RARE - ORIGINAL Lithograph Print 1891 - SITTING BULL

Description: RARE Original Lithograph Print Sitting Bull Denver Litho Company 1891 FOR OFFER - a nice old print. All original, vintage, old, antique - guaranteed - NOT a reproduction! Quite rare - I could only locate one of these in a museum. Supplement to The Great Divide, March 1891. Great image of the famous Native American Chief. Measures 11 7/8 x 9 inches. In good to very good condition. Looks to have been backed at one time with heavier paper. Please see photos. If you collect American history, Americana art, 19th century color printing, advertisement ad, lithograph printing, Western fine art, etc. this is a nice piece for your advertisement ad ephemera collection. Combine shipping on multiple purchases. 2980 Sitting Bull (Lakota: Tȟatȟáŋka Íyotake [tˣaˈtˣə̃ka ˈi.jɔtakɛ];[4] c. 1831 – December 15, 1890)[5] was a Hunkpapa Lakota leader who led his people during years of resistance against United States government policies. He was killed by Indian agency police on the Standing Rock Indian Reservation during an attempt to arrest him, at a time when authorities feared that he would join the Ghost Dance movement.[6] Before the Battle of the Little Bighorn, Sitting Bull had a vision in which he saw many soldiers, "as thick as grasshoppers", falling upside down into the Lakota camp, which his people took as a foreshadowing of a major victory in which many soldiers would be killed.[7] About three weeks later, the confederated Lakota tribes with the Northern Cheyenne defeated the 7th Cavalry under Lt. Col. George Armstrong Custer on June 25, 1876, annihilating Custer's battalion and seeming to fulfill Sitting Bull's prophetic vision. Sitting Bull's leadership inspired his people to a major victory. In response, the U.S. government sent thousands more soldiers to the area, forcing many of the Lakota to surrender over the next year. Sitting Bull refused to surrender, and in May 1877, he led his band north to Wood Mountain, North-West Territories (now Saskatchewan). He remained there until 1881, when he and most of his band returned to U.S. territory and surrendered to U.S. forces. After working as a performer with Buffalo Bill's Wild West show, Sitting Bull returned to the Standing Rock Agency in South Dakota. Because of fears that Sitting Bull would use his influence to support the Ghost Dance movement, Indian Service agent James McLaughlin at Fort Yates ordered his arrest. During an ensuing struggle between Sitting Bull's followers and the agency police, Sitting Bull was shot in the side and head by Standing Rock policemen Lieutenant Bull Head (Tatankapah, Lakota: Tȟatȟáŋka Pȟá) and Red Tomahawk (Marcelus Chankpidutah, Lakota: Čhaŋȟpí Dúta), after the police were fired upon by Sitting Bull's supporters. His body was taken to nearby Fort Yates for burial. In 1953, his Lakota family exhumed what were believed to be his remains, reburying them near Mobridge, South Dakota, near his birthplace. Early lifeSitting Bull was born on land later included in the Dakota Territory.[8][9] In 2007, Sitting Bull's great-grandson asserted from family oral tradition that Sitting Bull was born along the Yellowstone River, south of present-day Miles City, Montana.[10] He was named Ȟoká Psíče (Jumping Badger) at birth, and nicknamed Húŋkešni [ˈhʊ̃kɛʃni] or "Slow" said to describe his careful and unhurried nature.[11] When he was 14 years old, he accompanied a group of Lakota warriors (which included his father and his uncle Four Horns) in a raiding party to take horses from a camp of Crow warriors. He displayed bravery by riding forward and counting coup on one of the surprised Crow, which was witnessed by the other mounted Lakota. Upon returning to camp, his father gave a celebratory feast at which he conferred his own name upon his son. While the name, Tȟatȟáŋka Íyotake, in the Lakota language roughly translates to "Buffalo Who Sits Down", Americans came to commonly refer to him as "Sitting Bull".[12] Thereafter, Sitting Bull's father was known as Jumping Bull. At this ceremony before the entire band, Sitting Bull's father presented his son with an eagle feather to wear in his hair, a warrior's horse and a hardened buffalo hide shield to mark his son's passage into manhood as a Lakota warrior.[12] During the Dakota War of 1862, in which Sitting Bull's people were not involved,[8] several bands of eastern Dakota people killed an estimated 300 to 800 settlers and soldiers in south-central Minnesota in response to poor treatment by the government and in an effort to drive the whites away. Despite being embroiled in the American Civil War, the United States Army retaliated in 1863 and 1864, even against bands that had not been involved in the hostilities.