Landscape Painting 
 from Nature - - 
 in Australia ■ - 
 
 A. J. DAPLYN. 
 
 My .v:*f ■ 
 
 A Maooal for 
 the Studeot ii> 
 Oil ai?5 Water 
 Colours . . . . 
 
 W. C. PENFOLD 4 CO. 
 SYDNEY. 
 
4 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
MORNING ON THE HAWKESBURY RIVER, N.S.W. 
 
Landscape Painting from 
 
 Nature in Australia . 
 
 A MANUAL FOR THE STUDENT IN 
 OIL AND WATER COLOURS 
 
 BY 
 
 A. J. DAPLYN 
 
 (Secretary to the Art Society, N.S.W.), 
 
 \ 
 
 With a Coloured Frontispiece and Illustrations hy the Author , 
 
 AND 
 
 SIX FULL-PAGE REPRODUCTIONS OF PICTURES 
 
 BY 
 
 W. JLISTER LISTER, 
 
 PRESIDENT OF THE ART SOCIETY, N.S.W., TRUSTEE OF THE NATIONAL ART GALLERY, N.S.W. 
 
 Sydney : 
 
 W. C. PENFOLD «fe CO., General Printers, 
 183 Pitt Street. 
 
 19 0 2 . 
 
Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/landscapepaintinOOdapl 
 
PREFACE. 
 
 The advancement of Art in Australia has of late 
 years been so rapid, that a work written from an Aus- 
 tralian point of view has become a necessity. Art, of 
 course, is universal, but there are many schools, each 
 one embodying conditions not found in the others. 
 Should an Australian school arise — and this is prob- 
 able — its characteristic will be a vivid rendering of 
 light, an element which differentiates Australia from 
 most other parts of the world. 
 
 This quality has been much dwelt upon in this 
 work — my brother artists may say to excess; but the 
 work is not written for artists, but rather for the 
 student, though it is hoped that all may find some- 
 thing to interest them. 
 
 Truth at any cost and the doctrine of hard work 
 is inculcated, so that those young people who take to 
 Art because it is “easier than music” will be disap- 
 pointed ; but the earnest student, to whom hard work 
 at his favourite study is sufficient pleasure, will thank 
 me for having brushed away a few of the difficulties 
 in his path. Should any remain, the author will be 
 happy to assist in their removal, and will gladly 
 answer letters on the subject addressed to him care of 
 the Publishers of this book. 
 
introducticTn. 
 
 During the last 40 years Landscape Art has 
 undergone great changes, so much so that a strict 
 adherence to the old methods would be a mistake in a 
 work having any pretensions to be up to date. In 
 the interval the open air school has arisen, begun by 
 the naturalists and realists, and continued to-day by 
 the impressionists. 
 
 The difference between the older and the newer 
 schools is practically this. The adherents of the former 
 are more occupied with the subject, and rely greatly 
 on their powers of composition for the effect of their 
 picture. The latter care little for subject, and disdain 
 all composition as artificial, their great aim being to 
 render on canvas light and air. With Goethe they 
 desire “Light ! Light ! More light.” 
 
 Formerly pictures often showed miles of country 
 in the style of a panorama; now the artist, instead of 
 taking his point de vue from the top of a mountain, 
 and in consequence being obliged to content himself 
 with a slight sketch, to be elaborated afterwards in the 
 studio, makes his studio in the open air. The subject, 
 far from embracing miles of country, is likely to be the 
 corner of the field, his aim not so much to call forth 
 feelings of awe and rapture, by displaying Nature in 
 her grander mood, but to translate for our benefit the 
 beauty that lies in familiar things. No need for him to 
 scale the mountains or pierce the clouds with eager 
 
VI. 
 
 gaze; his subject awaits him in the cool shade of the 
 forest, by the side of the creek, river, or even in the 
 garden. Perhaps he has chosen the familiar corner 
 that we have passed by a hundred times without be- 
 stowing on it more than a hurried glance. There is 
 the old tree whose quaint twisted branches and gnarled 
 trunk have overhung the path since we can remember, 
 a little patch of blue sky, a glimpse of distant houses 
 showing through the trees, long grass flecked with sun- 
 shine, perhaps a homely figure, and the picture is com- 
 plete ; not so grand, you will say, as the fifty miles of 
 lake and mountain of the old school, but what a fresh 
 open air effect, and how brilliant are the tones. With 
 nothing to remind us that it is only a picture : no dark 
 heavy foreground, made so to give contrast to the dis- 
 tance, no dirty brown trees to give value to the sky; 
 the eye is not dazzled by shining varnish, and all is 
 bright and fresh. 
 
 The school which has cast aside tradition, and de- 
 voted itself to investigating the beauty of familiar 
 things, has had a hard struggle, and even now is much 
 misunderstood; it is said to have no appreciation for 
 beauty, and to be low in aim. Now this is surely 
 somewhat illogical, for is it not more reasonable to 
 conclude that those who discover beauty in common 
 objects, are more open to its influence than those who 
 are obliged to wander from country to country in 
 search of it? 
 
 Australia being pre-eminently a land of sunshine, 
 which allows of painting in the open all the year round, 
 it is not surprising that those susceptible to art in- 
 
Vll. 
 
 fluences should be attracted to the method practised by 
 the plein airistes, or painters in the open air, in prefer- 
 ence to those of the older school, which are generally 
 heavier in style and darker in tone. Curiously enough, 
 the general public does not share this predilection for 
 colour and light, and often prefers the more sober 
 effects of the old school. The cause of this may be 
 that, as many are from the old country, their taste both 
 for scenery and pictures is coloured by early memories. 
 
 There is much to be said in favour of both schools, 
 but writing for Australian students, and considering 
 the character of the scenery to be depicted, the methods 
 of the French impressionist are inculcated, though it 
 should rather be called the open air school, for so many 
 horrors are perpetrated in the name of impressionism 
 that the term is apt to mislead. 
 
 Australian scenery has been greatly maligned by 
 writers, tourists, and others ; far too much is heard of 
 its sadness, its want of colour, and its monotony ; cer- 
 tainly it is not so paintable as the old country, for there 
 are no venerable ruins clothed with ivy, no old 
 churches or castles, or quaint red tiled cottages ; in 
 fact, one does not encounter pictures ready made, and 
 that only require transferring to the canvas. But, on 
 the other hand, the scenery is more original, and has 
 not been painted by generations of artists, till one is 
 surfeited by repetition ; the intense light makes also for 
 greater finesse of colour ; this is especially observable 
 in the tree forms, which require a lighter touch and 
 more subtle tone than the thick foliaged trees of the old 
 country. 
 
Vlll. 
 
 Of Australian trees the Eucalyptus is, of course, 
 the most common. We often hear of the “everlasting 
 gum tree,” but its merits have rarely been acknow- 
 ledged. Few trees are, in truth, so graceful in form 
 and of such variety. This latter quality is quite lacking 
 in European trees, where the oaks are oaks, and the 
 elms, elms, and are always alike. Now the gum is 
 hardly ever the same, and twenty species may be found 
 growing in the space of a few acres. Some shoot up 
 into the air straight and smooth like a ship’s mast ; 
 others have rough and shaggy bark, and the trunks 
 twist and turn in endless convolutions ; many are of a 
 bright red colour, or spotted like the leopard, while 
 others shed their bark, which hangs round them in 
 weird festoons, revealing, so to speak, the creamy- 
 white flesh. 
 
 The branches shoot out from the trunk at all man- 
 ner of unexpected angles, and go twisting and turning 
 at their own sweet will, seeming to rebel against all 
 laws that control the growth of branches in general. 
 
 And the foliage — how gracefully it hangs in 
 feathery clusters, not giving much shade, it is true, 
 being more ornamental than useful, and in this much 
 resembling a fine lady, which the Eucalyptus may be 
 said to personate in the world of trees. 
 
 Of course, if we view them in dense masses as they 
 appear on the shores of Sydney Harbour, we are con- 
 scious of a certain monotony, but could we penetrate 
 the mass, and note the characteristic forms of the dif- 
 ferent species, this would disappear. 
 
IX. 
 
 Besides the different species of Eucalyptus, there 
 are in Australia many trees which add greatly to the 
 picturesque character of its scenery. The Honeysuckle, 
 for instance, would have rejoiced the heart of Corot, 
 could he have seen it ; for in most of his pictures you 
 find trees identical in form. How delicate is the tone 
 of its clusters of star-shaped leaves shining in the sun- 
 light. The She-oak, too, as it fringes the creek or 
 river, its feathery foliage only a shade or two darker 
 than the sky. The Tea-tree, with its parchment-like 
 bark; and the various species of Figs, clothed in their 
 mantles of dark green. 
 
 All these Australian trees, and there are many 
 more, require in painting a finer and lighter treatment 
 than those of other countries. Painting being com- 
 paratively a new thing here, the student has not the 
 help of text-books giving the experience of genera- 
 tions, but has to a great extent to investigate, and trust 
 to his powers of invention for overcoming difficulties ; 
 it is for the purpose of helping him that this work has 
 been written by one who has painted for more than 
 twenty years in the open air in Australia. 
 

INDEX. 
 
 Aims of Landscape Painter i 
 
 Analysis of Distance 15 
 
 Analysis of Tone 15 
 
 Anecdotes 61 
 
 Artist and Countryman 60 
 
 Artist, Temptations of the 2 
 
 Artistic Vision, The 14, 39 
 
 Beaumaris 63 
 
 Black Spur 63 
 
 Blackall Ranges 63 
 
 Blue Mountains 63 
 
 Boldness 36 
 
 Branches 30, 55 
 
 Breadth 34 
 
 Brisbane 63 
 
 Brushes, To Clean 5 
 
 Brushes, To Cut 34 
 
 Brushes, Water Colour 45 
 
 Buildings 57 
 
 Canvas 4 
 
 Carolus Duran 16 
 
 Cape Schank 63 
 
 Chess-board 41 
 
 Chiara Oscuro 38 
 
 Chinese White 47 
 
 Choice of Subject 3, 14, 16 
 
 Clouds Si, 52 
 
 Colourist 37 
 
 Coloured Greys 21 
 
 Colours, Reasons for Fading 7 
 
 Colours, Their Durability 7 
 
 Composition, Practice in 9, 16 
 
 Cook’s River 63 
 
xii. 
 
 Detail 38 
 
 Distance 15, 24, 53 
 
 Drawing in Transparent Colour 20 
 
 Effacing 48 
 
 Entering into a Picture 16 
 
 Erasures 49 
 
 “Ever Restless Sea” 67 
 
 Execution 16 
 
 Feeling 37 
 
 Finesse 35 
 
 Finish 36 
 
 Foliage 31, 54, 55 
 
 Foot Hills 63 
 
 Foreground, The 15 
 
 Freshwater Beach 62 
 
 Grass 29 
 
 Grey Tones 31 
 
 Ground, Tones for 28, 56 
 
 Harbour, Sydney 62 
 
 Harmony 38 
 
 Healesville 63 
 
 Heidelberg 63 
 
 Herbage 56 
 
 Ideal, Unrealised 62 
 
 Ignorant, The, Not to be Studied 3 
 
 Illustrations 6, 10, 12, 13, 17, 18 
 
 Ink Eraser 49 
 
 Juxtaposition of Tones 23 
 
 Kilcunda 63 
 
 Landscape in Sunlight 58 
 
 Landscape Painter, The Aims of 1 
 
 Lane Cove River 63 
 
 Lights, To Take Out 48 
 
 Lights, When to Accentuate 25 
 
 Lilydale 63 
 
 Lister Lister, Wm 65, 66, 67 
 
 Local Colour 36 
 
 Manly 62 
 
 Materials Used in Water Colour 44 
 
xiii. 
 
 Mediums 9 
 
 Middle Distance 24, 27 
 
 Millet, Jean Francois 18 
 
 Modest Attitude, A 32 
 
 Mosman’s Bay 62 
 
 Mountain Summit 63 
 
 Mountain, Tones for 22 
 
 Narrabeen 62 
 
 National Gallery 33 
 
 Nature a Kaleidoscope 21 
 
 Nature, Sketching from 60 
 
 Nature, To Sketch from 60 
 
 Newport 62 
 
 Open Air Study 11 
 
 Paint Box 6 
 
 Painting the Sea 26 
 
 Painting Skies 52 
 
 Palette, To Prepare 7 
 
 Plaster Casts 9 
 
 Panels 4 
 
 Paper, O. W 46 
 
 Paper, Stretching the 47 
 
 Picture — A View from One Place 15 
 
 Picture, Sir E. Poynter 33 
 
 Pointillistes 24 
 
 Precepts of Carolus Duran 16 
 
 Process in Water Colour 45 
 
 Professor at Liverpool 43 
 
 Purple Tones 31, 54 
 
 Richmond 63 
 
 Rigger, The 5, 30 
 
 Roads 57 
 
 Rocks, Tones for 28, 59 
 
 Ruskin 35 
 
 Salle, The Picture by 33 
 
 Sand, Tones for 27, 28 
 
 Sandringham 63 
 
 San Remo 63 
 
 Scumbling 35 
 
XIV. 
 
 Seagulls 59 
 
 Seascape, To Paint 26, 27, 58 
 
 Secrets, Nature 31 
 
 Silver Clouds 51 
 
 Sketching Grounds 62 
 
 Sketching, Lead Pencil 9 
 
 Sky, The Blue 50 
 
 Sky Brilliancy to be Preserved 20 
 
 Sky, Highest Light in 15 
 
 Sky, Tones for 21, 22, 52 
 
 Smoke 59 
 
 Sponge, The 49 
 
 Still Life, Group 11 
 
 Stretching the Paper 47 
 
 Stones 57 
 
 Sunset 52 
 
 Technique 21, 32, 34 
 
 Temptations of the Artist 2 
 
 Terms and Processes 32 
 
 Tones 33 
 
 Trees 29, 54 
 
 Tree Trunks 55 
 
 Turner 35 
 
 Turpentine 9 
 
 Tweed Heads 63 
 
 Values 25, 32, 52 
 
 Washing Down 50 
 
 Washes, Flat 41 
 
 Washes, Graduated 41 
 
 Water Colour 40 
 
 Water, Tones for 25, 57 
 
 Wynn Prize . 66 
 
FULL-PAGE ILLUSTRATIONS. 
 
 Morning on the Hawkesbury River, N.S.W. Frontispiece 
 
 By A. J. Daplyn. 
 
 Page 
 
 “The Moon is up and yet it is not night” - - i 
 
 By A. J. Daplyn. 
 
 The Hunter River at Singleton, N.S.W. 20 
 
 By W. Lister Lister. 
 
 The Rivals -------- - 2 6 
 
 By W. Lister Lister. 
 
 Entrance to Sydney Harbour ----- 30 
 
 By W Lister Lister. 
 
 Where the Tides ebb and flow - - - - 50 
 
 By W. Lister Lister. 
 
 The Last Gleam --------54 
 
 By W. Lister Lister. 
 
 Breakers - -- -- -- --62 
 
 By W. Lister Lister. 
 

 
 
 
 
 ♦ 
 
 
 
 
 
 
 
 
 
 
 
 
 ■' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
A. J. DAP LY N 
 
 THE MOON IS UP AND YET IT IS NOT NIGHT. 
 
Landscape Paintingfrom Nature 
 in Australia. 
 
 THE AIMS OF THE LANDSCAPE PAINTER. 
 
 The landscape painter has, or should have, two 
 great aims ; firstly, to give to the spectator a truthful 
 conception of natural objects, the second, to guide his 
 mind to the contemplation of objects or scenes most 
 worthy his attention ; also to inform him of thoughts 
 and feelings produced in the mind of the artist himself. 
 In the first case, the painter sets the spectator before 
 the landscape and leaves him to follow out his own 
 thoughts and feelings, and no new ones are forced on 
 his attention. But in the second case it is different; 
 the painter not only shows him the landscape, but 
 speaks to him, guides him to' all that is beautiful, fills 
 him with enthusiasm, and leaves him elated, not only 
 at having beheld a new scene, but at having com- 
 muned with a new mind and a more penetrating 
 intelligence. The student, from his lack of experience, 
 cannot hope to be included in this class, which is ex- 
 tremely limited ; but the painter who renders natural 
 objects truthfully has his mission and his reward ; it 
 
2 
 
 is for him to select from Nature’s stores her most im- 
 portant truths, which perhaps are not those seen only 
 in time of stress and storm, but those which we see 
 around us every day, and which appeal to all our 
 hearts ; their interest is inexhaustible and affects all 
 alike — the rich and the poor, the educated and the illite- 
 rate. This is the class of painter the student with faith 
 and power of will may hope to become. The aspira- 
 tion is not perhaps so lofty, but it is more attainable. 
 The other way may lead to bitter failure, and is only 
 to be trod with success by a very few gifted minds, and 
 in either case the beginning must be hard study from 
 Nature. A mistaken choice is responsible for all the 
 bad art with which we are afflicted ; the great allegori- 
 cal or historical picture which no one can understand, 
 not even the author, is the terrible result. Think of 
 working year after year to stir the minds of the people 
 with new truths, and to be met only with misunder- 
 standing and ridicule. This even might be borne, for 
 martyrdom is attractive to some minds, but it necessi- 
 tates faith, and our would-be great man has it not — 
 only vanity. 
 
 The danger of misapplied ambition has been 
 pointed out, but it must not be supposed that the 
 painter of Nature in her ordinary moods is exempt ; 
 his temptations to go wrong are not the same as those 
 in the first case, but are equally numerous; of these 
 we will mention three which the student must espe- 
 cially guard against: — No. i. Want of originality, or 
 repetition. No. 2. The sacrifice of truth to mere 
 
 prettiness. No. 3. Laziness, or the habit of being 
 
 satisfied with the nearly right. The first is the beset- 
 
3 
 
 ting sin of many English artists, and the Royal Acade- 
 micians are perhaps the most guilty. Year after year 
 they repeat themselves, with the same subjects, the same 
 manner, and the same models ; no searching after new 
 truths or original ways of expressing old ones for 
 them ; this is left to outsiders, and happily for English 
 art the mission is accepted. The public is greatly to 
 blame for this, for, like the audience at a circus, it 
 welcomes the old jokes, which it understands, more 
 warmly than the new and unfamiliar, of which it is not 
 certain. Art, however, cannot stand still ; it must pro- 
 gress or cease to exist. No. 2, the sacrifice of truth 
 to mere conventional prettiness is the besetting 
 vice of the student ; though he may see the truth him- 
 self, he fears to offend the prejudices of his friends and 
 the public by setting it forth in a plain and unadulte- 
 rated manner. They are so used to seeing it disguised 
 that it would not be recognised. The opinions of the 
 public on matters of art are strange, and the earnest 
 student should not pay too much attention to them, 
 for he must know that the opinions of a person igno- 
 rant of the subject on which he pronounces judgment 
 are of no weight with one who has made it his special 
 study. 
 
 In choosing a subject and in the painting of it, do 
 not be influenced by its likeness to somebody else’s 
 work, or the probability of its pleasing your friends. 
 If you are to do any good, it must please you ; there 
 must be something in it you have not seen before and 
 that you wish to study — some new truth you wish to 
 express. This must be your motive, and in this lies 
 the difference between good and bad art. The excel- 
 
4 
 
 lence is not in the subject, but in the aim which guides 
 the painter’s efforts. An old fence overgrown with 
 weeds painted with loving care will appeal to us more 
 than the historic scene done without heart or con- 
 science. The artist is not great because he paints 
 roughly or smoothly, with a palette knife or with small 
 brushes, delicately or boldly, but because he has by 
 these means aroused our emotions to the great truths 
 of Nature. No. 3, laziness, or the satisfying ourselves 
 with something not quite but nearly right, must be 
 earnestly fought and conquered at the beginning; cul- 
 tivate an artistic conscience, which should give no 
 peace until every effort has been made of which you 
 are capable to attain truth ; the approbation of friends 
 should cause no satisfaction if you feel at heart that 
 greater exertion might have been used, and a nearer 
 approach made to perfection. In the study of values 
 particularly one is tempted to hurry on, putting down 
 at random any tone, and trusting to the general effect 
 or to the ignorance of the spectator. This should not 
 be, and we must not paint for the ignorant spectator, 
 but for ourselves ; the man of honour does not act up 
 to the standard of the ignorant, but up to his own, and 
 so it should be in painting. 
 
 THE MATERIALS. 
 
 CANVAS AND PANELS. 
 
 Oil colours are generally used on canvas or on 
 wooden panels. The second quality canvas is good 
 enough for sketches, but it must not be smooth, the 
 grain of the canvas being a great help in painting, and 
 
5 
 
 having the quality of holding the colour, which a 
 smooth surface has not. For studies of still life, etc., 
 a yard or two may be bought, cut to the required size, 
 and attached to a board with drawing pins. Of panels 
 those made of white wood are the best, being light and 
 portable, but the colour will sink in unless they are 
 prepared to receive it. This may be done in various 
 ways. A favourite one is to apply a coat of size, i.e., 
 glue and water; rubbing oil on the surface also will 
 answer, but perhaps the best is a thin coat of Flake 
 White and turpentine. The panel must of course be 
 quite dry before being used. 
 
 BRUSHES. 
 
 The brushes should be flat hog’s-hair, and as a 
 clean brush must be used with each tone, it will be 
 necessary to procure at least a dozen — two of each of 
 the following: Nos. i, 3, 5, 7, 9, 10. A sable brush 
 about an inch long, called a “rigger,” is useful for out- 
 lines, etc. The smaller brushes should be seldom 
 used ; acquire the habit from the beginning of working 
 with large brushes, and do not let the paint dry on 
 them, or they will be spoiled ; wash them after each 
 sitting with common soap, rubbing the brushes well 
 into the soap and pressing with the fingers until all the 
 paint has been got rid of; then dry with a cloth and 
 press into shape. Do not shorten your brushes on any 
 pretence, as they are made long so that you should be 
 able to use them while standing a long distance from 
 your work, and are to be held in the middle two or 
 three inches above the tin ferrule. 
 
6 
 
 PAINT BOX AND CONTENTS. 
 
 The box should be at least a foot long, and as 
 there are so many styles in the market there will be no 
 
 Fig. ia. 
 
 difficulty in choosing. The palette should be made 
 of mahogany or some hard wood, and be about a foot 
 in length. You cannot without confusion use a 
 
7 
 
 smaller one, for when it is set with ten or twelve colours 
 round the edge there is very little room left to mix the 
 tones, which must of course be kept distinct from each 
 other. Before using, oil must be placed on the surface 
 and allowed to soak in to prevent the colours being 
 imbibed by the dry wood. 
 
 The palette knife is absolutely necessary ; also a 
 dipper, t.e., a small tin receptacle for turpentine. 
 
 The umbrella is usually made of white calico, the 
 stick being in two pieces. While not absolutely indis- 
 pensable it is very useful, especially in this country, to 
 shade the artist and his picture from the sun. 
 
 The sketching-stool is handy, but it is better to 
 stand when possible. The attitude of the young lady 
 in the illustration indicates that she steps backward at 
 every stroke to watch the effect. 
 
 COLOURS. 
 
 As regards the colours, it is very difficult to make 
 a choice, as every artist has his own favourites, and 
 experience enables each to obtain a similar effect with 
 different means. The student is told by some authori- 
 ties never to use certain colours, as they turn black or 
 fade. This is possible, as accidents will happen in the 
 best-regulated families ; but when it is explained that 
 most colours are imperishable, and all will last for 
 many years, he need not let this trouble him to any 
 great extent. The chief reason for colours fading is, 
 that too much oil or medium is mixed with them, or 
 too many are mixed together. There is a saying that 
 three colours make a tone, four make mud ; which is 
 truth expressed in homely language. A simple palette 
 
8 
 
 is the best ; ten or a dozer 
 to have in use at one time, 
 very useful for landscape, 
 Flake White 
 Lemon Yellow 
 Yellow Ochre 
 Raw Sienna 
 Cadmium 
 Vermilion 
 Emerald Green 
 Cerulean Blue 
 
 l colours should be sufficient 
 The following will be found 
 etc. : — 
 
 Cobalt Blue 
 
 Ultramarine Blue (French) 
 
 Prussian Blue 
 
 Raw Umber 
 
 Burnt Sienna 
 
 Rose Madder 
 
 Crimson Lake 
 
 Ivory Black 
 
 SETTING THE PALETTE. 
 
 It will be noticed that brown and green are omit- 
 ted. The browns can be made by mixing black and 
 burnt sienna or other reds ; the greens by mixing the 
 blues and yellows. The student “should set the palette” 
 before beginning to work — not as some do by placing 
 on it three or four colours ; this is as useless as trying 
 to play the piano with half the notes absent — but with 
 about ten. These should be set around the edge of 
 the palette from light to dark in the following order, 
 which must be always the same, so that one need never 
 be at a loss to find a colour : — 
 
 Flake White, Lemon Yellow, Yellow Ochre, Cad- 
 mium, Vermilion, Blues, Burnt Sienna, Rose Madder, 
 Ivory Black. 
 
 THE EASEL. 
 
 A good sketching easel has yet to be invented, 
 but those marked L.D. in Winsor and Newton’s Cata- 
 logue will be found useful. 
 
9 
 
 Mediums, as they have a tendency to turn colour 
 dark, are not nowadays indispensable. Many never 
 use anything with the pigment ; but turpentine should 
 always be carried to mix with the brown tone in draw- 
 ing; also cleaning palette, etc. 
 
 PRELIMINARY STUDIES. 
 
 PLASTER CASTS. 
 
 Before making any attempt to paint landscape 
 from Nature, the student should of course have ac- 
 quired a knowledge of drawing and some acquaintance 
 with his materials. For drawing, the best practice is 
 the copying of plaster casts, which will give him a good 
 knowledge of light and shade — a very valuable thing, 
 and useful in all branches of art. Let him also sketch 
 with the lead pencil at every opportunity. Of course, 
 with this medium he will not be able to get effects in 
 tone, nor should he try to, but only note down the prin- 
 cipal lines. For practice in composition, it is well to 
 set down on paper a square or oblong form, and draw 
 the scene within the limits ; it will be found that a sub- 
 ject having little effect as an oblong will look well as 
 an upright, and vice-versa (see Figs, i and 2). Do 
 not rub the paper with the pencil, but rely on line, pay- 
 ing attention to the contours of the masses, and not to 
 the details contained within them. The student should 
 always carry about him a sketch-book and pencil (an 
 H.B. is perhaps the most useful), and let him not 
 imagine that sketching is an easy thing or unworthy 
 his attention ; on the contrary, it is very important, and 
 he should give it every care, for he may be sure that 
 
10 
 
 Fig. 2. 
 
II 
 
 painting- a landscape without the ability to draw is an 
 impossibility. Figs. 3, 4, and 5 are reproduced from 
 pencil sketches, and will give an idea of the subjects to 
 choose and a simple method of execution. The shad- 
 ing is produced by thick and thin parallel lines, and 
 by varying the interval between them. 
 
 STILL LIFE. 
 
 To obtain a knowledge of the materials of paint- 
 ing, i.e., canvas, colours, brushes, etc., the student will 
 find nothing so useful as the study of still life. Let 
 him arrange a group of familiar objects, such as a few 
 books and an inkstand, which will make an interesting 
 subject, and the light and shade will remain without 
 change. The subject should be painted the size of 
 Nature, and in a room lighted from one window only. 
 Make many of this character, as the familiarity of the 
 objects will enable you, or even any inartistic person, 
 to perceive the faults. Let the background be quiet 
 in tone, and reserve the high lights for the foreground 
 objects, paying great attention to the values, for by 
 these atmosphere is introduced into the work, which 
 would otherwise tend to flatness. See that the objects 
 are made to stand apart from each other, each on its 
 proper plane, and be very particular to get the true 
 tone of the background ; above all, be sure not to make 
 it too dark, for if you do, it will be nearly impossible 
 to detach the objects from it. 
 
 Do not be in a hurry to leave this class of study 
 for work out of doors; there your difficulties will be 
 increased a hundredfold. Instead of half a dozen 
 strong tones in a good light, you will see hundreds of 
 
12 
 
 Fig. 4. 
 
13 
 
 Fig. 
 
14 
 
 indescribable delicacy continually changing, and you 
 will be annoyed by heat or cold, or, worse than all, by 
 insect plagues. 
 
 Perseverance in the course of study indicated 
 above will enable the student to go to Nature with 
 some chance of success ; to do so without any prelimi- 
 nary exercise would be to court disaster, and dis- 
 courage him from making further efforts. 
 
 CHOICE OF SUBJECT. 
 
 The student being able to draw reasonably well, 
 and having acquired some command of his materials, 
 may now think of painting a landscape study from 
 Nature. 
 
 Beginners usually choose subjects that would task 
 the powers of an experienced artist, instead of some- 
 thing very simple. They should for the moment put 
 away all thoughts of making a picture, giving their 
 whole attention to placing on canvas the tones seen in 
 Nature ; and of course the simpler the composition the 
 more chance of success. 
 
 The student when choosing a subject should half 
 close the eyes , or shut one of them, which has nearly 
 the same effect. The landscape will now become sim- 
 plified, the grand masses more prominent, and the 
 thousand and one details which distract the attention 
 eliminated. 
 
 Nature paints on a grand scale, and it is manifestly 
 impossible to render on a small canvas all that is seen 
 in a stretch of country perhaps miles in extent ; but by 
 
15 
 
 the process of half closing the eyes truth to Nature 
 becomes possible and you will learn by it more than 
 any master can teach. 
 
 Now observe in the landscape thus seen there is 
 only one highest light (probably the sky) and one 
 deepest dark, and all the other tones are subordinate ; 
 this you must reproduce exactly. Observe also that 
 the tones have more finesse and are simpler, and in the 
 distance especially are nearly flat ; be very careful to 
 render this, for on it depends whether your picture will 
 possess perspective, or, in the modern phrase, atmo- 
 sphere. 
 
 The analysis of tone obtained by half closing the 
 eyes is of the utmost importance in the teaching of the 
 modern school. As seen thus the choice of subject is 
 greatly facilitated, and the landscape resolves itself into 
 two or three planes — the sky, the distance, and middle 
 distance. The “motif” will be generally found in the 
 latter, for if there is nothing striking here it will be 
 well to look elsewhere. 
 
 It will be observed that the foreground has not 
 been spoken of, and the reason is that in modern pic- 
 tures it is often conspicuous by its absence ; and rightly 
 so, for, if we look at the sky distance and middle dis- 
 tance, we look over the foreground and see it very 
 vaguely, and it should be thus rendered. Let the 
 student realise once for all that a landscape picture is 
 a view from one place only, not half a dozen obtained 
 by turning the head in different directions. For this 
 reason the corners are not painted so forcibly as the 
 middle, where the “motif” of the picture is generally 
 found. A foreground worked up to the very frame, 
 
i6 
 
 besides being untrue, is an obstruction to the eye, pre- 
 venting it from entering. This sensation of entering a 
 picture is obtained by keeping the foreground simple 
 and light in tone, and avoiding any obstruction, such 
 as fences or rows of bushes touching the frame. 
 
 Of course, the art of composing* a picture cannot 
 be learned by recipes, like puddings ; it is the applica- 
 tion to special instances of general truths of form and 
 colour, and the laws of perspective. Here are a few of 
 them as laid down by M. Carolus Duran, president of 
 the New Salon : — 
 
 1. A subject ought to be complete in itself, with- 
 out the possibility of adding anything to the sides or 
 top or bottom. 
 
 2. Arrange the composition in the mind before 
 placing on the canvas. 
 
 3. Art means choice. It is the artist’s business 
 tO' select from Nature — his great difficulty what to 
 leave out. 
 
 4. Objects introduced into a composition without 
 necessity damage it. 
 
 5. Let not one colour predominate. 
 
 6. Repetition of forms is to be avoided. 
 
 7. Simplify the colouration and vary the values. 
 
 8. The masses must be accentuated, the details 
 contained in them simplified. 
 
 9. Never be satisfied with the nearly right. 
 
 10. True observation of values is more essential 
 than brilliant colouring. 
 
 Many more but for the limits of space might be 
 added. M. Carolus Duran practised what he preached, 
 and his sermons were generally on the observation of 
 
Fig. 6. 
 
i8 
 
 values, varied by exhortations not to be satisfied with 
 the a pea pres, or nearly right. By following these 
 precepts some of his pupils have attained great emi- 
 nence ; John S. Sargent, R.A., is an instance, and yet, 
 when in Duran’s atelier, he was often found fault with 
 by the master for being only “nearly right.” 
 
 Fig. 7. 
 
 Fig. 8. 
 
