaker in the United States, by Patricia Ainslie, 12:38-45
Cellulose gum,see gum
Cezanne, Paul, 12:40-42, 45; 13:82-83
Chalk, lithographic, see crayons
Changes I have seen: memories and observations, by Gustave von Groschwitz, 13:6-7
Changing times, changing technologies by Clinton Adams, 11:68
Chapman, Conrad Wise, 32-37; Beppo, King of the Gypseys, 12:33; The bombardment of Fort Moultrie, 12:34-35; Camp scenes, 12:34; November 16, 12:34; Civil War paintings, 12:35-37; Interior of Fort Sumter, 12:34;
Chapman, John Gadsby, 12:28-37; The American drawing book: a manual for the amateur and basis of study for the professional artist, 12:31; "The Baptism of Pocahontas," 12:30; The Bay of Naples, 12:32; Calvary camp of the So. Ca. Halcomb legion, 12:35; The Claudian aqueduct, 12:33; Crayon, the, 12:33; Fountain of Egeria, 12:32; Hagar and Ishmael painting in the wilderness, 12:29; New York from Bedlow's Island, 12:29; The Settler, 12:29-30; Via appi a, 12:32; "Views and incidences of the Roman Campagna" , 12:37; The Fifty-ninth Virginia infantry, Wise's brigade, 12:35; White point battery, Charleston, 12:36; J. G. C. in his home studio, 12:37;
Chapman, John Linton, 12:32-33, 35, 37; Tomb of Keats, 12:33
Charcoal, lithographic, 3:9
Charles Hullmandel and James Duffield Harding: a study of the English art of drawing on stone, by Christine Swenson, reviewed, 7:31-33
Charlet, Nicolas-Toussaint, French dragoon with a flag, 15:10; Le marchand de dessins lithograhiques, 15:11
Charlot, Jean, 1:100-09; the lithographic innovations of, 3:6-8; Mother with child in front, 1:102; 2:40-41; Malinche, 3:7; Lavendera alone, 3:9
Chicago artists, 12:66-67
Chicago imagist print, the, by Dennis Adrian and Richard A. Born, reviewed, 12:65-66
Childs, Bernard, 13:7; Morning, 13:7
Chine colle, 12:63; 13:53; 17:30, 34, 36
Chops, Tamarind printer's, 1960-78, comp. by Holly Roberts, 2:17-21; 1979-84, comp. by Rebecca Schnelker, 7:36
Christ-Janer, Albert, 3:25; 4:16
Chromiste, 16:4
Chromists, use of, 3:15
Chromolithograph, 17:18
Chromolithography 1840-1900: the democratic art; pictures for a 19th century America, reviewed, 3:51-2
Chromolithography, 17:68, 71-73
Chu, Petra ten-Doesschate, Dominique Vivant Denon and the beginnings of lithography in France,11:37-41
Chuey, Robert, 1:105n
Cikovsky, Nicolai, Jr., review of The Prints of Louis Lozowick: a catalogue raisonne, by Janet Flint, 6:57
Cincinnati, biennial exhibitions of color lithography, 1:86-88
Citric acid, see counteretch
Clark, Howard, 1:35
Clark, Kathryn, 1:35; Handmade papers: permanence and possibilities, 2:8-12
Clark, T. J., The Absolute bourgeois, 15:14; The Painting of modern life, 15:14
Clark, Vernon A., The Solnhofen quarries, 1:37-40
Cleaner for rollers, 1:79
Cleavin, Barry, Letters from New Zealand, 6:30-31, 56
Clemente, Francisco, Framed/exploded/defaced, 13:48
Clich�-verre, use in collotype, 10:79
Clich�-verre, process and uses of, 12:22-26
Clinton, Paul, 1:13, 20
Close, Chuck, 10:54-63; Phil, 10:62; Phil/ Fingerprint, 10:62; Phil/Manipulated, 10:63; Self-Portrait, 10:57
Clot, Auguste, 16:3-9
Coen, Eleanor, 1:88
Cogswell, Jim, Untitled, 3:56
Cohen, Robin, 3:25; Images produced directly in lacquer, 3:27-28
Coke, Van Deren, Contrast of styles, a:two lithographs by Willard Nash, 13:82-84
Cole, Sylvan, Jr., A sense of deja vu (editorial), 3:4
Cole, Sylvan, Two Lithographs by John Steuart Curry, 16:93-96
Colescott, Warrington, 14:71-73; Aldgate east, 14:74; Chilly in Chiswick, 14:73; Christmas at Ziggy's, 14:73; The History of printmaking: Hayter discovers viscosity printing, 14:71; In Birgit's basement, 14:71-72
Colescott, Warrington, S. W. Hayter discovers viscosity printing, 9:54
Collaboration between artist and printer, see names of artists and/or printers
Colle process, the, by Elizabeth N. Jordan and John Sommers, 4:39-41
College Art Association of America, 1:98-99
Collotype, 13:34, 94
Collotype, printing from film matrices: an extension of lithography, by Kent Rush, 10:78-83; processes and their applications in lithography, by Clinton Adams, 3:34; use of, at the Visual Arts Research Institute, 10:77
Color-blend prints, review of first national invitational exhibition. 4:37-8
Color lithography in the 1950s: a conversation with Gustave von Groschwitz, 1:86-88
Color printing, 13:60-63
Color prints of Stanley William Hayter,the, by P. M. S. Hacker, 14:31-42
Color relief print, linocut and woodcut, 14:21-28
Color separations on Mylar, 1:5-7, 36, 49-56, see also Mylar method
Colored pencils in lithography, 4:26-27
Colorists, see chromists
Colquhoun, Robert, 14:11, 16-18; Half length figure in profile in red and black, 14:11; Toy vendor and the woman, 14:16; Half-length figure in black, grey, and yellow, 14:17
Coniff, Christine, Tamarind curator-fellow, 4:54
Conservation hinge, new, 7:47, 83
Consortium, The Print, 10:88
Constance Forsyth: printmaker, by David Farmer, 12:46-54
Contemporaries, the (print workshop and gallery), 7:17-23
Contemporary prints at the Victoria and Albert museum, by Susan Lambert, 13:47-48
Contextually loaded: a conversation with Patrick Nagatani, by Clinton Adams, 15:95-106
Contrast of styles, a: two lithographs by Willard Nash, by Van Deren Coke, 13:82-84
Control of images, notes on, by John Sommers, 4:42-7
Conway, Robert P., Painter, mannikin, and mirror: a further investigation of the prints of Arshile Gorky, 16:65-76
Cook, Howard, 2:37n; Tio vivo, 2:40
Cook, Howard, the graphic work of: a catalogue raisonne, by Betty and Douglas Duffy, reviewed, 7:86-87
Copeland, Herbert, 17:56-57, 59
Copley, William N., 1:105n
Coppel, Stephen,British color linocuts: the critical response between the wars, 14:21-30
Cordes, Christopher, review of Richard Vicary, The Thames and Hudson manual of advanced lithography, 2:24
Cornelissen, L., and Son, 4:53; 5:12
Corot, Jean-Baptiste, 12:22-23; Cache-cache (hide-and-seek), 12:22-23
Correcting or changing lithographic drawings by the abrasive method on stones or metal plates, by Lynton R. Kistler, 2:49
Corridor Press, Philadelphia, 9:4
Cortissoz, Royal, 5:42n
Counteretch: citric acid, 1:15; Richgraphic, 1:16
Counterproof, 16:68-69
Cox, Richard and Carlton Overland, Warrington Colescott, forty years of printmaking: a retrospaective, 1948-88, reviewed, 12:78-79
Cox, Richard and Julie L'Enfant, Wanda G�g's free spirit: a reconsideration of the prints, 16:59-64
Cox, Richard, Warrington Colescott: The London years, 1956-1966, 14:70-74
Craig, Russell, Technical matters: subtractive drawing and deletion techniques (with Lynne Allen), 9:27-30
Cramer, Konrad, 3:39, 41
Cranbrook Academy of Art, Irwin Hollander at, 8:41
Crayons, lithographic, Bolton Brown's, tests of, 10:39-40; color, 10:41; graphite, Tamarind tests of, 6:22; Stones Crayons, 10:41-42
Creative Graphics Studio, New York, 6:11
Crichlow, Ernest, Lovers, 13:73-74
Crisis in printmaking, the: a panel discussion (participants: Clinton Adams, John Wilson, Leonard Edmondson, Joshua Kind, Laurence Scholder, and Robert Nelson; Stanley Rosenthal, moderator), 3:44-51
Crommelynck, Aldo, 13:34
Crump, James, F. Holland Day and the appeal of hand wrought appearances, 17:ix-x, 55-66
Cubism, 12:24, 27, 40, 45; 13:83-84
Cuevas, Jose Luis, 4:11
Cumming, Robert, Chairs from Perth, 10:74
Cuno, Theodore H., 16:97-99
Cuno, Theodore, printer for Robert Riggs, 6:36
Curiosity, tridation, exasperation .|.|. salvation! Ceri Richards, his Australian printer, and Stanley Jones, by Pat Gilmour, 10:28-37
Curry, John Steuart, 16:93-96; John Brown, 16:93-95, cover; Kansas wheat ranch, 16:96
Curry, John Steuart, 5:63
Curtis, Edward S., 17:101
Curtis, Edward, printing of gravure plates by, 10:76-77
Curtis, Verna Posever, Through the grid: Chuck Close and David Hockney, 10:54-63
Curwen Press, 8:18-21, 24
Cyanotypes (blueprints), uses of, 14:13
Cytron, Daniel, inks by, 5:31
Czechoslovak prints, 1900-1970, exhibition of, reviewed, 10:46
Czestochowski, Joseph S., James Swan: in quest of a printmaker with presentation prints of the Chicago Society of Etchers, Prairie Printmakers, and the Woodcut society, reviewed, 14:84-85
Czestochowski, Josh S. John Steuart Curry and Grant Wood: a portrait of rural America, reviewed, 5:63; review of Fairfield Porter: a catalogue raisonne, by Joan Ludman, 6:58

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Daguerre, Louis-Jacques-Mand�, 17:viii, 3-10, 100 
Daguerreotype, 17:3-10, 27, 29; relating to lithography, 17:7-10
Dali, Salvador, controversy re fake lithographs, 9:6
Danysh, Joseph, Federal Art Project in northern California, 16:78, 80-81
Dasburg, Andrew, 13:82, 84
Dasburg, Andrew, 6:60; a complete catalogue of prints by, 4:18-25
Daumier, Honor�, Moderne Galil�e, from La Caricature, 15:11; Rue Transnonain, 15:13
Davey, Randall, 2:41
Davie, Alan, 14:17-18
Davies, Arthur B., 5:19
Davies, Hanlyn and Hiroshi Murata, Art and technology: offset prints, reviewed, 7:34-35
Davis, Bruce and Ebria Feinblatt, Los Angeles prints, 1883-1980, reviewed, 4:4-5
Davis, Stuart, 1:87, 109; A reality parallel to nature: Stuart Davis's lithographs, 1929-31, by Jane Myers, 9:46-51; Adit, 9:47; Arch No. 1, 9:50; Arch No. 2, 9:50; Barber shop chord, 9, no. 2 (cover); Place des Voges, 9:49; Place Pasdeloup, No. 1, 9:47; Place Pasdeloup, No. 2, 9:47; Sketchbook drawing, Porte St. Martin, 9:50; Study for Place des Vosges, 9:48; Study for Place Pasdeloup, 9:46; Study for theatre on the beach, 9:51; Theatre on the beach, 9:51
Day, F. Holland, 17:ix, 55-65; David Leung in sailor suit, 17:64; Nude youth in dappled woods, 17:62; Pilate, 17:63; Saint Sebastian, 17:62; Study for crucifixion, 17:62-63; Youth with winged hat, 17:65 The Vision ists, 17:56-59; Knight Errant, 17:56-57, 59; Copeland and Day, 17:57, 59
Dayglo inks, see inks, fluorescent
De Forest, Roy, 4:16; 10:71, 74; Untitled, 10:75
de Kooning, Willem and Harold Rosenberg, Revenge, from 21 Etchings and poems, 13:38, 45
de Kooning, Willem and Xavier, Fourcade, in conversation with Lanier Graham, 11:12-13
de Kooning, Willem, 11:10-25; Beach scene, 11:23; Big, 11:16; Clam digger, 11:15; Clam digger, 11:18; Figure at Gerard beach, 11:23; High School Desk, 11:20; Japanese village 11:22; Landing place, 11 :16; Landscape at Stanton Street, 11:24; Love to Wakako, 11:20; The marshes, 11:16; Minnie Mouse, 11:23; Mother and Child, 11:22; The preacher, 11:24; Reflections to Kermit for our trip to Japan, 11: 22; Souvenir of Montauk, 11:18; Sting Ray, 11:22; Table and chair, 11:18; Untitled, 11:10; Untitled, 11:14; Untitled (Waves), 11:14; Untitled, 11:15; Valentine, 11:21; Wah Kee Spare Ribs, 11:20; With love, 11:24; Weekend at Mr. and Mrs. Krishner, 11:19; Woman at Amagansett, 11:19; Woman at Clearwater beach, 11:15; Woman with corset and long hair, 11:21
de Kooning, Willem, collaboration with Irwin Hollander, 8:38; Landscape at Stanton Street, 8:37; lithographs at Berkeley, 6:5-6
de la Richardi�re, Bourgeois, Napol�on, first consul, 15:9-10
De Soto, Ernest, 4:11
Degas, Edgar, 12:21-23, in Edgar Degas: The Painter and the printmaker, 12:55-56.
Dehn, Adolf, 2:36-41; 3:41-42; retrospective exhibition, 10:88; (Artist and printer), 2:36; Garden of the gods, 2:38; Niagara falls, 3:40
Deletion fluids, proprietary, 3:59
Deletions, in lithography: with airbrush on plates, 1:44-45; alternative techniques, 9:27- 30; gum, 10:84; on photographic plates, by Lynne Allen, 10:83-84; soft-edge, research by Barbara Telleen, 6:55; on stones and plates, 1:60-61
Del�tre, Auguste, 11:27-29 Delacroix, Eug�ne, Liberty leading the people, 15:7-8
Denon, Dominique Vivant, 11:37-41; Allegory on the blessings of motherhood, 11:39-40; Allegorical self-portrait at different ages, 11:41; The Countess Mollien, nee Dutilleul, 11:39; The Delights of the country side, 11:39-40; < I>Dominique Vivant Denon and Jean Baptiste Mauzaisse drawing an old woman, 11:39-40; Dominique Vivant Denon and two young women, 11:39-40; Essai au crayon, � la plume, et � l' estampe (exercise in crayon, pen, and stamp), 13:38; Head of a monk, 11:41; Holy family in Egypt, 11:38, 40; Jacques-Charles Brunet and Charles-Philibert du Saillant, Comte De Lasteyrie, 11:39; Monuments des arts du dessin, 11:41; Voyage dans la basse et la haute Egypte, 11:37,40; Young girl with cap, 11:41
Denyse, Daniel, 2:15
Desjobert, Edmond, 15:26
Dessin � la pointe: lithographic stone engraving, 1:1-4
Detroit national print symposium (1980), panel discussion: The crisis in printmaking, 3:44-51
Detroit Publishing Company, 17:ix, 67-72
Devon, Marjorie, 13:27
Devon, Marjorie, The Scottish printmaking workshops, 8:31-33; A visit to the Soviet Union: some observations on art and artists, 9:61-64
Diazo, photographic, on stone, 3:59-60
Diebenkorn, Richard, 4:10; 6:8
Dieu Donn� Press and Paper Co, see paper
Dike, Phil, 105n
Ding dong daddy, by John Sommers, 5:6
Discovery and process: Dorziat reciting, by Arthur B. Carles, by Barbara A, Wolanin, 13:77-81
Dolphin lithographic transfer paper, 5:29-31; 7:83
Dominique Vivant Denon and the beginnings of lithography in Franceby Petra ten-Doesschate Chu, 37-41
Donne, John, 13:21, 25
Donson, Theodore B., Prints and the print-maker: a handbook for buyers, collectors and connoisseurs, reviewed, 2:25
Downie, Jill, illustration for Dundee printmakers workshop, 8:31
Drake, James, Fun gun laser, from Artists' Impressions, 13:65
Drawing, subtractive techniques, 9:27-30
Drawings on stones or metal plates, abrasive corrections in, 2:49
Dreyfus affair, the: art, truth, and justice, ed. by Norman L. Kneeblatt, reviewed, 10:86-87
Driography, 15:117-119
Drost, Lise, Lab manual of aluminum plate lithography: a guide to planning and printing limited editions, reviewed, 13:92
Duffy, Betty and Douglas, The Graphic work of Howard Cook: a catalogue raisonn� reviewed, 7:86-87
Dupont, Louis-Pierre Henriquel, 17:44-46; L' Hemicycle des beaux-arts, 17:45
Durassier, Marcel, 106n
Durassur, Marcel, 13:23

