Relevant bibliographies by topics / Lithography, British

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Lithography, British'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 February 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Lithography, British.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Lithography, British"

1

REISCH, MARC. "Du Pont to buy British lithography plate firm." Chemical & Engineering News 67, no. 22 (May 29, 1989): 6. http://dx.doi.org/10.1021/cen-v067n022.p006a.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Janku, Andrea. "Gutenberg in Shanghai. Chinese Print Capitalism, 1876–1937. By Christopher A. Reed. [Vancouver, Toronto: University of British Columbia Press, 2004. xvii, 391 pp. ISBN 1206-9523.]." China Quarterly 182 (June 2005): 443–45. http://dx.doi.org/10.1017/s0305741005290264.

Full text
Abstract:
Gutenberg in Shanghai is a book about the industrial revolution in China's print culture and the ensuing rise of print capitalism ‘with Chinese characteristics.’ It offers a coherent and unique account of the introduction, adaptation and eventual imitation of modern, i.e. Western, print technology in China, with the aim of establishing the material basis on which to study the transition of China's ancient literary culture into the industrial age. It reconstructs the history of print technology from the first cast type matrices to the adaptation of the electrotype process, from photo-lithography to the colour-offset press, from the platen press to the rotary printing press, and tells the stories of three of the most dominant lithograph and letterpress publishers of the late Qing and the early Republican period respectively. This is a worthwhile undertaking, exploring an aspect of modern publishing in China, which hitherto has not received the attention it deserves. The study is based on missionary writings, personal reminiscences, collections of source materials, documents on the early book printers' trade organizations from the Shanghai Municipal Archives, and oral history materials (interviews conducted during the 1950s with former printing workshops apprentices). The bibliography also lists a couple of interviews, but unfortunately it is not clear how relevant they are to the story told in the book.The introduction of lithography into Shanghai by Jesuit missionaries in 1876 plays a pivotal role in this account. Lithography, especially photolithography coming a few years later, was a technology particularly suited to Chinese needs and cheaper than traditional wood-block printing.
APA, Harvard, Vancouver, ISO, and other styles
3

COPPINS, Brian J., and Alan M. FRYDAY. "New or previously misunderstood species of Lithographa and Rimularia (Agyriaceae) from the southern subpolar region and western Canada." Lichenologist 38, no. 2 (March 2006): 93–107. http://dx.doi.org/10.1017/s0024282906005512.

Full text
Abstract:
Lithographa serpentina Coppins & Fryday is newly described from Campbell Island (New Zealand), and is unique within its genus and order for having submuriform ascospores. Also newly described are Lithographa opegraphoides Coppins & Fryday from the Falkland Isles, Rimularia actinostoma Coppins & Fryday from Canada (British Columbia), and Rimularia austrolimborina Coppins & Fryday from southern Chile. The new combination Lithographa graphidioides (Cromb.) Imshaug ex Coppins & Fryday is made to accommodate the previously misunderstood Stigmatidium graphidioides Cromb. and the more recently described Lithographa subantarctica Hertel & Rambold. A key to all described species of Lithographa is provided.
APA, Harvard, Vancouver, ISO, and other styles
4

Rogerson, Ian. "Breaking the Mould: The First Hundred Years of Lithography20025Michael Twyman. Breaking the Mould: The First Hundred Years of Lithography. London: The British Library 2001. x+182 pp., ISBN: 0 7123 4719 4 £20.00." Library Review 51, no. 7 (October 2002): 383. http://dx.doi.org/10.1108/lr.2002.51.7.383.5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Williams, R. B., and Hugh S. Torrens. "No. 3 Highbury Grove, Islington: the private geological museum of James Scott Bowerbank (1797–1877)." Archives of Natural History 43, no. 2 (October 2016): 278–84. http://dx.doi.org/10.3366/anh.2016.0383.