 The great French painter, Jean Francois Millet, 
 held the same views, and in an interview with the 
 author, expressed himself strongly as to the import- 
 ance of No. 2; he went further, and insisted on the 
 subject being completely drawn before the canvas was 
 touched with paint. 
 
19 
 
 The application of the above precepts may not be 
 understood by the beginner, but as he advances he will 
 discover their value. In Fig. 6 an endeavour has been 
 made to illustrate precept No. i — That a subject should 
 be complete in itself without the possibility of adding 
 anything to the sides, top, or bottom. This compo- 
 sition would lose were it altered in any of the ways 
 mentioned. In Fig. 7 the rock is too much in the 
 centre, and in Fig. 8 an endeavour has been made to 
 improve the composition by placing it at the side and 
 showing the sky over the top. 
 
 It will perhaps be as well to indicate the sort of 
 subjects the beginner should look for. If the sea is 
 near, let him go down to the beach and he will prob- 
 ably find subjects like Fig. 9 (see Water Colours). 
 The composition is generally very simple, and the 
 same may be said of the tones. 
 
 An old shanty forms a capital subject, and one 
 not too difficult ; so does an old fence overgrown with 
 weeds ; an old cart or an old tree is found nearly 
 everywhere, and is generally worth doing. 
 
 The traces of age are not only fine in tone, but 
 they harmonise the object with its surroundings and 
 evoke our sympathy. New things do not do this, 
 being often crude in colour and painfully angular in 
 form ; neither are they endeared to us by association 
 with man in his daily labour. It is sympathy with all 
 that relates to the lives of our fellow men which makes 
 us seek in landscape signs of his presence ; this absent, 
 the beauties of Nature fail in interest. The purple 
 mountain remains to us a purple mountain and no- 
 thing more. The primeval forest may stretch before 
 
20 
 
 us for miles, and our only sensation be of infinite 
 monotony ; but the clearing at once arrests our atten- 
 tion, and we view with delight even the primitive 
 attempts of the savage to make for himself an abiding 
 place in the little hut at the foot of some giant of the 
 forest. 
 
 The signs of man’s life are in some parts of Aus- 
 tralia conspicuous by their absence. The parched 
 land will hardly support the lower animals, much less 
 man, and yet the would-be critic asks why the artist 
 does not seek his subjects in the great “interior.” He 
 would not find them there if he went, and for the 
 above reason. 
 
 THE SKY. 
 
 FINAL DRAWING IN TRANSPARENT 
 COLOUR. 
 
 Having chosen a simple subject, it must be drawn 
 on the canvas with charcoal, taking great care with 
 the composition. In France it is usual when the work 
 is of any importance to carry the drawing further in 
 the following manner ; — Mix a tone of Ivory Black and 
 Burnt Sienna or Lake, and dilute with turpentine ; this 
 tone being perfectly transparent and without any 
 body, may be used as water-colour. Dust off the 
 charcoal, and with the “rigger” outline the principal 
 lines, at the same time correcting the drawing, and 
 indicating the parts in shadow by rubbing on the tone 
 lightly with a hog’s-hair brush. Do not use much 
 turpentine in the shadows ; the brush should be nearly 
 dry. We have then a monotone drawing of the sub- 
 ject, with the light and shade indicated. 
 
3 
 
 THE HUNTER RIVER AT SINGLETON, N.S.W. 
 
21 
 
 Should the sky be a prominent part of the sub- 
 ject it is well to commence with it, and the sky being 
 the source of light, the utmost care must be taken to 
 preserve its brilliancy. The painter in the open is in- 
 clined to make everything too dark, for the intense 
 open-air light makes his tones seem lighter than they 
 really are, and when seen indoors he is disappointed 
 to find that they are heavy and dark; he should 
 remember this, and at all hazards secure brilliancy. 
 
 This is particularly necessary in Australia, and 
 for this reason the painter in the open should make 
 but little use of the darker colours. Leaving the 
 blacks and browns for the studio, let him work with 
 the Light Blues, Lemon Yellow, and Madders; for 
 Nature has no use for strong colours, being, so to 
 speak, a kaleidoscope of coloured greys. 
 
 Should the reader be inclined tO' doubt this, let 
 him look out of the window, and say if there is any- 
 thing black or brown or any hot crude colour there. 
 Surely he will see nothing but subtle tones of various 
 coloured greys, which unite in perfect harmony. 
 
 For example, the black hull of the ironclad be- 
 comes a bluish-grey, and the newly tarred fence a 
 greyish-purple ; in a word, the clear Australian atmos- 
 phere acts the part of a good fairy, and changes the 
 coarse and common into things of beauty. 
 
 To secure the effect of light something more is 
 necessary than the employment of light pigments ; for 
 brilliancy is obtained quite as much by good technique, 
 i.e., the method of handling the brush and the placing 
 the tones on the canvas. It is not possible to give 
 definite rules for this, being the result of intuition and 
 
22 
 
 experience, but it is certain that the more you rub the 
 paint about the more dead and colourless it will be- 
 come. Mix the tones with the palette knife on the 
 palette, apply them to the canvas with a large flat 
 brush in broad touches; do not rub them together — a 
 slight movement to unite the edges is all that is neces- 
 sary. If after one or two touches you find the tone 
 wrong, scrape it off and make another, though you 
 should not begin to paint before you are reasonably 
 certain of having found the right one ; this done, apply 
 it boldly. 
 
 The following tones will be found useful in paint- 
 ing skies, but beware of making them too blue ; they 
 are generally of a luminous grey of infinite finesse. 
 
 Tones for Skies. — Cerulean Blue and Lemon Yel- 
 low, Cobalt and Lemon Yellow, Cobalt and Rose Mad- 
 der or Vermilion, Emerald Green and Cobalt. 
 
 Grey Clouds, dc. — Cobalt and Vermilion, Cobalt 
 and Rose Madder, Cobalt, Vermilion, and Lemon Yel- 
 low. 
 
 Dark Clouds, dc. — Cobalt and Vermilion, Cobalt 
 and Light or Indian Red, Ultramarine and Vermilion. 
 
 Very Dark. — Ultramarine and Rose Madder, 
 Ultramarine with Indian Red. 
 
 Very Light Clouds. — Lemon Yellow and Rose 
 Madder and plenty of Flake White, Lemon Yellow and 
 Vermilion, Yellow Ochre and Cobalt. 
 
 Distant Mountains. — The same tones as for the 
 sky, but darker. 
 
 Smooth Water. — The same as the sky, but a little 
 darker. 
 
23 
 
 Flake White must be used freely with all the 
 above. 
 
 With these the student will be able to render an 
 infinite variety of skies, but he will require something 
 more for success than a mere list of tones — viz., in- 
 telligence. If he have this he will find no difficulty 
 in aoportioning the right amount of colour to each 
 tone, and varying the same according to his needs. 
 It is a thing that cannot be taught by books, expe- 
 rience being the only guide. Let him acquire this by 
 constant practice, and not be deterred by failures, 
 which every good artist has had and profited by. In 
 fact, it is one of the secrets of success, with “an in- 
 finite capacity for taking pains.” 
 
 In painting skies it should always be remembered 
 that you are painting air, which is impalpable and 
 transparent and not to be rendered by the ordinary 
 flat tone with which you would paint a house. Some- 
 times it is well to allow almost imperceptible particles 
 of pure Lemon Yellow and Rose Madder to remain; 
 these serve to break up the flatness of the tones, and at 
 a distance will not be noticeable, but the effect will be 
 much enriched. 
 
 This method of the juxtaposition of tones is much 
 practised by the new school, of which Manet, Claude 
 Monet, and Degas are the acknowledged masters. 
 The idea is as follows: — Tones of different colours, 
 but of the same value, placed in juxtaposition and 
 viewed at a little distance, are united without the in- 
 tervention of the brush by the eye alone ; and being 
 nearly pure are much more brilliant than those tor- 
 mented by the brush. 
 
24 
 
 Still another school has arisen in Paris — that of 
 the Pointillistes, who place on canvas points of abso- 
 lutely pure colour, trusting- for the effect to the eye of 
 the spectator and that distance which “lends enchant- 
 ment to the view.’’ The student, however, need 
 not concern himself with these theories, although 
 they will show him how great an importance 
 is attached at the present time to the expression in art 
 of air and sunlight. 
 
 DISTANCE. 
 
 The distance being seen through a volume 
 of air is more or less of a bluish tone, not 
 a great deal darker than the sky. As the 
 beginner is apt to make it too heavy, thus 
 bringing it too near, let him half close the eyes 
 and analyse it. As he looks it will become finer and 
 finer. This is the crux of the picture, and should the 
 distance be made heavy and dark, all illusion will be 
 destroyed. Analyse well the various tones in Nature, 
 so as to obtain the true value of each, and the distance, 
 however dark it looks at first, will be found one of the 
 finest. 
 
 The student will understand why the above has 
 been dwelt on when he sees that in making the dis- 
 tance too dark, the trees, etc., against it will have to 
 be too dark, in order to gain relief, the middle distance 
 and foreground forced still more, until he finds he has 
 exhausted his resources, and his study becomes heavy 
 and black — a flat plane altogether wanting in Nature’s 
 finesse and tender harmony. 
 
2 5 
 
 The non-observation of values is the cause of all 
 this, and half closing the eyes the cure, with a fixed 
 resolve to get the right tone, and not to be contented 
 with the merely pretty. 
 
 When the study appears monotonous in tone, and 
 the various planes do not detach themselves, the stu- 
 dent is tempted to darken the darks. This is very dan- 
 gerous, for in nine cases out of ten it is rather the lights 
 that require heightening. The faintest greys acquire 
 prominence when relieved against a lighter tone ; but 
 the beginner prefers to pile on the darks, thinking to 
 acquire force ; instead he becomes coarse. Preserve 
 the light. This is the essential. When we think that 
 this must be done with a few poor earthly pigments, 
 and that with these the light of heaven must be imi- 
 tated, the necessity of this is apparent — also the diffi- 
 culty. At first it would seem insurmountable, but by 
 attending to the values the relative light and shade 
 may be rendered. 
 
 WATER. 
 
 The beauty of a landscape is greatly heightened 
 by the introduction of water, which should be painted 
 with the tones of the sky, somewhat lowered. The 
 reflections repeat the objects above them, but they 
 must be broken by horizontal lines indicating ripples, 
 etc., in order to show that the water is a flat surface. 
 
 It is difficult to get the correct tone of still water, 
 as it often appears colourless until we contrast it with 
 something a little lighter — a floating leaf or twig, for 
 example — when we find that it is darker than we 
 expected. 
 
26 
 
 RUNNING STREAMS. 
 
 When water is ruffled by the breeze i't becomes 
 lighter and greyer in tone, still repeating those of the 
 sky. In brooks and running streams the water is of 
 a yellow tone, or looks so owing to the bottom being 
 formed of rocks or covered with weeds. The irregu- 
 lar forms are got by dexterous handling, the cut brush 
 (see Terms and Processes) being invaluable; the 
 tones by using the transparent colours. 
 
 THE SEA. 
 
 In painting the sea we must remember that the 
 light from the sky is reflected on its surface, and that 
 any semblance of solidity or opacity is quite out of 
 place. Sometimes it is made to look as solid and 
 perpendicular as a wall, instead of liquid and thin. 
 The horizon cutting the sky is dark by contrast, but 
 its true value must be ascertained by half closing the 
 eyes, and it will be seen to be a subdued purple-grey. 
 Nearer, the tone is more broken, and the markings of 
 waves should be horizontal ; but do not make them 
 following one another in rows. There is always one 
 larger than the rest ; study this one, making it promi- 
 nent in your picture and subduing the others. Intro- 
 duce if possible the hollow curve of the wave just be- 
 fore it breaks ; this is often transparent and full of 
 colour, generally of a greenish tone, but sometimes 
 nearly pure emerald, at others almost purple. The 
 foam must not be too white (a common fault), but the 
 tone should be laid on thickly, especially in the more 
 prominent parts. The cut brush will here be found 
 
THE RIVALS. 
 
27 
 
 useful, filled with plenty of Flake White with a little 
 Cobalt and V ermilion. 
 
 TONES FOR WATER. 
 
 Reflections take the same colours as the object 
 reflected. 
 
 Still Water in Shade. — Raw Umber and Flake 
 White (sometimes Cobalt), Raw Sienna and Rose 
 Madder, Burnt Sienna and Cobalt (for greens), Cad- 
 mium and Cobalt. 
 
 Still Water in Light. — The same tones as the sky ; 
 a little Flake White may be used with these in the 
 lights. 
 
 The Sea, Horizon. — Cobalt, Rose Madder or Ver- 
 milion; Ultramarine and Vermilion. 
 
 The Sea, Middle Distance. — Cobalt and Lemon 
 Yellow, Cobalt and Yellow Ochre, Terre Verte. 
 
 The Sea, Hear the Shore. — Cerulean and Yellow 
 Ochre, Cerulean and Lemon Yellow, Emerald Green. 
 
 A little Flake White in most of the above. 
 
 Foam. — Flake White (high lights), Cobalt and 
 Lemon Yellow, Cobalt and Vermilion, Yellow Ochre. 
 
 Flake White must be used freely with the above. 
 
 SAND AND ROCKS. 
 
 The colour of sand is very subtle and varies 
 greatly, as it is acted upon by clouds and reflects the 
 light of the sky. In a large expanse, in consequence 
 of all being so brilliantly light, it is difficult to express 
 the distance. Analyse it well and compare it with 
 that nearer, and it will be found a shade darker, to be 
 rendered with a trifle more blue and vermilion. The 
 
28 
 
 wet sand sometimes gives exquisite reflections, but 
 they must be rendered very delicately, or they will 
 attract too much attention. 
 
 In some parts of Australia rocks form a feature 
 of the bush, and they are welcome to the artist, as 
 their fine grey tones and irregular forms give relief to 
 the green of the trees. Though not covered with the 
 rich mosses and lichen of damper climates, their lovely 
 tones, graduating from pale yellow to deep red, give 
 to the bush a character of its own. Near the sea their 
 forms are more rounded, but they are otherwise much 
 the same. In painting, the ensemble should be ren- 
 dered, and all markings added afterwards. Here are 
 a few tones which will be found useful : — 
 
 Light Rocks . — Cobalt and Yellow Ochre, Cobalt 
 and Raw Umber, Cobalt and Vermilion or Light Red, 
 Rose Madder and Cobalt, Lake and Cobalt or French 
 Blue. 
 
 Dark Rocks . — Burnt Sienna and Ivory Black, 
 Ivory Black and Lake, French Blue, Cadmium and 
 Lake. 
 
 Flake White to be used with all. 
 
 For Sand . — Yellow Ochre and Flake White, Yel- 
 low Ochre, Vermilion and Flake White, Orange Cad- 
 mium and Flake White, Cobalt, Vermilion and Flake 
 White. 
 
 THE GROUND. 
 
 The ground varies SO' much in different localities 
 that it is difficult to give any advice on the subject, 
 except that it must be kept light in tone. When we 
 remember that the light of the sky falls on it every- 
 
29 
 
 where, and is reflected by every blade of grass and 
 glossy leaf, the reason for this is seen. In painting 
 grass, it, of course, should not be rendered too green, 
 as it will be found generally much finer than was 
 thought. Reddish tones will be visible, being the 
 complementary, but often they may be accounted for 
 in the fallen leaves, dead blades of grass, or the colour 
 of the earth. Let the reddish tones remain on the can- 
 vas distinct from the green ; the eye will assimilate 
 them ; whereas if you mixed all together with the 
 brush, the result would be dirty, instead of pure and 
 crisp. Patches of earth showing through the grass 
 in places break the monotony, but they must harmon- 
 ise with the green and be of the same value. Ver- 
 milion, Yellow Ochre, and White will be found useful 
 here. In roads or paths, Raw Umber and Yellow 
 Ochre and Flake White may be employed. The traces 
 of wheels or ruts should not be made out too much, or 
 they will look like tramway lines. The eye, it must 
 be remembered, generally looks over them to the 
 landscape beyond. Bushes and shrubs for the same 
 reason should be generalised, and an open space kept 
 in the middle of the picture, so that the eye may enter, 
 as explained in the Choice of Subject. 
 
 TREES. 
 
 The characteristics of Australian trees have been 
 touched upon in the introduction, so, though sorely 
 tempted, we will not dilate further on their grace and 
 beauty. These very qualities make it very difficult 
 to adequately render them on canvas. As has been 
 said of the sky, something more is necessary to do 
 
30 
 
 this than a list of tones. The student must enter into 
 the spirit of the landscape, feel a keen delight in the 
 twisting and turning branches, and the play of light 
 through the feathery foliage. If he have this feeling 
 he need not despair, for the hand, however inex- 
 perienced, will find a way of expressing it. The right 
 tone and the right touch — which is equally important 
 — will be found in time, but this consummation so 
 devoutly to be wished for must be accelerated by con- 
 stant practice. In painting light foliage, such as the 
 eucalyptus, the brush should be held lightly and given 
 free play. It is just as well to have for this purpose 
 one or two that have been cut (see Terms and 
 Processes). 
 
 The branches, whose long and slender curves re- 
 quire sympathetic treatment, may be rendered as 
 follows. Mix two tones : one of White and Raw 
 Umber and perhaps a little Blue, the other Black and 
 Burnt Sienna. Dip the “rigger” in turpentine, and 
 charge one side with the light tone and the other with 
 the dark. Holding the brush in the middle with a 
 free movement, draw the branches. In this way the 
 light and shade will be produced at one operation, and 
 with the decision so absolutely necessary. Of course 
 the light side will be uppermost. 
 
 The “rigger” is also useful for the fine branches 
 seen darkly against the sky, some of them mere 
 threads. A tone of Black or Burnt Sienna or Lake, 
 with plenty of turpentine, will render all varieties, and 
 being transparent and without body, may be manipu- 
 lated with ease, and removed or half effaced with a 
 rag, thus making various greys. 
 
ENTRANCE TO SYDNEY HARBOUR. 
 
31 
 
 The masses must not be treated in too solid a 
 manner. Greys must be introduced sometimes, con- 
 sisting- of patches of sky, which when seen through 
 intervening foliage are more or less dark. Also tones 
 of reddish or bluish-purple; these vary the monotony, 
 and help to give the effect of distance. Towards the 
 horizon, and in certain effects of sunlight, these pur- 
 plish-greys are very apparent, especially in Australia, 
 where the intense light, flooding everything with yel- 
 low, causes purple, its complementary colour, to 
 appear. This is not so apparent when looking at 
 Nature inartistically — i.e., with the eyes wide open ; 
 but let the student half close them and analyse the 
 tones, and it will be easily discernible. Some artists 
 carry this idea too far, and their pictures seem to be 
 composed of Cadmium Yellow and Purple, ignoring 
 entirely all the neutral tones and delicate greys. They 
 seem so elated at realising that these colours are part 
 of Nature’s scheme of colouration, that they become 
 blind to the more modest and useful tones. It may 
 be taken as an axiom that nothing should appear in 
 a picture that cannot be seen in Nature. The student 
 must bear this in mind, and refrain from introducing 
 tones he cannot see; but he must not conclude from 
 this that they do not exist. Nature does not reveal 
 her secrets to the tyro before his undergoing a long 
 apprenticeship and much preparation. The true artist 
 has undergone this and sees more things on earth 
 and sky than the student ; and of course infinitely 
 more than the ordinary man, who may be said to have 
 eyes and yet see not. 
 
32 
 
 TRUE TECHNIQUE. 
 
 A modest attitude is the most fitting for the 
 student. Let him assume it if he have it not, and re- 
 frain from tricks of technique, or imitations of fads of 
 the moment, intended to show his own cleverness. 
 The finest technique is that which is unobservable, and 
 when our attention is called to marks of the palette 
 knife or square brush, it only destroys any illusion as 
 to the truth to Nature of the scene. If they are in- 
 tended to captivate the public they are indeed out of 
 place, being quite “caviare to the general.” 
 
 It must not be supposed from the above that tech- 
 nique is condemned ; it is only the abuse of it, or when 
 it takes the place of truth to Nature. In painting trees 
 it is especially useful. By a certain movement of the 
 brush the characteristics of the various trees and their 
 foliage are obtained. Where this is loose and irregu- 
 lar, the cut brush and the “rigger” will be invaluable. 
 If the mass is too heavy, it may be advisable to intro- 
 duce a light branch or two, or perhaps a slender trunk, 
 and be careful not to render the foliage as a flat, solid 
 mass. The light and air penetrates between the leaves, 
 and is expressed by bluish tones painted in with the 
 local colour. Remember to get the value of the trees, 
 i.e., the place they occupy, whether near or far, and 
 beware of making them too heavy and dark. 
 
 TERMS AND PROCESSES. 
 
 VALUES. 
 
 Values is a term often employed at the present 
 time, as insistence on the true rendering of values is 
 one of the laws of the new school. It means the exact 
 
33 
 
 amount of light and shade, either in Nature or paint- 
 ing, and is quite distinct from tone, with which it is 
 often confounded. Tones may be very beautiful in 
 themselves, but all wrong in value, i,e., out of place. 
 In painting, for instance, they may destroy the repose 
 of a shadow by being too bright. True values make 
 for exact truth to Nature as seen with half-closed eyes. 
 There is one highest light and one deepest dark and 
 their intermediate tones, all unnecessary details being 
 lost. False values are very noticeable in certain pic- 
 tures of the English school, where the composition or 
 subject is everything and the chiaroscuro utterly ne- 
 glected. There is no repose for the eye, and insignifi- 
 cant details attract attention to every corner. This is 
 more or less so in Sir Edward Poynter’s large picture, 
 “The Meeting of Solomon and the Queen of Sheba,” 
 in the National Gallery of N.S.W. It has no doubt 
 great qualities of learning and arrangement, but it is 
 utterly wanting in effect ; the eye wanders wearily over 
 its surface, but finds no- satisfaction ; everything is 
 painted up to the same monotonous level, and one 
 wonders how the eye, that should be occupied with 
 Solomon and the Queen of Sheba, sees so well the 
 bunch of grapes in the extreme right-hand corner, or 
 the capitals of the pillars near the roof. In contrast 
 with this, the picture by Sall& in the same gallery, called 
 “The Anatomy Lesson,” is a wonderful study of 
 values. All the details are there, but subordinated to 
 the effect. 
 
 TONE. 
 
 Tone is composed of two or more colours united. 
 A cold tone is when the cooler colours, such as white 
 
34 
 
 and blue, predominate ; a warm one in which the reds 
 or yellows assert themselves. A high tone when the 
 bright colours predominate, and a low when the more 
 sober ones are in the majority. Thus, in a low-toned 
 picture, even the highest light is subdued, and the rest 
 in harmony; in fact, the effect of evening or a dark 
 cloudy day. When it is remembered that time — and a 
 very short space of it — darkens all pictures, the neces- 
 sity of striking a high key-note is apparent. 
 
 TECHNIQUE. 
 
 Technique is a term much heard nowadays, and 
 may be said to be the obtaining of truthful effect by the 
 dexterous use of the materials ; in other words, by 
 knowing exactly what to do and doing it quickly. As 
 it is usually acquired by experience, and rarely by in- 
 tuition, the student should not trouble himself about 
 it. Let him see that his tones are true to Nature, and 
 he will acquire it in due time. Nothing is more absurd 
 than the brush marks and palette knife scratches some- 
 times seen on beginners’ work, in imitation of some- 
 body else. Technique, like style, is a personal quality, 
 and each must invent it for himself. 
 
 BREADTH. 
 
 Breadth means the combination of large masses 
 of light and shade, which must not be broken up by 
 the introduction of obtrusive detail. If due attention 
 is paid to the values, breadth will be secured. 
 
 TO MAKE A CUT BRUSH. 
 
 With a penknife, cut half through the bristles 
 close to the tin, this renders those that remain 
 
35 
 
 very flexible, and they should be nearly an inch 
 long. Brushes cut in this manner are very 
 useful for the light foliage on the outside of the 
 mass. They may be thickly filled with paint when 
 putting on high lights, or with nearly transparent 
 colour for the shade tones. A slight touch or scumble 
 is all that is necessary, and if the sky is already dry 
 the operation is facilitated. 
 
 GLAZING. 
 
 Glazing is the painting over a solid colour when 
 quite dry with a transparent one; but it is little used 
 at present, and should not be attempted by the student. 
 
 SCUMBLING. 
 
 Scumbling is sometimes used to modify effects by 
 rendering them cooler or greyer, and is practised by 
 charging a thin brush with a whitish-grey tone, and 
 dragging on lightly over the tone beneath, which must 
 be dry. 
 
 FINESSE OF TONE. 
 
 All great art is delicate art, and all coarse art is 
 bad art, as Ruskin puts it. Greatness in art depends 
 upon its truth, which is obtained by delicate handling 
 and finesse of tone. Coarseness is fatal to good paint- 
 ing, but it must be estimated by the distance from the 
 eye ; sometimes touches which seem coarse when seen 
 near are more delicate than the closest handling. A 
 stroke by Turner, done in an instant, and looking to 
 the uninitiated a mere violent dash of colour, is really 
 modulated with such delicacy that no single grain of 
 
36 
 
 colour could be taken from it without injury. Culti- 
 vate this feeling for finesse; take care of the fine 
 tones — the coarser will take care of themselves. 
 Boldness is a good thing, but sometimes “fools step in 
 where angels fear to tread,” and the boldness of a mas- 
 ter based on knowledge is very different to that of the 
 student based on ignorance. 
 
 EXECUTION. 
 
 Execution means the mechanical use of the means 
 of art to produce a truthful effect, and may be said to 
 be synonymous with technique. To acquire good 
 execution one must acquire accurate knowledge, and 
 the result will be fineness and precision of touch. With 
 this will come many other qualities, such as simplicity, 
 for the more unpretending the means the more impres- 
 sive the effect ; mystery, for Nature is often inexplic- 
 able; and velocity, for, other things being equal, a 
 quick touch is better than a slow one, and will possess 
 more of the qualities of Nature — gradation, certainty, 
 and variety. 
 
 LOCAL COLOUR. 
 
 Local colour is the natural colour of objects. The 
 artist, of course, sees them under various effects of 
 light and shade, but the uninitiated think of an object 
 as of one colour only. The truth is that, like the 
 chameleon, it changes continually according to the 
 light, and is rarely the same. 
 
 FINISH. 
 
 This quality is much in demand by the ignorant 
 in art, and with them is a mere question of patience 
 and sand-paper — a polishing process where all truth 
 
37 
 
 and originality is lost. The master finishes without 
 effort, by the perfection of his work, due to profound 
 knowledge ; but the work of the student, not having 
 the knowledge, is imperfect, even as t'he uneducated 
 man may discover great truths, but be unable to clothe 
 them in graceful language, and the truths be none the 
 less valuable. A determination to arrive at the truth 
 will produce all the finish that is necessary. Beware 
 of the polishing process ; by employing it you stand in 
 danger of spoiling anything good in your work. 
 
 COLOURIST. 
 
 Colour is the most precious property of the 
 painter. Every other gift may be cultivated, but this 
 cannot be learned, being intuitive. If a man can 
 colour he is a painter, though he may be unable to do 
 anything else ; but this is nearly impossible, as a sense 
 of colour carries with it power over form. The artist 
 who gives all the bloom and transparency of a bunch 
 of grapes in lovely colour paints it better than he who 
 only dwells on their rounded forms. Colour is meant 
 for the comfort and delight of the human heart ; all 
 completely organised men enjoy it, and it is richly be- 
 stow r ed on the highest works of creation, as rainbows, 
 sunsets, roses, violets, butterflies, and birds. 
 
 FEELING. 
 
 Feeling is shown in the spirit in which a work is 
 wrought. It cannot be learnt, but, like colour, is in- 
 tuitive, and is the manifestation of the better part of 
 ourselves. A simple picture of roadside weeds and 
 stones by a master possessing this quality is greater 
 
38 
 
 than the immense canvas of a meaner mind, though the 
 latter may be an historic subject, elaborated with the 
 utmost care. 
 
 HARMONY. 
 
 The chord of colour appointed in the Tabernacle, 
 as we learn from Scripture, was blue, purple, scarlet, 
 with white and gold. This chord has been the fixed 
 basis of all colouring with great artists. In a colour 
 harmony the slightest alteration of any one hue is fatal 
 to the whole. In the works of Nature is perfect har- 
 mony: it is only when man’s work is seen in conjunc- 
 tion with it that discord arises. A newly-tiled roof or 
 a newly-painted fence will destroy the harmony of the 
 most beautiful scene. The study of values in this con- 
 nection will greatly help the student, it being founded 
 on absolute truth to Nature, which is never wrong. 
 
 CHIARA-OSCURO. 
 
 Chiara-oscuro is often wrongly translated as light 
 and shade. It really means light in shade, and is the 
 art of representing light in shadow and shadow in 
 light, so that objects in shadow have the clearness of 
 those in light, and the latter the depth and softness of 
 those in shadow. The skilful treatment of chiara-oscuro 
 is extremely difficult, but essential to the proper ren- 
 dering of scenes from Nature. Mere form is not 
 sufficient, nor colour alone; but all must be combined 
 to form a harmonious whole. The study of values with 
 the artistic vision will in this connection be invaluable. 
 
 DETAIL. 
 
 The rapid and powerful artist looks with contempt 
 on those who see minutiae of detail, rather than breadth 
 
39 
 
 of expression. He has had so frequently to blot this 
 same detail from the encumbered canvas of the student 
 that he looks upon it as synonymous with weakness ; 
 and so it is when obtrusive and unreferred to the final 
 purpose ; but in its place, and contributing to this, very 
 necessary, and the sign of complete work. 
 
 THE ARTISTIC VISION. 
 
 A phrase invented to describe the act of looking 
 at a landscape with half-closed eyes. Nature seen in 
 this way reveals itself freed from obtrusive detail ; the 
 true value of the tones are manifest, and the artist has 
 only to transfer them faithfully to the canvas. 
 
Landscape Painting in Water Colours, 
 
 PRELIMINARY STUDIES. 
 
 EXERCISES ON PLAIN WASHES. 
 
 The reference to the necessity for preliminary 
 studies made in the previous portion of this work 
 applies equally to water-colour painting; in fact, good 
 drawing and composition make for excellence in this 
 medium more than in oil, as a picture in water-colours 
 badly composed cannot become a work of art by rely- 
 ing on manipulation. Continuous work with the pen- 
 cil and sketch-book is necessary, selecting the form 
 most suitable to the subject, either the square, hori- 
 zontal, or perpendicular. In making the outlines for 
 a water-colour, the lines must be sharp and clean and 
 not too dark, or they will show through the washes. 
 An F.or H.B. pencil is generally used, and no unneces- 
 sary lines must be made. Towards the foreground the 
 lines should be sharper and bolder, or they will not be 
 seen through the darker washes generally found there. 
 The student has, it must be supposed, some little ex- 
 
4i 
 
 perience in using the materials, even if it is only in 
 copying coloured prints. He should certainly know 
 how to lay on a flat or graduated wash ; if not, the fol- 
 lowing practice will be useful : — In a small saucer mix 
 with plenty of water a tone of transparent colour — 
 Prussian blue will do ; then draw on paper, squares to 
 form a chess board ; fill a large brush with the liquid, 
 and draw it along the top of the left-hand corner square 
 until about half of it is covered ; then replenish the 
 brush and continue it down to the bottom, keeping 
 within the limits, and do the same with every alternate 
 square. This is for practice in keeping a flat wash 
 within certain limits. At first you will be apt to trans- 
 gress them, but two or three attempts should enable 
 you to make them cleanly, with the washes perfectly 
 flat. The colour will be apt to settle darker at the bot- 
 tom, but you can correct this by reversing the board 
 and repeating the washes. Two inches should be 
 about the size of each square, and you can get more 
 practice by drawing on the middle of the darkened 
 squares small figures of flowers, stars, or letters ; these 
 of course will be a tone darker than the ground, and 
 may be rendered for variety as follows : — Draw the 
 form with pencil, and with a brushful of clean water 
 cover it ; then with the point of a brush dipped in a 
 dark tone spot into it in several places, playing it ac- 
 cording to the form, and when dry it will be perfectly 
 flat. You may also try a flat wash of atom a toot 
 square as follows : — Mix the tone in a saucer ; then fill 
 a large brush and quickly run it along the top, 
 drawing it down about half an inch ; then replenish the 
 brush and connect, drawing it down another half inch, 
 
42 
 
 repeating the operation till the end of the paper, be- 
 ginning always at the right hand, and taking the same 
 quantity of water each time. This operation must be 
 performed with quickness and plenty of water, or the 
 paint will dry in ridges. 
 
 GRADUATED TONES. 
 
