MiMiBilHPil 1 11 m m JHI Hr PREFACE. The use of photography in recording is obvious. It can fix for us for ever the features of the great man passed away, help us to detect the elusive criminal, keep before us beauti- ful scenes and objects, aid us in study and research by providing that necessary abundance of images of objects physically scattered and far apart, but in doing all this, it may fail to add to the sum of beauty of things, unless the photographer is an artist. If he is, he may flood the world with beauty through the medium of the cheap book and the cheaper illustrated paper. Photography is a thoroughly democratic modern art. The photographer's treasure, once won from nature, may be scattered broadcast for all to possess, such largess does our increasing mastery over natural forces allow us. The objection that may be made to photography as an art, is that it is too much at the mercy of mere actual stocks and stones. Nature provides our raw material, but she does it without discrimination. The hand-working artist can select and change and order. The eye of the camera only records what is actually before it. To obviate this objection some photographers combine details from various different prints into one composite picture, but others object to this practice, saying that the true art lies in choosing a fine subject, and then by mastery over the sciences of light and chemistry bringing out the salient interest of that subject. Those who deny the title of an art to photography, and surely few who see the prints shown in this exhibition will do so, are probably influenced in their judgment by their devotion to the different arts of the past. Photography is a pioneer among the arts of the future, in which, as far as one can judge, the part of man will be to select, bring into play and control mechanical labour-saving processes in such a way as to impress on his own personal imagination. It would appear as if most of the arts of the past were dead or dying. We can copy and reproduce their achievements, but the spirit that gave them life is dead, and no new achievements come from these sources. A new vision of beauty, however, seems to be dawning on the world, in which science and the knowledge of the laws of natural forces are taking the place of the labour and tools of men. Much in modern life is ugly, but we are slow to recognise new beauty, for, as Ruskin pointed out, a reverent spirit of association counts for much in the conception of beauty of all but the master-artist minds. Nevertheless, in the sweep of the iron bridge, when frank and unashamed as in the Forth and Brooklyn Bridges, in the majestic action of the locomotive, already half-hallowed to our eye by 50 years of pleasurable association, in the swing of the vast crane that dominates our thoroughfares and piles up our palaces in a night, in the dexterous rush of the ever-perfecting motor, we begin to appreciate a new mysterious beauty of vast terrific natural forces, visible to us now in the daily life of the street as they never could be till man had mastered them. The mind of man is still a maxima pars of even the new art, but we no longer look for the cunning tooling of his laborious hand — so great a joy in mediaeval art. In the new art it is the controlling mind governing the harnessed labour-saving force, rather than the evidence of man's actual laborious toil that fascinates us. The photographer, if not greatest of, the new artists, is certainly the most developed and obvious to us. Expert in the sciences he need must be, a man of a selective vision also, one who can not only seize on that composition in the myriad accidents of nature and everyday life that is interesting, beautiful and significant, but also one who can fix that image for ever on the prints of his camera by his command of the sciences. WHITECHAPEL ART GALLERY, HIGH STREET, WHITECHAPEL. PHOTOGRAPHIC EXHIBITION, 1905. CATALOGUE. Unless otherwise stated the pictures are lent by the artist. The present Exhibition, besides the collection of photo- graphs selected to represent British Photography at the St. Louis Exhibition, includes examples of Artistic and Commercial Photography ; a small section is devoted to a Historical Collection, amongst which are examples of the work of D. O. Hill, Rejlander, Emerson, Day and Mrs. Cameron. The Alpine Club has kindly contributed an exhibit, and photographs of animals by Messrs. Kearton, Mr. Douglas English, and Mr. Oliver G. Pike, amongst other well-known naturalists, form a special feature of the Exhibition. The application of photography to commercial purposes is illustrated in another section. The wide field included in the scope of the Exhibition makes manifest the many and varied uses to which Photography is now being advan- tageously put. i & iAExamples of High-power Tele-photography Lent by Messrs. G. P. Goerz. ib Conway Castle Lent by The Photochrom Company, Limited. 2 * Examples of Photo-lithography Lent by The London County Council School of Photo-Engraving and Lithography. Photo-lithography is a process for the reproduction of originals by photographic means applied to printing by lithographic methods. Negatives are made of the original and printed direct on the stone, developed with water like a line block print (see note to 113) and then printed as a lithograph. Or the negatives may be printed on to a gelatine paper, sensitized with 4 a bichromate, inked, developed and then the image transferred to the stone. Half-tone negatives made by means of cross-line or grain screens, transfers from collotype plates are also used, and sometimes ordinary continuous tone negatives are treated in various ways to secure a grained result suitable for lithographic printing. 3 Flying Shots and Bullets (taken by the C. V. Boys) Lent by The Victoria and Albert Museum. 4 Example of Lithography Lent by The London County Council School of Photo-Engraving and Lithography. Lithography depends upon the fact that grease and water are mutually repellent. A drawing is made with fatty ink or crayon upon a suitably prepared and special kind of limestone. The stone is then coated with a solution of gum arable and nitric acid which forms a chemical compound with the parts not drawn upon, keeping them absorbent of water and repellent of grease, while greasy printing ink will adhere firmly to all other parts. To print the lithograph the stone is damped, rolled up, paper laid on and pressure ap- plied. Drawings are frequently made on transfer paper and then transferred to stone. A separate stone is drawn for every colour used and in the reproduction by chromo-lithography of paintings the skill of the litho- graphic draughtsman consists in his selection of such printing colours as will faithfully reproduce the original in the fewest printings, which may, however, run to as many as thirty. 5 Example of Photogravure (showing stages of the process) Lent by The London County Council School of Photo-Engraving and Lithography. This process is one of the oldest and most beautiful of the reproductive processes. An ordinary negative is made of any copy, object or landscape of which it is desired to make a photogravure. From this a trans- parency is made, and from the transparency a carbon negative print is made, which is developed upon a polished copper plate previously grained by allowing powdered bitumen to fall upon it in a dusting box. When the carbon film is dry the plate is ready for etching, the carbon relief on top acting as a resist to the perchloride of iron which is used as a mordant. Where the resist is thinnest (in the shadows) the cop- per is etched deepest, and where it is thickest (in the high lights) the copper is attacked least. Sometimes handwork is necessary on the plates, and this retouch- ing consists in accentuating the lights by means of burnishing or scraping smooth the copper, adding 5 detail, or intensifying the shadows by means of cutting into the copper with a burin or a small toothed wheel called a roulette. The pure copper being too soft to stand the wear and tear of printing an edition of any number, the plate has to be steel-faced, i.e., given an electrolytic coating of iron. To print, ink is forced into the hollows etched in the plate, and the surplus wiped away from the surface and margins. Damped paper is then laid on the plate, backed with soft blanketing, and hand-printed by means of a special press, under a heavy iron roller. Machine-printed photogravure is now coming largely into use,but the method is at present the monopoly of one firm,who make etchings of a special character, and employ expensive machinery of a secret pattern . Colour-photogravure or Heliogravure is prac- tically the same as the foregoing, the colours being applied by hand on the heliogravure plate, and skill- fully blended by the printer. For examples of this see Nos. 302, 305, 308, 323, 326, 329, 344. 397, 398, 399^ 347? 35 1 - Examples of pure Photogravure, 342, 345, 348, 352, 353. 354> 355- 6 Cordelia's Portion {after Ford Madox Brown) Lent by The Victoria and Albert Museum. 7 Example of Three-colour Reproduction Nos. 7 to n are lent by The London County Council School of Photo-Engraving and Lithography. The tricolour process is an application to photo- graphy and process of the Young-Helmholtz-Maxwell theory of vision, which declares that our sensation of colour is derived from the stimulation of three sets of nerves in the retina, responsive respectively, mainly to red, green and blue ; their stimulation either alone or in combination giving rise to the sensation of any and every possible shade of colour. A coloured original is placed on the copy board, and three negatives are made through filters upon ortho- chromatic plates. The filters and plates are so ad- justed that the first negative records only the blue light, the second the green light, and the third the red light, reflected from the original. From these nega- tives positives are made, and from these again, half- tone blocks (as described in Exhibit No. 15). They are then printed in inks complementary, to the lights recorded, approximately primrose-yellow, crimson and cyan-blue. Another method is to make the colour records of screen negatives at one operation by the use of the light filter and the cross-line screen at the same time, either on the orthochromatic dry plates which give a greater range of gradation, or on collodion emulsion. This is known as the " direct " process. 8 Example of Three-colour Reproduction 9 Example of Lithography (showing component printings) 6 10 Line Etching (showing stages of the process) 11 Example of Lithography (showing component printings) 12 Franciscan Monks Lent by the Photochrome Company, Limited. 