The Print Council of America commissioned me to assemble this index to oeuvre-catalogues in 1970, with funds provided by the Old Dominion Foundation and the Avalon Foundation. Egbert Haverkamp-Begemann and I worked out the basic format for the book; other members of the Print Council who were particularly generous with advice during its early stages were Edgar Breitenbach, Harold Joachim, Elizabeth Roth, and the late Heinrich Schwartz.
Between 1970 and 1973 I examined oeuvre-catalogues in print rooms and libraries across the United States and Europe, and received generous assistance from the staff members of all the institutions listed on pages xliii-xlv. In particular I want to thank Cliff Ackley, Jean Adhémar, Maurice Bloch, Alan Fern, J. G. van Gelder, Sinclair Hitchings, Fritz Koreny, R. E. Lewis, Katharina Meyer, Lydia de Pauw-de Veen, Konrad Renger, John Rowlands, Eleanor Sayre, Peter Wick, Matthias Winner, and the late Gunter Troche. Dorine Newton completed the indexing of the catalogues by Bartsch and Passavant, especially demanding because of the many changes in attribution which have occurred since those books were compiled. Other indexing of multi-artist catalogues was done by Ellen Berezin, Nancy Bialler, Mark Gerstein, Susan Kane, Gail Margolis, Alan Martin, and Otto Nauman.
The Worcester Art Museum, whose staff I joined in 1973, made space available for me to store and work on the stacks of entry slips that we had accumulated. The long task of turning these into a finished manuscript was greatly facilitated by the editorial advice and assistance of Penny Mattern (who in addition proofread virtually the entire manuscript with me) and Ellen Berezin. Jean Connor, Lois Grinnel, Ellen Laipson, and Carol Zerrow all helped with the monotonous work of standardizing entries and proofing the manuscript, which was typed with meticulous care by Pearl Jolicoeur. As members of a Print Council advisory committee, Sinclair Hitchings and Susan Reed offered much-needed encouragement at a time when the end seemed very far away. I am equally grateful for the friendship and support of my colleagues in Worcester during the period, especially Ellen Berezin, Bonnie Grad and Penny Mattern. Steven Goulden edited the finished manuscript for publication, and Ann Keck-Henderson's thoughtful criticism helped to make the introductory section a readable piece of prose.
Lessing Rosenwald took an interest in this project from its inception, secured the financial backing that made it possible, and made available to me his own magnificent library of print reference books. The manuscript was completed a few months before his death; the book is dedicated to his memory.
Timothy A. Riggs