 A graduated tone may be made as follows : — 
 Draw with the pencil two lines about two 
 inches apart, and say a foot long ; begin at 
 the top with a pretty dark tone, carry it down about 
 an inch, take a drop of water on the point of the brush, 
 mix it with the tone and continue for another inch, re- 
 peating the operation till the end ; taking exactly the 
 same amount of water each time, and mixing it with 
 the tone in the saucer; each inch will be a little lighter 
 than the preceding, but if well done you will not per- 
 ceive where the difference begins. At the finish the 
 tone must be continued with clean water, and if the 
 gradation is very extended it will be necessary tO' have 
 two columns. These exercises will prepare the student 
 for operations in the field, though he must not hope 
 to succeed so well, as there all the conveniences will be 
 absent. The light is very trying, and of course there 
 is no sloping desk; but these are the conditions of 
 sketching in the open, and he must make the best of 
 them. If he can get a view from a window, or even 
 in a garden, he will find it easier for a commencement. 
 Before going to the open, practise the tones and com- 
 binations given in this work ; make a chess board of 
 them, and write the ingredients underneath each 
 square. Some critics will tell you, no doubt, that these 
 
43 
 
 tones are not right, and that others are better. The 
 author, though well aware that the same effects may 
 be produced by quite other means, has practised these, 
 and can recommend them, until the student has dis- 
 covered a system for himself. He will have much to 
 discover for himself besides, and will find that though 
 the world is full of beauty it must be looked for, and is 
 not all contained in a Greek statue or a blue mountain, 
 but may be found in a heap of rubbish or a side of 
 mutton in a butcher’s shop. This may not sound 
 poetical, but the modem poet seldom gets his inspira- 
 tion from Nature — he prefers to read other poets ; the 
 artist, on the contrary, gets his direct. 
 
 BAD PICTURES. 
 
 The student who has studied Nature earnestly 
 for a few months understands and speaks a 
 language the superior person who lectures him 
 has never heard. But this consciousness of 
 knowledge should cause him to take his art seriously 
 and set himself a high standard. To show his imma- 
 ture attempts would only be an exhibition of vanity, 
 and bad work is bad, not only for the artist, but for all 
 who see it. This should be taken note of by Aus- 
 tralians, for one sees in their houses, amidst the grand- 
 est furniture, awful daubs of pictures. Oh for a man 
 to tell them the truth of the matter, as was done by a 
 professor of art at Liverpool. The professor being 
 invited to luncheon at the house of a merchant prince, 
 was placed at table directly opposite a dreadful picture 
 of the cheap auction school. He immediately covered 
 his eyes with his hand, crying out at the top of his 
 
44 
 
 voice, “Take it away! Oh, take it away before it 
 makes me ill!’’ “Take what away, my dear sir?” 
 cried his host in alarm ; “is it any of the dishes?” “No, 
 no !” cried the professor ; “it is that horror on the wall,” 
 pointing to the picture. “I cannot eat till it is re- 
 moved.” The merchant tried to justify its presence by 
 stating the price, but this did not mend matters, and 
 the professor carried his point, the picture being re- 
 moved in disgrace. 
 
 MATERIALS USED IN PAINTING IN WATER- 
 
 The colours most used are those in earthen- 
 ware pans, and as there are thirty or forty to choose 
 from it is obvious that a selection must be made. The 
 following will be found most useful for landscape : — 
 
 COLOURS. 
 
 Burnt Sienna 
 Brown Madder 
 Prussian Blue 
 Lemon Yellow 
 Yellow Ochre 
 Cadmium 
 
 Rose Madder 
 Ivory Black 
 Vermilion 
 
 Light Red 
 Emerald Green 
 Cobalt 
 Cerulean 
 French Ult. Blue 
 
 Indian Yellow 
 Aureolin 
 
 Chinese White (in bottle) 
 
 THE BOX. 
 
 These had better be contained in the ordinary japanned 
 iron paint box, with a depression in the lid for mixing 
 the tones. 
 
45 
 
 BRUSHES. 
 
 LARGE BRUSHES TO BE USED. 
 
 The brushes made of brown sable are the most 
 useful, with black handles and white metal ferrules ; but 
 they should not be kept in the box, as they are too long 
 without cutting, and this must not be done. Nos. i, 
 4, 6, 8, or 9 may be purchased ; also a large flat brush 
 of camel’s-hair, about an inch broad, for flat tones. 
 The smaller brushes are seldom used, as the finest work 
 may be done with a large brush (No. 9, for instance), 
 the point being as fine as the smallest, and the large 
 quantity of liquid it contains making, for freedom of 
 working. The washes should be as fluid as the requi- 
 site attention to the drawing will allow, in order that 
 the interstices of the paper be filled and breadth of tone 
 obtained. In colouring, the student must pay great 
 attention to the form of the washes, leaving no un- 
 meaning blots ; every tone should have a decided in- 
 tention, calculated to render the form of the object. 
 
 PROCESSES, ETC., USED IN WATER- 
 COLOURS. 
 
 Contrary to the general opinion, changes may be 
 made in water-colour as easily as in oil painting; but 
 the student should not trust to this, but try and obtain 
 his effect in a direct manner. He should not, however,' 
 in a fit of disappointment destroy his drawing on the 
 spot. If he has earnestly endeavoured to set down the 
 truth of Nature, however imperfectly, something valu- 
 able will remain. His first attempts will be, of course, 
 slight sketches of one sitting, but as he advances he 
 
46 
 
 may require to make alterations. In this connection 
 the details of the necessary processes have been set 
 forth; they should, however, be used with great cau- 
 tion, as if apparent, they destroy all illusion, and impart 
 a muddled and made-up appearance to the drawing, 
 destroying that spontaneity and freshness which ought 
 to be characteristic of water-colour. Unfortunately 
 the student is apt to set greater store by these “dodges” 
 and makeshifts than by the fundamental principles. 
 
 Alterations are seldom required if the subject be 
 chosen with attention to the requirements of the me- 
 dium. This demands breadth of treatment, with plenty 
 of air and light, produced by broad flat tones such as 
 would be used in depicting a large expanse of open 
 country bounded by distance. When the view is shut 
 in by near trees or rocks, and the foreground close at 
 hand, full of detail, it is more adapted to the heavier 
 medium of oil. In a word, when the interest of the 
 subject consists in light and atmosphere, use water; 
 when in thoroughness of construction, strength, and 
 absolute truth of tone, use oil. For this reason it is 
 perhaps advisable that the student have some know- 
 ledge of oil-painting. 
 
 THE PAPER. 
 
 The paper should be selected with great care ; that 
 generally used — Whatman’s Imperial medium rough — 
 is very good, but the best paper in the market is the 
 O.W., which is a paper manufactured specially for an 
 association of the first water-colour artists. It bears 
 their stamp and watermark, and no paper that has 
 failed to pass the society’s analyst can be thus stamped. 
 
47 
 
 It was first introduced in Australia by Messrs. W. C. 
 Penfold & Co., 183 Pitt Street, Sydney. It may be had 
 in three surfaces, but perhaps the middle one is the best, 
 for if paper be too smooth the result is a dulness and 
 flatness very disagreeable ; if too rough the effect be- 
 comes coarse, and it is impossible to execute the de- 
 tails with the necessary precision. Blocks — i.e., 
 
 several sheets of paper pressed and forming a solid pad, 
 may be used, and are very useful out of doors, but the 
 paper is not always to be relied on, so it will be well to 
 stretch yours as follows : — 
 
 TO STRETCH PAPER. 
 
 Place the paper on a drawing-board with 
 the face upwards — i.e., the side on which the 
 maker’s name can be read from left to right on 
 being held to the light ; make a pencil mark on it so as 
 to be sure, then wet the paper with a flat camel’s-hair 
 brush or soft sponge, or it can be placed under the tap ; 
 roll it in a damp cloth, and let it remain for a few 
 minutes to dry. A corner of the paper bent down will 
 tell if this is sufficiently accomplished; if the bent 
 corner, having preserved its elasticity, does not spring 
 back, the paper has probably imbibed sufficient mois- 
 ture. Care must be taken not to rub or scrape the 
 surface, or when the colour is laid on the damaged part 
 it will become a dark blot. The paper being still damp 
 may be stretched in the mahogany frame or on a com- 
 mon drawing-board, when the edges must be turned 
 under and fastened to the back ; some use glue, but a 
 dozen or two cheap drawing pins will answer the pur- 
 pose. When dry, it will be found, if these instructions 
 
48 
 
 are followed, perfectly flat. Another way is to mount 
 the paper on a thick straw-board ; but it is an awkward 
 operation to manage, and the paste or glue seems to 
 have a bad influence over the colour. 
 
 TO MAKE CORRECTIONS. 
 
 LIGHTS. 
 
 Effacing is generally practised when too great 
 decision of tone is to be corrected. Lights may be 
 made by this means, or merely half lights. The method 
 is as follows : — Wet the tint where the light is required, 
 then apply a piece of blotting-paper to absorb the 
 superfluous moisture ; this removed, rub with bread- 
 crumbs. For some lights a leather or handkerchief 
 may be used as follows : — With the brush wet the part 
 to be acted upon, then firmly press the handkerchief to 
 it, hold a moment, and rub hard from left to right. The 
 finest lines, such as branches, etc., may be made in this 
 way, but sometimes they will have to be tinted if too 
 much colour has been removed. Of course the tones 
 must be perfectly dry before attempting this, or ugly 
 smears will be the result. Lights may be taken out 
 by means of the eraser or a sharp penknife, but it is not 
 easy to accomplish, and is generally too apparent ; this 
 is a great fault, as an illusion destroyed is not forgiven. 
 Chinese White is useful for corrections, laid on some- 
 what solidly and when dry tinted to the required tone, 
 but it must be done with great taste, or the artifice will 
 be seen. The spectator should not see how the effect 
 is produced and Chinese White being apt to betray its 
 presence, must be used sparingly or not at all. 
 
49 
 
 Should it be necessary to entirely remove the colour 
 and recover the white paper, a soft sponge filled with 
 water may be used. To protect the adjacent parts 
 from injury it is usual to employ it as follows : — In a 
 piece of cardboard cut a hole the size of the required 
 light, place it in position, and on it the sponge, which, 
 with a quick movement, work from left to right. If 
 the paper remains still slightly soiled, it may be covered 
 with Chinese White diluted with water ; on this surface, 
 when quite dry, the colour will work as easily as on 
 clean paper. 
 
 To give the effect of distance, etc., the tones are 
 sometimes rubbed with ink eraser; this removes the 
 colour from the highest parts of the surface, leaving it 
 untouched in the recesses. It is not advisable to use it 
 on very rough paper, which, however, should not be 
 used by the novice, as it is most difficult to manage. 
 Plenty of water should always be employed ; otherwise 
 the tone will appear dry and smeary. This is a quality 
 which may be made use of in straggling foliage, broken 
 clouds or water, and rocks. In fact, the water-colour 
 painter must be full of resource and invention, ready 
 to take advantage of accidents and even faults, into 
 which, in consequence of the instability of the medium, 
 he is bound to fall. The great difference between water 
 and oil colour is that the former is followed, the latter 
 commanded ; consequently more absolute truth is to 
 be obtained in the latter, and more of the joyousness 
 and freedom of Nature in the former. 
 
 PAINTING FROM NATURE. 
 
 This portion of the book will occupy far less space 
 than that devoted to painting in oil ; not that the me- 
 
50 
 
 dium is inferior or easier to work, but because the 
 principles are the same in both cases. Truth to- Nature 
 must be our aim in either — the only difference the 
 medium used. In water-colour we seldom obtain our 
 results by direct painting; they are only to be got by 
 repeated washings, and time must be allowed for each 
 to dry before applying the other, which makes the 
 operation somewhat tedious. This medium, however, 
 is very suited to the Australian scenery by its trans- 
 parency and the white surface of the paper, which make 
 for light and air. In oil painting the light has to be 
 made — in water to be preserved. This renders it ex- 
 tremely easy to spoil a drawing, as the light once lost 
 over a large surface is seldom regained. Small lights 
 may be, by taking out or applying Chinese White, but 
 a sky made too dark is spoilt, and had better be aban- 
 doned. For this reason it is necessary to proceed with 
 great caution, making each wash only a little darker 
 than the preceding one. Of course, washing down with 
 clean water will lighten tones, but this has many dis- 
 advantages, though it may be often practised in the 
 studio. In the open the effect should be obtained at 
 once, or with as few washes as possible, for the follow- 
 ing reasons : — The limited time for sketching at our 
 disposal makes it necessary to economise it to the ut- 
 most ; also each wash requires time to dry, and in damp 
 weather will not do so. Make it a point, then, to keep 
 the tones light ; they may be rendered darker at the 
 finish if necessary, but light once gone is not to be re- 
 covered. THE SKY. 
 
 The paper is often prepared to receive the blue 
 tone of the sky by a wash of Aureolin, sometimes mixed 
 
WHERE THE TIDES EBB AND FLOW, 
 
5i 
 
 with Rose Madder. This is to counteract the coldness 
 of the blue. As before pointed out, too many washes 
 in the open are out of place, and the same effect, or one 
 perhaps better, may be obtained by washing on the 
 blue tone with plenty of water, and while this is still 
 wet “spotting” it with two brushes, one containing 
 Rose Madder, the other Aureolin. The colours thus 
 “spotted” on will mix more or less with the blue, 
 which must be pretty wet, and the additional colours 
 must be put on with a fine-pointed brush. The opera- 
 tion requires dexterity, and of course is only suited to 
 a bright sunny effect, but when successfully accom- 
 plished gives a depth and finesse of tone which a flat 
 wash of blue does not possess. Beginners, however, 
 should not trouble about these processes, for they will 
 find plain washes quite difficult enough to manage. 
 
 CLOUDS. 
 
 Clouds are produced generally by leaving vacant 
 spaces in the general wash and afterwards tinting them. 
 Light clouds will require very little work. Cover the 
 space left with water ; then dip the point of a brush into 
 a light grey tone (Cobalt, Vermilion, and sometimes 
 Lemon Yellow) and spot it into the plain water about 
 the middle of the cloud ; then a darker tone, and some- 
 times it is necessary to take up the moisture at the bot- 
 tom of the cloud with a dry brush. This will answer for 
 small drawings, but large ones require that the grey 
 and dark tones should be washed in. Plenty of water 
 is necessary as a rule, but light scattered clouds may be 
 rendered by a sideward movement with a somewhat dry 
 brush. Do not try to make too many clouds, but select 
 one or two and try and get the shape. 
 
52 
 
 Cobalt and French Blue are the most useful blues, 
 both washing well. Other blues are apt to sink into 
 the paper; with Cobalt nearly every sky can be ren- 
 
 dered ' SKIES AND CLOUDS. 
 
 Grey Skies . — Cobalt, Vermilion, and Lemon Yel- 
 low; Cobalt and Water. 
 
 Daylight Shies. — Cobalt ; Cobalt and Rose Mad- 
 der; Cobalt and Lemon Yellow; Cobalt and Aureolin ; 
 Cobalt and Lemon Yellow and Vermilion; Cerulean, 
 with the above instead of Cobalt. 
 
 Sunset. — Cobalt and Rose Madder ; Cobalt and 
 Light Red ; Cadmium and Rose Madder ; Cobalt and 
 Yellow Ochre. 
 
 Clouds, Light. — Cobalt, Vermilion, or Light Red; 
 Cobalt, Vermilion, and Lemon Yellow. 
 
 Darker Clouds . — Light Red, Rose Madder and 
 Cobalt; French Blue and Rose Madder; French Blue, 
 Light Red, and Yellow Ochre; French Blue and 
 Brown Madder. 
 
 Silvery Tones. — Yellow Ochre and Rose Madder; 
 Light Red and Cobalt ; Lamp Black, Light Red, and 
 Cobalt. 
 
 Sunset Clouds. — Cadmium Y ellow ; Y ellow Ochre ; 
 Indian Yellow and Rose Madder. 
 
 Slate Colour . — Cobalt and Indian Red. 
 
 Neutral Green . — French Blue and Yellow Ochre; 
 Cobalt and Lemon Yellow. 
 
 The student should make himself acquainted with 
 the above, as a knowledge of the tones will be gained, 
 and his memory stocked with that which will be found 
 useful. Water is the principal ingredient in grey 
 tones. 
 
S3 
 
 As a rule it is better to begin with the predominat- 
 ing colour when mixing the tints, and to add the others 
 to it. For evening skies the first tones should be bril- 
 liant ; they may be subdued by passing slightly darker 
 tones over them. 
 
 DISTANCE. 
 
 It should be remembered that strength is not 
 obtained by strong colours, but is produced by con- 
 trast. Lemon yellow is a fine colour, but placed beside 
 warm green or red it has no effect ; but surrounded 
 with purple or blue becomes very brilliant. 
 
 There are few warm tints in the extreme distance, 
 therefore blue should predominate. This makes for 
 atmosphere, and when a picture is found wanting in 
 this quality, it may generally be ascribed to the absence 
 of greys of a bluish tone. Transparency, or that 
 quality of being seen through or into, must be main- 
 tained at all costs ; and is effected by keeping the colour 
 pure and liquid, and laying on thin washes of a deter- 
 mined character. The forms of the washes should not 
 be lost, and each one should be smaller than the pre- 
 ceding. By putting on the tones at once at their full 
 strength, and washing down, we should obtain a result 
 of opacity and heaviness. As we approach nearer, 
 colours such as Yellow Ochre, Cobalt, and Rose Mad- 
 der may be employed with effect, as they are always 
 light, even at their greatest intensity, and can be painted 
 into when wet, which they remain some time. Small 
 lights on trees, etc., should not be noticed at this stage, 
 but may be arranged afterwards by one of the processes 
 indicated, the darks will then be added, the important 
 thing at present being to get the values correctly. 
 
54 
 
 Half close the eyes and observe the infinitely delicate 
 bluish tones of the distance ; then the slightly firmer 
 ones of the nearer distance, and the trees or other ob- 
 jects blending in the general tone ; then comes the 
 middle distance, which is probably the subject of the 
 picture, firmer and darker, but still appearing a long 
 way off. Try and keep all these gradations, not by 
 hard lines, but by finesse of tone. 
 
 TREES AND FOLIAGE. 
 
 In this part of the picture the character of the 
 foliage will command attention. The peculiarities of 
 each tree must be studied ; not so much the leaf as the 
 outward form of the mass, with the branches. Trees 
 are painted in various ways, according to the inspira- 
 tion of the moment ; sometimes the local colour is 
 given, the shadow tone laid, and we have the light and 
 shade ; the markings are then placed and the high lights 
 made, the outside forms extended loosely, and the 
 branches rendered, sometimes by taking out. The 
 drawing of the trunks and branches demands great 
 care ; they must appear to pass behind the foliage and 
 we should be able to trace them through all the intri- 
 cate leafage. 
 
 Another method of treating foliage is that of 
 working the colour thickly, and painting into and 
 finishing when wet. The colours used must possess a 
 certain degree of opacity and turbidness, such as Indian 
 Yellow — which gives most of the opacity — Burnt 
 Sienna, Raw Sienna, Cobalt, French Blue, etc. Do not 
 make the shadows too solid, and remember to look for 
 the blue or purple tones caused by the sun. The brush 
 
i 
 
 THE LAST GLEAM, 
 

 4 
 
 
 
 
55 
 
 must be used sideways, and handled somewhat loosely, 
 leaving here and there little angular openings of pure 
 white ; these serve to introduce air, and they can be 
 tinted afterwards. The point of the brush charged with 
 pure colour must be used to give depth to the deepest 
 shadows. To paint trees well they must be loved and 
 felt — from the strong grey trunk to the branches 
 spreading out from the parent stem, bearing feathery 
 masses of foliage. 
 
 Foliage . — Emerald Green and Lemon Yellow; 
 Aureolin and Cobalt ; Yellow Ochre and Cobalt; Aure- 
 olin and Prussian Blue; Indian Yellow and French 
 Blue; Indian Yellow and Prussian Blue; Brown Pink 
 and Prussian Blue ; Burnt Sienna and Prussian Blue ; 
 Burnt Sienna, Madder Lake and Blue. 
 
 Trunks and Branches . — Brown Madder and Co- 
 balt; Cobalt and Light Red; Cobalt and Vermilion; 
 Burnt Sienna and Ivory Black. 
 
 The above tones will be found useful, but it is im- 
 possible to say which tones are to be applied without 
 seeing the landscape. The student should make a 
 table of those tones and keep it by him for reference. 
 The lighter ones are generally placed first, but all de- 
 pends on the quantity of water used. Practice is the 
 only way to acquire this or any other knowledge. You 
 will at first spoil much paper, even as the young child 
 beginning to speak makes nothing but mistakes. He, 
 however, does not stop for that, but continues to make 
 them, and acquires the art of speaking in due time. 
 
 Do not hesitate too much. Delicacy is a great 
 thing, but it may be purchased too dearly. Dare some- 
 times ; it will do yoii good. If your work is spoiled, it 
 
S6 
 
 will at least teach you how not to do it. Get up every 
 now and then and take a look round ; a fresh eye is the 
 best master, for if you gaze too long at one thing the 
 eye loses its power. 
 
 THE GROUND, BUILDINGS, ETC. 
 
 As has been said before, the ground must be kept 
 light. Analyse it, and you will see that it is one of the 
 lightest tones in the landscape ; this is accounted for by 
 its nature, also' by the way it reflects the light of the 
 sky. If grass is the principal constituent, broad washes 
 of Aureolin, and a little blue will render it. The bushes 
 and herbage will be probably darker, so make a diffe- 
 rence between them and the flat ground. In roads the 
 washes should be clear and flat; the inequalities, ruts 
 and stones must not be made too much of; they are 
 but details in a whole. Deep shadows should be ren- 
 dered by two or three washes, not by one dark tone. 
 Buildings are very welcome in the landscape — of 
 course at some distance. They give value to the green, 
 and they are an excuse for introducing the cool greys 
 which balance the warm tones. As they are generally 
 light in colour, the darker tones must be laid round 
 them, leaving their shape white, to be afterwards 
 tinted. 
 
 The following tones may be used : — 
 
 Ground . — Aureolin and Vermilion (in washes); 
 Yellow Ochre; Emerald Green; Yellow Ochre; Burnt 
 Sienna (for dead leaves) ; Cobalt and Aureolin. 
 
 Herbage . — Prussian Blue and Burnt Sienna ; Prus- 
 sian Blue and Indian Yellow. 
 
57 
 
 Roods . — Yellow Ochre; Yellow Ochre and Light 
 Red; Yellow Ochre, Light Red, and Cobalt Raw 
 Umber. 
 
 Stones and Buildings . — Yellow Ochre; Yellow 
 Ochre and Vermilion; the same with Cobalt; Raw 
 Umber. 
 
 Use plenty of water with the above. 
 
 WATER. 
 
 The observations made relating to water in that 
 part of the work devoted to oil painting should be 
 studied, as the principles are the same, and the follow- 
 ing table of tones will enable you to render them in the 
 lighter medium. As has been said before, water gene- 
 rally repeats the tones above it; in calm water this is 
 easily verified, and even when it is rough the sky makes 
 its influence felt, for if the sun is shining and the sky 
 blue, this is repeated in the rough water by light ; but 
 should it be grey, the reflection will be darker. The 
 sea on the Australian coasts, being generally lit up by 
 a brilliant sun, is remarkable for the variety of its tones. 
 Green and purple patches near the shore are mixed 
 with opaline tones of grey. The hollows of the curling 
 waves show transparently, varying from emerald green 
 to purple. The soft, creamy white foam is reflected on 
 the wet sand, which is a shade darker than the dry, 
 spreading before us light and brilliant. In the middle 
 distance a dull green may be the prevalent tone, losing 
 itself in the soft purple of the horizon. As such scenes 
 are very attractive to the sketcher, and may be easily 
 reached, the details of colouring suited to such a pic- 
 ture are given, with a rough sketch (see Fig. 9). 
 
58 
 
 TO PAINT A LANDSCAPE IN SUNLIGHT. 
 
 Wash on the blue for the sky (see Skies), bringing 
 it below the horizon, but not as far as the waves in the 
 foreground. Whilst it is drying, any patches of green 
 or purple may be done — the Green with Cerulean and 
 Lemon Yellow or Aureolin, the purple with Rose Mad- 
 der and Cobalt ; a touch of Emerald Green also may be 
 used sometimes. The sky being dry, commence the 
 horizon with a tone of Cobalt and Rose Madder, not 
 too dark ; bring it down a little and lighten with water, 
 
 Fig. 9. 
 
 adding green tones of Cobalt and Yellow Ochre; 
 lighten as it approaches the front, carrying it over the 
 patches of purple and green already made, stopping of 
 course at the foam, which must have decided form. The 
 hollow of the wave being somewhat transparent, Cobalt 
 and Lemon Yellow or Emerald Green will be useful; 
 keep it light, and try for it with a quick movement of 
 the brush. At the darkest part touch on with a point of 
 a brush dark green and purple (Madder Lake and 
 
59 
 
 Blue). The foam must be left light until the last ; then 
 indicate the shadows — which require attention to be 
 seen, as they are very delicate — with water coloured 
 with a little Cobalt and Vermilion or Rose Madder-. 
 Tone down the whites of the wave left in the distance. 
 In the water between the breaking wave and the shore 
 leave plenty of white paper for the delicate tones, and 
 work with a somewhat dry brush. Any rocks may be 
 indicated with Cobalt and Vermilion, or Brown Mad- 
 der, but keep them grey, even when they appear dark, 
 as this can always be added. The brilliant sand may be 
 made with Yellow Ochre or Raw Sienna, but Chinese 
 White mixed with Orange Cadmium will produce the 
 best effect. For the wet sand near the water, 
 which is darker, a tone of Raw Sienna or Brown 
 Madder may be used. Cliffs or hills in the 
 
 distance must be made to appear a long way 
 off; do not exaggerate their height, and see that they 
 are washed in with quiet tones, like Yellow Ochre, 
 Cobalt, Brown Madder, or Light Red. If the general 
 tone is not deep enough, go over again with the same, 
 but beware of making sea or sky too dark, as it is a 
 fatal fault. Remember that the great expanse of sea is 
 flat, and extends for miles reflecting all the light of the 
 sky, and that though it may sometimes appear dark it 
 cannot be so. Every now and then a wave breaks 
 which is more conspicuous than the rest; select that 
 one and subdue the others. The white wings of sea- 
 gulls are appropriate objects, and may be made by 
 taking out and retouching with Chinese White. A 
 steamer may be indicated on the horizon — of course, a 
 mere dot; do not make it distinct. The smoke, how- 
 
00 
 
 ever, occupies some space, and may be rendered as 
 follows : — With a brush full of water wet the space 
 required ; then with the point of the brush charged with 
 light grey, spot it about the middle; then another 
 darker spot towards the bottom. Use a dry brush to 
 take off the edges if likely to dry hard, and let some of 
 the smoke remain uncoloured, especially the upper 
 part, which of course is lighter. 
 
 SKETCHING FROM NATURE, AND WHERE 
 TO GO. 
 
 That love of life in the open which has caused 
 Australians to obtain such renown in cricket, and we 
 may add on the field of war, is perhaps responsible for 
 the number of sketchers who, with painting traps and 
 luncheon baskets, betake themselves into the country 
 on a holiday morning. The fair sex is in the majority, 
 but the sterner is well represented. Generally two or 
 three join together to have the benefit of mutual criti- 
 cism; others, like the solitary “Hatter,” always walk 
 alone. The latter will probably penetrate into Nature’s 
 secrets further than the former, but every man must 
 work out his own salvation in his own manner. Ladies 
 generally go in parties, thinking perhaps that union is 
 strength. Not that there is anything to be afraid of, 
 except perhaps the criticisms volunteered by the 
 passer-by, which are sometimes disconcerting. Imagine 
 the feeling, for instance, of the artist when the country- 
 man complimented him thus: — “Well, mister, you’re a 
 mighty clever man to paint two pictures at the same 
 time, but I’m thinking I like the one on your thumb 
 the better of the two,” pointing to his palette. Or that 
 
6i 
 
 other, whom the village painter accosts with, “Hullo 
 mate ! Why, we’re both in the same line ; but I don’t 
 bother with them small jobs ; I’m wholesale, I am — 
 paints fences !” The sketcher has much to put up with, 
 but he must at all hazards keep his temper, a discreet 
 silence being the best weapon. Boys are a great 
 nuisance, but happily it is impossible for them to re- 
 main long in one place. “Come on, Bill ; it’s only one 
 of the unemployed,” a youth was heard to remark as 
 he dragged his companion away. But with the girls 
 it is another matter, especially if they are nursing baby 
 brothers and sisters ; then they come to stay, and the 
 sketcher must make up his mind to “grin and bear it.” 
 
 The benevolent old gentleman, too, with nothing 
 to do and much time to do it in, is also rather trying. 
 He will recall anecdotes of all the people he ever met 
 who did a “bit of painting,” and his highest praise is 
 that your picture is nearly “good enough to frame.” 
 The labourer fresh from the plough is amazed at your 
 patience, and says he wouldn’t like to work as hard as 
 that ; he is also extremely anxious to know “how much 
 you expect to get for it,” and if you mention, say, ten 
 guineas, will wink and smile incredulously, muttering 
 something about Ananias. 
 
 This intercourse with all sorts and conditions of 
 men is not without its attraction ; but perhaps it is 
 better to seek a spot “far from the madding crowd.” 
 The non-artistic lover of Nature, however enthusiastic, 
 can only gaze at the scene for a few moments ; but the 
 sketcher continues for two or three hours, each minute 
 revealing new beauties, his only regret that his per- 
 formance fails to realise his ideal. Let him not be 
 
62 
 
 discouraged ; the result may be insignificant, but it is 
 not all on the canvas ; some of it is within ; he has 
 stored his mind with images of beauty, he has dreamed 
 dreams, seen lovely harmonies, and is morally a better 
 man. 
 
 The difficulty of finding a subject to sketch is fre- 
 quently felt by beginners, and this is because they 
 expect to find one ready made. This is rarely found 
 in Australia; it is the artist who creates the subject, and 
 makes it tell its story and interest the spectator. To 
 some it comes by intuition ; to others by hard work 
 and experience, gained generally by many failures. 
 The great thing is to work — to succeed if possible, but 
 in any case to work ; for it is in that, the real pleasure 
 lies. And now to say a few words as to the places near 
 the great capitals where sketching may be had. 
 
 SKETCHING GROUNDS. 
 
 Some of the finest subjects are to be found on the 
 shores of Sydney Harbour ; not for large pictures per- 
 haps, but for picturesque “bits” it is unequalled. 
 Mosman’s Bay is being rapidly spoilt by the builders, 
 but Balmoral Beach will still repay the visitor. Manly 
 too is not to be despised, and Freshwater Beach, a mile 
 or so further on, will afford a great variety of seascapes 
 and studies of cliffs and rocks. In a few miles we come 
 to Narrabeen, where every sort of subject may be 
 found, from the still waters of the lagoon, with its fringe 
 of reeds and she-oaks, to the reefs and sands which 
 form a barrier to the blue waters of the Pacific. Bay- 
 view and Newport, a few miles further, are less inter- 
 esting, but the Hawkesbury River, not far away, should 
 
BREAKERS. 
 
63 
 
 not be missed. The best parts for the sketcher are, 
 however, some thirty or forty miles up, near Wiseman’s 
 Ferry. Up the Lane Cove River, near Jenkins’ Or- 
 chard, are some pretty bits ; also on Cook’s River, near 
 Tempe. A few miles out, we have Richmond, with its 
 orchards and old farm-houses ; and still further, the 
 Illawarra, from Stanwell Park to Wollongong and 
 Kiama. The Blue Mountains cannot be recommended 
 for sketching purposes ; the scenery is on too large a 
 scale, and the immediate foreground somewhat barren 
 and stony. One of the favourite sketching grounds in 
 Victoria is the country from Healesville to Lilvdale, 
 and particularly the Black Spur and its vicinity. On 
 the coast, Kilcunda, San Remo, and Cape Schank. 
 Nearer town, Heidelberg, and the coast from Hampton 
 to Sandringham and Beaumaris. The river Yarra near 
 Kew was pretty once, but building operations have not 
 improved it. In Brisbane, charming “little bits” may 
 be sketched along the river bank, particularly on the 
 North Quay. From the hills surrounding the city, 
 extensive views may be obtained of the winding river 
 and distant sombre forest. A few hours’ journey by 
 rail brings one to the Blackall Ranges, or in another 
 direction to the Tweed Heads. Adelaide has many 
 attractions for the artist ; in spring the profusion of 
 wild flowers, with their bright yellow blossoms, en- 
 livens the landscape greatly. Fine views may be ob- 
 tained from the “mountain summit,” also at the foot of 
 the hills. 
 
