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THE TAMARIND PAPERS

Cumulative Index: Volumes 1 through 17, 1974--1998.

Volume 1, which consisted of eight numbers (March 1974 through Winter 1977--78), was published under the title Tamarind Technical Papers. Volumes 2 through 7, 9, and 10 consisted of two numbers each. Volume 8 was a double issue. The subtitle, A Journal of the Fine Print, was adopted beginning with volume 9, number 2, repacing the earlier subtitle: Technical, Critical and Historical Studies on the Art of the Lithograph.
Volumes 15 through 17, 1994--1998, were published biennially as serial books by Tamarind and University of New Mexico Press.

Omitted from this index are the names of persons briefly mentioned in book reviews, as well as the names of those mentioned in the Bibliography, 1:89--91; Printers' Chops, 2:17--21 and 7: 36; Survey of Instruction in Lithography, 1:71--74, 3:53--58; Survey of Lithography Workshops, 4:48--52; and the Directory of Suppliers (all issues). Prints and photographs illustrated in TTP are indexed by artist but not by title.

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

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A	Order Tamarind Papers | Top of page

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 and printmaking, 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;

Changing times, 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: a conversation with Patrick Nagatani, 15:95-106;

Crisis in printmaking, the (participant in panel discussion), 3:44-51

Dessin á 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 citation 11:9; 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 raisonné, 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 raisonné, 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 United States, 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 Nancy Spero, 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 Soviet Union, with George McNeil, 11:55-68;

Technical matters, 9:69-70

Tonal washes, transfer papers, and 'power-washes' for rollers, 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, François-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 raisonné, reviewed, 6:58-59

B	Order Tamarind Papers | Top of page

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-ray style, 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 raisonné, 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 raisonné, 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 Renié, 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-époque, 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 père 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, Félix, 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	Order Tamarind Papers | Top of page

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 raisonnés, 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

Cézanne, 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 collé, 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 raisonné, 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

Cliché-verre, use in collotype, 10:79

Cliché-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 déjà 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

Collé 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 raisonné, 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 Gág'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, José 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 raisonné, by Joan Ludman, 6:58

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Daguerre, Louis-Jacques-Mandé, 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, Honoré, Moderne Galilée, 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 Richardiére, Bourgeois, Napoléon, 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

Delétre, Auguste, 11:27-29 Delacroix, Eugéne, 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, à la plume, et à 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 á 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 Donné 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 France by 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 raisonné 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 déjá 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; Traité de lithographie, 17:7-8

Engraving, stone, 1:1-4

Enslen, Johann Carl, 17:21-22; Christuskopf über 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 Füssli, 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 raisonné, 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 raisonné, 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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Gág, 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 crée (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, Théophile, 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

Géricault, Théodore, Le maréchal français 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, 11:55-68 Goethe, 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 raisonné, 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

Grosman, Tatyana, 1:88, 96; 2:55; 5:55; 6:12-14

Gross, Anthony, 14:10-11, 13, 48-50, 54, 70; Étude 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

Guérin, 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

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; Claduégne, 14:32, 41, 49; Centauresse, 14:35; Ceres, 14:36; Champ magnétique, 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 Lucréce, 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 raisonné, 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 riviére 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 art, New 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 collé 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 Gág'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, Démolitions 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; Décharge 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-François, 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; Deuxième regard du syphon du gd. aqueduc, 17:36; St. Loup de Naud, 17:34; Vue prise sous le po rtique extérieure du théâtre, 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 raisonné, 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 raisonné, 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 raisonné, 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

Mallarmé, Stéphane, 12:4, 6, 8

Mamet, David, Warm and cold, a livre de luxe, 13:57

Manet, Edouard, 15:7-8; Guerre civile: scène de la commune de Paris, 15:8

Manet, Edouard, the prints of, by Jay McKean Fisher, reviewed, 9:71-76; La Barricade, 9:71

Manière 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, Théodore, 17:4, 6; La Daguerréotyopomanie, 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 raisonné, 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

México 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, László, 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 raisonnés, 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 siècle, 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

Niépce's, Nicéphore, 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, José 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 Donné, 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 collé 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 collé printing, 4:39-41

Papers, transfer, Dolphin, 5:29-31

Papier végétal, 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 raisonné, by Edith McCulloch, reviewed, 11:75-76

Prints of Frank Stella, a catalogue raisonné, 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

Renié, 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-Rónaï, Nabi József, 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

Riviére, 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, Eugéne, 13:87-88

Rousseau, Théodore, 12:23-25; La Plane de la plante (the flat country around the trees), 12:23-25; La Plaine de la plante à 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 raisonné, 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 déjà 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

Skiöld, 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

Skiöld, 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 Collé 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, Théophile, 12:58; La rue caulaincourt, 12:58

Steinlen, Théophile, 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, Jürgen, 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 raisonné 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 végétal 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 archéologique 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 Skiöld, 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 Gág'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., Théophile 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; Stéphane Mallarmé, 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

We welcome your questions and comments: tamarind@unm.edu
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http://www.unm.edu/~tamarind/papers.html
Last updated: 1/6/09