View allAll Photos Tagged Lithography,
DOVE SONO ANDATI A FINIRE?
Gli studenti che si recano nel salone di lettura della Biblioteca Nazionale di Napoli hanno ora la possibilità di vedere come si presentava il 20 febbraio 1854, grazie a questa litografia del libro di Luigi Marta "Costumi della festa data da S. Maestà il dì 20 feb. 1854 nella Reggia di Napoli".
Si tratta di un ballo in maschera con costumi stile Cinque-Seicento, sovrastato da imponenti lampadari con centinaia di candele.
C'è da chiedersi appunto che fine abbiano fatto lampadari, lumiere e specchiere ben descritti in questa litografia. Forse al Quirinale, per arredare la reggia della Nuova Italia?
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.
Charles Schuller (French illustrator, ca. 1880-1920)
1900 color lithograph lithography 36 cm (height) x 26.3 cm (width)
Scanned from Album De La Décoration. Paris: Librairie des arts décoratifs
See MCAD Library's catalog record for this book.
This is an Intel HL82571EB dual port Ethernet controller from a Sun Fire X4150 server. This uses 90nm lithography and was released in 2005. This chip only supports two 1 gigabit Ethernet ports, but the board has 4. It turns out the IO controller hub (another chip on the board) can also handle an additional pair of Ethernet ports on it's own. This chip was hidden under the small heat sink on the right side of the main board.
Stitching this chip was a nightmare on the normal software I use and this was the final straw for me to finally buy a PTGui license. It handled it much better than the other tools I've used previously.
Prepared by shaving away the metal layers using utility razor blades and washing away removed metal with water to prevent scratches.
Camera: SONY A6000
Panorama Y Axis: 6 Images
Panorama X Axis: 12 Images
ISO: 100
Shutter Speed: 1.3"
Light Source: LEDs on side of objective (2 at 90degrees offset)
DIC: No
Microscope Objective: 5X
Stitching Software: PTGui 12.13
Other Software: Gimp for cropping and scaling.
Image Type: PNG (Scaled down from 24104x17860px)
Outside the photographic Museum, Chalon sur saone, France
Birth of Photography Timeline:
1796 Alois Seneffelder invents lithography.
1802 Thomas Wedgwood produces images of porceliain miniatures by first tracing their silhouettes, then placing a sheet of tracing paper in contact with sensitized leather with silver nitrate. But cannot make them permanant or Fix the image.
1816 Nicephore Niepce obtains a negative image in the camera obscura, on paper sensitized with silver chloride.
1817 Niepce abandons silver chloride and experiments with various chemicals likely to fix the "action of light" such as bitumen of judea.
1819 John Herschel, a Chemist, synthesizes hyposulfite of soda (sodium thiosulfte)
1822 Niepce discovers a new photoengraving process which he calls "heliography"
1825 Chevalier, an optician hears of Nicephore's work and he talks to Daguerre about Niepces work.
1827 Niepce goes to England to visit his dying brother. He becomes friends with Francis Bauer and offers him some of his Heliographs among which;
"View of Birdcage".
1829 Niepce agrees to work with Daguerre. An agreement is concluded on Dec. 14th in Chalon sur Saone.
1830 Niepce combines iodine and silver (which is photo-sensitive) on copper plate.
1833 Niepce dies in St Loup de Verennes.
To be continued!...
Arsenal (Vienna)
The Vienna Arsenal, object 1
(Pictures you can see by clicking on the link at the end of page!)
The Arsenal in Vienna is a former military complex in the southeast of the city, in the 3rd District of Vienna located. The mighty, consisting of several brick buildings facility is located on a rectangular plan on a hill south of the country Strasser belt (Landstraßer Gürtel).
Meaning
The Arsenal is the most important secular assembly of Romantic Historicism in Vienna and was conducted in Italian-Medieval and Byzantine-Moorish forms. Essentially the system is preserved in its original forms; only the former workshop buildings within the bounding, from the the outside visible wings were replaced by new constructions.