Full text
Abstract:
James Scott Bowerbank (1797–1877), author of A history of the fossil fruits and seeds of the London Clay (1840) and A monograph of the British Spongiadae (1864–1882) was an immensely energetic self-taught naturalist, and the founder or co-founder of several famous scientific societies. In 1847, at the age of 50 years, he retired from business as the wealthy joint head of his family's distillery company to devote himself to scientific research. In 1846, such was the extent of his collections of fossils and other specimens already amassed before his retirement, he had been obliged to build a private museum as an extension of his residence at no. 3 Highbury Grove, Islington, London. The fame of this museum, where on Monday evenings in the summer Bowerbank held informal scientific soirées, spread rapidly and attracted many eminent scientists from Great Britain and abroad. Almost as soon as it was built, the museum was immortalized in a curious lithographic cartoon, which jokingly represented it as a typical Victorian London chop-house with various fossils on the menu, making gentle fun of Bowerbank's perceived eccentric obsession with palaeontology. The identities of neither artist nor printer of the cartoon are known for certain, but Edward Forbes is suggested herein as a strong candidate for the possible artist. Nine copies have been traced in London, though none elsewhere in the United Kingdom. Probably it was intended for private circulation among Bowerbank's friends and colleagues. The present paper provides a brief account of the Highbury Grove museum and a description of the remarkable 1846 lithograph.
APA, Harvard, Vancouver, ISO, and other styles
6

NELSON, E. CHARLES, and J. PARNELL. "An annotated bibliography of the Irish botanist William Henry Harvey (1811–1866)." Archives of Natural History 29, no. 2 (June 2002): 213–44. http://dx.doi.org/10.3366/anh.2002.29.2.213.

Full text
Abstract:
The Irish botanist William Henry Harvey (1811–1866), who came of Quaker stock, published more than 130 books, papers and pamphlets during his lifetime. He also drew and lithographed at least one thousand illustrations, mainly of marine algae from North America, the British Isles and Australia, but also flowering plants of southern Africa and California, and mosses from the Indian subcontinent and southern Africa. This annotated bibliography also includes his non-botanical works.
APA, Harvard, Vancouver, ISO, and other styles
7

Parry-Jones, William. "“Caesar of the Salpêtrière” J.-M. Charcot's impact on Psychological Medicine in the 1880s." Bulletin of the Royal College of Psychiatrists 11, no. 5 (May 1987): 150–53. http://dx.doi.org/10.1192/s014007890002513x.

Full text
Abstract:
The year 1887 is memorable in medical history for the painting depicting ‘Une leçon du Docteur Charcot à la Salpêtrière’ by André Brouillet (1857–1914), a pupil of Gérôme. Lithographs by Eugene Pirodon of this painting were much reproduced and Sigmund Freud hung a copy in his consulting room. In fact, Freud had travelled from Vienna to Paris, in October 1885, to observe the work of Jean-Martin Charcot at the Salpêtrière. Charcot's views about hysteria and hypnosis were to have a formative and enduring influence on Freud, who returned home, four and a half months later, as one of Charcot's unqualified admirers and champions. It is timely, exactly a century later, to reflect on Charcot's work and influence, when his career was at its zenith and, in particular, to consider his impact on British psychological medicine.
APA, Harvard, Vancouver, ISO, and other styles
8

Wyse Jackson, P. N., and M. A. Parkes. "William Hellier Baily (1819-1888): forever an Acting Palaeontologist with the Geological Survey of Ireland." Geological Curator 9, no. 2 (December 2009): 57–84. http://dx.doi.org/10.55468/gc210.