13 Line Etching, " Rolling-up " method (showing stages of the process) Nos. 13 to 20 are lent by The London County Council School of Photo-Engraving and Lithography. The nine stages of line etching by the rolling up method in additon to the original, the negative and final proof. Line blocks are employed where only two tones are required, black and white. For this purpose the original, usually a pen and ink drawing or kindred subject, is placed on the copying board and a negative made, usually by wet plate, to get a negative as much like a stencil as possible, with the blacks represented by absolutely transparent spaces in the film of collodion, the white by an opaque deposit of metallic silver. Polished zinc usually, sometimes brass or copper, is cleaned free from gtease and coated with a bichromated colloid (generally egg-albumen and ammonium-bichromate). This coating is whirled to obtain an even film, dried and placed under the negative in a powerful pressure printing frame, and then exposure is made to the light, usually the electric arc. Wherever light acts it has the effect of rendering insoluble the sensitive coating of the metal ; where no light reaches it the bichromated colloid remains soluble. After sufficient exposure the metal is taken out of the frame and covered by means of a composi- tion roller with a thin film of special ink. The plate is then placed in a dish of clean cold water and gently rubbed with a pad of cotton wool. The soluble coat- ing easily comes away, leaving the insoluble parts covered with ink. The plate is then dried and warmed and the tacky ink covered with either a rosin or bitumen powder. It is then again heated to cause this to incorporate with the ink. After any defects are made good and the back and sides coated with a varnish, the plate is ready for the next step— the etching. This consists of eating away the white spaces to a sufficient depth by means of nitric acid, leaving the black lines standing in relief. It usually requires several etchings to ob- tain sufficient depth, the tops and sides of the lines being protected by means of ink and resin, or dragon's blood powder, fused by heat before each successive acid bath. After cleaning off the accumulation of 11 resist M the plate is then trimmed and mounted on a square piece of hard wood to make the whole type- high ; finally it is proved. 14 Tri-colour (showing stages of the process) 7 15 Half-tone Etching (showing stages of the pro- cess) In making half-tone blocks the operations are essen- tially the same as those for producing line-blocks, a half-tone block being really a line-block conveying the illusion of half-tone by reason of the varying distribu- tion of black ink and white paper according to the size of small ink-carrying dots which are produced as the result of the interposition of a cross-line screen between lens and plate, this splitting up the continu- ous tone of the original into dots of differing size, according to the varying brightness of the tones of the original. Only one kind of original is suitable for block making, that is, firm black lines on clean white ground (e.g. Indian ink on Bristol Board), while a half-tone block can be made from almost any original. Except where exact fac-simile is required, most originals are the better for a little retouching before the negative is made, and in recent years half-tone has become a successful com- petitor in the last remaining field of the wood-engraver, viz., catalogue illustration, wood engravings have hitherto been preferred because detail could be in- dicated that no photograph, however clear, could show, as for example sectional parts, but now photo- engravers engage artists to specially work up crude photographs to emphasise exactly the parts required, and put in any necessary detail. The printing on the metal plate is usually done by means of bichromated fish-glue, and the metal used in England is more often copper than zinc. The etching is divided into two stages, the first or rough etching, and second the fine etching which consists in re-etching some parts more than others to increase the contrasts in the block. The mounting and proving are the S3.me as in line blocks with the exception that to print half-tone well requires a fine surfaced paper, whereas line blocks will print on almost any kind of paper. 1 6 Example of Lithography (showing component printings) 17 Example of Lithography (showing final proof) 18 Example of Three-colour Process 19 Example of Three-colour Process 20 Example of Three-colour Process 21 The Fighting Temeraire (after Turner) Lent by Messrs. Andre and Sleigh. 22 Examples showing screen negative and positive in Half-tone Work Lent by The London County Council School of Photo-Engraving and Lithography. 8 23 Progressive Stages in Collotype Lent by The London County Council School of Photo-Engraving and Lithography. Collotype, sometimes called Albutype, Phototype, Artotype, etc., is a process, which, like lithography, depends upon the mutually repellent nature of grease and water. In this case a surface of bichromated gelatine is used instead of a stone, and the subject is put upon the surface by means of a photographic negative instead of being drawn by hand. A glass plate about f of an inch thick, with the edges and corners ground off, is grained on one surface by grinding with emery powder. It is afterwards coated with a solution of bichromated gelatine, then dried at a certain temperature in the dark. When dry, the film is sensitive to light, that is to say, where- ever light acts upon it, it will become more or less insoluble and refuse to absorb water, while where the light is prevented from access, the film remain ab- sorbent of water. Advantage is taken of this property to expose the bichromated film under a photographic negative of the subject it is desired to re-produce. The action of light is correspondingly regulated according to the opacity of the various parts of the negative. After sufficient exposure the plate is placed in water when the gelatine will refuse to absorb water in exact proportion as it has been affected by the light. After drying, the plate is placed in a print- ing press, damped with a solution of glycerine and water, and a roller charged with a greasy ink passed over the surface. The film takes ink in proportion to the insolubility produced by light, and if paper is laid on and pressure applied, a collotype print will be the result. 24 Specimen of the Hentschel-Colourtype Process Nos. 24 to 27 are lent by Messrs. Carl Hentschel, Limited. 25 Specimen of the Hentschel-Colourtype Process 26 Specimen of the Hentschel-Colourtype Process 27 Specimen of the Hentschel-Colourtype Process 28 Reproduction in the Three-colour Process of well-known oil paintings Lent by Messrs. Andre and Sleigh, Limited. NATURAL HISTORY. 29 Two Young Cormorants — " Any More? " By Frank J. Martin 30 Typical British Rats By Douglas English. 9 31 Narcissus (Carbon) By F. G. Emler. 32 Tawny Owl and Young By Oliver G. Pike. 33 English Wild Bull By Walter Selfe. 34 Illustration of use of Telephoto Lens on near objects — (Carbon) By H. T. Malby, F.R.P.S. Two photographs of the rose " Kaiserin Augusta Victoria 55 taken from one position ; the smaller pic- ture with an 8^ inch lens, the larger with the same lens plus negative element. 35 Night Heron in natural environment By F. Martin Duncan. 36 Study — Head of a Cassowary By F. Martin Duncan. 37 Roses (direct two-colour photograph) By J. C. H. Wallsgrove. 38 A Mouse-fight - By Douglas English. 39 Study — Young Hyaenas By F. Martin Duncan. 40 Lion By Walter Selfe. 41 Kittiwake and Young By Oliver G. Pike. 42 Chrysanthemums (Bromide) By G. H. Grimsell. 43 A Lion Study By W. L. F. Wastell, F.R.P.S. 44 Types of British Butterflies By Douglas English. 45 Study — Head of a Cynocephalus By F. Martin Duncan. 46 Chilian Sea Eagle By W. L. F. Wastell, F.R.P.S. 47 Dog and Swan By Douglas English. 48 Nightjar or Goat-sucker (Bromide— natural size) By Reginald Malby. 49 Marten By Douglas English, 10 50 Five Photographs illustrating the Feathering of a Thrush (Silver) By Reginald Malby. 51 Rabbit and Bracken By R. B. Lodge. 52 Spring Flowers (direct two-colour photograph) By J. C. H. Wallsgrove. 53 Narcissus (Carbon) By F. G. Emler. ARTISTIC. Woodford Photographic Society. 54 Stormy Evening (Carbon) By E. C. Winney. 55 A Woodland Path By F. G. Emler. 56 Ships that pass in the Night By J. Sparling. 57 " The Woodlander " Series — Unloading Sledge By Reginald Malby. 58 " When the silver mantle of the cloud descends upon the autumn sun " By H. T. Malby, F.R.P.S. 59 A Thames Barge By W. L. F. Wastell, F.R.P.S. 60 An Autumn Evening By H. T. Malby, F.R.P.S. 61 Abbey of St. Wandville, Normandy — Door of Refectory, 1502. By H. Wilmer, F.R.P.S. 62 A Brittany Road By H. Wilmer, F.R.P.S. 63 The Forum, Rome Lent by The Victoria and Albert Museum. 64 The Fisherman's Children By E. H. Carpenter. 65 " The day is done, and the darkness falls from the wings of night M By H. T. Malby, F.R.P.S. 66 The Toilers By W. L. F. Wastell, F.R.P.S. 67 The Forest Pool (Bromide) By G. H. Grimsell, II 68 Abbey of St. Wandville, Normandy — The Cloisters By H. Wilmer, F.R.P.S. 69 Unloading the Trawler (Gum bichromate) By G. H. Grimsell. 70 " Now came still evening on ' ' By W. L. F. Wastell, F.R.P.S. 71 Sunset in the North Sea By W. L. F. Wastell, F.R.P.S. 72 Mill at Goring By E. C. Winney. 73 In Great Monk Wood By H. T. Malby, F.R.P.S. 74 The Harbour By E. H. Carpenter. 75 In an Old Mill By A. H. Blake, M.A. 76 Portrait By C. Wille. 77 The Forge By A. H. Blake, M.A. 78 Study of a Head By C. Wille. 79 Hermann Vezin, Esq. By J. Page Croft. 80 Rainy Day in London By A. H. Blake, M.A. 81 Study of an Old Man's Head By J. Cruwys Richards. 82 Portrait of Admiral De Ruyter By F. Bol. Lent by The Victoria and Albert Museum. 83 " 'Tis evening, all around is still " By Albert E. Cockerell. 84 " Troubled waters 'neath a stormy sky " By Albert E. Cockerell. 85 Maternity By R. H. Baskett. 86 Sun Gleams 'Midst the Pines By R. H. Baskett. 87 The Etcher By R. H. Baskett. 12 88 Going to Sea By Wm. Thomas. 89 The Death of Ananias {after Raphael and his assistants) Lent by The Victoria and Albert Museum. 90 Boys Bathing By Chas. F. Grindrod. 91 Peaceful Pastures By Albert E. Cockerel l. 92 Hauling Sail By Arthur Marshall. 93 From Darkness into Dawn By Arthur Marshall. 94 Cutting Oats By Chas. F. Grindrod. 95 Sunset By W. A. J. Hensler. 96 The Edge of the Wood By Charles Reid. 97 In Shetland — A Breezy Day By Charles Reid. 98 Lunette — Virgin and Child with two Angels {after Delia Robbia, Luca) Lent by The Victoria and Albert Museum. 99 Fishing Smacks off Welsh Coast By Sidney J. Chesterton. 100 The Madonna of the Lilies By Mrs. G. A. Barton. 10 1 Virgin and Child {after Raphael) Lent by The Victoria and Albert Museum. 102 Glen Rosa, Arran ^ By Charles Reid. 103 Highland Cattle By Charles Reid. 104 " Going Out " By Albert E. Cockerell. 105 " Golden Gorse " By W. A. J. Hensler. 106 Lunette — Virgin and Child, with two Angels {after Delia Robbia, Luca) Lent by The Victoria and Albert Museum. 107 The End of the Day's Work By Charles F. Grindrod. i3 108 Harvesting By S. C. Stean. 109 Eventide By M. Arbuthnot. 110 The Bend of the River By W. A. J. Hensler. hi Eventide By M. Arbuthnot. 112 Sunset in the Pool, London By W. Thomas. 113 Before the Storm By M. Arbuthnot. 114 A Relic of 100 Years Ago. By Sidney J. Chesterton. 115 Photo of a Shield (by Antoine Vechte) Lent by The Victoria and Albert Museum. 116 Brixham Harbour By Miss Florence Evans. Lent by Frank L. Emanuel, Esq. 117 'Midst Toil and Murk By R. H. Baskett. 118 The Crypt, Canterbury Cathedral By Werner J. Palmer 119 Driven Cattle By A. H. Blake, M.A. 120 Child at Fountain in Italy By Marcus Warner. 121 Rest By Walter Selfe. 122 Chartres Cathedral By Ernest Marriage 123 The Incantation By J. C. Warburg. 