129 Sentences With "lithographers" | Random Sentence Generator

Color Problems is a guide for both hobbyists and people who work in the practical arts: florists, decorators, lithographers, salespeople who want to attractively display their wares.

The official organ of the Amalgamated Lithographers of America was the magazine Lithographers' Journal. The publication was launched in June 1915 and terminated in the summer of 1964."Lithographers' Journal," Online Catalog, Center for Research Libraries, catalog.crl.edu/ At the time of the 1964 merger with the IPEU, Lithographers' Journal and the IPEU's organ, American Photo Engraver, were similarly joined to form a new publication, Graphic Arts Unionist.

The Danish Lithographers' Union () was a trade union representing printers in Denmark. The union was founded on 13 July 1895, as the Lithographers' Trade Association, by groups in Aarhus, Copenhagen and Odense. It was registered at the start of 1896, and by the end of the year, also had branches in Horten and Aalborg. That year, it also launched a union journal, and began negotiations which led to an agreed minimum wage and agreed conditions of employment.International Federation of Lithographers, Printers and Kindred Trades (1936), Bulletin, pp.

On Labor Day, 1964, IPEU merged with the Amalgamated Lithographers of America (ALA) to form the Lithographers and Photoengravers International Union (LPIU). The ALA had been formed in 1882 at a time when the consensus was that specialization of union representation was as essential as specialization of tasks in the publishing industry. The merger of IPEU and the lithographers' union was the first official recognition that this consensus was changing in the face of industry pressure, globalization and technological advances. LPIU instituted its first union-wide training program in 1965.

Mrs Arthur Bell (N. D'Anvers), 'Robert Weir Allan and His Work', International Studio, vol. 14, no. 56 (October 1901), p. 229. The 1871 census shows that 'Allan and Ferguson' was very much a family business, with Catherine, Chrestina (sic – presumably Christina), John and James Allan all being 'lithographers', while Robert and his younger brother, James, were described as 'artist lithographers'.Ancestry.

"Lithographers and Photoengravers International Union (LPIU)," in Gary M. Fink (ed.), Labor Unions. Westport, CT: Greenwood Press, 1977; pg. 185. Many of these local organizations were destroyed by the economic chaos and unemployment associated with the Panic of 1857 and did not revive until after the conclusion of the war in 1865. It would not be until 1886 that a permanent national trade union of lithographers was formed.

Manhattan headquarters of GCC/IBT-Local One-L, the organizational heir of the Amalgamated Lithographers of America. The Amalgamated Lithographers of America (ALA) is a labor union formed in 1915 to conduct collective bargaining on behalf of workers in the craft of lithography. The ALA was established through the amalgamation of several small unions already existing in the lithographic industry, one of which dated back to 1886. The union remained in independent existence for nearly half a century as part of the American Federation of Labor and its successor federation, the AFL-CIO, until combining with the International Photo-Engravers Union (IPEU) to establish the Lithographers and Photoengravers International Union (LPIU) in 1964.

Poels served on the Committee d'Appel du Secours de Chomage during World War I then, after the war, left his trade union post to become secretary of the Brussels Labour Exchange. However, he remained involved with his old union, and in 1920, he was elected as general secretary of the International Federation of Lithographers, Lithographic Printers and Kindred Trades. Poels also became secretary of the Brussels School of Lithographers. He died in 1926, aged 46.

In 1841, B. W. Thayer and Co., Lithographers (Boston) printed revised lithographs and an additional plate. The hand-colored plate "Autumnal Scenery. View in Amherst" Hitchcock's most frequently seen work.

In 1976 the union held an eight-and-a-half-week strike against John Fairfax and Sons over the introduction of computerised typesetting equipment. By the 1970s the union had established 100 percent membership in the newspaper section of the industry, and approximately 75 percent membership in the paper products sections. In 1986 the PKIU absorbed the Federated Photo Engravers, Photo-Lithographers and Photogravure Employees' Association of Australia, which had been active since 1910 as a small union of skilled workers in South Australian and Victorian newspaper offices. First registered federally in 1942 as the Federated Process Engravers, Photo-Lithographers and Photogravure Employees' Association of Australia, it changed its name to the Federated Photo Engravers, Photo-Lithographers and Photogravure Employees' Association of Australia in 1952.

The Lithographers' Association of the Metropolitan District coordinated wages and working hours among lithographic employers in New York City and attempted to hold down costs to enhance the profitability of its members. On March 15, 1904, this employers' association announced a lock out of all union employees, winning ground for the employers in a compromise settlement reached that April. This battle was extended in 1906 by an even larger organization, the National Association of Employing Lithographers, which eliminated two decades of collective bargaining in the industry by successfully establishing an open shop. The Amalgamated Lithographers of America was the entity formed in response to this growing disparity in power between centrally organized employers and the fragmented and largely impotent small unions of their workers.

Blampied had started to experiment with lithography in 1920, as two lithographs were shown at his first solo exhibition, but they had been transferred to a lithographers' stone from paper, and he wanted to learn how to draw directly onto the stone. Blampied turned to Archibald Hartrick, a founder member of the Senefelder Club of lithographers, who was teaching at the Central School of Arts and Crafts, and started evening classes there.Hall, A.(2010). Edmund Blampied.

The Union of Lithographers, Lithographic Printers and Kindred Trades () was a trade union representing printers in Germany. It was sometimes referred to as the Senefelder Union, after Alois Senefelder, the inventor of lithography.

There he produced several landscapes.A View in the Tyrol at the Victoria & Albert Museum His brothers Joseph (born 1799) and Anton also became painters and lithographers,Josef Kuwasseg (Kuwassegg, Kuwasegk) as did his son Charles Euphrasie Kuwasseg.

The organization was established on February 2, 1902, at a congress of "approximately 140 printers and lithographers" gathered at Variedades Theater in Sampaloc, Manila.Melinda Tria Kerkvliet. Manila Workers Unions, 1900–1950. Quezon City: New Day, 1992, p. 7.

In the cigar factories, they worked as managers, bookkeepers, and supervisors. Cigar boxes were made by German-owned factories. Several early cigar box labels were made by German lithographers. The Germans formed their own club, the Deutsch Amerikanischer Verein.

Joseph Franz Kaiser, 1875 Joseph Franz Kaiser (11 March 1786 in Graz – 19 September 1859 in Graz) was an army officer, bookbinder, lithographer and publisher from the Styrian region of Austria. His sons Eduard and Alexander were also lithographers.

Jan Feliks Piwarski, from Tygodnik Ilustrowany (1859, artist uncredited, possibly his son, Adolf) Jan Feliks Piwarski – (20 November 1794, Puławy – 17 December 1859, Warsaw) was a Polish painter, curator, writer and graphic artist; one of the earliest lithographers in Poland.

Lithographers sought to find a way to print on flat surfaces with the use of chemicals instead of raised relief or recessed intaglio techniques."Chromolithography and the Posters of World War I." The War on the Walls. Temple University. 11 April 2007 <>.

He travelled in The Netherlands, France and England. In 1823-1824 he was one of the lithographers who made lithographs and provided drawings for the publication Collection des principales vues des Pays-Bas ('Collection of principal views of the Netherlands') published by Dewasme.

He began working as an artist in Boston around 1826, painting portraits, and also drawing "on stone for lithographers"William Dunlap. A history of the rise and progress of the arts of design in the United States, new ed., v.3. Boston: C.E. Goodspeed & co.

The nave inner porch in oak with long narrow leaded lights was made by George Pace in the 1960s. The porch and entrance c.1860. Through doorway it shows the priest administrating holy baptism at the font. Printed by Day & Haghan, lithographers to the Queen.