THE FULL-PAGE ILLUSTRATIONS. 
 
 
 
 THE FRONTISPIECE— 
 
 Morning on the Hawkesbury River, N.S.W. 
 
 BY A. J. DAPLYN. 
 
 A Water Colour by the author, and a re-produc- 
 tion of it forms the frontispiece of this work. As the 
 method employed in painting may be of interest to the 
 student a rdsumd of the tones is here given : — 
 
 The Sky. — Cobalt Blue, with plenty of water, the 
 light clouds taken out by pressing a dry brush on the 
 wet wash. 
 
 The Hills. — Cobalt Blue and Vermilion, with 
 perhaps a little Rose Madder, and plenty of water. 
 
 The Water. — The tones of the hills, but a little 
 darker, in fact both might have been washed on at one 
 operation. 
 
 The Trees. — Aureolin and Cobalt, or Leitch’s Blue 
 for the lighter foliage, and sky showing through in 
 places; to be tinted upon afterwards. India Yellow 
 and Leitch’s Blue, and sometimes Burnt Sienna for the 
 shadow side. In the thick foliage low down to the 
 right, French Blue and Madder Lake was dotted into 
 the wet mass in the deep shadows. 
 
 The Light Herbage in the Foreground. — Yellow 
 Ochre was found useful, touched into when wet with 
 Cobalt or Vermilion to prevent monotony. 
 
65 
 
 The Bushes . — Aureolin and Leitch’s Blue for the 
 foliage in light; Leitch’s Blue and Indian Yellow, with 
 Burnt Sienna in the darker, spotted here and there 
 when wet with Madder Brown and French Blue for 
 the deeper darks. 
 
 A little washing with a large soft brush and water 
 harmonises the tones, or partly effaces them to allow of 
 re-touching, but great care was used, or the drawing 
 would have presented a worried appearance. 
 
 “The Moon is up and yet it is not night.” 
 
 Oil. — Size, 28 x 22 in. 
 
 This picture by the author was exhibited in the 
 Art Society’s Exhibition, 1900, and was purchased by 
 the Trustees for the National Gallery, where it now is. 
 
 The drawings in line made especially for the work 
 by the author, have been mentioned in their place, so 
 we will proceed to Mr. Lister Lister’s pictures. 
 
 CSU-. «JV_S 
 
 Mr. LISTER LISTER’S PICTURES. 
 
 The Hunter River at Singleton, N.S.W. 
 
 Size, 9 x 6 ft. 
 
 This fine work, now in the National Gallery of 
 N.S.W., illustrates the remarks made in this work as 
 to the peculiarities of Australian scenery. The river, 
 sadly reduced in volume by the intense heat of summer, 
 flows slowly from water-hole to water-hole between 
 high banks of clayey soil. In the middle distance to 
 the right, a few stunted trees, of a fine purple tone, are 
 
66 
 
 conspicuous, and, to complete the effect, we have a 
 wonderfully brilliant sky, which almost dazzles us with 
 its glare. 
 
 The scene has few of the conventional elements of 
 landscape beauty, but, without them, the artist has 
 succeeded in producing a powerful work, and one 
 unmistakably Australian. 
 
 The Last Gleam. Size, 9 x 4 ft. 
 
 This picture was first exhibited at the Art Society 
 of N.S.W. Exhibition of 1898, where it gained the 
 Wynn Prize (value about £40), which is annually 
 allotted to the best picture of the year. The illustra- 
 tion gives an excellent idea of the drawing of the tree 
 forms and herbage, delineated with so much skill and 
 loving care ; but we miss, of course, the rich sombre 
 colour of the foreground, which, in the original, brings 
 out with striking effect the cliff, lighted up with the 
 last rays of the setting sun, and the glowing opalescent 
 tone of the evening sky. 
 
 The Rivals. Size, 9 x 6 ft. 
 
 In this spirited landscape, Mr. Lister Lister’s 
 wonderful knowledge of all that appertains to the sea 
 and shipping is finely displayed. 
 
 The tug boat “Champion,” under full steam, is on 
 her way to render assistance to the ship in the distance, 
 and, in all probability, will arrive long before the rival 
 tug seen to the right, which is on the same errand. 
 The slow movement of the great wave, which bears 
 
67 
 
 so easily the little vessel on its oily surface, is admirably 
 suggested, as is the clear morning sky, with its delicate 
 cloud forms. 
 
 Entrance to Sydney Harbour. Size, 7 x 4 ft. 
 
 This picture is a successful combination of land 
 and seascape. In the foreground various species of 
 eucalyptus are seen in all their glory; beyond a grand 
 expanse of blue sea (painted with great finesse), dotted 
 here and there with the white sails of yachts and other 
 craft, and, above, a wonderfully luminous sky, flooding 
 the whole with light. 
 
 Breakers. Size, 7 x 4 ft. 
 
 Few men paint the sea like Mr. Lister Lister, and 
 he is particularly happy in depicting the waves that 
 break on the reefs surrounding the Australian coast. 
 “The Ever Restless Sea,” the well-known picture now 
 in the National Collection, is a case in point, and in 
 “Breakers,” we have a variation of the same effect, but, 
 in the present instance, the sea is rougher, and the 
 waves have entirely covered the reef. 
 
 Where the Tides ebb and flow. Size, 9 x 6 ft. 
 
 It is a typical representation of the Australian 
 coast scenery. The tide has receded, leaving bare a 
 vast extent of reef, on which fragments of rock are 
 lying, the haunt of the sea gulls. These rocks are 
 reflected in pools left by the receding tide, and they 
 greatly aid the composition by breaking up the flat 
 surface of the reef. 
 
A. ). BAPUYN, 
 
 Mercantile Chambers, 
 
 187 CASTbEREAGJ-t STREET. 
 
 GxPEI^rp. 
 
 Lessons. 
 
 Illustrations. 
 
ESTABLISHED 1830. 
 
 W.C. PENFOLD & CO.'S 
 
 REVISED ILLUSTRATED 
 
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 * 1902. s— 
 
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 873 and 3422. 
 
 ALL PREVIOUS LISTS CANCELLED. 
 
W. G. PENFOLD <L CO., 
 
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 183 PITT STREET, 
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AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
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 Index to Artists’ Materials. 
 
 A 
 
 
 
 Page 
 
 Academy Boards ... 
 
 
 52 
 
 Albanine, for Photographic Use .. 
 
 13 
 
 Artists’ Sketch Books 
 
 
 53 
 
 Art Colour Boxes ... 
 
 
 36 
 
 5 
 
 
 
 Badger Softeners, Winsor 
 
 and 
 
 
 Newton’s 
 
 
 44 
 
 B. Hog Hair Brushes 
 
 
 41 
 
 Books on Art 
 
 
 76 
 
 Bright Sable Brushes for Oils ... 
 
 40 
 
 Brown Fitch Hair Brushes for Oils 
 
 40 
 
 Brown Fitch Hair Brushes 
 
 for 
 
 
 Water Colours ... 
 
 
 46 
 
 Bristol Boards, Goodall’s 
 
 
 58 
 
 Brush Cases, Japanned ... 
 
 
 34 
 
 Brush Washers 
 
 
 68 
 
 C 
 
 
 
 Cabinet Saucers ... 
 
 
 63 
 
 Cake Water Colours 
 
 10 & 11 
 
 Cards for Water Colour Painting 
 
 56 
 
 Cards for Drawing 
 
 
 56 
 
 Cards for Oil Painting .. 
 
 
 52 
 
 Canvas in Rolls 
 
 49 & 50 
 
 Canvas on Stretchers 
 
 49 & 50 
 
 Canvas Pins 
 
 
 51 
 
 Cartridge Papers ... 
 
 
 61 
 
 Charcoal Sticks ... 
 
 
 19 
 
 Charcoal Fixative 
 
 
 15 
 
 Charcoal Paper 
 
 
 59 
 
 China Paints 
 
 
 18 
 
 China Slants 
 
 
 63 
 
 Chinese White in Bottles 
 
 
 14 
 
 Crayon Papers 
 
 
 59 
 
 Crayons, Coloured 
 
 
 19 
 
 Conte Crayons 
 
 
 19 
 
 Carbon Pencils 
 
 
 19 
 
 Chalk Boxes, Fitted 
 
 37 & 38 
 
 D 
 
 Page 
 
 Drawing Boards 69 
 
 Drawing Papers 60 to 61 
 
 Drawing Pins (Best of All) ... 61 
 
 Drawing Instruments ... 72 to 76 
 
 E 
 
 Easels, Hatherley... ... ... 70 
 
 Easels, Portable ... ... ... 70 
 
 Easels, Studio 70 
 
 Engineers’ Drawing Boards ... 69 
 
 F 
 
 Fan Hog Hair Brushes ... ... 42 
 
 French Curves ... ... ... 67 
 
 French Crayons ... ... ... 19 
 
 French Indian Ink ... ... 15 
 
 French Shape Hog Hair Brushes 43 
 
 G 
 
 Gold Ink ... ... ... ... 15 
 
 Glass Medium ... ... ... 15 
 
 Gradated Art Panels ... ... 52 
 
 Gum Water ... ... ... 15 
 
 H 
 
 Handy Chalk Boxes ... 37 to 38 
 
 Higgin’s Waterproof Inks ... 12 
 
 Hog Hair Brushes for Oil 
 
 Painting ... ... 41 to 44 
 
 I 
 
 Indian Ink in Sticks ... ... 16 
 
 Indian Ink, Liquid ... ... 15 
 
 LETTERPRESS PRINTERS. 
 
 4 
 
.GENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 INDEX TO ARTISTS’ MATERIALS— Continued. 
 
 J 
 
 Page 
 
 Japanned Tin Boxes, Fitted with 
 Oil Colours ... ... 21 to 27 
 
 Japanned Tin Boxes, Empty , for 
 Oil Colours ... ... 21 to 27 
 
 Japanned Tin Boxes, Fitted with 
 
 Oil Colours, Cheap 27 
 
 Japanned Tin Boxes, Fitted with 
 Water Colours... ... 28 to 36 
 
 Japanned Tin Boxes, Empty, for 
 Water Colours in Pans 28 to 36 
 Japanned Tin Baxes, Empty, for 
 Water Colours in Tubes ... 29 
 
 Japanned Tin Plaques, Tinted 
 for Oils ... ... ... ... 64 
 
 Japanned Tin Plaques, Shaded 
 for Oils... .. ... ... 64 
 
 K 
 
 Knives, Palette ... 65 
 
 Koh-i-noor Pencils ... ... 75 
 
 L 
 
 Landseer Hog Hair Brushes ... 43 
 
 Lamp Black, Liquid ... ... 12 
 
 Liquid Inks, various ... ... 12 
 
 Lyons Hair Brushes ... ... 41 
 
 M 
 
 Mahl Sticks ... ... ... 51 
 
 Mediums for Oil Painting ... 17 
 
 Mediums for Water Colour 
 
 Painting ... ... ... 18 
 
 Michallet Crayon Paper ... ... 59 
 
 Moist Water Colours in Tubes ... 7 
 
 Moist Water Colours in Pans 8 & 9 
 Moist Water Colours in Boxes 33 to 36 
 Mounted Drawing Papers ... 61 
 
 N 
 
 Newman’s Hog Hair Brushes ... 43 
 
 Newman’s Moist Water Colours 
 in Tubes... ... ... ... 9 
 
 O 
 
 Page 
 
 Oil Bottles, Japanned Tin, Screw 
 
 Tops ... ... ... ... 34 
 
 Oil Colours in Tubes, Winsor 
 and Newton's ... ... 1 to 4 
 
 Oil Colours in Tubes, HeyVs ... 5 
 
 Oils, Linseed and other ... ... 17 
 
 Oil Sketching Panels ... ... 56 
 
 Oil Sketching Paper ... ... 59 
 
 Oil Sketching Blocks ... ... 53 
 
 One Guinea Parcel Artists’ 
 Materials ... ... 20 
 
 P 
 
 Panels for Oil Painting ... ... 56 
 
 Palettes, Mahogany ... ... 62 
 
 Palettes, China 62 
 
 Palettes, Wash Leather ... ... 62 
 
 Palette Chalk Boxes ... 37 & 38 
 
 Palette Knives ... ... ... 65 
 
 Pantagraphs ... ... ... 71 
 
 Pastel Crayons ... ... ... 19 
 
 Pastel Papers ... ... ... 59 
 
 Poplar Wood Panels ... ... 51 
 
 Process Black for Photographic 
 
 Use 13 
 
 Parallel Rules ... ... ... 67 
 
 Plaques, Japanned Tin ... ... 64 
 
 R 
 
 Redgrave’s Manual of Colour ... 75 
 
 Rigger Brushes for Oils ... ... 40 
 
 Rizaline Cards for Oils ... ... 57 
 
 Robertson’s Medium ... ... 17 
 
 s 
 
 
 Sable Brushes in Albata... 
 
 ... 45 
 
 Sable Brushes ia Nickel... 
 
 ... 45 
 
 Sable Brushes in Quills ... 
 
 47 & 48 
 
 Sable Brushes for Oils ... 
 
 ... 40 
 
 Sable Varnish Brushes ... 
 
 ... 46 
 
 COPPERPLATE PRINTERS. 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 INDEX TO ARTISTS’ MATERIALS — Continued. 
 
 Page 
 
 Saucers, Tinting ... ... ... 63 
 
 School Drawing Books ... ... 53 
 
 Scrapers, Colour ... ... ... 65 
 
 Sight Measurers ... ... ... 75 
 
 Silver Ink ... ... ... ... 15 
 
 Siberian Brushes in Quills ... 48 
 
 Siberian Wash Brushes ... ... 46 
 
 . Sketch Books, “ Artists’ ” 53 to 55 
 
 Sketch Books, “ Students’ ” 53 to 55 
 Sketch Books, “ Whatman’s” 53 to 55 
 Sketch Books, “ Blocked” ... 55 
 
 Sketch Blocks, “ Students’” ... 55 
 
 Sketch Blocks, “ Whatman’s ” ... 55 
 
 Sketch Blocks, “Whatman’s” 
 
 Half Bound ... ... ... 54 
 
 Sketch Blocks for Oil Colours ... 53 
 
 Sketching Panels for Water 
 Colours ... ... ... 56 
 
 Sketching Panels for Oil Colours 56 
 Slants, China ... ... ... 63 
 
 Sketching Stools 70 
 
 Spray Diffusers ... ... ... 65 
 
 Stumps, Various ... ... ... 66 
 
 Studies, Floral and Landscape 77 to 81 
 Sundries ... ... ... ... 75 
 
 Stumping Chalk ... ... ... 19 
 
 T 
 
 Tracing Cloth in Rolls ... 
 
 Page 
 
 ... 59 
 
 Tracing Paper in Rolls ... 
 
 ... 59 
 
 Tin Plaques 
 
 ... 64 
 
 Tin Dippers 
 
 ... 68 
 
 T Squares ... 
 
 ... 67 
 
 V 
 
 Varnish Brushes ... 
 
 ... 44 
 
 j Varnish for Pictures 
 
 ... 17 
 
 Vouga’s Studies ... 
 
 77 to 84 
 
 W 
 
 Walnut Oil Colour Boxes 
 
 ... 71 
 
 Water Colours in Cakes ... 
 
 10 & 11 
 
 Water Colours in Pans ... 
 
 8 & 9 
 
 Water Colours in Tubes ... 
 
 ... 7 
 
 Water Colour Boxes, Empty 
 
 28 to 36 
 
 Water Colour Boxes, Fitted 
 
 28 to 36 
 
 Water Colour Megilp 
 
 ... 15 
 
 Waterproof Inks ... 
 
 ... 12 
 
 Wood Panels 
 
 ... 51 
 
 ENGRAVERS & DIE SINKERS. 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 WINSOR & NEWTON’S 
 
 FINELY PREPARED OIL COLOURS, 
 
 IN COLLAPSIBLE TUBES. 
 
 Winsor & Newton have long paid special attention to the production 
 and preparation of their Artiste Oil Colours, which have attained their 
 present high reputation by possessing characteristic qualities established 
 by every variety of conclusive test. 
 
 The Pigments used are of the highest and purest quality. 
 
 At the “ North London Colour Works,” Winsor & Newton, 
 Limited, now possess every facility and application for the production 
 of manufactured colours, and for testing and purifying natural ones. 
 
 Grinding Artists* Colours by machinery was first commenced by 
 Winsor & Newton in 1884, special apparatus being invented by them 
 for the purpose. Since that period still further improvements have 
 been made; and at present there exists no machinery which for power 
 and precision, combined with great cleanliness in working, can at all 
 compare with that invented, perfected, and now used by them for- 
 grinding Artists’ Oil Colours. 
 
 There are no mediums or admixtures in these Colours, 
 consequently they keep fresh and pure, and ready for use. 
 
 Briefly, it may be stated, that the best and purest 
 Pigments, most thoroughly ground in unadulterated Oil, 
 from the ingredients’ 'of their Artists’ Oil Colours, causing 
 them to take the foremost rank, and to be the colours 
 generally used home and abroad. 
 
 MANUFACTURING ST AT I ON E RS. 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 WINSOR & NEWTON’S 
 
 FINELY PREPARED OIL COLOURS, 
 
 IN COLLAPSIBLE TUBES. 
 
 4-inch Tube. 3-incli Tube. 2-inch Tube. Double Tube. 
 
 The above Illustrations show the sizes of Tubes. 
 
 ACCOUNT BOOK MAKERS. 
 2 
 
AGENTS FOE WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 WINSOR & NEWTONS’ 
 
 FINEST 
 
 PREPARED OIL COLOURS IN TUBES. 
 
 3d. Tube. 2/9 per dozen Tubes. 
 
 Antwerp Blue 
 Asphaltnm (thi<*k) 
 Bitumen 
 Black Lead 
 Blue Black 
 Bone Brown 
 Brown Ochre 
 Brown Pink 
 Burnt Roman Ochre 
 Burnt Sienna 
 Burnt Umber 
 Caledonian Brown 
 Cappah Brown 
 Cassel Earth 
 Chinese Blue 
 Chrome Green, 1, 2, 3 
 Chrome Lemon 
 Chrome Yellow 
 Chrome Deep 
 Chrome Orange 
 Chrome Red 
 Cologne Earth 
 Copal Megilp 
 Cinnabar Green, 1, 2, 3 
 Cork Black 
 Cremnitz White 
 Crimson Lake 
 
 Emerald Green 
 
 Flake White 
 
 French Naples Yellow 
 
 Gamboge 
 
 Indian Lake 
 
 Indian Red 
 
 Indigo 
 
 Italian Pink 
 
 Ivory Black 
 
 Jaune Brilliant 
 
 King’s Yellow 
 
 Lamp Black 
 
 Light Red 
 
 Magenta 
 
 Mauve 
 
 Mauve, No. 2 
 Medium ( Im ^ v e e Ap) 
 Megilp 
 
 Monochrome Tints, 
 Warm, 1, 2, 3 
 Monochrome Tints, 
 Cool, 1, 2, 3 
 Mummy 
 Naples Yellow 
 Neutral Tint 
 New Blue 
 Olive Green 
 
 Olive Lake 
 Payne’s Gray 
 Permanent Blue 
 Permanent White 
 Permanent Yellow 
 Prussian Blue 
 Prussian Green 
 Purple Lake 
 Pyns’s Megilp 
 Raw Sienna 
 Raw Umber 
 Roman Ochre 
 Sap Green 
 Scarlet Lake 
 Silver White 
 Sky Blue 
 Sugar of Lead 
 Terra Rosa 
 Terre Verte 
 Trans. Gold Ochre 
 Vandyke Brown 
 Venetian Red 
 Verdigris 
 Verona Brown 
 Yellow Lake 
 Yellow Ochre 
 Zinc White 
 
 Double Tubes, 6d. Quadruple Tubes, 1/-. 
 
 Winsor & Newton’s Decorator’s White, Large Tubes 9d. each. 
 
 LITHOGRAPHIC PRINTERS. 
 
 3 
 
W. C. PENFORD & CO., 183 PITT STREET, SYDNEY. 
 
 WINSOR & NEWTON’S 
 
 Prepared Oil Colours ir> Tubes 
 
 ( Continued ). 
 
 4d. per Tube. 
 
 3s. 9d. per doz. 
 
 Alizarin Crimson 
 Alizarin Green 
 Brown Madder 
 Burnt Lake 
 Cerulean Blue 
 
 Chinese Vermilion, 
 French Vermilion 
 Geranium Lake 
 Green Lake, Pale 
 Green Lake, Dark 
 
 Rembrandt’s Madch 
 Rubens’ Madder 
 Sepia 
 
 Vermilion Pale 
 Vermilion 
 
 Double Tubes, 8d. Quadruple Tubes, Is. 4d. 
 
 8d. per Tube. 
 
 7s. 6d. per doz. 
 
 Brilliant Ultramarine 
 Carmine No. 2 
 Citron Yellow 
 Cobalt B.ue 
 Cobalt Green 
 Emerald Oxide of 
 Chromium 
 
 Extract of Vermilion 
 French Ultramarine 
 French Veronese Green 
 Indian Yellow 
 
 Leith’s Blue 
 Lemon Yellow, Pale 
 Lemon Yellow 
 Madder Lake 
 Malachite Green 
 Mars Brown 
 Mars Orange 
 Mars Red 
 Mars Violet 
 Mars Yellow 
 Mineral Gray 
 
 Orange Vermilion 
 
 Oxide of Chromium 
 Ditto, Transparent 
 Pink Madder 
 Purple Madder 
 Rose Doree 
 Rose Madder 
 Scarlet Madder 
 Scarlet Vermilion 
 Strontian Yellow 
 Viridian 
 
 Double Tubes, Is. 4d. Quadruple Tubes, 2s. 8d. 
 
 Is. 
 
 Aureolin 
 Burnt Carmine 
 Cadmium Yellow, Pale 
 Cadmium Yellow Deep 
 Cadmium Orange 
 
 per Tube. 
 
 Carmine, Finest 
 Crimson Madder 
 Field’s Orange Vermilion 
 Indian Purple 
 
 Madder Carmine 
 Orient Yellow • 
 Violet Carmine 
 Yellow Carmine 
 
 Double Tubes, 2s. 
 
 Quadruple Tubes, 4s. 
 
 Is. 4d. per Tube. 
 
 Aurora Yellow and Primrose Aureolin 
 
 LETTERPRESS PRINTERS. 
 
 4 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 HEYL’S ARTISTS’ OIL COLOURS 
 
 T 1ST T* XT BES . 
 
 3cl. pei* 
 
 Tube, S/O pei* 
 
 dozen. 
 
 Antwerp Bine 
 
 Italian Pink 
 
 Transparent Gold 
 
 Bitumen 
 
 Indian Bed 
 
 Ochre 
 
 Brown Pink 
 
 Indigo 
 
 Vandyke Brown 
 
 Burnt Umber 
 
 Ivory Black 
 
 Venetian Red 
 
 Chrome Yellow, 1, 2, 3 
 
 New Blue 
 
 Verdigris 
 
 Chrome Green, 1, 2, 3 
 
 Olive Lake 
 
 Vermilion 
 
 Caledonian Brown 
 
 Purple Lake, No. 2 
 
 Veronese Green 
 
 Cerulean Blue 
 
 Prussian Blue 
 
 Yellow Lake 
 
 Emerald Green 
 
 Roman Ochre 
 
 Yellow Ochre 
 
 Flake White 
 
 Terra Verte 
 
 
 
 7(1. pei* 'T'lifie. 
 
 
 Bine Lake 
 
 Cobalt Bine 
 
 Lemon Yellow 
 
 Brown Madder 
 
 Cobalt Green 
 
 Sepia 
 
 Chinese Vermilion 
 
 Green Lake 
 
 Ultramarine 
 
 
 9d. pei* Tulie. 
 
 
 Malachite Green 
 
 Purple Lake, No. 1 
 
 Flake White Treble 
 
 French Ultramarine 
 
 Rose Madder 
 
 Foundation White, 
 
 Oxide of Chromium 
 
 Vandyke Red 
 
 fib. 
 
 
 Is. pei* Tube. 
 
 
 Aureolin 
 
 Cadmium Yellow, 2 
 
 Madder Carmine 
 
 Carmine 
 
 Cobalt Violet 
 
 Madder Lake 
 
 Cadmium Yellow, 1 
 
 Indian Yellow 
 
 
 Flake White, 3d. 
 
 , 6d. and 9d. per 
 
 Tube. 
 
 One pound Tube Flake White, Is. 
 
 COPPERPLATE PRINTERS. 
 5 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 REVISED CASH PRICE LIST 
 
 — op — 
 
 WINSOR & NEWTON’S WATER COLOURS. 
 
 Previously to the establishment of the firm of W insor & Newton (in 1832), 
 the most beautiful productions of Water Colour Art were inevitably fugitive 
 from the want of permanence incident to the Colours then in ordinary use ; 
 complaints were borne out by facts almost incredible to Artists of the 
 present day, whose predecessors used Spanish Liquorice, Dutch and Rose 
 Pinks, Red Lead, ,01-piment, Yerditer, Green Bice, and even washes of 
 tobacco juice. 
 
 This condition of so beautiful an art urged Messrs. Winsor & New ion 
 to earnest enquiry and research, with a view of raising the character of the 
 material employed. 
 
 The high standard of excellence sought by Messrs. Winsor & Newton 
 rendered indispensable the aid of Chemical Science, and entirely set aside 
 all common recipes and pernicious compounds. Perfectly appointed 
 Chemical Works were established by them in 1844, with steam apparatus 
 and all the appliances necessary to modern Chemical Art , the advantageous 
 results were apparent in the production of colours totally different from 
 those of all the other manufacturing colour houses. The old colours were 
 improved and new ones introduced. Madders, Lakes, Carmines, Chinese 
 White, Genuine Ultramarines, Lemon Yellows, Cadmium Yellows, 
 Aureolin, &c., evidence by their superior qualities the skill bestowed upon 
 their production. The great advantages secured has been — Increase! 
 power and brilliancy; and the permanency of colours previously defective 
 in this respect. 
 
 Of Winsor & Newton’s Water Colours, therefore, it may be stated 
 that sound chemical knowledge, complete laboratory apparatus and plant — 
 powerful and specially adapted machinery — and the matured experience of 
 more than 50 years, ensure purity of Pigments and perfect preparations 
 for the Artist’s palette. 
 
 ENGRAVERS & DIE SINKERS. 
 6 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 WINSOR & NEWTON’S 
 
 MOIST WATER COLOURS 
 
 IN WHOLE and HALF TUBES, 
 
 Whole Tubes, 7d. ; Half Tubes, 4d. 
 
 Antwerp Blue 
 Brown Ochre 
 Brown Pink 
 Burnt Sienna 
 Burnt Umber 
 Chrome Lemon 
 Chrome Yellow 
 Chrome Deep 
 Chrome Orange 
 Emerald Green 
 Gamboge 
 
 Hooker’s Green, 1 
 Hooker’s Green, 2 
 Indian Red 
 Indigo 
 Italian Pink 
 Ivory Black 
 Light Red 
 Mauve 
 
 Naples Yellow 
 Neutral Tint 
 New Blue 
 
 Olive Green 
 Payne’s Grey 
 Prussian Blue 
 Prussian Green 
 Raw Sienna 
 Raw Umber 
 Sap Green 
 Terre Verte 
 Vermilion 
 Yellow Lake 
 Yellow Ochre 
 
 CHINESE WHITE— Whole Tubes, 10d. ; Half Tubes, 5d. 
 
 Whole Tubes, Is. 2d. ; Half Tubes, 7d. 
 
 Alizarin Crimson 
 Brown Madder 
 Carmine Lake 
 Cerulean Blue 
 Crimson Lake 
 Indian Yellow 
 
 Leitch’s Blue ( Cy E e ) 
 Neutral Orange 
 Orange Vermilion 
 Purple Lake 
 Roman Sepia 
 Rubens’ Madder 
 
 Scarlet Lake 
 Scarlet Madder 
 Scarlet Vermilion 
 Sepia 
 
 Warm Sepia 
 
 Whole Tubes, Is. 6d.; Half Tubes, 9d. 
 
 Cadmium Yellow, 
 Cadmium Yellow 
 Cadmium Orange 
 Cobalt Blue 
 
 Pale 
 
 Cobalt Green 
 French Blue 
 Intense Blue 
 Lemon Yellow 
 
 Oxide of Chromium 
 Pure Scarlet 
 Violet Carmine 
 Viridian 
 
 Whole Tubes, 2s. ; Half Tubes, Is. 
 
 Aurora Yellow 
 Aureolin 
 Burnt Carmine 
 Carmine 
 
 Field’s Oge. Vermilion Purple Madder 
 Madder Carmine Rose Madder 
 
 Pink Madder Yellow Carmine 
 
 Primrose Aureolin Scarlet Madder 
 
 IMPORTERS OF COMMERCIAL STATIONERY. 
 
 7 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 WINSOR & NEWTON’S 
 
 MOIST WATER COLOURS. 
 
 IN WHOLE & HALF PANS & WHOLE & HALF TUBES. 
 
 Size of Whole Pans. Size of Half Pans. 
 
 Whole Pans ... 7d. each, 6s. doz. 
 
 Half Pans ... 4d. each, 3s. 6d. doz. 
 
 Antwerp Bine 
 Bistre 
 Blue Black 
 Brown Ochre # 
 Brown Pink 
 Burnt Sienna 
 Burnt Umber 
 Chinese White 
 Chrome Lemon 
 Chrome Yellow 
 Chrome Deep 
 Chrome Orange 
 Cologne Earth 
 Emerald Green 
 
 Gamboge 
 Hooker’s Green, I 
 Hooker’s Green, 2 
 Indian Red 
 Indigo 
 Italian Pink 
 Ivory Black 
 Lamp Black 
 Light Red 
 Mauve 
 
 Naples Yellow 
 JJeutral Tint 
 New Blue 
 Olive Green 
 
 Payne’s Grey 
 Prussian Blue 
 Prussian Green 
 Raw Sienna 
 Raw Umber 
 Roman Ochre 
 Sap Green 
 Terre Yerte 
 Vandyke Brown 
 Venetian Red 
 Vermilion 
 Yellow Lake 
 Yellow Ochre 
 
 Whole Pans, Is. 2d. Half Pans, 7d. 
 
 Alizarin Crimson 
 Brown Madder 
 Carmine Lake 
 Cerulean Blue 
 Crimson Lake 
 Indian Yellow 
 
 Leitch’s Blue ( Cyanin B e lue ) 
 Mars Yellow 
 Neutral Orange 
 Orange Vermilion 
 Purple Lake 
 Roman Sepia 
 
 Rubens’ Madder 
 Scarlet Lake 
 Scarlet Vermilion 
 Sepia 
 
 Warm Sepia 
 Scarlet Madder 
 
 IMPORTERS OF FANCY STATIONERY. 
 8 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS' MATERIALS. 
 
 Moist Water Colours — ( Continued ). 
 
 Whole Pans, Is. 6d. 
 
 Half Pans, 9d. 
 
 Cadmium Yellow, Pale 
 Cadmium Yellow 
 Cadmium Orange 
 Cobalt Blue 
 Cobalt Green 
 
 French Biue 
 Indian Purple 
 Intense Blue 
 Lemon Yellow 
 Mars Orange 
 
 Oxide of Chromium 
 Pure Scarlet 
 Violet Carmine 
 Viridian ( Veron £ 6 ° cn ) 
 
 Whole Pans, 2s. 
 
 Half Pans, Is. 
 
 Aurora Yellow 
 Aureolin 
 Burnt Carmine 
 Carmine 
 
 Field’s Oge. Vermilion Purple Madder 
 Madder Carmine Rose Madder 
 
 Pink Madder Yellow Carmine 
 
 Primrose Aureolin Scarlet Madder 
 
 Whole Pans, 5s. 
 
 Half Pans, 2s. 6d. 
 
 Smalt 
 
 Ultramarine Ash 
 
 NEWMAN’S 
 
 SLOW DRYING HOIST WATER COLODRS 
 
 IN 
 
 WHOL 
 
 Per Tube. 
 
 Carmine ... 
 
 Is. 6d. 
 
 Cerulean Blue 
 
 9d. 
 
 Chrome Yellow, Ho. 2 
 
 6d. 
 
 „ „ No. 1 
 
 6d. 
 
 Chrome Deep 
 
 6d. 
 
 Hook.er’s Green, No. 1 
 
 6d. 
 
 „ No. 2 
 
 6d. 
 
 Indian Red 
 
 6d. 
 
 TUBES. 
 
 Per Tube. 
 