124 " Nuit imminente " By E. O. Hoppe. 125 Portrait of Admiral de Ruyter {after Ferdinand Bol — Amsterdam Museum) Lent by The Victoria and Albert Museum. 126 The Day Room By Arthur Marshall. 127 The Last Gleam By J. C. Warburg. 128 The Smouldering Heap By Kate Smith. *4 I2g The Captive By Kate Sm t .th. 130 The Fairy Story By Kate Smith. 131 Autumn By W. Thomas. 132 The Parthenon, Athens Lent by The Victoria and Albert Museum. 133 The Black Cloud By David Blount. 134 Vauxhall Bridge in building By A. H. Blake, M.A. 135 Sunlight on Whitewash By A. H. Blake, M.A. 136 Ploughing the Upland By Charles F. Grindrod. NATURAL HISTORY. 137 The Favourite of the Family By A. T. R. Roberts. *38 Sea Trout (from life) By Dr. Francis Ward. 139 Young Lesser Whitethroats By Miss E. L. Turner, F.L.S. 140 Carp (from life) By Dr. Francis Ward. 141 Young Short-eared Owls By Miss E. L. Turner, F.L.S. 142 Snipe, on nest By Miss E. L. Turner, F.L.S. 143 Not Hungry, Thank You By A. T. R. Roberts. 144 Whinchat By Oliver G. Pike. 145 (1) Meadow Pipit feeding Cuckoo; (2) Sky Lark ; (3) Yellow Wagtail By Miss E. L. Turner, F.L.S. 146 Kittiwake and Young By Oliver G. Pike. 147 Young Buzzard in its eyrie By Oliver G. Pike. 148 Lapwing, on nest By Miss E. L. Turner, F.L.S. i5 149 " Can't please everybody ! " By A. T. R. Roberts. 150 Young Pike (from life) By Dr. Francis Ward. 151 (a) The Ghent Altarpiece (b) Exterior of Wings By Van Eyck. Lent by The Victoria and Albert Museum and The Berlin Photographic Company. HISTORICAL. 152 The Mirror in the Wood Lent by The Victoria and Albert Museum. 153 The Fathers of Photography (Eckstein's pro- cess) Lent by The Victoria and Albert Museum. 154 Rhododendron Trees covered with Creeper — Simla, India, 1866 (albumenized paper print) By Colonel P. R. Innes. 155 Bruges (Heliotype of a picture by F. Bossuet, about i860) Lent by Frank L. Emanuel, Esq. 156 The Tour St. Jaques and Hotel de Ville, Paris By Niepce (1853). Lent by Frank L. Emanuel, Esq. Drawn by the light, engraved with acid, printed by hand. Joseph Nicephore Niepce invented the first photo- engraving process as far back as 1817, and laid the foundation of the present photo-mechanical printing. The process consisted of coating tin plates with bitu- men dissolved in oil of lavender, and when dry placing them under engravings, and exposing to light, after- wards developing the image with a mixture of oil of lavender and white petroleum. In this way he obtained a plate which showed the design in bare metal on a varnish ground, so that it could be etched and impression taken off in a copper-plate printing press. He also took pictures direct from nature in the Camera by this method, the exposures requiring many hours owing to the slow sensitiveness of the bitumen surface. He became a partner of Daguerre in 1827. He died in 1833, after 20 years of experimental research, and his nephew, M. Niepce de St. Victor, continued and per- fected the process which was used to a considerable extent for Photo engraving and Photo lithography in line and half-tone, relief and intaglio, especially in France and Austria. 157 Christ Church Priory (carbon print) By W. J. Day. Lent by The Victoria and Albert Museum, i6 158 Watermark, or Photo-filigrave Process Lent by The Victoria and Albert Museum. This process was iuvented by Woodbury and con- sists in producing designs on paper and other similar textures by pressure. The method employed was to make a carbon print on specially made tissue in which gelatine was in excess, from a positive, obtaining a powerful relief. This was placed in contact with plain paper, and passed between rollers. The parts of the paper subjected to most pressure became greater in transparency than the rest, upon holding it up to the light. 159 St. Sulpice, Paris By Niepce. Lent by Frank L. Emanuel, Esq. 160 The Poacher (collotype) By P. H Emerson. Lent by The Victoria and Albert Museum. 161 (a) The Sirens ; (b) A Sea Maiden (platinotype) By A. L. Baldry and W. J. Day. Lent by The Victoria and Albert Museum. 162 Portrait (albumen print) By Gilbert Wilson (about 1859). By Basil Schon. 163 Edingthorpe Tithe Barn (Calotype) By Rev. F. J. Sissons (about 1848). Lent by Frank L. Emanuel, Esq. 164 Studies of Children (albumen print) By Mrs. Cameron. Lent by The Victoria and Albert Museum. 165 Harvesting in Buckinghamshire Lent by The Victoria and Albert Museum. 166 (a) The Trysting Place ; (b) On the Brink By A. L. Baldry and W. J. Day. Lent by The Victoria and Albert Museum. 167 Portrait (albumen print) By Gilbert Wilson (about 1859). Lent by Basil Schon, Esq. 168 Fern Leaf (Photo-engraving) By Fox Talbot. Lent by C. H. Talbot, Esq. Fox Talbot was practically the first to produce what has since developed into the modern half-tone block, using a piece of black crepe for a screen (see Nos. 168, 169, 171)- Another of his processes, known as the Talbotype or Calotype Process, deals with the process of making paper negatives which he patented in 1841. Stout paper of fine surface 17 and grain was selected, and treated with a solution of iodide of silver in iodide of potassium. It was afterwards washed in distilled water to remove the iodide of potassium, and dried and kept in a port- folio ready for use. Where required, it was brushed over with a solution of gallo-nitrate of silver and exposed in the camera whilst wet, a rather lengthy exposure was necessary in bright daylight (as much as 6 to 10 minutes). It was then developed with a solution of aceto-nitrate of silver and gallic acid, afterwards being fixed in hyposulphate of soda. After final washing and drying it was waxed to make it translucent. Another of his processes was the photoglyptic, in which he used bichromated gelatine for sensitising steel or copper plates, which were afterwards exposed under a transparency so as to produce a negative image on the plate. After washing and drying, a resinous grain was laid over the surface, the plate being afterwards etched in a solution of perchloride of iron. Fern Leaf (Pnoto- engraving) By Fox Talbot. Lent by C. H. Talbot, Esq. H.R.H. The Prince Consort Lent by The Victoria and Albert Museum Folded Crape (Photo-engraving) By Fox Talbot. Lent by C. H. Talbot, Esq. Still -life in the Yard (carbon) Lent by Frank L. Emanuel, Esq. " In Memoriam ,J — The Remains of Queen Victoria being conveyed from Osborne to the Mainland (carbon) By W. J. Day. Lent by The Victoria and Albert Museum. Mr. Rintoul By D. O. Hill, R.S.A. (1844). Lent by J. Craig Annan, Esq. CASE CONTAINING HISTORICAL PHOTOGRAPHS. D. O. Hill and Dr. Joseph Bell (taken in 1844) Lent by J. Craig Annan, Esq. Professor John Wilson (" Christopher North ") By D. O. Hill, R.S.A. (1844). Lent by J. Craig Annan, Esq. Tomb in Greyfriars Churchyard By D. O. Hill, R.S.A. (1844). Lent by J. Craig Annan, Esq. 1 8 1 78 Where Winds the Dike Nos. 171 to 181 are lent by The Victoria and Albert Museum. 179 Wax Paper Negatives 180 On the Broads 181 Landscape 182 Mother and Child Nos. 182 to 191 are by Mrs. Julia M. Cameron, and are lent by Everard Meynell, Esq. 183 Beautiful-browed GEnone 184 Pomona 185 Girl with Roses 186 Group of Three 187 Emily Peacock 188 The Parting of Sir Lancelot and Queen Guinevere 189 "And Enid sang " 19a The Passing of King Arthur 191 The Angel at the Tomb 192 England's Bulwarks Lent by The Victoria and Albert Museum. 193 Studies of Rustic Characters, 1853 By Colonel P. R. Innes. 194 Hill Coolie Girl, Nynee Tal This photo was awarded a Silver Medal at the Calcutta Exhibition. 1862. By Colonel P. R. Innes. 195 " I pays ?? By O. G. Rejlander (1859). Lent by Frank L. Emanuel, Esq. 196 Hill Coolie Girl, Nynee Tal, India By Colonel P. R. Innes. 197 Studies of Rustic Characters, 1853 By Colonel P. R. Innes. 198 The Old Bridge, Nynee Tal, 1863 By Colonel P. R. Innes. 199 Heliogravure Process unveiled by Herr A. C. Eckstein Lent by The Victoria and Albert Museum. 200 Nynee Tal, 1863 (since destroyed by a great land-slide) By Colonel P. R. Innes. 19 201 Loading Hay By P. H. Emerson, Lent by The Victoria and Albert Museum. 202 Lace By Fox Talbot. Lent by C. H. Talbot, Esq. 203 Portraits (a) Robert Browning, (b) Sir Henry Taylor By Mrs. Cameron. Lent by The Victoria and Albert Museum. 204 Lord Tennyson By Mrs. Cameron. Lent by J. C. Warburg, Esq. 205 China — Laycock Abbey By Fox Talbot. Lent by C. H. Talbot, Esq. 206 " Annie " By Mrs. Cameron. Lent by Miss Warburg. 207 A Study — Mrs. Herbert Duckworth By Mrs. Cameron. Lent by Everard Meyaell, Esq. '208 Cathedral of Aries (Photo -engraving) 1866 By Fox Talbot. Lent by C. H. Talbot, Esq. 209 Cathedral of Vienne (Photo-engraving) By Fox Talbot. Lent by C H. Talbot, Esq. 210 Heliogravure, Eckstein Process Lent by The Victoria and Albert Museum. 211 "Alice" By Mrs. Cameron. Lent by Everard Meyaell, Esq. 212 The Harrow By W. J. Day. Lent by The Victoria and Albert Museum. 213 Cloister Court — Laycock Abbey By Fox Talbot. Lent by C. H. Talbot, Esq. 214 The Old Schools, Oxford By Fox Talbot. Lent by C. H. Talbot, Esq 215 A Study By Mrs. Cameron. Lent by Everard Meynell a Esq. 20 216 Tennyson (profile, 1874) Mrs. Cameron. Lent by Everard Meynell Esq. 217 Old Doorway — Lay cock Abbey By Fox Talbot. Lent by C. H. Talbot, Esq. 218 Wood -shed — Laycock Abbey By Fox Talbot. Lent by C. H. Talbot, Esq. 219 Two Photographs of Tennyson By Mrs. Cameron. Lent by The Victoria and Albert Museum. 220 "Alice' ' By Mrs. Cameron. Lent by The Victoria and Albert Museum. 221 Church of St. Maurice de Vienne, France ; and Process block 22 1 a Cool Waters \ and The Goddess of the Grove By A. L. Baldry and W. J. Day. Lent by The Victoria and Albert Museum. 222 Screen of nine photographs a Old House at Wernigerode, Hartz Mountains Lent by A. j. Ransome, Esq. B Dead Game {after Victor A. Prout) Lent by The Victoria and Albert Museum. c A Street in Hildesheim Lent by A. J. Ransome, Esq. D Ralph, the Gamekeeper — Theobald's Park Lent by A. J. Ransome, Esq. e A Corner of the Doge's Palace Lent by A. J. Ransome, Esq. f Heliogravures, from Photographs on stone, by Eckstein's Process Lent by The Victoria and Albert Museum. G Specimens of Photo-Relief Printing — Wood- bury Process Lent by The Victoria and Albert Museum. h Examples of Printing into various metals on plain paper Lent by The Victoria and Albert Museum. I Negatives — Calotype Process (1855) Lent by The Victoria and Albert Museum. ALPINE CLUB. 223 The Matterhorn, from the East By C. Thurston Holland, F.R.P.S. 21 224 The Matterhorn, from Brenil By C. Thurston Holland, F.R.P.S. 225 Peaks — Head of Bush Valley By J. N. Collie, F.R.S. 226 In the Lofoten Islands By H. Woolley. 227 Mont Blanc, from the Aiguille des Grands Marlet By Sir Alexander Kennedy, F.R.S. 228 Sunshine and Clouds — Lofoten Islands By J. P. Somers. 229 Mont Dolent By Sidney Spencer. 230 The End of the Glacier By C. Thurston Holland, F.R.P.S. 231 The Industrial Arts as applied to Peace (after Lord Leighton) Lent by The Victoria and Albert Museum. 232 Sunshine and Clouds — Lofoten Islands By J. P. Somers. 233 The Bush Valley, Canadian Rockies By J. N. Collie, F.R.S. 234 The " Point du Dragon " By C. Thurston Holland, F.R.P.S. 235 Rothhorn, from Punta Arpitetta By C. T. Dent. 236 Aiguille Vert (Winter) By Sidney Spencer. 237 Mont Mallet and the Aiguille du Geant By C. W. Nettleton. 