He knew the hour would come when he could carry it out, and he bided his time.
It was not until years later that his opportunity came, when he immediately made up his mind to seize it.

The magazine had installed a battery of four-color presses; the color-work in the periodical was attracting universal attention, and after all stages of experimentation had been passed, Bok decided to make his dream a reality.

He sought the co-operation of the owners of the greatest private art galleries in the country: J.Pierpont Morgan, Henry C.Frick, Joseph E.Widener, George W.Elkins, John G.Johnson, Charles P.Taft, Mrs.John L.
Gardner, Charles L.Freer, Mrs.Havemeyer, and the owners of the Benjamin Altman Collection, and sought permission to reproduce their greatest paintings.
Although each felt doubtful of the ability of any process adequately to reproduce their masterpieces, the owners heartily co-operated with Bok.
But Bok's co-editors discouraged his plan, since it would involve endless labor, the exclusive services of a corps of photographers and engravers, and the employment of the most careful pressmen available in the United States.

The editor realized that the obstacles were numerous and that the expense would be enormous; but he felt sure that the American public was ready for his idea.

And early in 1912 he announced his series and began its publication.
The most wonderful Rembrandt, Velasquez, Turner, Hobbema, Van Dyck, Raphael, Frans Hals, Romney, Gainsborough, Whistler, Corot, Mauve, Vermeer, Fragonard, Botticelli, and Titian reproductions followed in such rapid succession as fairly to daze the magazine readers.