 Indigo 
 
 6d. 
 
 Naples Yellow, Deep 
 
 6d. 
 
 Neutral Tint 
 
 6d. 
 
 Payne’s Grey 
 
 6d. 
 
 Permanent Scarlet ... 
 
 Is. 6d. 
 
 Purple Lake 
 
 9d. 
 
 Scarlet Lake 
 
 9d. 
 
 IMPORTERS OF LEGAL STATIONERY. 
 9 
 
W. C. TENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 WINSOR & NEWTOH’S 
 
 PREPARED WATER COLOURS. 
 
 IN WHOLE CAKES AND HALF CAKES. 
 
 Size of Whole Cakes. 
 
 Whole Cakes 
 Half Cakes 
 
 Antwerp Blue 
 Bistre 
 Blue Black 
 British Ink 
 Bronze 
 Brown Ochre 
 Brown Pink 
 Burnt Sienna 
 Burnt Umber 
 Chinese White 
 Chrome Yellow 
 Chrome Deep 
 Chrome Orange 
 Cologne Earth 
 Dragon’s Blood 
 
 7d. each, 6s. 6d. doz. 
 
 4d. each, 3s. 6d. doz. 
 
 Olive Green 
 Payne’s Grey 
 Prussian Blue 
 Prussian Green 
 Raw Sienna 
 Raw Umber 
 Roman Ochre 
 Sap Green 
 Terre Yerte 
 Vandyke Brown 
 Venetian Red 
 Vermilion 
 Yellow Lake 
 Yellow Ochre 
 
 Emerald Green 
 Flake White 
 Gamboge 
 
 Hooker’s Green, No. I 
 Hooker’s Green, No. 2 
 Indian Red 
 Indigo 
 Italian Pink 
 Ivory Black 
 King’s Yellow 
 Lamp Black 
 Light Red 
 Naples Yellow 
 Neutral Tint 
 New Blue 
 
 IMPORTERS OF BANKERS’ STATIONERY. 
 
 10 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 Water Colours in Cakes and Hale Cakes 
 
 (Continued). 
 
 Whole Cakes, 
 
 Is. 2d. Half Cakes, 7d. 
 
 Black Lead 
 
 Indian Y'ellow 
 
 Roman Sepia 
 
 Brown Madder 
 
 Mars T'ellow 
 
 Rubens’ Madder 
 
 Carmine Lake 
 
 Neutral Orange 
 
 Scarlet Lake 
 
 Cerulean Blue 
 
 Orange Vermilion 
 
 Scarlet Vermilion 
 
 Crimson Lake 
 
 Purple Lake 
 Warm Sepia 
 
 Sepia 
 
 Whole Cakes, 
 
 Is. 6d. Half Cakes, 9d. 
 
 Cadmium Yellow, Pale 
 
 Indian Purple 
 
 Pure Scarlet 
 
 Cadmium Yellow 
 
 Intense Blue 
 
 Violet Carmine 
 
 Cadmium Orange 
 
 Lemon Yellow 
 
 Viridian (Veronese 
 
 Cobalt Blue 
 
 Mars Orange 
 
 Green) 
 
 French Blue 
 
 Oxide of Chromium 
 
 
 Whole Cakes, 
 
 2s. Half 
 
 Cakes, Is. 
 
 Aureolin 
 
 Field’s Oge. Vermilion 
 
 Purple Madder 
 
 Aurora Y r ellow 
 
 Madder Carmine 
 
 Rose Madder 
 
 Burnt Carmine 
 
 Pink Madder 
 
 Yellow Carmine 
 
 Carmine 
 
 Primrose Aureolin 
 
 Scarlet Madder 
 
 Whole Cakes, 
 
 5s. Half Cakes, 2s. 6d. 
 
 Smalt 
 
 Ultramarine Ash. 
 
 IMPORTERS OF ARCHITECTS’ & SURVEYORS’ MATERIALS. 
 
 11 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 WINSOR & NEWTON’S 
 
 Waterproof Liquid Inks. 
 
 6D. AND 1/- PER BOTTLE. 
 
 Indian Ink, Emerald Green, 
 Vermilion, Carmine, 
 Indigo, Ultramarine, Violet, 
 Orange, Yellow, Lemon, 
 Scarlet, Turquoise, 
 Grass Green, Sea Green, 
 Purple, Burnt Sienna, Slate, 
 Brown, Brick Bed, 
 Olive Green, Plum. 
 
 The above Inks can be used 
 for all purposes where an Ink 
 is required to bear washing 
 over diy; these Waterproof 
 Inks, already well-known, will 
 be found the best in the 
 market. 
 
 Sample Card of Tints 
 on application. 
 
 HIGGIN’S AMERICAN 
 
 Waterproof Liquid Iqdian Ink, 
 
 BROWN, BLUE, BLACK, CARMINE, GREEN, AND YELLOW. 
 
 1- PER BOTTLE. 1- 
 
 IMPORTERS OF WEDDING STATIONERY. 
 
 12 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 1 /- PER BOTTLE. 1/- PER BOTTLE. 
 
 TWo \ T eW pignjepts 
 
 FOR 
 
 ARTISTS IN BLACK AND WHITE. 
 
 SPECIAL 
 
 /HE PAR ED EXPRESS® 
 °RI USE IN DRAWINGS 
 fcj, intended FOR 111 
 
 ^QC ESS- REPRODUC TION 
 
 . f'Me with water for half'®] 
 Ki^high lights use WiNSO? 1 ^ 
 ^Iqn- s Lmuid “ Alban inejjil||| 
 
 *'NSOR A NEWTON. Mfj! 
 
 w Hathhone Place, LoadOu lh 
 fcX England. 
 
 WINSOR & NEWTON'S 
 
 PROCESS 
 
 BLACK. 
 
 A Dead Black of Great 
 Density. 
 
 Albanin] 
 
 biA Pure.Unohangeabh 
 typographic White, reltf 
 Qr Use in Drawings for 
 Reproduc tive Arts 
 
 ^ 0l 't)ra wmg s in Black and 
 \Jise winsror & Ne wto 
 /J*ECIAL PROCESS BL1 
 conjunc tion with ALBA1 
 
 ; ^(NSOR ScNEWTON 
 Rat.hborie Place,Ionoloi 
 ENGLAND. 
 
 A Pure Photographic White. 
 
 By the use of ALBANINE and PRO- 
 CESS BLACK the difficulty hitherto 
 experienced of preserving the true 
 values of the lights in Drawings made 
 for Process Reproductions is entirely 
 obviated. 
 
 ALBANINE. 
 
 IMPORTERS OF PARCHMENT. 
 13 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 WINSOR & NEWTON'S 
 
 PERMANENT CHINESE WHITE. 
 
 A peculiar preparation of White Oxide of Zinc, and the only perfectly 
 permanent White Pigment for Water Colour Painters. 
 
 Since the year 1834 Winsor & Newton’s Chinese White has been used 
 by all the eminent Water Colour Artists, and it is a source of great 
 satisfaction that they are able to say, that in no instance has any work of art 
 in which their white has been used, suffered from its employment, while prior to 
 its introduction the complaints of Whites changing were of every-day 
 occurrence. 
 
 The late Mr. J. D. Harding being very desirous of ascertaining its 
 permanency, submitted it to the examination of one of the greatest chemists 
 in Europe (the late Mr. Faraday), who satisfied him that it might be 
 employed with perfect safety, and strongly recommended it in preference 
 to all other white pigments. In “ Principles and Practice of Art,” Mr. 
 Harding wrote : — 
 
 “When this pigment which is prepared hy Messrs. Winsor& Newton underthename 
 of ‘ Chinese White,’ was first put into my hands some years ago, I applied to one of my 
 friends, whose name as a chemist and philosopher is amongst the most distinguished in 
 our country to analyse it for me, and to tell me if I might rely on its durability. The 
 reply was, that it would in all other respects answer the purpose I required of it, I had 
 nothing to fear on account of its durability.” 
 
 BOOKBINDERS & PAPER RULERS. 
 14 
 
AGENTS FOE WINSOE & NEWTON’S AETISTS’ MATEEIALS. 
 
 WINSOR & NEWTON’S 
 LIQUID WATER COLOURS AND MEDIUMS. 
 
 SIZE OF THE LARGE BOTTLES OF LIQUID 
 COLOURS. 
 
 Water Colour Megilp 
 Chinese Indelible Ink 
 Charcoal Fixative 
 French Indian Ink — Large 
 
 Large Bottles, lOd. ; Small, 5d. 
 Indian Ink 
 Carmine 
 Sepia 
 
 Indelible Brown Ink 
 Lamp Black 
 Prout’s Brown 
 Russian Blue 
 V ermilion 
 Asphaltum 
 Ox Gall (Colourless) 
 
 Gum Water 
 Silver Ink 
 
 Gold Ink, Small Bot. 6d. 
 ,, Large ,, Is. 
 
 ... lOd. Bottle 
 
 1 /- 
 
 6d. 
 
 , 1/-; Small Bottle, 8d. 
 
 GLHSS 7VYEDIU7VT. 
 
 FOR WATER COLOUR PAINTING AND PHOTOGRAPHIC COLOURING. 
 
 No. 1— For First Colouring and Broad Washes. 
 
 No. 2— For Second Colouring and Finishing. 
 
 1/- per Bottle. 
 
 FULL DIRECTIONS FOR USE ON EACH BOTTLE. 
 
 ILLUMINATORS AND DESIGNERS. 
 15 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 WINSOR & NEWTON’S 
 
 BRANDS OF 
 
 Best (Napkin) Indian Ink. 
 
 INDIAN INK IN STICKS. 
 
 SUPER SUPER AND LION BRAND. 
 
 A LARGE ASSORTMENT OF PURSES, CARD CASES, &c. 
 
 16 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 OILS 
 
 AND 
 
 VARNISHES. 
 
 Picture Mastic Varnish ... 1/8 
 
 Mastic Varnish, for Megilp ... 1/8 
 
 Picture Copal Varnish ... 1/2 
 
 Oil Copal Varnish 1/2 
 
 White Spirit Varnish ... 9d. 
 
 Crystal or Map Varnish ... lOd. 
 
 Japanese Gold Size ... 9d. 
 
 Fat Oil ... ... ... Gd. 
 
 Nut Oil Gd. 
 
 Poppy Oil ... ... ... 7d. 
 
 Pale Drying Oil .. ... 6d. 
 
 Strong Drying Oil ... ... 6d. 
 
 Purified Linseed Oil 5d. & 6d. 
 Spirits of Turpentine ... 4d. 
 
 Charcoal Fixative ... ... Gd. 
 
 Gum Water... ... ... Gd. 
 
 Sundry Mediums for Oil Painting. 
 
 Winsor and Newton’s Megilp ... ... 3d., Gd. and 9d. 
 
 „ ,, Medium (Improved Megilp) 
 
 Siccatiff de Harlem (Durozier’s), for Oil Painting 
 „ „ (large size) „ „ 
 
 Siccatiff Courtray, for Oil Painting 
 
 Adolfi Medium, for painting on Silk or Satin in Oil Colours 
 •„ # >, (large size) _ „ 
 
 Florentine Medium, for painting on Satin, &c. 
 
 M irrorine, for painting on Glass in Oils 
 Soehnee Varnish. No. 3 ... 
 
 3d. 
 
 j/c 
 
 2/6 
 
 1 /- 
 
 1/2 
 
 2 /- 
 
 1/2 
 
 1/2 
 
 1/2 
 
 Robertson’s Medium in Tubes, 1 1 per Tube. 
 
 MANUFACTURING STATIONERS. 
 17 
 
W. C. PENFOLD & CO., 183 PITT ST BEET, SYDNEY. 
 
 HANCOCICS 
 
 CVWUfk PMUTS MIDMEDUmS. 
 
 Unground, in Glass Tubes and Bottles. 
 
 Colours. Reduced to 6d. 
 
 1 /- 
 
 Apple Green 
 Azure Blue 
 Black 
 
 Brunswick Brown 
 Blue Green 
 Chocolate 
 
 Deep Brown 
 Dark Orange 
 Dove 
 Fawn 
 
 Golden Brown 
 Light Orange 
 
 Olive Brown 
 Roseleaf Green 
 Red 
 
 Sevres Green 
 Vandyke Brown 
 White 
 
 1/3 Colours. 
 
 Crimson Mauve 
 
 Emerald Green Purple 
 
 1/6 Colours. 
 
 Carmine Pink 
 
 Lilac No. 2 Rose 
 
 Reduced to 8d. 
 
 Mayar No. 1 
 Mayar No. 2 
 
 Reduced to 9d. 
 
 Violet 
 
 Ultramarine 
 
 Mediants for W^ter Colour painting. 
 
 Bessell’s Medium for Painting on Silk, Satin, &c. ... 
 Burrows’ Keramic Medium for Painting on China ... 
 Soehnee Varnish, No. 2, for Water Colours ... 
 
 Turk’s Aquarella Medium for Water Colours 
 
 Carl Haag’s Fixative for Water Colours 
 
 Glass Medium, No. 1, full directions for use on each bottle 
 
 Glass Medium, No. 2 ., ,, 
 
 Water Colour Megilp ... 
 
 Charcoal Fixative ... ... ... ... ... 
 
 Charcoal Fixative, Large Bottle and Metal Sprayer in box ... 
 
 1/0 
 
 1/6 
 
 1/2 
 
 1/2 
 
 iiS 
 
 1 /- 
 
 lOd 
 
 6d 
 
 1/9 
 
 ACCOUNT BOOK MAKERS. 
 IS 
 
AGENTS FOR WIXSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 vmnsor&newtoh 
 
 PASTEL CRAYONS. 
 
 CHEAP FRENCH. 
 
 In Round Fancy Cardboard Boxes, as Illustration. 
 
 Per Box. 
 
 Boxes containing 6 pointed Coloured Crayons, 3d. 
 
 12 „ „ 6d. 
 
 18 „ „ 9d. 
 
 v 24 „ „ 1/- 
 
 CONTE CRAYONS. 
 
 Rouud Black. Nos. 1 and 2 ... 
 
 Round Black Glazed ... 
 
 In Polished Cedar, Nos. 1, 2 and 3 ... 
 
 In Plain Cedar, No. 3 
 
 Square Black, in boxes of 12, Nos. 1, 2 and 3, separate 
 White ... 
 
 per doz. 1/- 
 „ 1/6 
 
 each 2d. 
 
 2d. 
 
 per doz. 6d. 
 
 No. 1, Hard. No. 2, Medium. No. 3, Soft. 
 
 STUMPING CHALK. 
 
 “ Velours a Sauce,” in tinfoil... .. ... ... each 4d. 
 
 ,, „ in glars bottles ... ... ... ,, 6d. 
 
 IS. 
 
 Round White, for Black Boards ... ... per gross box 9d. 
 
 BEST FRENCH PASTELS.— Soft. 
 
 Box containing 26 Assorted Colours... ... each 3/— 
 
 „ 40 „ 4/6 
 
 56 .. 6/6 
 
 62 „ 7/6 
 
 100 .. , 10/6 
 
 Separate Colours sold singly at 3d. each, 2/6 doz. 
 
 N.B.— These Crayons being very fragile, are LIABLE to breakage in transit. 
 Their utility, however, is not impaired by their being in small pieces. 
 
 G HI .A. IE6 O O -A. I_l . 
 
 French Charcoal, in boxes of 12 sticks ... ... per box 3d. 
 
 Venetian Charcoal ,, 50 ,, ... ... ,, 9d. 
 
 Vine Charcoal ,, 25 ... ... ,, 6d. 
 
 LITHOGRAPHIC PRINTERS. 
 19 
 
w. C. TENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 W. C. PENFOLD & CO.’S 
 
 One* Guinea* Parcel 
 
 — of — 
 
 Wirjsor $ J/ewton’s 
 Jfrtists jYtaterials for Oil painting 
 
 — CONTAINING — 
 
 i JAPANNED TIN OIL COLOUR BOX 
 18 Tubes Winsor & Newton’s Oil Colours, assorted 
 i Palette Knife i MAHOGANY PALETTE 
 6 Hog Hair Brushes, assorted sizes 
 3 Sable Hair Brushes, best quality, assorted sizes 
 i Badger Hair Softener 
 
 i Bottle Picture Varnish 
 i Bottle Turpentine and Linseed Oil 
 3 Oil Colour Sketching Tablets, io x 7 
 1 Canvas, 10 x 7 1 Box Cards, assorted sizes 
 
 1 Box Charcoal, 6 Crayons, Black and White 
 1 Brass Crayon Holder, 1 Bundle Paper Stumps 
 
 The above are all Winsor & Newton’s FIRST-CLASS GOODS , 
 
 Serjt post free anywhere oq receipt of £7 2s. 
 
 LETTERPRESS PRINTERS. 
 20 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 OIL COLOUR SKETCHING BOXES. 
 
 IN POLISHED WALNUT. BEST MAKE. 
 
 These Boxes are lined with tin, and contain two tin Oil Bottles, Double 
 Dipper with screw tops. Palette and two White Wood Panels 
 
 No. *1 — 9£x6iin. ... each 13/6 No. 4 12£ x 9^ in. ... each 22/6 
 
 *2— 10*x6* „ ... „ 15 - 5—15 x 11| „ ... „ 25/6 
 
 3 — 11 x 82 ,, ... ., 18/6 6-17 x 13* „ ... „ 29/6 
 
 Nos. 1 and 2 are Thumb-hole Boxes. 
 
 The above Boxes, as illustrated, fitted complete with Colours, Brushes, 
 Oil, Turpentine, Palette Knife, &c., at the following prices : — 
 
 No. 1 ... each 19/6 No. 3, each 25/- No. 5, each 50/- 
 
 2 ... „ 22/6 4 „ 37/6 6 „ 60/- 
 
 Or fitted to suit purchasers. 
 
 COPPERPLATE PRINTERS. 
 21 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 ■WIUSOR Sc I^EJ'W'TOISFS 
 JAPANNED TIN 
 
 Boxes of Oil Colours in Tubes. 
 
 “PUPIL’S BOX.” 
 
 Pupil’s Box : Size 7f inches by 
 3, 1 inch deep, containing 12 
 Colours, in 2 inch Tubes, 4 
 Hog-Hair Brushes, Mahcgany 
 Palette and Palette Knife. 
 Price complete, 6/- 
 
 “ POCKET BOX.” 
 Pocket Box : Size 9£ inches by 
 4f, 1 inch deep, containing 12 
 Colours, 6 Hog Hair Brushes, 
 Mahogany Palette and Palette 
 Knife. 
 
 Price complete, 1 0/ 6 
 
 “TOURIST’S BOX.” 
 
 Tourist’s Box : Size 91 inches by 
 6, 11 inch deep, containing 12 
 Colours, Brushes, Palette Knife, 
 Oil, Dipper, and Mahogany 
 Palette. 
 
 Price complete 1 3/6 
 No. 2 quality, 10/6 
 See page 27. 
 
 ENGRAVERS & DIE SINKERS. 
 22 
 
lGENT-S FOE WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 Japanned Tin Boxes of Oil Colours in Tubes 
 
 Thesb Boxes can be fitted to any amount to suit Purchasers. 
 
 COMPACT BOX. 
 
 Size lOf x 7? in.. If in. deep. 
 Containing 18 Colours, Sable and 
 Hog-Hair Brushes, Palette Knife, 
 Dipper, Linseed Oil, Turpentine, 
 and Mahogany Palette. 
 
 Price complete, 18/6 
 The Box empty, 6/6 
 Complete, No. 2 quality, 15/- 
 Empty, 51- 
 See page 27. 
 
 “STUDENT’S BOX.” 
 With Flap. 
 
 Student’s Box: Size 12f x 6f 
 in., If in. deep, containing 15 
 Colours, Sable and Hog-Hair 
 Brushes, Badger Softener, 
 Chalk, Portcrayon, Dipper, 
 Palette Knife, Oil, Turpentine, 
 and Mahogany Palette. 
 
 Price complete, 1 8/6 
 The Box empty, 7/- 
 
 “ COMPANION BOX.”— With Flap. 
 
 Companion Box . Size 13 x 9 in., If in. deep, containing 20 Colours, Sable 
 and Hog-Hair Brushes, Badger Softener, Chalk, Portcrayon, Palette 
 Knife, Dipper, Oil, Turpentine, and Mahogany Palette. 
 
 Price complete, 31 6 The Box empty, 9/- 
 
 No. 2 quality, complete, 23/6 The Box empty, 7/3 
 
 See page 27. 
 
 “ DOUBLE 
 COMPANION,” 
 With Flat. 
 
 Double Companion 
 Box: Size 13x9 in., 
 
 2f in. deep, contain- 
 ing 20 Colours, Sable 
 and Hog-Hair 
 Brushes, Badger 
 Softener, Chalk, 
 Portcrayon, Palette 
 Knife, Dipper, Oil, 
 Turpentine, Mahog- 
 any Palette, and 3 
 Prepa r ed JM i 1 lboar d s 
 12 in. x 8 in. 
 
 Price complete, 36/- 
 The Box empty, 13/- 
 
 IMPORTERS OF COMMERCIAL STATIONERY. 
 
\v. C. PENFOLD & CO.. 183 PITT STREET, SYDNEY, 
 
 POET ABLE POX. 
 
 Portable Box : 
 Size 13* in. by 9, 
 
 If in deep ; contain- 
 ing 23 Colours, a 
 general selection of 
 Sable and Hog- 
 Hair Brashes, Bad- 
 ger Softener, Chalk, 
 Portcrayon, Oil and 
 Turpentine, Palette 
 Knife, Capped Dip- 
 per and Mahogany 
 Palette. 
 
 Price Complete, 42/- 
 The Box Empty, 14/6 
 
 DOUBLE POET ABLE BOX. 
 
 Double Portable Box: 13f inches by 9, 2 \ inches deep; containing 
 24 Colours, a general selection of Sable and Hog-Hair Brushes, Badger 
 Softener, Cnalk, Portcrayon, Palette Knife, Capped Dipper, Oil, tur- 
 pentine, Mahogany Palette, and three Prepared Millboards, 13 by 8 in. 
 
 IMPORTEBS OF FANCY STATIONERY, 
 
 24 
 
GrENTS FOR W1XSOR & 
 
 NEWTON’S ARTISTS’ 
 
 MATERIALS. 
 
 ACADEMY BOX. 
 
 i 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 ACADEMY BOX: Size 12f inches by 9, 4£ inches deep, containing 30 I 
 Colours, with a general selection of Sable and Hog-Hair Brushes, 
 Badger Softener, Chalk, Charcoal and Portcrayon; Palette Kn*fe, 
 Double Capped Dipper, Mastic Varnish, Pale Drying Oil, Linseed 
 Oil, Turpentine, Mahogany Palette, and 3 prepared Millboards 12 
 inches by 8. 
 
 Price complete, 52/- The Box empty, 22/6 
 
 STUDIO BOX, No. 1: Size 12 1 inches by 10, 4 inches deep; containing 
 32 Colours, with a general selection of Sable and Hog-Hair 
 Brushes, Badger Softener, Chalk, Charcoal, and Portcrayon, Steel 
 and Ivory Palette Knives, Capped Dipper, Mastic Varnish, Pale 
 Drying Oil, Linseed Oil, Turpentine, Mahogany Paletie, and 3 
 prepared Millboards 12 inches by 9. 
 
 Price complete, 62/- The Box empty, 27/- 
 
 STU DIO BOX.— No. 2. 
 
 STUDIO BOX, No. 2: Size 15 inches by 11, 4 inches deep, contaioing 
 40 Colours, including the following:— Aureolin, Cadmium Yellow, 
 Vermilion, Rose Madder, Rembrandt’s Madder, Brown Madder, 
 Cobalt, French Blue, Viridian and Oxide of Chromium, with 
 a general selection of Sable and Hog-Hair Brushes. Badger 
 Softener, Chalk, Charcoal, Fortcrayon, Steel and Ivory Palette j 
 Knives, Double Capped Dipper, Mastic Varnish, Pale Drying Oil, 
 Linseed Oil, Turpentine, Mahogany Palette, and three prepared . 
 Millboards 14 inches by 10. 
 
 Price complete, 85/- The Box empty, 33/6 
 
 IMPORTERS OF BANKERS’ STATIONERY. 
 26 
 
AGENTS FOE WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 WmSOE & NEWTON’S 
 
 No. 2 Series Japanned Tin Boxes 
 
 FITTED WITH 
 
 BEST QUALITY COLOURS AID MATERIALS 
 
 FOE 
 
 OIL PRINTING. 
 
 Box 10 x 5| inches, containing 12 Oil Colours in Tubes, one bottle 
 each Linseed Oil and Turpentine, Brushes, Palette Knife, and 
 Mahogany Palette. 
 
 Price complete, 10/6 The Box empty, 3/6 
 
 Box 10J x 7^ inches, containing 18 Oil Colours in Tubes, one 
 bottle each Linseed Oil and Turpentine, Brushes, Palette Knife, 
 Mahogany Palette, and Dipper. 
 
 Price complete, 15/- The Box empty, 5/- 
 
 Box 12| x 8 tt inches, containing 2L Oil Colours in Tubes, one 
 bottle each Linseed Oil and Turpentine, an assortment of Sable 
 and Hog-IIair Brushes, Palette Knife, Mahogany Palette, and 
 
 Dipper. 
 
 Price complete, 23/6 The Box empty, 7/3 
 
 IMPORTERS OF ARCHITECTS’ & SURVEYORS’ MATERIALS. 
 
 27 
 
W. C. PENFOLD & CO.. 183 PTTT STREET, SYDNEY. 
 
 WINSOR & NEWTON’S 
 
 “ PATENT SPRING ” 
 
 JAPANNED TIN BOXES, 
 
 FOE 
 
 MOIST WATER COLOURS, IN CHINA PANS. 
 
 Messrs. Winsoe k Newton, Limited, have much pleasure in calling 
 attention to the above improved Box for MOIST WATER COLOURS. 
 
 The Pans of Colour are fastened by the employment of a V spring in 
 each partition of the Boxes (which method has been secured to Messrs. 
 Winsoe k Newton, Limited, under Letters Patent in Great Britain, the 
 principal Kingdoms in Europe, and in the United States of America) ; 
 they are thus held firmly, the long-felt inconvenience of cementing the 
 China Pans to the box is removed, and with it the annoyance incident in 
 taking out the empty ones. 
 
 The convenience and gain is evident, as any colours can be at once 
 changed for others to suit the convenience of the Artist. 
 
 IMPORTERS OF WEDDING STATIONERY. 
 28 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 WINSOR & NEWTON’S 
 
 EMPTY PATENT SPRING- 
 
 JAPANNED TIN BOXES, 
 
 FOR 
 
 Moist Water Colours in Half Pans. 
 
 ■ 6 Half Pans 
 
 3/9 
 
 Empty Box for 16 
 
 Half Pans 6/6 
 
 8 
 
 4/6 
 
 18 
 
 71 - 
 
 10 
 
 5 /.- 
 
 20 
 
 716 
 
 12 
 
 5/6 
 
 „ 24 
 
 „ 8,6 
 
 14 
 
 6/- 
 
 30 
 
 j» 9/6 
 
 EMPTY PATENT SPRING 
 
 JAPANNED TIN BOXES, 
 
 FOR 
 
 Moist Water Colours 
 
 Empty Box for 6 Whole Pans 4/6 P 
 
 in Whole Pans. 
 
 hnpty Box for 16 Whole Pans, 
 
 71 - 
 
 „ 8 
 
 5/- 
 
 18 
 
 7/6 
 
 „ 10 
 
 5/6 
 
 20 
 
 8/6 
 
 „ 12 
 
 61 - 
 
 24 
 
 9/6 
 
 14 
 
 6/6 
 
 30 
 
 1 1 ,/6 
 
 These Boxes can be fitted to suit Purchasers. 
 
 JAPANNED TINT BOXES 
 
 FOR 
 
 MOIST WATER COLOURS IN TUBES . 
 
 Having Folding Japanned Palette Lids (white inside). 
 
 Empty Box to hold 12 tubes of Colour ... 8/6 each 
 
 IMPORTERS OF PARCHMENT. 
 29 
 
W. c. TENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 WINSOR & NEWTON’S 
 
 “PATENT SPRING” JAPANNED TIN BOXES 
 
 FITTED WITH 
 
 MOIST WATER COLOURS, IN HALF PANS. 
 
 6 Half Pan Box of Colours, containing— 
 
 Gamboge, Yellow Oclire, Light Red, Crimson Lake, Prussian Blue, and 
 • Vandyke Brown, Price 6/- 
 
 8 Half Pan Box of Colours, containing— 
 
 Gamboge, Yellow Ochre, Burnt Sienna, Light Red, Crimson Lake, 
 Cobalt, Indigo, and Vandyke Brown. Price 7/9 
 
 10 Half Pan Box of Colours, containing— 
 Gamboge, Yellow Ochre, Raw Sienna, Burnt Sienna, Light Red, Crimson 
 Lake, Cobalt, Indigo, Vandyke Brown, and Brown Pink. Price 9 - 
 
 12 Half Pan Box of Colours, containing— 
 Gamboge, Yellow Ochre, Raw Sienna, Burnt Sienna, Vermilion, Light 
 Red, Crimson Lake, Brown Madder, Cobalt, Indigo, Vandyke Brown, 
 and Brown Pink. Price 10/6 
 
 14 Half Pan Box of Colours, containing— 
 Gamboge, Yellow Ochre, Raw Sienna, Burnt Sienna, Vermilion, Light 
 Red, Indian Red, Crimson Lake, Cobalt, Indigo, Neutral Tint, Vandyke 
 Brown, Brown Pink, and Lamp Black. Price 11/3 
 
 16 Half Pan Box of Colours, containing— 
 Gamboge, Cadmium Yellow. Yellow Ochre, Raw Sienna. Burnt Sienna, 
 Vermilion, Light Red, Indian Red, Crimson Lake, Brown Madder, Cobalt, 
 Indigo, Neutral Tint, Vandyke Brown, Brown Pink, and Lamp Black. 
 
 Price 13/3 
 
 18 Half Pan Box of Colours, containing— 
 
 Gamboge, Cadmium Yellow, Yellow Ochre, Raw Sienna, Burnt Sienna, 
 Vermilion, Light Red, Indian Red, Crimson Lake, Rose Madder, Brown 
 Madder, Cobalt, Indigo, Neutral Tint, Vandyke Brown, Emerald Greeri, 
 Brown Pink, and Lamp Black. Price 14/6 
 
 BOOKBINDERS & PAPER RULERS, 
 30 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 Fitted “Patent Spring 1 ” Boxes of Moist Colours 
 in Half Pans— Continued. 
 
 20 Half Pan Box of Colours, containing— 
 
 Gamboge, Cadmium Yellow, Yellow Ochre, Raw Sienna, Burnt Sienna. 
 Vermilion, Light Red, Indian Red, Crimson Lake, Rose Madder, Brown 
 Madder, Cobalt, French Blue, Indigo, Neutral Tint, Vandyke Brown 
 Emerald Green, Oxide Chromium, Brown Pink, and Lamp Black. 
 
 Price 17/- 
 
 24 Half Pan Box of Colours, containing— 
 
 Gamboge, Lemon Yellow, Cadmium Yellow, Yellow Ochre, Raw Sienna. 
 Burnt Sienna, Vermilion, Light Red, Indian Red, Crimson Lake, Rose 
 Madder, Purple Madder, Brown Madder, Cobalt, French Blue, Prussian 
 Blue, Indigo, Neutral Tint, Vandyke Brown, Sepia, Emerald Green, 
 Oxide Chromium, Brown Pink, and Lamp Black. Price 21 - 
 
 WINSOR & NEWTON’S 
 
 “ PATENT SPRING” JAPANNED TIN BOXES, 
 
 FITTED WITH 
 
 MOIST WATER COLOURS, IN CHINA PANS. 
 
 6 Whole Pan Box of Colours, containing— 
 
 Gamboge, Raw Sienna, Light Red, Crimson Lake 0), Alizarin Crimson 
 G)> Prussian Blue, and Vandyke Brown. Price 8/6 
 
 8 Whole Pan Box of Colours, containing— 
 
 Gamboge, Raw Sienna, Burnt Sienna, Light Red, Crimson Lake G)> 
 Alizarin Crimson G), Cobalt, Prussian Blue, and Vandyke Brown. 
 
 Price 11/6 
 
 10 Whole Pan Box of Colours, containing— 
 
 Gamboge, Yellow Ochre, Raw Sienna, Burnt Sienna, Light Red, Crimson 
 Lake G), Alizarin Crimson G), Cobalt, Prussian Blue, Vandyke Brown, 
 and- Brown Pink. Price 12/3 
 
 ILLUMINATORS AND DESIGNERS. 
 31 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY 
 
 Fitted “ Patent Spring ” Boxes of Moist Colours 
 in Whole Pans — Continued. 
 
