Litho - IV

Anonymous German Artist
No. 4711 Face Powder
ca. 1905
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Moriz Jung
Plastische Posen
c. 1905-1915
lithograph
(postcard produced by Wiener Werkstätte)
Graphische Sammlung Albertina, Vienna

Maximilian Liebenwein
Pallas Athena
1906
lithograph
Graphische Sammlung Albertina, Vienna

Leopoldo Metlicovitz
Opening of the Simplon Tunnel
1906
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Julius Klinger
Lustige Blätter (magazine)
1909
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Hans Günther Reinstein
Mozart Pianos
1909
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Anonymous Austrian Artist
Veteran Artists of the Chat Noir, Paris -
Three Performances at Saal Ehrbar, Vienna
1910
lithograph (poster)
Graphische-Sammlung-Albertina-Vienna

Hans Rudi Erdt
Die Woche (magazine)
1910
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Géza Faragó
Digestol Glück
1910
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Hollerbaum & Schmidt (printers)
Hohlfeld Roller
(ledger-supporting platform on wheels)
ca. 1910
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Rudolf Kalvach
Inspiration
ca. 1910
lithograph
(postcard produced by Wiener Werkstätte)
Graphische Sammlung Albertina, Vienna

Aristide Maillol
Juno
ca. 1910
lithograph
High Museum of Art, Atlanta

Emil Ranzenhofer
Cig Shoe-Polish Stick
1910
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Oskar Kokoschka
Der Sturm (magazine)
1911
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Ewald Dülberg
Aida - Hamburger Stadt Theater
1912
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Egon Schiele
Self Portrait
1912
lithograph
Städtisches Museum, Braunschweig

But the Athenians stirred not from Aegina; but those that remained at Athens, both young and old, under the conduct of Myronides went to Megara; and after they had fought with doubtful victory, they parted asunder again with an opinion on both sides not to have had the worse in the action.  And the Athenians, who notwithstanding had rather the better, when the Corinthians were gone away erected a trophy.  But the Corinthians, having been reviled at their return by the ancient men of the city, about twelve days after came again prepared and set up their trophy likewise, as if the victory had been theirs.  Hereupon the Athenians sallying out of Megara with a huge shout both slew those that were setting up the trophy and, charging the rest, got the victory.

The Corinthians, being overcome, went their way; but a good part of them, being hard followed and missing their way, lighted into the enclosed ground of a private man, which fenced with a great ditch had no passage through.  Which the Athenians perceiving, opposed them at the place by which they entered with their men of arms and, encompassing the ground with their light armed soldiers, killed those that were entered with stones.  This was a great loss to the Corinthians, but the rest of their army got home again.  

– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)

Litho - II

Kenyon Cox
Scribner's
The Last Quarter Century in America
1895
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Hermann-Paul
Salon des Cent
1895
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Max Laeuger
Schiedmayer Pianofortefabrik
1895
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Giulio Angelo Liberale
Paprika Schlesinger
ca. 1895
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Emil Orlik
Orlik - Prague
(logo for haberdasher)
ca. 1895
lithograph
Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden

William McGregor Paxton
The Boston Sunday Herald
1895
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Eduard Veith
Jos. & Em. Bratmann - Olive Oil - Vienna
ca. 1895
lithograph
Graphische Sammlung Albertina, Vienna

Hermann Behrens
C.C. Meinhold & Sons, Dresden
1896
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Robert Fowler
Autumn Exhibition of Pictures
Walker Art Gallery, Liverpool
1896
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Edvard Munch
Death in the Sickroom
1896
lithograph
Kupferstichkabinett, Staatliche Museen zu Berlin

Armand Rasenfosse
L'Art Indépendant
1896
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Louis John Rhead
Cassell's Magazine
1896
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Félix Vallotton
The Green Hat
1896
lithograph
Graphische Sammlung, ETH Zürich

Edward Penfield
Harper's - April
1897
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Alfred Roller
Exhibition of Max Slevogt at Kunstsalon Eugen Artin
1897
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Osmar Schindler
Internationale Kunstausstellung, Dresden
1897
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

The Lacedaemonians, when the war against those in Ithome grew long, amongst other their confederates sent for aid to the Athenians, who also came with no small forces under the command of Cimon.  They were sent for principally for their reputation in mural assaults, the long continuance of the siege seeming to require men of ability in that kind, whereby they might perhaps have gotten the place by force.  And upon this journey grew the first manifest dissension between the Lacedaemonians and the Athenians.  For the Lacedaemonians when they could not take the place by assault, fearing lest the audacious and innovating humour of the Athenians, whom withal they esteemed of a contrary race, might, at the persuasion of those in Ithome, cause some alteration if they stayed, dismissed them alone of all the confederates, not discovering their jealousy but alleging that they had no farther need of their service.  But the Athenians, perceiving that they were not sent away upon good cause but only as men suspected, made it a heinous matter, and conceiving that they had better deserved at the Lacedaemonians' hands, as soon as they were gone left the league which they had made with the Lacedaemonians against the Persians and became confederates with their enemies the Argives; and then both Argives and Athenians took the same oath and made the same league with the Thessalians. 

– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)

Fashion in Pictures

Mary Cassatt
The Fitting
ca. 1890-91
drypoint and color aquatint
National Gallery of Australia, Canberra

Georges Lepape
Laquelle?
(Robe de soirée de Paul Poiret)
ca. 1912
lithograph and pochoir
Cooper Hewitt, Smithsonian Design Museum

Georges Lepape
Dieu! Qu'il fait froid . . .
(Manteau d'hiver de Paul Poiret)
ca. 1913
lithograph and pochoir
Cooper Hewitt, Smithsonian Design Museum

Maurice Taquoy
L'Entr'Acte
(Robe de soir de Worth)
1913
lithograph and pochoir
Cooper Hewitt, Smithsonian Design Museum

Dagobert Peche
Fashion Illustration - Woman in Garden
1914
hand-colored woodcut
Cooper Hewitt, Smithsonian Design Museum

Man Ray
Peggy Guggenheim wearing Paul Poiret
1924
gelatin silver print
National Portrait Gallery, Washington DC

Georges Barbier
L'Air
1925
lineblock and pochoir
Cooper Hewitt, Smithsonian Design Museum

Cecil Beaton
Ruth Ford modeling Satin Cape
ca. 1930-40
gelatin silver print
Hirshhorn Museum, Washington DC

Charles James
Fashion Studies
1962
drawing
Chrysler Museum of Art, Norfolk, Virginia

Charles James
Fashion Study
1962
drawing
Chrysler Museum of Art, Norfolk, Virginia

Boris Chaliapin
Rudi Gernreich
1967
gouache and graphite on board
(commissioned by Time magazine)
National Portrait Gallery, Washington DC

David  Bailey
Penelope Tree for British Vogue
1968
gelatin silver print
Victoria & Albert Museum, London

Arthur Leipzig
Pauline Trigère creating a Garment
1968
gelatin-silver-print-
National Portrait Gallery, Washington DC

Judy McGuggart
John Fairchild, editor of Women's Wear Daily
1970
needlepoint on canvas
(commissioned by Time magazine)
National Portrait Gallery, Washington DC

Ann Weir
Study of a Dress
1984
drawing
National Gallery of Australia, Canberra

Zoe Leonard
Geoffrey Beene Fashion Show
1990
gelatin silver print
Whitney Museum of American Art, New York

Margaret Strickland
Easter Dress
2007
inkjet print
Smithsonian American Art Museum, Washington DC

Sandpiper

The roaring alongside he takes for granted,

and that every so often the world is bound to shake.

He runs, he runs to the south, finical, awkward,

in a state of controlled panic, a student of Blake.

The beach hisses like fat. On his left, a sheet

of interrupting water comes and goes

and glazes over his dark and brittle feet.

He runs, he runs straight through it, watching his toes.

– Watching, rather, the spaces of sand between them,

where (no detail too small) the Atlantic drains

rapidly backwards and downwards. As he runs,

he stares at the dragging grains.

The world is a mist. And then the world is

minute and vast and clear. The tide

is higher or lower. He couldn't tell you which.

His beak is focussed, he is preoccupied,

looking for something, something, something.

Poor bird, he is obsessed!

The millions of grains are black, white, tan, and gray, 

mixed with quartz grains, rose and amethyst.

– Elizabeth Bishop (1962)

Lettered

Joseph J. Gould
Lippincott's - May
1896
lithograph (poster)
Library of Congress, Washington DC

Eric Gill
Society of Wood Engravers
1920
color woodblock print
British Museum

F. Bernard Clarke
London County Council
A.R.P. - A.F.S.
1939
lithograph (poster)
National Museum of American History,
Washington DC

Dat Keely
A.R.P. - Women Wanted
1939
lithograph (poster)
National Museum of American History,
Washington DC

Ben Shahn
Break Reaction's Grip
1946
lithograph (poster)
Smithsonian American Art Museum,
Washington DC

Elaine Lustig Cohen
The Strange Islands - poems by Thomas Merton
1957
lithograph
Cooper Hewitt, Smithsonian Design Museum

Tomoko Miho
Broadway
1968
offset-lithograph
Cooper Hewitt, Smithsonian Design Museum

Elaine Lustig Cohen
Russian Triquarterly
1975-
lithograph
Cooper Hewitt, Smithsonian Design Museum

Anonymous American Designer
Shopping Bag from Fiorucci, New York
ca. 1980
offset-print on paper bag
Cooper Hewitt, Smithsonian Design Museum

Anonymous French Designer
Shopping Bag from Fauchon, Paris
ca. 1985
offset-print on paper bag
Cooper Hewitt, Smithsonian Design Museum

Anonymous Austrian Designer
Shopping Bag from the Albertina, Vienna
1986
offset-print on paper bag
Cooper Hewitt, Smithsonian Design Museum