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Early lithographed books: a study of the design and production of improper books in the age of the hand press, by Michael Twyman, reviewed, 14:79 
Editorials: On art and process, 2:32-33; On economy of means, 1:82; On the importance of correct procedure, 2:4-5; Original lithographs, 1:98-99; The role of the printer, 4:34; A sense of deja vu, 3:4; Toward a comprehensive history of American printmakin g, 4:4.
Edmondson, Leonard, participant in panel discussion: the crisis in printmaking, 3:44-51
Edwards, Susan H., Ben Shahn and the American racial divide, 17:x, 77-86
Eggers, George William, Daylight savings, 5:24; 46
El Morro National Monument, "Inscription Rock", 11:17
Ellis, Susan, Drawing color separations on surfaced Mylar, 1:5-7; An improved device for critical color registration, 1:8-11
Elloian, Peter, 2:51
Emulsions, ink and water, microscopic study of, 6:25-26
Endangered species, by Richard Hamilton, 13:34
Engelmann, Godefroy, 17:7-8, 29-31; Maison des templiers, 17:31; Ruines du cloitre de l'abbaye de jumieges, 17:30; Porte de montivilliers, 17:31; Trait� de lithographie, 17:7-8
Engraving, stone, 1:1-4
Enslen, Johann Carl, 17:21-22; Christuskopf �ber einem eichenblatt, 17:21
Ernst, Max, 1:104
Estimating time in the pressroom, 1:22-23
Etches: spray-etches for graphite drawings, 1:67, 97, 110-13
Etching revival, of France, England, United States, 11:27 Fossli, Orell, 17:ix, 68
Evermon, Robert, 1:24, 32, 76, 78; at Emily Carr College, 8:28-29

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F. Holland Day and the appeal of hand wrought appearances, by James Crump, 17:ix-x, 55-66 
Fairfield Porter: a catalogue raisonne, by Joan Ludman, reviewed, 6:58
Fake and the faux-graphique, the: a distinction without a difference, by Clinton Adams, 9:6; see also Vickrey, Robert R.
Fakes, see faux-graphique, forgery; also Harrow, Gustave
Faking color? thoughts upon reading "Leading into the words," by Gustave von Groschwitz, 10:53
Farmer, David, Constance Forsyth: printmaker, 12:46-54
Farmer, Jane, New American monotypes, review, 14:20
Farnsworth and Co, see paper
Farrer, Henry, 11:30-33, 35; Sunset, Gowanus bay, 11:32
Faust, Herr, 16:52-53, 55
Faux-graphique, 2:42-45; 3:15-23
Favorite, la, tusche, 9:65-66
Federal Art Project, 15:4; 16:77, 79-81 (see also Works Progress Administration)
Federal art project, lithographic workshop in New York, 1:77; in Woodstock, N.Y., 3:43
Feinblatt, Ebria, and Bruce Davis, Los Angeles prints, 1883-1980; reviewed, 4:4-5
Feitelson, Lorser, Reading, 1:106, 107
Feldhaus, Paul, 2:51
Ferrer, Rafael, Istoria de la isla, II, 1:99; 4:14
Field, Richard S., et al, American prints, 1900- 1950, reviewed, 7:29-31
Fine artist's color and ink (Daniel Cytron), 5:31
Fine prints: collecting, buying, and selling, by Cecile Shapiro and Lauris Mason, reviewed, 2:24-25
Fine, Ruth E., and Robert F. Looney, The Prints of Benton Murdoch Spruance: a catalogue raisonne, reviewed, 9:77-79
Fine, Ruth E., John Marin, reviewed, 13:90-91; Judith Solodkin and solo press, 13:54-57 Fisher, Vernon, 13:10
Fine, Ruth E.,Gemini G.E.L.: art and collaboration, reviewed, 9:37
Fisher, Jay McKean, The Prints of Edouard Manet, reviewed, 9:71-76
Flats, overprinted, surface changes in, research by Lynne Allen, 6:53-54
Fletcher, Frank Morley, 14:22; Plate VIII from Wood-block printing, 14:22
Fletcher, Frank Morley, 16:37-47; The bookworm, 16:43, 46; Brotherswater, 16:40-41, 46; California 1: Salinas river, 16:45-46; Flood-gates, 16:41, 46; The great stride, 16:44; Meadowsweet, 16:41, 46; Mount Shas ta, 16:45-46; Ojai valley, 16:47; Shadow of death, 16:38; Waterway, 16:40-41, 46; Wood-block printing, 16:42; Color control, 16:47
Flight, Claude, 14:21-28; L' Arc de triomphe du carrousel and Louvre, 14:24; Speed, 14:24; Swing-boats, 14:27-28; Foggie, David, Portrait of Frank Morley Fletcher, 16:38
Flint, Janet, The Prints of Louis Lozowick, reviewed, 6:57
Fluorescent inks, color phenomena for lithography, by William Walmsley, 5:7; Fluorescent inks and pigments, the testing of, by Molly Jo Souders, 10:38-39
Folkman, David, 2:12
Forgery, art, 6:15-17
Forsyth, Constance, 12:46-54; Backward monster, 12:53; The boat house, 12:47; Brother law's wife, 12:50; Clean up department, 12:47; Evening sky, 12:53; February thaw, 12:53; The lake, 12:52; Moun tain mist, 12:48; Sun cloud, 12:54; Sunday night with brother laws, 12:50; Century of progress lithographs: Crowd, century of progress, 12:48; Formal garden, science building, 12:48; Fountains, century of progress, 1 2:48; Printmaker Emeritus Award of the Southern Graphics Council, recipient, 12:54; National Association of women artists, member, 12:54
Forsyth, William, 12:46
Forums of the absurd: three Avant-Garde lithographic publications at the turn of the last century, by Phillip Dennis Cate, 16:27-36
Four stones for Kanemitsu (film), 2:27; 4:11
Fourcade, Xavier, 11:12-13
Frames, ghost images inside, 2:16
Francis, Sam, 13:47
Francis, Sam, 4:10
Frank Morley Fletcher and Japanese color print, by Nancy E. Green, 16:37-48
Franquinet, Willem Hendrik, author of Galerie des peintres, 11:40
Frary, Michael, 1:105n; Boats on the beach, 1:108
Freedman, Barnett, Unsung heroes, by Pat Gilmour, 8:15-24; Anna Karenina, illustrations for, 8:22; Behold, this dreamer!, book jacket for, 8:23; Charade, 8:21; The Dingle, 8:18; Double Crown Clubmenu, 8:19; People, 8:23; Self portrait Dart's champion, 8:2 4, 8:15; War and peace, illustration for, 8:20
Freeman, Don, 3:41
French caricature and the French revolution, 1789-1799, by James Cuno, 12:59-60; Melot, Michel, "Caricature and revolution: the situation in France in 1789," discussion on problems with censorship, 12:60; Hunt, Lynne, "The Political psychology of r evolutionary caricatures," social implications of caricatures, 12:60; Langlois, Claude, "Counterrevolutionary iconography," 12:60; Paulson, Ronald, "The Severed head: the impact of French revolutionary caricatures on England," focuses on artists uses of v isual motifs during a chaotic era, 12:60; Boime, Albert, "Jaques Louis David: scatological discourse in the French Revolution and the art of caricature," discussing the advancement of caricature during revolutionary times, 12:60; Herding, Klause, "Visual codes in the graphic art of the French revolution," role of prints as a study on society, 12:61
French lithography, the restoration salons, 1817-1824, by W. McAllister Johnson, reviewed, 2:35
Freud, Lucien, 14:8
From an "anonymous" printer: a letter to Ruth Weisberg, by Ed Hamilton, 10:52-53
Frye, Todd, A microscopic study of ink and water emulsions, 6:25-26
Funk, Joe, 1:105n, 109

 