238 The Finsteraarhorn By Sir Alexander Kennedy, F.R.S. 239 The Grandes Jovasses, from the Aiguille du Moine By C. W. Nettleton. 240 The Aiguille de Grepon, from -the Grandes Charmoz By C. W. Nettleton. 241 The Breithorn and Little Matterhorn, from the Gornergrat By C. Thurston Holland, F.R.P.S. 242 The Arch of Constantine, Rome Le.it by The Victoria and Albert Museum. 22 243 Rock Towers By J. P. SOMERS. 244 In the Via Mala By Sir Alexander Kennedy, F.R.S. 245 The Ice-fall of the Glacier du Geant By C. T. Dent. 246 Mont Blanc de Seilon By Sidney Spencer. 247 Zermatt in Winter By J. P. Somers. 248 Tiktengen, from the junction of the Bashil-Su and Gara-Su, Central Caucausus By C. T. Dent. 249 The End of the Valpelline By C. Thurston Holland, F.R.P.S. 250 Forest in the Canadian Rockies By J. N. Collie, F.R.S. 251 Dawn on the Fer Peche Glacier By Sydney B. Donkin. 252 Tiktengen, Central Caucausus By C. T. Dent. 253 Banquet of the Civic Guard Lent by The Victoria and Albert Museum. 254 View on the Otemma Glacier (looking south) By Sydney B. Donkin. 255 The Dent D'Herens, from the Tete Blanche By Sydney B. Donkin. 256 Monte Rosa By Harold M. Warner. 257 Summit of Mont Blanc (taken with a Beck- Steinheil Telephoto lens) Lent by Messrs. R. & J. Beck, Limited. 258 Summit of Mont Blanc (taken with a Beck- Steinheil Telephoto lens) Lent by Messrs. R. & J. Beck, Limited. 259 Ridges on the Soufriere, St. Vincent, 1902 By Tempest Anderson, M.D. ARTISTIC PHOTOGRAPHS. 260 The Rainy Day By J. Alister Heir. 261 Monnickendam, N. Holland By J. Alister Heir. 23 262 Winter By Oscar Hardee. 263 Master Desmond Bevan and Dog By Oscar Hardee. 264 Canal-side By A. H. Blake, M.A. 265 Portrait By C. Wille. 266 Going to Mass — Volendam By J. Alister Heir. 267 Volendam Harbour By J. Alister Heir. 268 A Study Lent by Messrs. Elliott & Sons, Limited. 269 Girl and Cat By Cavendish Morton. 270 Portrait of Mr. R. G. Knowles By Cavendish Morton. 271 Pierrot By Cavendish Morton. 272 " Enter, Lady Geraldine " By Cavendish Morton. 273 Portrait of Dr. Shuldham By C. P. Small. 274 "Hebe" By Cavendish Morton. 275 Misery By Cavendish Morton. 276 Sixty Years Ago By R. H. Baskett. 277 Portrait of a Child By C. Ainsworth Mitchell. 278 Friend — or Foe? By Frank E. Huson 279 The Picture Hat By E. O. Hoppe\ 2 80 The Guitar Player By Cavendish Morton. 281 The Columbine By David Blount. 282 Weather-beaten Willows By A. H. Blake, M.A. 283 Madame X By Ernest Marriage. 24 284 A Sprig of Box Lent by Frank Emanuel, Esq. 285 King Arthur (photograph of bronze statue in the Cathedral at Innsbruck) Lent by The Victoria and Albert Museum. PRINTING PROCESSES. [As illustrated in the Technical and Trade Section.] The exhibits in this Section occupy the west wall of the Gallery, where will be found a collection of colour prints which, with certain exceptions, depend more or less upon the aid of photography. The most im- portant of these are those which are representative of the three-colour photo process as used in ink printing machines. In this the original painting, object, or scene, having been photographed in triplicate, through three different light niters, three process blocks are made, which are respectively printed one over the other in red, blue and yellow, by which combination the numberless tints and gradations of colour seen in the specimens on the walls are produced. The Proprietors of The Graphic (on Screen VI.) show what forms an excellent object lesson in this process, illustrating the chief stages as regards blocks and colour impressions. Amongst other examples, attention is directed to the exhibits of the Berlin Photographic Company, Messrs. Carl Hentschel, Messrs. Hanfstaengl, Messrs. Blechinger and Leykauf, and Messrs. Andre and Sleigh, and some very clever Dutch work by Messrs. Joh. Enschede en Zonen. It should be added, that although photo-process is generally understood to refer to a three block printing, four blocks are sometimes employed, and where a fastidious accuracy of colour rendering is needed, even five or more separate photo-process blocks are utilised ; as, for instance, some of the colour prints which have been reproduced in The Studio. The splendid reproductions of Indian carpets and illumin- ated missals, etc., by Messrs. Griggs and Sons, which have each received from 20 to 30 printings, not being photo- mechanical, must be passed over. Before leaving this division, attention is directed to the photogravures. These are, in some measure, allied to the ordinary half-tone process block, in that they begin with a pure photograph and end in an etched plate. The inking and printing are, however, distinctly different. Photo- gravure, both plain and coloured, is well represented by the displays of The Art Reproduction Co., The Berlin Photo- graphic Co., and The Autotype Co. Excellent as are these exhibits, it is well to remind the casual visitor that the above firms by no means exhaust the list of British— let alone foreign — houses which are renowned for their photo- gravures. 25 PHOTOGRAPHIC PRINTING PROCESSES. The visitor who practices photography, either for money or for pleasure, would do well to give this division par- ticular attention. England was once said to possess a hundred religions and one sauce — and one might almost add " and but one photo printing process, 35 for possibly 99 per cent, of photographers mainly use £c P.O. P.", i.e.^ print-out silver paper, which usually takes the form of gelatino- chloride of silver paper. And this although photography can boast of almost countless varieties of printing processes, and of modifications of their main features and treatment. The first group which deserves attention is a striking dis- play by Ilford, Limited, (No. 366), in the centre of which is a good example of the platinum process, which is one that claims appioval for its aesthetic translation of gradations and for the absolute permanency of its image, where, as in the present instance, it is formed solely of platinum. The " Ilford " panel also illustrates the printing capacities of bromide paper, cc gas-light 55 paper, and print-out paper. On a separate screen (Screen IV.) in the middle of the room, further examples of these processes are shown by Messrs. Elliott and Son r . But as regards bromide paper, the most striking display of its value in picture-making is that afforded by a three- fold screen on which are arranged a number of Messrs. Wellington and Ward's bromide enlarge- ments in black and white (No. 286). As exemplifying the difference in treatment possible with such papers, the screen of Kodak, Limited, (Screen I.) on which a number of enlargements from negatives by Her Majesty The Queen are shown, may be cited. In this case the enlargements have been made upon cream tinted paper, the ordinary black and white image being subsequently transformed into brown by an immersion of the print in a hot solution of alum — and 'hypo. 5 Attention should be given to the fine series of what are termed ' Autotypes, 5 (Nos. 312 to 319) which is a trade name given to prints which are produced by what is known as the ' Carbon 5 process. The process in question is one which — almost ignored by, or unknown to, the average photographer — is both artistically and commercially considered of con- siderable importance. Its main uses have so far been in the reproduction of paintings and other works of art, and in the printing of high class portraits. It has also great possibilities in that it readily lends itself to the decoration of furniture, fancy articles, and jewellery, such as watch- cases, etc. Closely allied to the Carbon process is that known as Ozo- type (Nos. 355-66). Without entering into technical details, it may be said that Ozotype is an expedient which enables one to, in great part, see the image during printing ; in the ordinary Carbon process this is not possible. Some slight softening of the impfression is noticeable in Ozotype. A word or two are well deserved for a new printing tex- ture known as ' Photo-linol 5 (centre of Gallery). This material is sensitised by means of a silver bromide in such a 26 manner that instead of the image being only upon one side, it is impressible on both front and back. The material pos- sesses the useful and unusual quality of enabling the print to be seen either by reflected or by transmitted light, i.e., either as an ordinary picture or as a transparency. The sensitiveness of the material reaching from front to back ensures an image of unusual power and range, which results in the obtaining of transparencies that are, especially for trade purposes, not only forcible but attractive, more especially when they have been suitably coloured. These notes cannot take account of a good many minor phases of photographic printings which find place in the section under consideration, nor of such exhibits as Messrs. Beck's Telephoto pictures of the summit of the Nelson Column, and the prints from negatives taken in a Sanderson Camera (Nos. 320, 331). In conclusion, while the advanced photographer will recognise in the general collection various suggestive instances of advanced printing processes, such as gum bichromate, or glycerined and c mercurialized 3 platinum prints, the average visitor would do well to confine his attention to the processes displayed in this particular section with a view to ultimately practising one or more of them for his own benefit. In thus sampling them he should bear in mind the follow- ing : The print-out silver processes, although popular, are troublesome and difficult to handle, are liable to fade, require daylight for printing, and are less c artistic 3 than other processes. They are, however, probably the best for poor negatives. The bromide, and its allied process, the chloro-bromide (' gaslight ') papers, are easy to work, are not liable to change or fade, may be quickly printed by any light, and are available for enlarging as well as for " contact " printing. Their main drawbacks are that one cannot see the image during printing, and that they require to be developed. Even so, the trouble and time are less than are called for in gold toning. Bromide paper has a very large range of surface and colour of paper and of image, to offer. The platinotype, or platinum process, combines almost all the good qualities which may be wished for — except perhaps variety of colour. Printing is quick, and as the image partly prints out one may see that it is not over or under printed. The image is one of the most permanent ones producible by photography, at the same time, it is not so dead sharp as, for instance, a glossy £t P.O. P. 55 print, and, unless specially treated, the surface lacks the glaze which is sometimes desired. Finally, as regards Carbon printing, it may be said that once the art of exposing, squeegeeing, developing and stripping has been acquired — and it is by no means difficult to do so — the process is one which is perfectly easy and certain. It is, however, one which is most responsive to those who regularly practise it. It is cheap, yields a permanent image of any desired colour, is as efficient for line work as for half-tone reproductions, and is capable of ensuring results which are second to none. And yet so few have mastered the technique of this process, that to 27 be a first class carbon printer not infrequently ensures the obtaining of an unusually well-paid engagement. Hector Maclean ,F.R.P.S. 3 Author of Photography for Artist s, etc. COMMERCIAL AND TECHNICAL. 