paerenes nae Ae = tisast sat Leneehacdtastivads RESEARCH LIBRARY THE GETTY RESEARCH INSTITUTE JOHN MOORE ANDREAS COLOR CHEMISTRY LIBRARY FOUNDATION Hid aT Tv rr AA LY A A A AT LA AVAL ATLA AV ATAT AVATAR AVAVAT AT ATA aT aM a Ae SAA RANA ANAKRARAAAAKRAAAAAANAAAANANAAANAAAARAAAAANAANAAAAAANAAAAKAAMNABRAARANAAAARAAAAAAADAARKRANRAANAAAARAAADRADRARARRIAA RARER ARR ARARANAY 200004060 2900800 0805009 559 F000 TSS 2BS59S SES 650092950008 00 88055 S0000SbC 2901295 OSSSOS 29060 FOTTT SESS RET OS Y TESTES 008500 0980000 0 OFS S59 EH OF 0U0T0960 900000 S OF SS 08 O50 069000005850 0009080 4005 00081850050 50590000 00008085 OF9USSS CSD RST TOTDO SE SECS ETHUSOTSESTEDSOCSOVOSDN CEES GEO. H. MORRILL CO. Founded 1840 “Morrill 2S E000E GSS OOF SOE NET © OF0 00000060950 000 0 2000900082 GE 89908850 5025050905 5000000505 9005 80S 0S85 55905 0000050000 00008 205808009 SS 59000 0980S50 055 0580000005000 8H95SSS905 005 00 FSS FOS HTT0ELFET0SOS0 5000S O96 5059150940005 00 00004005058 0000088 5908000805005 8000800 ODN ODP DPOF DIP PPFD OO Fr x] |] 4 q q 4 4 ] | M J ‘ ‘| ( ( {| q q J i { ( 4 ( 4 ( q 4 ( q ( 4 q { {J ( ( 4 { ( | ( q { ( ( ¢ { ( { ( { 4 ( 4 4 { { 4 ( M| 4 4 q i Manufacturers of 2 PRINTING INKS IN EVERY COLOR AND VARIETY LITHO AND OrFFsET INKS IN BLACK AND COLOR oa iJ A WELL BALANCED RANGE OF Process INKS ED) News INKs FOR EVERY REQUIREMENT VARNISHES FOR LITHO AND LETTERPRESS oe oc 28 60 5 ED Le ee a Ce Me tee BO ORE a ES Be Sg a oe* RP? | a Ty a to i a GEO. H. MORRILL CO. HEAD OFFICE NORWOOD, MASS. FACTORIES NORWOOD, MASS. - CLEARING, ILL. CARBON PLANTS BARREN CREEK, WEST VIRGINIA SHREWSBURY, WEST VIRGINIA EASTERN, KENTUCKY DISTRIBUTING BRANCHES BOSTON, NEW YORK, CHICAGO, ST. LOUIS, SAN FRANCISCO LOS ANGELES FOREIGN REPRESENTATIVES AMERICAN TRADING COMPANY FOR ENGLAND, THE FAR EAST AND AUSTRALASIA NATIONAL PAPER & TYPE COMPANY FOR MEXICO AND LATIN AMERICA THE GETTY RESFaecH Foreword HE illustrations in this book show results / obtained from a selection of representa- tive black and colored inks manufactured 6 by this Company in keeping with the highest standards of modern printing. To ; make the book more interesting and ser- viceable a variety of subjects has been chosen and the use of paper, screen and ink has been considered in connec- tion with each; only nationally known papers, for in- stance, having been selected. The black inks, chosen from many, are typical of each class with certain definite features. No attempt has been made to show all of the colored inks manufactured, those included being representative of the most popular. Prac- tically any variation may be obtained by mixture of the inks illustrated, in addition to which the Company's fac- tories and branches are equipped to furnish inks of any special shade or for any particular purpose. At the bottom of each page is a block with solid and various screens for convenience in matching and a brief summary of certain properties of each ink which have been determined from experience or by laboratory test. PERMANENCY. In testing for permanency it is found that while certain inks show no change after forty-five {vt} FOREWORD hours exposure in the Fadeometer, which is equivalent to a month in the sunlight of northern United States, they may change under the sun’s rays in Texas, Southern California and other similar localities. It has also been determined that inks madefrom permanent pigments can- - not be reduced beyond a certain point without losing per- manency and that the use of some papers has the same effect. ALKALI PROOF. An ink may be rated as alkali or paste proof as shown by our customary test with an aqueous caustic solution but the result may be different if exposed to a stronger solution or if the paste be acid instead of alkaline. DRYING AND SETTING. Certain inks are made to dry quickly, others to set quickly, but the atmosphere, the quality of the paper or its hygroscopic condition and other causes may counteract the drying or setting quali- ties of any ink. Summary The properties of the inks listed herein have been es- tablished by actual test under certain definite conditions and are given in good faith as a guide to the printer, but “because of the varying circumstances under which print- ing is done and the effect of factors such as differences in paper, atmospheric conditions, amount