[13] In 1864, two brigades of about 2200 soldiers under Brigadier General Alfred Sully attacked a village. The defenders were led by Sitting Bull, Gall and Inkpaduta.[13] The Lakota and Dakota were driven out, but skirmishing continued into August at the Battle of the Badlands.[14][15] In September, Sitting Bull and about one hundred Hunkpapa Lakota encountered a small party near what is now Marmarth, North Dakota. They had been left behind by a wagon train commanded by Captain James L. Fisk to effect some repairs to an overturned wagon. When he led an attack, Sitting Bull was shot in the left hip by a soldier.[13] The bullet exited through the small of his back, and the wound was not serious.[16] Red Cloud's WarFrom 1866 to 1868, Red Cloud, a leader of the Oglala Lakota, fought against U.S. forces, attacking their forts in an effort to keep control of the Powder River Country of Montana. In support of Red Cloud, Sitting Bull led numerous war parties against Fort Berthold, Fort Stevenson and Fort Buford and their environs from 1865 through 1868.[17] The uprising has come to be known as Red Cloud's War. By early 1868, the U.S. government desired a peaceful settlement to the conflict. It agreed to Red Cloud's demands that the U.S. abandon Forts Phil Kearny and C.F. Smith. Gall of the Hunkpapa (among other representatives of the Hunkpapa, Blackfeet and Yankton Dakota) signed a form of the Treaty of Fort Laramie on July 2, 1868 at Fort Rice (near Bismarck, North Dakota).[18] Sitting Bull did not agree to the treaty. He told the Jesuit missionary Pierre Jean De Smet, who sought him on behalf of the government: "I wish all to know that I do not propose to sell any part of my country."[19] He continued his hit-and-run attacks on forts in the upper Missouri area throughout the late 1860s and early 1870s.[20] The events of 1866–1868 mark a historically debated period of Sitting Bull's life. According to historian Stanley Vestal, who conducted interviews with surviving Hunkpapa in 1930, Sitting Bull was made "Supreme Chief of the whole Sioux Nation" at this time. Later historians and ethnologists have refuted this concept of authority, as the Lakota society was highly decentralized. Lakota bands and their elders made individual decisions, including whether to wage war.[21] Great Sioux War of 1876Further information: Great Sioux War of 1876 Early Cabinet card of Sitting Bull, 1881.Sitting Bull's band of Hunkpapa continued to attack migrating parties and forts in the late 1860s. When in 1871 the Northern Pacific Railway conducted a survey for a route across the northern plains directly through Hunkpapa lands, it encountered stiff Lakota resistance.[22] The same railway people returned the following year accompanied by federal troops. Sitting Bull and the Hunkpapa attacked the survey party, which was forced to turn back.[23] In 1873, the military accompaniment for the surveyors was increased again, but Sitting Bull's forces resisted the survey "most vigorously."[24] The Panic of 1873 forced the Northern Pacific Railway's backers (such as Jay Cooke) into bankruptcy. This halted construction of the railroad through Lakota, Dakota and Nakota territory.[25] After the 1848 discovery of gold in the Sierra Nevada and dramatic gains in new wealth from it, other men became interested in the potential for gold mining in the Black Hills. In 1874, Lt. Col. George Armstrong Custer led a military expedition from Fort Abraham Lincoln near Bismarck to explore the Black Hills for gold and to determine a suitable location for a military fort in the Hills.[26] Custer's announcement of gold in the Black Hills triggered the Black Hills Gold Rush. Tensions increased between the Lakota and European Americans seeking to move into the Black Hills.[27] Although Sitting Bull did not attack Custer's expedition in 1874, the U.S. government was increasingly pressured by citizens to open the Black Hills to mining and settlement. Failing in an attempt to negotiate a purchase or lease of the Hills, the government in Washington had to find a way around the promise to protect the Sioux in their land, as specified in the 1868 Treaty of Fort Laramie.[28] It was alarmed at reports of Sioux depredations, some of which were encouraged by Sitting Bull. In November 1875, President Grant ordered all Sioux bands outside the Great Sioux Reservation to move onto the reservation, knowing full well that not all would comply. As of February 1, 1876, the Interior Department certified as "hostile" those bands who continued to live off the reservation.