THE ART WOOD ENGRAVING, -A. PRACTICAL HANDBOOK. THOMAS GILES. WITH NUMEROUS ILLUSTRATIONS BY THE AUTHOR. FOURTH EDITION. 3lrs probat arttficem. LONDON: WINSOR AND NEWTON, 38, RATHBONE PLACE. 4 1875. a. ..... ’ Price One Shilling. *ifrs f,f ‘ • . > < ( THE AKT OF WOOD ENGRAVING. .A. PRACTICAL HAPTDBOOK. THOMAS GILES. WITH NUMEROUS ILLUSTRATIONS BY THE AUTHOR. FOURTH EDITION. Sirs probat artificem. LONDON: WINSOR AND NEWTON, 38, RATHBONE PLACE, Manufacturing Artists’ (JColourmen bp Special appointment to 3§rt fflajestp, nnH ©l)eir ftogal ?§igf)nessea tfje prince antj princess of ®JEaIes. ILLUSTRATIONS. Section of Cut engravea. Section of Copper-plate* with impressions of each. How an un-engraved block prints, view of materials used in engraving on wood, including sand-bag, eye-glass and stand, oil stone, burnisher, dabber, ink stone. Globe, and mode of working at night. Different tools used. Graver in handle. Different sized gravers, showing how to grind points. Shade tool, mode of grinding. An engraver at work with shade on. Mode of holding the graver. Log of boxwood with sectional lines. An amalgamated and jointed block screwed up. An amalgamated and jointed block separated. Outline diagram. Outline figure subject. Flat tint Blended tint—Sky. Ball to show roundness. Basin to show concavity. Pass of Llanberris—Landscape. Airey Force—Landscape, Rocks and Water. Shaded Figure Subject. Fac-simile and Portrait. (Frontispiece). To remedy mistakes.—The Plug. INTRODUCTION. In attempting to explain the Art of Wood En¬ graving in the short space allowed by this Hand-book, the author feels a certain degree of embarrassment; he has, however, endeavoured to make diagrams take the place of long verbal descriptions, where possible; and he hopes by those diagrams, and concise descrip¬ tions, that the subject has been clearly placed before the reader. His great object has been a practical and plain statement, so suggestive in the mode of illustra¬ tion that each reader, or student, can, according to his or her requirements, fill up in detail what is wanting; and this the author maintains is the best mode of giving a lecture, or instruction upon any subject. Notwithstanding the extent to which the Art of Wood Engraving is now made use of in illustrating every kind of literature from the news of the day, to the most costly annual: it is so little practically understood, that it is by no means uncommon for even educated persons to confound wood 7 cuts with 10 INTRODUCTION. steel or copper-plates, or even lithographs—and such mistakes the simplest elementary knowledge would prevent; it is hoped, therefore, that the information conveyed in this little Hand-book may help in a small way to supersede such errors. The Art has had for many years so great an attrac¬ tion for the painter and amateur, that the author has been often requested to give private lessons in Wood Engraving, and Lectures on its History and Practice. The substance of portions of the latter he has sum¬ marized in the following pages. 11, King’s Road, Bedford Row, London, W.C. THE ART OF ENGBAVING ON WOOD. THE PROCESS OF WOOD ENGRAVING EXPLAINED. Engraving upon Wood is the process of cutting away from the surface of the wood all those parts not drawn upon by the artist: thus, (as the illustration Fig. 1 will show) while the black lines impressed by the copper-plate, Fig. 2, are engraved in the plate, the same result on wood would be effected by leaving the lines on its surface, by means of cutting away all the surrounding parts. As a consequence, an impression of each process is taken in an opposite way. In Fig. 2, the copper-plate, the black spaces of section B show where the ink is rubbed into the plate. The copper is warmed before the ink is rubbed in, then the surface of the plate is wiped and polished; paper, or card is put on, and then pressed into the inked lines. In Fig. 1, the wood-cut, the black mark of section A shows 12 THE ART OF the ink on the surface of the engraved parts, and the Fig. 1. Fig. 2. Section of Cut enslaved. Section of Plate engraved. Impression of Cut when printed. Impression of Plate when printed. impression is taken in the contrary way to the plate. The surface of the wood, or the subject engraved is inked like ordinary t} T pe, by a roller, or dabber; and thus, the surface of an unengraved block would be solid black, and this constitutes one of the greatest advantages of the Art, in the easy production of light and shade effects. The accompanying illustration of the mode of working at night, also shows the advantage to which we have incidentally referred, the easy mode by which a light and shade effect is produced. A subject may be defined, WOOD ENGRAVING. 13 Impression from the unengraved block. Block, sand-bag, and globe light, eye-glass and stand, oil stone, dabber, burnisher, &c. 14 THE ART OF or drawn by a few touches of white on a dark ground; and if necessary, the intermediate shade may be met, or relieved by a few white dots, or scratches with the graver, and thus a Rembrandt effect and picture may be produced in the shortest possible time. Several eminent modern artists (Gustave Dore for example) have produced some of their most forcible illustrations by this very simple mode. Wood engraving which attains its end by white lines on a black ground is not only most effective, but thoroughly honest in asserting its own method—relying on its own easy means of pro¬ ducing pictures. TOOLS AND MATERIALS USED IN WOOD ENGRAVING. 1 . 2 . 3. 4. 5. 6 . 7 . 8 . 9. 10 . 11 . Sandbag. Gravers. Tint tools. Scoopers. Chisels. Eye-glass and Stand. Shade for the eyes. Globe for working at night. Burnisher for taking proofs. A Turkey stone. Grind-stone. 1st. Among the necessary requirements, if not actually a tool, is a sand-bag; that is a flat leather bag filled with sand, which forms a pad to rest the block upon, and enables the engraver to turn the block easily. WOOD ENGRAVING. 15 This facility of turning the block is most important, as we shall presently see: the longer this sand-bag has been in use, the more convenient it is both to rest the block upon, and to turn it round. 2. Tools . There are four kinds of cutting tools which our illustration will show better than we can describe. Gravers. Tint Tools. Scoopers. Chisels. These several tools may, at the present day, be purchased in handles ready for use, and various in size; and they may also be slightly modified by grind¬ ing in a way to which we shall shortly refer. Graver in its handle ready for use. 16 THE ART OF The illustration, page 15, shows a graver ready for use. This tool is principally employed for outlining, or, going round each line the pencil has left, so as to keep the tints, or shaded parts clear; or for separating one part from another. It ought to be kept so fine at the point, that the line it cuts is barely seen when the block is blacked for printing, as the intention of out¬ lining is merely to make a boundary line. It will be found useful in ordinary work to have five or six of these gravers of different breadths at the point. Several of these may be purchased ready for use; when this cannot be satisfactorily done, the student may grind down the points for himself as they appear in the accompanying illustration. Six different sized Gravers. Different sized gravers are shown with the points ground down on an ordinary grind-stone, to make them broader. They must, before being used, be slightly rounded on the Turkey stone, and thus be rendered serviceable for most kinds of work. The graver must never be pressed too deeply into WOOD ENGRAVING. 17 the wood, as the width of the line cut, is very much in proportion to this pressure of touch. 