286 Screen with Nine Photographs Lent by Messrs. Wellington and Ward. 287 Series of Eight Photographs taken in Thibet with a " Sanderson ?? Lent by Messrs. Houghtons, Limited. 288 Study of a Boy By W. Crooke. 289 Portrait of Caroline Amelia Elizabeth of Bruns- wick (after Sir Thomas Lawrence) Lent by The Victoria and Albert Museum. 290 Jacques Thibaud, Violinist By W. Crooke. 291 Reproductions in the Three-colour Process of Water-colour Drawings by Sir H. Johnston, G.C.M.G., K.C.B. Lent by Messrs. Andre & Sleigh, Limited. 292 Butterflies — produced by the Hentschel- Colourtype Process Lent by Messrs. Carl Hentschel, Limited. 293 His Last Proposal Lent by The Art Reproduction Company, Limited. 294 View of the Interior of the House of Commons in the Session, of 17 41 -2 By H. Gravelot. Lent by The Art for Schools Association. 295 Oliver Cromwell (from the painting by R. Walker in the National Portrait Gallery) Lent by The Art for Schools Association. 296 Queen Victoria's First Council (from an engrav- ing by C. Fox, after Sir David Wilkie, R.A.) Lent by The Art for Schools Association. 297 The Earl of Strafford and his Secretary (from the original painting by Sir A. Vandyck) Lent by The Art for Schools Association. 298 Governan Lakes Lent by The Photochrom Company, Limited. A Photochrom is a photograph in colours. It is not a chromo-lithographic, nor a coloured print. It claims to combine the truthfulness of a photograph with the rich colour of oil painting. 28 299 View of the Interior of the House of Lords in 1742 By H. Gravelot. Lent by The Art for Schools Association. 300 Queen Elizabeth (from the original painting in the National Portrait Gallery) Lent by The Art for Schools Association. 301 T. P. O'Connor, Esq. Nos. 301-6 £.-re lent by Messrs. Blechinder & Leykauf. 302 The Nuns' Concert 303 Circus Maximus 304 An Arcadian Garden 305 Winter 306 " Die seherin von provorst im hochschlaf " 307 Chimpanzee Lent by Messrs. R. & J. Beck, Limited. Taken with a No. 3 c Zambex 5 Camera, which is fitted with the Beck-Steinheil Unofocal Lens, Series I., F 6, the aperture used being F 8. It will be observed how clear-cut the picture is, showing the capabilities of a lens of this description. 308 Waterlilies Lent by Messrs. Blechinder & Leykauf 309 Blue China Lent by the Autotype Company, Limited. 310 H.M.S. " King Edward VII." Lent by Messrs. R. & J. Beck, Limited. H.M.S. "King Edward VII.' 5 entering King Edward VII. Dock, Gibraltar, and was taken with the single combination of a £-plate 4 Multifex 5 Lens. The ' Multifex 5 is a combined Telephoto and Positive Lens, that is to say, it can be used as an ordinary lens, by unscrewing the Telephoto portion, or if it is desired to obtain a Telephoto picture the attachment can be again fitted on, and in this way magnifications of 3 to 6 can be obtained. 311 Une reve d 'Amour Lent by Messrs. Blechinder & Leykauf. 312 Off to the Dogger Bank Nos. 312-19 are lent by The Autotype Company, Lid. Autotype photography is based on the remarkable pro- perty of gelatine to become insoluble when combined with a chromic salt and exposed to the action of light. The results of the process founded on this property of gelatine were found in such perfect facsimile of original sketches in pencil, red chalk, sepia, etc., in colour and texture, that, 29 produced as they were without the intervention of another hand upon his work, they seemed almost the autograph of the artist. Struck by the analogy, the late Mr. Tom Taylor (an art critic of some authority in his day) applied ; f to the method employed the word Autotype, on seeing some early triumphs in the shape of reproductions of drawings by the old masters. The stages of the process are as follows : Firstly- — Finely powdered charcoal, or other colouring matter, is intimately blended with gelatine (softened in water) and bichromate of potash is added as a sensitizer. This mixture is then spread in an even coat on paper, and this prepared paper or tissue (as it is now termed) is dried in the dark. Secondly — This tissue is exposed under an ordinary negative, receiving the impact of light in exact propor- tion to its gradation in light and shade. Through those parts of the negative, which are comparatively trans- parent, and represent the shadows of the subject, the light penetrates deeply into the tissue and firmly fixes the colouring matter by rendering the gelatine film in which it is contained insoluble. Through those parts which aie comparatively cpaque, and represent the high- lights of the original, light can only penetrate slightly, or not at all ; the gelatine is therefore rendered insol- uble in exact proportion to the action of light. Thirdly — The image is developed. Inasmuch as the whole front surface of the gelatine has been rendered insoluble (to varying depths) it is necessary to attack it from the back. A transfer paper is attached to the front surface of the tissue, and the original supporting paper is now removed under warm water. The water also softens and washes away all gelatine which has not been affected by the penetration of the light, and reveals the Autotype insoluble pigmented gelatine image. The pigments employed being of proved unchangeability and the gelatine vehicle being rendered insoluble, it will be seen that Autotype has inaugurated Permanent Photography The essential difference between Autotype and all other modes of photographic reproduction is that it substitutes the ordinary permanent pigments of the artist's palette for the unstable chemical salts hitherto employed. Pict- ures are produced in colours appropriate to the originals represented. Thus an Autotype may be in engraving black, sepia, sienna, charcoal, red chalk, Indian ink, etc., It bids defiance to " Time's effacing fingers " and repre- sents permanent photography. 313 Sheep Study 314 Brixham Trawler 315 Galilee Chapel 316 Portrait Study of a Child 317 Dr. Scott Keltie 318 Seascape 3° 319 Wood and Water Scene 320 Nelson Column Lent by Messrs. R. & J. Beck, Limited. Taken from the same position as in No. 331, with the same lens, but with the addition of a No. 5 Beck- Steinheil Telephoto attachment, Standard Power, magnifying 8 times the normal, and we do not think it necessary to mention the difficulties that have to be overcome in order to obtain such a photograph. These two pictures (Nos. 310 and 320) were taken with the addition of a Low Power Beck-Steinheil Telephoto attachment and a Beck-Harris Screen, and are sufficient to show the great advantages offered to telephoto workers. 321 Schloss EltZ By W. Bedford. Lent by the Autotype Company, Limited. Photograph is a general term applied to all photographic prints printed through a glass Negative (by contact). The method, however, of producting the print varies, and one distinguishes accordingly between a Silver print and a Carbon print. The Silver -print is one of the earliest forms of photo- graphic reproduction, based on oxidation of the silver used in the coating. Silver prints are especially notable for the amount of detail they preserve and render, oft-times discovering signatures and marks that would not show in the original. Silver prints are, however, as a rule, rather cold in tone and liable to fade under the continued action of direct sunlight. 322 Portrait of Ibsen Nos. 322-27 are lent by Messrs. Franz Hanfstaengl. Photogravure is undoubtedly one of the finest and most artistic methods of translating an original painting into monochrome ; at the same time it is also undoubtedly one of the most difficult processes of photographic art. Photo- gravure briefly is a photographic transfer of an original on to a copper plate, from which impressions ma)^ be taken, exactly in the same manner as from a hand-engraved or etched plate. The advantage of Photogravure, however, is that after making sure that the " drawing 55 is correct, the printer has sufficient scope and freedom to " adjust " the photographic image to the human eye. All the art of photogravure is in the printing, and for this reason a good photogravure can well rank with the best hand processes, which indeed it excels in artistic truth to the original. 323 Portrait of King of Saxony 324 Portrait of Bismarck Lenbach 325 Portraits of Czarina of Russia and Her Daughters 3i 326 Christ and the Rich Young Ruler 327 Portrait of a Man (Devonshire) Carbon -prints. — Although Carbon prints (autotypes) are printed from glass negatives (by contact), they are based on a totally different principle, viz., instead of producing the picture by different degrees of oxidation, a special colour (pigment) is introduced into a " sensitive 55 gelatine film, which retains the pigment through chemical action in the deepest shadows, releasing it by degrees until in the highest light it almost disappears completely. This colour (carbon-pigment) not being produced by the chemical influ- ence of sunlight is therefore totally free and independent of the same, and cannot fade. It follows that not only can different colours be introduced at will, such as a red, brown, black, blue, or green, but employing the colour most suitable to the subject a much better result can be obtained. Thus whilst a warm brown generally renders a "Rembrandt 55 to perfection, a "Velasquez 55 looks best in black " or a cool green, 5 ' and any print will look well in a neutral sepia tint. Carbon prints are consequently most suitable for Wall decoration. 328 Burns (Sansongravure) By R. Sanson. 329 Portrait of Nelson Lent by Messrs, Franz Hanfstaengl. F ac simile- Aquarell (Colour Engraving). Based on the principle of the old English colour-prints, substituting only a photogravure plate for the hand- engraved plate, these colour-engravings resemble the originals far more closely than any other kind of repro- ductions. Instead of " inking 55 the plate with one colour as is done in the case of photogravures, the printer has to ink the plate with all the colours and shades of the original, a procedure which entails a great deal of labour, and the success of which entirely depends on the skill of the printer. Or to put it into the words of the Westminster Gazette (Oct. 18, 1905) about the ' Nelson Jubilee Portrait, 5 — " it is virtually a water-colour copy of the original, . . , 55 Permanent -print. — The process which imitates the Carbon prints is only employed in the cheap 1/- series of Old Masters, as being particularly suited to the needs of tourists and collectors of Old Master photos. It is perfectly permanent and true, only lacking somewhat the soft trans- parency of the real Carbons. 330 Duke of Atri (Titian) Lent by Messrs. Franz Hanfstaengl. 331 Nelson Column Lent by Messrs. R. & J. Beck, Limited. Taken with a No. 5 Beck-Stenheil Orthastigmat Lens, 7^ in. focus, F 6.3, and on account of the dis- tance at which this was taken, the detail is lost, and in fact, the picture is insignificant. 3 2 33 2 The " Enterprise " Steam Omnibus (Sanson- gravure, coloured) By R. Sanson. The Sanson process succeeds admirably in combin- ing depth and quality in the shadows with delicacy in the high lights. 333 The Hoppner Children (Sansongravure) By R. Sanson. 