History to 1945
Bird's eye view of the complex, arsenal, lithography Alexander Kaiser, 1855
Vienna Arsenal (Museum of Military History)
Arsenal, with HGM (Heeresgeschichtliches Museum) from the East
The plant, with a total of 31 "objects" (buildings) was built from 1849 to 1856 on the occasion of the March Revolution of 1848 and was the first building of the fortress triangle, the old Vienna's city walls replacing, with the Rossauerstrasse Barracks and the now-defunct Franz Joseph barracks at Stubenring. These buildings should not serve to deter foreign enemies from the city, but to secure state power in the event of revolutionary upheavals in Vienna. The decision to build the Arsenal, it came from the 19-year-old Emperor Franz Joseph I who on 2 December 1848 had come to the throne.
The design for the Imperial Artillery Arsenal came from General Artillery Director Vincenz Freiherr von Augustin, which, subsequently, the site management had been transferred. Under his leadership, the buildings under allocation of sectors have been planned of the architects Carl Roesner, Antonius Pius de Riegel, August Sicard von Sicardsburg, Eduard van der Nüll, Theophil von Hansen and Ludwig Förster and built by the company of the architect Leopold Mayr.
From 1853 to 1856, Arsenal church was built by the architect Carl Roesner. The K.K. Court Weapon Museum, later K.K. Army Museum, now Museum of Military History, housed in a separate representative free-standing wing, was completed structurally in 1856, but was only in 1869 for the first time accessible.
For the construction of the Arsenal 177 million bricks were used. Construction costs totaled $ 8.5 million guilders. In the following years, there have been extensions. During the two world wars, the complex served as a weapons factory and arsenal, especially as barracks.
The record number of employees in Arsenal was reached in the First World War, with around 20,000 staffers. After 1918, the military-industrial operation with own steel mill was transformed into a public service institution with the name "Austrian art arsenal". However, there were almost insoluble conversion problems in the transition to peacetime production, the product range was too great and the mismanagement considerable. The number of employees declined steadily, and the company became one of the great economic scandals of the First Republic.
By the fall of 1938, the area belonged to the 10th District Favoriten. However, as was established during the "Third Reich" the Reich District of Greater Vienna the arsenal complex and the south-east of it lying areas in the wake of district boundary changes became parts of the 3rd District.
During the Second World War, in the Arsenal tank repair workshops of the Waffen-SS were set up. In the last two years of the war several buildings were severely damaged by bombing. During the Battle of Vienna, in the days of 7 to 9 April 1945, was the arsenal, defended by the 3rd SS Panzer Division "Totenkopf", focus of the fighting, the Red Army before their victory recording heavy losses.
History since 1945
Ruins of the object 15 after the air raids 1944
Deposits at the Arsenal Street
After heavy bomb damages during the Second World War, the buildings of the Arsenal were largely restored to their original forms.
In the southern part and in the former courtyard of the arsenal several new buildings were added, among them 1959-1963 the decoration workshops of the Federal Theatre designed by the architects Erich Boltenstern and Robert Weinlich. From 1961 to 1963, the telecommunications central office was built by the architect Fritz Pfeffer. From 1973 to 1975 were built plant and office building of the Post and Telephone Head Office for Vienna, Lower Austria and Burgenland (now Technology Centre Arsenal of Telekom Austria) with the 150-foot radio tower in Vienna Arsenal according to the plans of architect Kurt Eckel. In the 1990s, a rehearsal stage of the castle theater (Burgtheater) was built according to plans by Gustav Peichl.
Also the Austrian Research and Testing Centre Arsenal, now Arsenal Research, which has made itself wordwide a celebrity by one of the largest air chambers (now moved to Floridsdorf - 21st District ), was housed in the complex. A smaller part of the system is still used by the Austrian army as a barracks. Furthermore, the Central Institute for Disinfection of the City of Vienna and the Central Chemical Laboratory of the Federal Monuments Office are housed in the arsenal. The Military History Museum uses multiple objects as depots.