of ink carried, state of the rollers, other material added to the ink, etc. this Company, of necessity, assumes no responsibility for results obtained because of statements made in this book and such statements are not to be construed as warranties. Gro. H. Morritt Co. — {vu} ACKNOWLEDGEMENTS * Credit and thanks are given to those through whose courtesy the following illustrations were obtained for this book: FRANKLIN Portrait. From plates of Norman T. A. Munder and Co. reproducing a painting of Joseph Siffrein Duplessis (1725-1802) by permission of The Metropolitan Museum. Tue Boy 1n Rep. From a copyrighted print of The Medici Society of America, reproducing a painting by Madame Vigée Lebrun (1755-1842). Nicut Scengz. From a prize photograph by Joseph A. Popino, New York. GrorGE WasHINGTON. From a bust by Jean Antoine Houdon (1741- 1828) in The Boston Museum of Fine Arts, a gift from Mr. Edward Tuck. Tue Pour. Reproduction of statue used as copyrighted trademark by the Damascus Bronze Company, Pittsburgh. Map or Lonpon, From Smith’s First Book on Geography published. in 1848 by Cole & Burgess of New York. Courtesy of Mrs. Edith Miniter, Malden, Mass. Gutenserc Bisrz. From the first book printed with movable type. by Johannes Gutenberg of Mainz, Germany, (1400-1468), begun in 1450 and finished in 1455. Courtesy of Norman T. A. Munder and Company. { vu} ACKNOWLEDGEMENTS Horn-Boox. From an illustration of Thomas R. Beaufort in A History of The Horn-Book, by Andrew W. Tuer, F.S.A., show- ing a device by which children were first taught their letters, consisting of the alphabet and Lord’s Prayer printed and pasted on a small board with handle and transparent horn protection held in place by brass edging. Its use began about 1500 A. D. and continued for about three hundred years, the specimen shown having been made during the reign of Queen Elizabeth (1558-1603). Arca oF Titus. From a photograph of Adolph Braun & Co., New York. Ye Oxp Dicx. From an etching by George T. Plowman of an old inn, Smithfield, England. Tree Biren Trexs. From a photograph by John Kabel, Dayton, Ohio. Litrte Bos anp Tiny Tim. Well known characters of Charles Dick- ens’ A Christmas Carol from a Copley Print, copyrighted by Curtis & Cameron, Publishers, Boston, reproducing a painting by Jessie Wilcox Smith. Lapy 1n Brug. From the portrait of a Russian Princess by C. A. Somoff (1869-2). Tretiakoff Gallery, Moscow. Avuip Lane Synz. From a copyrighted Copley Print by Curtis & Cameron, Publishers, Boston, of a painting by W. L. Taylor, copyrighted by The Curtis Publishing Co., and printed by per- mission of The Ladies Home Journal. Cana InN VENIcE. From a painting of the Spanish Artist, Martin Rico, (1850-1908), by permission of The Art Institute, Chicago. {1x} ACKNOWLEDGEMENTS By Permission of the Metropolitan Museum: Tue Lute Prayer and Tue Sicn Painter. From paintings by Jean Louis Meissonier (1815-1891). Tue Apotuecary Suop. From a painting by F. A. Grison (1845- 1885). YounGc WomAN wITH WATER JuG. Painting by Johannes Vermeer (1632-1675). MepirTatTIon. From a painting by Charles Sprague Pearce. From Drawings by LeRoy Henry Appleton, New York. STREET IN OLD Cairo PotrEry DEsIGN THE CoTraGE From Photographs of H. Armstrong Roberts, Philadelphia. Crowinc Cock THe Swan From Photographs of Gramstorff Bros., Malden, Mass. Gru wiTH Cart. From painting by Paul Hoecker (1854-1910). Tue LaucuinG Cavatirr. From a painting by Franz Hals (1580-1666). From Photographs of P. Cartoni Co., Boston. Carvep Capita. Baths of Caracalla, Rome. MarsBt_eE Frrepiace. Ducal Palace, Venice. From Photographs of Harold Hugo, California. Marine. Varishade Subject. Torrey Pine. A tree peculiar to the Pacific Coast. From Photographs of Keystone View Co., Inc. Heap or Dante. From a model by Paolo Abbate for a bust of the poet overlooking the Hudson in New York. Nupe Cuixp. From a painting by M. Angelo, Hungarian artist. : {x} 2000008 96008 0000S000S 8500 00SS2SOERSDTOS TOROS EDT OEROSSSOSOSADESESOOLEES 2208 0e socosenecessessesss: O98 B O80 9008 9090809999900 050 0050550009 00008 0000555 95000200008 2295000 FS ESSECRCe00R0 e e e « ie 2 : @ 2 2 e le e e ie @ @ 2 . ° e ° 2 2 3 © * e . e e e 0 e e . . ° . e by ie ro le s e ° e q 3 ry 3 « e s ry se ® a e s e ° 4 e ie e ry e ° ° ° e e e r e ° e e 7 ie e 