334 The Solo By W. Crooke. 335 Reproduction, "Views in Islington " By O. C. Quekett. 336 Reproductions of French Engraved Portraits, 17 th and 1 8th centuries By 6. C. Quekett. These photographs are taken on process plates direct from the engravings, and printed on " Gas- light Velox 55 paper. 337 "Miss C." By W. Crooke. 338 The "Enterprise" Steam Omnibus (Sanson- gravure Process) By R. Sanson. 339 Gentleman Goffer (Sansongravure) By R. Sanson. 340 St. Patrick's Cathedral, New York Lent by Messrs. C. P. Goerz. 341 Reproduction by the Hentschel - Colourtype Process Lent by Messrs. Carl Hentschel, Limited. 342 Frederick the Great at Sanssouci (Meusel) (Photogravure) Nos. 342-48 are lent by The Berlin Photographis Company. 343 Facsimile, Queen Luise (Grassi) 344 Facsimile, Queen Luise (Richter) 345 Photogravure, " Her Mother's Voice " (Japan- proof — Orchardson) 346 Facsimile, Aurora (Reni) 347 Facsimile, "Art wins the Heart " (after Thumann) 348 Facsimile, " Art wins the Heart " (after Thumann) 33 349 Reproduction by the Hentschel - Colourtype Process Lent by Messrs. Carl Hentschel, Limited. 350 Reproduction by the Hentschel - Colourtype Process Lent by Messrs. Carl Hentschel, Limited. 351 The Bath of Psyche (after the painting by Lord Leighton) Lent by The Art Reproduction Company, Limited. 352 All Hands to the Pumps (Tuke, R.A.) Lent by Messrs. Fra.iz Hanfstaengl. 353 Photogravure Engraving, " The Meeting of Burns and Scott ?? (from the painting by C. M. Hardie, A.R.S.A.) Lent by The Swan Electric Engraving Company. The example of " Swan's Photogravure " con- tributed by the Swan Electric Engraving Company is specially interesting on account of the process by which it is engraved having been the first practical method of intaglio engraving commercially worked in this country ; this method, still in use by the Company, is the outcome of Sir Joseph Swan's inven- tion of the Carbon process in 1864, whereby a nega- tive carbon print developed on a copper plate is used as the 6 resist 9 through which the mordant bites into the metal automatically, more or less deeply, in accordance with the relative thicknesses of the carbon print. 354 The Triumph of David (Photogravure from the picture by Francesco Pesellino) Lent by The Art for Schools Association. 355 Study for; " Behind the Scenes " Nos. 355-60 are lent by The Ozotype Company. Ozotype is ar improved method of Carbon printing. It has a visible image during exposure, no safe edge is necessary, and the results are unreserved as regards right and left. The finished picture consists of artists' colours in insoluble gelatine, and they are therefore absolutely permanent and unchangeable. 356 The Morning's Milk 357 Good Morning ! 358 Dorothy 359 Shirley Poppies 360 May 361 A Devonshire Glen Lent by The Photochrom Company, Limited. 34 2 Reproduction by the Hentschel - Colourtype Process Lent by Messrs. Carl Hentschel, Limited. 3 Heliochrome Reproductions from Miniatures by R. Conway, R.A., and others Lent by Messrs Ede, Allam & Townsend, Limited. \ Heliochrome Reproductions from coloured en- gravings after Morland, Leech and others Lent by Messrs Ede, Allam & Townsend, Limited. 5 Heliochrome Reproductions of Porcelain, etc. Lent by Messrs Ede, Allam & Townsend, Limited. 6 Twelve Prints byPrize Winners in the 1 Ilford ' Competition, 1904-5 Lent by Messrs. Ilford, Limited. 7 Highlanders (after the picture by Douglas Cameron Cameron) Lent by The Art Reproduction Company, Limited. 8 Reproductions of Water-colour Drawings by Turner Lent by Messrs. Andre & Sleigh, Limited. 9 Reproductions of Water-colour Drawings Lent by Messrs. Andre" & Sleigh, Limited. o Reproduction of French Porcelaine in the Wallace Collection Lent by Messrs. Andre & Sleigh, Limited. 71 Reproductions in Facsimile of Illuminated MSS. in the British Museum Lent by Messrs. W. Griggs & Sons, Limited. 72 Reproduction from Carpets in the Jaipur Palaces Lent by Messrs. W. Griggs & Sons, Limited. 73 Ruth (after H. Ryland) Lent by The Victoria and Albert Museum. 74 Reproductions in Facsimile of Illustrated MSS. in the British Museum Lent by Messrs. W. Griggs & Sons, Limited. 75 Reproductions in Facsimile of Illustrated MSS. in the British Museum Lent by Messrs. W. Griggs & Sons, Limited. 76 Reproduction from Carpets in the Jaipur Palaces Lent by Messrs. W. Griggs & Sons, Limited. 35 377 L'Enfance de Sainte Genevieve {after P. Purvis de Chavannes) Lent by The Victoria and Albert Museum. 378 Reproduction from Carpets in the Jaipur Palaces Lent by Messrs. W. Griggs & Sons, Limited. 379 Mother and Child {after J. D. Batten) Lent by The Victoria and Albert Museum. 380 Reproductions of Sixteen Paintings from Mrs. Allingham's "Happy England/' by the Hentschel-Colourtype Process Lent by Messrs. Carl Hentschel, Limited. 381 Reproduction of Painting by Jacob Maris, "The Mill" Lent by Messrs. Joh. Enschede en Zonen. 382 Reproduction of Painting by De Hoogh Lent by Messrs. Joh. Enschede en Zonen. 383 Reproduction of Painting by Geo. Poggenbeek, " Spring " Lent by Messrs. Joh. Enschede" en Zonen. 384 Reproductions of Thirty-two Paintings, from Mrs. Allingham's " Happy England," by the Hentschel Colourtype Process Lent by Messrs. Carl Hentschel, Limited. 385 Examples of Water-colour Drawings Lent by Messrs. Andre & Sleigh, Limited. 386 Examples of Floral Subjects by the Three- colour Process ' Lent by Messrs. Andre & Sleigh, Limited. 387 Reproductions of Sixteen Paintings, from Mrs. Allingham's "Happy England," by the Hentschel-Colourtype Process Lent by Messrs. Carl Hentschel, Limited. 388 Reproduction of Painting by Nicholas Maes, "An Old Woman" Lent by Messrs. Joh. Enschede en Zonen. 389 Reproduction of Painting by Josef Israels, "Going Home" Lent by Messrs. Joh. Enschede en Zonen. 390 Reproductions in Facsimile of Illuminated MSS. in the British Museum Nos. 390 to 395 are lent by Messrs. W. Griggs and Sons, Limited. 391 Reproduction from Carpets in the Jaipur Palaces 3« 39 2 Reproductions in Facsimile of Illuminated MSS. in the British Museum 393 Reproduction from Carpets in the Jaipur Palaces 394 Reproductions in Facsimile of Illuminated MSS. in the British Museum 395 Reproduction from Carpets in the Jaipur Palaces 396 Water-lilies By Ernest Marriage. 397 Portrait of Madame Blanchard (after Sir Joshua Reynolds) Lent by The Victoria and Albert Museum. 398 Portrait of Mr. Mark Currie Lent by The Victoria and Albert Museum. 399 Portrait of the Artist, Sir Joshua Reynolds Lent by The Victoria and Albert Museum. SCREEN 1. 400 A Training Ship Nos. 400-417 are lent by Messrs. Kodak, Limited. 401 On Board the Royal Yacht 402 Stormy 403 The Children of the Prince and Princess of Wales — Sandringham 404 Off the Isle of Arran 405 A Dutch Wherry 406 A Royal Fishing Party 407 Changing Guard — Windsor 408 A Royal Salute 409 Sunset from Royal Yacht 410 The Funeral of the Duke of Cambridge passing Buckingham Palace 411 Heaving the Lead 412 Off the Coast of Scotland 413 H.M. The King and Lord Suffielfl— In the Grounds of Marlborough House 414 A Mackerel Sky 415 Visiters to the Royal Yacht 37 416 Potsdam 417 Haarlem 418 Series of Photographs illustrating Scenes of the Russo-Japanese War Lent by Messrs. Underwood & Underwood. 419 Selected Examples of American work from the Summer Number of The Studio — " Art in Photography " Lent by C. Holme, Esq. (Editor of The Studio). 420 Selected Examples of European work from the Summer Number of The Studio — " Art in Photography " Lent by C. Holme, Esq. (Editor of The Studio). SCREEN 2. 421 A Micro- Photo of Section of Human Nerve By A. E. Smith. Photographs taken through the microscope and camera. These are photographs of very small things immensely magnified on to large photographic plates, and are taken with a lens of very short focus, so short that sometimes only one-twelfth of an inch is used. The Jaws of Spider (No 423) are flattened out between two thin pieces of glaps and rendered transparent ; the light goes right through the subject, and the image is thrown on to a large photographic plate in the same way that a lantern picture is thrown on to a screen. If this photo- graph of spider were divided into 84 parts across we should get the size of the original spider's jaws. The Section of Human Nerve was done in the same way, only that this is magnified 200 times across. The Eggs of Moth (45 diameters) and Polycistina — little shells from bottom of sea — (40 diameters) being opaque subjects, have to be photographed by reflected light, en- larged with a little lens of less than one inch focus, which has to be placed very close to the original subject. These little shells, before magnifying, measure only three six- teenths across the whole group. Note the specially fine work on some of them. (See 423, 428,431). c 422 A Winter's Mori By F. G. Emler. 423 A Micro-Photo of the Jaws of the Bush Spider By A. E. Smith. 424 Tele-Photograph of St. Alban's Abbey By A. E. Smith. St. Albans Abbey was taken from the top of a hill fully a mile distant ! The top of St. Paul's was taken from a 38 distance of 2,000 feet through London atmosphere. There are only three or four days m a whole year when the air of London is sufficiently clear for this to be done. 425 Twenty-four Photo-micrographs illustrating the Reproductive Organs of the Thallophyta Archignuatae and Phansrogamae By F. Martin Duncan. 426 Fireworks — Henley Regatta, 1905 By J. B. Hilditch. 427 A Tele-photograph of the Dome of St. Paul's Cathedral By A. E. Smith. These photographs are taken with a telefhoto lens, that is, a lens like a telescope or operaglass, which will magnify a distant object large, without going close to it. These are taken direct and not enlarged afterwards. The small photographs show the size of the picture by using the ordinary lens, and the large ones that when the tele- scopic part of the lens is added. 428 Micro-photograph of Polycistina, from the Bar badoes By A. E. Smith. 429 Photographic Record of Half-a-Century in the Age of an Oak Tree By J. B. Hilditch. 430 Flower of the Double Plum By H. T. Malby, F.R.P.S. 431 A Micro-photograph of Eggs of the Cabbage Butterfly By A. E. Smith. 432 A Story of Two Worlds By Oliver G. Pike. 433 Gannet, or Solan Goose By Richard and Cherry Kearton. 434 Young Cormorant — " Any more ? " By Frank J. Martin. 435 Lesser Black Backed Gull — " I am King of the Castle By Frank J. Martin. 436 Squirrel By Richard and Cherry Kearton. 437 Young Long-eared Owls By Richard and Cherry Kearton. 438 Young Cormorant — "Who said fish?" By Frank J. Martin. 39 SCREEN 3. 439 A Dutch Maiden By C. Ains worth Mitchell. 440 A Dutch Canal By W. A. J. Hensler. 441 Cooking Sunday's Dinner — A Scene in Spital • fields By Horace Warner. 442 Studies in Spitalfields By Horace Warner. 443 Our Neighbours in Spitalfields By Horace Warner. 444 Monte Rosa, from the Italian side By Harold M. Warner. 445 The Lace Makers of Palestrina By Horace Warner. 446 Towing the Barge By W. A. J. Hensler. 447 Woodland Graces By Oscar Hardee. 448 The Parasol By Ernest Marriage. 449 Dordrecht (by the late Malcolm W. Allen) By Horace Warner. 450 The Little Italian Snail-gatherer By Horace Warner. 451 The Streamlet By A. H. Blake, M.A. 452 The General Lent by Frank Emanuel, Esq. 453 Stonehenge By William Rawlings. 454 Morn By Geo. R. Henderson. 