In one part of the area residential buildings were erected. The Arsenal is forming an own, two census tracts encompassing census district, which according to the census in 2001 2.058 inhabitants had.
End of 2003, the arsenal in connection with other properties of the Federal Property Society (BIG - Bundesimmobiliengesellschaft) was sold to a private investor group. Since early 2006, the lawyer of Baden (Lower Austria, not far away from Vienna) Rudolf Fries and industrialist Walter Scherb are majority owners of the 72,000 m2 historic site that they want to refurbish and according to possibility rent new. Fries also plans to enlarge the existing living space by more than half (about 40,000 m2).
An architectural design competition, whose jury on 28 and 29 in June 2007 met, provided proposals amounting to substantial structural changes in the system. Such designed competition winner Hohensinn a futuristic clouds clip modeled after El Lissitzky's cloud bracket, a multi-level horizontal structure on slender stilts over the old stock on the outskirts of the Swiss Garden. The realization of these plans is considered unlikely.
Some objects are since 2013 adapted for use by the Technical University of Vienna: Object 227, the so-called "Panzerhalle" will house laboratories of the Institute for Powertrains and Automotive Technology. In object 221, the "Siemens hall", laboratories of the Institute for Energy Technology and Thermodynamics as well as of the Institute for Manufacturing Technology and High Power Laser Technology are built. In object 214 is besides the Technical Testing and Research Institute (TVFA) also the second expansion stage of the "Vienna Scientific Cluster" housed, of a supercomputer, which was built jointly by the Vienna University of Technology, the University of Vienna and the University of Agricultural Sciences.
Accessibility
The arsenal was historically especially over the Landstraßer Gürtel developed. Today passes southeast in the immediate proximity the Südosttangente called motorway A23 with it connection Gürtel/Landstraßer Hauptstrasse. Southwest of the site runs the Eastern Railway, the new Vienna Central Station closes to the west of the arsenal. Two new bridges over the Eastern Railway, the Arsenal Stay Bridge and the Southern Railway bridge and an underpass as part of Ghegastraße and Alfred- Adler-Straße establish a connection to the on the other side of the railway facilities located Sonnwendviertel in the 10th District, which is being built on the former site of the freight train station Vienna South Station.
On the center side is between Arsenal and Landstraßer Gürtel the former Maria Josefa Park located, now known as Swiss Garden. Here stands at the Arsenalstraße the 21er Haus, a branch of the Austrian Gallery Belvedere, on the center-side edge of the Swiss Garden has the busy suburban main railway route the stop Vienna Quartier Belvedere, next to it the Wiener Linien D (tram) and 69A (bus) run.
pl. 10: examples of 6 label designs featuring a cupid carrying a bunch of grapes, a goat, three ravens, stylized birds and flowers, a woman trying on gloves, and flaming candles, all enclosed in a decorative border
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: Cupids in art ; Birds in art ; Goats in art
Work Rights: Work in the public domain
Image_Filename: 15302010.jpg
See MCAD Library’s catalog record for this book.
I have rediscovered my grandmother's souvenir book. This mostly dates from around the turn of the century.
The Wishes card is signed and from a teacher likely. Included is another White Sewing Machine litho.
Composer: Auguste Panseron (1795-1859)
Publication details: Paris: Troupenas et Meissonnier,[ca.1835?]
Catalogue reference: 780.3125 PAN
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.
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
Arsenal (Vienna)
The Vienna Arsenal, object 1
(Pictures you can see by clicking on the link at the end of page!)
The Arsenal in Vienna is a former military complex in the southeast of the city, located in the 3rd district of Vienna. The mighty, consisting of several brick buildings facility is located on a rectangular plan on a hill south of the Country Road Belt (Landstraßer Gürtel).
Meaning
The Arsenal is the most important secular assembly of Romantic Historicism in Vienna and was conducted in Italian-Medieval and Byzantine-Moorish forms. Essentially the complex is preserved in its original forms; only the former workshop buildings within the bounding, from the the outside visible wings were replaced by new constructions.