3. It will be found useful to have about the same number of tint tools as gravers, and these tools may be widened according to circumstances in the same way as the gravers. Tint tools are chiefly used to cut parallel lines form¬ ing an even, or uniform tint. They are extensive in their combinations, most flat forms are worked by them, and for skies they are specially employed. Tint tool—angle at which it should be ground. These tools are thinner at the back, but deeper in the side than gravers, and the angle of the face when properly ground should be longer, to cut a good even tint. The dotted line of the above will show the angle at which it should be ground, although, if too long it becomes weak in the back. It should be sufficiently strong at the back to prevent its bending in the middle of the blade when in use ; a tool of this kind if weak cannot be guided, or kept under control, and thus much freedom of execution is lost. There is another advan¬ tage in thick tint tools, the raised lines are thicker at the bottom, and consequently more capable of sustain¬ ing the action of the press. A reference to our first 18 THE ART OF section, Fig. 1 diagram, explaining what Wood En¬ graving is, will show at a glance what we mean. 4 and 5. Scoopers and Chisels are used to clear away the larger portions of the wood not drawn upon. They are employed for that kind of work which is rougher than proper engraving, but it is quite neces¬ sary to be able to use them. 6. Eye-glass and stand. As the pupil progresses in his Art, and the drawings become complicated in their manipulation, it will be found necessary to have recourse to an eye-glass; but in the first, or earlier stages, we would especially advise him not to strain the eye by its use. The kind of magnifying glass used by engravers is the same as that long used by watch-makers, which consists of a single lens fitted into a short tube, widened towards that end which is applied to the eye. In order to avoid the many inconveniences of a strain upon the muscles of the face by continuously holding the glass in the eye so as to leave both hands at liberty, a stand like that seen in one of our illus¬ trations is convenient. It is made very cheaply, and it leaves both hands always free, the one (or left hand) to turn the block, and the other for the free use of the graver, and while objecting to the too early use of the eye-glass at all, there is one thing in which I w r ould second Mr. John Jackson in his advice con¬ cerning the eyes, and that is to use 7. A green shade over the eyes —he says. “ All wood engravers, whether their eyes be weak or not, WOOD ENGRAVING. 19 ought to wear a shade similar to that represented,” as it tends both to protect the eyes from too strong a glare, and also serves to concentrate the view on the work which the wood-engraver is at the time engaged in executing. An engraver at work, with shade on. The above illustration not only shows the way in which the shade is worn, but an engraver at his work. 8. The Globe. This is a round glass bottle, filled with coloured water, similar to those seen in chemists’ shops. c 20 THE ART OF It seems curious to say so in work in which the eyes are concerned, but the most comfortable mode of working is by night with the modern aids of gas-light and the globe. This latter is filled with clear water tinged with green, and placed under the gas, in such a manner, that the ray of light is concentrated in a small focus on that uncovered part of the drawing that the engraver is at work upon. By a proper arrange¬ ment of globes several persons can work together at one table with one light. 9, 10 and 11. Burnisher for taking impressions of blocks when engraved; inkstone to put the printing ink upon; dabber to black the block with, &c. When the block is engraved, it is necessary to take an impression, which is done by the engraver himself in the following manner. A small quantity of printing ink is rubbed upon a glass or marble slab, of which a portion is taken off on to a small dabber, and the subject engraved is dabbed till a sufficient quantity of the ink is left upon its sur¬ face. A piece of India paper about two inches larger all round than the cut is placed upon the block. A thin smooth card is then put upon that, and burnished all over first, and afterwards in detail, until a fair im¬ pression of the cut on the paper is the result. An engraver’s proof, if properly taken, is considered superior to those taken at the press; but in the present day, when nearly all pressmen understand how to “ bring up” wood-cuts, there is not the difference that formerly existed between them; and this general im- WOOD ENGRAVING. 21 provement in printing has rendered the “ lowering” of wood, (to which we shall devote a chapter), and other requirements mentioned by Jackson, almost unneces¬ sary, having in a word quite simplified the practice of engraving upon wood. A small grind-stone for taking down the rough edge of the tools, as well as a Turkey stone for finishing the point and fitting the tool for use may be said to sum up and complete the number of tools employed in the practice of the art. MODE OF SITTING AT THE TABLE AND HOLDING THE GRAVER. “ Who sets out wrong, is more than half undone”— it is therefore most important at the commencement of engraving to sit comfortably and straight at the table, and to hold the graver correctly. The block should be so placed on the table and on the sand-bag, that the pupil sit quite straight in front, and without having to stoop, (if this is not at the outset insisted upon, the seed of chest disease is immediately sown;) the block is then held, but not too tightly, with the thumb and forefinger of the left hand, while with the right hand the graver is held, the ball of the handle resting in the palm. The graver is then pressed forward with the thumb and fore-finger, the thumb resting against the side of the block (if a small one) or on the surface of a large block, and thus acting as a lever to the fingers in the graver’s motion onwards, C 2 22 THE ART OF allowing it to move forward or backward with a very slight degree of pressure, and in the case of a ten¬ dency to slip being ever ready to check the graver’s progress. Mode of holding the Graver. The accompanying illustration to show the mode of holding the tool, represents the thumb as a lever on the block. IMPORTANCE OF BEING ABLE TO DRAW. The learner is now sitting at the table holding a block, which must have the required subject drawn upon it: and here we must be permitted to say that the learner will find his advance in the Art much faci¬ litated if he can draw. Of course, at the present day, any kind of drawing may be made for the student better than he could do it for himself, but that is not the point; he that can draw, is able to understand the WOOD ENGRAVING. 23 drawing that is placed in his hands to engrave—and thus fairly interprets the artist’s meaning in his lines, while he that can merely engrave exactly a line as it is put for him, will very seldom, if at all, give the spirit of the artist’s meaning, as most drawings contain much that is suggestive. HOW TO PREPARE THE WOOD FOR DRAWING UPON. The box-wood, as polished and prepared for the en¬ graver, is too smooth to take the pencil with any effect. The preparation most in use to make it do so, is a very thin wash of Chinese white mixed with water and a small portion of common glue-powder. It must be laid on with a large flat brush very even and thin. When dry, it forms a pale white coat on the surface of the wood, and a beautiful tooth for the working of the pencil. The powdered glue introduced will thoroughly set the preparation, and prevent the draw¬ ing from rubbing off: this is important to be observed, as many good drawings are practically valueless, if the preparation of the wood has been raw and unset. THE DRAWING. In a drawing on the wood, clearness and accuracy are most important. The following directions will be useful to be borne in mind. The subject to be drawn must be first carefully outlined on tracing paper, then a piece of prepared red paper must be placed with its red side next to the surface of the wood, and the traced 24 THE ART OF drawing, reversed from what it is to appear when printed, must be laid upon this red paper. The lines must then be retraced with a sharp point, and the result will be a clear red outline on the white ground . of the wood. Go over this outline with a sharp pointed four-H pencil (specially prepared for the purpose), correcting as you go occasional inaccuracies of the tracing. The drawing may afterwards be filled in with a softer pencil work, according to the effect intended, carrying out the style and taste of the artist. If a dark effect of light and shade is required, then a thin wash of Indian ink may be gone over those parts most re¬ quiring colour, and when that is thoroughly dry (not before), again go over it, perfecting the outline which may have got blunted by the wash, and then line over the ink shade according to taste, or the depth of colour the effect of the subject requires. As we have before hinted, accuracy is all important , correct outline, there¬ fore, in the drawing must be attended to, or, when the subject is engraved, all the faults will be more glaring. Many artists who can paint a good picture, or sketch well on paper, fail in making a drawing fitted for en¬ graving, for want of attention to the above simple rules. DRAWING TO BE COVERED UP. - It is necessary to cover up all drawings on the wood during the process of engraving, so that the breath, or atmosphere generally may not damage that sharpness WOOD ENGRAVING. 