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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
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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.
The first Davis machines were produced in about 1860 by Job E. Davis himself. The Davis Sewing Machine Company came into existence in about 1868. It was 1924 when the company finally went out of business and changed into the Huffman Manufacturing Company which produced bicycles and not sewing machines.
Leopold C. Schumacher (1849-1914) and Louis Ettlinger (1845-1927) were in business as Schumacher & Ettlinger from 1870 to 1895 and were famous for their cigar box labels and fine lithographic cards. In 1882 Ettlinger commissioned architect Edward E. Raht to erect a modern printing house at 32-36 Bleeker Street in New York City. In 1892 Schumacher & Ettlinger merged with other printers to form the “American Lithographic Company” with Schumacher and Ettlinger as principal officers. The building was enlarged to accommodate the new company and it has changed hands several times since its printing days. After a multimillion-dollar conversion at the dawn of the 21st century, the building now houses luxury condominiums.
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.
Creator: Jules Chéret (French graphic designer, 1836-1932)
Date: 1893
Materials: color lithograph
Measurements: 120 cm (height) x 82.2 cm (width)
Work type: posters
Image Description:
Image_Filename: 06092030
Subjects: Advertisements; Dancers in art
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
Geologischer Atlas der Schweiz, Maßstab 1:25'000, Ausschnitt aus Blatt 15 (1939)
Lithografie: Wassermann AG, Basel
Anzahl der Farben: Topografie 3, Kontur 1, Geologie 13.
Creator: Paul Berthon (French graphic designer, 1872-1909)
Date: 1897
Materials: color lithograph
Measurements: 62 cm (height) x 44 cm (width)
Work type: advertisements; posters
Image Description: advertising poster for a Parisian illustrated periodical
Image_Filename: 06120809
Subjects: Advertisements
As proprietor of Hokes Scholarly Lithography from 1901 to 1933, Everett Ormsby Hokes published a wide range of scientific books and manuals. After studying painting and graphics at the London Academy of Fine Arts, Hokes worked as an apprentice in two London print houses in the 1890s. Aside from required courses in figure drawing, he had no specialized training in medicine or medical illustration, which occasionally created obstacles to the acceptance of his work in the academic community. However, the inventive and whimsical designs, which combined elements of aesthetic beauty and the grotesque, have made these works popular among amateurs and artists alike. His prints were collected by Guillaume Apollinaire and other artists associated with the Surrealist movement such as Max Ernst and Hans Arp.While his work covered a range of subjects, he developed an international reputation for his depictions of rare internal diseases and anatomical anomalies.
Essa litografia me foi presenteada após o Curso de Desenho e Pintura sob orientação da artista plástica Liliane Dardot, no Centro de Arte Adalgisa Falcão, em 1989.
pl. 4: examples of 6 label designs featuring a bear, a stylized vine with a bird, a jester, and a flowering 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: Anton Eichinger (Austrian graphic designer, b. 1880)
Culture: Austrian
Date: ca. 1908
Materials: color lithography
Measurements: 37 cm x 27.5 cm
Description: inscription display: Gez[eichnet] von [designed by, rendered by] A. Eichinger
work type: graphic design ; advertising; print advertising; documents; labels
Subjects: Bears in art ; Birds in art ; Trees in art ; Flowers in art ; Clowns in art
Work Rights: Work in the public domain
Image_Filename: 1530204.jpg
See MCAD Library’s catalog record for this book.
"Winslow Homer is one of the best known painters of American scenes of outdoor life. After an apprenticeship in lithography, Homer began his career as an illustrator for Harper's, drawing scenes of the Civil War battlefront. After the war, he traveled to Europe and then spent the summer of 1873 in Gloucester, Massachusetts, where he began to work in watercolor—what would eventually became his primary medium. Homer's outdoor genre scenes painted a varied picture of Americana, from scenes of wilderness guides, to rural African American life in the post-Civil War era, to children at play. In 1881, he spent almost two years on the English coast depicting simple scenes of the local communities. As his career evolved, Homer turned more and more to the sea, and a move to a secluded spot in coastal Maine prompted the eternal struggle between man and nature to become a prominent theme in his work."
[Brief biography from the website at www.artsy.net/artwork/winslow-homer-snap-the-whip-from-ha...}
Top layer.
The Courses
Stone lithography courses are organised several times a year both at weekends and on weekdays. They are suitable for artists with or without previous experience of printmaking . Typically, participants are art students, art teachers, college lecturers, serious amateurs and professional artists in other media. As the number of places on the courses is kept to a maximum of four, each participant is encouraged to explore the medium in the way which is most appropriate to his or her own interests and experience, ranging from an introduction to the main technical processes of stone lithography, including preparation of stones, principal drawing and painting techniques and materials and printing skills, to more specialised subjects such as colour and transfer lithography. Other course formats and dates are negotiable: for example, a recent one day course was run for curators from the Word & Image Department of the V&A Museum.
A splash from the past! In the center, a metal plate I prepped for my high school ( Scuola d’arte Andrea Fantoni) lithographic project. It was one of my professor’s favorite. I will have to search for a print, not sure if I have one lying around amongst all my artworks. 😅
Nikon Micro-Nikkor 55mm f/2.8 AI-S
radojuva.com/en/2011/11/obzor-nikon-55mm-f2-8-ai-s-micro-...
Location :Barcelona
Lithography
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.
Creator: Will Bradley (American graphic designer, 1868-1962)
Date: 1896
Materials: color lithography
Measurements:
Work type: posters
Image Description: self-promotional poster
Image_Filename: 06091810
Subjects: Birds in art
Creator: Thomas Theodor Heine (German graphic designer, 1867-1948)
Date: 1897
Materials: color lithograph
Measurements: 71.5 cm (height) x 47.5 cm (width)
Work description: advertising poster for a satirical periodical
Work type: advertisements; posters
Image_Filename: 12062301
Subjects: animals; Advertisements; Dogs in art
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.
Creator: Fernand Toussaint (Belgian graphic designer, 1873-1956)
Date: ca. 1896
Materials: color lithograph
Measurements:
Work type: advertisements; posters
Image_Filename: 10061417
Subjects: Advertisements
Famous lithography of a sperm whale attacking a whaleboat.
This was not a rare incident but happened more than once during the hunting of these immense animals. The story of Moby Dick is based on these kind of disasters. Herman Melville used the grueling stories he heard from whalers in his account of captain Ahab and his ship 'Pequod' from 1851.
Auf diesem steht: Home from the war, I pray you smile on me. Meine Suche im Netz ergab, das sich dieses und zwei ähnliche Blätter in der Sammlung des Metropolitan Museums of Art in New York befinden, metmuseum.org/art/collection/search/767767. Ich konnte lesen, dass die Lithografie bei Marcus Ward & Co. in London, vor 1880, gedruckt wurde und sie war wohl mal auf eine Klappkarte geklebt.