Pace Prints Gallery stands as a beacon in the world of fine art printmaking. For nearly half a century, this New York institution, closely linked to the renowned Pace Gallery, has championed the art of editions, showcasing works by some of the most influential artists of the modern and contemporary eras. Spearheaded by Richard Solomon, now in his ninth decade yet showing unwavering passion, Pace Prints continues to shape the landscape of art collecting and appreciation. As they prepare to exhibit at the prestigious ADAA Art Show, featuring masterpieces by Pablo Picasso, Henri Matisse, Jasper Johns, and Willem de Kooning, among others, it’s time to delve into the rich history and enduring impact of Pace Prints Gallery.
Richard Solomon’s journey into the art world wasn’t that of a failed artist or a born salesman, but rather that of a passionate collector. His story began with a serendipitous encounter in 1960 Boston. While strolling through Newbury Street, Solomon and his wife stumbled upon a new contemporary art space – Pace Gallery, founded by a young Arne Glimcher. “I bought the first thing he ever sold as an art dealer,” Solomon recalls, marking the start of a relationship that would profoundly impact the art world. This first purchase, a Mirko Basaldella sculpture, was more than just an acquisition; it was the seed of a partnership that would blossom a decade later into Pace Prints.
Mirko Basaldella sculpture purchased by Richard Solomon, marking the beginning of his journey with Pace Gallery
The Genesis of Pace Prints: Championing the Art of the Edition
In the decade following his initial encounter with Pace Gallery, Solomon’s connection with Glimcher deepened, fueled by a shared love for art. This bond led to the establishment of Pace Prints. Founded 47 years ago, Pace Prints was envisioned as a space dedicated to the art of editions. Unlike unique works, editions offer a wider audience the opportunity to own original pieces by significant artists. Pace Prints embraced various printmaking techniques, from etchings and Japanese-style woodcuts to screenprints and intaglios. Over the years, they have published works by over 150 artists, including luminaries such as Sol LeWitt, Robert Ryman, James Turrell, Kiki Smith, and Yoshitomo Nara.
Solomon’s vision extended beyond simply publishing prints. He became a vocal advocate for printmaking itself, educating collectors and the public alike. He passionately argued that prints are not mere reproductions but original art forms, deserving of the same esteem as paintings or sculptures. “Aren’t you better off, from a long-term standpoint, buying an important print by an important artist, instead of trying to find a unique work that might be of comparable value in monetary terms but no way comparable in aesthetic terms?” Solomon posits, emphasizing the enduring value and aesthetic merit of fine art prints.
His own art education was nurtured from a young age. Growing up in Manhattan, Solomon’s mother, Jeannette, organized art tours for the Radcliffe Club of New York. These tours exposed him to galleries and private collections, fostering an early appreciation for art. While his mother collected modern and contemporary pieces, Solomon began his own collecting journey in his teens, acquiring drawings from the Weyhe Gallery.
From Collector to Connoisseur: Solomon’s Deep Dive into the Art World
Solomon’s passion for art continued to flourish during his time at Harvard. He recounts amusing anecdotes of his early connoisseurship, like adorning his dorm bathroom with Edgar Degas reproductions, inspired by a friend’s uncle who displayed Georges Rouault works in his bathroom. This anecdote illustrates his early understanding of art as an integral part of life, not just a decorative element.
After earning his MBA from Harvard in 1958, Solomon initially joined Stop & Shop, his family’s business. However, his fascination with contemporary art, particularly fueled by his growing friendship with Arne Glimcher, remained a powerful undercurrent. Glimcher became a mentor, guiding Solomon in building his personal collection, even as Solomon, independently, acquired early works by a then-emerging artist named Andy Warhol. Solomon’s involvement deepened, extending to helping Glimcher with gallery installations.
The pull of the art world proved too strong. In 1967, Solomon left Stop & Shop and moved back to New York, initially taking a position in advertising at Clairol. However, the partnership with Glimcher and Pace Gallery was destined to solidify. When Glimcher needed financing for a complex edition project by Pace artist Lucas Samaras, Solomon readily agreed. This initial collaboration led to more projects, culminating in Solomon’s full immersion into the world of art prints. “Eventually, I said to Arne, ‘Who’s going to sell this stuff we’ve published?’ ” Solomon remembers. Glimcher’s response, “What do you mean, who? It’s you,” marked the pivotal moment when Solomon embraced his destiny as a full-time art dealer, leaving Clairol behind.
Richard Solomon and a gallery staff member examining woodblocks for a Chuck Close self-portrait, showcasing the intricate process of printmaking at Pace Prints
Pace Prints Gallery: A Hub for Innovation and Collaboration
Pace Prints started as a publisher, collaborating with external workshops for the actual printing process. However, a significant shift occurred in the mid-1970s when it evolved into a comprehensive print workshop. This transformation was largely due to the arrival of Joe Wilfer, a master paper and printmaker who had previously worked with Chuck Close. Hiring Wilfer, on Close’s strong recommendation, was, in Solomon’s words, “probably the best thing I ever did.”
The presence of artists like Jim Dine further shaped Pace Prints’ trajectory. Dine, whom Solomon considers “one of the great, great printmakers” of the 20th century, played a key role in developing the workshop’s capabilities. Under Dine’s influence, Pace Prints began acquiring equipment, eventually establishing a fully equipped facility in Soho.
A pivotal moment in Pace Prints’ international collaborations was Solomon’s meeting with Aldo Crommelynck in Paris. Crommelynck, renowned as Pablo Picasso’s printer, forged a partnership with Pace Prints, enabling them to work with artists like Ed Ruscha and Terry Winters. This collaboration broadened Pace Prints’ horizons and solidified its reputation as a leading force in contemporary printmaking.
Pace Prints continued to expand, moving its workshop to Chelsea in 1998 and opening a Chelsea gallery in 2007 under the initiative of Jacob Lewis, a former junior staff member. This expansion brought in younger artists like KAWS and Ryan McGinness, ensuring Pace Prints remained at the forefront of contemporary art trends. Furthering its commitment to the craft, Pace Prints established a paper-making studio in Gowanus, Brooklyn, in 2008, a unique venture for a commercial printmaker.
Pace Prints at the ADAA Art Show and Beyond
Pace Prints is a regular participant in prestigious art fairs, including the ADAA Art Show. At the upcoming show, attendees can expect to see modern and contemporary masterpieces by Picasso, Matisse, Johns, and de Kooning, among other giants of art history. Richard Solomon remains dedicated to educating new collectors about the nuances and complexities of printmaking, fostering a deeper appreciation for this often-underestimated art form.
Solomon’s philosophy on art collecting is refreshingly down-to-earth. He dismisses the notion of “bad reasons” for buying art, even embracing the idea of art as decoration. “To me, using art as decoration is not pejorative. We all do it. It’s part of the aesthetic environment you’re trying to create. It’s an expression of one’s own personal aesthetics,” he explains. This inclusive perspective reflects Pace Prints’ mission to make fine art prints accessible and appreciated by a broad audience.
Solomon and master printer Yasu Shibata in the Pace Prints workshop, highlighting the dedication to craft and collaboration within Pace Prints Gallery
In nearly half a century at the helm of Pace Prints Gallery, Richard Solomon has not only built a thriving business but has also made a significant contribution to the art world. Through Pace Prints, he has championed printmaking as a vital and original art form, fostering collaborations with some of the most important artists of our time and educating generations of collectors. As Pace Prints continues to evolve and innovate, its legacy as a cornerstone of fine art printmaking is firmly secure.
Note: Links to shop specific artworks mentioned in the original article are omitted as per instructions.
