$495.0 Buy It Now or Best Offer
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Seller Store dalebooks
(8792) 100.0%,
Location: Rochester, New York
Ships to: US,
Item: 304704110180
Restocking Fee:No
Return shipping will be paid by:Seller
All returns accepted:Returns Accepted
Item must be returned within:30 Days
Refund will be given as:Money Back
Type of Advertising:Sign
Color:Multi-color
Date of Creation:1910
Original/Reproduction:Original
Time Period Manufactured:Pre-1930
Country/Region of Manufacture:United States
Modified Item:No
SUPER RARE Original Advertising Sign / Poster Spectacular Color Lithograph Sign NOS — New Old Stock — Burt Seed Company, Dalton, New York ca 1910 FOR OFFER — a nice old advertising sign. All original, vintage, old, antique — guaranteed — NOT a reproduction! Very rare. The color lithography ( Chromolithograph ) is incredible & vibrant. Vegetables — originally from the Burt Seed Company, in Dalton, NY. Fine condition. Ca. 1910 era. Name Written in pencil on back. Not sure why the company never printed advertising on front. LARGE — 22 1/4 x 16 inches. Like new condition. Please see photos. More research needed on this piece. Perhaps some genealogy importance for someone. If you collect American history, Americana art, 19th century sign printing, advertisement ad, broadside poster related, lithograph printing Western NY, art, etc. this is a nice piece for your advertisement ad ephemera collection. Combine shipping on multiple purchases. 2826 Lithography (from Ancient Greek λίθος, lithos ‘stone’, and γράφειν, graphein ‘to write’)[1] is a method of printing originally based on the immiscibility of oil and water.[2] The printing is from a stone (lithographic limestone) or a metal plate with a smooth surface. It was invented in 1796 by the German author and actor Alois Senefelder and was initially used mostly for musical scores and maps.[3][4] Lithography can be used to print text or images onto paper or other suitable material.[5] A lithograph is something printed by lithography, but this term is only used for fine art prints and some other, mostly older, types of printed matter, not for those made by modern commercial lithography. Originally, the image to be printed was drawn with a greasy substance, such as oil, fat, or wax, onto the surface of a smooth and flat limestone plate. The stone was then treated with a mixture of weak acid and gum arabic («etch») that made the parts of the stone’s surface that were not protected by the grease more water-loving. For printing, the stone was first moistened. The water only adhered to the gum-treated parts, making them even more oil-repellant. An oil-based ink was then applied, and would stick only to the original drawing. The ink would finally be transferred to a blank paper sheet, producing a printed page. This traditional technique is still used for fine art printmaking.[6] In modern commercial lithography, the image is transferred or created as patterned polymer coating applied to a flexible plastic or metal plate.[7] The printing plates, whether stone or metal, can be created by a photographic process, a method that may be referred to as «photolithography» (although the term usually refers to a vaguely similar microelectronics manufacturing process). [8][9] Offset printing or «offset lithography» is an elaboration of lithography in which the ink is transferred from the plate to the paper by means of a rubber plate or cylinder, rather than by direct contact of the two. This technique keeps the paper dry and allows high speed fully automated operation. It has mostly replaced traditional lithography for medium- and high-volume printing: since the 1960s, most books and magazines, especially when illustrated in colour, are printed with offset lithography from photographically created metal plates. As a printing technology, lithography is different from intaglio printing (gravure), wherein a plate is engraved, etched, or stippled to score cavities to contain the printing ink; and woodblock printing or letterpress printing, wherein ink is applied to the raised surfaces of letters or images. The principle of lithographyLithography uses simple chemical processes to create an image. For instance, the positive part of an image is a water-repelling («hydrophobic») substance, while the negative image would be water-retaining («hydrophilic»). Thus, when the plate is introduced to a compatible printing ink and water mixture, the ink will adhere to the positive image and the water will clean the negative image. This allows a flat print plate to be used, enabling much longer and more detailed print runs than the older physical methods of printing (e.g., intaglio printing, letterpress printing). Lithography