25 so necessary to be preserved all through the operation of cutting. For this cover, clean glazed paper may be used, though smooth blue paper is the best to reduce the glare. Cut it out about three-quarters of an inch larger all round than the size of the wood, and the edges of the wood having been previously rubbed over with ordinary bees-wax, strain the paper cover tightly over. The cover is then opened where it is wished to commence the subject, which opening, will be enlarged as required; but on no account ought the drawing to be much exposed. The parts engraved are all the better for being preserved by this cover from the pressure of the hand, which naturally tends to blunt any thin lines. WOOD FOR ENGRAVING. Many kinds of hard wood have been used in various periods of the history of the Aft of Engraving upon Wood; but for several years it has been agreed that none will produce so fine and clear a line as box-wood. The log is cut up into slices as indicated by the dotted lines of our illustration, a trifle thicker than the Log of Box-wood with sectional lines. 26 THE ART OF height of type (viz. one inch), it is then by means of planes and scrapers made very smooth, and gauged to the exact height of type, and thus is fitted for the drawing to be made upon it. The largest and most useful wood for modern engrav¬ ing comes from Turkey. The logs are sometimes from ten to twelve inches in diameter, but at the same time rarely free from flaws, splits, and bad parts; yet owing to the ingenuity of the modern box-wood preparer, hardly any portion of this, when cut up and joined (in a manner to which we shall afterwards specially refer) is not made available for engraving purposes. The small wood, generally, is pretty free from blemishes, black or white spots, or what is equally as bad for engraving, red streaks, the wood of which is soft, and in our attempting to cut it, crumbles away. When polished and prepared for the engraver, (or rather for the draughtsman) wood is generally chosen by its appearance, the choice colour being a pale yellow or straw colour, and free from the black or white spots before alluded to. The former are seldom detrimental to the production of a good line, but they are unplea¬ sant to the draughtsman, while the latter, or white spots may be termed rotten peth, on which it is quite impossible to engrave a line. Box-wood of large and quick growth is very liable to shrink between the rings, and when prepared, it is not easy to get it to a properly even surface. The largest box-trees are comparatively small in diameter, and before modern appliances were brought WOOD ENGRAVING. 27 into action, it was difficult to get a square block equal in size to an ordinary octavo page, or seven inches by five, and at that time in order to increase the size, it was not uncommon to saw up the log in a slant¬ ing direction, so as to get larger pieces. A slice of wood cut in this manner resembled an oval; but this mode of cutting the wood up would not be very desirable for engraving, as the line produced would not be equal in sharpness and certainty, to that cut in the rectangular section of the tree. The logs should never be cut into slices till the moisture has been dried out, and in the treatment of wood when prepared, it should always be remembered that the material is still part of a tree, and therefore sub¬ ject to any sudden changes of extreme heat or cold, causing it to expand, or shrink, to warp, or split, and otherwise be productive of inconvenience. Water should be very sparingly used in the preparation for drawing upon, as it causes an expansion of the pores. INVENTION OE JOINTED AND AMALGAMATED BLOCKS. Owing to Mr. Wells’ invention of jointed and amal¬ gamated blocks, there is now no limit to the size of a wood-cut; and it is hardly possible at the present day to believe in the make-shifts of olden times when a block was required larger than the tree would give it in a single piece. Sometimes the pieces were glued together, at others held tight by a heavy iron chase; in both cases the printing from them was most unsatis- 28 THE ART OF factory and always uncertain. It is now about thirty years since Mr. Wells turned his attention to the inconvenience of small and badly made-up wood for engraving, and by his invention thoroughly overcame all the difficulties of the natural size of the wood. The following summary will give an idea of what the log has to go through by the above invention, before it (the prepared block) comes into the engraver’s hands. The log is, 1st. Sawn up into slices by steam machinery, which are then dried. 2nd. The slices are squared into sizes, as large as the round will permit. 3rd. The pieces are matched according to colour and quality, and again dried. 4th. Pieces cut, planed up, drilled for bolts, and grooved. 5th. Pieces fixed together, surface is put on, and block reduced to the proper height. 6th. Surface is finished. 7th. Squared up to the size required. The illustration annexed shows a bach view of the jointed and amalgamated block screwed up. The lines across show the number of pieces composing the block. The little apparent rivet on the left side shows the amalgamation—not intended to come asunder; the dark parts are the spaces drilled for the heads of the bolts, connecting the parts intended to be separated. Of course the front view is one smooth even surface, upon which the drawing is made. WOOD ENGRAVING. 29 An amalgamated and jointed block screwed up. The accompanying illustration shows the back view of the jointed block, and the mode of separating the same ; also the positions of the junction screws. DIFFERENT ELEMENTARY LESSONS IN WOOD ENGRAVING. LESSON L TO ENGRAVE DIAGRAMS, OR SIMPLE LINES. Having given the student a general idea of wood¬ engraving, accompanied by a description of the tools, and materials used, it now becomes necessary to set him to work at the usual course of practical lessons. Our first illustration for that purpose will consist of a slight diagram, composed of three straight lines, to engrave which properly, will enable the student to THE ART OF WOOD ENGRAVING. 31 overcome the first difficulty. These lines must each be carefully outlined with a fine shade tool, underneath each line, so as to keep it in sight the whole time; for if it is outlined above it, portions of it may be un¬ intentionally cut away, as the line would then be in shadow of the tool and thus out of the engraver’s sight. After the outline is cut, take a wider tool and carefully clear away a portion of wood from it; then, turn the block round and outline the other side, and clear the wood away from that as before; afterwards with a scooper take away all the remaining wood between the lines until the diagram is finished. If these lines are cleanly done, and each line left with a solid founda¬ tion, the first principles of wood-engraving are carried out—the other parts being only combinations of the above, according to the nature of the subject. When this triangle has been properly worked out, let the student strike a clear circle on a block; after¬ wards with a graver let him outline it from the inside; when that is cleared away with a broader tool, let him outline with the same graver from the outside of the circle, and clear away as before; if this is accomplished without breaking any parts of the circle line, the lesson has been well understood, and he can go on to the next subject. LESSON II TO ENGRAVE AN OUTLINE FIGURE. Our second lesson shall be an outline figure, with 32 THE ART OF thick and thin lines to denote light and shadow as they may be shown in an outline subject. Before commencing this drawing, cover it up with paper, in the way described in a preceding chapter of this hand-book, making the opening in the paper where it is proper to begin the subject—viz.: at the top of WOOD ENGRAVING. 