0 e ry e 0 9 e le a e ° e . e « e ie e e 'e ° e e 3 r e @ e ® e > e ry ° ° . o . ry . r e e Seevesece cesses: 22S oS 690599900955 905 995996 2698080092059 99 959895 50S 20500 0808500859999 S058 SERS F0SS0805 5908598085909 59 SSS 50 055008550 04095000 O00 ETTCLET8C COLES 6EOEDEESOS SS SES5SS 55005500508 F0CbR FEntDOAEe PERMANENCY This Company considers as abso- lutely permanent to sunlight only those inks which stand the severest test without change. The classifica- tions AtMost PERMANENT and FarrLty PERMANENT Zndicate inks as fast to light as they can be made with the most permanent pigments obtainable. Among colors classed as almost permanent ave many con- sidered by the trade as permanent and among those rated fairly per- manent ave many of good perma- nency for the work for which they ave intended. In Ordering Inks Always Give the Formula Number Desired BLACK INKS Boox CovER GLASSINE HaALFTroNE Jos MacazinE PosTER PRocegss INDEX OF INKS ILLUSTRATED 5 FORMULA NAME NO. African Black Heavy 5459 African Black Medium 6718 African Black Soft 5015 Bible Black 6659 Geography Black 6734 Ozo Book Black 6668 School Book Black 5098 Cover Black 6757 Glassine Black 6753 Banknote Halftone Black 5002 Knickerbocker Halftone Black 5024 Mohawk Halftone Black 6638 ‘Miracle Halftone Black 6732 Oxy Halftone Black 6669 Tobey Halftone Black 5606 Extra Fine Job Black = 5.008 Parchment Black 5000 Farm Magazine Black 6754 M. & E. Magazine Black 5388 Rotary Magazine Black 6579 Y.C. Magazine Black 6755 Poster Black 6760 Process Black 5460 PER- TRANS- PAGE MANENCY PARENCY 20 63-66 I rg DUD yO wR FOR DEFINITION OF PERMANENCY SEE PAGE XII AP—A.tmost PERMANENT F P—Farrty PERMANENT F—FucirTive O—Opaqur P—PERMANENT q xu} T— TRANSPARENT ST—Semi-TRANSPARENT SO—Semi1-Opaqug aera ree rr reer eee ee eee ————————————e INDEX OF INKS ILLUSTRATED In Ordering Inks Always Give the Formula Number Desired FORMULA PER- TRANS- BLUE INKS NAME NO. PAGE MANENCY PARENCY BonpD Bond Blue 600 68 AP GSE CovER Venetian Cover Blue 683 76: BE eae GuassinE_ Glassine Blue 3589 74 ART OSe LaBEL Dark Label Blue 3605 72 hee Light Label Blue 3604 71 AR Se Let. Press Blue Lake 01535 40 F # Y Bronze Blue (on Super) 01512 39-A AP ST Bronze Blue (on Coated) 01512 39-B AP ST Imperial Blue 14 38° APS SL Milori Blue 3454 39.) AP ae Peacock Blue O1§5I 4I F 44 Regal Blue o1g2g=R. 37 ARs toe Ultramarine Blue 01546 Ae oe ST PosTER Dark Poster Blue 3587 65°. AR Ger Light Poster Blue 3585 660: BE OSe Medium Poster Blue 3586 645 AR SE Process Process Blue 3595 I F T VaRISHADE Reddish Blue Varishade 973 5 F ST BRONZE INKS Atuminum Aluminum Ink Powder 3554 73 Bronze __ Bronze Ink Liquid 3552 73 GoLp Rich PaleGold Ink Powder 3567 73 BROWN INKS Let. Press Chocolate Brown 2.473 62. FR Deep Photo Brown 27 6 ORR er Haig Brown 527 $9. Foy oe Pershing Brown 158 60 eee VaRISHADE Brown Varishade 1177 4 F ST Maroon Varishade 365 ese ST Sepia Varishade 2.63 3 F ST GREEN INKS CovER Ex. Light Cover Green 05401 76. ARPS GuassinE Glassine Green 3,607 74 | Ae FOR DEFINITION OF PERMANENCY SEE PAGE XII P—PERMANENT T—TRANSPARENT AP—Atmost PERMANENT ST—Semi-TRANSPARENT F P—Fatrty PERMANENT SO—Sem1-Opaque F—Fuaitive O-— Opaque { x1v } INDEX OF INKS ILLUSTRATED In Ordering Inks Always Give the Formula Number Desired — FORMULA PER- TRANS- GREEN INKS Cont’d NAME NO. PAGE MANENCY PARENCY Ler. Press Dark Green Lake O1416 ead T Dark Milori Green 01407 Si AP Ex. Dark Milori Green o1409 54: wages 4 er dot= fb Ex. Light Milori Green o14o1 ie Can Mee al eter ets Light Green Lake OI41I 55 F ee Light Milori Green 01403 Gi ee Medium Milori Green 01405 42). AEs oO} PosTER Ex. Light Poster Green 3580 ore | APOE ST Light Poster Green 3581 66.0) Ab ou Medium Poster Green 3582 G4) /APPME? ORANGE INKS GuassiInE_ Glassine Orange 3606 74 PE ee Let. Press Persian Orange 01203 49 F T Tangerine Orange 01206 AB o> APowes Lt PURPLE INKS Let. Press Imperial Purple o1613-R 58 FP ST Royal Purple 01605 57 F ST PosTER Poster Violet 3588 Gye Eee RED INKS Bonp Bond Red > 3576 68 kas CovER Cover Red 282 76 F O GuassiNnE_ Glassine Red 3477 74 F ST LABEL Dark Label Red 3,603 pie agar: § Ave thy Light Label Red 3,602. 