was invented by Alois Senefelder[1] in the Kingdom of Bavaria in 1796. In the early days of lithography, a smooth piece of limestone was used (hence the name «lithography»: «lithos» (λιθος) is the ancient Greek word for stone). After the oil-based image was put on the surface, a solution of gum arabic in water was applied, the gum sticking only to the non-oily surface. During printing, water adhered to the gum arabic surfaces and was repelled by the oily parts, while the oily ink used for printing did the opposite. Lithography on limestone Lithography stone and mirror image print of a map of MunichLithography works because of the mutual repulsion of oil and water. The image is drawn on the surface of the print plate with a fat or oil-based medium (hydrophobic) such as a wax crayon, which may be pigmented to make the drawing visible. A wide range of oil-based media is available, but the durability of the image on the stone depends on the lipid content of the material being used, and its ability to withstand water and acid. After the drawing of the image, an aqueous solution of gum arabic, weakly acidified with nitric acid (HNO3) is applied to the stone. The function of this solution is to create a hydrophilic layer of calcium nitrate salt, Ca(NO3)2, and gum arabic on all non-image surfaces.[1] The gum solution penetrates into the pores of the stone, completely surrounding the original image with a hydrophilic layer that will not accept the printing ink. Using lithographic turpentine, the printer then removes any excess of the greasy drawing material, but a hydrophobic molecular film of it remains tightly bonded to the surface of the stone, rejecting the gum arabic and water, but ready to accept the oily ink.[10] [11] When printing, the stone is kept wet with water. Naturally the water is attracted to the layer of gum and salt created by the acid wash. Printing ink based on drying oils such as linseed oil and varnish loaded with pigment is then rolled over the surface. The water repels the greasy ink but the hydrophobic areas left by the original drawing material accept it. When the hydrophobic image is loaded with ink, the stone and paper are run through a press that applies even pressure over the surface, transferring the ink to the paper and off the stone. This very early colour lithograph from 1835 uses large washes of orange and cyan with black ink providing the details.Senefelder had experimented during the early 19th century with multicolor lithography; in his 1819 book, he predicted that the process would eventually be perfected and used to reproduce paintings.[3] Multi-color printing was introduced by a new process developed by Godefroy Engelmann (France) in 1837 known as chromolithography.[3] A separate stone was used for each color, and a print went through the press separately for each stone. The main challenge was to keep the images aligned (in register). This method lent itself to images consisting of large areas of flat color, and resulted in the characteristic poster designs of this period. A lithographer at work, 1880″Lithography, or printing from soft stone, largely took the place of engraving in the production of English commercial maps after about 1852. It was a quick, cheap process and had been used to print British army maps during the Peninsula War. Most of the commercial maps of the second half of the 19th century were lithographed and unattractive, though accurate enough.»[12] Modern lithographic processMain article: Offset printing A Polish 1902 lithograph map of the western parts of the Russian Empire (original size 33×24 cm)High-volume lithography is currently used to produce posters, maps, books, newspapers, and packaging—just about any smooth, mass-produced item with print and graphics on it. Most books, indeed all types of high-volume text, are now printed using offset lithography. For offset lithography, which depends on photographic processes, flexible aluminum, polyester, mylar or paper printing plates are used instead of stone tablets. Modern printing plates have a brushed or roughened texture and are covered with a photosensitive emulsion. A photographic negative of the desired image is placed in contact with the emulsion and the plate is exposed to ultraviolet light. After development, the emulsion shows a reverse of the negative image, which is thus a duplicate of the original (positive) image. The image on the plate emulsion can also be created by direct laser imaging in a CTP (Computer-To-Plate) device known as a platesetter. The positive image is the emulsion that remains after imaging. Non-image portions of the emulsion have traditionally been removed by a chemical process, though in recent times plates have come available