455 In the Winter of Life By Werner J. Palmer. ^56 Evening on the Avon By B. H. Bedell. 457 Andante Piacevole By Harry Wild. 40 458 Lucifer as a Monk By B. H. Bedell. 459 Sultry By Walter Selfe. 460 In a Kentish Hop Garden By Walter Selfe. 461 Mending a Torn Net By W. Thomas. 462 In the Pool By Walter Selfe. 463 Study of a Head By Oscar Hardee. 464 Whit worth Wallis, Esq. By Miss Marian Silverston. 465 The Promise of May By Miss Marian Silverston. 465A Portrait of Alfred Stieglitz By Heinrich Kuhn. Lent by J. Craig Annan, Esq. 466 Life's Evening By Frank E. Huson. SCREEN 4. 467 Desert Life around Biskra (Series of 6) By Horace Warner. 468 Series of 18 Dutch subjects By George Gilligan. 469 At Arenig By Basil Schon. 470 In Squally Weather By Basil Schon. 471 Nine frames of Photographs on Barnet Plates and Paper Lent by Messrs. Elliott & Sons, Limited. SCREEN 5. 472 Portrait Study in Sunlight By T. W. Pallet. 473 Ground Swell after the Great Storm at Hast- ings, Sept. 10- 1 1, 1903 By H. T. Malby, F.R.P.S. 474 By the Bridge at Evening By Reginald Malby. 4i 475 A Break in the Clouds By E. C. Winney. 476 A Rough Sea By F. G. Emler. 477 On the Banks of the Severn (toned bromide) By Reginald Malby. 478 Daffodils—" Emperor 5 ' By H. T. Malby, F.R.P.S. 479 Off Greenwich By E. C. Winney. 480 Little Grandmamma (carbon) By Reginald Malby. 481 Altar Tomb — Cobham By W. L. Wastell, F.R.P.S. 482 A Portrait By E. H. Carpenter. 483 Seven frames of Reproductions of Pictures (by the Hentschel-Colourtype Process) Lent by Messrs. Carl Hentschel, Limited. SCREEN 6. 484 Original Water-colour Drawing by J. H. Bacon, A.R.A., and five proofs and three plates showing Process of Reproduction Lent by The Proprietors of The Graf hie. 485 Twenty-four Photographs by Sir Benjamin Stone, M.P. Lent by Messrs. Cassell & Company, Limited. In Centre of Gallery, A Stand for display of Photographic Trans- parencies by the Photolinol Process. Lent by Photolinol, Limited. SMALL ROOM. e 485A Mont Pelee in Eruption By Tempest Anderson, M.D. 486 Wallitu Plantation, St. Vincent — Rain furrows in volcanic sand By Tempest Anderson, M.D. 487 Wallitu River, St. Vincent, 1902 — Beds of hot ashes By Tempest Anderson, M.D. 42 488 Reproductions from Illustrations Lent by The Victoria and Albert Museum. 489 A Breton Street By Ernest E. Hughes 490 The Invalid By Herbert Ball. 491 The Last Rest By Arthur Marshall. 492 "I am sick of all that dust has shown me " (from Byron's " Cain — A Mystery ") By David Blount. 493 A Breton Market Place By Ernest E. Hughes 494 " Summer, as rich in shadows as in suns, Spreads her thick foliage thicker every day " By Wm. A. Clark. 495 The Needle-worked Picture — Costume Study By David Blount. 496 Across the Common By S. C. Stean. 497 At Varenna By Harry Wild. 498 A Fairy Tale By David Blount. 499 The Serpentine Bridge By J. C. Warburg. 500 Cannon Street by Night By C. Ainsworth Mitchell. 501 Reverie By Viscount Maitland. 502 An Autumn Day By S. C. Stean. 503 The Marble Arch By Miss Agnes B. Warburg. 504 York Minster — South Transept to Nave By Frederick H. Evans. 505 A Sea of Steps — Wells Cathedral By Frederick H. Evans. 506 Chapter House to Vestibule, at Sunset — York Minster By Frederick H. Evans. 507 A Gleam of Sunlight — York Minster By Frederick H. Evans. 43 508 Ely Cathedral — Nave Aisle to Choir By Frederick H. Evans. 509 York Minster — Across the Retro Choir By Frederick H. Evans. 510 York Minster — Into the North Transept By Frederick H. Evans. 511 The Noah's Ark By Miss Agnes B. Warburg. 512 An Essex Riverside By William Rawlings. 513 " Art is long— Life is short " By W. A. J. Hensler. 514 The Fish Girl — Rotterdam By William Rawlings. 5 J 5 In Morning iLght By S. C. Stean. 516 A Lonely Road By Basil Schon. 517 Essex Marshes By William Rawlings. 518 Maxwell Armfield, Esq. By Miss Marian Silverston. 519 Portrait By R. Duhrkoop. 520 At the Well By Sidney J. Chesterton. , 521 " Irish " By J. Cruwys Richards. 522 St. Paul's by Night By C. Ainsworth Mitchell. 523 Reflections By W. A. J. Hensler. 524 Portrait By R. Duhrkoop. 525 " Chill, Dank and Grey " By Hector Maclean, F.R.P.S. 526 Sisters By R. Duhrkoop. 527 A Portrait Sketch By J. Page Croft. 528 The Water Cart By Ernest Marriage. 529 Portrait of Gustav Frenssen By R. Duhrkoop. 44 530 A Corner of the Forum By Frank Roy Fraprie. 531 Portrait of an Old Lady By R. Duhrkoop. 532 The Southern Climes By J. Page Croft. 533 Kingsway By Alvin Langdon Coburn. 534 Mending the Nets By Frank E. Huson. 535 London Bridge By Alvin Langdon Coburn. 536 Sea and Sky By Charles H. L. Emanuel. 537 Winter Work By Charles F. Grindrod. 538 The Thames By Alvin Langdon Coburn. 539 " When even was come 79 By Frank E. Huson. 540 Portrait of Bernard Partridge, Esq. By Alvin Langdon Coburn. 541 Breakfast By Dr. E. G. BOON. 542 A Passing Gleam By Frank E. Huson. 543 Portrait of G. Bernard Shaw, Esq. By Alv t n Langdon Coburn. 544 A Landscape By Dr. E. G. BOON. 545 Portrait By Alvxn Langdon Coburn. 546 The Blot By Dr. E. G. BOON. 547 Williamsburg Bridge, New York By Alvin Langdon Coburn. 548 O'er London's River By Frank E. Huson. 549 The Docks, Boston By Alvin Langdon Coburn. 550 The Fruit Boy By William A. Stewart. 45 551 Smoke and Fog By Charles F. Grindrod. 552 South wark Bridge By Alvin Langdon Coburn. 553 Seawards By Frank E. Huson. 554 Portrait of a Collector By Dr. Otto Rosenheim. 555 Little Red Ridinghood By S. Vacher. 556 The Sisters By Miss Marian Silverston. 557 Freeman's Wharf, Grosvenor Road By E. Calland. 558 My Little Lot By S. Vacher. 559 The Brimming River By Frank Roy Fraprie. 560 The Trust of the Innocent By S. Vacher. 561 November By P. Bale Rider. 562 A Bit of Old Chester By Harry Wild. 563 Belle Bretonne By Archibald Cochrane. 564 The House in the Marsh By J. C. Warburg. 565 " To the sand The little billows come sparkling on By Frank E. Huson. 566 The Deserted Convent By Walter J. Clutterbuck. 567 Pansy Faces By Mrs. G. A. Barton 568 Disdain By J. Page Croft. 569 A November Sunset By Harry Wild. 570 A Japanese Doll By Mrs. G. A. Barton. 571 Low Tide By J. C. S. Mummery, 4 6 57 2 Hollyhocks By Mrs. G. A. Barton 573 Tribulation By J. Page Croft. 574 A Lea Malting By J. C. S. Mummery. 575 Portrait of Mrs. Cruwys-Richards By J. Cruwys Richards. 576 Traumerei By J. C. Warburg. 577 Madame Sadi Yacko By F. Holland Day. Lent by J. Craig Annan, Esq. 578 Armageddon By F. Holland Day. Lent by J. Craig Annan, Esq. 579 Evening on the Fjords By Sidney J. Chesterton. 580 Hide and Seek By J. C. Warburg. 581 Adeline By J. Cruwys Richards. 582 Mead and Stream By William Rawlings. 583 A Profile By William A. Stewart. 584 Evening — Castle Hill, Edinburgh By Harry Wild. 585 Scawf ell — Evening By Basil Schon. 586 A Tyrolese By Heinrich Kuhn. Lent by J. Craig Annan, Esq. 587 Near Amberley By J. C. S. Mummery. 588 Yamah By William A. Stewart. 589 Modern Athens By Harry Wild. 590 An Abode of Ancient Peace By Wm. A. Clark. 591 Boy By Miss Marian Silverston. 47 59* Grannie's Stocking By Archibald Cochrane. 593 The Rising Moon, at Sunset By David Blount. 594 A Flood of Light By Wm. A. Clark. 595 Irene By Miss Marian Silverston. 596 Winter By Walter Selfe. 597 A Wayside Pool By Frank C. Huson. 598 The Tiller By J. Alister Heir. 599 Fragility and Strength By W. A. J. Hensler. 600 In the Narthex, Vezelay By Ernest Marriage. 601 Royal Chestnut By E. O. Hoppe. 602 Head of a Young Girl By Ernest Marriage. 603 Portrait of R. V. Horton Lent by C. P. Small, Eiq. 604 Portrait of C. Yandell Lent by C. P. Small, Esq 605 A Scene in Purcell's " Acis and Galatea " Lent by C. P. Small, Esq. 606 Portrait of Dr. Richard Garnett Lent by C. P. Small, Esq. 607 Memento Mori By E. O. Hoppe. 608 The Burden of Age By E. O. Hoppe. (By kind permission of the Thornton-Pickard Manu- facturing Co., by whom the picture was awarded a prize.) 609 Portrait of J. Keir Hardie, Esq., M.P. Lent by Furley Lewis, Esq. 610 Mignon By E. O. Hoppe. 61 1 The Old Bowling Green By A. H. Blake, M.A. 4 8 6 12 Wintry Work By A. H. Blake, M.A. 613 The Heavy Load By Charles H. L. Emanuel. 614 Coaling at Ghent By Charles H. L. Emanuel. 615 Peccavi Lent by J. Harold Liebrich, Esq. SCREEN 7. 616 Short-eared Owl By R. B. Lodge. 617 Littlebury By A. H. Blake, M.A. 618 Puffins By R. B. Lodge. 619 Long-eared Owl By R. B. Lodge. 620 The Gardener By E. T. Holding. 621 Dressing Up By E. T. Holding. 622 Rose By E. T. Holding. 623 Young Barn Owl By R. B. Lodge. 624 Little Grebe on Floating Nest By R. B. Lodge. 625 The Music Lesson By E. T. Holding. 626 The Bar-tailed Godwit By R. B. Lodge. 627 T. Millie Dow, Painter By C. P. Small. 628 Feldarbeit in Gebirge By Heinrich Kuhn. 629 Portrait of H. Jevons, Esq. By C. P. Small. 630 A Rural Waterway By Hector Maclean, F.R.P.S. 631 Portrait of H. F, A. Voysey, Esq. By C. P. Small. 632 Portrait of Stephen Coleridge, Esq., K.C. By C. P. Small. 49 633 Portrait of Dr* Savage By C. P. Small. 634 Suder Dime By Heinrich Kuhn. Lent by J. Craig Annan, Esq. 635 Portrait of C. K. Chesterton, Esq. By C. P. Small. STAIRCASE. 636 Specimens of Indoor Photography Lent by The Art Reproduction Company, Limited. 637 Specimens of Half-tone and Line Processes Lent by The Art Reproduction Company, Limited. The reproductions here exhibited are produced by photo- mechanical processes, viz.. Line, Half-tone, Three-colour, and Photogravure. The Half-tone process is perhaps the best known, and includes the several stages as follows : — 1. The making of the negative. 2. The printing of the negative on the metal plate. 3. The etching of the plate. 4. The finishing off and mounting. The negative made for this process differs from the ordinary photographic negative. It requires an image on the plate, made up of a series of minute dots, which are obtained by placing a ruled screen a short distance in front of the plate during the exposure. The screen commonly used in this process has rulings in two directions ; one set of lines crossing the other at right angles, producing a network of the opaque lines. The action of the light in passing through the clear spaces, acts so upon the film of the plate that when it is developed the gradations of the original will be translated on to the plate in dots of varying sizes; the tones varying from the full tones, i.e., black and white, are rendered according to their value on the original. Hence the name of " Half-tone. 5 ' The next stage is the printing of the screen negative on to the metal plate. A polished plate is coated with a solution of fish glue sensitised with bichromate, and dried by heating. This sensitised plate is placed in contact with the screen negative in a printing frame and c exposed to the light. After the exposure, the plate is developed in cold water, and the image rendered visible by immersing the plate in an aniline dye. It is then heated until the resist forms an enamel on the surface. It is now ready for the next operation — the etching. The plate is placed in a strong solution of perchloride of iron, and etched to a sufficient depth for letterpress printing, the dots now standing out in relief. It is then fine etched, if necessary, coirecting any small errors in the negative. The final stages are the trimming of the plate and mount- ing it type-high on to a block of wood ready for the printing prtss. 