69> FP ‘St Let. Press Carnation Red o1160 35 F ST . Colorado Red (on Coated) 432 27 F O Colorado Red (on Bond) 432 4.27-A’ F O Columbine Red o1145-R 29 FP ST Cosmos Red o1147-R 28 FP ST Dahlia Red orrs7-KRendiy. PPS LST FOR DEFINITION OF PERMANENCY SEE PAGE XII P—PERMANENT T—TRANSPARENT AP—Axmosr Permanent ST—Semi-TRANSPARENT F P—Farrty PerMaNENT SO—Semi-Opaque F—FuaitIvz O— Opaqugz {xv} pe cn SS INDEX OF INKS ILLUSTRATED seocensesssecnenssunpens.t CEC EE TEA In Ordering Inks Always Give the Formula Number Desired FORMULA PER- TRANS- RED INKS Cont'd Name NO. PAGE MANENCY PARENCY Ler. Press Dark Red o1108 33 ABS Excelsa Red o1126-R 25 FP ST Geranium Lake Y 2.03 26 FP gh Light Red OLIOL... 32 Ae Phlox Red o1173-R. 34 - FP ee Regal Red OII55 30°, ERC oE Thistle Red o1601-R_ 36 F 4 Volcano Red o1132-R. a3. AR oe Zinnia Red OI121 24°. Ee Sec PosTER Dark Poster Red 3584 63. AR oat Light Poster Red 3571 66. ARO cae Medium Poster Red 3583 65° AR eee Process Process Red 3594 I Bee TINTS Blue Tint 1047 67. RP. we Flesh Tint 1045 67, oe oe Light Green Tint 1049 67. FR ap Neutral Gray Tint 698 67 AP SO Pink Tint 1046 67 CBE ao Silver Gray Tint 1048 67° FR so Yellow Tint 594 67. AP ae Yellowish Green Tint 1042 67. FRE Gee YELLOW INKS CovER Medium Cover Yellow 05305 6. APS ae Let. Press Canary Yellow 01303 43.) AP Deep Yellow 01307 AS. ak eee Medium Yellow 01305 44) GRR oe Yellow Lake G OI31I 46°. RE T Yellow Lake R 01316 ry gees T PosTER Light Poster Yellow 3578 63:2 Ae Medium Poster Yellow 3579 64. AP Process Process Yellow 3593 1 BR FOR DEFINITION OF PERMANENCY SEE PAGE XII P—PERMANENT T—TRANSPARENT AP—A.most PerMANENT ST—Szgmi-TRANSPARENT F P—Farrty PERMANENT SO—Sem1-Opaqur F—Fucitive O—OpagquE { xvi} ns FS XQ | pp ° ae EY SK * se ea “La ee — MISCELLANEOUS SPECIALTIES Not [lustrated Formula No. To Increase DryInG Mermoratt iit et ee ep oh 2 6706 Merce A view Ole a BORA Meee aeuanese Drier. we ee a TAD To Retarp DryIncG URN RrE Na Tat.) 8 2g ae oe) a 2 To Set Fast SMR ee eo nego BSOE To INcrEAsE Tack Body Gum . . | EE EOE Rage CURE RENE yo: Dark Gloss Varnish ‘ EIR aS ph Car ih eck Sees USAC watWIS kk eee sc S200 Pag auiowesy atnish®) 2 es Se gnas To Repuce Tacx Meer diay ees Re a a ee ee Priting Becenice (Liquid) . 2 27. we. 4 pet iast: Mira peat eed e ESTs ee tt Soft Manhattan Black alts os be awed: kcal wh ae Oat apr ettPastey ee gag Ree RC TR gt Se oe To IncrzasE Goss NSE EO RREOE PL RAENC AS Dor RypoN) eo! TL APEE SY. Ee ek ch ae Wi ee Ne. OOS To IncrzasE Bopy Pianase tiack (ap) ce Ne a SRG Berry Gruss ys, SARA, Mee ase ay Sacre {xvu } pe MISCELLANEOUS SPECIALTIES eee 4 To PrevENt MoTTLING Gum Laketine To LENGTHEN INK Gloss : To OvEerRcoME STATIC Electric Eradicator For WaAsH-upP Crystalene Ink Remover (inflammable No WasH-vupP Time Saver WHITE FOR TINTS OR Cae Heavy White for Covers Job White Mixing White Semi-Transparent White Transparent Tint Base Dustinc Bronze Pownpers in Aluminum, Deep Gold, Pale Formula No. . §289 A-3070 » SEES . 1769 . §230 + 3390 So 4 834 go2. 993 681 226 Gold, Rich Gold and Rich Pale Gold. Gop S12z, for use with Bronze Powder, in any shade of Yellow, Brown, White, etc. INKs IN ANY CONSISTENCY AND FOR ANY REQUIREMENT, such as: Bread Wrappers Burlap Bags Butter Wrappers Cartons Celluloid Cotton Bags ALso Fibre Board Paper Bags Soap Wrappers Tin Foil Wax Paper Wood Boxes Copper Plate, Copying, Die Stamping, Engravers, Imitation Typewriter, Litho Offset, Paging, Perishable Safety, Roto- gravure, Tin Printing, Transfer and News Inks and Perfecting Press Colors. Letter Press Varnishes Gum Varnishes { xvii } Litho Varnishes Plate Oils There is in all aes, of the GEO. H. MORRILL CO. the same excellence which, for more than eighty-five years, has made its NEWS INKS the standard of the world. LL works of quality must bear a price in proportion to the skill, time, expense and risk attending — their invention and manufacture. Those things called dear are, when justly estimated, the cheap- est; they are attended with much less profit to the builder than those which everybody calls cheap. Beautiful forms and compositions are not made by chance, nor can they ever, in any material, be made at small expense. A composition for cheapness and not for excellence of workman- ship is the most frequent and certain cause of rapid decay and entire destruc- tion of arts and manufactures. —RUSKIN FOUNDED 18640 REG.U.S. PAT. OFF. { xxi } The Inks used in the Introductory Section of this Book are as follows: Cover lining: NEUTRAL GRAY TINT No. 698 Frontispiece: FRANKLIN GRAY NO. 3621 Dutt BLack No. 5636 Headbands: HEADBAND Gray NO. 3622 Type: PARCHMENT BLACK No. 5000 Can of Ink: KNICKERBOCKER HALFTONE BLACK No. 5024 REGAL RED No. 01155 e oo aces coo oo me 22 Ln IT) Se0 e8e Try ees eo Qo, 20 og a Oe Sig as oe yr oe Se ee eee 60g pe Se ae rrr sry DictureisWorth 10.000 Words AMONG THE FIRST PICTURES TO BE TRANSMITTED BY RADIO ACROSS THE ATLANTIC WAS THIS FACSIMILE OF A CHINESE PROVERB Courtesy of the Outdoor Advertising Agency, New York City The Boy in Red Painting by Madame Vigée Lebrun. The Medici Society of America GEO-H-MORRILL CO- PROCESS YELLOW No. 3593 PROCESS BLUE No. 3595 PROCESS RED No. 3594 PROCESS BLACK No. 5460 &% ; +> a bias we L1G 11 ff ODDO spre ore ve > ig le wos ae Marine photograph by Hugo Screen 150 GEO-H-MORRILL CO- MAROON VARISHADE No. 365 es ral Night Scene in New York Screen 150 GEO-H-MORRILL CO- SEPIA VARISHADE No. 263 a» cf LST OLOL OSL SL ST OL el of ot ets 4 see nh nn hw nN Lope ag @ SF LENS Ne Screen 150 MORRILL CO: BROWN VARISHADE No. 1177 EO): 1 - whe fefefefeses fepepepes papas of op afrafesepeposes, Pottery Design by LeRoy Henry Appleton Girl with Cat. From a painting by Paul Hoecker Screen 150 GEO-H-MORRILL CO- REDDISH BLUE VARISHADE No. 973 5 The Pour. Copyright Damascus Bronze Co. Screen 150 -GEO-H-MORRILL CO- BANKNOTE HALFTONE BLACK No. 5002 Rich bronze overtone, clean bluish undertone—lays smoothly, sets and dries well—suitable for high grade work Refer also to Foreword on pages vi and vii 133% SCREEN 120 SCREEN SOLID ISO SCREEN IOO SCREEN tf a Meditation. From a painting by Charles Sprague Pearce Screen 150 GEO-H-MORRILL CO- TOBEY HALFTONE BLACK No. 5606 A desirable ink for general halftone work —has very little tack and may be used on the cheaper grades of coated paper Refer also to Foreword on pages vi and vii 133 SCREEN IZO SCREEN SOLID I5SO0 SCREEN IOO SCREEN The White Rose. From a photograph Screen 150 GEO-H-MORRILL CO- KNICKERBOCKER HALFTONE BLACK No. 5024 A splendid halftone ink that owes success to its working and drying qualities, good body, depth of color and moderate price Refer also to Foreword on pages vi and vit 133 SCREEN I2Z0 SCREEN SOLID I5SO SCREEN I0O0 SCREEN ef es ‘ Washington. From a bust by Jean Houdon Screen 150 (erO-H- MORRILL GO- OXY HALFTONE BLACK No. 6669 A halftone black especially recommended for its quick drying quality. It saves time to use this ink Refer also to Foreword on pages vi and vii 133 SCREEN 120 SCREEN SOLID 150 SCREEN 100 SCREEN cad x Bust of Dante. By Paolo Abbate Screen 150 GEO-H-MORRILL CO- MOHAWK HALFTONE BLACK No. 6638 A popular ink at a popular price, having no equal in its class Refer also to Foreword on pages vi and vit 133} SCREEN 120 SCREEN SOLID 150 SCREEN IOO SCREEN 10 Roman Capital. From a photograph of P. Cartoni Co. Screen 150 GEO-H:-MORRILL CO- MIRACLE HALFTONE BLACK No. 6732 Sets quickly—dries well on paper without drying on press. Sheets may be piled without slip-sheeting Refer also to Foreword on pages vi and vii 133 SCREEN IZO SCREEN SOLID 150 SCREEN 100 SCREEN 11 =- 4+ heen fr | AS OAS 2 GEO-H-MORRILL CO- PARCHMENT BLACK No. 5000 A heavy-bodied ink, suitable for use on bond, parchment, policy and all hard stocks, Makes a good job ink Refer also to Foreword on pages vi and vit 12 ee ee 6 te es | * - : - ol. oe 4 F > ay? Pat « * m , se onl i i fot ntiietd ee » he Dat sl * “ 4 i yt 7 5 ee , a en) f 4 > r 4 ‘ s : . ; aan via x 2 : = 1 a hi ty Pde hee % r f iain a ait oe STATEMENT GEO-H-MORRILLCO: Manufacturers of PRINTING AND LITHOGRAPHIC INKS NORWOOD é MASS., U.S.A TERMS - 30 DAYS NET GEO-H-MORRILL CO- EXTRA FINE JOB BLACK 5008 A favorite job black for many years with wonderful working properties Refer also to Foreword on pages vi and vii 13 mmm ay seen a nN THOMBT ATE >. * i ae ee - - COMPARATIVE SIZE OF CITIES. x LL SS eee LHF SLIT 7 OE RN nM uy aaa \f . Lf | Ane nate Pekin,* bas many Canton,.... .3 times.}Surat, ...... 17 times. |Madras,.as many. London, § New York. Constan’ple,13 times. S.Peters’g,17 times.|Vienna,.as many. Jeddo, ....... 4 times.| Nankin,...... 1Z times. | Moscow,...as many.| Naples, .as manv. Paris se be The Apothecary Shop. From a painting by F. A. Grison ‘Screen 150 GEO-H-MORRILL CO. CARNATION RED No. 01160 A remarkably clean shade, often desirable in process work or in making delicate rose or pink tints Refer also to Foreword on pages vi and vit 133 SCREEN IZO SCREEN SOLID 150 SCREEN IOO SCREEN s4 y > ry) ‘he Lute Player. From. a painting by Meissonier re color with extremely bluish Gace serviceable in _ process work but not permanent Rae also to Foreword on pages vi and vit 150 SCREEN 100 SCREEN a» tf NS een Italian Fireplace. From a photograph of P. Cartoni Co. Screen 150 fe GeE®- H-MORRILL CO 2 REGAL BLUE No. 01525-R A brilliant color for cylinder and job work which stands our customary test with an aqueous solution of caustic j Refer also to Foreword on pages vi and vii 133 SCREEN IZ0 SCREEN SOLID ISO SCREEN I00 SCREEN at nis Little Bob and Tiny Tim. From a Copley Print. Screen 150 | Copyright Curtis and Cameron, Publishers, Boston pee O- Hi - MORRILL CO- © iy ‘ IMPERIAL BLUE No. 14 ; A bright shade of blue suitable for almost any purpose Refer also to Foreword on pages vi and vii 133 SCREEN IZO SCREEN SOLID I50 SCREEN 100 SCREEN Cs &A GEO-H-MORRILLCO. GEO-H-MORRILL CO- A good blue for general use but not alkali proof Refer also to Foreword on pages vi and vii 39 ar €f GEO-H-MORRILLCO. GEO-H-MORRILL CO- BRONZE BLUE No. 01512 A real bronze blue, almost permanent but not alkali proof Can be made for litho and offset work See page 39-A for this ink on super Refer also to Foreword on pages vi and vii 39-B + ul Cae : ? , Screen 150 — 2 ¥ BLUE LAKE No. 01535 nd rone d ihe lake for fine halftone Pec erane pace | Sin but not permanent or alkali proof Refer also to Foreword on pages vi and vii 350 SCREEN 100 SCREEN’ LLEGK SMITH, Little Bob and Tiny Tim. From a Copley Print. Screen 150 Copyright Curtis and Cameron, Publishers, Boston GeEO-H-MORRILL CO- PEACOCK BLUE No. 01551 For artistic effects in process work this color satisfies not permanent or alkali proof Refer also to Foreword on pages vi and vii 133 SCREEN IZ0 SCREEN SOLID ISO SCREEN IOO SCREEN f¢ ae Canal in Venice. From a painting by Martin Rico Screen 150 GEO-H-MORRILL CO- ULTRAMARINE BLUE No. 01546 A genuine ultramarine blue. Permanent and alkali proof but should not be used on copper Refer also to Foreword on pages vi and vii 133 SCREEN 110 SCREEN SOLID 150 SCREEN 100 SCREEN pees 5 a Auid Lane Syne. By WL. Taylor. Copyrigh: Curtis Publisbing Gs GEO-H-MORRILL CO- CANARY YELLOW Neo. 01305 A chrome yellow for type and label work. Also made for litho and offset-—opaque and permanent : Refer also to Foreword on pages viand vi SOLID 150 SCREEN 100 SCREEN 133 SCREEN 1.0 SCREEN as cf Torrey Pine. From a photograph by Harold Hugo Screen 150 GEO-H:-MORRILL CO- MEDIUM YELLOW No. 01305 A medium shade of chrome yellow for type and label work. Also made for litho and offset-—opaque and permanent Refer also to Foreword on pages vi and vii 133 SCREEN 120 SCREEN SOLID 1§Q SCREEN 100 SCREEN ae I 3 Nude Child. From a painting by Angelo Screen 150 GEO-H-MORRILL CO: DEEP YELLOW No. 01307 A deep shade of chrome yellow for type and label work. Also made for litho and offset—opaque and permanent Refer also to Foreword on pages vi and vii 133 SCREEN I1ZO SCREEN SOLID 1§O SCREEN IOO SCREEN At, Young Woman with Water Jug. From a painting by Johannes Vermeer Screen 150 GEO-H-MORRILL CO: YELLOW LAKE G No. 01411 A type and process color of greenish undertone from which, with process blue, some very clean shades of green can be obtained Transparent and fugitive Refer also to Foreword on pages vi and vit 533 SCREEN 120 SCREEN SOLID 1§0 SCREEN 100 SCREEN a ye i? eT ae Sy ee BT eB yt ETE st ig ll Fy — ee 0 5 ae ] } et oa EO Re Ree at ee Sl AG Ee aa ea le ee iy . a ee re * 2% os ie od ay a tS sae ; iz 2 tr er tenements nissan ctaenaiese ore een enocern me iammermnmnn eam mamma scien oeneneeecneteeteiaeeeeienemmmnnainemenmmmmnememeanemmetememennmtemene een ef » qs x Little Bob and Tiny Tim. From a Copley Print. Screen 150 Copyright Curtis and Cameron, Publishers, Boston GEO-H-MORRILL CO- TANGERINE ORANGE No. 01206 An almost permanent orange lake for cylinder and job press— also a label ink Refer also to Foreword on pages vi and vii 133 SCREEN IZO0 SCREEN SOLID 150 SCREEN 100 SCREEN . ; so ; y > a The Swan. From a photograph by H. Armstrong Roberts Screen 150 GEO-H-MORRILL CO- PERSIAN ORANGE No. 01203 An extra fine transparent Persian orange. Bakes