that do not require such processing. Lithography press for printing maps in Munich Lithography machine in Bibliotheca AlexandrinaThe plate is affixed to a cylinder on a printing press. Dampening rollers apply water, which covers the blank portions of the plate but is repelled by the emulsion of the image area. Hydrophobic ink, which is repelled by the water and only adheres to the emulsion of the image area, is then applied by the inking rollers. If this image were transferred directly to paper, it would create a mirror-type image and the paper would become too wet. Instead, the plate rolls against a cylinder covered with a rubber blanket, which squeezes away the water, picks up the ink and transfers it to the paper with uniform pressure. The paper passes between the blanket cylinder and a counter-pressure or impression cylinder and the image is transferred to the paper. Because the image is first transferred, or offset to the rubber blanket cylinder, this reproduction method is known as offset lithography or offset printing.[13] Many innovations and technical refinements have been made in printing processes and presses over the years, including the development of presses with multiple units (each containing one printing plate) that can print multi-color images in one pass on both sides of the sheet, and presses that accommodate continuous rolls (webs) of paper, known as web presses. Another innovation was the continuous dampening system first introduced by Dahlgren, instead of the old method (conventional dampening) which is still used on older presses, using rollers covered with molleton (cloth) that absorbs the water. This increased control of the water flow to the plate and allowed for better ink and water balance. Current dampening systems include a «delta effect or vario», which slows the roller in contact with the plate, thus creating a sweeping movement over the ink image to clean impurities known as «hickies». Archive of lithographic stones in MunichThis press is also called an ink pyramid because the ink is transferred through several layers of rollers with different purposes. Fast lithographic ‘web’ printing presses are commonly used in newspaper production. The advent of desktop publishing made it possible for type and images to be modified easily on personal computers for eventual printing by desktop or commercial presses. The development of digital imagesetters enabled print shops to produce negatives for platemaking directly from digital input, skipping the intermediate step of photographing an actual page layout. The development of the digital platesetter during the late 20th century eliminated film negatives altogether by exposing printing plates directly from digital input, a process known as computer-to-plate printing. Lithography as an artistic mediumFurther information: List of printmakers Smiling Spider by Odilon Redon, 1891During the first years of the 19th century, lithography had only a limited effect on printmaking, mainly because technical difficulties remained to be overcome. Germany was the main center of production in this period. Godefroy Engelmann, who moved his press from Mulhouse to Paris in 1816, largely succeeded in resolving the technical problems, and during the 1820s lithography was adopted by artists such as Delacroix and Géricault. After early experiments such as Specimens of Polyautography (1803),[14] which had experimental works by a number of British artists including Benjamin West, Henry Fuseli, James Barry, Thomas Barker of Bath, Thomas Stothard, Henry Richard Greville, Richard Cooper, Henry Singleton, and William Henry Pyne, London also became a center, and some of Géricault’s prints were in fact produced there. Goya in Bordeaux produced his last series of prints by lithography—The Bulls of Bordeaux of 1828. By the mid-century the initial enthusiasm had somewhat diminished in both countries, although the use of lithography was increasingly favored for commercial applications, which included the prints of Daumier, published in newspapers. Rodolphe Bresdin and Jean-François Millet also continued to practice the medium in France, and Adolph Menzel in Germany. In 1862 the publisher Cadart tried to initiate a portfolio of lithographs by various artists, which was not successful but included several prints by Manet. The revival began during the 1870s, especially in France with artists such as Odilon Redon, Henri Fantin-Latour and Degas producing much of their work in this manner. The need for strictly limited editions to maintain the price had now been realized, and the medium became more accepted. Self Portrait with Skeleton Arm by Edvard MunchIn the 1890s, color lithography gained success in part by the emergence of Jules