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<p>[QUOTE=&quot;moreotherstuff, post: 9738048, member: 56&quot;]I have a copy of Tannhauser illustrated by Willy Pogeny and published in 1911. It has lots of black and white illustrations, but also has “tipped in” color illustrations. This is how color illustrations were usually handled right up to the 1960s. This would have been considered state-of-the-art when published, and it uses offset lithography for the color.</p><p>[ATTACH=full]475567[/ATTACH]</p><p><br /></p><p>[ATTACH=full]475568[/ATTACH]</p><p><br /></p><p>The most elaborate color exercise I have from the period is Tennyson’s Morte d’Arthur, illuminated by Alberto Sangorski, 1912. The entire book can be found online here:</p><p><a href="https://archive.org/details/mortedarthurpoem00tennuoft/page/n51/mode/2up" target="_blank" class="externalLink ProxyLink" data-proxy-href="https://archive.org/details/mortedarthurpoem00tennuoft/page/n51/mode/2up" rel="nofollow">https://archive.org/details/mortedarthurpoem00tennuoft/page/n51/mode/2up</a></p><p><br /></p><p>Another production using the most up to date technology.&nbsp; Again, the reproduction method of choice was offset lithography. Here’s a detail of Tennyson’s portrait from the title page:</p><p>[ATTACH=full]475569[/ATTACH]</p><p><br /></p><p><br /></p><p>Jumping ahead to 1979, I have the book “Yosemite and the Range of Light” featuring photographs by Ansel Adams. This is a large format book produced with “double impression offset lithography”. This was a process developed to specifically reduce the impact of the offset dot matrix.</p><p>[ATTACH=full]475570[/ATTACH]</p><p><br /></p><p>There are no dots immediately apparent, but if you look closely enough...</p><p>[ATTACH=full]475571[/ATTACH][/QUOTE]</p><p><br /></p>

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