beautifully—fugitive Refer also to Foreword on pages vi and vii 133 SCREEN 120 SCREEN SOLID I§O SCREEN IOO0 SCREEN AME ¢¢ 5 The Arch of Titus. From a photograph Screen 150 Peo -H-MORRILE CO- EXTRA LIGHT MILORI GREEN No. 01401 An opaque, petmanent color for cylinder and job work. Suitable for litho and offset Refer also to Foreword on pages vi and vii 133 SCREEN IZO SCREEN SOLID I§O SCREEN 100 SCREEN Fishing Craft. From a photograph Screen 150 GEO-H-MORRILL CO- LIGHT MILORI GREEN No. 01403 An opaque, permanent color for cylinder and job work. Suitable for litho and offset Refer also to Foreword on pages vi and vii , 133 SCREEN 120 SCREEN SOLID 150 SCREEN 100 SCREEN 51 f. & The Sign Painter. From a painting by Meissonier Screen 150 GEO-H-MORRILL CO: MEDIUM MILORI GREEN No. 01405 An opaque, permanent color for cylinder and job work. Suitable for litho and offset Refer also to Foreword on pages vi and vit 133 SCREEN 120 SCREEN SOLID 150 SCREEN 100 SCREEN BY: AN ; | +5 Nice Pret Ye Old Dick. From an etching by Plowman Screen 150 GEO-H-MORRILL CO- DARK MILORI GREEN No. 01407 An opaque, permanent color for cylinder and job work. Suitable for litho and offset Refer also to Foreword on pages vi and vit 133 SCREEN 120 SCREEN SOLID 150 SCREEN I00 SCREEN Tey Three Birch Trees. From a photograph Screen 150 GEO-H-MORRILL CO- EXTRA DARK MILORI GREEN No. 01409 An opaque, permanent color for cylinder and job work. Suitable for litho and offset Refer also to Foreword on pages vi and vii 133 SCREEN IZO SCREEN SOLID 150 SCREEN I00 SCREEN 54 *. Lady in Blue. From a painting by Somoff Screen 150 fee) t1-MORRILL CO- LIGHT GREEN LAKE No. 01411 The color for Christmas Greetings. A bright clean color, suitable for cylinder and job work—transparent—fugitive Refer also to Foreword on pages vi and vit 133 SCREEN 120 SCREEN SOLID 150 SCREEN 100 SCREEN » a Laughing Cavalier. Prom 2 painting by Franz Hals Screen 150 GEO-H-MORRILL CO: DARK GREEN LAKE Noa. 01416 A dark shade of green lake for halftone and type work transparent—fugitive. Refer also to Foreword on pages vi and vit 133 SCREEN 12.0 SCREEN SOLID I§0 SCREEN 100 SCREEN W, rf w Auld Lang Syne. By W. L. Taylor. Copyright Curtis Publishing Co. Screen 150 GEO-H-MORRILL CO- - ROYAL PURPLE No. 01605 A cylinder and job halftone and type ink. Transparent— not permanent, nor alkali proof—bakes well Refer also to Foreword on pages vi and vii 133 SCREEN 120 SCREEN SOLID 150 SCREEN 100 SCREEN 57 & AN Torrey Pine. From a photograph by Harold Hugo Screen 150 GEO-H-MORRILL CO- : IMPERIAL PURPLE No. 01613-R A halftone and type ink which stands a certain amount of exposure to sunlight without much fading Refer also to Foreword on pages vi and vit 133 SCREEN 120 SCREEN SOLID 150 SCREEN I00 SCREEN ee sae 58 tf Nude Child. From a painting by Angelo Screen 150 fee)-F- MORRILL CO- HAIG BROWN No. 527 An attractive light brown for cylinder and job press fairly permanent Refer also to Foreword on pages vi and vit 133 SCREEN 120 SCREEN SOLID 150 SCREEN 100 SCREEN 39 ‘Ne Bust of Dante. By Paolo Abbate Screen 150 GEO-H-MORRILL CO: PERSHING BROWN No. 158 A popular shade of brown for cylinder and job work— not permanent Refer also to Foreword on pages vi and vit 133 SCREEN 120 SCREEN SOLID 150 SCREEN 100 SCREEN 60 i a The Apothecary Shop. From a painting by F. A. Grison Screen 150 GEO-H-MORRILL CO- DEEP PHOTO BROWN No. 27 A photo brown for artistic effects, generally used on cylinder or job press upon coated paper—not permanent Refer also to Foreword on pages vi and vit 133 SCREEN 120 SCREEN SOLID I§0 SCREEN 100 SCREEN 61 Meditation. From a painting by Charles Sprague Pearce Screen 150 GEO-H-MORRILL CO- CHOCOLATE BROWN No. 2473 A good chocolate color for halftone and job work— fairly permanent Refer also to Foreword on pages vi and vii 133 SCREEN 120 SCREEN SOLID 150 SCREEN 100 SCREEN tf 2 GEO-H-MORRILL CO- LIGHT POSTER YELLOW No. 3578 DARK POSTER RED No. 3584 POSTER VIOLET No. 3588 POSTER BLACK No. 6760 63 iis hai vay bee Copyright, Geo, H. Morrill Co. GEO-H-MORRILL CO- MEDIUM POSTER YELLOW No. 3579 MEDIUM POSTER GREEN No. 3582 MEDIUM POSTER BLUE No. 3586 POSTER BLACK No. 6760 64 » ye \ .