View allAll Photos Tagged Lithography,
Litografian kivilaatan hiontaa, graafisen taiteen osasto, 1930-luku.
Taideteollisuuskeskuskoulun opetustilanteita.
TaiKV:09:011
Aalto-yliopisto / Aalto University
Tiedätkö lisää tästä kuvasta? Jätä kommentti tai ota yhteyttä sähköpostitse: arkisto@aalto.fi
Lisätietoja kuvakokoelmista / more information: libguides.aalto.fi/c.php?g=578570&p=4667669
Last Sunday, despite the bitterly cold weather, I went out to take pictures. I spotted two horses in a field. When I stepped out of the car, they both started heading towards me and came right up to the fence.
I'm sure they would have wanted a treat but I did not have anything to give them, so they were trying to eat my lens!!!
But they were very gentle and let me pet them.
It was such a sweet encounter and it made my day. They are such beautiful animals!
* * * *
Malgré le temps très froid qu’il faisait dimanche, je suis sortie prendre des photos. J’ai aperçu deux chevaux dans un champ. Au sortir de ma voiture, ils se sont tous les deux dirigés vers moi et sont venus jusqu'au chemin.
Ils avaient l’air d’espérer que j’aie quelque chose à leur donner, mais malheureusement, je n’avais rien. Ils essayaient donc de manger mon objectif!!!
Ils se tenaient là paisibles et ils m’ont laissée les flatter.
Ce fut une douce rencontre qui a illuminé ma journée. Ce sont de si beaux animaux!
HMBT!
this is my two colour litho print! i love litho its what toulose latrec used in his moulin rouge posters. i love it but heck its a long prcess!
Lithography found in "Isidore Geoffroy Saint-Hilaire. Histoire Générale et Particuliere des Anomalies de l’Organisatoin Chez l’Homme, et les Animaux."
Paris : J.B. Baillière, 1837, Plate 9.
Pentti Sammallahti was born in 1950 in Helsinki, Finland. He began photographing at 11 and by 1971 began to exhibit extensively in Finland and throughout the world. Sammallahti has travelled widely as a photographer, from his native Scandinavia, across the Soviet Republics through Siberia, to Japan, India, Nepal, Morocco, Turkey, across Europe and Great Britain, and even to South Africa. Sammallahti’s travels and interest in fine printing and lithography has led him to publish numerous portfolios of which the largest and most well known is “The Russian Way” (1996). As a benchmark figure in contemporary Finnish photography, his work has a supernatural sense of a moment in time with the sensitivity and beauty of the world displayed through its animalistic existence. His particular use of dogs, which reflects the human existential experience, shows the shared nature of the earth with a gentle humor and fleeting attitude. Sammallahti describes himself as a wanderer who likes the nature of the great north, the silence, the cold, and the sea. He likes the people and the animals of far off places and he records the relationships between them and their environment.
As a master craftsman, he meticulously tones his prints, which in turn helps to produce the images and display the brief moments in time. As a passionate seeker of the perfect mechanical printing method, his own innovative printing techniques and reintroduction of the portfolio form have re-awakened broader interest in published photographic art. Influenced by the idea of ‘artist books’ – individual works in which the artist is responsible for the whole: photography, the making of prints, layout, design and typography, reproduction and often the actual printing process either with the offset or the gravure method.
Sammallahti taught at the University of Art and Design in Helsinki for 17 Years, retiring when he received a 15-year grant in 1991 from the Finnish government, an unusually long endowment, which is no longer awarded. He had a solo exhibition at Paris' Mois de la Photographie in 1996 and another in 1998 at Houston Fotofest, Texas. In 2001 the Helsinki University of Art and Design awarded Pentti Sammallahti the title of Honorary Doctorate in Art. In 2004, the famous French photographer Henri Cartier-Bresson ranked Sammallahti among his 100 favorite photographers for his Foundation's inaugural exhibition in Paris. The French Photo Poche book series published his book edited by Robert Delpire in 2005, and the same year, Sammallahti had a personal exhibition at the International Photography Festival in Arles. As a teacher, he has had an enormous influence on a whole generation of documentary photographers in Finland. Since 1979, Pentti Sammallahti has published thirteen books and portfolios and has received awards such as the Samuli Paulaharju Prize of the Finnish Literature Society, State Prizes for Photography, Uusimaa Province Art Prize, Daniel Nyblin Prize, and the Finnish Critics Association Annual.