Chéret, known as the father of the modern poster, whose work went on to inspire a new generation of poster designers and painters, most notably Toulouse-Lautrec, and former student of Chéret, Georges de Feure. By 1900 the medium in both color and monotone was an accepted part of printmaking. During the 20th century, a group of artists, including Braque, Calder, Chagall, Dufy, Léger, Matisse, Miró, and Picasso, rediscovered the largely undeveloped artform of lithography thanks to the Mourlot Studios, also known as Atelier Mourlot, a Parisian printshop founded in 1852 by the Mourlot family. The Atelier Mourlot originally specialized in the printing of wallpaper; but it was transformed when the founder’s grandson, Fernand Mourlot, invited a number of 20th-century artists to explore the complexities of fine art printing. Mourlot encouraged the painters to work directly on lithographic stones in order to create original artworks that could then be executed under the direction of master printers in small editions.[15] The combination of modern artist and master printer resulted in lithographs that were used as posters to promote the artists’ work.[16][17] Grant Wood, George Bellows, Alphonse Mucha, Max Kahn, Pablo Picasso, Eleanor Coen, Jasper Johns, David Hockney, Susan Dorothea White, and Robert Rauschenberg are a few of the artists who have produced most of their prints in the medium. M. C. Escher is considered a master of lithography, and many of his prints were created using this process. More than other printmaking techniques, printmakers in lithography still largely depend on access to good printers, and the development of the medium has been greatly influenced by when and where these have been established. An American scene for lithography was founded by Robert Blackburn in New York City. As a special form of lithography, the serilith process is sometimes used. Seriliths are mixed-media original prints created in a process in which an artist uses the lithograph and serigraph processes. The separations for both processes are hand-drawn by the artist. The serilith technique is used primarily to create fine art limited print editions.[18] Seed companies produce and sell seeds for flowers, fruits and vegetables to commercial growers and amateur gardeners. The production of seed is a multibillion-dollar business, which uses growing facilities and growing locations worldwide. While most of the seed is produced by large specialist growers, large amounts are also produced by small growers that produce only one to a few crop types. The larger companies supply seed both to commercial resellers and wholesalers. The resellers and wholesalers sell to vegetable and fruit growers, and to companies who package seed into packets and sell them on to the amateur gardener. Most seed companies or resellers that sell to retail produce a catalog, for seed to be sown the following spring, that is generally published during early winter. These catalogs are eagerly awaited by the amateur gardener, as during winter months there is little that can be done in the garden so this time can be spent planning the following year’s gardening. The largest collection of nursery and seed trade catalogs in the U.S. is held at the National Agricultural Library where the earliest catalogs date from the late 18th century, with most published from the 1890s to the present.[1] Seed companies produce a huge range of seeds from highly developed F1 hybrids to open pollinated wild species. They have extensive research facilities to produce plants with genetic materials that result in improved uniformity and appeal. These qualities might include disease resistance, higher yields, dwarf habit and vibrant or new colors. These improvements are often closely guarded to protect them from being utilized by other producers, thus plant cultivars are often sold under the company’s own name and protected by international laws from being grown for seed production by others. Along with the growth in the allotment movement, and the increasing popularity of gardening, there have emerged many small independent seed companies. Many of these are active in seed conservation and encouraging diversity. They often offer organic and open pollinated varieties of seeds as opposed to hybrids. Many of these varieties are heirloom varieties. The use of old varieties maintains diversity in the horticultural gene pool. It may be more appropriate for amateur gardeners to use older (heirloom) varieties as the modern seed types are often the same as those grown by commercial producers, and so characteristics which are useful to them (e.g. vegetables ripening at the same time) may be unsuited to home growing. HistoryShakers were among the earliest commercial producers of garden seeds; the first seeds sold in paper packets were produced by the Watervliet Shakers.