History to 1945
Bird's eye view of the complex, arsenal, lithography Alexander Kaiser, 1855
Vienna Arsenal (Museum of Military History)
Arsenal, with HGM (Heeresgeschichtliches Museum) from the East
The complex, with a total of 31 "objects" (buildings) was built from 1849 to 1856 on the occasion of the March Revolution of 1848 and was the first building of the fortress triangle, replacing the old Vienna's city walls, with the Rossauer Barracks and the now-defunct Franz Joseph barracks at Stubenring. These buildings should not serve to deter foreign enemies from the city, but to secure state power in the event of revolutionary upheavals in Vienna. The decision to build the Arsenal, it came from the 19-year-old Emperor Franz Joseph I who on 2 December 1848 had come to the throne.
The design for the Imperial Artillery Arsenal came from General Artillery Director Vincenz Freiherr von Augustin, to which, subsequently, the site management had been transferred. Under his leadership, the buildings under assignment of sectors have been planned of the architects Carl Roesner, Antonius Pius de Riegel, August Sicard von Sicardsburg, Eduard van der Nüll, Theophil von Hansen and Ludwig Förster and built by the company of the architect Leopold Mayr.
From 1853 to 1856, Arsenal church was built by the architect Carl Roesner. The K.K. Court Weapon Museum, later K.K. Army Museum, now Museum of Military History, housed in a separate representative free-standing wing, was completed structurally in 1856, but was only in 1869 for the first time accessible.
For the construction of the Arsenal 177 million bricks were used. Construction costs totaled $ 8.5 million guilders. In the following years, there have been extensions. During the two world wars, the complex served as a weapons factory and arsenal, especially as barracks.
The record number of employees in Arsenal was reached in the First World War, with around 20,000 staffers. After 1918, the military-industrial operation with own steel mill was transformed into a public service institution with the name "Austrian Factories Arsenal". However, there were almost insoluble conversion problems in the transition to peacetime production, the product range was too great and the mismanagement considerable. The number of employees declined steadily, and the company became one of the great economic scandals of the First Republic.
By the fall of 1938, the area belonged to the 10th District Favoriten. However, as was established during the "Third Reich" the Reich District of Greater Vienna, became the arsenal complex and the south-east of it lying areas in the wake of district boundary changes parts of the 3rd District.
During the Second World War, in the Arsenal tank repair workshops of the Waffen-SS were set up. In the last two years of the war several buildings were severely damaged by bombing. During the Battle of Vienna, in the days of 7 to 9 April 1945, was the arsenal, defended by the 3rd SS Panzer Division "Totenkopf", focus of the fighting, the Red Army before its victory facing heavy losses.
History since 1945
Ruins of the object 15 after the air raids 1944
Deposits at the Arsenal Street
After heavy bomb damages during the Second World War, the buildings of the Arsenal were largely restored to their original forms.
In the southern part and in the former courtyard of the arsenal several new buildings were added, among them 1959-1963 the decoration workshops of the Federal Theatre designed by the architects Erich Boltenstern and Robert Weinlich. From 1961 to 1963, the telecommunications central office was built by the architect Fritz Pfeffer. From 1973 to 1975 were built operation and office building of the Post and Telephone Head Office for Vienna, Lower Austria and Burgenland (now Technology Centre Arsenal of Telekom Austria) with the 150-meter high radio tower in Vienna Arsenal according to the plans of architect Kurt Eckel. In the 1990s, a rehearsal stage of the Castle Theater (Burgtheater) was built according to plans by Gustav Peichl.
Also the Austrian Research and Testing Centre Arsenal, now Arsenal Research, which has made itself wordwide a celebrity by one of the largest air chambers (now moved to Floridsdorf - 21st District), was housed in the complex. A smaller part of the complex is still used by the Austrian army as a barracks. Furthermore, the Central Institute for Disinfection of the City of Vienna and the Central Chemical Laboratory of the Federal Monuments Office are housed in the arsenal. The Military History Museum uses multiple objects as depots.