The whole work has a romantic tinge in line with contemporary European works. The illustrations echoed Pérez Villamil's style which celebrated a romantic medieval aspect. The Paris publishing house Hauser published the work between 1842 and 1850 in three volumes - around twenty French and one Spanish lithographer worked on the plates. Despite the variety of authors and lithographers whole had a consistent style thanks to the good direction Pérez Villamil with the lithographers allowed to used interpretive licenses when working from the originals.. The work contains 44 views of Toledo, 19 of Burgos, as well as illustrations of various places of Castile, Aragon, Andalusia, the Basque Country, Navarre, and Galicia.

Throughout his life Andreu produced some 30 Livres de Luxe, for which he early on gained an enviable reputation as one of the finest lithographers and illustrators of his day. His work is held in many public and private collections in France, the United States, Great Britain and Spain.

The book was originally published in 1956 by Press of The Pilgrim, Kansas City, Missouri. And lithographed by Williams & Lawrence Lithographers also of Kansas City, Missouri. The first edition was limited to 1000 copies and each copy was a numbered edition. The book is still in print today.

Official organ of the ALA during the early 20th Century was the monthly magazine Lithographers Journal. The Amalgamated Lithographers of America (ALA) was established in 1915 through a merger of 4 of the 6 unions then operating in the lithographic industry — the LIPBA (established 1886), the ILAE (1890), the Paper Cutters (1900), and the Stone and Plate Preparers (1900). The Press Feeders and the Poster Artists' Association initially stood aloof from the new organization, joining only in 1918 and 1942, respectively. The ALA attempted to affiliate with the American Federation of Labor (AF of L), an umbrella organization joining dozens of craft unions into one entity, but the Federation refused to recognize the new amalgamated union.

The International Federation of Lithographers, Lithographic Printers and Kindred Trades (IFL) was a global union federation bringing together unions representing print workers. The federation was established in 1896 at a conference in London, as the International Federation of Lithographers and Kindred Trades. It was based in London until 1907, when its headquarters moved to Berlin, then in 1920 they moved to Brussels, and by the mid-1930s, they were in Amstelveen in the Netherlands. By 1925, the federation had 22 affiliates with a total of 45,562 members, and by 1935, its affiliates were from Belgium, Czechoslovakia, Denmark, Finland, France, Hungary, Luxembourg, the Netherlands, Norway, Poland, Romania, Sweden, Switzerland, the UK, and Yugoslavia.

The congress was established on May 1, 1913. Its first convention was attended by 155 representatives from 35 organizations. Participating in its first convention were various occupation groups such as cigar makers, government employees, typographers, lithographers, bookbinders, journalists, sailors, clerks, mechanics, and lawyers. The first COF convention lasted four days.

The bank building was occupied by several office tenants, including architecture firm Jackson, Rosencrans & Caufield; architect Charles B. Meyers; the Employing Lithographers’ Association; engineering firm W. L. Fleischer & Co.; and Jewish organizations.Miller, Tom (September 7, 2011). "Daytonian in Manhattan: The Bank of the Metropolis – No. 31 Union Square". Daytonian in Manhattan.

Starting in the 1930s, Smith was commissioned to create work for Associated American Artists, and became one of their most prolific and successful lithographers, creating work alongside the likes of Thomas Hart Benton, Grant Wood, and John Steuart Curry. Smith created sold out works for the AAA through the 1970s.

US. Department of the Treasury. New York, NY: Julius Bien & Company Photo Lithographers. 1899. Accessed 26 May 2018. In 1950 it was named "Puente Blas Silva" (Blas Silva Bridge) in honor of the outstanding architect from Hormigueros who lived most of his adult life in Ponce and designed many structures in the city.

The Journalist rating was established in 1948 from the ratings of Specialist (X) (Journalists), Specialist (X) (Naval Correspondents), and Specialist (X) (Public Information). Lithographer (LI). The Lithographer rating was established in 1948 from the ratings of Specialist (P) (Photographic Specialists), Printer, Printer (L) (Lithographers), and Printer (M) (Offset Process). Photographer's mate (PH).

Other tenants during that time included metal supplier Herman J. Heght Inc.; the Amalgamated Lithographers of America; architecture firm Marcus Contracting Company; architect George F. Hardy; and a temporary location of the Wall Street Synagogue. The building was sold in 1940 to the Downtown Renting Company, and it was refinanced for $300,000.

C.B., and the British and Indian Army officers who participated in the war. His sketches and drawings were made into Lithographs mainly by the lithographer and engraver Robert C. Carrick. Other lithographers were Edmund Walker Plate nos. 2, 19, 20, 22, 24, and 25; landscape artist and lithographer William L. Walton Plate nos.

Josef Eduard Teltscher, born 15 January 1801 in Prague, Bohemia, was an Austrian painter and lithographer. He was one of the best Viennese portrait lithographers and watercolourists of the first half of the nineteenth century in Central Europe, and as a miniaturist, according to his contemporaries, he was no less than Moritz Daffinger himself.

The former Vickerman & Sons Ltd woollen mill, on Fairlea Road has been converted into several smaller industrial units, which include a carpet manufacturers, commercial & industrial photographers, printers and lithographers, wedding cake bakery, Wrought ironwork services, clothing manufacturers & wholesalers and an independent domestic energy assessment services. The former Victorian village chapel has been converted into a Hydraulic engineers.

Currier was born in Roxbury, Massachusetts, to Nathaniel and Hannah Currier. He attended public school until age fifteen, when he was apprenticed to the Boston printing firm of William and John Pendleton. The Pendletons were the first successful lithographers in the United States, lithography having only recently been invented in Europe. Currier learned the process in their shop.

Lanzedelly's prints became widely known in Vienna. He made genre prints, influenced by the work of English and particularly French engravers such as Philibert-Louis Debucourt, and he also produced portraits. His lithographs can be seen in Vienna at the Albertina and at the Vienna Museum. His sons Karl (1815–1865) and Joseph (1807–1879) were also lithographers.

De la Plaza, R. Ensayos sobre el arte en Venezuela (1883), Imprenta de La Opinión Nacional, Caracas, pp. 38, 40. When they had completed their work there, they decided to continue as lithographers; receiving awards at several major exhibitions. Celestino continued his painting during this time, producing a depiction of the "Baptism of Christ" for Caracas Cathedral.

Mabel Dwight was an American artist whose lithographs showed scenes of ordinary life with humor and compassion. Between the mid-1920s and the early 1940s she achieved both popularity and critical success. In 1936 Prints magazine named her one of the best living printmakers and a critic said she was one of the foremost lithographers in the United States.

An 1899 map titled "Ponce Harbor Porto Rico, Map No. 911", by Otto Hilgard Tittmann (b.1850 - d.1938) of the U.S. Coast and Geodetic Survey and published by Julius Bien & Co Photo Lithographers, New York, New York, shows a bridge over Río Portugués at the road from Ponce to Guayama via Calle Cristina, namely today's (2018) Puerto Rico Highway 1.

His father was a leather merchant. He was orphaned at an early age, and his artistic talent was discovered while he was still in the orphanage. From 1843 to 1845, he studied at the Academy of Fine Arts Vienna, under the direction of Leopold Kupelwieser and Franz Steinfeld. He was also influenced by August von Pettenkofen, Carl Schindler and contemporary French military lithographers.

19-20 The union joined the Lithographers' International in 1897, and the Danish Confederation of Trade Unions in 1898. In 1903, the union established a section for process workers, followed in 1910 by one for stone and plate preparers. In 1962, the union formed the Graphic Workers' Cartel with the Danish Bookbinders' and Stationers' Union, and the Danish Typographical Union.