 12 Whole Pan Box of Colours, containing— 
 
 Gamboge, Yellow Ochre, Raw Sienna, Burnt Sienna, Light Red, Ver- 
 milion (2), Indian Red (i), Crimson Lake ( 4 ), Alizarin Crimson (2) 
 Cobalt, Prussian Blue, Payne’s Grey, Vandyke Brown, and Brown Pink. 
 
 Price 13/6 
 
 14 Whole Pan Box of Colours, containing— 
 
 Gamboge, Yellow Ochre, Raw Sienna, Burnt Sienna, Light Red, Ver- 
 milion (2), Indian Red (i), Crimson Lake (i), Alizarin Crimson (}), 
 Brown Madder, Cobalt, Prussian Blue, Payne’s Grey, Vandyke Brown, 
 Sepia, and Brown Pink. Price 18/3 
 
 16 Whole Pan Box of Colours, containing— 
 
 Gamboge, Lemon Yellow (2), Cadmium Yellow (2), Yellow Ochre, Raw 
 Sienna, Burnt Sienna, Light Red, Vermilion (2), Indian Red (2), Crimson 
 Lake (2), Alizarin Crimson (2), Rose Madder, Brown Madder, Cobalt, 
 Indigo, Payne’s Grey, Vandyke Brown, Emerald Green (2), Viridian (2), 
 and Brown Pink. Price 21/6 
 
 18 Whole Pan Box of Colours, containing— 
 
 Gamboge, Cadmium Yellow, Yellow Ochre, Raw Sienna, Burnt Sienna, 
 Light Red, Vermilion ( 1 ), Indian Red (2), Crimson Lake (2), Alizarin 
 Crimson (2), Rose Madder, Brown Madder, Cobalt, Indigo, Payne’s Grey, 
 Vandyke Brown, Sepia, Emerald Green (2), Viridian (i), Brown Pink, 
 and Lamp Black. Price 23 - 
 
 20 Whole Pan Box of Colours, containing— 
 
 Gamboge, Cadmium Yellow, Yellow Ochre, Raw Sienna, Burnt Sienna, 
 Light Red, Vermilion (2), Indian Red (2), Crimson Lake (2), Alizarin 
 Crimson ( 4 ), Rose Madder, Brown Madder, Cerulean Blue, Cobalt, Prus- 
 sian Blue, Indigo, Payne’s Grey, Vandyke Brown, Sepia, Emerald Green 
 (2), Viridian (i), Brown Pink, and Lamp Black. Price 27/6 
 
 24 Whole Pan Box of Colours, containing— 
 
 Gamboge, Lemon Yellow, Cadmium Yellow, Aureolin, Yellow Ochre, 
 Raw Sienna, Burnt Sienna, Light Red, Vermilion (/>), Indian Red (2), 
 Crimson Lake (2), Alizarin Crimson (2), Rose Madder, Brown Madder, 
 Cerulean Blue, Cobalt, Prussian Blue, Indigo, Payne’s Grey, Vandyke 
 Brown, Sepia, Emerald Green G), Oxide Chromium (i), Viridian, Olive 
 Green, Brown, Pink, and Lamp Black. Price 32/6 
 
 A LARGE ASSORTMENT OF PURSES, CARD CASES, &c. 
 
 32 
 
AGENTS FOR WIXSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 ARTISTS’ POCKET BOXES, 
 
 FOR OUTDOOR SKETCHING. 
 
 FITTED WITH MOIST 
 
 8 Colours ... ... 5/- each 
 
 12 Colours ... ... 7/6 each 
 
 18 Colours 
 
 THE "WATER BOTTLE’ 
 
 Boxes in. long, containing l! 
 Boxes 10 in. long, containing 1! 
 
 WATER COLOURS . 
 
 10 Colours 6/3 each 
 
 16 Colours 9/6 each 
 
 . 1 0/6 each 
 
 BOX MOIST COLOURS. 
 
 Colours ... ... 1 2 6 each 
 
 Colours ... ... 14/6 each 
 
 CHEAP SERIES 
 
 Moist Water Colours in Japanned Tin Boxes. 
 
 Box containing 6 Colours and Camel-Hair Brush ... ... ... 6d 
 
 Box containing 12 Colours and 3 Camel-Hair Brushes ... ... ... 1 /- 
 
 Box containing 12 Moist Cake Colours and 2 Moist Colours in Tube 
 
 (Sepia and Chines^ White), and 2 Camel-Hair Brushes ... ... 1/9 
 
 No. 33. — “Compact” Japanned Tin Colour Box, fitted with 12 Half 
 
 Pans Rowney’s Moist Water Colours, and 3 Brushes ... ... 4 /- 
 
 No. 30. — “Student's” Japanned Tin Colour Box, fitted with 14 
 Half Pans Rowney’s Moist Water Colours, 3 Brushes, Water 
 Bottle and Sketch B.'ock. Box can be usel as a Palette... ... 6/6 
 
 No. 31. — “ Advanced Student’s” Japanned Colour Box, fitted with 22 
 Half Pans and 2 Tubes Rowney’s Moist Water Colours, and 4 
 Brushes; Enamelled.Flap to use as Palette... ... ... ... 8,6 
 
 MANUFACTURING STATIONERS. 
 33 
 
W. 0. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 JUVENILE OIL COLOUR BOXES. 
 
 JAPANNED TIN BOX. 
 
 Containing 7 Tubes Fine Oil Colours ... ... 1/- box. 
 
 .JAPANNED TIN BOX. 
 
 Containing 7 Tubes Fine Oil Colours, 2 Brushes, Bottle Linseed 
 Oil, and Flap to use as Palette. 
 
 2/6 box. 
 
 JAPANNED TIN OVAL BRUSH GASES. 
 
 No. 1 — 8| inches long ... ... ... 3/- each 
 
 No. 2 — 14 inches long ... ... ... 3/6 each 
 
 This Oval Brush Case has a sliding metal division with strong 
 elastic bands attached, which keeps the brushes on both sides in 
 position, and protects their points. 
 
 5^onnd Japanned Inn J&vnsfi Cases. 
 
 14 inches Long Pull-off End ... ... 1/3 each 
 
 WITH HANDLE. 
 
 JAPANNED TIN OIL BOTTLE, 1/3. 
 
 SCREW TOP. 
 
 ACCOUNT BOOK MAKERS. 
 34 
 
AGENTS FOE WIXSOK & NEWTON’S AETISTS’ MATEEIALS. 
 
 A NEW 
 
 Water Colour Sketching Case 
 
 Including Colours, Brushes, Pencil, Sketch Block and 
 Palette, particularly convenient for outdoor sketching. 
 
 The materials are of best quality, and the price is 15s. 
 Postage, lid. extra. 
 
 It contains 12 half pans Colours, 2 Sable Hair Brushes, 1 Pencil, Blockfof 
 Whatman’s Paper (12 sheets) and 6-division Palette. Covered Brown Jean. 
 
 LITHOGRAPHIC PRINTERS. 
 35 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 A STUDENT’S 
 
 Water Colour Japanned Case 
 
 Containing 14 half-pins Colours, 4 Brushes 1 Sketch Book 
 (32 sheets), and Water Bottle. 
 
 The Case measures 7 in. by 51 in. 
 
 With Thumb-hole arrangement. 
 
 Price, 6s. 6d. Posted, 7s. 2d. 
 
 LETTERPRESS PRINTERS. 
 
 36 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 THUMB-HOLE PALETTE CHALK BOX. 
 
 For Students, Schools of Art, etc. 
 
 The lid of this Box is covered inside with Wash Leather, which 
 forms a Stumping Palette, and the thumb-hole is arranged to allow 
 of the Box being held on the hand as easily as an ordinary Palette. 
 
 The Box contains four each of Nos. 1, 2, and 3 Square Black 
 Crayons ; two each Nos, 1 and 2 Lemoine’s Round White Crayons ; 
 a bottle of Stumping Chalk (Valous a Sauce) ; two White Paper 
 Stumps ; one No. 2 White Leather Stump ; four each White and 
 Grey Tortillon Stumps, and a Portcrayon. 
 
 The size of the Box when open is 10J x 6| inches 
 „ „ ,, closed is 6§ x 5^ ,, 
 
 Price complete, 3/6 each ; Posted, 3/10 
 
 This Box complete weighs under 8 ounces, which is about the 
 weight of -an ordinary 12 -inch Palette. 
 
 COPPERPLATE PRINTERS. 
 
W. c. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 THE HANDY CHALK BOX. 
 
 The Sliding Lid of the Box is lined inside with Wash 
 Leather, and fitted with a Stump Strap, forming a 
 convenient Stumping Palette. 
 
 THE BOX CONTAINS — 
 
 Six Conte Black Crayons Four Conte White Crayons 
 
 A Stick of Stumping Chalk Two White Paper Stumps 
 
 Six Tortillon Stumps A Brass Crayon Holder 
 
 And a Drawing Pencil. 
 
 A SPLENDID BOX FOR BEGINNERS. 
 
 Price complete, 1/9; Posted, 2/1 
 
 ENGRAVERS & DIE SINKERS. 
 38 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 WINSOR & NEWTON’S 
 
 BRUSHES FOR OIL PAINTING. 
 
 FINEST RED SABLES IN TIN FERRULES, 
 
 With 12-in. Polished Red Cedar Handles, Flat or Round. 
 
 FLAT. 
 
 ROUND. 
 
 No. 0 .. 
 
 . 4d. 
 
 No. 5 .. 
 
 . 1 0d. 
 
 
 No. 0 
 
 .. 4d. 
 
 No. 5 .. 
 
 . 1 0d. 
 
 „ 1 .. 
 
 ,. 4d. 
 
 „ 6 .. 
 
 1 /- 
 
 
 „ 1 . 
 
 .. 4d. 
 
 * 6 .. 
 
 • 1/- 
 
 „ 2 .. 
 
 .. 5d . 
 
 „ 7 .. 
 
 • 1/4 
 
 
 „ 2 .. 
 
 .. 5d. 
 
 „ 7 .. 
 
 . 1/9 
 
 „ 3 .. 
 
 .. 6d. 
 
 „ 8 .. 
 
 . 1/9 
 
 
 „ 3 . 
 
 .. 6d. 
 
 ,, 8 .. 
 
 . 2/3 
 
 „ 4 . 
 
 .. 8d. 
 
 „ 9 .. 
 
 .. 2/3 
 
 
 „ 4 . 
 
 .. 8d. 
 
 „ 9 .. 
 
 . 2/9 
 
 The above Illustrations are the exact size of the Brushes. 
 
 IMPORTERS OF COMMERCIAL STATIONERY. 
 
 39 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 WINSOR & NEWTON’S 
 
 BRUSHES FOR OIL PAINTING 
 
 (Continued). 
 
 BROWN FITCH HAIR BRUSHES. 
 
 Tu Nickel Ferrules, with 12-inch Polished Cedar Handles. 
 
 No. 1 ., 
 
 3d. 
 
 No. 5 
 
 7d. 
 
 No. 9 
 
 .. 1 /- 
 
 2 
 
 3d. 
 
 „ 6 . 
 
 9d . 
 
 „ 10 .. 
 
 • 1/1 
 
 „ 3 .. 
 
 .. 4d. 
 
 „ 7 . 
 
 .. 1 0d. 
 
 „ H .. 
 
 . 1/2 
 
 ,, 4 
 
 .. 5d. 
 
 „ 8 
 
 .. lid. 
 
 „ 12 .. 
 
 . 1/3 
 
 These Brushes are very good substitutes for Red Sables. 
 
 BRIGHT’S RED SABLE BRUSHES. 
 
 In Nickel Ferrules, with 12-inch Red Polished Cedar Handles. 
 (For firm, square touching and general Landscape Work.) 
 
 SHORT HAIR— FLAT ONLY. 
 
 No. 1 
 
 ... 4d. 
 
 No. 4 
 
 8d. 
 
 No. 7 
 
 ... 1/4 
 
 „ 2 
 
 ... 5d. 
 
 „ 5 
 
 . 1 0d. 1 
 
 „ 8 
 
 ... 21 - 
 
 „ 3 
 
 ... 6d. 
 
 „ 6 .. 
 
 1/- 1 
 
 „ 9 
 
 ... 2/6 
 
 RED 
 
 SABLE 
 
 RIGGER ” 
 
 BRUSHES 
 
 IN 
 
 NICKEL 
 
 FERRULES. 
 
 LONG THIN HAIR. 
 
 With 12-inch Polished Red Handles. Made in Nos. 0 to 6. 
 
 No. 0 ... 4d. I No. 2 ... 6d. I No. 4 ... 8d. 
 
 „ 1 ... 5d. I „ 3 ... 7d. | „ 5 ... 1 0d. 
 
 No. 6 ... 1 /- 
 
 IMPORTERS OF FANCY STATIONERY. 
 
 40 
 
05 V» 
 
 AGENTS FOR WIXSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 BRUSHES FOR OIL PAINTING— Continued. 
 
 HOG HAIR IN TIN FERRULES (B Quality). 
 
 With 12-in. Polished Red Cedar Handles. 
 
 FLAT OR ROUND. 
 
 4/9 per doz. 
 5/3 „ 
 
 6/3 „ 
 
 7/3 „ 
 
 8/6 „ 
 
 9/6 „ 
 
 IMPORTERS OF LEGAL STATIONERY. 
 
 | 3d . 
 
 No. 1 
 
 „ 2 £ 3d . each- 2/9 per doz. 
 3 
 
 4d. each. 3/9 per doz. 
 
 No. 7 — 5d. each. 
 „ 8— 6d. „ 
 
 „ 9- 7d. „ 
 
 „ 10— 8d. „ 
 
 „ U- 9d. „ 
 
 „ 12— 10d, „ 
 
 41 
 
W. G. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 Winsor & Newton’s Brushes for Oil Painting 
 
 (Continued). 
 
 Extra Fine Hog Hair in Tin Ferrules. 
 
 (A QUALITY) MADE OF THE SOFTEST LYONS HAIR. 
 
 WITH 12-INCH POLISHED YELLOW HANDLES. 
 
 Nos. 1 to 12, Flat or Round, all sizes. 
 
 No. 1 .. 
 
 .. 4d. 
 
 No. 5 
 
 ... 7d. 
 
 No. 9 
 
 .. lid. 
 
 „ 2 
 
 .. 4d. 
 
 n 6 
 
 ... 7d. 
 
 „ 10 ., 
 
 .. 1/1 
 
 „ 3 . 
 
 .. 6d. 
 
 ,, ■ 7 
 
 ... 8d. 
 
 „ 11 
 
 .. 1/3 
 
 „ 4 .. 
 
 .. 6d. 
 
 „ 8 
 
 ... 9d. 
 
 „ 12 .. 
 
 1/6 
 
 “ Fan " Hog Hair Brushes in Tin. 
 
 FOR LIGHT GLAZING, SOFTENING, SCUMBLING, 
 HAIR, FOLIAGE, &c. 
 
 With 12-inch Yellow Handles. 
 
 No ' g j ... 6d. each. ' N °' 4 | 9d. each. 
 
 Nos. 5 and 6 ... 1/- each. 
 
 LANDSEER’S HOG HAIR BRUSHES. 
 
 FINE LONG HAIR. 
 
 With 12-inch Polished Red Cedar Handles. 
 FLAT ONLY. 
 
 Nos. 1, 2 and 3 ... 4d. each. 
 
 ,, 4, 5 and 6 ... 6d. ,, 
 
 7 ... . ... 8d. „ 
 
 •„ 8 8d. „ 
 
 No. 9 ... ... 9d. each. 
 
 „ 10 9d. „ 
 
 „ 11 ... ... lOd. „ 
 
 „ 12 ... ... lOd. „ 
 
 IMPORTERS OF BANKERS’ STATIONERY. 
 42 
 
AGENTS FOE WIXSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 Brushes eor Oil Painting — ( Continued ). 
 
 French Shape Hog Hair Brushes. 
 
 SHORT THIN HAIR. 
 
 1 •^-inch Unpolished Handles. 
 
 FLAT ONLY. 
 
 Nos. 1, 2 and 3 ... 2d. each. Nos. 7 and 8 ... 4d. each. 
 
 4, 5 and 6 ... 3d. ,, ,, 9 and 10 ... 5d. ,, 
 
 Nos. 11 and 12 ... 6d. each. 
 
 IHOC3- HAIR BRUSHES. 
 
 In 12-inch Cedar Handles. 
 
 FLAT OR ROUND. 
 
 Nos. 1 , 2 and 3 ... 2d. each Nos. 7, 8 and 9 ... 4d. each 
 
 ,, 4, 5 and 6 ... 3d. ,, ,, 10, 11 and 12... 6d. each 
 
 NEWMAN ’S 
 
 JIfllRi BE 
 
 In Tin Ferrules. Short Thin Hair. 
 
 l2-ineh Yellow Polished Handles. Flat only. 
 
 No. 1 
 
 Gd. each. 
 
 No. 6 
 
 8d. each. 
 
 No. 1 1 . 
 
 .. 1/6 each. 
 
 „ 2 
 
 ... 6d. „ 
 
 „ 7 . 
 
 .. lOd. „ 
 
 „ 12 . 
 
 1/9 „ 
 
 3 
 
 ... 6d. „ 
 
 „ 8 . 
 
 - 1/- » 
 
 „ 14 .. 
 
 • 2/9 „ 
 
 ., 4 
 
 ... 8d. „ 
 
 „ 9 . 
 
 .. 1/2 „ 
 
 „ 16 .. 
 
 • 3/9 „ 
 
 » 5 
 
 ... 8d. „ 
 
 „ 10 . 
 
 .. 1/4 „ 
 
 „ 18 .. 
 
 ,. 4/9 „ 
 
 IMPORTERS OF ARCHITECTS’ & SURVEYORS’ MATERIALS. 
 
 43 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY 
 
 WINSOR & NEWTON’S 
 
 Finest Round Badger Hair Softeners. 
 
 FOE OIL COLOUBS. POLISHED EED HANDLES. 
 
 Flat Hog Hair Varnishing Brushes. 
 
 IN TIN FERRULES. 
 
 Made of the softest Lyons Hair. With Polished Cedar Handles. 
 
 1 inch wide, 1 - inch wide, 1/6 
 
 2 inches wide, 2/- 
 
 IMPORTERS OP WEDDING STATIONERY. 
 44 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 WINSOR & NEWTON’S 
 
 BRUSHES FOR WATER COLOURS. 
 
 FINEST SABLES IN ALBATA FERRULES. 
 
 With 6-inch Polished Ebony Handles. 
 
 BROWN OR RED SABLE HAIR, Flat or Round. 
 Nos 0 and 1, 9d ; 2, 1 /- ; 3, 1 /2 ; 4, 1 /4 ; 5.1/8; 6, 2/3 ; 7, 2/6. 
 
 The Brushes are the size of the above Illustrations. 
 
 SECOND QUALITY, 
 
 RED SABLES IN NICKEL FERRULES. 
 
 6 in. Polished Walnut Handles, Flat or Round. 
 
 Nos. 0 4d ; 1, 5d. ; 2, 6d. ; 3, 8d ; 4, 1 Od ; 5, 1 /- ; 6, 1 /2. 
 FLAT. ROUND. 
 
 No. 7, 1 /6 No. 10, 2/6 No. 7, 1 /9 No. 10, 3/3 
 
 „ 8, 1 /9 „ 11, 3/3 „ 8, 21 - „ 11, 4/- 
 
 „ 9,2/- „ 12,-4/- „ 9,2/6 „ 12,4/9 
 
 IMPORTERS OF PARCHMENT. 
 
 45 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 WINSOR & NEWTON’S 
 
 BROWN FITCH HAIR BRUSHES 
 
 POE WATEE COLOUE PAINTING. 
 
 With 6-in. Black Polished Handles. PLAT or ROUND. 
 
 No. 1,3d. No. 4, 5d. No. 7, lOd. No. 10, 1 /I 
 
 „ 2,3d. „ 5, 7d. „ 8, lid. „ 11,1/2 
 
 „ 3, 4d. „ 6, 9d. „ 9,1/- „ 12,1/3 
 
 These Brushes are very good substitutes for Red Sables. 
 
 WINSOR & NEWTON’S 
 
 BRUSHES FOR WATER COLOURS. 
 
 FLAT RED SABLE BRUSHES IN ALBATA FERRULES, 
 
 FOR BROAD WASHES. 
 
 1 inch wide, 1/9 1 inch wide, 4/6 2 inches wide, 8/6 
 
 * „ 3/6 H „ 6/6 2} „ 10 /- 
 
 WASH OR SKY BRUSHES. 
 
 Made Flat or Round. 
 
 wash dyed sables in albata. (Size of the Brushes.) 
 
 WASH BRUSHES, SIBERIAN HAIR, IN TIN FERRULES. 
 
 Large— 1/6 each. Small— 1/3 each. 
 
 BOOKBINDERS & PAPER RULERS. 
 46 
 
AGENTS 1'OE WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 WINSOR & HEWTOH’S 
 
 BRUSHES for WATER COLOURS. 
 
 Finest Sable Brushes in Quills. 
 
 TIED WITH COLOURED SILK AND GOLD WIRE. 
 
 Large Middle Small Extra Small Extra Goose. Small Duck. Crow. 
 
 Swan. Swan. Swan. Swan. Goose. Goose. 
 
 The Brushes are the sizes of the above illustrations. 
 Prices are on the opposite page. 
 
 ILLUMINATORS & DESIGNERS. 
 47 
 
W. C. PINFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 WINSOR & NEWTON’S 
 
 BRUSHES FOR WATER COLOURS. 
 
 BROWN SABLE HAIE. 
 
 Crow 
 
 COLOUR OF SILK. 
 
 Blue 
 
 r ACH. 
 
 4a. 
 
 In Long Quills— 
 
 COLOUR OF SILK. 
 
 KACH. 
 
 Duck 
 
 Magenta 
 
 8 . 
 
 Extra Small Swan 
 
 Blue ... 
 
 3/6 
 
 Small Goose 
 
 Green ... 
 
 1/- 
 
 Small Swan 
 
 Magenta 
 
 4/6 
 
 Goose 
 
 ... Pink ... 
 
 1/3 
 
 Middle „ 
 
 Green . . . 
 
 6/6 
 
 Extra Goose 
 
 ... Amber ... 
 
 1/9 
 
 Large „ 
 
 Pink ... 
 
 86 
 
 See Illustrations on 
 
 opposite page for sizes of Brushes. 
 
 RED SABLE HAIR. 
 
 Crow 
 
 COLOUR OF SILK. 
 
 ... Blue ... 
 
 EACH. 
 
 4d. 
 
 In 
 
 Long Quills— 
 
 COLOUR OF SILK. 
 
 EACH. 
 
 Duck 
 
 Magenta 
 
 8d. 
 
 Extra Small Swan Blue ... 
 
 3/6 
 
 Small Goose 
 
 
 1/- 
 
 Small Swan 
 
 Magenta 
 
 4/6 
 
 Goose ... 
 
 Pin k ... 
 
 1/3 
 
 Middle „ 
 
 Green... 
 
 6/6 
 
 Extra Goose 
 
 Amber... 
 
 1/9 
 
 Large ,, 
 
 Pink . . . 
 
 8/6 
 
 See Illustrations on opposite page for sizes of Brushes 
 
 BEST SIBERIAN HAIR IN QUILLS. 
 
 Tied with Coloured Silk and Silver Wire. 
 
 
 
 COLOUR OF SILK. 
 
 EACH. 
 
 In Long Quills— 
 
 Crow 
 
 ... 
 
 Blue 
 
 2d. 
 
 COLOUR OF SILK. 
 
 Extra Small Swan Blue ... 
 
 Duck 
 
 
 ... Magenta 
 
 3d 
 
 Small Swan ... Magenta 
 
 Middle „ ... Green... 
 
 Goose 
 
 
 . . . Pink . . . 
 
 4d . 
 
 Large „ ... Pink ... 
 
 See Illustrations on opposite page for sizes of Brushes. 
 
 9d. 
 
 1 /- 
 
 1/9 
 
 2/3 
 
 EXTRA SERIES. 
 
 FINEST SABLES IN ALBATA FERRULES, 
 
 With 9-lnch Polished Ebony Handles. 
 
 FOR WATER COLOURS, 
 
 FLAT OK ROUND. 
 
 No. 1, 5/6. No. 2, 6/6. 
 
 A LARGE ASSORTMENT OF PURSES, CARD CASES, &c. 
 
 48 
 
GENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 WINSOR & NEWTON’S 
 
 Best Quality Artists’ Stretched Canvases. 
 
 9 in. x 
 
 6 in. 
 
 ... lOd. 
 
 18 in. 
 
 X 
 
 16 in. ... 2 4 
 
 26 in. x 
 
 20 in. ... 
 
 , 3/8 
 
 10 „ x 
 
 7 ,, 
 
 ... 1 - 
 
 20 
 
 59 
 
 X 
 
 10 
 
 „ ... 2/2 
 
 28 „ x 
 
 12 
 
 55 * * ' 
 
 8/9 
 
 10 „ x 
 
 8 „ 
 
 ... 1 - 
 
 20 
 
 59 
 
 X 
 
 12 
 
 „ ... 2/3 
 
 28 „ x 
 
 14 
 
 95 * 4 ' 
 
 . 4/- 
 
 12 ,. x 
 
 8 „ 
 
 ... 12 
 
 20 
 
 95 
 
 X 
 
 14 
 
 „ ... 2/4 
 
 29i„ x 
 
 2H„ ... 
 
 . 4/4 
 
 12 „ x 
 
 9 „ 
 
 ... 13 
 
 20 
 
 55 
 
 X 
 
 16 
 
 „ ... 2/6 
 
 30 ,, x 
 
 18 
 
 55 * * ' 
 
 • 4 /“ 
 
 12 „ x 
 
 10 „ 
 
 ... 1/4 
 
 22 
 
 55 
 
 X 
 
 10 
 
 „ -. 2/4 
 
 30 „ x 
 
 20 
 
 55 * * ' 
 
 . 4/4 
 
 13 „ x 
 
 9 „ 
 
 ... 1 4 
 
 22 
 
 59 
 
 X 
 
 12 
 
 „ ... 2/6 
 
 30 ,, x 
 
 22 
 
 59 • • ' 
 
 . 4/8 
 
 14 „ x 
 
 8 „ 
 
 ... 1 4 
 
 22 
 
 55 
 
 X 
 
 14 
 
 „ ... 2/6 
 
 30 ,, x 
 
 24 
 
 5 5 • • ' 
 
 . 4/11 
 
 14 „ x 
 
 9 „ 
 
 ... 1/6 
 
 22 
 
 59 
 
 X 
 
 16 
 
 „ ... 2/8 
 
 30 ,, x 
 
 25 
 
 55 • * 
 
 . 4/11 
 
 14 „ x 
 
 10 „ 
 
 .. 16 
 
 22 
 
 5 9 
 
 X 
 
 18 
 
 - 2/9 
 
 . 34 „ x 
 
 20 
 
 95 * * 
 
 • 5 /“ 
 
 14 „ x 
 
 12 , 
 
 ... 17 
 
 24 
 
 55 
 
 X 
 
 12 
 
 2/6 
 5 5 • • • ^ 1 W 
 
 36 „ x 
 
 18 
 
 59 * * ' 
 
 . o/3 
 
 15 „ x 
 
 11 .. 
 
 ... 18 
 
 24 
 
 55 
 
 X 
 
 14 
 
 „ ... 2/9 
 
 36 „ x 
 
 20 
 
 99 * * ' 
 
 . 5/6 
 
 16 ,, x 
 
 8 „ 
 
 ... 1 6 
 
 24 
 
 59 
 
 X 
 
 16 
 
 „ ... 8/- 
 
 36 ,, x 
 
 24 
 
 55 * * 4 
 
 • 6 I~ 
 
 16 ,, x 
 
 10 
 
 ... 1/8 
 
 24 
 
 59 
 
 X 
 
 18 
 
 „ ... 3/3 
 
 36 ,, x 
 
 26 
 
 55 * * ' 
 
 . 6/3 
 
 16 „ x 
 
 12 „ 
 
 ... 1 10 
 
 24 
 
 55 
 
 X 
 
 20 
 
 „ ... 3/6 
 
 36 „ x 
 
 28 
 
 59 * * 
 
 . 6/6 
 
 16 ,, x 
 
 14 „ 
 
 ... 2/- 
 
 26 
 
 55 
 
 X 
 
 12 
 
 „ -. 3/2 
 
 36 ,, x 
 
 30 
 
 59 • 
 
 ■ v- 
 
 18 „ x 
 
 10 „ 
 
 ... i 10 
 
 26 
 
 55 
 
 X 
 
 14 
 
 „ ... 3/3 
 
 40 ,, x 
 
 20 
 
 59 * * 
 
 . 9/6 
 
 18 „ x 
 
 12 
 
 21- 
 
 26 
 
 99 
 
 X 
 
 16 
 
 „ ... 3/4 
 
 
 
 
 
 18 „ x 
 
 14 „ 
 
 2 2 
 
 26 
 
 55 
 
 X 
 
 18 
 
 ,, ... 3/6 
 
 
 
 
 
 Special Sizes Made to Order. 
 
 Best Quality Artists’ Canvas. 
 
 In Rolls, 6 yards. 
 
 SMOOTH OR ROUGH SURFACE. 
 
 Per yard. Per yard. Per yard. 
 
 27 in. wide ... 3 6 36 in. wide ... 4/3 54 in. wide ... 8/6 
 
 30 „ „ ...3/9 42 „ „ ...5/4 62 „ „ ...9/6 
 
 TICKEN SURFACE, EXTRA ROUGH. 
 
 Per yard. Per yard. 
 
 27 in. wide ... 4/— 36 in. wide ... 5/— 
 
 30 „ „ ... 4/6 42 „ „ ... 5/6 
 
 PREPARED PASTEL CANVAS. 
 
 40 in. wide ... 6/6 per j 7 ard. 80 in. wide ... 12/6 per yard. 
 
 Any Sizes not in this page have to be made to order. 
 Prices on application. 
 
 MANUFACTURING STATIONERS. 
 49 
 
W. C. PENFOLD & 00., 183 PITT STREET, SYDNEY. 
 
 W. C. PENFOLD & CO.’S PRICE LIST 
 
 OF 
 
 WINSOR & NEWTON’S 
 
 Artists’ Stretched Canvases and Oil Colours. 
 
 Second Quality, on Best English Stretchers. 
 
 9 in. 
 
 X 
 
 6 in. 
 
 ... 8d. 
 
 18 in. x 16 in. 
 
 ... 1/10 
 
 27] 
 
 in. x 20 in. ... 3/1 
 
 10 „ 
 
 X 
 
 7 „ 
 
 ... lOd. 
 
 19 „ x 13 „ 
 
 ... 1/7 
 
 27 
 
 „ x 22 
 
 „ 3/1 
 
 10 „ 
 
 X 
 
 8 „ 
 
 ... lOd. 
 
 19 „ x 15 „ 
 
 ... 1/9 
 
 28 
 
 „ x 12 
 
 ,. ... 8/- 
 
 11 „ 
 
 X 
 
 9 „ 
 
 ... 1 - 
 
 20 „ x 10 „ 
 
 ... 1/6 
 
 28 
 
 ,, x 14 
 
 „ ... 3/3 
 
 12 „ 
 
 X 
 
 8 „ 
 
 ... lid. 
 
 20 „ x 12 „ 
 
 ... 1/6 
 
 x 2i4 
 
 -„ ... 3/3 
 
 12 „ 
 
 X 
 
 9 „ 
 
 ... 1/- 
 
 20 „ x 14 „ 
 
 ... 1/8 
 
 30 
 
 „ x 18 
 
 „ ... 3/3 
 
 12 „ 
 
 X 
 
 10 „ 
 
 ... 1/- 
 
 20 ,, x 16 „ 
 
 ... 1/9 
 
 30 
 
 „ x 20 
 
 „ - 3/4 
 
 13 „ 
 
 X 
 
 9 „ 
 
 ... 1/- 
 
 21 „ x 14 „ 
 
 ... 1/7 
 
 30 
 
 „ x 22 
 
 „ -. 3/6 
 
 14 „ 
 
 X 
 
 6 „ 
 
 ... lid. 
 
 21 ,, x 17 „ 
 
 ... 1/9 
 
 30 
 
 „ x 24 
 
 „ ... 3/9 
 
 14 „ 
 
 X 
 
 7 „ 
 
 ... lid. 
 
