This is a fine art lithograph. It’s an original work of fine art which was produced at the prestigious S2 Atelier in New York City in 1999. It was inspired by a poster first created in 1895.These fine art lithographs are recreations of the original. Great care was taken to precisely re-create the artists original image. Most of the chromists hand draw directly onto specially prepared surfaces that are then transferred onto lithographic plates. Lithography involves creating hand drawn plates, one for each color, which are then ‘pulled’ through antique printing presses one color at a time. The resulting lithograph is in pure color, as opposed to the dot structure which occurs in the photographic process of modern printing. At the heart of the S2 Atelier are it’s two rare, French made Marinoni Voirin ‘editioning’ printing presses ‘ they both date back to the mid 19th century. These are the best fine art lithographs made in the industry today. You cannot find anything better than these. Among the several fine posters created by William H. Bradley (1868-1962) for the small literary magazine The Chap Book,” this one is popularly known at “the blue lady,”and it is one of his most intriguing images. The strong blue color pervades the whole image, relieved only by the red letters; the white road cuts across just where thelady’s equally white face is, making a lightning stroke of white through the black-and-blue design. The Chap Book was one of the most curious and most influential little publications of the 1890s. It was the brainchild of two Harvard students from Chicago, Herbert Stone, son of the Chicago Daily news publisher, and Ingalls Kimball. They started it justthree months before their graduation from Harvard, in May 1894. Their first issue was a lively, sharply original booklet only 4 ‘” x 7 ‘” in size, on antique laid stockwith deckled edges, featuring Caslon type face throughout. A self-portrait of Aubrey Beardsley was there, as well as fresh critical insights into the literary scene,and even coverage of such new forms as poster art. Typography was handled by Frederick W. Goudy. In the summer of that year, the two young men took their magazine backto Chicago and proceeded to attract some of the best new artists of the era. The posters advertising coming issues were among the most artistic, and they built thereputation of their designers, such as Bradley, Hazenplug, Bragdon, Leyendecker, and Bird. They reached to Paris for the talent of Lautrec as well. “The Poster” inFebruary 1896 announced that “Stone, & Kimball are finding it hard to fill order for many of their posters issued with the Chap-Book.” It was sold to “Dial,” a rivalChicago magazine, in 1891.”