The intensive creative process can be traced through the countless trial proofs with written instructions and corrections in chalk, which passed back and forth between Clot and the artists.
Some of the artists Vollard recruited for his print albums were less involved than others in the creative process.
In many cases, they were the somewhat better established modern artists like Pierre-Auguste Renoir, Auguste Rodin and Odilon Redon, who were less willing to throw themselves into the complex craft of colour lithography.
They simply provided the master printer with a design drawing, which he then turned into a print on his own.
The critic André Mellerio disapproved of this way of working. In his opinion, it meant the printer left too strong a stamp on the artwork.
André Mellerio, La Lithographie originale en couleurs, Paris 1898
Pat Gilmour, ‘Cher Monsieur Clot… Auguste Clot and his Role as a Colour Lithographer’, Lasting Impressions: Lithography as Art, Philadelphia 1988, p. 129-182
Marije Vellekoop, ‘Een kijkje in de werkplaats: De techniek van de prentkunst’, in Prentkunst in Parijs: De rage van het fin de siècle, Amsterdam 2013, p. 44-73