In one part of the area residential buildings were erected. The Arsenal is forming an own, two census tracts encompassing census district, which according to the census in 2001 had 2.058 inhabitants.
End of 2003, the arsenal in connection with other properties of the Federal Property Society (BIG - Bundesimmobiliengesellschaft) was sold to a private investor group. Since early 2006, the lawyer of Baden (Lower Austria, not far away from Vienna) Rudolf Fries and industrialist Walter Scherb are majority owners of the 72,000 m2 historic site that they want to refurbish and according to possibility rent new. Fries also plans to enlarge the existing living space by more than a half (about 40,000 m2).
An architectural design competition, whose jury on 28 and 29 in June 2007 met, provided proposals amounting to substantial structural changes in the complex. Such designed competition winner Hohensinn a futuristic clouds clip modeled after El Lissitzky's cloud bracket, a multi-level horizontal structure on slender stilts over the old stock on the outskirts of the Swiss Garden. The realization of these plans is considered unlikely.
Some objects are since 2013 adapted for use by the Technical University of Vienna: Object 227, the so-called "Panzerhalle" will house laboratories of the Institute for Powertrains and Automotive Technology. In object 221, the "Siemens hall", laboratories of the Institute for Energy Technology and Thermodynamics as well as of the Institute for Manufacturing Technology and High Power Laser Technology are built. In object 214 is besides the Technical Testing and Research Institute (TVFA) also the second expansion stage of the "Vienna Scientific Cluster" housed, of a supercomputer, which was built jointly by the Vienna University of Technology, the University of Vienna and the University of Agricultural Sciences.
Accessibility
The arsenal was historically especially over the Landstraßer Gürtel developed. Today passes southeast in the immediate proximity the Südosttangente called motorway A23 with it connection Gürtel/Landstraßer Hauptstrasse. Southwest of the site runs the Eastern Railway, the new Vienna Central Station closes to the west of the arsenal. Two new bridges over the Eastern Railway, the Arsenal Stay Bridge and the Southern Railway bridge and an underpass as part of Ghegastraße and Alfred- Adler-Straße establish a connection to the on the other side of the railway facilities located Sonnwendviertel in the 10th District, which is being built on the former site of the freight train station Vienna South Station.
On the center side is between Arsenal and Landstraßer Gürtel the former Maria Josefa Park located, now known as Swiss Garden. Here stands at the Arsenal street the 21er Haus, a branch of the Austrian Gallery Belvedere, on the center-side edge of the Swiss Garden has the busy suburban main railway route the stop Vienna Quartier Belvedere, next to it the Wiener Linien D (tram) and 69A (bus) run.
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
Odilon Redon (1840 – 1916) french printmaker, draughtsman and painter.
An individualist who believed in the superiority of the imagination over observation of nature, rejected the Realism and Impressionism of his contemporaries in favor of a more personal artistic vision.
Born as Bertrand-Jean Redon, he acquired the nickname "Odilon" from his mother, Odile. Redon started drawing as a child, and at the age of ten he was awarded a drawing prize at school. Aged fifteen, he began the formal study of drawing, but on the insistence of his father he changed to architecture. His failure to pass the entrance exams at Paris’ École des Beaux-Arts ended any plans for a career as an architect, although he briefly studied painting there under Jean-Léon Gérôme in 1864. (His younger brother Gaston Redon would become a noted architect.)
Back home in his native Bordeaux, he took up sculpture, and Rodolphe Bresdin instructed him in etching and lithography. His artistic career was interrupted in 1870 when he joined the army to serve in the Franco-Prussian War.
At the end of the war, he moved to Paris, working almost exclusively in charcoal and lithography. He called his visionary works, conceived in shades of black, his "Noirs". It would not be until 1878 that his work gained any recognition with Guardian Spirit of the Waters, and he published his first album of lithographs, titled Dans le Rêve, in 1879. Still, Redon remained relatively unknown until the appearance in 1884 of a cult novel by Joris-Karl Huysmans titled, À rebours (Against Nature).