Philippe Apeloig
Chicago, Naissance d'une Métropole - Musée d'Orsay
1987
screenprint (exhibition poster)
Cooper Hewitt, Smithsonian Design Museum

Michael Schirmer
Alles Falsch - Museum für Gestaltung, Zürich
ca. 1989
screenprint (exhibition poster)
Cooper Hewitt, Smithsonian Design Museum

Anonymous American Designer
Shopping Bag from Chiasso, Chicago
ca. 1990
offset-print on paper bag
Cooper Hewitt, Smithsonian Design Museum

Milton Glaser
Olivetti Quaderno
1993
offset-lithograph (advertising poster)
Cooper Hewitt, Smithsonian Design Museum

William Eggleston
Untitled (Cushion, Purple Wall, Graffiti, Memphis)
2007
inkjet print
Whitney Museum of American Art, New York

Philippe Apeloig
Vivo in Typo
Affiches et Alphabets Animés
2008
screenprint (exhibition poster)
Cooper Hewitt, Smithsonian Design Museum

13 June 1947

    Last night I had a rather wonderful dream.  I was in a lofty dimly lighted old hospital ward, nurses moved about silently and rapidly, sometimes murmuring a word to a patient here and there.

    Beside my own bed stood a Roman Catholic priest, and behind him were two other cloudy people, perhaps an attendant priest and a staff nurse or matron.  He was a little ferrety man with large rimless glasses and a rapt, tortured expression.

    He seemed to bless me with embarrassing depth of feeling, then, still murmuring something, he put his first and second fingers into my mouth and held the points of them against the roof of my mouth very delicately.  He was looking up to heaven murmuring faster now.  His pale face was beginning to be dewed with sweat.

    Gradually a most delicious tingling began to spread through all my body from the point in my mouth which the priest's fingers touched.  In spite of this surging pleasure, I was dimly ashamed of being the priest's patient or victim.  I felt that he was a man I could not help despising a little.  I was in a false position.  He must feel that.  I loved him for the miracle he was performing, whereas I really felt, deep down, only a pale disgust for him and the thing he was doing to me.

    After some moments of this uneasy ecstasy, the priest lifted his two fingers to Heaven, then blessed me and left.  The nice staff nurse or sister at once came up to me and said, "You are healed, isn't it wonderful! You are healed!"

    I could hardly believe it, and kept saying, "Healed for the moment, healed for the moment," to myself.  Indeed my whole attitude in the high hospital ward was a grudging and humiliated one; yet I had affection for the nice sister and even felt something like respect for the priest, in spite of my distaste or rather through it. 

    Now that I was healed, I must have wanted to get away at once from all signs of pain and illness; for I next found myself in the wings of a vast theatre.  I had run there deliriously expecting to find all the friends I did.  Valerie White (a girl I had known at the art school, who has since become quite a well-known actress) was there.  I had never particularly cared for her, but now I was polite and kind and happy and she was too.

    I flitted from group to group of gay friendly people.  I explored all the strange heights and depths behind a stage.  I danced most of the way, spinning, tumbling, kicking, to exercise my new-found joy in movement to the full.  I was singing too, letting the wild excitement ripple off my tongue.

    Then just as I was in a low, wide corridor hung with choking draperies of cotton, a sort of dust-sheet decoration, grim and hopeless, just as I was beginning to feel tired and very thirsty, someone appeared dressed as Hamlet in tight black velvet.  He carried a wide stumpy crystal goblet frosted with cold.  He was rather short, or perhaps the wide shoulders made him look stocky.  His face was squarish – lips, nose, eyes, the cut of his dark hair.  Although I have never seen anyone like him in real life, he was immediately, I knew, my best friend.  He knew it too, and offered me the goblet with a gay flourishing gesture, as if he were laughing at himself.

    I took it in both hands and drank the inky purple liquid; it was loganberry juice – something I have not had since I was seventeen.  It seemed that I could never have enough of the ice-cold deliciousness.  I drank and drank and looked over the rim of the goblet at My Best Friend.  Why did he seem to wear this invisible label?  He was smiling at me, laughing with me; we seemed in complete accord, yet I could tell at a glance that we were very different types of people.  This seemed to make his graciousness all the more precious.  I found myself thinking wildly of ways in which I could be of service to him.  I stretched out my hand to him, he stretched out his hand to me; we were about to do some stamping, strutting, military dance, when he dropped his stage bravado, ran up to me and urged me to leave, in a low serious voice that cut across all our former gaiety.

    The dream faded as we both fled on tiptoe, our fingers to our lips.  But in spite of this ballet-dancer's ending, there was real regret in both of us.  We seemed to be acting this stealth and anxiety to cover up the fact that we must part at the stage door.

– from The Journals of Denton Welch (who was born in 1915, gravely injured in 1935, then wrote the journals between 1942 and his early death in 1948), edited by Michael De-la-Noy (1984)