Gustav Geiges, president of the American Federation of Full Fashioned Hosiery Workers; Fred Hewitt, editor of the Machinists' Monthly Journal; Abraham Lefkowitz; A.J. Kennedy, president of the Amalgamated Lithographers of America; Tom Tippett, Brookwood extension director; and Phil Ziegler, editor of the official journal of the Brotherhood of Railway Clerks."Labor College Side Not Heard, He Says." New York Times. November 1, 1928.

They were pioneers in developing the medium of the lithograph printed in colours. In 1838, Day and Haghe were appointed 'Lithographers to the Queen'. Possibly his most ambitious project was providing 250 images for David Roberts' The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia printed between 1842–1849. Roberts praised his skill and artistry, although John Ruskin called it 'forced'.

In 1950 she was part of a three-artist exhibition at the Prince Galitzine Gallery. She retired from teaching in 1979 to focus on her own painting, particularly of portraits. She and her husband shared a retrospective exhibition at the Polish Cultural Institute in 1994. She was a member of the Senefelder Club of lithographers and printmakers and the Graphic Arts Society.

His father, Anders Wilhelmson, was a "Bästeman" (a type of Naval Master), who died in a shipwreck in 1875. His mother, Amalia, opened a small shop to support the family. Some relatives were in the printing business so, in 1881, he was apprenticed to the lithographers Meyer & Köster in Gothenburg. He also took evening classes at the School of Design and Crafts.

1890 Friedländer poster for a Carl Hagenbeck show 1895/1896 Friedländer Poster: Löwe auf Elefant ("Lion on elephant") 1905/1906 Friedländer Poster: Dompteuse Miss Charles ("Lion Tamer Miss Charles"). The woman depicted is Ida Krone, the wife of circus director Friedländer was the third and last son of Raphael Israel Friedländer and Betty Friedländer née Wagner. Prior to moving to Hamburg, Friedländer's father worked as a merchant. After the move however, Raphael joined a guild of professional lithographers and opened a small lithography shop. Friedländer first received informal training at his father's shop and in the summer of 1865, went to Berlin for more formal instruction. By 1868, Friedländer was apprenticed to top German lithographers. In 1872 Friedländer returned to Hamburg and began working as an independent printmaker. On 1 April 1875 he married one Sarah Berling, also from Hamburg, under Jewish rites.

Bryant was born to Maria Winship Fox and Gridley Bryant, noted railway pioneer, in Scituate, Massachusetts. In his youth the younger Bryant moved to Gardiner, Maine and attended the Gardiner Lyceum for his secondary education. He studied mathematics and engineering there before leaving joining his father's engineering office. Outside his secondary schools studies, he interned at local lithographers and artists to experiment with design and artistic manipulation.

In the year 1848, he had been elected an Associate of the Institution of Civil Engineers and continued to take interest in all their proceedings. One year before his death in 1861, the partnership between Cheffins and his sons—as surveyors, draftsmen, and lithographers—was dissolved by mutual consent. The business continued with Cheffins and his son Charles Richard Cheffins as partners.The London Gazette, 21 August 1860.

Alfred Frankenstein of the New York Times reported from the opening day and wrote "Here the visitor is privileged to observe a kind of twenty-ring circus of art... On the floor, in a series of little ateliers, sculptors, painters, lithographers, etchers, ceramicists, weavers and whatnot are at work under the direct observation of the public."New York Times. June 9, 1940. Alfred Frankenstein.

Otto Sillier (7 November 1857 - 4 March 1925) was a German trade union leader. Born in Berlin, Sillier completed an apprenticeship as a printmaker, and joined the Senefelder Union. Due to the Anti-Socialist Laws, this later became a friendly society. He joined the Berlin Union of Lithographer and Lithographic Printers in 1885, and in 1891 became the founding president of the Union of Lithographers and Lithographic Printers.

In 1860, the firm advertised in The Times, "TO LITHOGRAPHERS. - WANTED, good DRAUGHTSMEN and WRITERS..."Classified advertising, The Times, 12 June 1860, p. 3. They contributed to the first volume of The Architectural Dictionary, published in 1862,"The Architectural Dictionary", The Dublin Builder, 1 October 1862, p. 253. and produced a wide range of material, including topical scenes such as the new Metropolitan Railway station at Baker Street opened in 1863.

Sispara - Traveller's Bungalow (1847) by Stephen Ponsonby Peacocke lithography by Paul Gauci Paul Gauci (fl. 1830s-1860s), was a lithographer of Maltese extraction, carrying on a business in London with his father, Maxim Gauci, and brother, William. The firm, located at 9 North Crescent, Bedford Square, was among the leading lithographers of the day, ranking with Charles Joseph Hullmandel and Vincent Brooks, Day & Son. Castellamare, drawn by Paul Gauci.

His earliest works of 1900 were landscapes, still life studies, and portraits of himself and his mother and father. In 1906 he was apprenticed as a lithographer at Sands and McDougall Lithographers, in Melbourne. He soon transferred to the art department where he did illustrations for jam tin labels and department store advertisements. His first major illustration was a poster for Carlton Brewery in Melbourne of Sam Griffis,Wannan, Bill.

Rafail Levitsky is considered to be the first artist in history to be also a fine art photographer. During his lifetime many of the Levitsky famous photographic portraits became partial or complete replacements of the model by artists, lithographers, illustrators and even engravers as in the case of Levitsky's portrait of Alexander III which was used on the Russian ruble bank note. Alexander III. by Sergei Lvovich Levitsky and Rafail Sergeevich Levitsky.

However, this loose federation made no progress, and in 1965, the typographers resigned from the LO and the cartel. They rejoined LO in 1971, forming a new Graphics Cartel in 1972, but again this ran into disputes, and was dissolved in 1980. Finally, in 1990, the bookbinders, lithographers, typographers and the Media Federation formed a Graphic Industry and Media Cartel. In 1993, the four unions merged, to form the new Graphics Federation.

Allan and Stark finally purchased the building in 1925. In 1881-82 a three storeyed brick building, designed by Richard Gailey was erected on allotments 9,10,10A and 11 for Charles Lumley Hill and William Young. The building was initially leased to John and James Hislop, cabinet makers and upholsterers, and Watson, Ferguson and Co, stationers and lithographers. The floors of these buildings were supported by wrought iron girders allowing wider, open spaces for the tenancies.

An International Typographical Congress was held in Paris in July 1889, and this led to a determination to form a permanent organisation. This was established in Bern in 1892, as the International Printers' Secretariat. It held further congresses in Geneva in 1896, Lucerne in 1901, Paris in 1907, and Stuttgart in 1912. In 1939, the federation agreed to merge with the Lithographers' International and the International Federation of Bookbinders and Kindred Trades.

The firm now started to experience financial difficulties. Many stock auctions were held, the first, of engravings, taking place in 1865.Hodgson, 1865, A catalogue of the first portion of the valuable stock of choice line engravings, important chromo lithographs, and other productions, of the eminent firm of Day & Son. Lithographers to The Queen: Which will be sold by auction, by Mr. Hodgson, at his new auction rooms, No. 115, Chancery Lane, London.

After graduation from law school, he practiced law in New York City for two years before forming the firm of Cunningham, Curtiss & Welsh in 1878. The firm was a wholesale stationers and booksellers, blank book manufacturers, printers, and lithographers headquartered in San Francisco, Curtiss was based primarily in New York City. In 1892, together with his brother and others, he started the Fairfield County Golf Club in Greenwich, Connecticut.In 1909 the club was renamed "Greenwich Country Club".

He was born into a wealthy family. He showed little ability for practical pursuits, but his mother was a good friend of Jozef Israëls and was able to obtain him positions in the workshops of some well-known lithographers, notably Petrus Franciscus Greive.Profile @ the Rijksbureau voor Kunsthistorische Documentatie. After Greive's death in 1872, he studied with his nephew, Johan Conrad Greive, then set himself up as an independent painter in Eemnes, where he often worked en plein aire.