Full text
Abstract:
Bristol-born William Hellier Baily (1819-1888) was an accomplished artist and lithographer, who spent all of his adult life employed by the Geological Survey, first in London and then from 1857 until his death in Dublin. He was responsible for the identification and curation of thousands of fossil specimens on which he provided reports for the official memoirs that described the mapped geology of Ireland. Appointed as a Senior Geologist to Ireland he was styled 'Acting Palaeontologist' and he waged a long and ultimately unsuccessful campaign to gain promotion to Palaeontologist. He was a regular participant at the annual meetings of the British Association for the Advancement of Science, and published on a wide spectrum of topics in palaeontology.
APA, Harvard, Vancouver, ISO, and other styles
9

Kölbl-Ebert, Martina. "Sketching Rocks and Landscape: Drawing as a Female Accomplishment in the Service of Geology." Earth Sciences History 31, no. 2 (January 1, 2012): 270–86. http://dx.doi.org/10.17704/eshi.31.2.n436w6mx3g846803.

Full text
Abstract:
Women as amanuenses have played an important role in early British geology. Among their varied tasks often was the sketching and drawing of fossils, landscape and outcrops. Such drawings served several purposes. They were used to give an idea of landscape and outcrops in publications or to figure new species in palaeontological papers, but they also served as proxies for individual fossils in dialogues conducted by means of letters. Mary Anning used them to advertise new finds to potential buyers, while Mary Buckland painted huge displays to be used in her husband's lectures. Drawing was part of the education of ‘accomplished’ British women in the early nineteenth century. Like music, embroidery and dancing, drawing was often taught in special schools or academies, sometimes by quite competent artists. Other women, however, such as Mrs Mantell, were self-taught or had to familiarise themselves with new techniques, learning to do line engravings and how to make lithographs in order to illustrate her husband's books more cheaply. In Germany or France, by comparison, the ability to draw was less central to girls' education, who in Germany at least were expected instead to excel in cooking, knitting and other household duties. But even there, an amateur palaeontologist might fall back on the assistance of his daughter, when he needed someone to illustrate his letters with drawings of specimens.
APA, Harvard, Vancouver, ISO, and other styles
10

Blagbrough, H. J. "In from the cold: an overview of the British Antarctic Survey fossil collections." Geological Curator 9, no. 1 (December 2008): 21–26. http://dx.doi.org/10.55468/gc203.

Full text
Abstract:
The British Antarctic Survey is the custodian of more than 57,000 Antarctic fossils, of which some 2,500 are Type & Figured specimens. In addition to these, the geological collections include over 100,000 rock and mineral specimens representing all the main lithologies. Gathered over the last 60 years, the collections form an invaluable taxonomic and lithographic resource for the study of biodiversity, environmental change and planetary evolution. Methods of analysis are constantly being refined and up-dated so the collection needs to be effectively managed, stored and recorded if it is to continue to function as an investigative resource. Good curation is especially important given the high cost, in both time and money, of collecting specimens from such a remote and hostile environment. For the most part, the material is well documented but more curatorial time needs to be spent on the specimens if they are not to deteriorate through contamination or neglect.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Lithography, British"

1

Young, Tom. "Art in India's 'Age of Reform' : amateurs, print culture, and the transformation of the East India Company, c.1813-1858." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/285900.