Among museum collections Sammallahti’s work can be found at the Victoria & Albert Museum, London, England; Museum of Fine Arts, Houston, Texas, USA; Bibliothèque Nationale, Paris, France; Stedelijk Museum, Amsterdam, the Netherlands; Museum fur Kunst und Gewerbe, Hamburg, Germany; Moderna Museet / Fotografiska Museet, Stockholm, Sweden; and The Finnish State Collections and the Photographic Museum of Finland.
pl. 13: examples of 7 label designs featuring candles in candelabra, a pelican, bees, a squirrel, and butterflies on stalks of grain
Scanned from: Etiquetten Schatz [Labels Treasury] / herausgegeben und verlegt von [edited and published by] Josef Heim, Vienna and Leipzig. Volume 1 of the New Series.
15 plates, unbound, in folder, text and captions in German.
Creator: F. Renner
Culture: Austrian
Date: ca. 1908
Materials: color lithography
Measurements: 37 cm (height) x 27.5 cm (width)
Description: inscription display: Gez[eichnet] von [designed by, rendered by] F. Renner
work type: graphic design ; advertising; print advertising; documents; labels
Subjects: Animals in art ; Bees in art ; Birds in art ; Butterflies in art
Work Rights: Work in the public domain
Image_Filename: 15030303.jpg
See MCAD Library’s catalog record for this book.
Designed by Six. Finishes for this flyer are amazing: Plike paper, white foil blocking by A14 (my lovely printer), black litho. 3 different tactile materials.
www.flickr.com/photos/nora-meszoly/22430310819/in/datepos...
Lithography by Pejtsik Károly
Budapest
Hungary
Pejtsik háza és üzlete: urbface.com/budapest/a-teleki-berhaz
"Magyarországon az 1870-es években, a hivatásos fényképészeken kívül még csak néhány amatőr dolgozott. Bécsi cégek utazó ügynökei látták el őket felszereléssel és anyaggal. A magyar cégek közül elsőnek Calderoni és Veszprémi Samu festékkereskedő kezd el foglalkozni fényképészeti vegyszerek eladásával 1878-ban.
Utóda, Pejtsik Károly meglátja a fényképezésben rejlő nagy lehetőségeket, és üzletét teljesen fényképészeti szakkereskedéssé alakítja át. Pejtsik üzleti prospektusai valóságos tankönyvei voltak a régi magyar amatőröknek. 1899-ben, Széchy Gyula festő és Gál Adorján tanár vezetésével megalakul a Photo-Club, a magyar amatőrfényképezés további fejlesztésére. Egyidejűleg Pejtsik megalapítja a „Fényképészeti Szemlét”, az első magyar amatőr fényképészeti szaklapot." bparchiv.hu/id-232-kreilisheim_gy_rgy_100_eves.html
front cover design featuring a Jugendstil-style vase from which sprouts a stylized morning glory vine
Scanned from: Etiquetten Schatz [Labels Treasury] / herausgegeben und verlegt von [edited and published by] Josef Heim, Vienna and Leipzig. Volume 1 of the New Series.
15 plates, unbound, in folder, text and captions in German.
Creator: Moriz Jung
Culture: Austrian
Date: ca. 1908
Materials: color lithography
Measurements: 37 cm x 27.5 cm
Description:
work type: graphic design ; advertising; print advertising; documents; labels
Subjects: Flowers in art
Work Rights: Work in the public domain
Image_Filename: 1530306.jpg
See MCAD Library’s catalog record for this book.