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G�g, Wanda, 16:59-64; Elevated station, 16:60; Gumbo lane, 16:61; Lamplight, 16:62-63; Millions of cats, 16:60; Progress, 16:63-64; Skyscraper, 16:60; Spring in the garden, 16:61; Stone crusher, 16:6 0; Sunset, 16:61; Tumble timbers, 16:60-61
Gardner, Robert, 13:53
Gardner, Robert, 1:94-95; review of Printmaking: history and process, by Donald Saff and Deli Sacilotto, 2:23; research on photographic diazo on stone, 3:59-60
Garnier, Hippolyte, 17:45-46, 48; Sylphide, 17:48
Garo Z. Antreasian: a retrospective, 1942-1987, essays by James Moore, reviewed, 12:78
Gaufrage, 14:33-34, 38-39, 42
Gauguin, Paul, 12:4-19; Ancine culte Mahorie, 12:6-7; Auti te pape (fresh water is in motion), 12:13; Le peintre Roy, 12:10; L'Univers est cr�e (the universe is created), detail, 12:12-15; Manao tupapau (she thinks of th e spectre: the spectre watches her), 12:8, 17; Nave nave fenua, 12:9, 12; Noa Noa, 12:6-10, 11-12, 13-16; Te faruru (to make love), 12:12-14;
Gauguin, Paul, and his circle in Brittany, 10:44 45
Gauguin, Pola, 12:14-19; Woman by stove, 12:16
Gauss, Kathleen McCarty, Inventories and Transformations: The Photographs of Thomas Barrow, discussed,10:64-67
Gautier, Th�ophile, 17:47-48, 50-51
Gear, William, 14:18-19; Untitled, 14:19
Gelatin, tracing, 1:79, 82
Gemini G. E. L., 12:65
Gemini G.E.L.: art and collaboration, by Ruth E. Fine, reviewed, 9:37
Genis, Fred, 11:11
George Bellows: the artist and his lithographs, 1916-1924, by Jane Myers and Linda Ayers, supplements published by Lauris Mason, reviewed, 12:64; references to Reducing, Masses, and Business-men's class, 12:64; additional refer ences, In the park, light, In the park, dark, The jury, and Nude woman seated, 12:65
George, Douglas, review of Aloys Senefelder, Erfinder der Lithographie: Daten zum Leben, by Wilhelm Weber, 6:60
George, Ray, 1:65-69; September 76 VII, 1:65; September 76 III, 1:66; 97
G�ricault, Theodore, Le mar�chal fran�ais from Etudes de chevaux, 15:8-9
German expressionist studies, Robert Gore Rifkind Center, Los Angeles, 7:5
Gesellschaftsbund, 11:38
Ghost images inside frames, 2:16
Giacometti, Alberto, 13:94
Giles, William, 14:21-24; The original colour print magazine, 14:21-24
Gill, Eric, 14:10
Gillotage, 9:7376
Gilmour, Pat, "Originality" circa 1960: a time for thinking caps, 13:28-33; Indian and the sensitive man, the literary and graphic collaboration and the philosophy of Gauguin's Noa Noa, 12:4-19; The potential of Australian Aboriginal printmaking, 1 1:42-54, Hail and farewell, 14:4-5, Lasting impressions: lithography as art, reviewed, 12:69-71; New light on Signac's color lithographs--Again!, 16:3-12
Gilmour, Pat: Curiosity, trepidation, exasperation ... salvation! Ceri Richards, his Australian printer, and Stanley Jones, 10:28-37; Ken Tyler, master printer, and the American print renaissance, reviewed, 9:32-36 Unsung heroes: Barnett Fre edman, 8:15-24
Gilot, Francoise, 1:96
Glasnost, effects on Russian art world, 11:55-68Goethe, 17:20-21 Urpflanze, 17:20-21
Godbloed, Adriana, 1:116
Goldman, Judith, American prints: process and proofs, reviewed, 5:54-55
Goldscheider, Irena, Czechoslovak prints from 1900 to 1970, reviewed, 10:46
Golub, Leon, 15:57-64, 68-69; The burnt man, 15:60-61; Double winged sphinx, 15:62-63; Pre-Columbian, 15:60; White squad, 15:64; White squad (III), 15:62; Winged sphinx II, 15:63; WorldWide, 15:63
GORKOM gallery, 11:56, 64; "Object 1," 11:56
Gorky, Arshile, 16:65-72; Abstraction with palette, 16:71; Mannikin, 16:65-71, 74; Painter and model, 16:65-68, 70-71, 75; Sixth avenue el, 16:71
"Harper's Family Bible," 12:30
Gottlieb, Harry, 15:25-32; Beauticians academy, 15:26-27; Bootleg mining, 15:27-28; Coal pickers, 15:26-27; Liberty, 15:28-29; The strike is won, 15:29-30, cover; Unloading at Majorca, 15:26
Goulding, Frederick, 11:27-29
Goupil, Adolphe, 17:41-45; La Bourse a Paris, 17:44
Graham, Gregory, Sequence II, 3:57
Graham, Lanier and Morris Weisenthal, a conversation about 21 Etchings and poems, 13:36-38
Graham, Lanier, The Prints of Willem de Kooning: an illustrated catalogue of his editions 1960-1971, 11:10-25; Rise of the livre d' artiste in America, the: reflections on 21 Etchings and poems and the early 1960s, 13:35-40, The Spontaneous gesture: print s and books of the Abstract Expressionist era, reviewed, 12:79-80
Graining machine, Takach-Garfield, 1:32-33
Grant Arnold, Lithographer: New York and Woodstock, 1928 to 1940, by Clinton Adams, 3:38-43; recipient of Tamarind Citation, 1986, 9:5
Graphic art of Harold Faye, the, by Ron Netsky, reviewed, 12:80
Graphic work of Howard Cook: a catalogue raisonne, by Betty and Howard Duffy, reviewed, 7:8687
Graphica Atlantica (catalogue of exhibition at Reykjavik, Iceland), reviewed, 10:87
Graphics arts and French society, 1871-1914, edited by Phillip Dennis Cate, reviewed, 12:58-59
Graphicstudio, 1:44-45; 6:29, 60
Graphite wedge, research by Melissa Katzman- Braggins, 6:5253
Graphite, use in drawing, 1:65-69, 97, 1:10-13, 1:14-15; use on stone, 2:15
Great American prints, 1900-1950, by June and Norman Kraeft, reviewed, 8:71
Great Britain, survey of print workshops in, 9:45
Green, Nancy E., Arthur Wesley Dow and his influence, reviewed, 14:81-82; Frank Morley Fletcher and Japanese color print, 16:37-48
Greenwood, Marion, 3:41
Griffiths, Antony and Frances Carey, Avant-Garde British printmaking, 1940-1960, exhibition catalogue, 14:6-13
Griffiths, Antony, The Print publications of the Artists' International Association: attitudes to lithography in Britain, 1938-1951, 14:57-69
Griffiths, Lawn, Lithograph City, Iowa, 3:5
Griffits, Thomas, 8:17
Grippe, Peter, 13:37
Grit-tone lithography, by John Sommers, 3:10- 14
Groschwitz, Gustave von, 13:67; 15:3-5; Changes I have seen:memories and observations, 13:6-7
Groschwitz, Gustave von, a conversation with, 1:86-88; Faking color, thoughts upon reading "Leading into the words,'' 10:53
Grosman, Tatyana, 13:60; 1:88, 96; 2:55; 5:55; 6:12-14
Gross, Anthony, 14:10-11, 13, 48-50, 54, 70; �tude de Vagues, 14:49-50; Fishes, 14:49-50, Kites in Battersea park, 14:11; collaboration with Hayter, 14:34
Grosvenor school of modern art, London, 14:25-27
Grosvenor, Gilbert Hovey, 17:101-102
Grosz, George, 12:25, 14:10 
Gruger, Frederic R., 5:19 

Gude, Fred, 1:67, 97
Gu�rin, Marcel, 12:9, 11-13
Gum arabic, 9:6970; is there an alternative? 1:46-48
Gum bichromate, 17:61-63
Gum, cellulose, 1:4648
Gustave von Groschwitz: historian, curator, lover of lithography and all that mattered, by Ellen Sragow, 15:3-6
Gusten, Theodore, 13:28
Gwathmey, Robert, 15:33-56; End of day, 15:35, 44; Farmer's wife, 15:37, 49; Flower vendor, 15:53; The hitchhiker, 15:34, 43; Hoeing, 15:38, 53; Matriarch, 15:37, 51; Migrant, 15:38, 55; (Mortar carrier), 15:56; Non-fiction, 15:37, 45; Petrouchka, 15:55; Ring-around-a-rosy, 15:37, 48; Rural home front, 15:34-35, 43; A section, 15:50; Self-portrait, 15:37, 49; The senator, 15:37, 50; Sharecropper , 15:51; Share croppers, 15:35, 44; Singing and mending, 15:46; Sowing, 15:48; Southern farmer, 15:38, 54; Stargazing, 15:38, 54; Tin of lard, 15:38, 52; Tobacco farmers, 15:47; Topping tobacco, 15:4 6; Vendor, 15:37-38, 52; Watching parade or parade, 15:37, 47

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Haas, Richard, The Potter building, 1:27 
Haberman, Brian, research on crayons, 10:41
Haberman, William, 6:27
Hacker, P. M. S.,Color prints Stanley William Hayter, the, 14:31-42
Hahn, Betty, Peony, 3:34; White chrysanthemum, No. 1, 3:36
Hail and farewell, by Pat Gilmour, 14:4-5
Haines, Richard, 1:105n
Hajicek, James, 10:70-77
Hamiliton, Edward, 13:27
Hamilton, Ed, From an "anonymous" printer: a letter to Ruth Weisberg, 10:52-53
Hamilton, Richard, 13:29-30; Adonis in Y-fronts, 13:30, 34, 48; Endangered species, 13:34, Self-portrait, 14:12
Hamilton, Russell, Notes on graphite, 1:115
Hand-coloring of lithographs, 10:53
Handmade paper today, by Sylvie Turner and Birgit Skild, reviewed, 7:33-34
Handmade papers: permanence and possibilities, by Kathryn Clark, 2:8-12
Handmade papers: their suitability for lithography, by Catherine Kirsch Kuhn, 5:56- 62
Hansen, Trudy V., The Rutgers archives for printmaking studio, 16:101-106
Hardie, Martin, British print collector's club, 13:48
Harding, James Duffield, 7:31-33
Harlem Community Art Center, 6:10
Harrow, Gustave, Art that is really not art, 6:15-17
Harry Gottlieb: artist, printmaker, political activist, gentle radical, friend, by Ellen Sragow, 15:25-32
Harshe, Robert B., 5:46, 51
Hartrick, A. S., 7:18
Hartsuch, Paul, Chemistry for lithography, 12:81
Hassam, Childe, 11:36; 16:49-56; Avenue of the allies, 16:54, 56; The Broad curtain, 16:50-51, 56; The French cruiser, 16:49-50; Lafayette street, 16:49-50; Land of nod, 16:54; Landscape, 16:54; The Lithographe r, 16:49-50; Mrs. Hassam knitting, 16:56; New York bouquet, 16:55; Nude, 16:53-54; Portrait of Joseph Pennell, 16:53, 55; Return of the fleet, 16:56; The Service flag, 16:53-54; Storm king, 16:50-51
Hayter's legacy in England, by Duncan Scott, 14:43-56
 

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Haas, Richard, The Potter building, 1:27
Haberman, Brian, research on crayons, 10:41
Haberman, William, 6:27
Hacker, P. M. S., Color prints Stanley William Hayter, the, 14:31-42
Hahn, Betty, Peony, 3:34; White chrysanthemum, No. 1, 3:36
Hail and farewell, by Pat Gilmour, 14:4-5
Haines, Richard, 1:105n
Hajicek, James, 10:70-77
Hamiliton, Edward, 13:27
Hamilton, Ed, From an "anonymous" printer: a letter to Ruth Weisberg, 10:52-53
Hamilton, Richard, 13:29-30; Adonis in Y-fronts, 13:30, 34, 48; Endangered species, 13:34, Self-portrait, 14:12
Hamilton, Russell, Notes on graphite, 1:115
Hand-coloring of lithographs, 10:53
Handmade paper today, by Sylvie Turner and Birgit Skild, reviewed, 7:33-34
Handmade papers: permanence and possibilities, by Kathryn Clark, 2:8-12
Handmade papers: their suitability for lithography, by Catherine Kirsch Kuhn, 5:56- 62
Hansen, Trudy V., The Rutgers archives for printmaking studio, 16:101-106
Hardie, Martin, British print collector's club, 13:48
Harding, James Duffield, 7:31-33
Harlem Community Art Center, 6:10
Harrow, Gustave, Art that is really not art, 6:15-17
Harry Gottlieb: artist, printmaker, political activist, gentle radical, friend, by Ellen Sragow, 15:25-32
Harshe, Robert B., 5:46, 51
Hartrick, A. S., 7:18
Hartsuch, Paul, Chemistry for lithography, 12:81
Hassam, Childe, 11:36; 16:49-56; Avenue of the allies, 16:54, 56; The Broad curtain, 16:50-51, 56; The French cruiser, 16:49-50; Lafayette street, 16:49-50;Land of nod, 16:54; Landscape, 16:54; The Lithographe r, 16:49-50; Mrs. Hassam knitting, 16:56; New York bouquet, 16:55; Nude, 16:53-54; Portrait of Joseph Pennell, 16:53, 55; Return of the fleet, 16:56; The Service flag, 16:53-54; Storm king, 16:50-51
Haverlin, Carl, 1:101
Hayter's legacy in England, by Duncan Scott, 14:43-56
Hayter, Stanley William, 11:11, 13-14; 13:12-13, 36-38, 41; 14:31-56, (see also Abstract Expressionists 11:11, 13); Fastnet, cover; Bouleau, 14:41; Caragh, 14:41; Caribbean Sea, 14:40; Cascade, 14:39; Cladu�gne, 14:32, 41, 49; Centauresse, 14:35; Ceres, 14:36; Champ magn�tique, 14:39; Chute, 14:41;Cinq personnages, 14:35; Confluence, 14:39; Downward, 14:42; L'Escoutay, 14:37; Falling figure, 14:36; Fastnet, 14:42; Freefall, 14:41; Gulf stream, 14:39; Guerriers, 14:37-38; Jeux d' eau, 14:37; Lake, 14:41; Lunar rhythm,14:39; Rideau, 14:32, 40; Maternity, 14:34; Oedipe, 14:33-34, 45; Pegasus, 14:37, 49; Pendu, 14:42; People, 14:41; Poisson rouge, 14:38; La Raie, 14:38; Rapides, 14:39; Remous, 14:39; Unstable woman, 14:36; Viol de Lucr�ce, 14:33, 45; Winged figures, 14:37; New Ways of Gravure, 14:36, 43, 53
Hazard communication standard, OSHA, 9:69- 70
Hazardous inks, solvents, etc., 9:69-70
Health and safety in printmaking, by Cherie Moses, et al, reviewed, 2:55
Health hazards, see Artists Beware.
Heartfield, John, 12:25-27; Berlin ruft zur Olympiad, antwort auf diesen ruf: die Olympiade-Sondernummer der AIZ nachste woche (Berlin calls for the Olympics, the answer to this summons: the Olympiad--special issue of next week's AIZ), 12:25-26
Heasley, Charles, Tamarind curator-fellow, 4:54
Hecht, Joseph, 14:48-49
Heckman, Albert, 1:87; 3:43
Held, Al, Straits of Magellan, 13:62; Straits of Mallaca, 13; 62
Helfond, Riva, 13:74-75
Helfond, Riva, see Barrett, Riva Helfond
Heliogravure, 13:34, 94
Heller, Jules, 1:105n; Random thoughts on papermaking, 2:67; Papermaking, reviewed, 2:22
Hi-con negative coating, 2:51
Hinges, paper, 7:47, 83
Hinton-Bateup, Alice, Lost Heritage, 11:54
Hiroshige, 13:87-88
HMP papers, see paper
Hockney, David, 10:54-63; A Large Diver (Paper Pool 27), 10:60-61; The Skater, N.Y., Dec. 1982, 10:54
Hockney, David, 14:73
Hofer, Philip and Elenor Garvey, The Artist and the book, 1860-1960, 13:35, 37
Hoffberg, Judith and June Wayne, Ruth Weisberg: prints, mid-life catalogue raisonn�, 1961-1990, reviewed, 14:83-84
Hokusai, 13:87-88
Holland, James, News reel, 14:59
Hollander, Irwin, 4:8; 6:7; Life and work: thoughts of an artist-printer, interview with Clinton Adams and Gustave von Groschwitz, 8:34-43; Self portrait, 8:35
Horak, Bohuslav, 4:8; 6:7
Hornig, Dr., Paniconography (reprinted), 9:74- 75
Horter, Earl, 11:34
Hostetler, Susan, 2:10
Howard, Jan, The Prison series: a conversation with James Casebere, 17:x, 87-95
Howe, Kathleen Stewart, At play in the fields of the world: lithographs by Walton Ford, 17:x, 97-103
Huet, Paul, 12:23-25; Bords de rivi�re ou la mare aux trois saules (banks of a stream or pond with three willows) 12:23-25 Hughes, Robert, 13:13
Hullmandel, Charles, 7:31-33, 63
Humphrey, Margo, 4:17, Art as a testament: a conversation with Clinton Adams, 9:16-26; The Getaway, 9:21; James Brown's sounds of escapism, 9:20; The Lady and the tiger, 9:24; The Night kiss, 9:16; The Persistent refl ection, 9:19; Postcard from Tunisia, 9:25; Pyramids for lunch, 1, 9, no. 1 (cover); The Queen Anne and her contents, 9:19;5; 9:19; Sketch: The History of her life written across her face, 9:26
Hunter, Mel, 1:5, 36; 2:5, 43-44; 3:17-18; A rebuttal to Joshua Kind, 3:20-21; The patriarch, 3:21, 22-23
Hurd, Peter, 1:105n
Hutchinson, Susan A., 5:20n, 24; 7:70