[29] This certification allowed the military to pursue Sitting Bull and other Lakota bands as "hostiles".[29][30] Based on tribal oral histories, historian Margot Liberty theorizes that many Lakota bands allied with the Cheyenne during the Plains Wars because they thought the other nation was under attack by the U.S. Given this connection, she suggests the major war should have been called "The Great Cheyenne War". Since 1860, the Northern Cheyenne had led several battles among the Plains Indians. Before 1876, the U.S. Army had destroyed seven Cheyenne camps, more than those of any other nation.[31] Other historians, such as Robert M. Utley and Jerome Greene, also use Lakota oral testimony, but they have concluded that the Lakota coalition, of which Sitting Bull was the ostensible head, was the primary target of the federal government's pacification campaign.[32][33][34] During the period 1868–1876, Sitting Bull developed into one of the most important Native American political leaders. After the Treaty of Fort Laramie (1868) and the creation of the Great Sioux Reservation, many traditional Sioux warriors, such as Red Cloud of the Oglala and Spotted Tail of the Brulé, moved to reside permanently on the reservations. They were largely dependent for subsistence on the U.S. Indian agencies. Many other chiefs, including members of Sitting Bull's Hunkpapa band such as Gall, at times, lived temporarily at the agencies. They needed the supplies at a time when white encroachment and the depletion of buffalo herds reduced their resources and challenged Native American independence.[citation needed] In 1875, the Northern Cheyenne, Hunkpapa, Oglala, Sans Arc, and Minneconjou camped together for a Sun Dance, with both the Cheyenne medicine man White Bull or Ice and Sitting Bull in association. This ceremonial alliance preceded their fighting together in 1876.[31] Sitting Bull had a major revelation. At the climactic moment, "Sitting Bull intoned, 'The Great Spirit has given our enemies to us. We are to destroy them. We do not know who they are. They may be soldiers.' Ice too observed, 'No one then knew who the enemy were – of what tribe.'...They were soon to find out." — Utley 1992: 122–24Sitting Bull's refusal to adopt any dependence on the U.S. government meant that at times he and his small band of warriors lived isolated on the Plains. When Native Americans were threatened by the United States, numerous members from various Sioux bands and other tribes, such as the Northern Cheyenne, came to Sitting Bull's camp. His reputation for "strong medicine" developed as he continued to evade the European Americans. Sketch of Sitting Bull; Harper's Weekly, December 8, 1877 issue.After the ultimatum on January 1, 1876, when the U.S. Army began to track down as hostiles those Sioux and others living off the reservation, Native Americans gathered at Sitting Bull's camp. He took an active role in encouraging this "unity camp". He sent scouts to the reservations to recruit warriors and told the Hunkpapa to share supplies with those Native Americans who joined them. An example of his generosity was Sitting Bull's provision for Wooden Leg's Northern Cheyenne tribe. They had been impoverished by Captain Reynolds' March 17, 1876 attack and fled to Sitting Bull's camp for safety.[31] Over the course of the first half of 1876, Sitting Bull's camp continually expanded as natives joined him for safety in numbers. His leadership had attracted warriors and families, creating an extensive village estimated at more than 10,000 people. Lt. Col. Custer came across this large camp on June 25, 1876. Sitting Bull did not take a direct military role in the ensuing battle; instead, he acted as a spiritual leader. A week prior to the attack, he had performed the Sun Dance, in which he fasted and sacrificed over 100 pieces of flesh from his arms.[8] Battle of the Little BighornFurther information: Battle of the Little Bighorn The area where the Battle of the Little Bighorn took place.On June 25, 1876, Custer's scouts discovered Sitting Bull's camp along the Little Big Horn River (known as the Greasy Grass River to the Lakota). After being ordered to attack, Custer's 7th Cavalry's troops lost ground quickly and were forced to retreat. Sitting Bull's followers, led into battle by Crazy Horse, counterattacked and ultimately defeated Custer while surrounding and laying siege to the other two battalions led by Reno and Benteen.