In the 1890s, pastel and oils became his favored media, and he produced no more noirs after 1900. In 1899, he exhibited with the Nabis at Durand-Ruel's. In 1903 he was awarded the Legion of Honor.
He became a celebrated figure in fin-de-siècle Paris, greatly admired by artists and writers of the Symbolist movement with whom he shared an enthusiasm for the fantastic, mystical, and sublime forces found beneath the surface of everyday life.
He was greatly inspired by such authors as Edgar Allan Poe and Gustave Flaubert, whose unusual sensibilities were well suited to the artist's own. Redon was so moved by Flaubert's 1874 prose poem The Temptation of Saint Anthony that he created three separate projects based on it.
His popularity increased when a catalogue of etchings and lithographs was published by André Mellerio in 1913 and that same year, he was given the largest single representation at the New York Armory Show.
Redon died on July 6, 1916.
****
"Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over there stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanos erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance--heavy jawbone, protruding brows, receding forehead, and flattened skull top--recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium."
À rebours, chapter V
sources: moma.org; wikipedia.com
- 25.5" X 42.75"
- Lithography on top of monotype and screenprinting
- With the use of The Anatomy of the Human Gravid Uterus by Jan van Riemsdyk (1774)
Maker: Henri Le Secq (1818-1882)
Born: France
Active: France
Medium: photolithograph
Size: 9 5/16" x 13 1/4"
Location: France
Object No. 2016.481
Shelf: C-64
Publication: Premier Cahier de Lithophotographie, Goupil & Cie and Gide & Baudry, 1853, pl 6
Beaumont Newhall, Photography, A Short Critical History, The Museum of Modern Art, New York, 1937, pl 20
Kathleen Stewart Howe, ed, Intersections, lithography, photography and the Traditions of Printmaking, University of New Mexico Oress, Albuquerque, 1998, fig 15
David Hanson, Checklist of Photomechanical Processes and Printing 1825-1910, 2017, pg 81
James Borcomen, 19th Century French Photographs from the National Gallery of Canada, Ottawa, 2010, fig. 36-2
Henri Le Secq, Photographie de 1850 a 1860, Musee des Arts Decoratifs/Flammarion, Paris, 1986, Cat No. 260
Provenance:
Other Collections: Newberry Library, Chicago, The Clark
Notes: From the first portfolio "Premier Cahier de Lithophotographie" of six photolithographs edited by Goupil & Cie and Gide & Baudry in 1853, printed by Lemercier in Paris after the photography process on stone of Lemercier, Lerebours, Barreswil and Davane. Printed in the margin below the print at the bottom left "Negative by Lesecq" bottom center "Photographed on stone by Messrs. Lemercier, Lerebours, Barreswil and Davanne" lower right "Imp. Lemercier, 57 r. De Seine, Paris. " Printed in the margin at the bottom left "Paris - Goupil and Co." in the center "Paris, Lerebours Secretan, EDrs," lower right "Paris - Gide & Baudry." Signature in the negative H. Le Secq, 1852
Beginning in the early 1850s, the famous lithography specialist printer of Paris, Joseph Lemercier (1803-1887) became interested in photo-reproduction. Then associated with the optician Noël Paymal Lerebours (1807-1873), chemists Charles-Louis Barreswil (1817-1870) and Louis-Alphonse Davanne (1824-1912), he developed a new method of photographic transfers on stone from technique based on bitumen of Judea previously used by Niepce de Saint-Victor and obtained patents for it in 1852. Goupil & Cie then seeking a method of reproduction of photography, togther withh Gide & Baudry, published the first book of photolithographs made from a series of negatives by Le Secq. This print was one of the three that Lemercier first showed to the editors of La Lumiere in February, 1853 and part of the first lithophotographic portfolio presented to the French Academy of Sciences on May 2, 1852.