 22 „ x 10 „ 
 
 ... 1/6 
 
 30 
 
 „ x 25 
 
 4/- 
 
 14 „ 
 
 X 
 
 8 „ 
 
 ... 1/- 
 
 22 „ x 12 „ 
 
 ... 1/8 
 
 34 
 
 „ x 20 
 
 „ ... 4/- 
 
 14 „ 
 
 X 
 
 9 
 
 ... 1/1 
 
 22 „ x 14 „ 
 
 ... 1/10 
 
 36 
 
 ,, x 18 
 
 ••• 4/2 
 
 14 „ 
 
 X 
 
 10 „ 
 
 ... 1/1 
 
 22 „ x 16 „ 
 
 ... 1/10 
 
 36 
 
 „ x 20 
 
 „ ... 4/3 
 
 14 „ 
 
 X 
 
 12 „ 
 
 ... 1/2 
 
 22 „ x 17 „ 
 
 ... 21- 
 
 36 
 
 „ x24 
 
 „ ... 4/6 
 
 15 „ 
 
 X 
 
 11 „ 
 
 ... 1/2 
 
 22 „ x 18 „ 
 
 ... 2/2 
 
 36 
 
 „ x 28 
 
 „ ... 4/6 
 
 15 „ 
 
 X 
 
 12 „ 
 
 ... 1/2 
 
 24 „ x 12 „ 
 
 ... 1/10 
 
 36 
 
 „ x 30 
 
 „ ... 4/9 
 
 16 „ 
 
 X 
 
 8 „ 
 
 ... 1/2 
 
 24 „ x 14 „ 
 
 ... 21- 
 
 37 
 
 „ x 13 
 
 „ - 4/2 
 
 16 „ 
 
 X 
 
 10 „ 
 
 ... 1/2 
 
 24 „ x 16 „ 
 
 ... 2/4 
 
 40 
 
 „ x 24 
 
 „ - 6/9 
 
 16 „ 
 
 X 
 
 12 „ 
 
 ... 1/4 
 
 24 „ x 18 „ 
 
 ... 2/4 
 
 40 
 
 „ x 28 
 
 „ - 7/6 
 
 16 „ 
 
 X 
 
 14 „ 
 
 ... 1/6 
 
 24 „ x 20 „ 
 
 ... 2/6 
 
 40 
 
 ,, x 30 
 
 „ ... 8/6 
 
 17 „ 
 
 X 
 
 13 „ 
 
 ... 1/6 
 
 26 „ x 12 „ 
 
 ... 2/4 
 
 42 
 
 „ x 24 
 
 „ ... 7/6 
 
 17 „ 
 
 X 
 
 14 „ 
 
 ... 1/7 
 
 26 „ x 14 „ 
 
 ... 2/6 
 
 42 
 
 „ x 28 
 
 „ ••• 8/6 
 
 18 „ 
 
 X 
 
 10 „ 
 
 ... 1/3 
 
 26 „ x 16 „ 
 
 ... 2/6 
 
 44 
 
 „ x 34 
 
 „ ... 10/- 
 
 18 „ 
 
 X 
 
 12 „ 
 
 ... 1/5 
 
 26 „ x 18 „ 
 
 ... 2/8 
 
 48 
 
 ,, x 36 
 
 „ - 12/- 
 
 18 „ 
 
 X 
 
 14 „ 
 
 ... 1/7 
 
 26 ,, x 20 ,, 
 
 ... 2/9 
 
 50 
 
 ,, x 30 
 
 „ ... 13/- 
 
 
 
 Canvas in 
 
 Rolls of 6 yards, Second 
 
 Quality. 
 
 
 
 
 Per yard. 
 
 Per yard. 
 
 
 
 Per yard. 
 
 27 in. wide 
 
 ... 2/2 
 
 38 in. wide . 
 
 .. 3/6 
 
 54 in. wide 
 
 ... 5/- 
 
 30 
 
 >> 
 
 99 
 
 ... 2/6 
 
 42 „ „ . 
 
 •• ih 
 
 62 
 
 99 9? 
 
 ... 6/- 
 
 36 
 
 99. 
 
 9J 
 
 ... 3/- 
 
 45 „ „ . 
 
 ..4 6 
 
 . 86 
 
 9? 99 . 
 
 ... 8/- 
 
 Any Sizes not in this page have to be made to order. 
 Prices on application. 
 
 ACCOUNT BOOK MAKERS. 
 50 
 
ENTS FOR WINS OR & NEWTON'S ARTISTS’ MATERIALS. 
 
 Well-seasoned Poplar Wood Panels. 
 
 Carefully Prepared by WINSOR & NEWTON for 
 Painting in Oil Colours. 
 
 12x8 in. ... 1/- 14x10 in. ... 1/6 20 x 14 in. ... 3/- 
 
 13x8 „ ...13 16x12,, ...2- 20x16,, ... 4/- 
 
 Unprepared White Wood Panels, 
 
 FOR PAINTING IN OIL COLOURS. 
 
 *9 x in. . 
 
 .. 3d. 
 
 *12 > 
 
 i 9 in. ., 
 
 .. 5d. 
 
 *16 x 12 in. . 
 
 .. 9d. 
 
 10 x 6 ,, . 
 
 .. 3d. 
 
 13 > 
 
 ^ 8 „ .. 
 
 .. 6d. 
 
 18 x 10 „ . 
 
 . . lOd. 
 
 10 x 7 ., . 
 
 .. 4d. 
 
 14 ? 
 
 c 8 „ .. 
 
 .. 7d. 
 
 20 x 12 „ . 
 
 .. 1/2 
 
 12 x 8 „ . 
 
 .. 5d. 
 
 *14 i 
 
 : 10 „ .. 
 
 . 8d. 
 
 
 
 Sizes marked # fit Nos. 1 to 6 Walnut Boxes. 
 
 rhick White Wood Panels mt\ Bevelled Edges, 
 
 MADE OF CLEAR DRY PINE. 
 
 16 x 12 in. 
 
 2 
 
 20 x 12 in. ... 
 
 ... 2/6 
 
 18 x 12 „ 
 
 !!! 23 
 
 20 x 14 „ ... 
 
 ... 2/9 
 
 18 x 14 „ 
 
 2/4 
 
 24x12 „ ... 
 
 ... 3/- 
 
 
 24 x 16 in. 
 
 3/6 
 
 
 
 Special Sizes 
 
 to Order. 
 
 
 MAHL STICKS. 
 
 Bamboo Mahl Sticks ... ... ... ... ... . ... 6d. 
 
 Jointed Polished Bamboo Mahl Stick, in two pieces, with a 
 
 Brass Joint ... ... ... ... ... ... 2/6 
 
 Ditto, in three pieces, with two Brass Joints ... ... ... 3/- 
 
 Ditto, in four pieces, with three Brass Joints ... ... 3/6 
 
 CA.IsrV^S PINS. 
 
 For Carrying Two Wet Pictures Face to Face. 
 
 No. 1 — Double Wire Points ... ... ... ... Id. each. 
 
 No. 2 — Needle Points ... ... ... ... 3d. ,, 
 
 LITHOGRAPHIC PRINTERS. 
 51 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 CARDS FOR OIL PAINTING. 
 
 Prepared Surface to imitate Canvas. Gilt Edges. 
 
 44 in. x 3 
 
 5 
 
 x3| 
 
 2d. each, 1/9 doz. 
 2d. „ 1/9 „ 
 
 5| in. x 4J 
 6 ,, x 44 
 
 3d. each, 2/6 doz. 
 3d. „ 2/6 „ 
 
 ACADEMY BOARDS. 
 
 Rough and Smooth 8urface. 
 
 Academy Boards, 24Jin. x 18 J, 1/2 Half Boards, 18J in. x 12|, 7d. 
 
 Quarto Boards, 12J in. x 94 in. 4d. 
 
 Students’ Academy Boards. 
 
 244 in. x 184, 9d. 
 
 18J in. x 124, 5d. 
 
 124 in. x 9|d, 3d. 
 
 The “ Winton ” 
 
 Gradated 4\rt ^Panels. 
 
 E/N GtXjXSH 3VEA.KE. 
 
 Prepared in Five Tints, viz. : Green, Rose, Azure, 
 
 Brown and Grey. 
 
 9 x 54 in. 
 
 10 x 7 
 12 x 8 
 
 14 x 6| 
 
 14 x 10 in. 
 16 x 8 „ 
 
 7d. 
 
 18 
 
 X 
 
 10 „ ... 
 
 ..: 1/6 
 
 9d. 
 
 20 
 
 X 
 
 10 „ ... 
 
 ... 1/7 
 
 11 - 
 
 20 
 
 X 
 
 12 in. ... 
 
 ... 1/8 
 
 1/2 
 
 20 
 
 X 
 
 14 „ ... 
 
 ... 1/10 
 
 1/3 
 
 24 
 
 X 
 
 12 „ ... 
 
 ... 2/3 
 
 1/5 
 
 28 
 
 X 
 
 12 „ ... 
 
 ... 2/6 
 
 The “Winton” Art Panels are manufactured and prepared solel}- 
 by Winsor & Newton, Limited. The surface is carefully gradated by hand, 
 and affords an especially suitable ground for painting in Oil Colours, 
 Flowers, &c., or for copying Madame Vouga’s Studies, obtainable at 
 W. C. Penfold & Co.’s. 
 
 LETTERPRESS PRINTERS. 
 52 
 
.GENTS FOE WINSOR & NEWTON’S AETISTS’ MATEEIALS. 
 
 WINSOR & NEWTON’S 
 
 SOLID SKETCH BLOCKS 
 
 Of Prepared Paper for Painting m Oil Colours. 
 
 Each Block containing 24 Sheets thick Paper. 
 
 16mo. Imperial, 7 in. x 5 2 3 
 
 8vo. Royal, 9 in. x5| 3 6 
 
 8vo. Imperial, 10 in. x 7 3/6 
 
 4to Royal, 1 1| in. x 9 ... 
 6mo. Imperial, 14 in. x 6| 
 4to Imperial, 14 in. x 10 
 
 5/3 
 
 5/6 
 
 HALF-BOUND SKETCH BOOKS. 
 
 NOT BLOCKED. FOR WATER COLOURS. 
 
 Leather Back, Cloth Sides, Elastic Band to fasten. 
 
 Made of Whatman's Paper. 30 Leaves. 
 
 32mo. Imperial 
 
 5 in. 
 
 x 21 ... 
 
 Is. 3d. 
 
 24mo. ,, 
 
 ... 7 ,, 
 
 x 2£ ... 
 
 Is. 9d. 
 
 16mo. ,, 
 
 ... 7 ., 
 
 x 5 
 
 2s. 6d. 
 
 8vo. ,, 
 
 ... 10 „ 
 
 x 7 
 
 3s. 9d. 
 
 4to. ,, 
 
 ... 1H „ 
 
 x 10, 20 leaves 
 
 4s. 3d. 
 
 THE 
 
 STUDENT’S SKETCH 
 
 BOOKS. 
 
 Made of Best Drawing Cartridge Paper, hound 
 Holland Covers with Elastic Band. 
 
 in Brown 
 
 Size — 5 in 
 
 . x3| in., 40 leaves in each book 
 
 6d. eacl 
 
 7 ,, 
 
 i x 4^ ,, 40 ,, ,, 
 
 Is. „ 
 
 10 ., 
 
 , x 7 ,, 32 
 
 . Is. 6d. „ 
 
 iH, 
 
 , x 9 „ 32 .; 
 
 2s. „ 
 
 14 , 
 
 , x 10 ,, 30 ,, ,, 
 
 2s. 6d. „ 
 
 THE SKETCHER’S POCKET BOOKS. 
 
 For Water Colours, Pen and Ink, and Pencil Drawing. 
 
 60 Leaves. With Elastic Band. 
 
 No. 1 Sue 5§ x 4 in., 9d. each No. 3 Size 1\ x 4^ in., Is. each 
 
 ,, 2 ,, 6^ x 3| in., 9d. ,, ,, 4 ,, 8| x 5J ,, Is. 3d. ,, 
 
 SCHOOL DRAWING BOOKS-3d., 4d , 6d., 9d., Is. each. 
 
 COPPERPLATE PRINTERS. 
 
W. C. PENFOLD & CO., lKj PITT STREET, SYDNEY. 
 
 WINSOE & NEWTON’S 
 
 SOLID DRAWING BLOCKS, 
 
 Made of WHATMAN’S Thick Drawing Paper, 90 lb. Imperial 
 and 60 lb. Royal, 
 
 ROUGH OR SMOOTH SURFACE. 
 
 These Blocks contain 32 Sheets, the upper sheet of which can he easily removed 
 by inserting the point of a penknife under it. 
 
 Solid Blocks with Half-Bound Covers and Pocket. 
 
 32mo. Imperial 
 
 5 inches by 3^ 
 
 2 /- 
 
 l6mo. Imperial 
 
 7 
 
 „ 5 
 
 2/6 
 
 8vo. Royl 
 
 9 
 
 „ 5 
 
 3/- 
 
 ,, Imperial 
 
 ... 10 
 
 „ 7 
 
 4/- 
 
 4to. Royal 
 
 1H 
 
 „ 9 
 
 5/6 
 
 „ Imperial 
 
 14 
 
 ,. 10 
 
 9/6 
 
 Special Sizes made to Order. 
 
 PREPARED R1ZALINE CARDS. 
 
 For Painting on in Oil Colours. 
 
 ENGRAVERS & DIE SINKERS. 
 54 
 
4EXTS FOR WIXSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 WINSOR & NEWTON’S 
 
 SOLID DEAWING BLOCKS. 
 
 MADE OF WHATMAN'S THICK DRAWING PAPER, EACH CONTAINING 24 SHEETS. 
 
 32mo. Imperial ... « 
 
 5 in. x 3J 
 
 Is. 3d. 
 
 24mo. „ 
 
 7 x 3J 
 
 Is. 3d. 
 
 16mo. ,, 
 
 7 „ x 5 
 
 Is. 6d. 
 
 8yo. Royal 
 
 9 „ x 5i 
 
 2s. 6d. 
 
 8yo. Imperial 
 
 10 „ X 7 
 
 3s. 9d. 
 
 4to. Royal 
 
 111 „ X 9 
 
 4s. 6d, 
 
 4to. Imperial 
 
 14 „ x 10 
 
 7s. 6d. 
 
 Half Imperial 
 
 20 „ x 14 
 
 14s. 6d. 
 
 Rough and Smooth Surfaces. 
 
 BLOCKED 
 
 SKETCH 
 
 BOOKS, 
 
 Made of Whatman's 
 
 Thick Drawing Paper. 24 Leaves. 
 
 Brown Hoi 1. 
 
 Covers and Elastic 
 
 Band. 
 
 32mo. Imperial 
 
 5 in. x 3J 
 
 Is. 3d. each. 
 
 24mo. ,, 
 
 7 „ x3| 
 
 2s. 
 
 16mo. „ 
 
 ... 7 „ x 5 
 
 3s. ,, 
 
 12mo. ,, 
 
 ... 10 „ x 4| 
 
 4s. 
 
 8vo. ,, 
 
 ... 10 „ x 7 
 
 5s. 
 
 4to. Royal ... 
 
 ... 11J ,, x 9 
 
 5s. 9d. ,, 
 
 HE STUDENT’S SOLID DRAWING BLOCKS 
 
 Made of Best Drawing Cartridge 
 
 Paper. 
 
 Each containing 20 sheets. 
 
 
 Size — 9| in. x 6 in. 
 
 
 6d. each’. 
 
 12 „ x 9|„ 
 
 ... 
 
 .. Is. 6d. „ 
 
 12 „ x 9|„ in 
 
 l cover ... 
 
 ... 2s. 3d. „ 
 
 SKETCH BLOCKS made to order, 
 
 any size. 
 
 IMPORTERS OF COMMERCIAL STATIONERY. 
 
 55 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 WATER COLOUR SKETCHING PANELS. 
 
 Boards Covered with Whatman’s Water Colour Paper. 
 
 5 1 x 4| in. ...2d. each. 9x5| in. ...3d. each 12 x 8 in....6d. each. 
 7 x 5£ „ ...2d. „ 10x7 „ ... 4d. „ 14x6t„...8d. „ 
 
 18 x 12 in. ... lOd. each. 
 
 Special Sizes Made to Order. 
 
 CARDS FOR PAINTING & SKETCHING. 
 
 The Farringdon Box of 18 Cards, Assorted Tints and Shapes, 
 1/3 per box. 
 
 CARDS FOR WATER COLOUR PAINTING. 
 
 Covered with Whatman’s Paper. 
 
 1/3 per Box of 8 Cards, Assorted Sizes. Gilt edges. 
 
 RIZALINE CARDS FOR PAINTING. 
 
 In Packets of 12 Cards. Assorted Shapes and Sizes, 1/3 per packet. 
 Size 6| x 4^ inches, Fancy Borders, 3d. each, 2s. 9d. per dozen. 
 
 GILT EDGE CARDS. 
 
 Specially Prepared for Water Colours. 
 
 4| x 3 in. ... Id. each, lOd. doz. 5J- x 4J in. ... 2d. each, 1/6 doz. 
 4 x 3|„ ... Id. „ lOd. ,, 6 x ,, ... 2d. ,. 1/9 „ 
 
 OIJL SKETCHING IPjAHSTEKiS. 
 
 Rough Surfaces. 
 
 (Millboards Covered with Oil Sketching Paper to imitate Canvas.) 
 
 H 
 
 in. 
 
 X 41 
 
 ... 2d. 
 
 7 
 
 >> 
 
 x 
 
 ... 3d. 
 
 9 
 
 
 x 5i ... 
 
 5d. 
 
 10 
 
 
 x7 
 
 ... 6d. 
 
 12 
 
 >5 
 
 x 8, 
 
 ... 8d. 
 
 14 in. x 6f ... 
 
 ... 8d. 
 
 14 „ x 10 ... 
 
 ... 8d. 
 
 16 „ x 10 ... 
 
 ... 9d. 
 
 16 „ x 12 ... 
 
 ... 9d. 
 
 18 „ x 12 ... 
 
 ... 10J. 
 
 20 in. x 14 ... ij- 
 
 Special Sizes Made to Order. 
 
 IMPORTERS OF FANCY STATIONERY. 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 RIZALINE CARDS For p »r Zl m 
 
 Suitable for Birthday, Christmas and New Year Cards. 
 
 “ LA SUPERBE ” PACKET, containing 15 beautiful shapes, 
 includihg Fans, Shields, Crescent Ovals, Crosses, &c., assorted 
 with transparent and opaque borders. Price, 1/9 ; posted, 1/11. 
 
 The “KENSINGTON ” PACKET of One Dozen new and very 
 pretty designs in elegantly lithographed wrapper. A most 
 attractive packet. Price, 1/2 ; posted, 1/4. 
 
 The “ARTIST’S” PACKET, containing 14 Cards, in four 
 sizes — small, large, double small, double large — assorted opaque 
 and transparent borders. Price, 1/2 ; posted, 1/4. 
 
 The “RECHERCHE” PACKET, containing 12 Cards, assorted 
 fancy shapes — Ivy Leaf, Vine Leaf, Hearts, Victoria Cross, 
 Fan, &c. — forming a charming collection. Price, 1/2 ; 
 posted, 1/4. 
 
 The “ IMPERIAL ” PACKET of 12 Assorted designs. Price, 
 1/2 ; posted, 1 4. 
 
 The “CHARMING” PACKET of 12 new and pretty designs. 
 Price, 1/2 ; posted, 1/4. 
 
 The “ ACADEMY” PACKET of 12 selected designs. Price, 1/2 ; 
 posted, 1/4 
 
 i The “VICTORIA” PACKET of 12 new shapes and designs.' 
 Very pretty. Price, 12 ; posted, 1/4. 
 
 The POPULAR PACKET of 7 choice Cards. Price, 8d ; 
 posted, lOd. 
 
 The “IMPERIAL ” PACKET, of 7 charming designs. Price, 8d ; 
 posted, lOd. 
 
 Each of the above Packets contains a DIFFERENT variety of Cards. 
 
 IMPORTERS OF LEGAL STATIONERY. 
 
 
 57 
 
W. C. PBNFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 BRISTOL BOARDS — Goodall’s Superfine. 
 
 Foolscap 
 
 Demy 
 
 Medium 
 
 Royal 
 
 15J in. x 
 
 m ■■ 
 
 3-sheet. 
 
 each 3d. 
 
 4-sheet. 
 
 5d. 
 
 6-sheet. 
 
 7d. 
 
 18J „ x 
 
 14* 
 
 „ 5d. 
 
 7a. 
 
 lOd. 
 
 21 „ x 
 
 16} 
 
 „ 7d. 
 
 lOd. 
 
 11- 
 
 m „ x 
 
 18 
 
 9d. 
 
 1/- 
 
 1/2 
 
 WHATMAN’S DRAWING BOARDS. 
 
 Imperial Size, 29 x 21| inches, Smooth, Rough and Extra Rough 
 Surfaces, 1/9 each, 19/- per doz. 
 
 BOARDS FOR BLACK & WHITE WORK. 
 
 Thin Ivory Boards, Royal, 25^ x 20 inches 3d. each, 2/9 per doz. 
 Dull Enamel Boards, 1 side, Royal, 25J x 201 , inches — 
 
 8d. each, 6/6 per doz. 
 
 White Enamel Boards, 2 sides, Royal, 25J x 20 inches — 
 
 1/- each, 10/6 per doz. 
 
 TvTOTTTTTIlNra- BOABDS. 
 
 Best Quality Mounting Boards, Tinted both Sides. 
 
 Royal, 25 x 20 inches, cut edges ... ... 5d. each, 4/6 per doz. 
 
 Imperial, 28} x 21 J inches, cut edges ... 8d. ,, 6/6 ,, 
 
 Double Elephant, 39 x 26 inches (White only) — 
 
 6-sheet 1/9 „ 19/- 
 
 8-sheet ... ... ... ... 2/3 ,, 25/- ,, 
 
 Card Boards, White only. 
 
 Royal Size, 25 x 20 inches, cut edges — 
 3-sheet ... ... 2d. each. 
 
 1/9 per doz. 
 
 18/6 gross, 
 
 4-sheet 
 
 ... 2d. „ 
 
 1/9 „ 
 
 19/- „ 
 
 5-sheet 
 
 ... 3d. „ 
 
 2/6 „ 
 
 27/- „ 
 
 6-sheet 
 
 . . 3d. „ 
 
 2/9 „ 
 
 30/- „ 
 
 8-sheet 
 
 ... 4d. „ 
 
 3/9 „ 
 
 39/- „ 
 
 IMPORTERS OF BANKERS’ STATIONERY. 
 58 
 
AGENTS FOR WIXSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 ]f[ichallet Freijch Hand-made Crayon Paper, 
 
 Royal, 24 x 19 inches, 2d. per sheet, 1/6 doz., 2/6 per quire. 
 WHITE OR TINTED. 
 
 OIL SKETCHING PAPERS. 
 
 Prepared Oil Sketching Paper In Four Different Surfaces, to 
 imitate the Textures of Plain, Single Primed, Roman 
 and Ticken Canvases. 
 
 Imperial, 30 x 22 inches, 1 - per sheet. 
 
 TRACING CLOTH IN ROLLS. 
 
 IMPERIAL TRACING CLOTH. 
 
 Xu Rolls S4 Yards. Dull Back. 
 
 18 inches 
 24 „ 
 
 27 „ 
 
 30 „ 
 
 36 „ 
 
 1 /- per yard, 21/- per roll. 
 
 13 „ 27- 
 
 1/3 „ 30/- 
 
 1/6 „ 32/6 
 
 1/9 „ 36/- 
 
 2/- „ 42/6 „ 
 
 TRACING PAPER IN ROLLS. 
 
 38 inches wide, 1 - per yard ; 15/- per roll, 164 yards. 
 
 43 „ „ 6d. „ 9/6 „ 21 „ 
 
 WINSOR & NEWTON’S COLORED CHARTS. 
 
 Showing how to Mix Colours for Different Shades, Oil or 
 Water Colour, 2/6 each. 
 
 PASTEL PAPER. 
 
 Size 25 x 19 French make ... 1/- per sheet. 10/6 dozen, 
 
 „ 30 x 22 „ ... 1/6 „ 16/- „ 
 
 IMPORTERS OF ARCHITECTS’ & SURVEYORS’ MATERIALS. 
 
 59 
 
W. C. PENFOLD & CO., 1S3 PITT STREET, SYDNEY. 
 
 THE 
 
 O.W. DRAWING PAPER. 
 
 A Hand-made Paper Manufactured under the direction of 
 the Royal Society of Painters in Water Colours . 
 
 W. C. PENFOLD & CO. having imported a stock of 
 the above Papers, are prepared to execute orders in the 
 following sizes and prices 
 
 IMPERIAL, 30 x 22 inches — 
 
 Per Sheet. 
 
 Per Quire. 
 
 72 lb. 
 
 6d. 
 
 10/6 
 
 90 1b. 
 
 9d. 
 
 16/- 
 
 140 lb. (thick) 
 
 1 /- 
 
 m 
 
 200 lb. (extra thick)... 
 
 1/6 
 
 82/- 
 
 DOUBLE ELEPHANT, 40 x 26f inches— 
 
 
 
 140 lb 
 
 ' if 
 
 21/- 
 
 340 lb 
 
 21- 
 
 
 Extract from the O.W. Co.’s Circular. 
 
 “ The Paper is manufactured by hand, without bleach or chemical 
 of any kind, solely for the Company and under their direction. It is 
 subjected to rigid chemical and microscopical analysis, while every 
 sheet, in addition to the water mark of the Company, bears the stamp 
 of the Royal Society of Painters in Water Colours, as a guarantee of 
 quality and purity.” 
 
 IMPORTERS OF WEDDING STATIONERY. 
 60 
 
I AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 DRAWING PAPERS. 
 
 WHATMAN’S DRAWING PAPERS. 
 
 Best Quality. Smooth and Rough Surfaces. 
 
 S. d. S. d. 
 
 Royal, 24 x 19^ in. ... 0 4 Dbl. Elephant, 40 x 27 in. ... 0 10 
 
 Imperial, 30 x 22 ,, ... 0 5 Antiquarian, 52 x 30^,, ... 4 0 
 
 „ ,, thick 0 9 
 
 “CONTINUOUS CARTOON” DRAWING CARTRIDGES. 
 
 White, 54 and 60 inches wide. Is. per yard. 
 
 Mounted on White Holland, 56 inches wide. 5s. 6d. per yard. 
 
 CARTRIDGE DRAWING PAPERS. 
 
 Imperial, Rough, 30 x 22 2d. and 3d. per sheet. 
 
 „ ,, ,, Best Quality 4d. sheet, 3s. 9d. dozen. 
 
 „ Smooth „ „ ... ... 6d. „ 5s. „ 
 
 MOUNTED DRAWING PAPERS 
 
 WHATMAN’S DOUBLE ELEPHANT DRAWING PAPER. 
 
 Joined in Rolls 52 inches wide, being the width of two Sheets 
 side by side. On White Holland. 
 
 Per yard run, 7s. ; and 40 inches wide, 4s. 6d. per yard run. 
 
 WHATMAN’S ANTIQUARIAN DRAWING PAPER. 
 
 Joined iu rolls 52 inches wide, being the length of the paper. 
 
 On White Holland. Per yard run. 8s. 6d. 
 
 HAND-MADE TINTED CRAYON PAPER. 
 
 Imperial, 30 x 22 in., in two tints only, Buff and French Grey, Is. per sheet 
 
 MACHINE-MADE TINTED CRAYON PAPER. 
 
 Imperial, 30 x 22 inches, 5d. per sheet, 4s. 9d, per doz. 
 
 IMPORTERS OF PARCHMENT. 
 
 61 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 SPANISH MAHOGANY AND SATIN WOOD. 
 
 No. 1 Shape. No. 2 Shape. No. 3 Shape. 
 
 IP .A. LBTTBS. 
 
 SPANISH MAHOGANY. Oval or Oblong. 
 
 8 inch ... 1/2 11 inch ... 2/- 14 inch ... 3/6 
 
 10 „ ... 1/9 12 „ ... 2/3 16 „ ... 4/- 
 
 To fit Student’s Box, 2/- 
 No. 3 Shape — 20 inch, 6/6 ; 24 inch, 8/6 
 
 MAHOGANY PALETTES.— No. 1 Shape Only. 
 
 8 inch ... 9d. 10 inch ... 1/- 12 inch ... 1/3 14 inch ... 1/6 
 
 OVAL CHINA PALETTES. 
 
 6 inch 
 
 9d. 8 inch ... 1/- 10 inch ... 1/3 
 
 OVERTON CHINA PALETTES. 
 
 OVAL SHAPE. 
 
 Having Wells to hold each Colour 
 Separate. 
 
 7 inch ... 1/6 8 inch ... 1/9 9 inch ... 2/- 
 
 OVAL. 
 
 BOOKBINDERS & PAPER RULERS. 
 62 
 
AGENTS FOE WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 •Artists’ China Ware. 
 
 DIVIDED SLANTS. 
 
 SLANT WELL SLABS. 
 
 No. 32 ... 3 wells ... 4| x 2| inches ... 9d. 
 
 „ 33 ... 4 „ ... 7±x4 „ ... 1/6 
 
 „ 34 ... 10 „ ... 13| x 3| „ ... 4/- 
 
 TINTING SAUCERS, CHINA. 
 
 1 inch, 2d. 1^ inch, 2d. 2 inch, 2d. 3 inch, 2d. 4 inch, 2d. 
 
 ARCHITECTS’ CABINET SAUCERS. 
 
 IX NESTS OF SIX IN LEATHER CASES. 
 
 No. 41 
 „ 42 
 „ 43 
 
 2| inch diameter 
 2 ^ 
 
 8 ” ” 
 
 
 3/- nest 
 4/6 „ 
 
 ILLUMINATORS & DESIGNERS. 
 63 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 SHADED JAPANNED TIN PLAQUES 
 
 (Circular). 
 
 Brown, Terra. Cotta, Pale Blue, 
 Pale Green. 
 
 6 inches in diameter ... 6d. 
 
 8 „ „ ... 8d. 
 
 10 „ „ ... lOd. 
 
 12 „ „ ... 1 /- 
 
 14 „ „ ... 1/3 
 
 16. „ „ ... 3/- 
 
 SHADED JAPANNED TIN. 
 
 Specially prepared for Oil Painting, with Rings at Back 
 to Hang up. 
 
 SHADED JAPANNED TIN TAMBOURINES. 
 
 7 in. ... ... 1/9 each. 10 in. ... ... 2/6 each. 
 
 Si 2/- „ 12 ... ... 2/9 „ 
 
 Prepared for Oil Painting. 
 
 BEST OF ALL 
 
 Drawing 
 Pins. 
 
 8d., lOd. and 1/2 
 per doz. 
 
 A LARGE ASSORTMENT OF PURSES, CARD CASES, &c. 
 
 64 
 
AGENTS FOK WIXSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 PALETTE KNIVES WITH BEST 
 STEEL BLADES. 
 
 No. 540 — Cocoa Handle, inch 8d. each. 4^ inch ... lOd. each 
 
 1 /- 
 
 Knife 
 
 No. l, 2/6 
 
 6d. each 
 
 ... 2'W 
 
 ,, 541 — ,, „ Balanced, 5^ inch... 
 
 French Shape Palette 
 
 (Thin Blade). 
 
 S/- and S/6 each. 
 
 SCRAPERS. 
 
 No. 1 — Steel Scrapers 
 
 ,, 2 — Steel Oil Colour Scrapers, Ebony Handles 
 
 SPRAY DIFFUSERS. 
 
 For use with Fixative. 
 
 In Metal, Metal Mouthpiece... 
 „ Bone 
 
 9d. each 
 
 ... 1/6 „ 
 
 MANUFACTURING STATIONERS. 
 65 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 LEATHER STUMPS. 
 
 White or Chamois. 
 
 No. l 
 
 „ 2 
 
 o 
 
 » o 
 „ 4 
 
 2d. each No. 5 
 
 2d. ,, „ 6 
 
 3d. ,, ,, 7 
 
 3d. ,, . 8 
 
 4d. each 
 4d. „ 
 
 6d. „ 
 6d. „ 
 
 
 PAPER 
 
 STUMPS. 
 
 
 
 White. 
 
 
 1 
 
 Id. each 
 
 No. 5 
 
 2d. each 
 
 2 ... 
 
 ... Id. „ 
 
 ,, 6 
 
 ... 3d. „ 
 
 3 ... 
 