¥ i Mh Lie Bog.) £3 BLT Copyright, Geo. H. Morrill Co. GEO-H-MORRILL CO- MEDIUM POSTER RED No. 3583 EXTRA LIGHT POSTER GREEN No. 3580 DARK POSTER BLUE No. 3587 POSTER BLACK No. 6760 Copyright, Geo. H. Morrill Co. GEO-H-MORRILL CO- LIGHT POSTER BLUE No. 3585 LIGHT POSTER GREEN No. 3581 LIGHT POSTER RED No. 3571 POSTER BLACK No. 6760 66 NO. 1045 NO. 1046 NO. 1042 NO. 594 NO. 1049 NO. 1047 m ©z NO. 1048 ( ) NO. 698 ero b-MORRILL CO: FLESH TINT—NO. 1045 PINK TINT—NO. 1046 YELLOWISH GREEN TINT—NO. 1042 YELLOW TINT—NO. 594 LIGHT GREEN TINT—NO. 1049 BLUE TINT—NO. 1047 SILVER GRAY TINT—NO. 1048 NEUTRAL GRAY TINT—NO. 698 67 as € i, i S J y —— - i< » s CP G 4 . yy Di “THOUGH AN ANGEL SHOULD WRITE. ’TIS A ‘DEVIL’ MUST PRINT” vy MOORE The Fudge Family in England ap bee a brs) < 4) 4y 7 TOE | } QMWED ay AR San bases ey} ., ENG Border by LeRoy Henry Appleton GEO-H-MORRILL CO- BOND BLUE No. 600 BOND RED No. 3576 68 9 6 GEO-H-MORRILL CO- DARK LABEL RED No. 3603 70 GEO-H-MORRILL CO- LIGHT LABEL BLUE No. 3604 Th GEO-H-MORRILL CO- DARK LABEL BLUE No. 3605 72 ° + = Q a) Q Z @) eo) ed Vv MORRILL CO RICH PALE GOLD INK POWDER No. 3567 GEO-H- AND BRONZE INK LIQUID No, 3551 . ALUMINUM INK POWDER No. 3554 3551 NK LIQUID No. D BRONZE I AN 73 “ as es ye ~~ -D ve Le . 4 \, ‘ : cz Os Oo : GLASSINE INKS oe es CY a) <~-@ 4: AQ —— <= 2 NN 2 fe ‘ p.@ - wa + =< 2s) 2 4“ essa AN ( a = ey SRS TOAS F< A _ Border by LeRoy Henry Appleton GEO-H-MORRILL CO- GLASSINE BLACK No. 6753 GLASSINE BLUE No. 3589 GLASSINE RED No. 3577 GLASSINE ORANGE No. 3606 GLASSINE GREEN No. 3607 74 : : “ é S i <* \ ne Hiro ‘ -) : s ; Eke Fah OR "a) 2s MMe ~ af | WOR & ree. a wowldgh crnsH coMed od whoa €2vo .oM ADAG Wile2eAlIo Tt2é .oA GAA Wl22Alo YOdE A UFEAD AMI22AID 30d9é .oM TOWAAO AMl22AIO e82é .oM AUId AWle2@AIo by So serve . : .- ~~? ors ’ 7 y : a = - = me , RF AF Pred y . ~ S . JEN ee SS Sr Zi ~ a = SF AO APE OF: Se V9 G7 INES! GPPE CA i ? - PAE ; A Ce 14 e S sh zs (A yA SAS =) .F we = “i ‘QO ITIAAOM-H-OF0D ay ~ ae es 0) =“: i’ % = ‘ The Cottage. From a design by LeRoy Henry Appleton GEO-H:-MORRILL CO- VENETIAN COVER BLUE No. 683 MEDIUM COVER YELLOW No. 05305 COVER RED No. 282 EXTRA LIGHT COVER GREEN No. 05401 COVER BLACK No. 6757 76 HQ NA ey wee Byeeadt creer ati? i} at Visti ese ehand © ? ebrraed ll Cer Oceans wibeets Beaty Pevasig ver taiy , TUM) a eaves) Leta riit ‘ Vivi chat ee ease PEPE ECCEER PREM: LEE Tris Penh eh Pi eyey ae SUPENER eERREEAS reevaret Vat 47 tt ' , SeCENS CAN RIEERE CES yeLeyeh cece eens eee th eyeeegyeya aa yarreee {hESETELeL eS SPEPETE rev Ules | BEOT? CORA PETERSEN , ¢ ; PECqesceensbieneree vey! ryerteny WET, Spang paye yee Oehepueate yaad yeep? Serereins FEeTVE TL ny t i bak PL eae Teas hada TESRALLIR ELIAS AIA ECOURANT STENT E TEE trey VENeRUS te ever ar eveneer ey LETTUCE ORF ET LED Cat COAUUE RGEC ERC OLY PRCVURYPES CUED REUESS Tahis aed rastat TCE peRteiay rats THES TOL EEC T eat Sus x thi tril Charis kre a VOCE PER GR SSATP ES avg ey ter haa ey: Pyedesnesyays yee ae) VEPAT SHA Thi Ceuta aEty etal SPUVERA ENE LAS! ayiie at ‘ ear) - Wan i vi Pern ergy tee SUEUR GREATS CEOECTEHAR VERS UERUNE Pighyte eve ECEEEY At te ny HEUER LOLA) Rh ek 4 Ute hey savevyecnens AV IECE UA CUESTES TePET EES j pOTRRESEASVERUT Modeeeet SEVTRANETISTESTAUD TER es PEALE C Cees) tasieik iUCERTEV ER Rea CaS ayeresadetos XPESRICALV EG EAY TERCESESSEME SEA, PITCIRPARARL Eton , pevieerat SUAVIAUE PEASE CUTE : PURE EU ANE pegunyet rece aeteat CR UROSAIA US ‘ 4 ass 1s Adhd reiesa EEA WPVET ERAGE rity t i ret HEE Wyeuey OypRACE TR AAI RE PETAL ELAR ALTREC VLEET ORS ‘ Spec Ve rk Wig TSPVE CUREERAE At TPRVEST ELSES EUAN suk 35! HaNens a REA Deke teks REEDS CURE ERS RECS 8 ight TVtTEERERCET ALS) ECL RAN yuCyey ets PESTIEATEGPURERUI RSD, VTCRD BARTEL EROS’ SHAG vk ay Fis ios EPRICE VEAUTRINS, ¢ Ly RyANIT uth} cea 58 Hae 4 i UAT SUPERS TAS EIA Tait 4, 4 e 4 PRATECEEAS CERT Lik ENera reer ats) aryesy TEHINLE Tea Teta Perea yay SEVEN ESS Aa) vehe ehie LAA Ata! 47) Rita il eeyeeg at eacegeet i) EEE. fay MARAE i iat Ret) \ HN i CLERC ASTS SASSI TE ag SADIE OSES CEUTAT EES Hee Wivtahd a PAR AUEL §t a 4 y it de ‘ 4 t i ereeeg yeh piel 4 ' h sain ee toads nee oak : = ars sat epeeetien : eto erie te ae oie So Coase ; Se aes 7 3 aoe me gt ee i . chen ea: Sete = si : Y pens * " one os = ° : 4 oa . ‘ = 3 7 2 Toy tnt 7 maniory sense aes - ¢ Seats ne genau ae tag eee —s, : x a : cae psn: baer ae pe maar nts Syren lo ees R ke ; yt “rey ne — 5 boats et tay i i rf ‘ etree : Sars