33 the drawing. Commence by outlining with a graver the lines of the face and head, in the way directed in the last lesson, from the under part of each line, leav¬ ing intact every dot or touch of the pencil, and rather thicker if anything than it is drawn. Then go round the lines with a broader graver, and afterwards clear away the remaining wood very cleanly, being careful in the process not to bruise the lines with the under part, or belly of the tool,' as it is termed. A piece of card may be judiciously placed underneath the scooper which will save that tool from doing the damage we are now warning the student against. These same remarks, or instructions may be carried out all down the subject, to the bottom of the wood. In our instructions as yet, we have only spoken of clearing away the wood so as to leave the outline work of the drawing distinct; but if the student examines carefully this outline subject, composed as it is of two figures—a dog, and a pitcher under the falling water, it will be seen that there are varieties of outline work. In some instances the lines are almost straight , in others just waved with the drawing, or shape of the figures, and some portions of the lines are thicker than in other portions; while in the dog an attempt is made to explain by the simplest outline means and sketchy touches, the hairy character of the animal’s coat. The tools principally required to be used in engraving this subject will be two gravers and two scoopers of different widths ; the gravers to be pressed upon lightly, or heavily, in accordance with the 34 THE ART OF character of the line required to be produced. The student is now, or ought to be, with a little practice of the foregoing lesson, able to engrave a sub¬ ject brought out by single lines. We shall now pro¬ ceed to more complicated work, but before introducing a shaded figure subject, we must explain that all half tints or shades are produced by series of lines made by the tint tools before mentioned. A few illustrations of these tints, with the mode of production, we will give in our next lesson. LESSON III. TO ENGRAVE A TINT. As we shall frequently have occasion to repeat, this stage of wood engraving is so important that to under¬ stand and practise it skilfully too much careful atten¬ tion cannot be given to it. To engrave a flat tint composed of thin parallel lines, it is advisable first to wash over the surface of the wood with ink. When this is dry, rule parallel lines upon it with a pencil; these will guide the graver in keeping the work straight; then with the thumb resting against the edge of the wood, urge the tint tool gently forward in short pieces over the surface, till the block is covered with the tint you wish to produce. If this is done carefully from the first, a little steady practice will enable the student very shortly to conquer the mechanical difficulty of the flat straight tint. It WOOD ENGRAVING. 35 will be found most useful in future, and elaborate work, as the careful practice of this kind of engraving A Flat Tint. at the outset of study will ensure steadiness of eye and hand for more delicate operations with the graver. This kind of line is made use of in the represen¬ tation of blue skies, and in fact of any flat object im¬ mediately within our reach, such as tables, doors, boxes, and the like; but in order to engrave this flat tint effectively it is strictly necessary not to break any of the lines ; a little practice and careful examination of impressions of wood engravings containing objects such as these mentioned, will more fully explain to the student our meaning. D 36 THE ART OF LESSON IV. HOW TO BLEND TINTS. Tints are many and various according to the subject and taste of the worker. Our illustration annexed is a slight combination of the straight tint or blue sky with a few clouds, the difference arising chiefly from the tools used. The dry, hard wavy and mechanical line seen in old cuts of thirty years, is now superseded by clouds formed of short lines carefully blended by the pressure of the graver rather than the tint tool. Al- WOOD ENGRAVING. 37 though different tint tools are generally used, yet a skilful engraver will produce by various degrees of pressure very different lines with one tool—in fact the roundness or fulness of clouds can only be naturally produced by graver-work in short pieces delicately blended together by very fine gravers. One of the most remarkable differences, between old- fashioned and modern landscape wood engraving is the refinement to which the Art is now brought—the old- fashioned engine-turned kind of wave tint being quite superseded by the modern mode of blending short lines, with stops between them. Some of the most exquisite effects are frequently the result of carefully making use of the wood originally left (technically called “ stops”) in the first working of the sky tints. Of course, this presupposes taste and artistic feeling on the part of the engraver, as well as careful manipu¬ lative skill; and in working this out, above everything it is necessary that the fine graver used in working upon these junctions should be kept quite sharp. If this is attended to, a richness of tone in the various kinds of tint will be the result, and only the most practised eye would detect the means that has been so satisfactorily employed to produce it. LESSON Y. HOW TO SHADE, AND SHOW ROUNDNESS. The illustration of a globe, or ball, will best explain a very simple mode of lining to be adopted in showing D 2 38 THE ART OF loundness. This is done by gravers of different degrees of width, bearing in mind our former re¬ marks that in proportion to the pressure of the hand will be the depth or width of the line, so that in the dark shade, or that immediately proceeding from the black, the pressure upon the tool must be very slight. In working out this lesson of roundness by graver shading, let the student place before him examples like a bright polished round tea-pot, or kettle, or a vase, or egg,—or, in fact, any object of similar character and shape. Place the same in strong sun, or lamp light, and then carefully watch how, immediately behind the highest light, the deepest shadow (or touch of solid black) gradually resolves into grey and then recedes at the edge into a reflected light. Let the student carefully imitate these several objects WOOD ENGRAVING. 39 with the graver in the way we have indicated, and by that time he will have mastered the lesson of “ How to shade, so as to produce roundness.” This kind of shading had better be carefully under¬ stood from the first, as, in the carrying out of nearly every kind of figure work, roundness will more or less have to be shown. LESSON VI. HOW TO SHADE AND SHOW CONCAVITY. An ordinary basin which we have made use of in our illustration will explain the mode of lining requisite in concavity, or to show anything hollow. To repre¬ sent this correctly, a line is necessaiy, the reverse of that which illustrates solid roundness. In the rather rude illustration of our meaning, shown in the above cut, it will be at once seen that the light 40 THE ART OF strikes the top of the basin in the inside, and gradually merges into total darkness without any reflected light, as in the case of rotundity or the round ball. We have lined this vessel from the top, curving the line with the shape of the inside of the basin, but so that the graduated shadow is preserved with the cavity of the object—any mode of placing the graver line will effect the same end. Let the student, however, carefully practice upon several differently shaped hollow sub¬ jects, such as an open tea-pot, tea-cup, a jar, or the centre of any like object; let him work it out by regular lines, and he will soon, as in the former case, be enabled to express what he wishes to convey by graver lines. This lesson it is equally important fully to under¬ stand as the former; as all lines should assist faith¬ fully to express the form intended; and the working it out properly will well repay trouble, for in most subjects concavity will have to be shown as frequently as roundness. LESSON VII. HOW TO ENGRAVE A SHADED FIGURE SUBJECT. In the annexed illustration we have filled up with work that same subject used by us to explain outline engraving: merely shading it with a simple kind of line, and fac-simile best fitted to show the forms of the figure, and other parts, and not difficult for a learner to work out for himself. In a subject like this, every line C1LIC WOOD ENGRAVING. 