[2][3] Until 1924, US farmers received seed from the federal government’s extensive free seed program that distributed millions of packages of seed annually. At its high point in 1897, over 2 million packages of seed were distributed to farmers. Even at the time the program was eliminated in 1924, it was the third largest line item in the United States Department of Agriculture’s budget. In 1930, seed companies were not primarily concerned with varietal production, but were still trying to successfully commodify seeds. There was no need to protect seed breeding at that time because there were few markets for seeds. Seed companies’ first priority was simply to establish a market, and they continued to view congressional seed distribution as a principal constraint.[4] Consolidation of the commercial seed industryFrom 1994 to 2010, seed prices increased drastically due to a consolidation of the commercial seed industry into six major companies. During this time, companies introduced six genetically engineered crops for just two traits: herbicide tolerance and insect resistance. In 1996, Monsanto introduced its first RoundUp Ready seeds engineered to tolerate the companies proprietary herbicide.[5] By 2019, four seed companies, Bayer, Corteva, ChemChina and BASF had consolidated to dominate the commercial seed market controlling 60% of the global proprietary seed sales. Economists have claimed that the industry has lost its competitive edge and anticipate less choice and higher prices for farmers. There is further concern that due to the companies’ interest in Intellectual Property, there will be less innovation and more restrictions on seeds which could make the seeds inaccessible to public researchers, farmers, and independent breeders thereby threatening the world’s food security.[6][7] Activists have called for stronger antitrust measures in the face of these mergers and acquisitions and recommended a UN Treaty on Competition to make changes internationally.[8] Seed packets and seed information A farmer’s son holding out seedsGenerally, seed packet labels includes: Common plant name and the botanical name (in parentheses).Spacing and depth: How deep to place the seeds in the soil, space between plants (from one row to the other one and from one plant to the other one in the same row).Height: Approximate height the plant will reach when mature.Soil: Type of soil the plant prefers.Water: It can indicate «keep the soil lightly damp», «bottom water the plant», «drench the soil with water», «daily misting of water» and «almost dry out before re-watering».Sun: Full direct sunlight, partial sun, diffused sunlight, or grows well in the shade.Indoors or outdoors: If the plant is best suited for growing indoors, outdoors or both.Whether it is a perennial or annual.Planting, germination and harvest period: This information can be indicated by months or quarters of the year.Special requirements, if necessary.This information may be represented graphically. See alsoAmerican Seed Trade AssociationArboretumBiodiversityESA European Seed AssociationList of seed packet companiesMonoculture See alsomapNorth America portalHistory portalHeraldry portalBlock printingColor printingFlexographyGerman inventors and discoverersHistory of graphic designLineographyList of art techniquesLithography using MeV ions – Proton beam writingPhotochromPhotogravureTheodore Regensteiner, inventor of the four-color lithographic pressRotogravureSeriolithographStencil lithographyStereolithographyTypography Towns near Dalton, Livingston County, NY Larger settlements#LocationPopulationTypeArea1†Geneseo8,031VillageCenter2Dansville4,719VillageSouth3Avon3,394VillageNorth4Mount Morris2,986VillageCenter5Conesus Lake2,584CDPLakeside6Caledonia2,201VillageNorth7Lima2,139VillageNorth8Livonia1,409VillageLakeside9Nunda1,377VillageSouth10Lakeville756CDPNorth11East Avon608CDPNorth12Hemlock557CDPLakeside13Springwater549CDPLakeside14York544CDPNorth15Leicester468VillageCenter16Livonia Center421CDPLakeside17Dalton362CDPSouth18Retsof340CDPCenter19Conesus308CDPLakeside20Cuylerville297CDPCenter21Groveland Station281CDPCenter22South Lima240CDPNorth23Fowlerville227CDPNorth24Piffard220CDPCenter25Greigsville209CDPNorth26Wadsworth190CDPCenter27Cumminsville183CDPSouth28Scottsburg117CDPSouth29Kysorville110CDPSouth30Woodsville80CDPLakeside31Hunt78CDPSouth32Linwood74CDPNorth33Websters Crossing69CDPLakeside34Byersville47CDPSouthTownsAvonCaledoniaConesusGeneseoGrovelandLeicesterLimaLivoniaMount MorrisNorth DansvilleNundaOssianPortageSpartaSpringwaterWest SpartaYork
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