He left high school before graduation, despite admirable records, and entered an old, leading dry-goods establishment as a clerk. In March 1857, he moved to Brooklyn, New York City, and engaged in the same business with H.P. Morgan & Co, before starting in the trade himself. He served in the Union Army during the Civil War. In 1868, he returned to Hartford, where he organized the Kellog & Bulkeley Company, lithographers, of which he was president for many years.

Studio portrait of Patrick H. Reason, c. 1890s Patrick Henry Reason, first named Patrice Rison (March 17, 1816 – August 12, 1898), was one of the earliest African-American engravers and lithographers in the United States. He was active as an abolitionist (along with his brother Charles Lewis Reason). He was a leader in a fraternal order, gaining recognition for Hamilton Lodge No. 710, New York, as part of the Grand United Order of Odd Fellows in America.

Fanciful rendition of the October 1862 Battle of Corinth, Mississippi, by lithographers Currier and Ives. The 47th Illinois Volunteers were part of the fighting, which resulted in combined losses of 828 killed and more than 3,800 wounded and missing.David J. Eicher, The Longest Night: A Military History of the Civil War. New York: Simon & Schuster, 2001; pg. 378. The 47th Illinois Infantry was organized at Peoria, Illinois and mustered into Federal service on August 16, 1861.

Both were "firm supporters" of the war effort and backed the Nixon administration. It is unclear if they pulled out for political reasons (as pro-war supporters), or simply to avoid a scandal (personally and/or for MoMA), but the official reason, stated in a press release, was that the poster was outside the "function" of the museum. discuss the creation of the poster. Nevertheless, under the sole sponsorship of the AWC, 50,000 posters were printed by New York City's lithographers union.

From 1893, Sillier worked full-time for the union, which grew rapidly, absorbing various smaller unions. By 1919, it had 19,110 members, and one of the highest membership densities of any union. In 1896, he was founder of the International Federation of Lithographers, Lithographic Printers and Kindred Trades, and from 1907, he was its general secretary. He visited the United States in 1909 in an attempt to recruit new affiliates to the federation; he was unsuccessful, but did obtain agreements to reduce competition.

The Old Stone Arch Bridge is a single-span stone arch bridge which crosses Jack's Creek in Derry Township, Mifflin County, Pennsylvania. Philip Diehl built the bridge in 1813 as part of the Harrisburg to Pittsburgh Turnpike; it is the oldest bridge of its type in central Pennsylvania. The turnpike had been authorized in 1807, and the section from Harrisburg to Lewistown, on which the bridge lies, was completed in 1818. Lithographers Currier and Ives made prints of the bridge in 1850.

Clipping path services are professional offerings provided by companies for extracting objects or people from still imagery, and typically includes other photo editing and manipulation services. Addressees of such services are primarily photography and graphic design studios, advertising agencies, web designers, as well as lithographers and printing companies. Clipping path service companies commonly reside in developing countries such as Bangladesh, Philippine, India, Pakistan and Nepal, which can provide their services at comparatively low cost to developed countries, fostering outsourcing of such activities.

He later took an interest in hunting. He made himself brushes from the fur of a stone marten, and drew illustrations of birds that he raised from the nest or found near his home. He took a special interest in birds of prey, and considered art as a career but realized at the age of sixteen that he needed more training to be professional. With support from his father he was apprenticed to a firm of lithographers, Gebrüder Becker at Koblenz.

Lang formed another company A. D. Lang Ltd. In 1921 it was described as being general manufacturers, buying and selling agents, printers, lithographers, manufacturers of chemicals with offices at 4, Vigo Street, London W1. In addition to his work in developing propellers and associated equipment, Lang found time in 1923 to patent a wheel for vehicles. In 1936 Lang joined the Board of Hordern-Richmond, another British company that was closely involved in the development and production of airscrews and propellers.

Teltscher began his apprendiship in lithography in (Brno) and then from 1823 he was a student at the Vienna Academy. He was one of the first and most outstanding portrait lithographers in Vienna of the Biedermeier period and already had dealt with this new technology even before Josef Kriehuber. From 1829 to 1832, he had a very fruitful and successful period in Graz. He was close to Franz Schubert and his circle of friends and created the most authentic portraits of the master.

He then spent eight years at several locations in Italy, copying the old masters and taking particular inspiration from Raphael. While there, he was one of a large group of artists chosen to provide decorations for Napoleon's visit at the Palazzo del Quirinale although, as it turned out, he never produced more than sketches. After that, he spent some time in Paris and received a Gold Medal from Napoleon. While there, he also worked with Godefroy Engelmann, one of the first lithographers in France.

François Poels (12 April 1881 - 27 December 1926) was a Belgian trade union leader. Born in Elsene, Poels completed an apprenticeship as a lithographer. In 1906, he joined the Union of Lithographers in Brussels, becoming its deputy general secretary in 1911, and general secretary in 1912. He argued in favour of a single union covering the whole printing trade, and as a step towards this, in 1913, he merged his union into the new Union of Workers in Lithography and Kindred Trades, becoming its first general secretary.

He took the position permanently in 1919, also becoming editor of the union's journal, De Arbeider der Graphische Kunsten. In 1924, Berckmans took the union into a merger which formed the Central Union of Bookworkers of Belgium, becoming its general secretary, and editing its journal, De Boekbewerker. In 1926, Poels died, and Berckmans was soon elected to succeed him as secretary of the International Federation of Lithographers, Lithographic Printers and Kindred Trades. However, he was not successful in this role, and agreed to stand down in 1929.

Fanciful rendition of the October 1862 Battle of Corinth, Mississippi by lithographers Currier and Ives. Woodford County members of the 47th Illinois Volunteers were part of the fighting, which resulted in combined losses of 828 killed and more than 3,800 wounded and missing. Woodford County's population continued to swell, standing at 13,281 when the American Civil War started in 1861. Support for the Union Cause was strong throughout the county; by war's end 1,643 county residents had enlisted in the Union forces – 12.4% of the population.

On advice of a local bookstore owner, Lincoln sent a model to color lithographers and board game manufacturers Milton Bradley and Co. Some shop owners advertised the zoetrope in American newspapers in December 1866. The instrument was first patented in the U.K. on 6 March 1867 under no. 629 by Henry Watson Hallett (as a communication to him by Milton Bradley). In the United States it was patented as the Zoëtrope on April 23, 1867 by William E. Lincoln – as an assignor to Milton Bradley.

An Illustrative Map of Human Life Deduced from passages in Sacred Writ, printed by Kellogg Brothers, 1847. The Kellogg Brothers were a family of lithographers and printmakers in Hartford, Connecticut from about 1830 to the end of the 19th century. The brothers were Jarvis Griggs Kellogg (1805–1873), Daniel Wright Kellogg (1807–1874), Edmund Burke Kellogg (1809–1872), and Elijah Chapman Kellogg (1811–1881). They operated in a series of partnerships, between themselves and with others, the firms having a variety of names that involved "Kellogg".

Jefferson Davis 1st Confederate stamp Issue of 1861 Within a month after his appointment as Postmaster General, Reagan ordered that ads be placed in both Southern and Northern newspapers seeking sealed proposals from printing companies for producing Confederate postage stamps. Bids arrived from companies in New York, Baltimore, Philadelphia, Newark, New Orleans and Richmond. After the war started, however, it became evident that the contract to print Confederate stamps should go to a Confederate firm. The Confederate Post Office Department therefore awarded the contract to lithographers Hoyer & Ludwig, a small firm in Richmond.

He was so successful at it that, according to The Times he "opened up a new field of labour for artists, lithographers, engravers, printers, ink and paste board makers, and several other trade classes". Tuck's continued to run very successful postcard competitions through the early 1900s with the focus changing to collectors of Tuck postcards rather than of postcards by the artists whose work was depicted. The top part of the 1903 Tuck Exchange Register pictured above announces the second of Tuck's prize competitions which began in 1900. The prize competitions aroused much interest.

In 1947, the society organized the largest show in its history, a collection of over 650 prints at the National Academy. Since many of these prints utilized techniques such as woodcut, wood engraving, and lithography, the organization was renamed to the Society of American Etchers, Gravers, Lithographers, and Woodcutters, Inc. and then again to its current designation the Society of American Graphic Artists in 1952. With the ever changing climate of visual arts, printmaking has also undergone changes from the birth of non-objectivity, to surrealism, abstraction and beyond.

As he sits waiting to die, he is suddenly inspired to finish his Moulin Rouge poster and, brush in hand, distractedly turns the vents off again. The next day, Henri brings the poster to the dance hall and, though the style is unusual, Maurice accepts it. Henri works for days at the lithographers, blending his own inks to perfect the vivid colors. When he finishes the poster, which shows a woman dancing with her legs exposed, it becomes an instant sensation and the Moulin Rouge opens to high society.

As a painter, Adams worked in several mediums, including oil, acrylic, watercolor painting, and egg tempera. He also produced lithographs, and was the co-author of The Tamarind Book of Lithography (1971), an important description of the process. Among his other writings is American Lithographers (1987), a history of the art in the United States from 1900 to 1960. Adams received the Governor's Award for "Outstanding Contributions to the Arts of New Mexico" in 1985, and in 1993 he became a member of the National Academy of Design.

In 1901, de los Reyes brought back to the Philippines what can be considered the first batch of socialist literature, consisting of writings by Proudhon, Bakunin, Malatesta and other leftists of the period. It was from labor unions that the first socialist and communist groups emerged. The earliest known labor union in the Philippines was the Union de Litografos y Impresores de Filipinas (ULIF), headed by Hermenegildo Cruz and formed in 1902. That same year, lithographers from the Carmelo and Bauermann publishing house approached de los Reyes to seek advice.

Kilusang Mayo Uno, or May First Labor Movement (KMU) is an independent labor center in the Philippines promoting militant unionism. It follows in the fighting tradition of the country's first trade union, the Union Impresores y Litografos de Filipinas (Printers' and Lithographers' Union of the Philippines) in 1892 and the Congress of Labor Organizations (CLO) of the 1950s. It was created on May 1, 1980 during the Marcos regime to represent progressive workers‘ organisations in the country that advocated National Democratic struggle, especially the end of what was seen as US Imperialism.

Bodine's books were printed in Unitone, a printing technique where fine screen halftones are over-printed in such a way as to give an extra dimension to the pictures. The national lithographers’ trade association picked "My Maryland" in 1952 and "Chesapeake Bay and Tidewater" in 1954 as the ‘best lithographed book’ of their respective years. Two other Bodine books were "A Guide to Baltimore and Annapolis", 1957, with text by Harold A. Williams and "Baltimore Today, 1969", another guide book with text by James F. Waesche.Williams, p. 52.

This was due to the popularity of the work of Louis Haghe a Belgian draughtsman and water colourist who worked for the company until 1852 when he left to focus on painting. Taken from the 1923 Centenary Programme; an illustration showing the firm's past management. The firm was granted the status of ‘Lithographers to Queen Victoria and to the Queen Dowager, Queen Adelaide’ in 1837"Spotlight on Vincent Brooks, Day and Son", ‘INTO PRINT’ (house journal of Sanders Philips Corporation), n.d. pp. 2–3. As cited by K.K. Tidman, Op. cit.

Gottlob's 1900 poster for the 2nd Exposition of Painter- Lithographers on the Rue Drouot in Paris shows a strong influence of Henri de Toulouse-Lautrec in its composition. A woman is in front of a large illuminated window, and the dramatic back-lighting emphasizes the dark forms of her dress and hat. He created relatively few posters in his life, but this exposition of posters was one in which he participated. In addition to lithographs and portraits, he painted cityscapes of Paris and landscapes of Normandy and Brittany.

He graduated in 1927 from the Russian Academy of Arts there. In the 1930s he became associated with a group of artists and lithographers in Leningrad which had been instructed to prepare a series of works dedicated to the remote Jewish Autonomous Oblast, being created by Joseph Stalin in the hope of resettling Russia's Jewish population in a remote area in the Far East of the country. Here Kaplan learnt and took to the skills of printmaking, developing many individual techniques. His first cycle of prints (1937–1940) was entitled Kasrilevka, (the name of the village invented by Sholem Aleichem).

In 1962, the railroad proposed a partnership with the Amalgamated Lithographers Union to build a mixed-use development with 5,300 apartments, Litho City, on a platform over the tracks, with landfill in the Hudson River added for parks and docking facilities. Litho City was conceived as the centerpiece of a grandiose "master plan" for the entire Lincoln Square area. In the late 1960s, there were various proposals by the city's Educational Construction Fund for mixed residential and school projects, also partly on landfill.New York City Department of City Planning, "Lincoln Square and its Waterfront," NYC DCP 76-27, October 1976.

"New Director of the Museum", Journal of Photography at George Eastman House He has also written on Social Documentary Photography, Creative Photography, and World War I photographs. Doherty obtained a degree in fine art from the Rhode Island School of Design in 1951 (where he became Director of Development six years later) and an MFA from Yale in 1954. After graduation, he received the first of several significant design awards from the American Institute of Architects, the American Institute of Graphic Arts, and the Lithographers and Printers National Association. In 1959 he published a book Aluminum Foil Design.

Later in 1833 he used 'phénakisticope' in an article to refer to the published versions that he was not involved with. By then, he had an authorized set published first as Phantasmascope, later changed into Fantascope. In many writings and presentations Plateau used both the terms phénakisticope and fantascope, seemingly accepting phénakisticope as the better known name and holding on to fantascope as the name he preferred. The spelling 'phenakistiscope' was possibly introduced by lithographers Forrester & Nichol in collaboration with optician John Dunn; they used the title "The Phenakistiscope, or, Magic Disc" for their box sets, as advertised in September 1833.

Throughout its history, GDLR has given workshops in filmmaking, animation, muralism, digital art, and sponsored artists-in- residence. Important exhibitions have included "Cartelones del Cine Mexicano," which exposed Chicano artists to the styles and techniques of Mexican commercial lithographers, "The Peter Rodriguez Collection of Santos from the Mexican Museum," an exhibition of early New Mexican santos, and "Low 'n Slow," a lowrider-themed exhibit. GDLR was also instrumental in reviving the indigenous Mexican tradition of Day of the Dead in the San Francisco Bay Area and in popularizing the work of the Mexican artists Frida Kahlo and José Guadalupe Posada among movement activists.

In 1947 the corporation purchased and moved to a one-story factory from which to run the business. In the same year, the corporation and its president at the time, Virgil Lynch, were charged with "performing paper cutting operations" at late hours of night that disturbed the peace of the entire neighborhood. This, however, would not seem to change over the years, as, in 1962, the corporation was ranked as being "noisier than 97 per cent of all industry in Chicago" by the city zoning board. The corporation was purchased in April 1961 by Process Lithographers.

Moved to establish the federation began in 1939, when the Lithographers' International, International Typographers' Secretariat, and International Federation of Bookbinders and Kindred Trades, agreed to merge. However, due to World War II, no progress was made until 1946, when the British Printing and Kindred Trades Federation established a committee which drafted a constitution for a merged organisation. The federation was established at its first meeting, in Stockholm in 1949. It agreed to operate on a non-political basis, instead focusing on responses to technical developments in the industry, and sharing information on industrial disputes, employment and health and safety standards in each country.

In addition, no fewer than three other unions were established in the next two years, each a craft union attempting to carve out a specific niche. These included the Poster Artists' Association of America (PAAA, established 1899), the Paper Cutters Union (established 1900), and the International Association of Stone and Plate Preparers of the United States and Canada (established 1900).Fink, "Lithographers and Photoengravers International Union (LPIU)," pg. 186. If the workers in the lithographic industry, largely concentrated in New York City, found themselves splintered into six tiny organizations, the major employers in the industry were not.

The LPIU was subsequently merged away as part of a 1972 unification with the International Brotherhood of Bookbinders (IBB) to establish the Graphic Arts International Union (GAIU). The GAIU was itself amalgamated with the International Printing and Graphic Communications Union (IPGCU) to form the Graphic Communications International Union (GCIU) in 1983. This organization ultimately became part of the Graphic Communications Conference of the International Brotherhood of Teamsters (GCC-IBT) effective January 1, 2005. Despite this series of organizational changes, the core of the Amalgamated Lithographers of America continues to have organizational form today as Local One-L of the GCC-IBT.

By 1925, the federation had 17 affiliates, with a total of 79,800 members, dropping to 42,072 in 1935. At this point, its largest affiliate was the British National Union of Printing, Bookbinding and Paper Workers, with other affiliates in Belgium, Czechoslovakia, Denmark, Hungary, Finland, France, Norway, the Netherlands, Sweden, Switzerland and Yugoslavia. In 1939, the federation agreed to merge with the Lithographers' International and the International Typographers' Secretariat. However, due to World War II, no progress was made until 1946, when the British Printing and Kindred Trades Federation established a committee which drafted a constitution for a merged organisation.

The first labor union in the Philippines, called Unión de Litógrafos e Impresores de Filipinas (Spanish, "Lithographers and Printers Union of the Philippines") was established in either December 1901 or in 1902 by Isabelo de los Reyes. Not long after its founding, the members reorganized themselves into Unión Obrera Democrática. Hermenegildo Cruz is credited with conceiving the idea for a national trade union as a solution to the problems labor leaders were encountering in the consolidation of its members. In 1906, such a union for the printing trade, called Unión de Impresores de Filipinas, was established during a meeting held in Sta.

By 1930, the Glass Blowers and Brewery Workers had organized a much larger coalition of labor unions—which included, at last, the AFL itself—to speak out against the amendment, and they began emphasizing the negative economic, employment, and tax revenue impacts of the law.Gusfield, p. 127-128. In 1932, the Glass Blowers, the Amalgamated Lithographers of America, and the Allied Association of Hotel and Stewards' Associations openly lobbied for Prohibition's repeal before Congress.Colman, p. 33. The repeal of Prohibition in 1933 and the advent of World War II greatly improved the economics of the glass industry, and led to widespread re-employment of glass workers.

Tyner was born in 1941 in the Mill Creek community of West Philadelphia, and graduated from West Philadelphia High School. He joined the Communist Party USA at the age of 20. After several years working in various industrial jobs in the Philadelphia area, where he was a member of the Amalgamated Lithographers of America and Teamsters, he moved to New York in 1967 to become the national chair of the DuBois Clubs of America, and later founding chair of the Young Workers Liberation League. He was the Communist Party USA candidate for vice president of the U.S. in 1972 and 1976, running with party leader Gus Hall.

Bernhard Wachtl was an Austrian lithographer whose printing firm was based in Vienna. His work is dated mainly in the latter half of the 19th century and can be traced in Austria as well as in the Mediterranean region. Bernhard Wachtl, like the Vienna-based lithographers K. Krziwanek, Trapp & Munch, Turkel & Steiner, Ipop & Turkel, and Eisenschiml, designed and printed the logos of photographic studios at the verso of the cartons supporting 19th century photographic prints. As a lithographer and printer of this specific product, Wachtl formed contracts throughout the Balkans and the East, from Athens to Batoum, Trebizond, Philippople and from Adrianople to Constantinople (Istanbul), Smyrna and Cairo.

During this period the individual maps were drawn by different lithographers, including Walter Hauenstein, Georg Christian von Hoven and Rudolf Leuzinger. Since it is, in today's parlance, not strictly an atlas but a map series, map historians now describe it only by the expression Siegfried Map. The Siegfried Map was based on the original records that had already been created for the earlier Dufour Map. However, the Siegfried Map offered greater precision than the Dufour Map, by using a scale of 1:25,000 for the Swiss plateau, the French Prealps, the Jura Mountains and southern Ticino, and a scale of 1:50,000 for other mountain regions and the Swiss Alps.

He also illustrated sheet music for songs, romances and operettas by Justin Clérice, Louis Ganne, Charles Lecocq, Olivier Métra, Edmond Missa, Robert Planquette, Vincent Scotto and others. Since 1895, Faria and the lithographers Sebaïn and Axelrod created posters for shows, tourism and general advertising. From 1902 up to his death in 1911 he was, with about 300 posters, the main poster designer for the film company Pathé (Les Victimes de l'alcoolisme by Ferdinand Zecca, L'assommoir based on Emile Zola, and so on). In France Faria married and had a son Jacques, artist and father of Philippe Aragonez de Faria, who would curate his father's and grandfather's work.

Charles Swain was born to an English father and French mother in Every Street, Manchester, England, on 4 January 1801, He received an education and began work when aged 15 as a clerk for Tavaré and Horrocks, a dye-works that was part-owned by a maternal uncle. He married Ann Glover in January 1827 and the couple went on to have five daughters and a son, of which four daughters lived to become adults. Swain left his job at the dye-works after fourteen years to become a bookseller. That venture did not last and two years later he joined Lockett & Co., a firm of engravers and lithographers in Manchester.

His grandson Harold transformed the business from being principally a music printers into a fine art printers and lithographers and they established a reputation for excellence that earned them exhibitions with both Tate Gallery and the Royal Academy as well as commissions from noted artists such as Henry Moore, Barbara Hepworth and Graham Sutherland. In bringing the studio to Chilford Hall Alper expressed his strong admiration for the arts over many years. Later, he also established the Curwen Print Study Centre, an educational charity permitting people from as young as seven years of age and of all abilities to learn about different forms of printmaking.

The Romantic painter Michał Kulesza (26 November 1799 – 6 November 1863) was among the first lithographers in the area of the former Grand Duchy of Lithuania, ruled by Russia for almost all of his life. His frequent theme, sites linked to the Grand Duchy's history, reflected the growing Lithuanian and Polish ethnic activism in the area. He lived and worked in today's southern Lithuania, south-eastern Belarus, and north-eastern Poland, and traveled around in search of new subjects for his oil paintings and lithographs. A leading landscape painter of his period, Kulesza created images that are now among the sparse visual records of the region in the first half of the 19th century.

Joseph Claude Sinel (27 September 1889 – January 1975), also known as Jo Sinel or "Auckland Jo", was a pioneering industrial designer in the United States. Sinel was born in Auckland, New Zealand where his father ran a stevedoring operation. He attended the Elam School of Art, then started work as an apprentice in the art department of Wilson & Horton Lithographers, working at the New Zealand Herald from 1904 to 1909 and studying under Harry Wallace. After a stint in England, he returned to New Zealand and Australia working as a freelance designer, then moved to San Francisco in 1918, where he first worked in advertising, then in 1923 started his own industrial design company in New York City.