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Ideal and practical, the: some thoughts on recent catalogues raisonnes, by Joann Moser, 12:62-68 
Illustrated books, 13:35-39; of Museum of Modern Arts collection, 13:45-46
Images on stone: two centuries of artists' lithographs, reviewed, 10:87
Images, lithographic: control of in printing, 4:42-7; lost, restoration of, 3:60-2; restoration of abused plates, 6:51-52
Imago Hand Paper Mill, see paper
"In the colors of nature": Detroit Publishing Company photochroms, by Thomas W. Southall, 17:ix-x, 67-75
Incunabulae, 11:38
Index of American print exhibitions. 1882-1940, by Raymond L. Wilson, reviewed, 12:76
India, artists' lithography in, 9:10-15
Indian and the sensitive man, the:literary and graphic collaboration and the philosophy of Gauguin's Noa Noa, by Pat Gilmour, 12:4-19
Indiana, Robert, External hexagon, 13:29
Information exchange, by John Sommers: 2:13 16, 53-62; 3:59-63; 4:26-30; 5:27-31; 6:48 52; 8:61-67; 10:39-41
Ink and water emulsions, microscopic study of, 6:25-26
Inks: black, Daniel Smith's noir velour, 4:28; color, Daniel Smith's color ink palette, 4:27 8; Daniel Cytron's, 5:31; fluorescent, 5:7; testing of, 10:38-39; hazardous, 9:69; modification of, 8:61-63; trouble shooting problems, 2:52-54
Insta-hinge, conservation hinge, 7:47, 83
Instruction in lithography, a survey of art schools and universities, (1977) 1:71-74; (1979) 3:53-8
Intaglio simultaneous color printmaking: significance of material and processes, by N. Krishna Reddy, reviewed, 12:71-73
International graphic arts foundation, 9:4
Into the crystal ball: the future of lithography, a panel discussion (participants: Clinton Adams, Riva Castleman, Leonard Lehrer, Harry Nadler, Carter Ratcliff, Theodore F. Wolff), 8:50-60
Inventories and transformations: the photographs of Thomas Barrow, by Kathleen McCarty Gauss, discussed, 10:65
Isabey, Eugene, Entree de village, 1:1
Ishibashi, Yasutoshi, TMP 1981, 4:54; research on replication of tusche washes, 6:54-55
Italian Mannerism, 13:66
Ivins, William M., Jr., 5:40-41
Ivins, William, 13:8-9; 15:90

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Jabberwock Paper Mill, see paper 
Jackson, Francis Ernest, 5:9-10, 16; 7:53
Jacobi, Thomas, Hints for lithographic printers, 2:62
James Swan: in quest of a printmker with presentation prints of the Chicago Society of Etchers, Prairie Printmakers, and the Woodcut society, by Joseph S. Czestochowski, reviewed, 14:84-85
Jameson, Fredric, Post modernism and consumer society, excerpts from, 13:9
Jane Voorhees Zimmerli art museum, 12:56-59; 16:102, 104
Janis, Eugenia, 12:21-22
Janis, Perry Eugene, Big print, big screen: W. Snyder MacNeil, photography, video, and the romantic tradition of graphic variability, by Eugene Parry Janis, 13:66-72
Japanese papermaking: traditions, tools, and techniques, by Timothy Barrett, reviewed, 8:70-71
Japanese prints, contemporary, exhibition of, reviewed, 10:46
Japanese woodblock printing, 13:48; 14:21-23, 16:37-46, 19
Japonisme, 13:85-89; Japonisme: Japanese influence on French art, 1854-1910, exhibition at Cleveland Museum of Art, 13:85-89
Jensen, Brynn, TMP 1981, 4:54
Jewett, Clifford L., 12:81-84
Jimmy Pike, 11:50; "Desert designs," 11:50; Milkarra Waakula, 11:51
John Gadsby Chapman and son: American etchers in Italy, 1850-1884, by Ben Bassham, 12:28-37
John Herron Art Institute, 12:46, 48
John Marin, by Ruth E. Fine, reviewed, 13:90-91
John Menihan: prints from the thirties and forties, 12:80
John Sommers, by Joseph Traugott, 11:6-8
Johns, Jasper, 13:39, 67; Foirades/ fizzles, 13:39
Johns, Jasper, 1:82; 2:11
Johnson, Una E., American prints and printmakers: a chronicle of over 400 artists and their prints from 1900 to the present; reviewed, 4:34-7
Johnson, W. McAllister, French lithography, the restoration salons, 1817-1824, reviewed, 2:35
Johnstone, William, Child art to man artNew methods and materials, 14:15
Jones, Allen, Dream t-shirt, 13:31
Jones, Elizabeth, Robert Blackburn: an investment in an idea, 6:10-14
Jones, Stanley, 10:28-37
Jordan, Elizabeth N., The coll� process, 4:39 41; TMP 1981, 4:54
Joseph, Ronald, Bob Blackburn, 13:76
Juarez, Roberto, Before 17 days, from Artists' Impressions, 13:65
Judith Solodkin and solo press, by Ruth E. Fine, 13:54-57
June Wayne: the Djuna set, essays by, Arlene Raven, Bernard Kester, and Pat Gilmour, interview by, Robert Barrett, reviewed, 12:76-78
Juristo, Julio, Precision deletions on lithography plates, 1:41-42

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Kali, Hindu religion, 17:100-102
Kalugin, Alexander, 11:56
Kanemitsu, Matsumi. 4:11; Four stones for Kanemitsu (film), 4:11
Kaplan, Jerome, 1:88
Kapp, Helen, Aquenis hall prom, 14:69
Kashdan, John, 14:18-19; Head of Kafka, 14:19
Katzman-Braggins, Melissa, 6:27; research on graphite wedge, 6:52-53
Kelly, Ellsworth, 13:29, 47, 62
Ken Tyler, master printer, and the American print renaissance, by Pat Gilmour, reviewed, 9:32-36
Kennington, Eric, 14:8-9; The Gas mask and Bayonet practice, from Britain's efforts and ideals series, 14:9
Ketterlinus company, 16:97-99
Kiefer, Anselm, 13:67
Kimball, Wayne, 1:24; collaboration with Leonard Lehrer, 3:25-27
Kimmel and Voigt, 11:30-34
Kind, Joshua, The Corruption of Norman Rockwell, 2:42-45; 3:1521; I, Luddite, 3:22-23; participant in panel discussion: the crisis in printmaking, 3:44-51
Kirby, Kent, Studio collotype, reviewed, 12:73
Kirkpatrick, Ethel, 14:23-24; The River Thames, 14:23
Kirsch, Deborah, 6:27
Kistler, Lynton R., 1:87-88, 100-09; 3:68; Correcting or changing lithographic drawings by the abrasive method on stones or metal plates, 2:49; recipient of Tamarind citation, 1987, 10:43
Kistler, Will A., 1:100-01
Kitaj, R. B., 13:30-32; The Defects of its qualities, 13:31; Die gute alte zeit, 13:31
Klee, Paul, 14:16-18, 20
Klett, Mark, 10:72, 73-74, 76-77
Kline, Wayne, research on crayons, 10:40; Rolling Stone Press, 7:35; tests of Barker crayons, 6:22
Kneeblatt, Norman L., ed., The Dreyfus affair: art, truth, and justice, reviewed, 10:86-87
Koehler, Sylvester Rosa, 11:29-33
Kohn, Misch, 4:8
Kolb brothers, On the zig zags, bright angel trail, Grand Canyon, Arizona, 17:71
Komar and Melamid, Head of worker, Bergen Point brass foundry, 13:56
Konody, P. G., 14:27, 30
Kozloff, Joyce, 13:55
Kraeft, June and Norman, Great American prints, reviewed, 8:71
Kress, Dr. Theo, 1:37-40
Krieger, Janet, research in use of colored pencils in lithography, 4:26-7
Kuhn, Catherine Kirsch, 6:29; TMP 1980, 4:54; Handmade papers: their suitability for lithography, 5:5662
Kuniyoshi, Yasuo, 1:87; Before the Act, 3:41
Kwik-proof color proofing solution, 1:95-96; erratum, 1:98

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L' Enfant, Julie, with Richard Cox, Wanda G�g's free spirit: a reconsideration of the prints, 16:59-64
L' Estampe originale, 12:8
L'Estampe originale, Andre Marty, 16:3-4, 6
La Terre promise, from Melanges photographiques, 17:43
Lab manual of aluminum plate lithography: a guide to planning and printing limited editions, by Lise Drost, reviewed, 13:92
Lacouriere, Roger, 13:34
Lacquer bases, printing from, 1:30-31; use in printing from stone, by Jeffrey Sippel, 3:28- 30
Lacquer, images produced directly in, by Robin Cohen, 3:27-28
Lacquers, hazardous, 9:69
Lagattuta, William (Master editions, ltd.), 4:55; (with Susan von Glahn), Positive-working plates, further comment, 5:25-26
Lakeside Press, 2:12
Lalanne, Maxime, D�molitions pour le percementde la rue des ecoles, 15:14-15
Lamb, Alberte Spratt, "California wild flowers," 16:79
Lambert, Susan, Contemporary prints at the Victoria and Albert museum, 13:47-48
Laminated backing elements for metal plates, 1:62
Landfall Press, 1:49-51
Langenberg, Robert. A large, lightweight, handmade roller, 1:117-19
Laster, Paul, 15:112, 114-115; Jocular sounds (poet), 15:114
Lasting impressions: lithography as art, by Pat Gilmour, reviewed, 12:69-71
Lavis lithographique, 17:29-31
Lawrence, Jacob, 13:75
Le Witt, Sol, The Locations of lines, 13:62
Leading into the work: a conversation about making prints, by Steven Sorman and Clinton Adams, 10:415
Leavitt, Kathleen, 4:17; TMP 1981, 4:54
Lebrun, Rico, 1:107; Rabbit, 2:39
Lee-Smith, Hughie, Artist life, # 3, 13:76
Legrand, Louis, and Thophile Steinlen: contrasts in social ideology, by Gabriel P. Weisberg, 8:6-14; Absinthe drinker, 8:13; Concierge calling people in an interior courtyard, 8:9; D�charge publique, 8:8; Gin, 8:12; Une Loge , 8:14; L'Ouverture du salon, 8:8; Prostitution, 8:6; Socialism, 8:9; Le Terme de Julliet, 8:8
Legrand, P., Moscou, 17:5
Lehrer, Leonard, 5:4; 10:70, 72-73 Artist and printer: some matches are made in heaven and others..., 8:44-49 participant in panel discussion, Into the crystal ball, the future of lithography, 8:50-60 review of The first national invitational color blend print exhibition, 1978-80, 4:37-8 Garden I, 1:3; Puerto Vallarta, 1:77;Puerto Vallarta II, 3:4; View of Warsaw, 3:16; 3:24- 27
Lejeune, Louis-Fran�ois, 11:37; Mounted Cossack, 11:37-38
Lemercier, Rose-Joseph, 17:27, 30-36; Bas-relief provenant de l'ancienne eglise Saint-Beninge de Dijon, 17:34-35; Chatres, 17:33; Deuxi�me regard du syphon du gd. aqueduc, 17:36; St. Loup de Naud, 17:34; Vue prise sous le po rtique ext�rieure du th��tre, 17:36
Lemon, Jack, 1:49-51; 2:10; at Nova Scotia College of Art and Design, 8:26-27
Lewis, Norman, We are Americans too, 13:73-74
Lichtenstein, Roy, 13:29; Sandwich and soda, 13:29
Life and work: thoughts of an artist-printer, Irwin Hollander, interviewed by Clinton Adams and Gustave von Groschwitz, 8:34-43
Lilly, Margaret Lowengrund. See Lowengrund
Limbach, Russell, 1:87
Limestone, see stone
Lindsey, Byron, The Tamarind exchange: two American artists in the Soviet Union an interview with George McNeil and Lynne Allen, 11:55-68
Linton, John, 12:29
Lipchitz, Jacques, 4:10
Liquitex, see polymer
Lithograph City, Iowa, by Lawn Griffiths, 3:5
Lithographer's notebook, a, by Nik Semenoff, reviewed, 9:67-68
Lithographic charcoal, by S. Dale Phillips, 3:9
Lithographic innovations of Jean Charlot, the, by Peter Morse, 3:68
Lithographic research and Tamarind archives, by Garo Antreasian, 13:51-53
Lithographs of Louis Lozowick, the: changing attitudes toward technology between the wars, by Barbara Zabel, 7:61-6
Lithographs of Robert Riggs, the, with a catalogue raisonn�, by Ben Bassham, reviewed, 11:76
Lithographs, hand-colored, 10:53
Lithography unit of the Federal Art Project in northern California, the, by James Wechsler, 16:77-82
Lithography workshops: a survey, 12:86-94; 13:93-94
Lithography workshops: a survey, 4:48-52
Lithography, see specific topics: paper, press, stone, etc.
Lithography: two hundred years of art, history, and technique, by Domenico Porzio, et al, reviewed, 7:8586
Lithophotographie: an art of imitation, by Jeff Rosen, 17:ix, 25-40
Lithotint, 14:75 Lives d' artistes, 13:36, 39
Little Egypt enterprises, 2:12
Living tradition, a: black-and-white prints in the age of color, by Joann Moser, 13:14, 60-63, 64
Livraison, 17:27
Ljubljana, Yugoslavia, 17th International Biennial of Graphic Art at, reviewed, 10:85 86
Lo-shu washes, by Rebecca Bloxham, 6:22-24
Locke, Charles W., 2:36-37; 3:38-39
Lockwood, Ward, 12:47-49
Looney, Robert F., and Ruth E. Fine, The Prints of Benton Murdoch Spruance: a catalogue raisonn�, reviewed, 9:77-79
Lord, Jack, 1:104n
Los Angeles prints, 1883-1980, reviewed, 4:45
Los Angeles, development of lithography in, 1:100-09
Los Hermanos Penitentes, 13:82-84
Lowengrund, Margaret, 7:17-23; Fifth Avenue, 7:20; Milkweed, 7:23; Street market, 7:19
Lowry, MacNeil W., 13, Ford foundation, 13:25-26
Lozingot, Serge, 4:11
Lozowick, Louis, 6:57; 7:616; Above the city, 7:14; Bridge repairs, 7:15; Brooklyn Bridge, 7, no. 1 (cover); Checkerboard, 7:11; Coal Pockets #2, 7:9; First Avenue Market, 7:12; Hudson Bridge, 7:10; New York, 7:6; Self- portrait, 7:13; Still life #2, 7:13; Tanks #1, 7:11
Ludman, Joan, Fairfield Porter: a catalogue raisonn�, reviewed, 6:58
Luebbers, Leslie, essay for Graphica Atlantica, quoted, 10:85-86; reviewed, 10:87
Lundeberg, Helen, 1:106; Enigma (the mirror), 4:5
Lunois, Alexandre, 6:60
Lutz, Dan, 1:105n