43 and touch will be placed for the engraver in the drawing upon the wood. He will commence the engraving at the upper part, and work downwards, and in his progress will always bear in mind which is the light side, and which the shadow side of the figure. In the light side, thin and refine up all the lines, while on the shadow side of the work the wood must not he over refined, or cut away. In engraving faces and hands, knowledge of drawing is most essential; great care must be taken not to cut away the wood showing the features, as expression is given, or taken away in proportion to the poverty or richness of the line left. As a rule, leave plenty of colour in the under parts of the nose and mouth, and in the shadows cast by the fingers in their opening, or separating one from the other, also at the knuckles, &c. In the subject annexed, it will be observed that on the shadow side of the figure, or dog, or pitcher, portions of solid black are left—this colour tends to give roundness, while the slight reflected lights on the same side help also in rounding the object. In the pencilling to denote foliage, be careful to repro¬ duce the thick and thin character of the line made, as in such like sketchy drawings, much depends on the line being engraved thick and thin, exactly as drawn ; too much stress cannot be laid on this observation, as a drawing seemingly sketchy and careless is frequently the result of much forethought, very suggestive, and fitted for the purposes intended. In the manipulation of the figures contained in the above lesson, we have, perhaps, elaborated the kind of 44 THE ART OF work more than was strictly necessary in order to make our meaning clear, and that the student should see at a glance wherein consists richness in the mode of pen¬ cilling; also, to show texture of material and other characteristic appearances. The kind of cross-hatching to be found in the dress of the elder girl is calculated, if properly done, to give force and richness to the draw¬ ing of the figure—this work must not, however, run too closely into the deep shadows, which should be picked out crisp, square, and solid black; and then the black lends force to the fac-simile work, and vice versa. It will be seen that some of the cross-lines to which we have referred have a dot, or line in the centre. This dot, or line, is intended to give a tone, or undertint, to the work, and in outlining the cross lines with a graver, great care should be observed not to injure the form of these dots or lines, or the tone will be destroyed ; additional richness is given to any piece of drapery or dress made up of this kind of work. LESSON VIII. HOW TO ENGRAVE A LANDSCAPE. The accompanying cut of Llanberris Pass will show a cloudy sky, and the direction of lines to be observed in engraving rocks as well as mountains. In a subject like this, certain artistic taste and skill on the part of the engraver are essential, as in the drawing upon wood the light and shade of the subject will be partly washed PASS OF LLANBEREIS. WOOD ENGRAVING. 47 in, while the rough foreground rocks and grass only will be pencilled in fac-simile manner. Most of the remaining parts will be merely indicated by direction pencil lines upon the washes ; thus, in the graver work, great care must be taken to show by the direction of the line, whether it is the upper part of the mountain, a grass slope, or, the chipped and broken side of the mountain that is to be represented, as each and all of the separate parts will require their special mode of treatment. As landscapes are so various in character, we can only again urge the learner to attend to the observations we have before made upon the different sorts of work to be executed, whether roundness , or concavity be intended, whether distance, or fore¬ ground, not forgetting the texture of the work; each and all the parts must show thought, and then the simplest form of manipulation with the graver, ex¬ pressing what is intended, will be better and more successful than the most elaborate work done in a mere mechanical manner, without reflecting upon what pur¬ pose, or purposes, it is to serve, or express. In the refinement or finishing up of a landscape like the accompanying illustration, or even one of a more elaborate character, the student must always bear in mind that working upon it without meaning, is neither finish, nor refinement of work, but fre¬ quently the reverse. It is much better to leave “ well ” alone, even in the rough , than to fritter away the effect by “ touching up ” and seeming refinement with¬ out any definite result. Turner, the great landscape 48 THE ART OF painter, when he was once asked to define “ finish,” is reported to have answered, “ when he considered him¬ self to be making progress and further to have said, when he failed in that, he “ stopped work.” In finish¬ ing, or refining landscapes, or in fact, any other kind of engraving on wood, we would strongly impress Turner’s most useful rule on the student’s mind ; better stop , if you cannot see your way to more real finish, than go on in the dark. In much of the modern and fashionable wood engrav¬ ing (if we may use such a term) we are ready to admit there is much elaboration; but we feel bound at the same time to say, much of that elaboration is at the expense of artistic feeling , which might frequently ex¬ press itself more fervently by simpler means. This lesson is illustrated by a second plate, a view of Airey Force, which shows the method of engraving rocks so distinctly, that no particular instructions are necessary. LESSON IX. FAC-SIMILE AND PORTRAIT ENGRAVING. If the learner has carefully worked out the foregoing examples, he will be to a certain extent prepared for our final illustration, or, that which we have placed at the frontispiece of this Hand-book. It is intended to explain “ cross-hatching,” and fac-simile work on a portrait. This technical term, “ cross-hatching,” means pencil lines crossing each other in various ways, the AIEEY FORCE—ULLESWATER. WOOD ENGRAVING. 51 production of which in copper-engraving is simple and easy enough but it requires much experience and pa¬ tience to execute them with precision and delicacy on wood. In the first place, the drawing has to be very carefully made upon the wood, and it is the engraver’s province to reproduce every dot and cross line the artist has drawn, which he can only do by cutting away all the lozenge-shaped interstices. To effect this, a lozenge¬ shaped graver is used, and the white square of wood between the pencil lines is cleanly removed with two cuts of the tool inserted at opposite angles. This rule, however, only applies to “ cross-hatching ” in its sim¬ plest form, for much of modern wood engraving is made up of. more elaborate manipulation than that above described; for instance, when several lines intersect each other, then very great care is required, so that the lines when engraved shall show those intersections in the same way as the drawing. Although we have unavoidably re-iterated some of our remarks contained in Lesson No. 7, “ On Figure En¬ graving” we feel that we cannot too frequently repeat what it is so necessary for the learner to understand fully. We do not wish in any way to recommend unmeaning “ cross-hatching ” either on a face , or, on any parts of the dress, or drapery generally—the chief object of this lesson is, that wherever this kind of work is to be done, our assistance shall enable the student to work it out with understanding and skill. Faces, of all parts of the human figure, it is most im- 52 THE ART OF portant to understand fully, and to engrave with feeling and taste. When the drawing is correct, and carefully lined over with the