Paulosnias and Chrysanthemums, THe Cleveland Musuem of Art Poster by Sakai Hoitsu

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This a Continuous Tone Lithographic Print Published by the New York Graphic Society for the Cleveland Museum … more FREE DOMESTIC SHIPPING
This a Continuous Tone Lithographic Print Published by the New York Graphic Society for the Cleveland Museum of Art and printed by Black Box Collotype, the last remaining press in the United States that was still using this type of printing. Please do not confuse this with the myriad of cheap reproductions, this is the original poster printed at the time of the exhibition at the Cleveland Art Museum.

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.

Sakai Hōitsu (Japanese: 酒井 抱一; August 1, 1761 – January 4, 1829) was a Japanese painter of the Rinpa school.[1] He is known for having revived the style and popularity of Ogata Kōrin, and for having created a number of reproductions of Kōrin's work. Sakai Hōitsu was born on 1 August 1761 in Edo.[2] His father was the lord (daimyō) of Himeji Castle in Harima. Hōitsu, citing poor health as a reason, became a Buddhist priest in 1797,[5] and spent the last 21 years of his life in seclusion. During this time, he studied the work of Ogata Kōrin extensively, as well as that of Kōrin's brother Ogata Kenzan, and produced a number of reproductions of the brothers' works. He also produced two books of woodblock prints of the brothers' work, as well as one book of his own; these were titled Kōrin Hyakuzu (1815), Kenzan Iboku Gafu (1823), and Oson Gafu respectively. He died at the age of 66, on 4 January 1829, in Edo.[6] less