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MacNeil, W. Snyder, 13:66, 68-72; "John M. Snyder," from the Snyder family portraits, 13:68; Jazimina and Ronald, 13:69-70; Untitled video still, 13:70;Untitled video still,13:71; Untitled video still, 13:71; Nuclear portrait, 13:72
Malevich, Kasimir, 11:56, 61, 65,67
Mallarm�, St�phane, 12:4, 6, 8
Mamet, David, Warm and cold, a livre de luxe, 13:57
Manet, Edouard, 15:7-8; Guerre civile: sc�ne de la commune de Paris, 15:8
Manet, Edouard, the prints of, by Jay McKean Fisher, reviewed, 9:71-76; La Barricade, 9:71
Mani�re noire, 17:31
Mannlich, Christian, 11:38 Manydjarri, Ngalindi [ Moon], 11:47
Marble, use as an alternative to limestone, 1:76- 79
Margaret Lowengrund and The Contemporaries, by Clinton Adams, 7:172-3
Marika, Banduk, 11:47-48; Djanda and the sacred water hole, 11:48 Matisse, Henri, 13:35-36, 94
Martyl, 2:37
Maryland Institute, painters make prints at, 9:44
Marzio, Peter, Chromolithography 1840-1900, reviewed, 2:5152
Masi, William, 4:16
Master Editions, Ltd., 4:55
Maurice, Denis, 12:40-41
Maurisset, Th�odore, 17:4, 6; La Daguerr�otyopomanie, la caricature, 17:4
Mauzaisse, Jean-Baptiste, 11:39
Mazur, Michael, 13:67
McByrde,14:11-12
McCann, Michael, Artists beware, reviewed, 5:55
McCulloch, Edith, Prints of Don Freeman, the: a catalogue raisonn�, reviewed, 11:75-76
McGarrell, James, a conversation with, 1:49-56; Quotation with twister, 1:49; Veracity with earth (with color separations), 1:52-55, 82, 99; 2:5
McGrath, Clarence, 3:10-14; color crayons developed by, 10:41
McKeeby, Byron, 1:92, 116
McLuhan, Marshall, 15:90-92
McNeil, George, and Lynne Allen, The Tamarind exchange: two American artists in the Soviet Union, 11:55-68; Mishap place, from Artists' Impressions, 13:65
McNeil, George, Artist as lithographer, the: a conversation with Clinton Adams, 7:4047; Dionysus Agonistes, 7, no. 2 (cover); Figure, June 19, 1979, 7:43; Rock Trio, 7.40; Things unknown, 7:44; see also, Tamarind: an ann iversary album, 4:16
McWilliam, F. E., 14:15; Studies for mandible sculpture, 14:15
MD litho stones, 13:5, 94
Meeks, Raymond, 11:51-52; Mimi, 11:52
Meltzer, Nancy, 13:55
Melzner, Ludwig, 1:101, 103
Mercury K. U. roller, see roller
Meryon, Charles, La Morgue, 15:15
M�xico Nueve (portfolio of lithographs), 9:45
Mezzotint, the: history and technique, by Carol Wax, reviewed, 14:79-80
Michel, Toby (Angeles press), 4:55; Notes on graphite, 1:114; Xerographic transfers, 2:46- 48
Milant, Jean, 1:13, 20
Miller, George C., 12:51-54; 16:49-51, 53, 55-56, 65, 70-71, 93; Tamarind citation, the: George C. Miller and Son, 13:4
Miller, George C., 1:87-88, 100-01, 104, 107; 3:8; 5:38; classes in Elizabethtown, NY, 6:40-42; printer for Robert Riggs, 6:36; printer for Stow Wengenroth, 6:59
Miller, Jo, 16:65-67
Miro, Joan, 13:35, 37-38; 14:34, 36
Miyasaki, George, printing de Kooning lithographs at Berkeley, 6:6
Modernism, 12:45
Modifiers, ink, 8:61-63
Moholy-Nagy, L�szl�, 12:25-27; Untitled, 12:27
Monochrome, 13:63
Monoprint, 14:14-15
Monotype in Britain, the, by Frances Carey, 14:14-20
Monotype, 13:58-59, 77-78, 14:14-20
Monotype, the: printing as process, bt Nathan Oliveira, 13:58-59
Monotypes, 6:9, 17
Moore, Henry, Sculptural objects, 14:67-68
Moore, James, Garo Z. Antreasian: a retrospective, 1942-1987, reviewed, 12:78
Moran, Mary Nimmo, 11:33; Passaic meadow, 11:33
Moran, Peter, 11:34
Moreau, Camille, collection of Japonisme art, 13:88-89
Morgan, Lady Sidney Owenson, comments on Dominique Vivant Denon, 11:39
Morice, Charles, 12:4-7, 12, 15-16
Morris, Robert, Continuities, after Goya's Disaster of war, 13:62
Morris, William, 13:35, 37; 17:56-58, 60, 64
Morse, Peter: 1:101n, 103n, 104n, 109; 2:5; The lithographic innovations of Jean Charlot, 3:6-8. Review of American prints and printmakers: a chronicle of over 400 artists and their prints from 1900 to the present, by Una E. Johnson, 4:34-7
Moscow writers union 11:56
Moser, Joann, A living tradition: black-and-white prints in the age of color, 13:14, 60-63, 64; Ideal and practical, the: some thoughts on recent catalogues raisonn�s, 12:62-68
Moses, Cherie, et al., Health and safety in printmaking, reviewed, 2:55
Motherwell, Robert, 11:11, 13; 13:62
Motherwell, Robert, 2:11: Automatism B, 4:34; The painter and the printer, comment on. 4:34
Mouclier, Marc Marie Georges, 16:32-33; Omnibus de Corinthe, no. 5, 15, 16:32-33
Mugnaini, Joseph, 1:107
Munakata, Siko, collaboration with Irwin Hollander, 8:42
Murata, Hiroshi and Hanlyn Davies, Art and technology: offset prints, reviewed, 7:34-35
Murray, Elizabeth, Untitled, states I-V, 13:62
Myers, Fred, 1:103-04
Myers, Jane and Linda Ayers, George Bellows: the artist and his lithographs, 1916-1924, reviewed, 12:64-65
Myers, Jane, A reality parallel to nature: Stuart Davis's lithographs, 1929-1931, 9:46-51
Mylar, drawing on surfaced, 1:57, 35, 49-56; 1:80; 2:5; "Mylar method," 2:43-44; 3:17 18; 20-21; 22-23; xerographic transfers on, 2:48

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Nadler, Harry, participant in panel discussion, Into the crystal ball, the future of lithography, 8:50-60
Nagatani, Patrick, 15:95-105; Canandaigua, 15:104-105; Fin de si�cle, 15:100-101; Katabasis, 15:96-100; Nuclear enchantment, 15:100-102
Nash, Willard, 13:82-84; After mass, 13:82; Canyon road, 13:82; Crossbearer, 13:83; Penitentes, 13:83;
National Academy of Design, 12:32
National Endowment for the Arts', 13:5
National Geographic magazine, 17:x, 100-102; "A natural misunderstanding," 17:100
Nature's supernaturalism: William Henry Fox Talbot and botanical illustration, by Douglas R. Nickel, 17:viii-ix, 15-23
Neal, Reginald H., Triptych, 1:88; 2:37-38; Reginald Neal: a retrospective of his prints (exhibition catalogue), reviewed, 9:37
Negative coating, hi-con, 2:51
Nelson, Judith, 1:92
Nelson, Robert, participant in panel discussion: the crisis in printmaking, 3:44-51
Netsky, Ron, The Graphic art of Harold Faye, reviewed, 12:80; John Menihan: 1prints from the thirties and forties, reviewed, 12:80
Netsky, Ronald, Albert Winslow Barker: graphite crayons and sea salt, 6:18-21; 9:66
Nevelson, Louise, 4:14
Nevinson, C. R. W., 14:8-9; The Road from Arras to Bapaume, 14:9
New American monotypes, by Jane Farmer, review, 14:20
New light on Signac's color lithographs--Again!, by Pat Gilmour, 16:3-12
New Masses artists, 15:22-23
New York etching club, 11:29; 13:12
New Zealand, a letter from, by Barry Cleavin, 6:30-31, 56
Newlin, Richard, 1:79; 6:9
Newman, Barnett, 13:63
Newton, Charles, British museum's contribution to print scholarship, the, 14:6-13
Nicholson, Ben, 14:10; Profile (or Head), 14:10
Nickel, Douglas R., Nature's supernaturalism: William Henry Fox Talbot and botanical illustration, 17:viii-ix, 15-23
Ni�pce's, Nic�phore, 17:5-7, 9, 48
Nordfeldt, B. J. O., 12:50-51; Flowers for the dead, 12:51; Two fisherman, 16:46
North light editions, 4:55
Nova Scotia College of Art and Design, lithographic workshop at, 8:26-28
Nunes, Gordon, 1:104

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O'Gormon, James F., ed., Aspects of American printmaking, 1800-1950, reviewed, 12:74-75
O'Hara, Frank, Stones, 6:13; Five O'Clock. . ., 6:12
O'Higgins, Pablo, 1:105n, 107
O'Keeffe, Georgia, 16:60-62
O'Sullivan, Timothy, 17:48-49; Grand canyon of the Colorado river, near mouth of the Kanab Wash, looking east, from West of the 100th meridian, 17:49
Oakley, Thornton, 5:37, 42
Ocean works: a new workshop in Balboa, 4:31
Oeuvres lithographiques, 11:38
Offset lithography, review of Art and technology: offset prints, by Hanlyn Davies and Hiroshi Murata, 7:34-35
Offset workshop, Tyler school of art, Temple university, 5:4
Oldenburg, Claes, Airflow, 13:46
Oliveira, Nathan, 1:82; 4:15; 5:55; The personality of lithography: a conversation with Nathan Oliveira, 6:49, 17; Acoma Hawk IV, 6:8; Black Christ I, 6:7; The Elder, 6:5; Tamarind Site, 6, no. 1 (cover)
Oliveira, Nathan, The Monotype: printing as process, 13:58-59; Site and ruin, 13:59
On art and process (editorial), 2:32-33
On counting blades of grass, by Clinton Adams, 10:50-51
On economy of means (editorial), 1:82
On the importance of correct procedure (editorial), 2:45
Onyx, its use in lithography, 1:41-42; erratum, 1:64
Original lithographs (editorial), 1:98-99
"Originality" circa 1960: a time for thinking caps, by Pat Gilmour, 13:28-33
Orozco, Jos� Clemente, 3:40
OSHA, hazard communication standard, 9:69-70
Oxidation-dots in tusche washes, 6:5051
Ozelle, Veda, A Brief guide to siligraphy: waterless lithography, 15:117-132