Nicholas I (1796–1855)
In English
Nicholas I (1796–1855) was Emperor of Russia from 1825 until his death in 1855. He came to the throne after the sudden death of his elder brother, Alexander I, and the brief interlude of the Decembrist revolt, which he suppressed. Nicholas is often remembered as a symbol of autocracy, militarism, and political repression. His reign was marked by strict censorship, a powerful secret police, and the motto “Orthodoxy, Autocracy, and Nationality.” Internationally, he expanded Russian influence but also led the empire into the disastrous Crimean War (1853–1856). He is often described as a rigid, conservative ruler whose policies delayed reforms in Russia and deepened social tensions that would later erupt.
________________________________________
Na hrvatskom
Nikola I. (1796.–1855.) bio je car Rusije od 1825. do svoje smrti 1855. Na prijestolje je stupio nakon iznenadne smrti starijeg brata Aleksandra I. i kratkog razdoblja Dekabrističkog ustanka, koji je odlučno ugušio. Nikola je ostao zapamćen kao simbol autokracije, militarizma i političke represije. Njegova je vladavina obilježena strogom cenzurom, snažnom tajnom policijom i geslom „Pravoslavlje, samodržavlje, narodnost“. Na međunarodnom planu širio je ruski utjecaj, ali je također uveo Carstvo u pogubni Krimski rat (1853.–1856.). Često se opisuje kao krut i konzervativan vladar čija je politika usporila reforme u Rusiji i produbila društvene napetosti koje će kasnije izbiti.
s6770 11674 VIPS (15) Velika ilustrirana povijest svijeta ( 1-18) Izdavač Otokar Keršovani, Rijeka, Opatija 1974. godine Nicholas I (Russian: Николай I Павлович; 6 July 1796 – 2 March 1855) was Emperor of Russia, King of Congress Poland, and Grand Duke of Finland from 1825 to 1855. Lithography Friedrich August Fricke
CDV, c. 1900
Hungary
Reverse: lithography by Pejtsik Károly
Budapest
Hungary
Pejtsik háza és üzlete: urbface.com/budapest/a-teleki-berhaz
"Magyarországon az 1870-es években, a hivatásos fényképészeken kívül még csak néhány amatőr dolgozott. Bécsi cégek utazó ügynökei látták el őket felszereléssel és anyaggal. A magyar cégek közül elsőnek Calderoni és Veszprémi Samu festékkereskedő kezd el foglalkozni fényképészeti vegyszerek eladásával 1878-ban.
Utóda, Pejtsik Károly meglátja a fényképezésben rejlő nagy lehetőségeket, és üzletét teljesen fényképészeti szakkereskedéssé alakítja át. Pejtsik üzleti prospektusai valóságos tankönyvei voltak a régi magyar amatőröknek. 1899-ben, Széchy Gyula festő és Gál Adorján tanár vezetésével megalakul a Photo-Club, a magyar amatőrfényképezés további fejlesztésére. Egyidejűleg Pejtsik megalapítja a „Fényképészeti Szemlét”, az első magyar amatőr fényképészeti szaklapot." bparchiv.hu/id-232-kreilisheim_gy_rgy_100_eves.html
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Edward Penfield (1866-1925) was an influential American poster artist, considered as the father of the American poster movement. He was employed as an art editor for Harper’s Weekly, Monthly, and Harper’s Bazaar, where he made posters advertising each issue of the magazine for over seven years. His art was avant-garde with less concern for the dramatic curving lines of Art Nouveau, inspired by Japanese ukiyo-e block prints, figure drawings by Henri de Toulouse-Lautrec, color lithographies by Jules Chéret, and other contemporary artists. He created simplified scenes of daily life in saturated colors, including horses, cats, sports, and women’s fashion. We have digitally enhanced some of his artworks. They are free to download under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1337800/edward-penfield-poster-illustrations-i-public-domain-artworks-designs?sort=curated&mode=shop&page=1
Where to start? Three wonderful things come together in this poster; The LNER's advertising and publicity. Frank Brangwyn's skill as an artist, etcher and lithographer. A poster dealing with industrial and commerical subjects.