[35] Aftermath of the Battle of the Little BighornThe Native Americans' victory celebrations were short-lived. Public shock and outrage at Custer's defeat and death, as well as the government's understanding of the military capability of the remaining Sioux, led the War Department to assign thousands more soldiers to the area. Over the next year, the new American military forces pursued the Lakota, forcing many of the Native Americans to surrender. Sitting Bull refused to do so and in May 1877 led his band across the border into the North-West Territories, Canada. He remained in exile for four years near Wood Mountain, refusing a pardon and the chance to return.[36] When crossing the border into Canadian territory, Sitting Bull was met by the Mounties of the region. During this meeting, James Morrow Walsh, commander of the North-West Mounted Police, explained to Sitting Bull that the Lakota were now on British soil and must obey British law. Walsh emphasized that he enforced the law equally and that every person in the territory had a right to justice. Walsh became an advocate for Sitting Bull and the two became good friends for the remainder of their lives.[37] While in Canada, Sitting Bull also met with Crowfoot, who was a leader of the Blackfeet, long-time powerful enemies of the Lakota and Cheyenne. Sitting Bull wished to make peace with the Blackfeet Nation and Crowfoot. As an advocate for peace himself, Crowfoot eagerly accepted the tobacco peace offering. Sitting Bull was so impressed by Crowfoot that he named one of his sons after him.[38] Sitting Bull and his people stayed in Canada for four years. Due to the smaller size of the buffalo herds in Canada, Sitting Bull and his men found it difficult to find enough food to feed their starving people. Sitting Bull's presence in the country led to increased tensions between the Canadian and the United States governments.[39] Before Sitting Bull left Canada, he may have visited Walsh for a final time and left a ceremonial headdress as a memento.[40] Surrender Fort Buford's original 1872 Commanding Officer's Quarters where Sitting Bull's surrender ceremony was held. Sitting Bull and family 1881 at Fort Randall. Rear L–R: Good Feather Woman (sister), Walks Looking (daughter); Front L–R: Her Holy Door (mother), Sitting Bull, Many Horses (daughter) with her son, Courting a Woman. Sitting Bull, 1885Hunger and desperation eventually forced Sitting Bull and 186 of his family and followers to return to the United States and surrender on July 19, 1881. Sitting Bull had his young son Crow Foot surrender his Winchester lever-action carbine to major David H. Brotherton, commanding officer of Fort Buford. Sitting Bull said to Brotherton, "I wish it to be remembered that I was the last man of my tribe to surrender my rifle".[8] In the parlor of the Commanding Officer's Quarters in a ceremony the next day, he told the four soldiers, 20 warriors and other guests in the small room that he wished to regard the soldiers and the white race as friends but he wanted to know who would teach his son the new ways of the world. Two weeks later, after waiting in vain for other members of his tribe to follow him from Canada, Sitting Bull and his band were transferred to Fort Yates, the military post located adjacent to the Standing Rock Agency. This reservation straddles the present-day boundary between North and South Dakota.[41] Sitting Bull and his band of 186 people were kept separate from the other Hunkpapa gathered at the agency. Army officials were concerned that he would stir up trouble among the recently surrendered northern bands. On August 26, 1881, he was visited by census taker William T. Selwyn, who counted twelve people in the Hunkpapa leader's immediate family. Forty-one families, totaling 195 people, were recorded in Sitting Bull's band.[42] The military decided to transfer Sitting Bull and his band to Fort Randall to be held as prisoners of war. Loaded onto a steamboat, the band of 172 people was sent down the Missouri River to Fort Randall (near present-day Pickstown, South Dakota) on the southern border of the state. There they spent the next 20 months. They were allowed to return north to the Standing Rock Agency in May 1883.[8] In 1883, The New York Times reported that Sitting Bull had been baptized into the Catholic Church. James McLaughlin, Indian agent at Standing Rock Agency, dismissed these reports, saying: "The reported baptism of Sitting-Bull is erroneous. There is no immediate prospect of such ceremony so far as I am aware."[43][44][45] Annie OakleyIn 1884 show promoter Alvaren Allen asked Agent James McLaughlin to allow Sitting Bull to tour parts of Canada and the northern United States. The show was called the "Sitting Bull Connection." It was during this tour that Sitting Bull met Annie Oakley in Minnesota.