pencil, follow out all the lines with great care, as has been done in the frontispiece illustra¬ tion to which we again direct the learner’s careful at¬ tention. In all portrait engraving, great care should be especially taken to leave plenty of colour in all the principle parts of the face that are intended to mark expression—such as the pupils of the eyes, the nostril, and under-part of the nose, the under-part of the lip, &c. If the wood is not too much refined away—what¬ ever may be said to the contrary by weak criticism, the Art of wood engraving is capable of producing a more artistic portrait—a portrait more satisfying to the lover of true art than any of the more polished and smoother processes. It becomes necessary here to describe an operation, employed for the production of roundness and delicacy. It is called white cross-lining, in contra-distinction to black cross-lining. Thus, when the ordinary lines have been cut, a finer graver, or more frequently a very fine tint tool is used to cross the work already engraved. Then with the fine tool cross the lines first at an angle with the ordinary work, and afterwards recross them so as to produce a lozenge (never a square) in thin white lines. This, if carried out with judgment, keeping in view always a definite result—will produce not only increased roundness in the subjects so worked upon, such as hands, feet, faces, and flesh generally, but will give a great degree of minute finish; yet this finish WOOD ENGRAVING. 53 must be fully felt or not attempted. We have seen much good work spoiled by young engravers attempt¬ ing what they were unable to accomplish—as a rule, therefore, the use of white cross-lines should be excep¬ tional. We are quite aware it is considered that portrait work is not the true province of wood engraving, and perhaps the objectors are right, if the art attempts the polished processes of a smooth copper-plate; but, in its own way, and by its own legitimate method, nothing is finer, or more truly artistic than a well drawn and simply engraved wood-cut portrait. LESSON X. ON LOWERING THE EDGES OF THE WORK. All work, more or less, that merges into positive white should be gradually lowered at the edges, either by scraping it with the side of a large square graver, or a small chisel called a “ flat-tool.” If this were more frequently attended to than it is, we should see less of those hard edges, which are such disfigurements and eye-sores in common printing, while in the best printing much softness to those portions of the work will be given by attending to what we now recommend. Wood engraving has many advantages over seemingly competitive systems of picture productions, but one of the chief is—that the result need not be what is termed a “dead level” of subject presented to the eye. 54 THE ART OF Most of the rival systems have failed from that very cause, as well as more seriously unpractical ones, and a slight attention to this power of lowering the edges of the work at the parts we have mentioned, will always prevent any appearance of the kind. It will help the printer also to the production of a good impression* and will send all the parts of the picture to their proper places, or from each other. A pressman that knows his business will always 44 over-lay ” the heavy or dark parts of a cut, so that the lighter portions get less amount of pressure upon them: but any pressman will thank a wood engraver who has lowered the edges of the work, and thus to a certain extent eased his labour in the production of a good impression of the subject. Lowering, however, should be judiciously done, aprin- ciple may be good, and yet mis-applied, and greatly abused. One of the great advances made in modern times in the art, is the high polish and even surface given to the wood upon which the engraving is made. Thirty years since it was not uncommon to lower all that outer surface of the block that was not required to be black. This was done before the drawing was made upon it, and the result frequently was that the back¬ ground work was a faint, foggy mess ; now, that was an instance of a good principle, rendered absurd in practice. Again, a good printer prefers dealing with the pure even surface of the wood as far as possible, always, of course, excepting those edges merging into positive white, upon which we have laid such stress. A little practice will soon enable the student to use the side of WOOD ENGRAVING. 55 the graver with facility for the purpose, so that it will afterwards be as easy and as little trouble to attend to the uses of lowering as to send the cut to press a dry “ dead level ” all over. The question may be asked; if you lower at all, how deep ought you to go ? To which we would answer, it depends on the extent and openness of the lines going down into white; if the space be about two inches wide , then the graduated depth to which the lowering should be made, ought, at its greatest depth, to be about one-eighth of an inch, but this is a matter depending a good deal upon the character of the work and the taste and experience of the engraver. LESSON XI. HOW TO REMEDY MISTAKES.—THE PLUG. Mistakes in engraving, or slips as they are technically termed, require to be remedied, or the subject might be cancelled, and thus much valuable work lost. When a block requires alteration, the first thing to be taken note of is, how much of the surrounding parts must be taken out, in order to render the insertion as little per¬ ceptible as possible. 1st. A hole is drilled in the block, deep or shallow in proportion to the size of the alteration required. If it be a mere dot, or small mark that is required, then one-eighth of an inch would be all the depth necessary to hold it tightly; if a larger piece is to be inserted, 56 THE ART OF then the depth ought to be at least half an inch. When Section of block with plug inserted. merely a single plug is used, then the diagram above will explain its position. It is driven in like a wedge, having a small vacant space round the bottom. If a long piece of wood be required to re-draw an altera¬ tion, then two holes at each end of the space require to be drilled, and the piece of wood taken out with small chisels ; great care should be observed in all these alterations to get the surface of the new wood again perfectly level and smooth before re-drawing the altera¬ tion. CONCLUSION. We have in the preceding pages explained the dif¬ ferent processes of the ancient Art of Wood Engraving, from the preparation of the wood, and making the drawing upon the same—we have then followed up the subject in a series of elementary and advanced lessons, from a simple diagram composed of straight lines up to the most elaborate fac-simile and portrait-engraving. Step by step up the ladder has the pupil risen with us, WOOD ENGRAVING. 57 and we can only now, in conclusion, express a hope that our hints and suggestions have been of the use we intended at the outset of our remarks. This ancient Art, the history of which is so memor¬ able, had its origin in a rude wooden stamp, made use of to impress the soft clay, and thus to hand down As¬ syrian history burnt on its brick walls thousands of years ago. Afterwards, in the dark ages of Europe, it was made the moans of keeping alive in man the love and worship of his Maker (by simple religious prints,) and was simultaneously the origin of “ Playing Cards ” And further down the stream of time, with the inven¬ tion of Printing and the steam press, it has been in¬ strumental in multiplying all the great works of Art, in a way, and to an extent never before dreamt of. Although these are matters and thoughts th^t cannot be gone into in a “Handbook on the Practice of the Art of Wood Engraving,” yet they may fairly be suggested for the student to think seriously over. In these latter days, Wood Engraving has been made anything but what it really is, as if artists were ashamed of its origin ; and there has been at times an utter forgetful¬ ness that it is an original Art, which can truly rely on its own means and assert its own method. Its great power and capabilities have been much underrated; hence, at times, it has not kept pace with the demands made upon it in a “ fast ” age. Until re¬ cently, great artists in modern times have deemed it rather an act of condescension to draw on wood; that fact alone, would check a due development of its powers. 