Of all the 'Big Four" group of British railway companies it is generally acknowledged that the LNER was the most adventurous and had developed a strong brand identity largely around the quality and output of its advertising and publciity, following on from the example of the London Underground group. From early on in the company's existence they had commissioned noted artists to illustrate posters and Sir Frank Brangwyn RA (1867 - 1956) was certainly a noted artist. Brangwyn excelled in etching and in lithography and undertook several posters for the LNER. In this it also appears he lettered the poster as it does not use the generally standard application of Gill Sans that the LNER had adopted by this date. This well reproduced plate appears in a trade journal.
That the company chose to illustrate the typical industries its lines and freight services served is also of interest. They did a few small series of 'Industry' posters as did the London Midland & Scottish Railway who also had commissioned artists in the 1920s to cover the subject, and British Railways alos followed suit after nationalisation. The North East Coast, in the heartlands of the LNER, was one of the UK's greatest concentrations of heavy industry based around coal, iron and steel and this poster captures the scale, grime and humanity associated with this toil.
Sir Frank Brangwyn RA (1867 - 1956) was a noted artist excelling in etching and in lithography and undertook many commercial commissions for advertising including several posters for London Transport and the LNER. In poster it also appears he lettered the poster, something that he seems to have frequently undertaken.
Pollard's was a successful London store and shopfitters founded in 1895 by Edward Pollard. Based for many years to the north of the City they expanded and opened branches in Bristol, Manchester, Glasgow and Dublin. As part of the trade they moved into architectural metal and bronze work and as well as shop fronts, such as the surviving facades at "Simpson's" on Piccadilly, they undertook liner fitouts. The company are, I think, still in business.
Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume (not included here) lacked Thomas’ touch.
Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume (not included here) lacked Thomas’ touch.
We’re here today with landscape photographer Johann Bottos, Italian native but (for the time being), settled in Austria
Not to diminish the wonderful images and narrative below but Johan is what one might call a little nutty about mountains.
Over to you, Johann.
Hi Johann,...
Large version at: emulsive.org/interviews/i-am-johann-bottos-and-this-is-wh...
Filed under: #Interviews #BlackAndWhiteNegativeFilm #Efke #EfkeAura820 #FOMAFomatoneMG132 #ILFORD #ILFORDDelta100Professional #ILFORDFP4Plus #ILFORDSFX200 #Infrared-BlackAndWhiteFilm #LithPrint #Lithography #Mamiya #Mamiya7Ii #MoerschEasyLith #Rollei #RolleiRetro80S
Just when you thought they didn't exist!
From fairies at the bottom of your garden to 'the borrowers' we are obsessed with the fantasy of little people in a full-sized world. My 'downsizing' project, using model railway figures, food and everyday objects, is merely an extension of those thoughts.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Edward Penfield (1866-1925) was an influential American poster artist, considered as the father of the American poster movement. He was employed as an art editor for Harper’s Weekly, Monthly, and Harper’s Bazaar, where he made posters advertising each issue of the magazine for over seven years. His art was avant-garde with less concern for the dramatic curving lines of Art Nouveau, inspired by Japanese ukiyo-e block prints, figure drawings by Henri de Toulouse-Lautrec, color lithographies by Jules Chéret, and other contemporary artists. He created simplified scenes of daily life in saturated colors, including horses, cats, sports, and women’s fashion. We have digitally enhanced some of his artworks. They are free to download under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1337800/edward-penfield-poster-illustrations-i-public-domain-artworks-designs?sort=curated&mode=shop&page=1
Lithography from 1909.
The Wallberghaus sits on a saddle between the two peaks Wallberg and Setzberg, near Tegernsee, Rottach-Egern, Bavaria, Germany.
Its history goes back 117 years. 1895 local farmers united to put together enough money to buy this area of land to protect it from foreign investors.
In 1899 after some fight with the local church they finally received a permission to build the house. The farmers used the area around it to keep their cattle and sheep on. The house also offered some rooms for hikers, as this card from 1909 proves it.