[46] He was so impressed with Oakley's skills with firearms that he offered $65 (equal to $1,960 today) for a photographer to take a photo of the two together.[47] The admiration and respect was mutual. Oakley stated that Sitting Bull made a "great pet" of her.[47] In observing Oakley, Sitting Bull's respect for the young sharpshooter grew. Oakley was quite modest in her attire, deeply respectful of others, and had a remarkable stage persona despite being a woman who stood only five feet in height. Sitting Bull felt that she was "gifted" by supernatural means in order to shoot so accurately with both hands. As a result of his esteem, he symbolically "adopted" her as a daughter in 1884. He named her "Little Sure Shot" – a name that Oakley used throughout her career.[48] Wild West showIn 1885, Sitting Bull was allowed to leave the reservation to go Wild Westing with Buffalo Bill Cody's Buffalo Bill's Wild West. He earned about $50 a week (equal to $1,508 today) for riding once around the arena, where he was a popular attraction. Although it is rumored that he cursed his audiences in his native tongue during the show, the historian Utley contends that he did not.[49] Historians have reported that Sitting Bull gave speeches about his desire for education for the young, and reconciling relations between the Sioux and whites.[50] The historian Edward Lazarus wrote that Sitting Bull reportedly cursed his audience in Lakota in 1884, during an opening address celebrating the completion of the Northern Pacific Railway.[51] According to Michael Hiltzik, "...Sitting Bull declared in Lakota, 'I hate all White people.' ... 'You are thieves and liars. You have taken away our land and made us outcasts.'" The translator, however, read the original address which had been written as a 'gracious act of amity', and the audience, including President Grant, was left none the wiser.[52] Sitting Bull stayed with the show for four months before returning home. During that time, audiences considered him a celebrity and romanticized him as a warrior. He earned a small fortune by charging for his autograph and picture, although he often gave his money away to the homeless and beggars.[53] Ghost Dance movementSitting Bull returned to the Standing Rock Agency after working in Buffalo Bill's Wild West show. The tension between Sitting Bull and Agent McLaughlin increased and each became warier of the other over several issues including division and sale of parts of the Great Sioux Reservation.[54] During that period, in 1889 Indian Rights Activist Caroline Weldon from Brooklyn, New York, a member of the National Indian Defense Association "NIDA", reached out to Sitting Bull, acting to be his voice, secretary, interpreter and advocate. She joined him, together with her young son Christy, at his compound on the Grand River, sharing with him and his family home and hearth.[55] In 1889, during a time of harsh winters and long droughts impacting the Sioux Reservation, a Paiute Indian named Wovoka spread a religious movement from Nevada eastward to the Plains that preached a resurrection of the Native. It was known as the "Ghost Dance movement" because it called on the Indians to dance and chant for the rising up of deceased relatives and the return of the buffalo. The dance included shirts that were said to stop bullets. When the movement reached Standing Rock, Sitting Bull allowed the dancers to gather at his camp. Although he did not appear to participate in the dancing, he was viewed as a key instigator. Alarm spread to nearby white settlements.[56] Death and burial Capture and death of Sitting Bull "Wild scene", "Squaws death chant heard in every direction," telegram sent after killing of Sitting Bull Monument at Sitting Bull's grave, Mobridge, South Dakota, 2003In 1890, James McLaughlin, the U.S. Indian agent at Fort Yates on Standing Rock Agency, feared that the Lakota leader was about to flee the reservation with the Ghost Dancers, so he ordered the police to arrest him.[57] On December 14, 1890, McLaughlin drafted a letter to Lieutenant Henry Bullhead (noted as Bull Head in lead), an Indian agency policeman, that included instructions and a plan to capture Sitting Bull. The plan called for the arrest to take place at dawn on December 15 and advised the use of a light spring wagon to facilitate removal before his followers could rally. Bullhead decided against using the wagon. He intended to have the police officers force Sitting Bull to mount a horse immediately after the arrest.[55][58][59][60][61] Around 5:30 a.m. on December 15, 39 police officers and four volunteers approached Sitting Bull's house. They surrounded the house, knocked and entered. Bullhead told Sitting Bull that he was under arrest and led him outside.