58 THE ART OF WOOD ENGRAVING. It is possible that the late attempts at substitutes for Wood Engraving, will tend to show more fully than before the superiority of this Art to any other means for multiplying Art creations -in the world, and that Gustave Dora’s masterly pencil and fertile genius, avail¬ ing himself as he has wisely done of the capabilities of Wood Engraving, will bring about (if he has not done so already) another revival school —for we find that in Paris those net-work illustrations, and the Art of twenty years back, have now given place to natural and healthy work. Again, new artists are springing up in England, of the realistic school, taking nature for their model and Wood Engraving for their medium of expression. All these facts indicate light and life , and renewed effort to break away from the trammels of conventionalism and manufacture, to which the Art has of late years been sunk and degraded, and from which state, for the reasons given, we hope to see Wood Engraving soar upward, even yet higher, a winged messenger of refinement among the nations; and in that hope we bid our readers farewell. THE END. LONDON : Printed by A. Schulze, 13, Poland Street. WINSOR & NEWTON’S LIST OF COLOURS AND MATERIALS FOB l WATER COLOUR PAINTING, OIL COLOUR PAINTING, PENCIL DRAWING, &c. INCLUDING WATER AND OIL COLOURS, BRUSHES, PENCILS, DRAWING PAPERS AND STATIONERY, PREPARED CANVAS, STEEL WARE, JAPANNED WARE, CABINET WARE, ARTISTS’ CHINA WARE, AND PUBLICATIONS ON THE FINE ARTS. WINSOR & NEWTON, Manufacturing Artists’ Colourmen by Special Appointment to HER MAJESTY, 9nS STljetr &osal T&is&nmtz ttje prince anti Princess of ©Bales. 38, RATHB,ONE PLACE, LONDON. ' ■ V - WINSOR & NEWTON’S WATER COLOURS. Previous to the establishment of the House of Winsor and Newton (in 1832), the evil repute of want of permanence attached to the Water Colours in ordinary use ; and the most beautiful productions of Water Colour Art were inevitably fugitive through the instability of the materials employed. Complaints on this head were borne out by facts almost incredible to artists of the present day, whose predecessors used Spanish Liquorice, Dutch and Eose Pinks, Eed Lead, Orpiment, Verditer, G-reen Bice, and even washes of tobacco-juice. This deplorable state of so beautiful and purely English an art, urged Winsor and Newton to earnest inquiry and research, with a view of raising the character of the material employed. The high standard of excellence sought by Winsor and Newton entirely set aside all common recipes and pernicious compounds, and rendered indispensable the aid of Chemical Science. Therefore perfectly appointed Chemical Works were established by them in 1844, with steam apparatus and all the appliances auxiliary to modern Chemical Art. The advantageous results of the establishment of these Works 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, Chromes, Lemon Yellows, Cadmium Yellows, Anreolin, Yiridian, &c., have attested by their superior qualities to the skill bestowed uponhheir production. The great advantages secured have been:—First, Increased power and brilliancy; and Secondly, The improvement in permanence of colours previously bearing but a faulty reputation in this respect, and this may he said of nearly all the chemically made colours. Of Winsor & Newton’s Water Colours, therefore, it may be stated, that sound chemical knowledge and complete laboratory plant and apparatus,—powerful and specially adapted machinery,— and the matured experience of many years, ensure purity of Pigment , exquisite fineness , and a most perfect form of preparation for the Artist's palette. 4 WINSOR & NEWTON , LONDON: WINSOR & NEWTON’S FINELY PREPARED WATER COLOURS IN DEY CAKES AND HALF CAKES. Cakes, Is. each.—H alf Cakes, 6d. each. Antwerp Blue Ivory Black Bistre King’s Yellow Blue Black Lamp Black British Ink Light Bed Bronze Naples Yellow Brown Ochre Neutral Tint Brown Pink New Blue Burnt Sienna Olive Green Burnt Umber Orange Chrome Chinese White Payne’s Grey Chrome Yellow Prussian Blue Cologne Earth Prussian Green Deep Chrome Baw Sienna Dragon’s Blood Baw Umber Emerald Green Boman Ochre Elake White Sap Green Gamboge Terre Verte Hooker’s Green, No. 1. "Vandyke Brown Hooker’s Green, No. 2. Venetian Bed Indian Bed Vermilion Indigo Yellow Lake Italian Pink Yellow Ochre AND LOCAL ARTISTS' COLOURMEN, &c. 5 Cakes, Is. 6d. each.—H ale Cakes, 9 d. each. Black Lead Purple Lake Brown Madder Roman Sepia Constant White Rubens’ Madder Crimson Lake Scarlet Lake Indian Yellow Scarlet Yermilion Mars Yellow Sepia Neutral Orange Warm Sepia Cakes, 2s. each.—H ale Cakes, Is. each. Cobalt Blue Orange Yermilion Violet Carmine Cakes, 3s. each.—H ale Cakes, Is. 6d. each. Aureolin Green Oxide Chromium Burnt Carmine Indian Purple Cadmium Yellow, Pale Intense Blue Cadmium Yellow Lemon Yellow Cadmium Orange Pink Madder Carmine Pure Scarlet French Blue Rose Madder (or French Ultramarine) (or Madder Lake) Gallstone Viridian Cakes, 5s. each.—H ale Cakes, 2s. 6d. each. Field’s Orange Yermilion Purple Madder Madder Carmine Smalt Mars Orange Ultramarine Ash Cakes, 21s. each.—H ale Cakes, 10s. 6d. each. Quarter Cakes, 5s. 6d. each. Genuine Ultramarine. 6 WINSOR & NEWTON, LONDON: WINSOR & NEWTON’S PBEUCH POLISHED MAHO&AHT WHOLE CAKE BOXES OF WATER COLOURS. 6 Cake “ Slide ” Box, witli brushes . 12 Ditto ditto ditto 18 Ditto ditto ditto 24 Ditto ditto ditto BOXES. £ s. d. 0 6 0 0 12 0 0 18 0 14 0 AND LOCAL ARTISTS' COLOURMEN, See. 7 BOXES. 12 Cake “Lock and Drawer” Box, with fittings 18 Ditto ditto ditto I £ s. d. 10 18 0 ! 1 5 0 12 Cake “ Complete ” Box, with fittings . 18 Ditto ditto ditto . 24 Ditto ditto ditto. .£ s. d. 1 1 0 1 11 6 2 2 0 8 WINSOR & NEWTON , LONDON: “CADDY LSD” BOXES. V 12 Cake “ Caddy Lid ” Box, with full fittings 18 Ditto ditto ditto 24 Ditto ditto ditto £ s. d. 1 11 6 2 2 0 3 3 0 “CABINET LID” BOXES. 12 Cake “ Cabinet Lid” Box, with varied fittings 18 Ditto ditto ditto 24 Ditto ditto ditto £ 5. d. 2 12 6 3 3 0 4 14 6 ARCHITECT’S AND SURVEYOR’S box. £ d. Containing 16 Cake Colours, Indian Ink, Brushes, and complete fittings . . . . . . . . 550 AND LOCAL ARTISTS' COLOURMEN, &c. 9 “HANDSOME” boxes. 12 Cake “ Handsome ’’Box, with first class fittings £ 3 s. 13 18 Ditto ditto ditto 4 14 24 Ditto ditto ditto 6 6 36 Ditto ditto ditto 9 9 12 Cake “ Extra Handsome ” ’ Box, with choice fittings . 4 14 18 Ditto ditto ditto 5 15 24 Ditto ditto ditto 8 8 36 Ditto ditto ditto 12 12 50 Ditto ditto ditto 21 0 d. 6 6 0 0 6 6 0 0 0 10 WINSOR & NEWTON, LONDON : WINSOE & NEWTON’S PRE1TCII POLISHED IM^IIOG-^.lsrYr HALF CAKE BOXES OF WATER COLOURS. LID BOX. 6 Hale Cake “ Slide ” Box, with brushes. 12 Ditto ditto ditto .... 18 Ditto ditto ditto .... 24 Ditto ditto ditto .... s. d. 4 0 6 6 9 6 12 6 6 Hale Cake “ Lid ” Box, with brushes .... I s. d. 1 5 0 12 Half Cake “ Lock” Box, with fittings .... 18 Ditto ditto ditto .... s. d. 9 0 12 0 12 Hale Cake, “Lock and Drawer” Box, with fittings 18 Ditto ditto ditto ditto 1 s. d. 12 0 1 15 0 12 Hale Cake “Complete” Box, with fittings . 18 Ditto ditto ditto .... s. d. 14 0 18 0 12 Hale Cake “ Caddy Lid ” Box, with full fittings . 18 Ditto ditto ditto 5. d. 1 20 0 1 25 0 N.B.