5° A comparison of the catalogues of drapers and other commercial houses of a few years ago, with those of the present day, reveals a considerable difference in the num- ber and quality of the illustrations. In the former you will find only a few cuts, engraved simply in black and white lines, often in an indifferent manner ; while in the present-day catalogue you will find illustrations of a most artistic character abounding on almost every page, attract- ing universal attention. The majority of these engravings are produced by the process described above, in both black and colour, and this method of illustrating the commercial catalogue is now universally used. The daily newspapers, monthly magazines, and even the small local papers, are profusely illustrated by this method, it being the most suitable process of reproduction. 638 Interior of Lloyd's Registry Offices Lent by The Art Reproduction Company, Limited. 639 Exterior of Lloyd's Registry Offices Lent by The Art Reproduction Company, Limited. 640 Studies from Nature Lent by The Victoria and Albert Museum. 641 Reproductions from Illustrations Lent by The Victoria and Albert Museum. 642 Reproductions from Illustrations Lent by The Victoria and Albert Museum. 643 Reproductions from Illustrations Lent by The Victoria and Albert Museum. 644 Absorptions of Dyes, used in making Colour- filters Lent by The London County Council School of Photo-Engraving and Lithography. 645 Frame of " Oilette 79 Post Cards (reproduced from original oil paintings) Lent by Messrs. Raphael Tuck & Sons, Limited. 646 Frame of " Photochrome " Post Cards Lent by Messrs. Raphael Tuck & Sons, Limited. 647 Frame of "Oilette" Post Cards (reproduced from original oil paintings) Lent by Messrs. Raphael Tuck & Sons, Limited. 648 Spectrum Tests of Orthochromatic Plates Lent by The London County Council School of Photo-Engraving and Lithography. 649 Workmen's Homes in Canada Lent by J. Hall Richardson, Esq. 650 Workmen's Homes in Canada Lent by J. Hall Richardson, Esq. 5i UPPER GALLERY. THE ST. LOUIS EXHIBITION PICTORIAL PHOTOGRAPHS. The Photographs here shown constitute the Collection which represented the Pictorial Photography of Great Britain in the recent Louisiana Purchase Centenary Exhi- bition. The pictures were in the first place obtained by special invitation of the Royal Commission, and may be regarded as the most representative collection of modern British Pictorial Photography ever brought together. As far as the exigencies of the space and decorative effect have permitted, the works of each photographer have been hung together in a distinct group, by which means the style and methods of each executant may be studied. The chief idea of the presentation of the St. Louis pictures here has been to give the London public an opportunity of seeing the works by which the photography of Great Britain was represented in the recent International World's Fair before they are finally dispersed. By John Henry Anderson. I Un a lidal Kivei So Ifinor T-lprn nrrc OdiLUlg X1CI IlIlL' S By J. Craig Annan. 3 The Etching Printer (William Strang) 4 Janet Burnet 5 A Lombardy Ploughing Team 6 Sir James Guthrie 7 Portrait of Dr. Young 8 The Dark Mountains 9 Little Princess IO Portrait of W. Q. Orchardson ii On a Dutch Shore 12 Phyllis and Prue 13 A Courtyard In a Garden Fair By W. Smedley Ashton, F.R.P.S. i5 The Forbidden Chamber 16 Marguerite J 7 The Farmstead 52 By Ernest R. Ashton. 1 8 A Cairene Cafe 19 In Eastern Lands 20 A Nile Landing 21 A Play of Sunlight (Lucknow) 22 In the Home of the Grand Mogul By Harold Baker. 23 A Darkened Roof 24 A Portrait of Miss Lily Hanbury By Mrs. G. A. Barton. 25 The Awakening 26 "Ave Maria' 9 27 A Country Girl 28 A Breton Boy 29 Alma Mater By Walter Bennington. 30 Evening in a Buckwheat Field 31 Fleet Street from a Roof 32 The Windmill — Morning 33 The Church of England 34 Among the Housetops 35 The Oyster Women. Cancale By David Blount. 36 The Lady of Shalott 37 The End of March 38 The Crinoline 39 Sea Murmurs 40 The City of Durham. 41 The Shades of Night By Arthur Burchett. 42 La Belle Bretonne 43 Knight in Armour 53 By Mrs. Carine Cadby. 44 Shirley Poppies 45 Daffodils 46 Nasturtium Leaves 47 Nasturtiums 48 Grasses 49 Dock By Will Cadby. 50 A Small Boy 51 Mary 52 Aglala 53 Portrait 54 Head Study (Winter) 55 A Camera Sketch 56 A Snow Track By Reginald Craigie. 57 Viola 58 Arthur Burchett, Painter 59 Mr. Camper Wright 60 Hermann Vezin 61 Court of Directors of the Bank of England, 1903 62 Lowestoft Harbour 63 A White Silk Dress 64 A Study in Tones By Archibald Cochrane. 65 The Quarry Team 66 The Night Summons 67 Trace Horses By J. Croisdale Coultas. 68 The River Aire at Leeds By Eustace Calland. 69 Croquet 70 In the Row 71 The Mall 54 By T. G. Crump. 72 Sea Treasures By Henry E. Davis (the late). 73 The Hay Wain 74 The Summer Moonlight 75 The Letcombe Valley 76 The Moat in Sunlight 77 A Disciple of Vaub n By George Davison. 78 Sand Hills 79 On Lake Maggiore 80 The Market Place, Aix-les-Bains 81 Meadows at Molesey 82 The Fish Market 83 The Onion Field 84 On la Chambotle, Aix-les-Bains 85 A Sussex Village Street 86 Saltings 87 Newhaven Harbour 88 Conway Castle 89 The Long Arm By Charles H. L. Emanuel. 90 A Study in Sails 91 The House on the Wall 92 The Terrace, Richmond 93 Concarneau Harbour 94 Where the Sea Encroaches 95 Rouen By Frederick H. Evans. 96 Portrait of G. Bernard Shaw 97 A Grotesque from Ely Cathedral 98 Portrait of Aubrey Beardsley 99 " In sure and certain hope," York Minster 100 Portrait of F. Holland Day 101 Stairs to Chapter House, Wells Cathedral 55 By John H. Gash. 1 02 The Rivetters 103 Summer Shades By Karl Greger. 104 Suffolk Marches 105 On the Coast of Northumbria 106 Homeward Bound By W. T. Greatbatch. J 07 Woodland Mists 108 The High Town, Bridgnorth 109 The Orchard By J. M. C. Grove. 1 10 Snowstorm in the Mountain in The Hailstorm 112 Mist, Sunshine and Frost 113 The Miller's Cottage 114 " The moon rose o'er the city " By Charles F. GrindrocL 115 Hauling Timber 116 The Village Cobbler 117 Cutting Oats 118 A Village Scholar 119 Carting Kelp in Guernsey 120 Wood Cutters 121 Edward Elgar, Mus.Doc. By Harold Holcroft. 122 Wild Weather, Cannock Chase By E. T. Holding. 123 Dr. Elgar 124 An Early Victorian Girl By Frederick Hollyer. 125 G. F. Watts, R.A. 126 Walter Crane 127 Sir E. Burne-Jon*,? 128 John Ruskin 56 129 Harold Baur 130 William Morris 131 Gleeson White By Furley Lewis. 132 Un Maitre d'Armes (Portrait de Monsieur Felix Grave) By Charles Job. 133 On the Arun 134 Evening Calm 135 Evening — Clearing After Rain 136 Sheep and Lambs — A Dusty Road By F. J. Mortimer, F.R.P.S. 137 A Wind Sea By A. Horsley Hinton. 138 Recessional 139 To the Hills 140 Abeles 141 Under the Willows 142 Sylvan Solitudes 143 Fleeting and Far 144 Silent Glades 145 March Flowers 146 Rain from the Hills 147 Weeds and Rushes 148 Summer's Dawn 149 Beyond By Alex Keighley. 150 The Moving Flock 151 The White Wall 152 Through the Olive Grove 153 A Breton Fisher Lad 1 54 Peace 155 Potato Field 156 Grace Before Meat 57 157 158 J 59 Evening The Sheep Fold Ploughing in Brittany By The Viscount Maitland, 160 At Litlington, Sussex By Ernest Marriage, F.R.P.S. 161 Barges on the Lea 162 Oh, Hey, for Somebody ! 163 The Viaduct 166 His Majesty King Edward VII 167 Victoria Regis 168 The Lady Marjorie Manners 169 A Storm at Sea 170 In Fine Frenzy 171 In the Height of the Storm 172 A Wind Sea 173 The Sea Shore 174 A Forest Road 175 The Harbour 176 Dalmeny Woods 177 " Now nearly fled was sunset's light " 178 In Surrey Woods By Hector E. Murchison. 179 " Tongues in trees, books in the running brooks " 180 By the Quay 164 165 By Bernard Moore. Back from the Fishing An Old Market Place By Baron de Meyer. By F. J. Mortimer, F.R.P.S. By Charles Moss. 58 By William Rawlings. 181 The Voorstraathaven-dort 182 On the Suffolk Marshes By J. Cruwys Richards. 183 Darawa 184 Briar Rose 185 Poppy By H. P. Robinson (the late 186 Morning Mist 187 Storm Clearing Off 188 Carolling By Ralph W. Robinson. 189 Studies of a girl's head 190 ? Twixt Land and Sea 191 The Golden Close of Evening 192 In an Old Window 193 Twitch Burning By Frank M. Sutcliffe. 194 Fisherman's Daughter 195 Whitby Harbour, Early Morning 196 James Russel Lowell By W. Thomas, F.R.P.S. 197 A Summer Evening 198 Windless 199 In a Kentish Birch Wood 200 Clearing Weeds 2Ci A Skye Terrier By Ward Muir. 202 Sunshine After Rain 203 The Shadow on the Snow 204 In a Southern Courtyard 59 By Miss Agnes B. Warburg. 205 Quayside, Gothenburg 206 " Three fishers went sailing out into the west " By J. C. Warburg. 207 The Shadow of the Cliffs 208 On Halcyon Seas 209 The Park Pailings 210 Sita By J. B. B. Wellington. 211 Relics of the Past — Hampstead Heath 212 Eventide By Percy G. R. Wright. 213 " These Yellow Sands " 214 The Hand of Time By T. Wright. 215 Winter 216 Reeds and Rushes 2 1 6a A Study in Straight Lines By G. L'Epine Smith. 2I ^L Architectural Photographs 219 [ 220 j Lent by The Victoria and Albert Museum. SLIDES. Lent by John W. Ellis, Esq., M.B., F.G.S. Mediaeval Baptismal Fonts (60) Lent by Donald H. Hutchinson, Esq., M.D. Butterflies — Sanger-Shepherd Process — (21) Lent by H. T. Malby, Esq., F.R.P.S., and R. A. Malby, Esq. Flower Studies, Studies from Bird Life, etc. (100). Lectures and Demonstrations. (LANTERN ILLUSTRATIONS). At 8 p.m. December. Saturday, 9 — " Exploration amongst the Canadian Rocky I Mountains." Professor J. NORMAN COLLIE, Ph.D., F.R.S. Monday, 11— 44 Some Quaint Old German Towns." J. J. VEZEY, Esq., F.R.M.S. Tuesday, 12— Bio-Photoscope Display. Wednesday, 13— 4 4 The Chemistry of Photography." CHARLES A. KEANE, Esq., M.Sc. (Vict.), Ph.D., Principal of the Sir John Cass Technical Institute. Thursday, 14 — Bio-Photoscope Display. Friday, 15— 44 A Talk on New Guinea Dances." Illustrated by the Bio-Photoscope. Dr. A. C. HADDON, F.R.S. Saturday, 16 — 44 A Journey to Fanatical Fez." JOHN H. AVERY, Esq., ^. Court Photographer to the Sultan of Morocco. Tuesday. 19 — Bio-Photoscope Display. Wednesday, 20 — 44 Denizens of the Deep." F. MARTIN DUNCAN, Esq. Thursday, 21— Bio-Photoscope Display. Friday, 22 — Bio-Photoscope Display. Saturday, 23— 44 A French Wonderland and the Devil's City." JAMES A. SINCLAIR, Esq., F.R.P.S. Thursday? y '28} Demonstration of Sinop Collotype Process, 6 to 9 p.m. Saturday, 30 — 44 Five Days in the Walloon Country." January. J ' WADHAM COOK, Esq. Tuesday, 2 — Lecture and Demonstration Photogravure and Colour Processes. J. M. DENT, Esq. FV?day Sday ' 1} Dem o«stration of Autotype Process, 6 to 9 p.m. Thursday, 4 — 44 Winchelsea and Rye." A BROOKER, Esq. Saturday, 6 — 44 In Birdland with a Camera." OLIVER G. PIKE, Esq. The Trustees wish to express their thanks to Mr. A. Horsley Hinton for securing for the Exhibition the loan of the British Exhibit from the St. Louis Exhibition, and hanging it in the Upper Gallery. Certain exhibits are for sale. The Director will answer enquiries as to prices. An Exhibition illustrating Georgian England — pictures, prints, costumes, furniture, etc., will be held in the Spring of 1906. Offers of loans for this Exhibi- tion will be welcomed by the Director. As these Exhibitions depend upon volun- tary contributions, visitors are earnestly asked to put a donation in any one of the boxes in the Exhibition. V Penny & Hull, Printers, 53-55 Leman Street, E.