Prefaces & Acknowledgements

Lauren Hewes

The Index to Print Catalogues Raisonné (IPCR) serves as a continuation of Timothy Riggs' The Print Council Index to Oeuvre-Catalogues of Prints by European and American Artists (1972/1983) and owes much to that earlier effort. We have made only very minor changes in the design and terminology first established by Riggs, finding that the bibliographic format and shorthand descriptions he used in 1972 continue to be useful to print scholars in 2000. In 1998, the Print Council of America decided to update Riggs' work and gathered together a team which included myself (the project bibliographer), several data entry personnel, graduate students, and a computer programmer. Under the adept guidance of Print Council President, Stephen Goddard, this team put together the resulting web reference tool in about a year and a half. The speed and quality of the compilation and production was greatly assisted by dozens of scholars and authorities in the print and library fields.

Any project of this scale requires the input of large numbers of individuals and the Print Council of America membership was a wonderful resource. Members pointed out recent and forthcoming catalogues raisonné, dug up old files of obscure references, and mailed and emailed me citations. Members to whom I am particularly indebted include Georgia B. Barnhill, Andrew W. Mellon Curator of Graphic Arts at the American Antiquarian Society who very generously guided me through her amazing network of art reference librarians and curatorial contacts; and Andrew Stevens, Curator of Prints at the Elvehjem Museum of Art who provided an excellent sounding board for early discussions about the scope and future design of IPCR.

From mid-1998 to the end of 1999, I surveyed catalogues raisonné in libraries in both the United States and Europe. The efforts and expertise of reference librarians and their helpful staff members in the following institutions are here acknowledged: The Fine Arts Library, Harvard University; The American Antiquarian Society, Worcester; The Fine Arts Department, Boston Public Library; The Miriam & Ira D. Wallach Division of Art, Prints and Photographs, New York Public Library; The Getty Research Library; and The Special Services Division at the Library of Congress. In Europe, my appreciation to the reference staffs at The National Art Library of the Victoria and Albert Museum; The British Library; The Bibliothèque Nationale, Paris; The Berlin Central and Regional Library; and the Library of the Kunstbibliothek in Berlin.

Several individuals helped to make my library hours more efficient, including Susan J. Wolfe, the AAS cataloguer who trained me in the peculiarities of RLIN; Margaret Glover and Nancy Finley in Room 308 at New York Public, who pulled endless books from their stacks and cheerfully answered a shower of email inquiries; Nancy Spiegel, Reference Librarian, Sterling and Francine Clark Art Institute Library who aided in the taming of the Hollstein series; and Lois White, Head of General Reference at the Getty who, in association with Cindy Atwood, Reference Librarian at my local Northborough Free Library, coordinated several large inter-library loans. In England, Michael Crump and Jennifer Santiago assisted in deciphering the endless shifts of the art reference collection at the British Library during the largest stack reorganization in that institution's history. Finally, I am grateful to Rachel Buller, one of the Print Council's data entry wizards, who was able to examine titles in Germany when the birth of my daughter prevented me from travelling.

One of the greatest pleasures of the project was visiting print rooms and museum libraries in the United States and Europe. Specific acknowledgement and thanks to: Marjorie B. Cohn, Curator of Prints, Agnes Mongan Center for the Study of Prints, Drawings and Photographs at the Fogg Art Museum, Harvard University; Worcester Art Museum Curator of Prints and Drawings David Acton and his assistant Maura Brennon, and the WAM librarians Debby Aframe and Kathy Berg; Associate Curator Suzanne Boorsch and Heather Lemonedes, Study Room Supervisor, at the Metropolitan Museum of Art, as well as the reference staff at the Metropolitan's Thomas J. Watson Library; all of the curators in the Museum of Fine Art, Boston, Department of Prints Drawings and Photographs, and the reference staff in the Museum's William Morris Hunt Memorial Library; Gregory D. Jecmen, Assistant Curator and Carlotta J. Owens, Assistant Curator of Modern Prints and Drawings at the National Gallery of Art, Washington, D.C., as well as the reference staff at that institution's Art Research Library; Helena E. Wright, Curator of Graphic Arts, National Museum of American History; Joann Moser, Senior Curator at the National Museum of American Art; Deborah Wye, Chief Curator Prints and Illustrated Books, Carol Smith, Curator, and Jennifer Roberts, Study Center Supervisor, at the Museum of Modern Art, Abby Aldrich Rockefeller Printroom, and the very able reference staff at MOMA's library. In Europe, both Antony Griffiths and Stephen Coppel at the British Museum were very considerate with their time and proffered excellent criticism and advice, which further improved the design.

Special acknowledgement to American print collectors Dave and Reba Williams who encouragingly offered their assistance and personal library of twentieth-century material, and to Robert Siciliano, their registrar, who answered many questions and arranged repeated access to the collection.

Several members of the International Fine Print Dealers Association also deserve mention, including Paul McCarron, Jane Haslem, and Sylvan Cole who were all very helpful and permitted me access to their libraries and resources. Print dealers John Szoke and Alan Wofsy also responded freely to my inquiries and further suggested leads to additional material.

Finally, my recognition and thanks to Stephen Goddard, who regularly extended insightful direction and encouragement as the project developed. His ability to expertly juggle multiple demands is astounding, and his willingness to translate 'computer-speak', and, I might add, the occasional Dutch phrase, was invaluable. His editorial efforts combined with his proficient knowledge of both the print and computer worlds, truly made IPCR a reality.

Lauren B. Hewes
Oeuvre-Catalogue Project Bibliographer
January, 2000