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Painter, mannikin, and mirror: a further investigation of the prints of Arshile Gorky, by Robert P. Conway, 16:65-76
Painterly print, the, Boston Museum of Fine Arts, 14:4
Painterly prints, 13:66 (see also monotypes, 14:14-20)
Palace of Youth, 11:56
Paniconography, by Dr. Hornig (reprinted), 9:74-75
Paolozzi, Eduardo, 13:34; 14:19-20; Experience from As is when, 13:30, 48; Tortured life, 13:30; Wittgenstein the soldier, 13:30
Paper: Arjomari, 1:34-35; Barcham Green, 5:58-59; buffered, 2:27-29, 4:30; Dieu Donn�, 5:60; Farnsworth, 5:60; handmade, 2:8-12, 5:56-62; HMP, 5:60-61; Imago, 5:61; Jabberwock, 5:61; transfer paper, 1:82 85; Twinrocker, 1:35, 5:62; use in coll� printing, 4:39-41
Papermaking, by Jules Heller, reviewed, 2:22
Papermaking, Japanese: traditions, tools, and techniques, by Timothy Barrett, reviewed, 8:70-71
Papermaking, random thoughts on, by Jules Heller, 2:67
Papermaking, see also handmade papers
Papers, buffered: a new concern, 4:30; handmade, permanence and possibilities, 2:8 12; use in coll� printing, 4:39-41
Papers, transfer, Dolphin, 5:29-31
Papier v�g�tal, see transfer papers
Papier viennois, see transfer papers
Paradise, Phil, 1:105n
Paris Biennale, 1965, Guardian, 13:31
Parish, Stephen, 11:34
Parker, Ed, information on solubilized diazo resin, 12:84
Parker, Ray, 4:9
Paul Blanc's beggars: mendicity as metaphor, by Gabriel P. Weisberg, 16:13-26
Paul, Hermann Rene Georges, Le Fond de bain, 16:28-35; Le Fond de Bain no. 2, 3, 16:31-32; L' Omnibus de Corinthe, 16:28-30, 32-35
Pearlstein, Dorothy, 13:55
Pearlstein, Philip, 5:55
Peck, Augustus, 1:87
Pedrara onyx, see onyx
Peel, John, 10:76
Peet, Phyllis, American women of the etching revival, reviewed, 11:77
Peintre-graveur, 13:67
Pencils, colored; use in lithography, 4:26-27
Pennell, Joseph, 11:34; 16:98; 17:60, 72
Pennell, Joseph, 5:9, 11, 20, 22, 24, 41-43, 50-51; 8:68-70; classes at Art Students League, 7:18; Joseph Pennell and Bolton Brown, by Clinton Adams, 7:48;Brooklyn Docks in Snow, 7:61
Pennellism and the Pennells, by Bolton Brown, 7:49-71
Pennsylvania Academy of Fine Art, 13:77-79; 15:33
Perkins, Larry D., Artistic printing: collaborative printing during the etching revival and early twentieth century, 11:26-36
Perry, Ernest, 1:109 [incorrectly given as Eugene Perry in caption]
Peters, Gustave, 11:34
Peters, Richard 11:34
Petheo, Bela, 2:51-52
Petr, Mark, Prints, politics, polemics, 15:87-94
Philipon, Charles, 17:viii, 4-5, 9-10
Phillips, Helen and Andre Verdet, Poem, from 21 Etchings and poems, 13:37
Phillips, Jay, Descent of discord, 8 (cover); obit, 10:43 Phillips, S. Dale. Bolton Brown: A Reminiscence, 2:34-35; Lithographic charcoal, 3:9
Philographic workshop, 13:75
Photochrom, 17:ix, 67-74
Photogenic drawing, 17:viii-ix, 15-22
Photographic plates, deletions on, by Lynne Allen, 10:83-84
Photography and lithography, interrelationships between, 10:50 passim
Photography's non-reproducibility, or, the rhetoric of touch, by Stephen C. Pinson, 17:viii, 3-13
Photography, 12:24-25; photogram, 12:26-27, 17:15; photogravure, 17:32; photomontage, 12:26-27; shadowgraph, 12:26-27
Photomechanical prints, 17:26-28
Picasso, Pablo 12:23, 27; 13:34, 36, 62-63; 14:45, 66; 15:22; Guernica, reference, 13; 63; Minotaur prints, reference, 13:62; Composition, 14:66
Picasso, Pablo. Composition 8 aout 1947, 1:86
Pigments, fluorescent, testing of, 10:38-39
Pinson, Stephen C., Photography's non-reproducibilty, or, the rhetoric of touch, 17:viii, 3-13; Revolution and its discontents: prints, politics, and the emergence of modernism in nineteenth-century France, 15:7-18
Piper, John, Brighton aquatints, 14:8
Piranesi, Giovanni Battista, 17:94-95
Pissaro, Camille, 12:4; 13:87
Pissaro, Georges (Manzana), 15-16; Gauguin en pied, 12:16
Plasaver, Hanco, 3:60-2
Plate conditioner, 1:79
Plate etch, tannic acid (TAPEM), 2:15
Plate supports, protection of, 1:94
Plates, aluminum:abused, restoration of images on, 6:51-52alternative method for reuse, 1:80aluminum, coarse-grained, 9:70avoidance of plate curl, 1:80deletions and additions on, 1:60-61deletions with airbrush, 1:41-45permanent, l:61-62conditioner for, 1: 79positive-working, 2:51; 5:25-26throw-away, reuse of, 1:69-70 trouble shooting problems with, 2:52-54
Platt, Peter J., 11:35-36
Poets of America, 12:30
Polaroid photographs by David Hockney, 10:58- 59
Pollock, Merlin F., 5:53
Polymer coated transfer paper, 2:51-52
Polymer medium: use in transposition, 1:14-20; use in airbrush drawing, 1:25-29
Polytechnics and Colleges Funding Council (PCFC), 13:49
Pooaraar [ Bevan Hayward], 11:52-53; Dreamtime: yam, essence of life, 11:53
Pop art, 13:28, 67-68, 14:12
Popov, Nikolai, Buffoons, 9:63
Porter, Bruce, 1:21
Porter, Fairfield, 6:58
Porzio, Domenico, et al, Lithography: two hundred years of art, history, and technique, reviewed, 7:85-86
Posada, Jose Guadalupe, El Salvador, 13:62
Positive-working aluminum plates, 2:51; comment by William Lagattuta, with Susan von Glahn, 5:25-26
Potential of Australian Aboriginal printmaking, the, by Pat Gilmour, 11:42-54
Power wash for rollers, 14:77
Power, Cyril E., 14:26-27, 29; The Eight, 14:27, 29; The Tube station, 14:27
Prater, Chris, Kelpra studios, 13:29-32, 34; Order of the British Empire, 13:32
Pratt Graphic Arts Center, 7:22-23; 9:4
Press, Takach-Garfield, 1:57-59; portable, designed by Daniel Weldon, 9:69
Price, William Lake, 17:97
Priede, Zigmunds, printing of Rauschenberg's Accident, 6:14
Print collector's newsletter', 13:5
Print Consortium, The, 10:88
Print Council of America, 13:28-32, 14:56
Print publications of the Artists' International Association, the: attitudes to lithography in Britain, 1938-1951, by Antony Griffiths, 14:57-69
Print Quarterly, 9:44
Print research facility, Arizona State University, 5:4
Print review, 9:4
Print Voice (Canadian publication), 7:47
Print workshops in Great Britain, survey of, 9:45
Printer's chops, Tamarind, 1960-1978, 2:17-21; 1979-84, 7:36
Printers' chops:1985-1991, by Rebecca Schnelker, 14:78
Printers' impressions, 13:5
Printers, hints for, 2:62
Printing elements: stone, 1:37-40; onyx, 1:41- 42; zinc etching plates, 1:43; aluminum, 1:61-62; marble, 1:76-79
Printing from a lacquer base, 1:30-31
Printmakers handbook, a, by Silvie Turner, reviewed, 13:92
Printmaking courses in British art schools: a personal view, by Silvie Turner, 13:49-50
Printmaking in Aboriginal society 11:44-54; Dream time ancestors, 11:45; Central desert peoples, 11:45; John Rudder, 11:46 Prints of Adolf Dehn, the: a catalogue raisonne, compiled by Joycelyn Pang Lumsdaine and Thomas O' Sullivan, with essays by R ichard W. Cox and Clinton Adams, 12:62-63
Printmaking Workshop, the, New York, 6:14
Printmaking workshops, archives of, Rutgers University, 7:4; directory of, in Great Britain and Ireland, 7:5, 35
Printmaking, search for an aesthetic context in, 9:52-60
Printmaking: history and process, by Donald Saff and Deli Sacilotto, reviewed, 2:23
Prints and the printmaker: a handbook for buyers, collectors and connoiseurs, by Theodore B. Donson, reviewed, 2:25
Prints of Andrew Dasburg, the: a complete catalogue, 4:18-25
Prints of Don Freeman, the: a catalogue raisonn�, by Edith McCulloch, reviewed, 11:75-76
Prints of Frank Stella, a catalogue raisonn�, by Richard H. Axsom, reviewed, 6:58-59
Prints of Louis Lozowick, by Janet Flint, reviewed, 6:57
Prints of Robert Gwathmey, the, by Reba White Williams, 15:33-56
Prints of Will Barnet, the: an addendum, by David Acton, 16:83-92
Prints of Willem de Kooning, the: an illustrated catalogue of his editions 1960-1971 , by Lanier Graham, 11:10-25
Prints, politics, polemics, by Mark Petr, 15:87-94
Prison series, the: a conversation with James Casebere, by Jan Howard, 17:x, 87-95
Public and private: American prints today, by Barry Walker, reviewed, 9:37
Pueblo Indians selling pottery, 17:72
Pueblo pottery vendors, 17:73
Pyracantha Press, at Arizona State University, 10:71

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Quarries, Solnhofen, 1:37-40

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Rabenau, Cecilia van, 2:52 
Raffael, Joseph. Island magic, 1:81
Ragsdale, Rod, 1:80
Random thoughts on papermaking, 2:6-7
Rangell, Paul (TMP 1981), 4:16, 54
Ratcliff, Carter, participant in panel discussion, Into the crystal ball, the future of lithography, 8:50-60
Rauschenberg, Robert, 13:67; 14:53; Traces suspectes en surfaces, 13:39, 45-46; Cardbird door, 13:46, 48; Shades, 13:46, 48
Rauschenberg, Robert, 1:82; Accident, printingof, 6:13-14; quoted, 10:70
Raven, Arlene, Bernard Kester, and Pat Gilmour, interview by Robert Barrett, June Wayne: the Djuna set, reviewed, 12:76-78
Ray, Man. Le roman noir, 1:105, 106-07
Reality parallel to nature, a: Stuart Davis's lithographs, 1929-1931, by Jane Myers, 9:46-51
Red Fern gallery, 14:16, 18, 26-27, 62-63, 67
Reddy, Krishna N., Intaglio simultaneous color printmaking: significance of material and processes, reviewed, 12:71-73
Reddy, Krishna, 9:14
Reed, Sue Welsh and Barbara Stern Schapiro, Edgar Degas: the painter as printmaker, 12:55; Clifford, Ackley, analysis on Degas as printmaker, 12:55-56; Druik, Douglas and Peter Zegers, "Degas and the printed image, "12:55-56
Reep, Edward, 1:105n
Registration, an improved device for, 1:8-11
Reinhardt, Ad, 13:29, 47
Relief printing, 12:39-45; linocut, 12:39-41; woodcuts, 12:39-45; wood engravings, 12:39-45;
Rembrandt, Harmensz, van Rijn, 13:7, 34, 66; 16:16-17; Three crosses, 13:7; Beggar with a wooden leg, 16:16-17
Remington, Deborah, 4:15; Umbra, 5:33
Reni�, Pierre-lin, The Battle for a market:art reproductions in print and photography from 1850 to 1880, 17:ix, 41-53
Resnick, Milton, 6:5
Retroussage, use of, 11:28
Revolution and its discontents: prints, politics, and the emergence of modernism in nineteenth-century France, by Stephen Pinson, 15:7-18
Reykjavik, Iceland, Graphica Atlantica (exhibition) at, reviewed, 10:87
Reynolds, Frederick, 11:35
Richards, Bruce, Hand game (detail), 9:53
Richards, Ceri, 10:28-37; And death shall have no dominion . . . , 10:35; The Artist's studio, 10:34; Do not go gentle into that good night, 10:37; The Force that through the green fuse drives the flower, 10:33; < I>Hammerklavier theme, 10:34; Sunlight on Trafalgar Square, 10:31, 32; Trafalgar Square, 10:31
Rifkind, Robert Gore, Center for German Expressionist studies, Los Angeles, 7:5
Riggs, Robert, the lithographs of, by Ben Bassham, 6:32-39; Afternoon at Max's, 6:35; Club Fighter (detail), 6:35; Psychopathic Ward, 6:39; Tumblers, 6:37 (and over)
Ringness, Charles, 1:95-96
Rippl-R�na�, Nabi J�zsef, 12:11
Rise of the livre d' artiste in America, the: reflections on 21 Etchings and poems and the early 1960s, by Lanier Graham, 13:35-40
Risseeuw, John, 10:72-73, 77
Rivera, Diego, 17:78
Rivers, Larry, Stones, 6:13; Five O'Clock ,. . . 6:12
Rivi�re, Henri, 12:58
Rivol, Lala Eve, "California Indian petroglyphs," 16:79
Roberts, Holly, comp., Printer's chops, 1960--1978, 2:17-21
Robinson, Boardman, 2:41
Robinson, Boardman, director of Broadmoor Art Academy, 12:47
Rockwell, Norman, the corruption of, by Joshua Kind, 2:42-45; 3:15-19
Rogers, Robert, 8:26-27
Rohrer, Paul, 1:103
Rokwell, Kent, Moby Dick, 13:36
Roller: choice of, 5:34-35; cleaner for, 1:79; large, lightweight, homemade, 1:117-19; surfaced Mercury K.U., 1:13
Rolling Stone Press, 7:35
Rooke, Noel, 12:41
Rosen, Jeff, Lithographie:an art of imitation, 17:ix, 25-40
Rosenberg, Harold, and Willem de Kooning, Revenge, from 21 Etchings and poems, 13:38, 45
Rosenquist, James, 1:41-42
Rosenquist, James, Where the water goes, 13:5
Rosenthal, Stanley, moderator of panel discussion: the crisis in printmaking, 3:44-51
Rosenwald, Lessing J., 4:8
Rosenwald, Lessing, What is an original print?, 13:28-29, 31
Rothenstein, Michael, 13:31; 14:49-54, 73; Black bar, 14:51; The Cockerel, 14:63; Jags, 14:52; Two circle series, 14:51-52
Rothrock, O. J., review of American prints, 1900-1950, by Richard S. Field, et al, 7:29-31
Rousseau, Eug�ne, 13:87-88
Rousseau, Th�odore, 12:23-25; La Plane de la plante (the flat country around the trees), 12:23-25; La Plaine de la plante � Blau, 13:25
Roussel, Theodore, Evening in June, 14:14
Roy, Louis, 12:11-15; Nude in landscape, 12:11
Rubbed stones, middle tones and hot etches: Lawrence Barrett of Colorado, by Clinton Adams, 2:36-41
Rukhin, Evgeni, Composition, 9:62
Rush, Kent, Collotype printing from film matrices: an extension of lithography, 10:78-83; Florence Window, 10:78; Untitled, 10:78
Russell, John, review of Japonisme exhibition, 13:87
Russia, printmaking in, see Soviet Union
Russian artists working conditions, 11:56-62, 65-67; "Unofficial" artists, 11:56, 64-67; "Official" artists, 11:56-62, 65-67
Rutgers archives for printmaking studio, the, by Trudy V. Hansen, 16:101-106
Rutgers archives for printmaking studios, 16:101-104
Rutgers University, archives of printmaking workshops, 7:4; print seminars at, 9:44
Ruth Weisberg: prints, mid-life catalogue raisonn�, 1961-1990, by Judith Hoffberg and June Wayne, reviewed, 14:83-84
Rutter, Frank, 14:27, 30
Ryan, Jeffrey, 21 Steps studio, 15:102-105; 17:88, 90, 92; 21 Steps: a new printmaking aesthetic, 15:107-116