In the back is the Wallberg peak, with a cross on it.
Interesting that the Wallberg chapel that was finished in August 1909 is not yet visible here. So, the date on the card is from 1909, but the photo from which the lithography was made is somewhat earlier.
Publisher: E. Ganghofer, Egern
Creator: Alphonse Mucha (Czech graphic designer, 1860-1939)
Date: 1896
Materials: color lithograph
Measurements: 66.7 cm (height) x 46.4 cm (width)
Work type: advertisements; posters
Image_Filename: 06072010
Subjects: Advertisements
Autor: Ebers, Georg Moritz, 1837-1898
Descripción bibliográfica: Egipto / por Jorge Ebers ; traducción directa del alemán por Antonio Bergnes de las Casas, revisada y corregida por Cayetano Vidal de Valenciano. - Ed. monumental ilustrada con 650 grabados ... del reputado pintor Cárlos Werner. - Barcelona : Espasa y Compañía, 1882?. - 2 v. (X, 408, [1] p., [14] h. de lám. ; 438, [1] p., [14] h. de lám.). : il. ; 40 cm
Materia: Egipto - Historia
Materia: Egipto - Descripciones y viajes - Siglo 19
Notas: Palau, t. 5, p. 1, lo fecha de manera aproximada en 1882. - Port. a dos tintas. - Antep. - Ilustrada con 650 grabados intercalados en el texto y enriquecida con dos cartas geográficas tirada a tres tintas, una portada en colores y 24 magnificas imitaciones de las artísticas acuarelas del pintor Carlos Weiner
Traductor:Bergnes de las Casas, Antonio, 1801-1879
Ilustrador:Werner, Karl, 1821-1888, il.
Localización: fama.us.es/record=b2019343~S5*spi
Autor: Ebers, Georg Moritz, 1837-1898
Descripción bibliográfica: Egipto / por Jorge Ebers ; traducción directa del alemán por Antonio Bergnes de las Casas, revisada y corregida por Cayetano Vidal de Valenciano. - Ed. monumental ilustrada con 650 grabados ... del reputado pintor Cárlos Werner. - Barcelona : Espasa y Compañía, 1882?. - 2 v. (X, 408, [1] p., [14] h. de lám. ; 438, [1] p., [14] h. de lám.). : il. ; 40 cm
Materia: Egipto - Historia
Materia: Egipto - Descripciones y viajes - Siglo 19
Notas: Palau, t. 5, p. 1, lo fecha de manera aproximada en 1882. - Port. a dos tintas. - Antep. - Ilustrada con 650 grabados intercalados en el texto y enriquecida con dos cartas geográficas tirada a tres tintas, una portada en colores y 24 magnificas imitaciones de las artísticas acuarelas del pintor Carlos Weiner
Traductor:Bergnes de las Casas, Antonio, 1801-1879
Ilustrador:Werner, Karl, 1821-1888, il.
Localización: fama.us.es/record=b2019343~S5*spi
The whole western side of the Museumsuferfest was dedicated to second hand books and assimilated. Prints count, one of the stands was specializing in them. I bought two I quite like, this one was the one I really, really wanted to get, but it was their last copy, and the lady wouldn't let me buy it (I'd have done the same in her situations). I did get to take a picture though, and someday I'm going to find my own copy of it. Promised.
Thank you everyone for your visits, faves and comments, they are always appreciated :)
Pour faire suite aux céramiques de Picasso, 3 parmi les œuvres exposées de Picasso - dans une autre ville Valldemossa
l'encadrement de chaque litho est celui de l'expo
Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume (not included here) lacked Thomas’ touch.
Lithography - Vision of future / USA, 1950's - unknown artist
-
Working in a museum now - lot's of nice stuff to capture.
Having a museum printing shop, two lithography presses and an archive of lithographic stones.
Nickolas Muray (born Mandl Miklós[1] 15 February 1892, Szeged - 2 November 1965, New York) was a Hungarian-born American photographer and Olympic fencer.