Jean-Louis-Henri Le Secq des Tournelles was born in 1818 in Paris, of an ancient noble family from Normandy. His father was a politician. Jean-Louis-Henri was trained in sculpture and worked in several studios. He started his photographic career while still working as a painter in the studio of Paul Delaroche. He experimented with various photograph techniques together with his colleague Charles Nègre and later worked with Gustave Le Gray learning the waxed-paper negative process. Along with Hippolyte Bayard, Edouard Baldus, Gustave Le Gray and Auguste Mestral (O. Mestral), he was sent on Missions Héliographiques to document famous architectural monuments in France. He worked mainly on cathedrals in Chartres, Strasbourg, Reims and near Paris. In 1851 he became one of the founders of the first photographic organization of the world, the Société héliographique (1851–1853), which was very short lived. Le Secq gave up photography after 1856 but continued to paint and collect art. Around 1870 he started reprinting his famous works as cyanotypes and photolithographs because he was afraid of possible loss due to fading. He was also a collector of wrought iron objects and the Musée le Secq des Tournelles in Rouen is devoted to him.
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Woodcut, digital print, sumi ink drawing, polyester lithography, more polyester lithography, more woodcut, then more sumi ink drawing. While these were finished on time, I messed one up and so there are only four in the edition instead of the required five.
( Better on black, press "L" )
Louis Léopold Boilly was born ( 5 july 1761 ) in La Bassée in Northern France and he was died in Paris on 4 january 1845.
He was a French painter and draftsman. A gifted creator of popular portrait paintings,he also produced a vast number of genre paintings vividly documenting French middle-class social life.
His life and work spanned the eras of Monarchical France, the French revolution, the Napoleonic Empire, the Bourbon restoration and the July Monarchy, ...
Louis Léopold Boilly,né à Bassée le 5 juillet 1761 et mort à Paris le 4 janvier 1845 ( 83 ans ), est un artiste-peintre, miniaturiste, et graveur Français, connu notamment pour ses scènes de la vie parisienne dans les années qui suivent la Révolution Française, ...
Platinum can be deposited with electron beam lithography and a gas injection system. We also use a pattern generator to create and structure large areas. Here we patterned the Koch snowflake, which is designed by using only triangles in different sizes. Starting with a first large equilateral triangle then three triangles with only one third of its length are attached in the middle of each side of the first one. This was repeated several times. For demonstration the Christmas card was done with this procedure to show our users the capability of the system.
Courtesy of Dr. Thomas Loeber , TU Kaiserslautern NSC
Image Details
Instrument used: Helios NanoLab
Magnification: 4496
Horizontal Field Width: 46.1
Voltage: 5
Working Distance: 3.9
Detector: TLD
Из другого издания - альбом "Москва и Петербург", литография Жюля Арну.
Издание Джузеппе Дациаро (Daziaro).
Виды Спб. (26) цветных литографий по рис. худ. Арну (Arnoult) в лист, , печатанные у Лемерсье в Париже
Источник - РНБ.
Вот какое описание в каталоге РНБ:
Шифр хранения: Э Ал Т63/4-Л452
Биржа /Жакотте Ж. Л. и Обрэн. - 1 л. ; 50 х 44 см
Другие ответственные лица: Жакотте, Ж. Л. -- Литографист;
Обрэн -- Литографист
Язык: Русский;Французский
Коллекции: Санкт-Петербург;
Цифровой репозиторий РНБ
Lith print onto Kodak Velox F2 paper that expired in 1955.
I did this in October of last year, and apparently never uploaded the results to Flickr. This was a contact print done using the printer from the Kodak Photo Hobby outfit from the 50s, and lith printed in Arista Premium A&B developer, probably diluted 1:24.
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.
Ein Plakat während dem Druck in der Steindruck-Schnellpresse.
[75 Jahre Eidenbenz-Seitz & Co., St. Gallen, 1938.]
Why is "The Bull" the best artwork in the Picasso show at the Art Institute? Find out at:
www.spudart.org/blog/picassos-most-impressive-artwork-the...
