What is an Original Print?

What Is A Print?
Introduction

Until recently, few of our fellow Americans had any knowledge of the graphic arts, much less any appreciation of fine prints. In the fall of 1956 a group of directors and curators of leading museums, print collectors, arists, dealers, and prominent persons in the academic world, initiated a movement to stimulate public interest in original prints. From their meeting resulted the Print Council of America, Inc., a nonprofit, tax exempt organization.

Almost immediately the activities of the Print Council proved to be of significant benefit to the public, as well as to artists, museums, graphic workshops, print clubs, and private collectors. The Council publishes and circulates News of Prints and the Print Exhibitions Calendar. The number of exhibitions listed in the Calendar has doubled since it was first issued — dramatic proof of increasing interest in prints. The Print Collector's Yearbook is in preparation. The Council has awarded fellowships to train print curators. An outstanding project was the multiple exhibition American Prints Today — 1959, shown simultaneously in eight museums, then simultaneously in eight others — all using identical catalogs. Thereafter the exhibition was further circulated in the United States; also, in 1960-62 in France and Canada.

One of the stated purposes of the Council — which is dedicated to the diffusion of knowledge about prints — is to "promulgate standards, codes, formulas, and recommend procedures" in the graphic arts.

In 1960 the Council undertook preparation of a publication on originality in graphic art, designed to contain suggested standards and guides for artists, dealers, publishers, collectors, and the general public. Joshua Binion Cahn, Esq., counsel to the organization, acted as coordinator of the project and editor of this booklet embodying the Council's decisions.

Directors of the Council and others contributed to the study from their vast knowledge and experience. Mr. Carl Zigrosser prepared a paper on the historical background of the concept of originality in prints, which appears elsewhere in this publication. Miss Dore Ashton, a well-known art critic who has long been concerned over deceptive practices in this field, gave valued assistance. Dealers who were consulted and were most helpful included Mr. Peter Deitsch and Mr. Herman B. Wechsler.

A conference of artists resulted in the formulation of the artists' guide. Those participating were Messrs. Antonio Frasconi, Misch Kohn, Mauricio Lasansky, Gabor Peterdi, and Benton Spruance.

The International Association of Plastic Arts, UNESCO House, Paris, has formulated a "declaration on original works of graphic art." Mr. Theodore Gusten, executive secretary of the Council, carried on extensive correspondence with Mr. Berto Lardera, secretary-general of the Association, exchanging views with respect to proper standards. Many of the suggestions contained herein were incorporated in the draft adopted by the Third International Congress of Plastic Arts, held in Vienna, September 1960, which is reproduced on page 28 [omitted]. The representative at the Congress for graphic arts of the United States was Mr. Gabor Peterdi whose attendance was made possible by a grant from the Print Council of America.

In recent years there has been a phenomenal growth of interest in making and collecting prints. The print has gained increasing recognition as a major art form; it has become more important in an economic sense as well as aesthetically. There is, therefore, an increased necessity for standards of originality and for knowledge of artistic and trade practices. We hope that this booklet will meet some of the needs of those interested in original prints.

Lessing J. Rosenwald

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Copyright © 1961 Print Council of America
Used with permission.