Muray attended a graphic arts school in Budapest, where he studied lithography, photoengraving, and photography. After earning an International Engraver's Certificate, Muray took a three-year course in color photoengraving in Berlin, where, among other things, he learned to make color filters. At the end of his course he went to work for the publishing company Ullstein. In 1913, with the threat of war in Europe, Muray sailed to New York City, and was able to find work as a color printer in Brooklyn.
Muray competed for the United States at the 1928 and 1932 Summer Olympics in the sabre fencing events.[2] Muray represented the New York Athletic Club and was a lifelong fencer for the club. He suffered a heart attack four years prior to his death while fencing at the club and was saved through the efforts of a fellow fencer and physician who performed open heart massage. On the second occasion in the very same fencing room Muray was struck again in a final and fatal attack. There is a plaque in his honor on display at the fencing room dedicated to his memory.
Between 1920 and 1940, Nickolas Muray made over 10,000 portraits. His 1938's portrait of Frida Kahlo, made while Kahlo sojourned in New York, attending her exhibit at the Julien Levy Gallery, became the best known and loved portrait made by Muray. Muray and Kahlo were at the height of a ten-year love affair in 1939 when the portrait was made. Their affair had started in 1931, after Muray was divorced from his second wife and shortly after Kahlo's marriage to Mexican muralist painter Diego Rivera. It outlived Muray's third marriage and Kahlo's divorce and remarriage to Rivera by one year, ending in 1941. Muray wanted to marry, but when it became apparent that Kahlo wanted Muray as a lover, not a husband, Muray took his leave for good and married his fourth wife, Peggy Muray.[3] He and Kahlo remained good friends until her death, in 1954.
After the market crash, Murray turned away from celebrity and theatrical portraiture, and become a pioneering commercial photographer, famous for his creation of many of the conventions of color advertising.[4] He was considered the master of the three-color carbro process.[4] His last important public portraits were of Dwight David Eisenhower in the 1950s.
Sem título
Obra apresentada na Mostra "Porto Alegre Litografia Buenos Aires" no Paço Municipal, em Porto Alegre, e no Centro Cultural Borges,Buenos Aires ,2009
Foto de Fernando Zago
pl. 2: examples of 6 label designs featuring stylized vines, flowers, fish, peacocks, naughty children, and an angel carrying a Christmas tree
Scanned from: Etiquetten Schatz [Labels Treasury] / herausgegeben und verlegt von [edited and published by] Josef Heim, Vienna and Leipzig. Volume 1 of the New Series.
15 plates, unbound, in folder, text and captions in German.
Creator: V. Petter
Culture: Austrian
Date: ca. 1908
Materials: color lithography
Measurements: 27.5 cm (height) x 37 cm (width)
Description: inscription display: Gez[eichnet] von [designed by, rendered by] V. Petter
work type: graphic design ; advertising; print advertising; documents; labels
Subjects: Angels in art ; Children in art ; Fishes in art ; Peacocks in art
Work Rights: Work in the public domain
Image_Filename: 1530202.jpg
See MCAD Library’s catalog record for this book.
pl. 9: examples of 6 label designs featuring an eagle, a giant with a club, a servant carrying a tea tray, a pen nib, and a squirrel.
Scanned from: Etiquetten Schatz [Labels Treasury] / herausgegeben und verlegt von [edited and published by] Josef Heim, Vienna and Leipzig. Volume 1 of the New Series.
15 plates, unbound, in folder, text and captions in German.
Creator: Moriz Jung (Austrian graphic designer, 1885-1915)
Culture: Austrian
Date: ca. 1908
Materials: color lithography
Measurements: 37 cm (height) x 27.5 cm (width)
Description: inscription display: Gez[eichnet] von [designed by, rendered by] M. Jung
work type: graphic design ; advertising; print advertising; documents; labels
Subjects: Animals in art ; Birds in art ; Giants in art ; Servants
Work Rights: Work in the public domain
Image_Filename: 1530209.jpg
See MCAD Library’s catalog record for this book.