Here's what the wall caption said about this series:
THE BULL
Just after World War II, Picasso engaged in a flurry of printmaking activity, this time focused on lithography. He produced four series of images, one of which was a progression of 11 states of a print called The Bull, each a completed composition in its own right. There were several unique aspects to these prints; central is that Picasso kept altering the same matrix to create each of the 11 variations. Previously, Picasso had only dabbled with lithography, never making anything more than simple line drawings or tonal images without any revision. Owing in no small part to his experience during the preceding decade exploring the full menu of intaglio techniques, Picasso chose to use lithography in unconventional ways-literally subtracting from and adding to drawn elements that had previously been chemically fixed and printed. Because of their chemical and flat nature, lithographs are not easily reworked, and printing Picasso's lithographs certainly required the patience and skill of great craftsmen-as his etchings had with Delatre and Lacouriere earlier. He worked closely with printers at Fernand Mourlot's studio, which dated to the golden age of color lithography in the late 19th century.
The idea of saving each progressive state in the evolution of his lithographs was inspired by Picasso's interest in storytelling as well as his desire to fix in concrete terms what he could not in painting. Picasso understood that printmaking could inherently fix a composition that would be fleeting in its production through another medium. His willful reclamations of the image of a bull are even more remarkable in that he took the image from a state of solid but unremarkable form to a point of elegant, elemental reduction.
(please excuse if there are any typos in this. I ran an OCR on the image to generate the text.)
pl. 8: examples of 6 label designs featuring stylized grapes and vines, a fox, a peacock, birds, and two figures in ethnic costume
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: Rudolf Kalvach (Czech graphic designer, 1883-1932)
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] R. Kalwach
work type: graphic design ; advertising; print advertising; documents; labels
Subjects: Birds in art ; Foxes in art ; Peacocks in art
Work Rights: Work in the public domain
Image_Filename: 1530208.jpg
See MCAD Library’s catalog record for this book.
Lithography plate by André Robert in Arts et Métiers Graphiques. Paris: Hachard No. 56 January 1937. NC980 .A7 no.55-57
WARREN'S
FEATHERBONE.
DRESS STAYS AND CORSETS
Date: Circa 1900s
Source Type: Trade Card
Publisher, Printer: The Henderson-Ackert Lithography Company
Postmark: Not Applicable
Collection: Steven R. Shook
Remark: In 1883, Edward K. Warren patented a process to utilize turkey feather "bones" as a substitute for rather expensive and inflexible whalebone in the manufacture of stay material for women's corsets.
This new stay material, called featherbone, was commercially successful. First manufactured in Three Oaks, Michigan, Warren expanded his manufacturing capacity in 1895 by establishing a branch factory at the former American Brass Works facility in Chesterton, Indiana; this factory was located directly northeast of the intersection of present day Morgan Avenue and Jackson Boulevard. The factory employed up to 170 workers and was at one time the largest employer within Porter County, Indiana.
In September 1904, Chesterton's Warren Featherbone Factory ceased operation and the Sall Mountain Asbestos Factory would then occupy the site.
The following news item concerning the Warren Featherbone Company appeared in the July 24, 1890, issue of The Tribune:
The Warren Featherbone company of Three Oaks, Mich., is looking for a new location. They claim their capacity for securing help in Three Oaks has reached its limit and the proprietors are unable to find a sufficient number of women and girls to keep up with their orders, and want to get into a town where they can get plenty of female help. Chesterton don't want a girl managed factory. We're no "she-town" and don't want to be. Those who ever have been in a Massachusetts "she-town" know what one is. Give us factories that emply [sic] able-bodied men and keep the women folks at home, where they belong.
Sources:
The Tribune, Chesterton, Porter County, Indiana; July 24, 1890; Volume 7, Number 15, Page 5, Column 2. Column titled "News of the Week."
The Chesterton Tribune, Chesterton, Porter County, Indiana; September 16, 1904; Volume 21, Number 24, Page 4, Column 5. Column titled "May Get a New Industry Here."
Copyright 2022. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.