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Sacilotto, Deli, see Saff, Donald 
Safe practices in the arts and crafts, 9:4
Saff, Donald, and Deli Sacilotto, Printmaking: history and process, reviewed, 2:23
Salt, Albert W. Barker's use of, 6:18-21
Sarkisian, Paul, 4:13
Scammon lectures (Art Institute of Chicago) by Bolton Brown, 5:51-53
Schapiro, Cecile, and Lauris Mason. Fine prints: collecting, buying, and selling, reviewed, 2:24-25
Schnelker, Rebecca, American print workshops: a survey, 12:86-94; Printers' chops:1985-1991, 14:78
Schnelker, Rebecca, review of Handmade paper today, by Sylvie Turner and Birgit Ski;auold, 7:33-34; review of Japanese papermaking: traditions, tools, and techniques, by Timothy Barrett, 8:70-71
Scholder, Fritz, 4:16
Scholder, Laurence, participant in panel discussion: the crisis in printmaking, 3:44-51
Schooley, Elmer, 1:79
Schools, survey of lithography instruction in, 1:71-74
Schrag, Karl, 4:10
Schwable, Conrad A., Betty Hahn's lithographs, 3:35-7; Ocean Works workshop, 4:31
Scott, Duncan, Hayter's legacy in England, 14:43-56
Scottish printmaking workshops, the, by Marjorie Devon, 8:31-33
Scraper bar, teflon, 1:21
Seckinger, Linda, Willie's demise, 3:55
Segal, George, Portraits, after Rembrandt, 13:62
Segura, Joseph, 10:71-74, 76
Sellers, James, Sheffield steel, 14:64
Sellers, Peter, 13:11, 14, Being there, film, 13:11, 14, 14:5
Semenoff, Nik, A Lithographer's notebook, reviewed, 9:67-68
Senefelder print shop, 11;37-38
Senefelder prize, international, 7:5
Senefelder, Aloys, 11:37-38; 17:vii-viii, 28-30; Lithographische Kunstanstalt, 11:38 Sloan, John, 11:34; Jewelry store window, 11:35
Senefelder, Aloys, 1:1, 37, 38, 41, 81; 6:60
Sense of d�j� vu, a (editorial), by Sylvan Cole, Jr., 3:4
Serisawa, Sueo, 1:105n
Seyffert, Leopold, 13:79-80
Shahn, Ben, 17:x, 78-83; Credo, 17:78; Frederick Douglass, 17:82; Martin Luther King, 17:83; Untitled, 17:81; Welfare island, New York, 17:79-80; We shall overcome, 17:82-83
Shapes, 6:11
Shapiro, David, retrospective exhibition, 10:88
Shark's Lithography, Ltd., 1:63
Shatter, Susan, Zion, 13; 57
Sheehan, Timothy M., review of Theodore B. Donson, Prints and the print maker: a handbook for buyers, collectors and connoisseurs, 2:25
Sheesley, Timothy (TMP 1980), 4:54; at Corridor Press, 9:4
Sheesley, Timothy, 13:5, 94
Sheets, Millard, 1:105n
Sherman, Cindy, 13:67-68
Sickert, W. R., 14:14-16; Le Mont de Neuville, 14:14
Sickert, Walter R., 7:50-51, 82; libel suit brought by Pennell, 5:20n
Signac, Paul, 16:3-9; Abend (soir), 16:6; Saint-Tropez: le port, 16:4; Saint-Tropez II, 16:5; Les Andelys, 16:6
Silication of aluminum plates for use with Diazo coatings, by Jeffrey Ryan, 12:62-68
Siligraphy, waterless lithogaphy, 15:101-105, 107-115, 117-132; 17:88-90; water-soluble drawing materials, 15:120-126; waterless plates, 15:127-128
Simpson, Lorna, 15:110, 112-113; Untitled, 15:110, 113
Since 1960: contemporary prints at the museum of modern art, by Riva Castleman, 13:45-46
Singer, Arnold, 1:88
Sippel, Jeffrey, The use of lacquer bases in printing from stone, 3:28-30
Ski�ld, Birgit, and Sylvie Turner, Handmade paper today, reviewed, 7:33-34
Skin of the world, the: Leon Golub and Nancy Spero, by Lynne Allen, 15:57-70
Ski�ld, Birgit, 14:4, 71-73
Slate, use in backing stones, 1:40
Slides of lithographs: Budek series, reviewed, 5:5; June Wayne's The Dorothy series, 5:5; Tamarind slide sets, 5:5
Sloan, John, 5:18
Smale, Nicholas, Brown, Pennell, and Whistler: eradicating errors and presenting a non-partisan view, 8:68-70; Thomas R. Way: his life and his work, 10:16-27; errata, 10:88; Whistler and transfer lithography, 7:72-83
Smillie, James D., 11:30-33; Old cedars, coast of Maine, 11:31 ; 13:12
Smillie, James D., 3:4
Smith, Daniel, inks, 4:27-8
Smith, Hughie Lee, 13:74-75
Smith, Lawrence, Contemporary Japanese prints: symbols of a society in transition, reviewed, 10:46
Smith, Richard, PM Zoom, 13:31
Social realism and modernism in Russian art world, 11:56-59, 64-65,67
Society of American Graphic Artists, 10:51
Solnhofen quarries, 1:37-40
Solo press, 1:63
Solodkin, Judith, 1:63
Solomon, Jack, Jr., 2:43; An answer to Joshua Kind, 3:15-19; 22-23
Sommers, John, 11:6-8, 12:83-85; Totemic Meter, 11:6; Wold (Ambiance), 11:8; The Tamarind Citation, by Clinton Adams, 11:9; printing diazo-coated plates, 12:85
Sommers, John: Acid tint lithograph, the, 7:24-28 Betty Hahn's lithographs, 3:35-7 collaboration with Andrew Dasburg, 4:18-25 Coll� process, the, 4:39-41control of images, notes on, 4:42-7Grit-tone lithography, 3:10-14 Information exchange, 2:50-55; 6:48- 52; 8:61-67; 9:65-69; 10:39-41 procedure, on the importance of correct (editorial), 2:4-5 review of A Lithographer's notebook, by Nik Semenoff, 9:67-68 The size of the roller: a critical choice, 5:34-35 Tusche wash: expressive development and alternatives , 3:24-25; 4:12, 15
Sorel, Agathe, 14:52-56; Dark satanic mills, 14:53-54; Macho the cockerel, 14:54-55; Roots, 14:53
Sorman, Steven, and Clinton Adams, Leading into the work: a conversation about making prints, 10:4-15
Sorman, Steven, Forgetting and forgetting, 10, no. 1 (cover); Loggia suite: (now), (when), (again), 10:7; The Meaning of the conversation, 10:10; Said in part, 10:10; Spaces between words the deaf man sees, 10:9; Wax/wane, 10:11; West union/ sabbathday la ke, 10:9; What I meant to say, 10:12; wherein we are outside of which, 10:14; why why because because goodnight goodnight, 10:13
Souders, Molly Jo, The testing of fluorescent inks and pigments, 10:38-39
Southall, Thomas W., "In the colors of nature": Detroit Publishing Company photochroms, 17:ix-x, 67-75
Soviet Union of Artists, 11:55-68
Soviet Union, a visit to the: some observations on art and artists, by Marjorie Devon, 9:61-64
Spangenberg, Kristen L., Review of Chromolithography 1840-1900: the democratic art; pictures for a 19th century America, by Peter Marzio, 3:51-2
Specialist printmakers, 13:5, 13, 42
Spero, Nancy, 13:10; 15:57-59, 64-69; Bomb with Swastikas and Star of David, 15:65; Codex Artaud I, 15:66; Codex Artaud VI, 15:66; The Hours of the night, 15:67-68; Picasso and Fredricks of Hollywood, 15:68-69; Swasti kas, 15:65; Torture of women, 15:67
Spontaneous gesture, the: prints and books of the Abstract Expressionist era, by Lanier Graham, reviewed, 12:79-80
Spruance, Benton Murdoch, the prints of: a catalogue raisonn;aae, by Ruth E. Fine and Robert F. Looney, reviewed, 9:77-79; From the sea - pieta, 9:77
Sprunt, Vera, 9:66
Sragow, Ellen, Black printmakers and the WPA: a symposium, 13:73-76; Gustave von Groschwitz: historian, curator, lover of lithography and all that mattered, 15:3-6; Harry Gottlieb: artist, printmaker, political activist, gentle radical, friend, 15: 25-32
Stein, David, 6:15
Steinlen, Th�ophile, 12:58; La rue caulaincourt, 12:58
Steinlen, Th�ophile, and Louis Legrand: contrasts in social ideology, by Gabriel P. Weisberg, 8:6-14; March 18, 1894, 8:11; Rue Caulaincourt, 8:10; Today, 8:10; Tomorrow, 8:11
Stella, Frank, Rabat, 13:29; Swan engraving square I, 13:61, 63
Stendahl, Earl, 1:103
Sterner, Albert, 5:9, 18, 38-39
Steth, Raymond, 13:74-75; Beacons of defense, 13:75
Steward, Paul, 1:80
Stieglitz, Alfred, 13:67, 77-78
Stoeveken, Anthony C. Reusing the throwaway, 1:69-70
Stone Roller Press, 1:65-68
Stone, Jeffrey, Pratt Graphics Center, 13:54-55
Stone: engraving, 1:1-4; alternate methods, 1:24; backing with slate, 1:40; deletions and editions on, 1:60-61; pricing of, 1:75-76; quarrying of, 1:37-40
Stones Crayons, by Lynne Allen, 10:41-42
Stow Wengenroth's lithographs: a supplement, by Ronald and Joan Stuckey, reviewed, 6:59
Strachan, David, 10:29-33
Strange attractor: A consideration of the photographs of Thomas Barrow, by John Bloom, 10:64-67
Strixner, Nepomuk Johann, Tete d'ange, 17:43
Stroh, Charles, Artists' lithography in India today, 9:10-15
Stroh, Earl. Taos makimono suite, part II, 2:32
Strunk, J�rgen, 4:16
Stryker, Roy Emerson, 17:80
Stuart, Michelle. Okuping, 2:4; Tsikupuming, 2:25
Stuckey, Ronald and Joan, Stow Wengenroth's lithographs: a supplement, reviewed, 6:59
Studio collotype, by Kent Kirby, reviewed, 12:73
Stussy, Jan. Coast tree, 1:104
Subtractive drawing and deletion techniques, by Lynne Allen and Russell Craig, 9:27-30
Summers, Carol, 12:67
Surrealism, 14:8-10, 15, 43, 46-47, 54
Suvorov, Alexander, Cyclists, Portrait of P. Bagration, 9:62
Swenson, Christine, Charles Hullmandel and James Duffield Harding: a study of the English art of drawing on stone, reviewed, 7:31-33: review of Alexandre Lunois: a centenary exhibition, 6:60
Sykes, Maltby, Recollections of a lithographile, 6:40-47; Breaking surf, 6:45; Chow, 6:43; Harp ensemble, 6:44; Lunar survey, 6:45; Zen garden three, 6:46
Symbolism, 12:40, 57, 59
Syntax of the print, the: in search of an aesthetic context, by Ruth Weisberg, 9:52-60