At some point, the Drug Enforcement Administration; the Bureau of Alcohol, Tobacco, Firearms and Explosives; the Internal Revenue Service, and the United States Coast Guard also occupied space in Bush Terminal. In 1938, after lithographers signed leases for nine buildings in Bush Terminal, the Bush Terminal Company announced that the leased buildings would receive extensive renovations. The federal government, whose Works Progress Administration stored supplies such as clothing in warehouses at Bush Terminal, was another large tenant. Other large tenants included the Monarch Wine Company, which leased three buildings at Bush Terminal in 1939, and spice companies such as the Great Atlantic & Pacific Tea Company (now A&P;), whose Bush Terminal tea-packing plant was once the world's largest.

In recent years a historical group, The Moxie Congress, was able to ascertain the identity of the man was likely a model for the lithographers printing these advertisements, and with some confidence it is posited that the "Moxie Boy" was one John T. Chamberlain of Revere, Massachusetts. In 2010 the Moxie Man logo was removed from labels for a brief period because it was thought to be too old-fashioned. In 2011 the company's head of marketing, Ryan Savage, made the executive decision to bring the logo back in response to complaints from long-standing customers. A unique advertising tool was the Moxie Horsemobile, a modified automobile whose driver sits on a large model of a horse.

This agenda lead it into conflict with employers, culminating in a major strike in New York City in 1896 after negotiations with the employers' association of lithographic firms was unsuccessful. The strike was ultimately ended by the use of arbitration, with the final result going far to meet most of the union's demands over wages and working conditions. Since neither LIPBA (transferrers and press operators) nor ILAE (artists and engravers) would admit the lesser skilled press feeders into their organizations, in 1898 there was a third union formed in the lithographic industry, the International Protective Association of Lithographic Apprentices and Press Feeders of the United States and Canada.Fink, "Lithographers and Photoengravers International Union (LPIU)," pp. 185-186.

Winslow Homer increasingly specialized in marine scenes with small boats towards the end of the century, often showing boats in heavy swells on the open sea, as in his The Gulf Stream.Thomas Eakins often painted river scenes, including Max Schmitt in a Single Scull (1871). T. G. Dutton, after a painting by G.F. St.John Thomas Goldsworthy Dutton (1820-1891) has the reputation of being one of the finest lithographers of 19th Century nautical scenes and ship portraits.T.G.Dutton Later in the century, as the coast became increasingly regarded as a place of pleasure rather than work, beach scenes and coastal landscapes without any shipping became prominent for the first time, often including cliffs and rock formations, which had earlier been mostly found in scenes of shipwreck.

A surveyor in the Dutch land registry during the Empire and the Restoration, Jobard became a naturalized Dutch citizen. Having heard of lithography, he resigned from the land registry and settled in Brussels where he was resident by 1819. His first commission was to illustrate the Annales générales des Sciences physiques, printed by Weissenbruch under the scientific editorship of Jean Baptiste Bory de Saint- Vincent, Auguste Drapiez and Jean-Baptiste Van Mons. In 1820 Jobard founded a sizable lithographic establishment, employing Jean Baptiste Madou. The Société d’encouragement pour l’industrie nationale in Paris launched an international competition for lithographers in 1828, aimed at rewarding those who had made the greatest progress in their art. Jobard was awarded the gold medal (“Le Courrier des Pays-Bas”, 3 December 1828).

Stow Wengenroth (1906-1978) was an American artist and lithographer, born in 1906 in Brooklyn, New York. Wengenroth was once called "America's greatest living artist working in black and white" by the American realist painter Andrew Wyeth, and he is generally considered to be one of the finest American lithographers of the twentieth century. He studied at the Art Students League of New York under George Bridgman and John Fabian Carlson from 1923 to 1927, then at the Grand Central School of Art under Wayman Adams. Wengenroth was elected a member of the National Institute of Arts and Letters (renamed the American Academy of Arts and Letters) in 1942 and was also a member of the Connecticut Academy of Fine Arts and the Prairie Printmakers.

Caryocar nuciferum L. Aristolochia trilobata L. Flore des Serres et des Jardins de l'Europe ('Flowers of the Greenhouses and Gardens of Europe') (18451888) was one of the finest horticulture journals produced in Europe during the 19th century, spanning 23 volumes and over 2000 coloured plates with French, German and English text. Founded by Louis van Houtte and edited together with Charles Antoine Lemaire and Michael Joseph François Scheidweiler, it was a showcase for lavish hand-finished engravings and lithographs depicting and describing botanical curiosities and treasures from around the world. The work is remarkable for the level of colour-printing craftmanship displayed by the Belgian lithographers Severeyns, Stroobant, and De Pannemaker. Louis-Constantin Stroobant (1814-1872), printed many of the illustrations for the first 10 volumes.

The group, whose ranks included notable Texas artists Alexandre Hogue, Otis Dozier, and Dallas Museum of Fine Arts director Jerry Bywaters, showed their work in exhibitions that toured throughout Texas and sold limited edition prints for $5 to $8 each. The Lone Star Printmakers also sold work through noted art historian Carl Zigrosser’s Weyhe Gallery in New York. In 1942, Mauzey was profiled in Zigrosser’s book, The Artist in America: Twenty-four Close-Ups of Contemporary Printmaking. By then a curator at Philadelphia Museum of Art, Zigrosser described Mauzey as "a kind of Rousseau among lithographers" and his work as the “translation of cotton into art” From 1943 to 1962, Mauzey worked full- time at Firestone Rubber Company and devoted his free time to his art.

Cartoon by Cincinnati lithographers Ehrgott & Forbriger published after the Battle of Boonville and mimicking the public notice of strayed animals, 21 June 1861 Federal casualties were light, with five men killed or mortally wounded and seven less seriously injured. There are no reliable figures of casualties for the Missouri State Guard: but it appears five were killed or mortally wounded and ten wounded, while about 60 to 80 were captured. Lyon seized the State Guard's supplies and equipment, which included two iron 6-pounder cannon without ammunition, 500 obsolete flintlock muskets, 1,200 pairs of shoes, a few tents, and food. Federal casualties and sources: Sergeant Jacob Kiburz, Private Marcus M. Coolidge, Charles O. Kelly were recorded as killed or mortally wounded.

Bien's studio produced work in different qualities, indicating he was willing to take on any job—city views and maps, mechanical and architectural drawings and advertisements—but on the whole his work was "distinguished by its technical superiority and flexible manipulation of print media". He worked for the federal government as well after the American Civil War, and was noted as a skilled printer of maps with "a new level of scientific accuracy" (a 1902 map of Connecticut was praised as "all that could be desired"), winning many awards, and becoming a "prominent citizen of New York" as well as the first president of the National Lithographers Association. From 1854 to 1857, and again from 1868 to 1900, he was president of B'nai B'rith, contributing substantially to its internationalization.

In a subsequent phase of urban renewal, the rail yards which had formed the Upper West Side's southwest corner were replaced by the Riverside South residential project, which included a southward extension of Riverside Park. The evolution of Riverside South had a 40-year history, often extremely bitter, beginning in 1962 when the New York Central Railroad, in partnership with the Amalgamated Lithographers Union, proposed a mixed-use development with 12,000 apartments, Litho City, to be built on platforms over the tracks. The subsequent bankruptcy of the enlarged, but short-lived Penn Central Railroad brought other proposals and prospective developers. The one generating the most opposition was Donald Trump's "Television City" concept of 1985, which would have included a 152-story office tower and six 75-story residential buildings.

The war years proved to be a prolific period for the Society. From 1941 to 1962, artist Francis Strain Beisel was director of the Renaissance Society, which became the “preeminent site for exhibitions in the Chicago area in the 1940s and 1950s.” In 1939, the Society held the Exhibition of Hand-Woven Textiles produced by the Federal Art Project of Milwaukee; in 1940, Book Illustrations by Modern American Artists; and three exhibitions in 1941: Fifteen American Sculptors and Contemporary American Lithographers, the conceptually pioneering show of American Humor: Cartoons from the Late Nineteenth Century to the Present, and Works by Chicago Artists Loaned by Chicago Collectors. In October 1944, a second exhibition of African-American artists was held, organized out of the Hampton Institute and featured several artists then serving in the military.