[62] Sitting Bull and his wife noisily stalled for time, and the camp awakened and men converged at the house. As Bullhead ordered Sitting Bull to mount a horse, he said that the Indian Affairs agent wanted to see the chief, and that Sitting Bull could then return to his house. When Sitting Bull refused to comply, the police used force on him. The Sioux in the village were enraged. Catch-the-Bear, a Lakota, shouldered his rifle and shot Bullhead, who reacted by firing his revolver into the chest of Sitting Bull.[63] Another police officer, Red Tomahawk, shot Sitting Bull in the head, and Sitting Bull dropped to the ground. Sitting Bull died between 12 and 1 p.m.[63] A close-quarters fight erupted, and within minutes, several men were dead. The Lakota killed six policemen immediately, while two more died shortly after the fight, including Bullhead. The police killed Sitting Bull and seven of his supporters at the site, along with two horses.[64] Sitting Bull's grave at Fort Yates, c. 1906Sitting Bull's body was taken to Fort Yates, where it was placed in a coffin (made by the Army carpenter)[65] and buried. A monument was installed to mark his burial site after his remains were reportedly taken to South Dakota. In 1953, Lakota family members exhumed what they believed to be Sitting Bull's remains, transporting them for reinterment near Mobridge, South Dakota, his birthplace.[66][67] A monument to him was erected there. LegacyFollowing Sitting Bull's death, his cabin on the Grand River was taken to Chicago for use as an exhibit at the 1893 World's Columbian Exposition. Native American dancers also performed at the exposition.[68]On September 14, 1989, the United States Postal Service released a Great Americans series 28¢ postage stamp featuring a likeness of Sitting Bull.[69]On March 6, 1996, Standing Rock College was renamed Sitting Bull College in his honor. Sitting Bull College serves as an institution of higher education on Sitting Bull's home of Standing Rock in North Dakota and South Dakota.[70]The American historian Gary Clayton Anderson of the University of Oklahoma published Sitting Bull and the Paradox of Lakota Nationhood (2010), a revisionist examination of the Lakota medicine man. Anderson analyzes the Battle of the Little Bighorn in light of past successes of the Lakota Nation and the merits of Sitting Bull himself, rather than as a simple mistake by Custer.[71]In August 2010, a research team led by Eske Willerslev, an ancient DNA expert at the University of Copenhagen, announced its intention to sequence the genome of Sitting Bull, with the approval of his descendants, using a hair sample obtained during his lifetime.[72] In October 2021, Willerslev's research confirmed Lakota writer and activist Ernie Lapointe (who had previously proclaimed himself to be Sitting Bull's great-grandson) and his three sisters to be Sitting Bull's biological great-grandchildren.[73]Representation in popular cultureSitting Bull was the subject of, or a featured character in, several Hollywood motion pictures and documentaries, which have reflected changing ideas about him and Lakota culture in relation to the United States. Among them are: Sitting Bull: The Hostile Sioux Indian Chief (1914)[74]Sitting Bull at the Spirit Lake Massacre (1927), with Chief Yowlachie in the title role[75]Annie Oakley (1935), played by Chief Thunderbird[76]Annie Get Your Gun (1950), played by J. Carrol Naish[77]Sitting Bull (1954), with J. Carrol Naish again in the title role[78]Cheyenne (1957), with Frank DeKova as Sitting Bull[79]Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976), played by Frank Kaquitts[80]Buffalo Girls (1995 miniseries), played by Russell Means[81]Into the West (2005 miniseries), played by Eric Schweig[82]Bury My Heart at Wounded Knee (2007), played by August Schellenberg[83]Sitting Bull: A Stone in My Heart (2008), documentary[84]Woman Walks Ahead (2017), played by Michael Greyeyes[85]As time passed, Sitting Bull has become a symbol and archetype of Native American resistance movements as well as a figure celebrated by descendants of his former enemies: Legoland Billund, in Billund, Denmark, the first Legoland park, contains a 36-foot-tall Lego sculpture of Sitting Bull.[86]Sitting Bull is featured as the leader for the Native American Civilization in the computer game Civilization IV.[87]Sitting Bull is listed as one of 13 great Americans in President Barack Obama's children's book, Of Thee I Sing: A Letter to My Daughters.[88]See alsoCrazy HorseBlack ElkHenry Mabb 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]

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