The Art of John James Audubon, Douglas Kenyon Inc., (Continuous Tone (No Dots) Lithographic Poster, 1979

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The Art of John James Audubon, Douglas Kenyon Inc., (Continuous Tone (No Dots) Lithographic Poster, 1979
Very high Quality (Continuous … Read more The Art of John James Audubon, Douglas Kenyon Inc., (Continuous Tone (No Dots) Lithographic Poster, 1979
Very high Quality (Continuous Tone (No Dots) Lithographic Poster
25 × 16 1/4 in
63.5 × 41.3 cm

The poster looks crooked or trimmed in the photograph, it is not the poster which is in perfect condition.
It states at the top left border of the poster , "American White Pelican", Plate 311, Engraved, printed and colored by H. Havell, 1936"

It states at the top right border of the poster, "Printing by Black Box Collotype, Chicago, 1979, Art Direction Lynn Martin

This is a high quality poster printed for a major exhibition for this American artist. It is printed one time only for an exhibition at the Douglas Kenyon Gallery from October 12th to November 28th, 1979. Due to he printing process it looks and feels like an original stone lithograph not a cheap poster.

This is the original poster done for the exhibition at the Douglas Kenyon Gallery, it also printed by a special printing process, called Continuous Tone printing, which uses no dots.

About the Continuous Tone Printing Process:
Screenless lithography, by eliminating the use of halftone screens and halftone dots achieves extraordinary fidelity, fullness of tone, color and detail, impressive color saturation and clear line resolution. Museums, fine artists and publishers with exacting standards use this remarkable process to re-create their finest works of art. Continuous tone lithography (as in a photograph with no dots) evolved from collotype printing. When Black Box Collotype ultimately closed its doors in 2004, it was one of just a few printers left in the world that had mastered the collotype process. While it was a highly desirable reproduction process for the fine art world, it was a laborious, time consuming (read “expensive”) process. Since there was no screen involved, a collotype print could be 27 colors without fear of a moiré. But in the old days, on Black Box’s one-unit press, those 27 colors had to be laid down one color at a time. So the most complex jobs could take months to complete.

Offset lithography is far faster and less expensive than collotype. Suddenly, four colors and halftone dot patterns were “good enough” because they were so economical. Black Box Collotype was one of the last printing houses in America, if not the world that used the collotype-continuous tone process.
Medium Posters
Condition Excellent Condition
Signature Not Signed, not signed
Frame Not included
Publisher Douglas Kenyon, Inc. See less