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Takach-Garfield: graining machine, 1:32-33; press, 1:57-59; tympan, permanently installed, 1:79
Talbot, William Henry Fox, 12:26; 17:viii, 15-22, 32; Campanula hederacea, 17:18-19; Elementary specimens of plain and ornamental needlework, lace sample book, 17:19; The Magazine of science, and school of art, cover, 17:17; "The Penc il of nature," 17:18-19, 22, 32; Photogenic drawing, 17:15-16;Photogenic drawing of lace, 17:19; Photogenic drawing of Veronica in bloom, 17:18; Rhododendron argentum, 17:28
Tamarind citation, 1985, presented to Gustave von Groschwitz, 8:5; 1986, presented to Grant Arnold, 9:5; 1987, presented to Lynton R. Kistler, 10:43
Tamarind exchange, the: two American artists in the Soviet Union an interview with George McNeil and Lynne Allen by Byron Lindsey, 11:55-68
Tamarind in Canada, by Charlotte Baxter, 8:25-30
Tamarind Institute, circulating exhibition, 10:88; exchange program with U.S.S.R., 10:88: gallery, national advisory board, workshops offered, 9:45: publication of catalogue raisonn� 1970-79, 4:53; staff (1971), 4:13
Tamarind Institute; archives, 13:51-53; documentation of editioning, 13:14, 19; Tamarind citation, 1988, presented to John Sommers, 11:6-8; presented to George C. Miller and Son, 13:4
Tamarind Lithography Workshop, Inc., staff (1968), 4:12
Tamarind: an anniversary album, 1960-1980, 4:6-17; photographic yearbook, 4:54, 6:27; printers' chops, 1960-78, 2:17-21; 1979-84, 7:36; publications, listing of, 2:27; slides, 5:5; symposium (1981), 5:4
Tannic acid plate etch (TAPEM), 2:15
Tate gallery, 13:46, 48
Taylor, Dr. Eleanor, comment on federal writers projects, 13:73-74
Technical matters, by Lynne Allen, 9:69-70; Subtractive drawing and deletion techniques, by Lynne Allen and Russell Craig, 9:27-30
Teflon, see scraper bar
Telleen, Barbara, research on soft-edge deletions, 6:55
Thames and Hudson manual of advanced lithography, reviewed, 2:24
Theo Tremblay, 11:43, 47-49, 54
Theodore H. Cuno (1877-1967), by Clinton Adams, 16:97-100
Thiebaud, Wayne, 1:105n
Thomas, Dylan, 10:36-37
Thomas, Michael, Broken panopticon, 9:65
Thrash, Dox, Graphics division print shop, 13:75
Through the grid: Chuck Close and David Hockney, by Verna Posever Curtis, 10:54-63
Time, estimating in the pressroom, 1:22-23
Tinted lithography, 17:29-31; "tint stone;" 17:29-30
Tonal washes, 14:75-76; Charles Hullmandel method, 14:75-76; Rose-Joseph Lemercier method, 14:75; Godefroy Engelmann's lavis lithographique, 14:75; Tonal washes, transfer papers, and 'power-wash' for rollers, by Lynne Allen, 14:75-77
Topolski, Feliks, 14:61; Winston Churchill, 14:61
Toray Industries, 15:118
Torreano, John, Oxygems, 13:57
Toulouse-Lautrec, 13:88-89
Townsend, James Bliss, 5:42n
Transfer from printed magazine illustrations and xerographic reproductions, 1:116
Transfer lithography, 14:16-17; transfer papers, 14:76
Transfer lithography, Bolton Brown's views on, 7:49-71; Sickert controversy, 5:20n; Whistler's use of, 7:72-83
Transfer papers, 1:82-85 [Note: on pp. 1:83-84, Rives lithographic transfer paper should read Rivage.]; errata, 1:98; 19th century papier v�g�tal and papier viennois, 7:72-83; polymer coated, 2:51-52; Dolphin paper, 5:29-31, 7:83
Transfers, xerographic, 2:46-48
Transposition of images, methods of: 1:13; polymer transposition, 1:13, 14-20
Traugott, Joseph, John Sommers, 11:6-8
Treiman, Joyce, 4:7-8
Tremaux, Pierre, Exploration arch�ologique en asie mineure, 17:35-36; Voyages pittoresques, 17:34-35
Trevelyan, Julian, 14:46-48, 54; Dream scaffold I, 14:46; Soldier, 14:48; Wheels, 14:47
Trivick, Henry, The Fair, 14:60
Trouble shooting, inks and plates, 2:52-54
Tschudi, Lill, 14:10; Fixing the wires, 14:10; Fixing the wires, 14:27 
Turnbull, William, 14:20; Figure with arms raised, 14:20 
Turner, Silvie, Printmaking courses in British art schools: a personal view, 13:49-50, A Printmakers handbook, reviewed, 13:92; Which paper?: a review of fine papers for artists, craftspeople and designers, reviewed, 14:81 
Turner, Sylvie, and Birgit Ski�ld, Handmade paper today, reviewed, 7:33-34 
Tusche wash phenomena, 8:63-66 
Tusche wash: expressive development and alternatives, by John Sommers, 3:24-25. See also wash 
Tusche washes, oxidation-dots in, 6:50-51; replication of, 6:54-55 
Tusche, La Favorite, 9:65-66; Superior tusche wash?, 9:66-67 
Twelve prints by contemporary artists, published by the Wehye Gallery, 11:34 
Twinrocker, Inc., see paper 
21 Etchings and poems, 11:11, 13:35-39 
21 Steps:a new printmaking aesthetic, by Jeffrey Ryan, 15:107-116 
Two lithographs by John Steuart Curry, by Sylvan Cole, 16:93-96 
Twyman, Michael, Early lithographed books: a study of the design and production of improper books in the age of the hand press, reviewed, 14:79 
Tyler Graphics, 12:65 
Tyler school of art, Temple university, offset workshop, 5:4 
Tyler, Ken, 13:13, 28-29, 36 
Tyler, Kenneth, 1:69, 96; 2:11; 4:13; 9:32-36; collaboration with Frank Stella, 6:59; collaboration with David Hockney, 10:60-61 
Tyler, Linda, Artists' impressions, 13:64-65 
Tympan, permanently installed, 1:79

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Ukiyo-e prints, 13:85;17:41-42, 44
ULAE. see Universal Limited Art Editions
United Artists' Group, UAG, 15:30
Universal Limited Art Editions, 13:47
Universal Limited Art Editions, 2:55; 6:12-14
University of California in Berkeley, 11:11-12
University of Texas, department of art, 12:49-54
Unsung heroes: Barnett Freedman, by Pat Gilmour, 8:15-24

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Van Vliet, Clare, 2:10, 12
VARI, see Visual Arts Research Institute
Vaughan, Keith, 14:18-19; Festival dancers, 14:62; Figure leaning on a garden wall, 14:18
Verburg, Jo Ann, 10:71
Verdet, Andre, Poem from 21 Etchings and poems, with Helen Phillips, 13:37
Versa, Verna Jean, 2:37, 41
Vicary, Richard, 2:4; The Thames and Hudson manual of advanced lithography, reviewed, 2:24
Vicente, Esteban and Peter Viereck, Nostalgia, from 21 Etchings and poems, 13:38
Vickrey, Robert R., What's an original print? or: two million dollars down the drain, 9:7-9
Victoria and Albert museum, 13:47-49; 14:43
Video art, 13:66, 68
Viereck, Peter, Nostalgia, from 21 Etchings and poems, with Esteban Vicente, 13:38
Visual Arts Research Institute, the: collaboration becomes research, by Joseph E. Young, 10:70-77
Vollard, Ambroise, 13:35
Von Glahn, Susan (comp.), Instruction in lithography: a survey of art schools and universities, 3:53-8; Lithography workshops: a survey, 4:48-52; Bits and stars, claws and glass, 3:56
von Groschwitz, Gustave, 1985 recipient of Tamarind Citation, 8:5; interview with Irwin Hollander, Life and work: thoughts of an artist-printer, 8:34-43; Faking color? thoughts upon reading "Leading into the words," 10:53
Voronkov, Nikolai, 11:57, 59, 67

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Wadsworth Athenaeum, 13:29; portfolio, 13:29
Wadsworth, Edward, Drydocked for scaling and painting, 14:8; Ladle slag, 14:9
Wagstaff, Sam, "Ten works by ten painters," 13:29
Wahl, Theodore "Ted," 1:87; 2:36-37
Walch, Peter, Review of French lithography, the restoration salons, 1817-1824, by W. McAllister Johnson, 2:35
Walch, Peter, The American league against war and fascism 1936 calendar, 15:19-24
Walker, Barry, An interview with Eric Avery, 15:71-86; Brooklyn museum national print exhibition, 13:41-44
Walker, Barry, Public and private: American prints today, reviewed, 9:37
Walmsley, William, Fluorescent inks, color phenomena for lithography, 5:7
Walton, Ford, 17:x, 97; Six fingers, 17:102; Tiger superstitions, 17:87, 99; A Wounded beast at bay, 17:97-98
Wanda G�g's free spirit: a reconsideration of the prints, by Richard Cox and Julie L'Enfant, 16:59-64
Warhol, Andy, Birmingham race riot, 13:29, 48
Warrington Colescott, forty years of printmaking: a retrospective, 1948-88, by Richard Cox and Carlton Overland, reviewed, 12:78-79
Warrington Colescott: the London years, 1956-1966, by Richard Cox, 14:70-74
Warshaw, Howard, 1:105n
Wash out procedures, 2:13-15
Wash, tusche: crystalline patterned, 2:50-51; expressive development and alternatives, 3:24-25; phenomena, 8:63-66; water tusche, 3:25-27
Washes, lo-shu, 6:22-24
Waste, hazardous, 9:70
Water and ink emulsions, microscopic study of, 6:25-26
Water tusche washes, see wash
Watrous, James, A Century of American printmaking, 1880-1980, reviewed, 7:84-85
Watson, Ernest, Portrait of Bolton Brown, 5:18
Watson, Meredith, 6:27
Wax, Carol, Mezzotint, the: history and technique, reviewed, 14:79-80
Way, Thomas R., 7:49-50, 65, 73, 76-82; Thomas R. Way: his life and work, by Nicholas Smale, 10:16-27; errata, 10:88; Afterglow: lower pool, 10:16; The Borough: Southwark, High Street, 10:21; Butchers' shops, Aldgate High Street..., 10:21; Floating ice on the Thames..., 10:24; Merchant Taylors' Hall, 10:23; Moonlight, street after rain, 10:19; The Moving spirit of London, 10:26; Portrait of a man, after Velasquez, 10:19; The Scotch crane, 10:20; Sun versus smoke: Charing Cross railway bridge, 10:25; Tilbury docks at night from Gravesend, 10:25; Waterloo Bridge and Shot Towers..., 10:24
Way, Thomas, 7:49-50; 10:16, 17
Wayne, June, 13:12, 16-28, 47, 60, 94, (see also 12:76-78); Broken stones and whooping cranes: thoughts of a wilful artist, 13:16-27, 94; The Climb, 13:24; Crossing, 12:76; Fable Series, 13:23; John Donne suite, 13:21, 25; Justice series, 13:22; Merry widow, state II, 13:18; The Sad flute player, 13:21; Shine here to us, 13:21; Solar refraction, 13:27, 36, 38; Twicknam garden, 13:24; Palacio de bellas artes, 13:19
Wayne, June, 1:87, 88, 106-09; The witnesses #2, 1:108; 4:6-17; The Dorothy series, 5:5
Weber, Wilhelm, Aloys Senefelder, Erfinder der Lithographie: Daten zum Leben und Werken, reviewed, 6:60
Wechsler, James, The Lithography unit of the Federal Art Project in northern California, 16:77-82
Wedgewood, Thomas, 12:23, 26
Weisberg, Gabriel P., Japonisme revisited:a pioneering exhibition reexamined, 13:85-89; World of expanding interpretation, the: the larger implications of some recent publications about prints, 12:55-61; Paul Blanc's beggars:mendicity as metaphor, 16:13-2 6
Weisberg, Gabriel P., Th�ophile Steinlen and Louis Legrand: contrasts in social ideology, 8:6-14. Art Nouveau Bing, reviewed, 10:43-44; review of The Dreyfus affair: art, truth, and justice, 10:86-87. review of The prints of the Pont-Aven school: Gauguin and his circle in Brittany, by Caroline Boyle-Turner, 10:44-45
Weisberg, Ruth, Absent discourse: critical theories and printmaking, 13:8-10; 15:88-90, 92
Weisberg, Ruth, The Syntax of the print: in search of an aesthetic context, 9:52-60; response to Ed Hamilton, 10:53; review of American prints: process and proofs by Judith Goldman, 5:54-55
Weisenthal, Morris, a conversation about 21 Etchings and poems, with Lanier Graham, 13:36-38
Weitenkampf, Frank, 5:20n; 7:70
Weldon, Daniel, portable press designed by, 9:69
Wengenroth, Stow, 6:59
Wenger, John. Inside out, 1:115; Notes on graphite, 1:119
Western graphics workshop, 1:63-64
Westlund, Harry, 1:13-20
Weyhe, Erhard, 5:46
What's an original print? or: two million dollars down the drain, by Robert R. Vickrey, 9:7-9
Wheeler, Leeds Armstrong, Armstrong and company, artistic lithographers, reviewed, 7:35
Which paper?: a review of fine papers for artists, craftspeople and designers, by Silvie Turner, reviewed, 14:81
Whistler [James McNeill] and transfer lithography, by Nicholas Smale, 7:72-83
Whistler, James Abbott McNeill, 11:27-28, 13:67-68; Street at Saverne, 11:26; 16:41-42; 17:57-58
Whistler, James McNeill, 5:20; 7:49-71; 8:68-70; collaboration with Thomas R. Way, 10:17-27; details (x3) of transfer lithographs, 7:75-78, 81; The Draped figure=mseated, 7:79; St�phane Mallarm�, No. 1, 7:74; St. Giles-in-the-fields, 7:81
White, Minor, 13:68
Wilder, Mitchell A., 2:40n, 41
Wiley, William, 2:10
Wilfer, Joe, collaboration with Chuck Close, 10:62
Will, John, at University of Calgary, 8:29
Williams, Reba White, The Prints of Robert Gwathmey, 15:33-56
Wilson, John, 2:12; participant in panel discussion: the crisis in printmaking, 3:44-51
Wilson, Raymond L., Index of American print exhibitions, 1882-1940, reviewed, 12:76
Winstone Press, 6:29
Woelffer, Emerson, 2:37; 4:7
Wolanin, Barbara A., Discovery and process: Dorziat reciting by Arthur B. Carles, 13:77-81
Wolff, Theodore F., participant in panel discussion, Into the crystal ball, the future of lithography, 8:50-60
Wonder and horror of the human head, the exhibition, Institute of Contemporary Arts, 14:20
Wood, Grant, 5:63
Woodburytype, use of, at the Visual Arts Research Institute, 10:71, 76-77
Woodstock (N.Y.), Lowengrund's lithographic workshop in, 7:21-22; lithography in, see also Arnold, Grant; Brown, Bolton; Phillips, S. Dale
Words and images: Universal limited art editions, reviewed, 2:55
Work Project Administration in northern California, 16:77-81; California wild flowers, by Alberte Spratt Lamb, 16:79; California Indian petroglyphs, by Lala Eve Rivol, 16:79
Works Progress Administration Federal Art Project, 13:6, 12, 20, 41, 73-76; 15:4, 26-31-33, 59; 16:77-81, 85; Silkscreen unit, 15:29, 34
Workshops, individual, see name of workshop
Workshops, lithography, a survey of, 4:48-52
World of expanding interpretation, the: the larger implications of some recent publications about prints, by Gabriel P. Weisberg, 12:55-61
Wright, John-Buckland, 14:44-45; Baigneuse et satyre II, 14:44
Wright, S. Macdonald, 1:104, 108
Wyeth, Andrew, 10:50
Wyeth, Jamie, 2:44
Wyffels, Ron, 1:66-68

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Xerographic transfers, 1:116 
Xerographic transfers, by Toby Michel, 2:46-48

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Yager, David, 6:29 
Yates, Steve, Ambiguous space: tradition and non-tradition, 12:20-27
Young, Joseph E., The Visual Arts Research Institute: collaboration becomes research, 10:70-77

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Zein, Kurt, 13:94 
Zigrosser, Carl, 13:28, 32; 14:59
Zimmerli Art Museum of Rutgers University, 12:56-59; 16:102-104; Nabis and the Parisian avant-garde, edited by Patricia Boyer, 12:57-59; The art of the Nabis from symbolism to modernism, by Elizabeth Prelinger, 12:57-59
Zinc plate lithography, 11:68-69