However, as Wyatt himself explained, the proposal was not even formalized until after the Great Exhibition had opened. Such a grandiose production must have called into play a significant proportion of Day's resources, including skilled craftsmen and lithographers such as Francis Bedford, J.A. Vinter and Henry Rafter, as well as significant capital, and management. According to Wyatt, four or five of Day's staff were constantly engaged upon the business details of the operation alone. In 1861 the firm printed a large run of bank notes for Lajos Kossuth, the famous Hungarian patriot and democratic. Kossuth was in exile from his homeland and this attempt at re-establishing a separate Hungarian currency lead to both him and Day & Son to be charged in the courts with having ‘levied war upon the Emperor of Austria’.

John Christie Wright was born in Aberdeen and was educated in Aberdeen at Robert Gordon's Technical College (now known as Robert Gordon's College), and then the Grays School of Art from 1907 to 1911, where he studied painting and sculpture under William Banbury and Harold T. Hughes, during which time he won the £50 Byrne scholarship. The Robert Gordon's College and Gray's School of Art Central Institution General Register (Session 1904–1905) indicates that in the First Year Lithographers’& Engravers’ Course he was an exceptional student, achieving a 1st Grade in Drawing with marks of 97 (Examination); 96 (Laboratory Work), and; 99 (Class & Oral Work). He was later awarded the Scottish national diploma in sculpture by Sir George Frampton, (the only one won that year). He studied modelling and architecture under Beresford Pite at the Royal College of Art in London.

Honorio Lopez monument in Plaza Moriones Owing to its location in Tondo, a working-class area of Manila, Plaza Moriones serves as a center for Philippine political discourse, second only to Plaza Miranda in Quiapo in terms of importance. On May 1, 1903, thousands of members of the Unión Obrera Democrática Filipina, led by Isabelo de los Reyes, organized the Philippines' first Labor Day celebrations, with laborers such as tailors, mechanics, barbers and lithographers marching from the plaza to Malacañang Palace. Several years later, the Partido Komunista ng Pilipinas (PKP) was established on November 7, 1930 at a public rally held at the plaza, attended by six thousand people. Currently, Plaza Moriones is designated as one of five freedom parks in the City of Manila, where protests and rallies may be held without requiring permission from local authorities.

This organization, the Lithographers' International Protective and Beneficial Association of the United States and Canada (LIPBA) was formed as an adjunct of the Knights of Labor, a predecessor and rival to the fledgling American Federation of Labor which favored an industrial form of organization. LIPBA consequently included a wide range of skilled workers among its ranks, including artists, engravers, transferrers, and skilled press operators. Most of the artists and engravers withdrew from LIPBA in 1890 to form their own organization, the cumbersomely named International Lithographic Artists' and Engravers' Insurance and Protective Association of the United States and Canada (ILAE). Originally conceived as a mutual benefit society, the ILAE rapidly moved into collective bargaining, attempting to use its clout to establish a minimum wage for artistic workers in the industry and to abolish the use of piece work.

The eight union chiefs who founded the CIO were not happy with how the AFL was unwilling to work with America's manufacturing combines. Those who favored craft unionism believed the most effective way to represent workers was to defend the advantages they had secured through their skills. They focused on the hiring of skilled workers, such as carpenters, lithographers, and railroad engineers in an attempt to maintain as much control as possible over the work their members did by enforcement of work rules, zealous defense of their jurisdiction to certain types of work, control over apprenticeship programs, and exclusion of less-skilled workers from membership. Craft unionists were opposed to organizing workers on an industrial basis, into unions which represented all of the production workers in a particular enterprise, rather than in separate units divided along craft lines.

Robert E. Lee was originally the merchant ship Giraffe, a schooner-rigged, iron-hulled, oscillating-engined paddle-steamer with two stacks, built by J&G; Thomson's Clyde Bank Iron Shipyard at Govan in Glasgow, Scotland, and launched on 16 May 1860 as a fast Glasgow-Belfast packet for the Burns Line. Alexander Collie & Co. of Manchester acquired her for their blockade-running fleet, but were persuaded by renowned blockade-runner Lieutenant John Wilkinson (CSN) to sell her to the Confederate States Navy for the same £32,000 just paid. Her first voyage was into Old Inlet, Wilmington, North Carolina in January 1863 with valuable munitions and 26 Scottish lithographers, eagerly awaited by the Confederate Government bureau of engraving and printing. On January 26, Union intelligence maintained she "could be captured easily" at anchor in Ossabaw Sound, but this was not to be for another 10 months.

His father, , was a Master glassmaker who was also a politician; serving as a member of Parliament from 1821 to 1837, and the Chamber of Peers after that.Dictionnaire des parlementaires français de 1789 à 1889, edited by Adolphe Robert and Gaston Cougny, Bourloton Online His brother, , briefly served as Minister of the Interior under Napoleon III. He studied art with Prosper Marilhat and François-Édouard Picot, but was especially influenced by the landscape painter, Louis-Nicolas Cabat, whom he accompanied on a trip to Italy from 1836 to 1837, following his first exhibit at the Salon. They became lifelong friends.Émile Bellier de La Chavignerie, General Dictionary of French School Artists from the beginning of the drawing arts to the present day: architects, painters, sculptors, engravers and lithographers, Library Renouard, 1881 Online He would continue to travel throughout his life; notably visiting Constantine, Algeria, in 1847.

While developing his skills as an etcher and lithographer in the early 1920s Blampied continued to work extensively for magazines and contributed hundreds of political cartoons and decorative drawings to The Bystander magazine between 1922 and 1926; he illustrated short stories by E.F. Benson and other authors in Hutchinson’s Magazine, and continued to design book jackets for publishers including Hodder & Stoughton, Herbert Jenkins, T. Fisher Unwin, Eveleigh Nash, William Collins and Constable. The books for T. Fisher Unwin included dust jackets for new impressions in 1923 of eleven of E. Nesbit's famous children’s novels and James Hilton's rare second novel called Storm Passage. Blampied also illustrated a film edition of Black Beauty by Anna Sewell and a new edition of The Roadmender by Michael Fairless. Blampied held his first exhibition of paintings and drawings, rather than prints, at the Leicester Galleries in February 1923 while continuing regularly to exhibit his prints at the annual shows of the Royal Society of Painter Etchers and Engravers and the Senefelder Club of British lithographers, named after Alois Senefelder, the inventor of the method.

David Cox originally trained as a painter of theatrical scenery; Walter Langley and David Bomberg were both lithographers; the artists of the Birmingham Group practiced metalwork, book illustration and stained glass manufacture as well as painting; while backgrounds in advertising and commercial graphic design were key influences on the surrealism of Conroy Maddox and the pop art of Peter Phillips. Birmingham's artistic influence has extended well beyond its borders: David Cox was a major figure of the Golden Age of English watercolour and an early precursor of impressionism; Edward Burne-Jones was the dominant figure of late-Victorian English art and an influence on Symbolism, the Aesthetic movement, and Art Nouveau; David Bomberg was one of the pioneers of English modernism; and Peter Phillips was one of the key figures in the birth of pop art. The sculptor Raymond Mason and the designers John Baskerville, Augustus Pugin, Harry Weedon and Alec Issigonis are all major figures in the history of their fields, while more widely the city has been a notable centre of the Arts and Crafts, Pictorialist and Surrealist movements, and within the fields of metalwork, typography, sculpture, printmaking, photography and stained glass.