 ... Id. „ 
 
 „ 7 
 
 ... 4d, „ 
 
 4 
 
 ... 2d. „ 
 
 „ 8 ... 
 
 ... 6d. „ 
 
 TORTILLON PAPER STUMPS. 
 
 White or Grey. — 3d. per bundle. 
 
 Iii Bundles of a dozen, size of Illustration. 
 
 ACCOUNT BOOK MAKERS. 
 66 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 BEST QUALITY 
 
 EBONY PARALLEL RULES. 
 
 6-inch ... 1/6 12-inch ... 2/9 18-inch ... 4/— 
 
 9 „ ... 2/- 15 ... 3.6 24 „ ... 5/6 
 
 SET SQUARES. 
 
 Vulcanite, 45° Vulcanite, 60° 
 
 5-in., 1 - ; 6-in., 1/3 ; 7-in., 1/6 6-in., 1/- ; 8-in., 1/3 ; 10-in., 1/6 
 
 8-in., 1 9 11-in., 1/9 
 
 Pear Wood, from 2d. each. 
 
 FRENCH CURVES. 
 
 A Large Assortment in all Sizes. 
 
 Pear Wood, 3d., 6d. and 9d. 5/6 per dozen, assorted. 
 
 T SQUARES. 
 
 Pear Wood. 
 
 12-inch ... 6d. 24-inch ... 1/3 36-inch ... 1/9 
 
 18 „ ... 1 - 30 „ ... 1/6 42 ,. ... 2/3 
 
 Mahogany, with Ebony Edge, English Shape. 
 
 18-inch ... 2 6 24-inch ... 3/6 36-inch ... 6/9 
 
 21 „ ... 3- 30 „ ... 5/9 42 „ ... 7/9 
 
 54-inch ... ... 10/6 
 
 LITHOGRAPHIC PRINTERS. 
 67 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 DIDDERS. 
 
 For Oil and Water Colour Painting. 
 
 
 8 
 
 9 10 11 
 
 ia 
 
 
 
 
 WU'.'<;0R & NEWTON’ 
 
 
 
 
 
 
 Plain Tin. 
 
 Japanned. 
 
 No. 
 
 1. 
 
 Tin Dipper 
 
 3d. 
 
 — 
 
 ,, 
 
 2. 
 
 ,, Double 
 
 fid. 
 
 — 
 
 
 3. 
 
 Conical ... ... 
 
 4d. 
 
 — 
 
 33 
 
 4. 
 
 „ 
 
 8d. 
 
 — 
 
 93 
 
 5. 
 
 Water Colour Dippers with neck 
 
 
 
 
 
 for cork 
 
 — 
 
 ... 11 - 
 
 9 9 
 
 6. 
 
 ,, ,, Double 
 
 — 
 
 1/9 
 
 93 
 
 7. 
 
 Capped Tin Dipper 
 
 9d. 
 
 — 
 
 55 
 
 8. 
 
 ,, „ Double 
 
 1/3 
 
 — 
 
 55 
 
 9. 
 
 ,, „ Conical 
 
 9d. 
 
 — 
 
 55 
 
 10. 
 
 „ „ Double 
 
 1/3 
 
 — 
 
 BRUSH WASHERS, Plain Tin, Round at Top, Loose Sieve Bottom 
 with Lids. 1/3 each. 
 
 Artists’ Studies in Oil and Water Colour, 
 Landscape and Floral. Newest Designs. 
 
 Studies in Black and White by the Leading j 
 
 Artists. 
 
 LETTERPRESS PRINTERS. 
 68 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 DRAWING BOARDS. 
 
 These Boards are made of the best dry Pine, one end being inlaid with 
 Ebony; they have Mahogany battens at back, and Brass Slots, which 
 
 allow for contraction or expansion of 
 not to get out of the square or to split. 
 
 the wood, and they are 
 
 warranted 
 
 Half Imperial 
 
 23 inches by 16 ... 
 
 10/6 
 
 Half Double Elephant ... 
 
 28 
 
 21 ... 
 
 12/6 
 
 Imperial ... 
 
 32 
 
 23 ... 
 
 15/- 
 
 Double Elephant 
 
 41 
 
 28 ... 
 
 22/6 
 
 Antiquarian 
 
 54 • „ 32 ... 
 
 32/6 
 
 OST CLAMPED. 
 
 4to Imperial 
 
 full size, 16 x 11^ inches... 
 
 2/6 
 
 Half „ 
 
 „ 22f x 16 „ 
 
 3/6 
 
 Royal 
 
 „ 22 x 17 „ 
 
 3/6 
 
 Half Double Elephant 
 
 „ 24 x 19 „ 
 
 4/- 
 
 Imperial ... 
 
 „ 31 x 23 „ ... 
 
 5/6 
 
 Double Elephant... 
 
 „ 38 x 24 „ 
 
 10/6 
 
 Special Size 
 
 26 x 20 „ 
 
 4/6 
 
 COPPERPLATE PRINTERS. 
 69 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 PATENT HATHERLEY EASELS. 
 
 Table or Music Easel 
 15 Inches High 
 
 “ Hatherley Table Easel ” for the display of 
 small works of Art ; size, when open, 15 inches 
 h'gh by 10J inches wide ; weight, 6 ounces. 
 This Easel, when closed, can be carried in an 
 ordinary pocket ; for this reason it is already 
 much used by Professionals and Amateurs as a 
 Music Stand. 
 
 2 1 - each. 
 
 CHEAP FOLDING EASELS. 
 
 Deal, 6 ft. high, 3/6 and 6 6 each. 
 
 FOLDING EASELS FOR OUTDOOR 
 USE. 
 
 No. 2a. —4 ft. 2 in. high, 4 3 each. 
 
 No. 2b. — Same as 2a, with self-adjust- 
 ing springs to fasten each leg, 8/6 each. 
 
 No. 1a. — Pine Sketching Easel, with 
 sliding adjustable legs ; 6 ft. high when 
 open ; 3 ft. 5 in. when closed ; with 
 Straps, 10 6 each. 
 
 No. 2d. — Sketching Easels, with 
 sliding adjustable legs, brass fittings and 
 racks ; 5 ft. high ; 3 ft. when closed ; 
 1 3/6 each. 
 
 Table Easels, 21 in. high, Cedar, 1/3 
 
 SKETCHING STOOLS. 
 
 3/-, 4/6 and 6/6 each. 
 
 THREE SIZES. 
 
 Wunsos&NeWiui 
 
 ENGRAVERS & DIE SINKERS. 
 70 
 
AGENTS FOE WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 For Reducing, Enlarging, or Copying in Original Size, 
 Drawings, Photos, Designs, &c. 
 
 PRICE 3 /-; POSTED, 3/4= I. 
 
 INSTRUCTIONS FOR USE. 
 
 To Reduce a Picture. — Fix the lath (b e) at the holes marked, 
 according to the required proportion ; place the pencil point in the 
 lath (b e) at the corresponding hole, and the tracing point, which 
 has to follow the lines of the original picture, at (f). 
 
 Note. — The illustration shows the Pantagraph set to enlarge 
 double the original size : as the lath (b e) is moved towards (a f) 
 the enlargement will be smaller than double, and towards (c d) 
 greater than double ; when making a reduced copy the proportions 
 are reversed. Before commencing a drawing, care should be taken 
 that all the points are of exactly the same length, and that the point 
 in the lath (b e) is in the hole corresponding to the position of the 
 lath itself. 
 
 IMPORTERS OF COMMERCIAL STATIONERY. 
 71 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 ARCHITECTS’, SURVEYORS’ & STUDENTS’ 
 
 MATHEMATICAL INSTRUMENTS. 
 
 The largest and most complete 
 
 1 2 3 4 
 
 G 7 8 9 LO 
 
 och to select from in Sydney . 
 
 Illustration of jy § 
 
 MATHEMATICAL 
 INSTRUMENTS 
 IN POCKET CASES. 
 
 1. Compass 
 
 2. Divider 
 
 3. Bow Pen 
 
 4. Compass Key 
 
 5. Divider Point 
 
 6 . Lengthening Bar 
 
 7 . Box Leads to Fit 
 
 8 . Pencil Point 
 
 9. Pen Point 
 
 10. Drawing Pen. 
 
 IMPORTERS OF FANCY STATIONERY. 
 72 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 Mathematical Instruments in Pocket Cases 
 
 (Continued) . 
 
 No. 2194. — Pocket Case, 
 containing Nickel- 
 plated Divider, Pen and 
 Pencil Points, Box of 
 Leads, Rule and Saucer 
 Price 1/6 
 
 No. 2187. — Pocket Case, 
 containing Brass Com- 
 pass, Pen and Pencil 
 Points price 1/9 
 
 No. 72 Containing 
 
 Nickel Compass, Pen 
 and Pencil Points, 
 Case of Leads, and 
 Compass Key. 
 
 Price 2-/3 
 
 No. 1002. — Containing Albata 5|-inch Compass, Pen and Pencil 
 Points, Lengthening Bar and Drawing Pen. Extra flntsh. 
 
 Price 15/- 
 
 No. 541— Containing Nickel 6-inch Compass, Pen and Pencil 
 Poinls, Divider, Drawing Pen and Bow Pen, Needle Points. 
 
 Price 17/6 
 
 No. 2230. — Pocket Case, containing 6^-inch Compass (Knee 
 Jointed), Pen and Pencil Points, Divider, Lengthening Bar, 
 Drawing Pen, Set 3 Spring Bows, and Box of Leads. 
 
 Price £1/11/- 
 
 No. 2224. — Pocket Case, containing 6 1 -inch Compass (Knee 
 Jointed), 4|-inch Compass with Pen and Pencil Points, 6^-inch 
 Divider, Lengthening Bar, 2 Drawing Pens, 3 Spring Bows 
 and Box of Leads ... ... ... ... ••• price £2/9/- 
 
 No. 555. — Three Albata 5-inch Dividers, Pen, Pencil and Needle- 
 Point Legs, Lengthening Bar, extra 4-inch Divider, with Pen, 
 Pencil and Needle-Point Legs, Set Spring Bows, with Needle- 
 Points, and 2 Drawing Pens ... ... ••• price £2/7/6 
 
 IMPORTERS OF LEGAL STATIONERY. 
 73 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 Mathematical Instruments in Pocket Cases 
 
 ( Continued ). 
 
 No. 1028. — Albata 5|-inch Compass, Pen and Pencil Points, 5-inch 
 Divider, 4-inch Compass, Pen and 2 Pencil Points, 2 Drawing 
 Pens and Bow Pen, Needle Points ... price £2/10/- 
 
 No. 2225. — Pocket Case, containing 6^-inch Compass (Knee 
 Jointed), Pen and Pencil Points, 4|-inch Pencil Compass (Knee 
 Jointed), 4^-inch Pen Compass (Knee Jointed), 6^-inch Divider 
 and Lengthening Bar, Set 3 Spring Bows, and Box of Leads, 
 
 Price £3/3/- 
 
 No. 1029. — Albata 5-inch Compass, Pen and Pencil Points, and Bow 
 Pen, with Needle Points, 4|-inch Divider, Lengthening Bar, 
 Proportionate Compass, with Scale marked, and Ivory Rule. 
 
 Price £3/10/- 
 
 No. 1017. — One each 4, 5, 5|-inch Albata Dividers, with Pencil, 
 Pen, and Needle-Point Legs, Lengthening Bar, extra 5-inch 
 Divider, 3 Drawing Pens, Set of Spring Bows, 7-inch Propor- 
 tionate Compass ; all of the highest workmnnship. 
 
 Price £4/18/6 
 
 MATHEMATICAL INSTRUMENTS 
 
 In Polished Wood Lock Boxes, Velvet Lined. 
 
 No. 18 RP. — Brass 6^-inch Divider, Pen and Pencil Legs ; 
 Lengthening Bar ; 41-inch Divider, Pen and Pencil Legs ; 
 extra 4|-inch Divider ; Bow Pen ; Drawing Pen ; Brass and 
 Horn Protractor ; Parallel Rule ; 6-inch Straight Protractor ; 
 2 Set Squares ; inch Rule ... ... ... price 15/- 
 
 No. 23 R. — Brass 6^-inch Divider, Needle Points, Pen and Pencil 
 Legs ; Lengthening Bar ; 4-inch Divide', Needle Points, Pen 
 and Pencil Legs ; extra 4^-inch Divider ; Spring Pen and 
 Pencil Bows ; Drawing Pen ; Brass and Horn Protractors ; 
 2 Set Squares ; Parallel Ruler ; 6-inch Straight Protractor. 
 
 Price 17/6 
 
 IMPORTERS OF BANKERS’ STATIONERY. 
 74 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 PENCIL COMPASSES. 
 
 No. 109n 
 „ 109d 
 
 „ 109e 
 
 ,, 109f 
 
 Steel Spring Compass, takes a pencil of ordinary size, 
 
 4d. each 
 
 Brass 4^-inch Pencil Compass, Bur Head, with 
 
 Screw to Barrel ... ... ... ... 9d. ,, 
 
 Brass Tubular 4-inch Pencil Compass, Screw 
 
 Head, with Screw to Barrel ... ... 1 - ,, 
 
 Brass 5-inch Pencil Compass, with Screw to 
 
 Barrel, extra finish ... ... ... 1/3 ,, 
 
 BOXWOOD SCALES -Plotting, Architects’, &c. 
 
 12-inch, Divided, J, f, f, 1, If, 3 inch 
 
 ,, „ 1, f, 1 inch ... 
 
 133 inch 
 ,, ,, 2’ S’ 4 111011 
 
 Plotting, 20-40 „ 
 
 „ „ 30-60 „ 
 
 Inch Rulers 
 
 ... 2/- each 
 
 1/3 „ 
 
 1/3 „ 
 
 i/- .. 
 
 1/8 „ 
 
 4d., 6d. and 1/- ,, 
 
 SUNDRIES. 
 
 Redgrave’s Manual of Colour, 1/-. 
 
 Automatic Shading Pens, 4 different widths, 1/- each. 
 
 Bottle Rubber, best Para Black, 3d, 6d, 9d and 1/- per 
 piece. 
 
 Drawing Pins, assorted sizes, 6d, 9d and 1/- per doz. 
 
 Drawing Pencils, School Boxes, 1/- per box. 
 
 Wood Pencil Boxes, Sliding Lids, Empty, 8d each. 
 
 Koh-i-noor Drawing Pencils, in the following degrees: — 
 B, 2 B, 3 B, 4 B, 1 H to 6 H, H B and F, 4d each. 
 
 Johann Faber’s Drawing Pencils, all grades, 3d each. 
 
 Artists’ Sight Measures, invented by John S. Rawle, F.S.A. 
 This appliance claims the following advantages : — 1st. It 
 enables the artist to decide exactly how a landscape of a given 
 size will come upon his paper or canvas. 2nd. It determines 
 what size should he selected for a given subject. Price, 
 2 6 each. 
 
 IMPORTERS OF ARCHITECTS’ & SURVEYORS’ MATERIALS. 
 
 75 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 1/- HAND-BOOKS OUST 
 
 WITH ILLUSTRATIONS, &c. 
 
 In ordering it is sufficient to mention the number ivhich is attached to each book. 
 
 No. 
 
 No. 
 
 1. — Half-hour Lectures on Drawing 
 
 and Painting. 
 
 2. — The Art of Sketching from 
 
 Nature. 
 
 3. — The Art of Landscape Painting 
 
 in Water-Colours. 
 
 4. — System of Water-Col. Painting 
 o — The Art of Marine Painting in 
 
 Water-Colours. 
 
 6. — Hints for Sketching in Water- 
 
 Colours from Nature. 
 
 7. — Practical Directions for Portrait 
 
 Painting in Water-Colours. 
 
 8. — The Art ot Miniature Painting. 
 
 9. — The Art of Flower Painting in 
 
 Water-Colours. 
 
 10. — The Art of Landscape Painting 
 
 in Oil-Colours. 
 
 11. — The Art <">f Portrait Painting in 
 
 Oil-Colours. 
 
 12. — The Art of Marine Painting in 
 
 Oil-Colours. 
 
 13. — The Elements of Perspective. 
 
 14. — The Principles of Drawing 
 
 Flowers and Plants. 
 
 15. — A Manual of Illumination. 
 
 16. — A Companion to Manual of Illu- 
 
 mination. 
 
 17. — The Art of Figure Drawing. 
 
 18. — An Artistic Treatise on the 
 
 Human Figure. 
 
 19. — Anatomy of the Human Figure. 
 
 20. — Anatomy of the Dog and Deer. 
 
 21. — The Anatomy of the Horse. 
 
 22. — The Anatomy of Cattle & Sheep. 
 
 23. — The Art of Drawing in Coloured 
 
 Pastel Crayons. 
 
 24. — The Art of Mural Decoration. 
 
 25. — Transparency Painting on Linen 
 
 26. — The Art of Painting on Glass 
 
 for Magic Lanterns, &c. 
 
 27. — The Principles of Colouring in 
 
 Painting. 
 
 28. — The Principles of Form in Or- 
 
 namental Art. 
 
 29. — The Art of Wood Engraving. 
 
 30. — Instructions for Varnishing, 
 
 Cleaning, Lining, and Restor- 
 ing Oil Paintings. 
 
 31. — Drawing Models and their Uses. 
 
 32. — Comparative Anatomy as Ap- 
 
 plied to the Purposes of Ar- 
 tists and Amateurs. 
 
 33. — The Art of Etching on Copper. 
 
 34. — The Art of Painting on China, 
 
 with a Chapter on Terra 
 Cotta Painting in Oil and 
 Water-Colour. 
 
 35. — Rules of Perspective, with Letter 
 
 of Approval from Professor 
 John Ruskin, M.A., Hon. 
 LL.D., &c., &c. 
 
 36. — The Sketcher’s Manual and Dic- 
 
 tionary of Mixed Tints in 
 Water-Colours for all Sub- 
 jects in Landscape Painting. 
 
 37. — Flower Painting in Oil Colours, 
 
 with Coloured Illustrations. 
 
 38. —Gothic Architecture for Artists, 
 
 with Illustrations. 
 
 39. — Fruit and Still Life Painting in 
 
 Oil and Water-Colours, with 
 Coloured Illustrations. 
 
 40. — The Art of Pen and Ink Draw- 
 
 ing, with Illustrations. 
 
 41. — Trees, and How to Draw Them, 
 
 with Illustrations. 
 
 42. — Interior Decoration for Dwel- 
 
 ling Houses, with Coloured 
 Illustrations. 
 
 13. — A Description of Modern Water- 
 Colour Pigments, Illustrated 
 with washes of seventy-two 
 Colours, graduated by hand 
 on Whatman’s drawing paper 
 p p. — Oil Painting on Glass, including 
 Mirrors, Windows, &c., with 
 remarks upon the principles 
 of Painting and Decorative 
 Art generally. 
 
 IMPORTERS OF WEDDING STATIONERY. 
 76 
 
AGENTS FOR WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 FINE ART STUDIES, 
 
 WATER COLOR, 
 
 OIL AND PASTEL STUDIES, 
 
 PICTURES, Etc. 
 
 IMPORTED BY W. C. PENFOLD L CO. FROM E. VOUCA, PUBLISHER, 
 
 The Vouga Fine Art Studies are designed and reproduced for 
 the purpose of being used either for Oil, Water Colour or Paste 
 Painting, and are also suitable for framing. 
 
 They are admirably adapted for Door Panels, Screens, Wall 
 Decoration, China, Painting on Silk and Satin, Fan Decoration, and 
 every purpose where decoration is desired or suggestions in decoration 
 needed. 
 
 SET 1 A. 
 
 Size, 13 x 37 inches. 
 
 No. 
 
 2. Flamingoes and Palm, 
 
 3. Grey Herons and Mauve Iris. 
 
 4. White Herons and Pink Water 
 
 11. Swans and Yellow Water Lilies. 
 
 12. Swans and White Water Lilies. 
 
 Lilies. 
 
 SET 1 A A. 
 
 Size, 6| x 18 inches. 
 No. 
 
 1. Storks and Bulrushes. 
 
 2. Flamingoes and Palms. 
 
 No. 
 
 11. Swans and Yellow Lilies. 
 
 12. Swans and White Lilies. 
 
 Price, 1/6 each. 
 
 IMPORTERS OF PARCHMENT. 
 77 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 SET 5 E. 
 
 Size, 15 x 22 inches. Price 21— each. 
 
 No. No. 
 
 11. Mauve and White Poppies 19. Tiger Lilies 
 
 12. Pink Peonies 20. White and Purple Iris 
 
 SET 12 L. 
 
 Size, 8^ x 1 3 inches. 
 
 No. 
 
 1. Fed Poppies and Cornflowers 
 
 Price 1/- each. 
 
 No. 
 
 3. Yellow Iris and Bulrushes 
 
 SET 14 N. 
 
 Size, 10 x 24 in. Price 2/3 
 
 No. 
 
 2. Red Cactus 
 16. Red Poppies 
 
 18. Daffodils and Blackberry 
 Branch 
 
 SET 19 S. 
 
 Size, 7x13 in. Price If* 
 
 No. 
 
 2. Narcissus aud Buttercups 
 4. Carnations, Pink and Yellow 
 8. Daffodils 
 
 12. Iris, Lilac and Yellow 
 
 SET 20 T. 
 
 Size, 15 x 21 in. Price 1/9 
 
 No. 12. Victoria Lily (Water) 
 
 SET 23 W. 
 
 Size, 13 x 18 in. Price 2/- 
 
 No. 
 
 1. Basket of Jonquils, Forget- 
 
 me-Nots, Wallflowers, 
 White and Pink Roses 
 
 2. Basket of Moss Roses and 
 
 Reve D’Or 
 
 Set 29, No. 501. 
 
 SET 24—4. 
 
 Size, 11 x 12 in. Price ]/- 
 
 Nos. 43, 44, 45, 46, 47, 48. Old 
 Saxon Porcelain, Plate 
 Cup and Saucer. f ; 
 
 BOOKBINDERS & PAPER RULERS. 
 78 
 
SET 29. 
 
 Size, 11 x 26 in. Price 2 9 
 
 No. 
 
 501. Sunflowers 
 
 508. Coleus, Leaves & Wheat 
 
 511. Narcissus 
 
 513. Purple Clematis 
 
 517. Anemones & Carnations 
 
 521. Small Sunflowers 
 
 522. Bunch of Poppies 
 
 525. Yellow Lilies and Foliage 
 
 SET 33. 
 
 Size, 11 x 31 in. Price 3 9 
 
 No. 
 
 652. Iris, Maure, Blue and 
 Yellow 
 
 655. Castor Oil Plant and Tit- 
 mouse 
 
 657. Poppies, Bed and White 
 
 SET 36. 
 
 Size 11 x 31 in. Price 4/6 
 
 No. 
 
 701. Stag, Winter Scene 
 
 (See Illustration next page). 
 
 702. Stag at Sunset (Summer) 
 701. Beturning from Pasture 
 709. Contented Cow, Summer 
 
 SET 37. 
 
 Size, 10 x 40 in. Price 3/- 
 
 No. 
 
 751. Mayflowers and Titmouse 
 752 Mayflowers and Titmouse 
 
 755. Bed & White Carnations 
 
 756. Bed & White Carnations 
 
 SET 37. 
 
 Size, 10 x 20 in. Price i/9 
 
 No. 
 
 757. Bed & White Carnations 
 
 758. Bed & White Carnations 
 
 79 
 
 Set 36, N<>. 702. 
 
Set 36, No. 701. 
 
 SET 38. 
 
 Size, 18 x 40 in. Price 51 - 
 
 No. 
 
 803. October — pale pink 
 
 Ch ysanthemums 
 with Cross 
 
 804. December — Birds with 
 
 Christmas Roses and 
 Autumn Foliage 
 
 805. February-Tambourine, 
 
 Camellias & Mimosa 
 
 SET 40. 
 
 Size 1 1 x 25| inches 
 Price 3 /- 
 
 No. 
 
 901. Morning Glories, 
 Kingfisher and Cat- 
 tails 
 
 908. Poppies, Pink 
 
 909. Virginia Creeper* and 
 
 Clematis 
 
 912. La France Koses 
 
 913. Tulips,’ Red and 
 
 Yellow 
 
 SET 41. 
 
 Size, 5J x 11 inches. 
 Price 1/- 
 
 No. 
 
 951. Ked Carnations 
 
 952. Anemones and Mimosa 
 
 953. Bunch of Violets and 
 
 Canaries 
 
 957. Ked-Purple Pans’es 
 and Pot 
 
 959. Pink Sweeb Peas 
 962. Red Poppies 
 964. Wild Koses 
 
 966. Dwarf Sunflowers 
 
 967. Violets 
 
 968. Mme. Berard Koses 
 970. Forget-me-nots 
 
 974. Christmas Koses and 
 Violets 
 
 975 Pink and White Koses 
 
 80 
 
I V GENTS FOK WINSOR & NEWTON’S ARTISTS’ MATERIALS, 
 
 SET 42. 
 
 Size, 12 x 36 inches. Price 3/9 each. 
 
 No. 
 
 1001. Red and White Cactus 
 
 1003. Yellow Cactus and Palms 
 
 1004. Pink Cactus and Palms 
 
 1005. Sunflowors 
 
 1007. White, Pink and Purple Campanula 
 
 1008. Pink and White Chrysanthemums 
 1010. Dwarf Sunflowers 
 
 Set 41, No. 953. 
 
 Set 41, No. 952. 
 
 SET 44. 
 
 Size, x 14^ inches. Trice 1/- each. 
 
 No. 
 
 1161. Violets with Vase 
 
 1 162. Poppies with Vase 
 1161. Pink Anemones 
 
 1166. Purple Pansies in a Glass of Water 
 
 SET 40. 
 
 Size, 1 2 x 32 inches. Price 3/9 each. 
 
 No. 
 
 1301. Kingfishers and Water Lilies 
 
 1302. Water Linnet and Yellow Water 
 
 Lilies 
 
 1303. Quail in Cornfield, with Poppies 
 
 1304. Pigeons on Wall, Snowballs and 
 
 Daisies 
 
 SET 59. 
 
 Size. 17 x 19^ inches. Price 2 j- each. 
 No. 2064. Gaillardias. 
 
 Set 44, No 11GI. 
 
 MANIJ FA CTU RING ST AT I ON E R S. 
 SI 
 
W. C. PENFOLD & CO., 183 PITT STREET, SYDNEY. 
 
 Size. 8^ x 25 inches. ‘ Price 2/9 each. 
 
 No. No. 
 
 2181. Hyacinths, Pink and Cream 2188. Yellow and Purple Iris 
 
 2182. Gladiolus, Red and White 2199. White and Red Geraniums 
 2184. Hyacinths, White & Purple 
 
 Size, 11 x 26 inches. 
 
 No. 
 
 3001. Pink Peonies 
 
 3002. Lilies and Ferns 
 
 Size, 10 x 25 inches. 
 
 No. 
 
 3025. Rose Fortune 
 
 3026. Vicomtesse de Folkestone 
 
 SET 64. 
 
 Price 2/9 each. 
 
 No. 
 
 3003 Peonies, Red and White 
 
 SET 65. 
 
 No. 
 
 3027. Baron de Rothschild 
 
 Price 3/- each. 
 
 Size, 9J x 22 inches. 
 No. 3052. Early Spring 
 
 SET 66. 
 
 Landscape. 
 
 Price 2/9 each. 
 
 Size, 7J x 13£ inches. 
 
 No. 
 
 3061. A Quiet Nook 
 
 3062. Autumn Scene 
 
 SET 67. 
 
 Landscapes. 
 
 Price 1/6 each. 
 
 No. 
 
 3063. A Pleasant Path 
 
 Price 1/9 each. 
 
 SET 68. 
 
 Size, 7| x 16| inches. Seascapes. 
 
 No. No. 
 
 3065. A Breezy Morning off the 3067. A Stiff Breeze (Moonlight) 
 
 Coast of Brittany 3068- Moonlight by the Sea 
 
 3066. A Storm off the Coast of 
 
 Brittany 
 
 Size, 104 x 22 inches. 
 
 SET 68a. 
 
 Seascapes. 
 
 Price 3/— each. 
 
 No. 
 
 No. 
 
 3054. Deserted (Evening) 
 
 3055. Fishing Boats (Sunset) 
 
 3056. Cliffs (Morning) 
 
 Q . ’ . r SET 69, 
 
 Size, 6^ x 12^ inches. 
 
 No. ;■ No. 
 
 3071. Pink, White & Purple Asters 3075. Pink Roses and Bowl 
 
 Price 1/6 each. 
 
 ACCOUNT BOOK MAKERS. 
 82 
 
AGENTS FOE WINSOR & NEWTON’S ARTISTS’ MATERIALS. 
 
 SET 70. 
 
 Size, 12^ x 31 in. Price 4/6 
 
 Dogs. 
 
 No. 
 
 3081. Waiting for His Master 
 
 3082. *“ Roily,” Newfoundland 
 
 SET 72. 
 
 Size, 6| x 13| in. Price 1/- 
 
 Coast of Brittany. 
 
 No. 
 
 9. Falaises 
 
 16. Etang de Beaufort 
 
 21. La Cascade de la Verniere 
 
 SET 84. 
 
 Size, 1 5| x 36 in. Price 4/- 
 
 No. 
 
 1. Sunflowers & Autumn Scenery 
 
 2. Sunflowers & Autumn Scenery 
 1. Set 84a. Sunflowers & Autumn 
 
 Scenery 
 
 SET 85. 
 
 Size, 12| x 30 in. Price 4/- 
 
 Watteau Louis XV. 
 
 No. 
 
 1. The Minuet Dance 
 
 2. Venetian Fete Minuet Dance 
 
 SET 86. 
 
 Size, 7J x 15 in. Price 1/6 
 
 No. 
 
 1. Peasant Minuet Dance 
 
 2. Venetian Fete Minuet Dance 
 
 3. Music hath Charms 
 
 4. Companion to above 
 
 Set 84, No. 1. 
 
 LITHOGRAPHIC PRINTERS- 
 83 
 
 ^ 2 . ZTlr 
 
W, C, PENFOLD & CO., 188 PITT STREET, SYDNEY, 
 
 Set 115, Mo. 5. 
 
 SET 98, 
 
 Size, 5+ x 14 in. Price 
 
 No, 
 
 7, Iris, Lilao 
 
 8, Daffodils 
 
 9, Pansies, Violet 
 11. Poppies, Rod 
 
 l/~ 
 
 SET 97. 
 
 Size, 12 x 86 in. Price 
 
 No. 1, Dahlias, White and 
 
 SET 99. 
 
 Size, 8 x 22^ in. 
 
 Trice 
 
 No. 
 
 1. Poppies and Daisies 
 3. Daisies and Cornflowers 
 
 4/0 
 
 Red 
 
 2/6 
 
 SET 101. 
 
 Size, 6^ x 14 in. Price 1/8 
 
 No. 
 
 1. Poppies, Pink and White 
 4. Poppies, White and Red 
 
 SET 102. 
 
 Size. 6J x 14 in. 
 
 Price 1/3 
 
 No. 
 
 1. Dahlias, Red 
 4. Clematis, White and Lilac 
 
 SET 109. 
 
 Size, 1 3]/ x 19 in. Price 3/— 
 Nos. 1, 2, 3, 4. Alpine Village 
 Street (four sorts) 
 
 SET 111. 
 
 Nos. 1, 2, 3, 4, 5, 6. Village Landscapes. 
 
 SET 115. 
 
 Price 2/ 
 
 Price 
 
 Nos. 1 & 2. Marine Views, Sunset 
 
 No. 3. Marine View, Moonlight 
 
 Price 2/6 
 
 Size, 7 x 21 £ in. SET 117. 
 
 No. " No. 
 
 1. Dahlias, White and Purple 3. Tulips, Red and White 
 
 2. Petunias, Purple 4. Tulips, Pink and Foliage 
 
 LETTERPRESS PRINTERS. 
 84 
 
BY SPECIAL APPOINTMENT TO 
 
 THEIR MAJESTIES THE KING AND QUEEN. 
 
 IINSOR & NEWTON, LTD, 
 
 MANUFACTURERS OF 
 
 Tbe Finest 
 
 . . . COLOURS . . . 
 CAMVAS, BRUSHES, 
 
 And Every Requisite for 
 
 Oil an6 Water Colour Paiotiflg- 
 
 N.W. 
 
 Offices : 
 RATHBONE PLACE, 
 LONDON, W. 
 
 WINSOR & NEWTON’S Artists’ Colours and 
 
 Materials are stocked by W. C. PENFOLD & CO., 
 183 Pitt Street, Sydney, from whom illustrated 
 Catalogues may be obtained; also by the principal 
 dealers throughout the world.