View allAll Photos Tagged 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.
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.
Creator: Jules Chéret (French graphic designer, 1836-1932)
Related work:
Date: 1890
Materials: color lithograph
Measurements: 116 cm (height) x 81 cm (width)
Work type: posters
Image Description: poster for a Parisian musical revue
Style / Period:
Description:
Image_Filename: 06092106
Subjects: Dancers in art; Theatrical posters
© Carsten ten Brink
zinc plate lithograph inspired by travel in Vietnam
For more of my art, please check out my website at www.carstentenbrink.com or follow my Artist's page on Facebook at www.facebook.com/CarstentenBrinkWordsandImages
"Winckelmann" - lithography (by anonymus artist 19th century), partial reproduction of portrait by Angelica Kauffmann - from Forlì, Biblioteca Comunale, now at exhibition "Winckelmann and the collections of Archaeological Museum of Naples" up to September 25, 2017 - Naples, Archaeological Museum
Filigran geprägt und gestanzt, mit Glitzer, welcher aber wohl durch Oxidation schwarz wurde, und mit echtem Stoff auf der Rose und den dunkelblauen Blumen.
We grabbed some time to have a chat with David Lingham, Wales-based darkroom purist and ex-litho industry stripper (not THAT kind). David’s got some beautiful images to share, as well as some insight into his photographic journey and why he shoots film.
Over to you, David.
Hi...
Large version at: emulsive.org/interviews/i-am-david-lingham-and-this-is-wh...
Filed under: #Interviews #Darkroom #ILFORD #ILFORDFP4 #Kodak #KodakTriX400 #Lithography #Nikon #NikonF2 #NikonFM2
Color lithograph, Fruit Crate Artwork - Annie Laurie Oranges - Strathmore Packing - Strathmore, California
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
We co-led the Seed round with a plan to extend Moore's Law beyond the limits of light litho, down to true 1nm resolution.
CEO Bodil Holst was formerly full Professor in the Nanophysics Group at the University of Bergen where she pioneered novel uses of molecular beams. CTO Adrià Salvador Palau holds a PhD in Machine Learning from the University of Cambridge and a second PhD in optical systems from the University of Bergen, and was a Senior Applied Scientist at Microsoft.
The company is based in Norway and is in stealth mode for now. Teaser site: LaceLithography.com
And for a nice historical account of lithography's history, see the current issue of MIT Tech Review. It reminds me of my first trip to my Dad's workplace as a 5 or 6 year old... He showed me the ruby-lith patterns, cut by hand with Xacto knives. He started at the Motorola fab in 1966.
Lithography of the miraculous black Christ of Wyck in Maastricht, the Netherlands. The Romanesque statue dates from the 13th century.
Prentje van de Zwarte Christus in de Sint Martinuskerk in Wyck, Maastricht.
Издание Джузеппе Дациаро (Daziaro).
Виды Спб. 26 цветных литографий по рис. худ. А. Шарлемана 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
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
Creator: Will Bradley (American graphic designer, 1868-1962)
Date: 1896
Materials: color lithography
Measurements:
Work type: posters
Image Description: cover design, prospectus (May, 1896)
Image_Filename: 06092105
Subjects: Birds 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.
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.
This lithography stone belonged to another artists and he was all ready to remove the image to clean the stone for another use. Calla lilies drawn with litho pencil, crayon, and liquid tusche..
Oil on canvas; 120 x 75.5 cm.
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.
James Sowerby: English Botany
3rd Editition, around 1864
en.wikipedia.org/wiki/English_Botany
The plant has a different Latin name today.
LA: Limonium bellidifolium
EN: Matted Sea-Lavender
DE: Gänseblümchenblättriger Strandflieder
HU: Sóvirág (nem találtam a pontos magyar nevét)
Limonium plants do have nothing in common with lavender, only their colors.
They are to be found mainly in the Mediterranean regions of Europe. Common characteristic of the plants of genus Limonium is that they can tolerate salty (sea) water or salty marshes and meadows.
The matted sea-lavender is an evergreen sub-shrub. It is at home in the Mediterranean areas, in Turkey and in Central-Asia. Can be found mainly on salt meadows or marshes.
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.