Full text
Abstract:
Two images of British India persist in the modern imagination: first, an eighteenth-century world of incipient multiculturalism, of sexual adventure amidst the hazy smoke of hookah pipes; and second, the grandiose imperialism of the Victorian Raj, its vast public buildings and stiff upper lip. No art historian has focused on the intervening decades, however, or considered how the earlier period transitioned into the later. In contrast, Art in India's 'Age of Reform' sets out to develop a distinct historical identity for the decades between the Charter Act of 1813 and the 1858 Government of India Act, arguing that the art produced during this period was implicated in the political process by which the conquests of a trading venture were legislated and 'reformed' to become the colonial possessions of the British Nation. Over two parts, each comprised of two chapters, two overlooked media are connected to 'reforms' that have traditionally been understood as atrophying artistic production in the subcontinent. Part I relates amateur practice to the reform of the Company's civil establishment, using an extensive archive associated with the celebrated amateur Sir Charles D'Oyly (1781-1845) and an art society that he established called the Behar School of Athens (est.1824). It argues that rather than citing the Company's increasing bureaucratisation as the cause of a decline in fine art patronage, it is crucial instead to recognise how amateur practice shaped this bureaucracy's collective identity and ethos. Part II connects the production and consumption of illustrated print culture to the demographic shifts that occurred as a result of the repeal of the Company's monopolistic privileges in 1813 and 1833, focusing specifically on several costume albums published by artists such as John Gantz (1772-1853) and Colesworthy Grant (1813-1880). In doing so, it reveals how print culture provided cultural capital to a transnational middle class developing across the early-Victorian Empire of free trade. Throughout each chapter, the gradual undermining of the East India Company's sovereignty by a centralising British State is framed as a prerequisite to the emergence of the nation-state as the fundamental category of modern social and political organisation. Art in India's 'Age of Reform' therefore seeks not only to uncover the work and biographies of several unstudied artists in nineteenth-century India, but reveals the significance of this overlooked art history to both the development of the modern British State, and the consequent demise of alternative forms of political corporation.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Lithography, British"

1

Artmonsky, Ruth. The school prints: A romantic project. London: Artmonsky Arts, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Art and print: The Curwen story. London: Tate, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Nicholson, Francis. Francis Nicholson: Lithographs and engravings of Georgian Britain. Pickering, United Kingdom: Blackthorn Press, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Greenwood, Jeremy. The wood-engravings of John Nash: A catalogue of the wood- engravings, early lithographs, etchings and engravings on metal. Liverpool, Eng: Wood Lea Press, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Greenwood, Jeremy. The wood-engravings of John Nash: A catalogue of the wood- engravings, early lithographs, etchings and engravings on metal. Liverpool, Eng: Wood Lea Press, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Henry, Moore. Henry Moore: Lithographs, etchings and woodcuts, 1931-1982. London: Lumley Cazalet, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Gallery, Winnipeg Art. Catalogue of paintings in oils and water colors, etchings, lithographs, aquatints and bronzes by the Royal British Colonial Society of Artists, London. [Winnipeg]: Winnipeg Gallery and School of Art, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Gallery, William Weston. Prints under 1000 from the 19th century to modern masters: A special catalogue of etchingsand lithographs by Euoropean and British artists of the 19th and 20th century. London: The William Weston Gallery, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Furnivall, Frederick James, and William Shakespeare. Shakespere's Merchant of Venice; the first (tho worse) quarto, 1600, a facsimile in photo-lithography by William Griggs with forewords by Frederick J. Furnivall. Nabu Press, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Evans, W. F., and H. W. Mapleton-Bree. British Libellulinae, Or, Dragon Flies: Illustrated in a Series of Lithograph Drawings, with a Brief Description of the Insects, Times of Appearance, &c. Franklin Classics Trade Press, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Lithography, British"

1

Williams, Helen S. "Production." In The Edinburgh History of the British and Irish Press, Volume 2, 65–83. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474424882.003.0004.

Full text
Abstract:
This chapter explores changes in technology and work flows affecting periodical print production, beginning with the introduction of iron presses around 1800.While the fundamental processes of letterpress printing (a relief process) remained in place, many details were mechanised and new techniques came into use both for setting type and for producing illustrations. The fundamental processes remained the same, but speed and efficiency increased. The use of steam and other forms of motive power enabled the development of presses built on the rotary principle, which were reel- rather than sheet-fed, thus exploiting the benefits of the mechanisation of paper production. Attempts were also made to mechanise the process of typesetting, but none were consistently successful until the development of Linotype and Monotype in the last quarter of the century. The available methods of reproducing illustrations changed with the invention of lithographic and, in the second half of the century, photographic processes such as half-tone and photogravure. The technological changes fed organisational changes within the print trade. Compositors and pressmen adapted their work practices and national print trade unions were established in the middle of the century.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Lithography, British' for particular source types:
Journal articles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography