View allAll Photos Tagged Lithography,
pl. 5: examples of 6 label designs featuring a feather pen and inkwell supported by a tiny stooped figure, a servant carrying a cake, dragonflies, and a winged cupid carrying a cornucopia of confections
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: Karl Schwetz (German graphic designer, 1888-1965)
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] K. Schwetz
work type: graphic design ; advertising; print advertising; documents; labels
Subjects: Cupids in art ; Insects in art ; Servants
Work Rights: Work in the public domain
Image_Filename: 1530205.jpg
See MCAD Library’s catalog record for this book.
Otto Mueller was born in Liebau in German Silesia. Between 1890-1892 he was trained in lithography. From 1894 to 1896 he studied at the Academy of Fine Arts in Dresden and continued his study in Munich 1898. He left Munich's academy after Franz von Stuck classified him as untalented.
His early works are influenced by impressionism, Jugendstil and symbolism. From 1908, he turned more and more to expressionism. During this time there were meetings with Wilhelm Lehmbruck, Rainer Maria Rilke and Erich Heckel. In 1910, he joined 'Die Brücke', a Dresden-based group of Expressionist artists. He was member of the group until it disbanded in 1913 . At the same time Mueller also had contact with the artists group of the 'Blaue Reiter'.
During the World War I he fought as a German soldier in France and Russia. After the war he became professor at the academy of arts in Breslau where he taught until his death. Altogether his printmaking amounted to 172 prints, in woodcut, etching and lithography. In 1937 the Nazis seized 357 of his works from German museums, since the pictures were considered as degenerate art. Mueller was one of the most lyrical of German expressionist painters. The central topic in Mueller's works is the unity of humans and nature, whereas his paintings are focused on a harmonious simplification of form, color and contours. He is especially known for his characteristic paintings of nudes and gypsy women.
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
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: 1895
Materials: color lithography
Measurements:
Work type: posters
Image Description: promotional poster for the Thanksgiving issue, 1895
Image_Filename: 06091809
Creator: Maxfield Parrish (American illustrator, 1870-1966)
Date: 1897
Materials: color lithograph
Measurements: 11 in (height) x 17 in (width)
Work type: posters
Image_Filename: 06091811
Subjects: Advertisements
Creator: Will Bradley (American graphic designer, 1868-1962)
Date: 1894
Materials: color lithography
Measurements: 47.9 cm (height) x 33.7 cm (width)
Work type: posters
Image Description: promotional poster for the December issue, 1894
Image_Filename: 06091902
pl. 11: examples of 8 label designs featuring a cat, a landscape with trees and clouds, a servant presenting a cake, an infant with a butterfly, a frog, a running deer, a snail, and flowers
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: B. Kiessewetter
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] B. Kiessewetter
work type: graphic design ; advertising; print advertising; documents; labels
Subjects: Cats in art ; Trees in art ; Infants in art ; Butterflies in art ; Frogs in art ; Deer in art ; Flowers in art ; Animals in art
Work Rights: Work in the public domain
Image_Filename: 15030301.jpg
See MCAD Library’s catalog record for this book.
in Dresden Radebeul. Diese aufwendige Litografie stammt aus einem der vielen Bilz Gesundheitsbücher. Siehe auch www.flickr.com/photos/altpapier/16768030201/in/photolist-...
Creator: Koloman Moser (Austrian graphic designer, 1868-1918)
Date: 1899
Materials: colored lithograph
Measurements: 94 cm (height) x 59 cm (width)
Work type: advertisements; posters
Image Description: printed by Albert Berger, Vienna
Image_Filename: 07092521
pl. 14: examples of 4 label designs featuring an aged man drinking from a fountain, a young woman with long hair, and a scene of a shepherd with his sheep and dog
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: 27.5 cm (height) x 37 cm (width)
Description: inscription display: Gez[eichnet] von [designed by, rendered by] M. Jung
work type: graphic design ; advertising; print advertising; documents; labels
Subjects: Dogs in art ; Sheep in art ; Shepherds in art ; Trees in art
Work Rights: Work in the public domain
Image_Filename: 15030304.jpg
See MCAD Library’s catalog record for this book.
pl. 1: examples of 6 label designs featuring cupids with flowers, costumed mummers, grapevines, a Turk smoking, a shoe company trademark, and a silhouetted goat
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: M. Jung [Moriz Jung, Austrian, 1885-1915]
Culture: Austrian
Date: ca. 1908
Materials: color lithography
Measurements: 37 cm x 27.5 cm
Description: Gez[eichnet] von [designed by, rendered by] M. Jung
work type: graphic design ; advertising; print advertising; documents; labels
Subjects: Cupids in art ; Grapes in art ; Goats in art ; Shoes in art
Work Rights: Work in the public domain
Image_Filename: 1530201.jpg
See MCAD Library’s catalog record for this book.
An Odalisque (after Eugene Delacroix, lithography, after 1851) - by George Fisher The Eugene Delacroix Museum
Helen Lundeberg’s 1937 lithography “Planets”
Installation views of "America is Hard to See"
May 1 - September 27, 2015
Whitney Museum of American Art
New York, New York
An advert in the German magazine issued by the "Association of German Advertising Professionals" - Die Reklame zeitschrift des Verbandes Deutscher Reklamefachleute EV and the 1 Januar-Heft 1926 (1 January 1926) issue produced by Verlag Francken & Lang.
The advert, the designer shown as Bohm, is for Förster und Borries - described as "Graphischer Grossbetrieb. Buchdruck, offsetdruck, steindruck. In an erkannter güte und prieswürdigkeit" - a 'large printing company who worked in book printing, offset and lithography' and were noted for their quality. It appears that the company, formed in 1881 in Zwickau and the partnership with Herr Borries dating from 1888, are happily still in business as printers. They were regarded from their earliest years as exemplary in terms of colour printing and it seems the Hamburg office was opened because of the importance of the ocean liner companies based in the city and that F&B printed brochures, etc., for. The company survived many vicissitudes in post-war East Germany including finally being nationalised in 1971 as VEB Graphische Werke Zwickau. Latterly members of the Föster family are again involved in the reprivatised concern post-unification. Their current website uses a version of the "F" key seen here.
Creator: Ludwig Hohlwein (German graphic designer, 1874-1949)
Date: 1908
Materials: color lithograph
Measurements: 127 cm (height) x 96.5 cm (width)
Work description: advertising poster for a men's clothier
Work type: advertisements; posters
Image_Filename: 06110820
Subjects: Advertisements
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.
Ink fills the crevaces of a lithographic engraving detail on a carrera marble stone. To the left small bubbles of hydrogen, leftovers from etching with nitric acid, can be seen.
Shot with a smartphone camera through a loupe magnifier, the photo is just a single frame of a video depicting a unique photosensitive lithography process. The process itself is akin to the 19th century photography with its use of albumen and ammonium dichromate and a darkroom. UV light is used for irradiating the photosensitive material creating a magical setting in the darkroom, all of which can be seen in the video: youtu.be/O9iJQZbuXnI (the frame in the photo can be seen around 3:20).
This technique and many others are described on the lithographer's website: litografia.pl
Creator: Fernand Toussaint (Belgian graphic designer, 1873-1956)
Date: 1895
Materials: color lithograph
Measurements:
Work type: posters
Image Description: promotional poster for the publication of a Belgian artistic society
Image_Filename: 06110313
Composer: Charles d'Albert (1809-1886)
Publication details: London: |bChappell, [1849]
Technique: colour lithography
pl. 12: examples of 5 label designs featuring gift boxes, a clown, and stylized flowers
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: W. Oswald
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] W. Oswald
work type: graphic design ; advertising; print advertising; documents; labels
Subjects: Flowers in art ; Clowns in art
Work Rights: Work in the public domain
Image_Filename: 15030302.jpg
See MCAD Library’s catalog record for this book.
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.
In a print annual a fine example of the work of the Barmen printing concern of Carl Weddigen issued c.1929. Intended to sell the quality of their work it takes the form of an illustration by German commercial artist Carl Breuer-Courth (1884–1960) that smacks of the debauchery of 1920s Berlin! Interestingly, Breuer-Courth appears to have an illustrator of 'erotic' material. It is printed in four-colour photo-offset lithography.
John Edward Sowerby : British Wild Flowers
John Edward Sowerby (1825-1870) was the grandson of James Sowerby (1757-1822), who is mostly known for the English Botany volumes that he illustrated with his hand-colored engravings.
The lithography plates of the British Wild Flowers were drawn in the style of the engravings of James Sowerby. The coloring by hand was normally done by numerous helpers who worked by copying colors from sample plates.
This book's first edition was in 1860, latest edition is of 1894.
Unfortunately, I do not know which edition this page is from, since I could only get single pages, not the entire book.
As to the species, as listed on the pages following this plate:
(Not Euphorbiaceae)
Fig. 1081 Asarum europaeum
Empetraceae
Fig. 1082 Empetrum nigrum
Euphorbiaceae
Fig. 1083 Mercurialis perennis
Fig. 1084 Mercurialis annua
Fig. 1085 Mercurialis ambigua
Fig. 1086 Euphorbia peplis
Fig. 1087 Euphorbia helioscopa
Fig. 1088 Euphorbia platyphylla
Fig. 1089 Euphorbia hiberna
Fig. 1090 Euphorbia pilosa
Fig. 1091 Euphorbia coralloides
Fig. 1092 Euphorbia esula
Fig. 1093 Euphorbia cyparissias
Fig. 1094 Euphorbia paralias
Fig. 1095 Euphorbia portlandica
Fig. 1096 Euphorbia peplus
Fig. 1097 Euphorbia exigua
Fig. 1098 Euphorbia lathyris
Fig. 1099 Euphorbia amygdaloides
Fig. 1100 Euphorbia characias
En likferd
Hans Gude (Norwegian 1825-1903)
Adolph Tidemand (Norwegian 1814-1876)
About 1854
Color lithography on paper
266 x 410 mm
Nasjonalmuseet, The Fine Art Collections, Oslo, Norway
"Gude had difficulty with figure drawing initially and so collaborated with Adolph Tidemand in some of his painting, drawing the landscape himself and allowing Tidemand to paint the figures." en.wikipedia.org/wiki/Hans_Gude
========================================================
This is not my photo of this image; I downloaded it from the National Gallery's Web site for research purposes.
Adolph Tidemand exhibited a painting of a funeral at the 1855 Paris Salon, aka Exposition Universelle. The catalog gives the title as Funérailles dans les campagnes de la Norwége; costumes du siècle passé. It means "Funeral in the Norwegian Countryside; Clothing from the Previous Century."
I've been trying to identify the piece.
This is one of two Tideman works that might fit that title. In its favor is the fact the event is taking place out of doors, so it is literally in the countryside.
What makes me think it's not the one that hung on the walls of the Salon is that Tidemand collaborated with another artist, Hans Gude, something that the catalog does not mention. Then there's the fact the work is a lithograph, and the catalog describes Tidemand's funeral piece as a painting. It is possible that the lithograph represents a painting. However, that does not resolve the problem of the second painter, Gude.
Tidemand's biography indicates that this painting earned him an indiction into the French Legion d'honneur.
"The Old Town Market in Prague 1 is located in the block of houses between 28. října and Rytířská streets. It is protected as a cultural monument of the Czech Republic.
The market was built in 1894–1896 according to the design of the architect and city engineer Jindřich Fialka on the site of four demolished older houses. Alois Senefelder, who later invented lithography, was born in one of them.
The market hall is elongated and has a cast-iron construction in the shape of a five-nave basilica. A glass dome is located in the crossing of the naves. Originally, the hall was lit by Křižík's arches, powered by its own steam power plant until 1922.
The passage to Rytířská street is located in a four-story building with a Neo-Renaissance facade and is decorated with motifs from Prague markets.
The Old Town of Prague (Czech: Staré Město pražské, German: Prager Altstadt) is a medieval settlement of Prague, Czech Republic. It was separated from the outside by a semi-circular moat and wall, connected to the Vltava river at both of its ends. The moat is now covered up by the streets (from north to south-west) Revoluční, Na Příkopě, and Národní—which remain the official boundary of the cadastral community of Old Town. It is now part of Prague 1.
Notable places in the Old Town include Old Town Square and Astronomical Clock. The Old Town is surrounded by the New Town of Prague. Across the river Vltava connected by the Charles Bridge is the Lesser Town of Prague (Czech: Malá Strana). The former Jewish Town (Josefov) is located in the northwest corner of Old Town heading towards the Vltava.
Prague (/ˈprɑːɡ/ PRAHG; Czech: Praha [ˈpraɦa]; German: Prag [pʁaːk]; Latin: Praga) is the capital and largest city of the Czech Republic and the historical capital of Bohemia. On the Vltava river, Prague is home to about 1.3 million people. The city has a temperate oceanic climate, with relatively warm summers and chilly winters.
Prague is a political, cultural, and economic hub of central Europe, with a rich history and Romanesque, Gothic, Renaissance and Baroque architectures. It was the capital of the Kingdom of Bohemia and residence of several Holy Roman Emperors, most notably Charles IV (r. 1346–1378) and Rudolf II (r. 1575–1611).
It was an important city to the Habsburg monarchy and Austro-Hungarian Empire. The city played major roles in the Bohemian and the Protestant Reformations, the Thirty Years' War and in 20th-century history as the capital of Czechoslovakia between the World Wars and the post-war Communist era.
Prague is home to a number of well-known cultural attractions, many of which survived the violence and destruction of 20th-century Europe. Main attractions include Prague Castle, Charles Bridge, Old Town Square with the Prague astronomical clock, the Jewish Quarter, Petřín hill and Vyšehrad. Since 1992, the historic center of Prague has been included in the UNESCO list of World Heritage Sites.
The city has more than ten major museums, along with numerous theatres, galleries, cinemas, and other historical exhibits. An extensive modern public transportation system connects the city. It is home to a wide range of public and private schools, including Charles University in Prague, the oldest university in Central Europe.
Prague is classified as a "Alpha-" global city according to GaWC studies. In 2019, the city was ranked as 69th most livable city in the world by Mercer. In the same year, the PICSA Index ranked the city as 13th most livable city in the world. Its rich history makes it a popular tourist destination and as of 2017, the city receives more than 8.5 million international visitors annually. In 2017, Prague was listed as the fifth most visited European city after London, Paris, Rome, and Istanbul.
Bohemia (Latin Bohemia, German Böhmen, Polish Czechy) is a region in the west of the Czech Republic. Previously, as a kingdom, they were the center of the Czech Crown. The root of the word Czech probably corresponds to the meaning of man. The Latin equivalent of Bohemia, originally Boiohaemum (literally "land of Battles"), which over time also influenced the names in other languages, is derived from the Celtic tribe of the Boios, who lived in this area from the 4th to the 1st century BC Bohemia on it borders Germany in the west, Austria in the south, Moravia in the east and Poland in the north. Geographically, they are bounded from the north, west and south by a chain of mountains, the highest of which are the Krkonoše Mountains, in which the highest mountain of Bohemia, Sněžka, is also located. The most important rivers are the Elbe and the Vltava, with the fertile Polabean Plain extending around the Elbe. The capital and largest city of Bohemia is Prague, other important cities include, for example, Pilsen, Karlovy Vary, Kladno, Ústí nad Labem, Liberec, Hradec Králové, Pardubice and České Budějovice, Jihlava also lies partly on the historical territory of Bohemia." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
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.
Exhibit at the Smithsonian American Art Museum in Washington, D.C.
This allegorical lithograph, published two years after the end of the American Civil War, symbolically depicts the idealism of which President Lincoln spoke in the peroration of his second inaugural address:
“With malice toward none; with charity for all; with firmness in the right, as God gives us to see the right, let us strive on to finish the work we are in; to bind up the nation’s wounds; to care for him who shall have borne the battle, and for his widow, and his orphan – to do all which may achieve and cherish a just, and lasting peace, among ourselves, and with all nations.”