—Whole Cake Water Colour Boxes , manufactured of Spanish Mahogany , Rosewood , Ebony, Walnut , and other choice Woods, in the first style of workmanship , and variously fitted with every requisite for Miniature , Figure, or Landscape Painting, Engineering , Sfc., from £30 to £100. Also Brass Bound Boxes for India , Sfc. AND LOCAL ARTISTS' COLOURMEN, Sec. 11 WINSOR & NEWTON’S MOIST WATER COLOURS IN PORCELAIN PANS. Winsor and Newton’s Moist Water Colours are prepared after peculiar processes , and by a system of treatment known only to the Makers. Their characteristic qualities of easy solubility and prompt readiness for use are retained, unimpaired, for an unlimited period of time ; so that a box of them, which may have been laid aside for two or three years, when required for use will be found no less serviceable than when first purchased. Climate also fails to affect these colours, which are found to be, and to remain, no less “ Moist ” in Tropical countries than in England; accordingly, they are confidently recom¬ mended to persons who are going to India, and to all residents in the East. While having this valuable quality of solubility in their solid form, they possess another and all important one, in drying perfectly firm on the paper when in use. Their tints, too, are pure and luminous, and their washes clear and even. In Sketching from Nature, and, when representing transient and evanescent effects, the superiority of the Moist Colours is at once felt and appreciated. Ever ready for instant application, they enable the desired tint to be produced at once —a result unattainable by the old tedious method of rubbing dry cakes, which not unfrequently permits the effect, and with it the thought of the artist to vanish, before the material can be obtained. It was this quality which, on their first introduction, secured for Winsor and Newton’s Moist Colours the eminent popularity that they still enjoy with both professional and amateur artists. The Moist Colours are placed in pans (in their size resembling the ordinary dry-cakes) of thin porcelain, and they are afterwards enclosed in tin-foil for greater security. When required for use, the foil is removed. A surface of colour is then presented to the artist, which is obtainable in any quantity, simply by the application of a wet brush. 12 WINSOR & NEWTON, LONDON: WINSOK & NEWTON’S MOIST WATER COLOURS, IN WHOLE ABUSED HALE CAKE IP OiELC IE JO .A. I IN' IP-A. 1ST S- Jf MO / M as ra M' LONDON M AUREOLIN VS/NS OR LNEWrONe. MOIST COLOUR ' RATHBONE PLACE N/NSOR iNEWTONl /MO/STCOL OUR /JiRathbane PLv r LONDON v/R/n/AN, WHOLE CAKE PAN. HALF CAKE PAN. Whole Pans, Is. each.- —Half Pans, 6d. each. Antwerp Blue Light Bed Bistre Naples Yellow Blue Black Neutral Tint Brown Ochre New Blue Brown Pink Olive Green Burnt Sienna Orange Chrome Payne’s Grey Burnt Umber Chinese White Prussian Blue Chrome Yellow Prussian Green Cologne Earth Baw Sienna Deep Chrome Baw Umber Emerald Green Boman Ochre Gamboge Hooker’s Green, No. 1. Sap Green Terre Verte Hooker’s Green, No. 2. Vandyke Brown Indian Bed Venetian Bed Indigo Vermilion Italian Pink Yellow Lake Ivory Black Lamp Black Yellow Ochre AND LOCAL ARTISTS' COLOURMEN, &c. 13 Whole Pans, Is. Qd. each.—H ale Pans, 9 d. each. Brown Madder Purple Lake Crimson Lake Boman Sepia Indian Yellow Eubens’ Madder Leitch’s Blue Scarlet Lake (or Cyanine Blue) Scarlet Yermilion Mars Yellow Sepia Neutral Orange • Warm Sepia Whole Pans, 2s. each. —Half Pans, Is. each. Cobalt Blue Orange Yermilion Yiolet Carmine Whole Pans, 3s. each.—H alf Pans, Is. Qd. each. Aureolin Green Oxide Chromium Burnt Carmine Indian Purple Cadmium Yellow, Pale Intense Blue Cadmium Yellow Lemon Yellow Cadmium Orange Pink Madder Carmine Pure Scarlet French Blue Rose Madder (or French Ultramarine) (or Madder Lake) Gallstone Yiridian Whole Pans, 5s. each.—H ale Pans, 2s. 6cZ. each. Mars Orange Purple Madder Smalt Ultramarine Ash u WINSOR & NEWTON, LONDON: WINSOR & NEWTON’S PATENT-FLEXIBLE -DIVISION JAPANNED TIN BOXES OE MOIST WATER COLOURS. (See illustration on opposite page.) It has long been felt as a considerable inconvenience, that in ordinary Boxes of Moist Colours the pans cannot be removed (without breakage or damage), in consequence of their having to be fastened to the bottom of the box to prevent their falling out. Virtually it is impossible for the purchaser to alter the arrangement of the colours, and generally nothing but the breakage of the empty pan, (and sometimes the division of the box as well,) will enable him to replace a spent colour. Winsor & Newton’s Patent-Flexible-Division Box obviates these annoyances, and permits of colours being inserted and taken out, or re-arranged at pleasure. N.B .— Winsor Sf Newton's Japanned Tin Boxes for Moist Water Colours are light and strong, with flaps of a dead white colour, serving as palettes. The Selections of Colours placed in them have been made with much care, and after due study of the various lists of the first Water Colour Artists. N.B.—In all cases of Boxes of Moist Water Colours the prices quoted are for the Box and the Moist Colours contained therein only; no general fittings being included. WINSOR & NEWTON’S PATENT-FLEXIBLE-DIVISION MOIST COLOUR BOX. AND LOCAL ARTISTS' COLOURMEN, &c. 15 PATENi’-FLEXIBLE-DIVISION BOX OF MOIST WATER COLOURS. 16 WINSOR 8c NEWTON, LONDON : WINSOR & NEWTON’S PATENT-FLEXIBLE-DIVISION JAPANNED TIN BOXES OF MOIST WATER COLOURS. (See illustration on previous page.) (Empty, 3s. 6d.) 2 Cake BOX. Fitted, 5s. 6d. Chinese White, and Sepia. (Empty, 4s.) 3 Cake BOX. Fitted, 6$. Gd. Chinese White, New Blue, and Sepia. (Empty, 4s. 6 d.) 4 Cake BOX. Fitted, 8s. 6d. Baw Sienna, Light Bed, Cobalt, and Vandyke Brown. (Empty, 5s.) 6 Cake BOX. Fitted, 10s. Gd. G-amboge, Yellow Ochre, Crimson Lake, Light Bed, Prussian Blue, and Vandyke Brown. (Empty, 6s.) 8 Cake Box. Fitted, 14s. G-amboge, Yellow Ochre, Burnt Sienna, Crimson Lake, Light Bed, Cobalt, Indigo, and Vandyke Brown. (Empty, 6s. 9 • 0 7 6 6 6 16 99 4 6 8 )) • 0 9 0 7 0 18 99 5 0 10 99 * 0 10 6 7 6 20 99 5 6 12 99 * 0 12 6 8 6 24 99 • * Fitted with Colours. £ s. d. 0 15 0 0 18 0 110 15 0 1 11 6 AND LOCAL ARTISTS ’ COLOURMEN, &c. 19 WINSOR & NEWTON’S THUMB-HOLE BOXES. Empty. s. d. 9 0 10 6 0 THUMB-HOLE BOX. 11 Cake Moist Water Colour Thumb-hole Box 17 „ ditto .... 21 ,, ditto .... Fitted u itli Colours. £ s. d. 15 0 1 15 0 2 5 0 WINSOR & NEWTON’S PALETTE-BOXES. Empty. s. d. 5 0 5 6 6 0 6 6 PALETTE BOX. 6 Half Cake Moist Water Colour Palette Box with Patent Flexible Divisions 8 Ditto ditto ditto . 10 Ditto ditto ditto . 12 Ditto ditto ditto . Fitted with Colours. £ s. d. 0 8 6 0 10 6 0 12 6 0 15 0 THE OVAL-POCKET-BOX. 20 WINSOR Sc NEWTON, LONDON THE OVAL-POCKET-BOX {Site of the box.) AND LOCAL ARTISTS' COLOURMEN, &c. 21 WINSOR & NEWTON’S REGISTERED JAPANNED TIN BOXES OF MOIST WATER COLOURS. THE OVAL-POCKET-BOX. REGISTERED NO. 257,752. (As illustrated on opposite page.) Very convenient for the pocket, both in shape and size. Contains twelve Colours, and has a division for brushes. Fitted with twelve Colours, Price 15s. THE LOCKET BOX. REGISTERED NO. 257,753. THE LOCKET BOX. {Size of the box.) A neat, light, bijou Box, that can be carried on a watch-guard or chain, and containing six Colours. Fitted with six Colours , Price 6s. 6d. THE PORTE-COULEUR. 22 WINSOR 8c NEWTON, LONDON WINSOR & NEWTON’S E/EGISTERED J^F-A-IISriEsriEID TIUST BOXES OF MOIST WATER COLOURS. CONTINUED. Fitted with, twelve Colours , Price 10s. 6d. AND LOCAL ARTISTS ’ COLOURMEN , &c. 23 WINSOR & NEWTON’S MOIST WATER COLOURS IN COLLAPSIBLE TUBES. Moist Tube Colours, though somewhat wasteful and troublesome in use, are of assistance as furnishing quickly a quantity of colour, and affording facilities for power of touch and vigour of effect. They should, however, be used within reasonable time, as they do not keep so long or so well as the ordinary solid or “ Pan ” form of Moist Colour. Is. each. Antwerp Blue Bistre Blue Black Brown Ochre Brown Pink Burnt Sienna Burnt Umber Chinese White Chrome Yellow Deep Chrome Emerald Green Gamboge Indian Bed Indigo Italian Pink Ivory Black Lamp Black Light Bed Naples Yellow Neutral Tint New Blue Olive Green Orange Chrome Payne’s Grey Prussian Blue Prussian Green Raw Sienna Raw Umber Roman Ochre Terre Verte Vandyke Brown Venetian Red Vermilion Yellow Lake Yellow Ochre Is. 6d. each. Brown Madder Leitch’s Blue Purple Lake Scarlet Vermilion Crimson Lake (or Cyanine Blue) Roman Sepia Sepia Indian Yellow Mars Yellow Neutral Orange Scarlet Lake Warm Sepia Cobalt Blue 2s. each. | Orange Vermilion | Violet Carmine 3s. each. Aureolin Burnt Carmine Cadmium Yellow, Pale Cadmium Yellow Cadmium Orange Carmine French Blue (or French Ultramarine)! Gallstone Green Oxide Chrom. Indian Purple Pink Madder Bose Madder (or Madder Lake) Viridian 5s. each. Mars Orange | Purple Madder | Ultramarine Ash | Smalt JAPANNED TIN BOXES OF MOIST TUBE WATER COLOURS, Containing 12 Moist Tubes £1 Is.; 15 ditto, £1 11s. 6 d.; 20 ditto, £2 2s.; 24 ditto, £2 12s. 6 d .; 30 ditto, £3 13s. U. 24 WINSOR & NEWTON, LONDON: WINSOR & NEWTON’S GLASS-COVERED MOIST WATER COLOURS EOR Elummattort mtb Jlissal fainting, Decorative and Ornamental Work, &c. {See illustration on opposite page.) The complete separation effected by the Colours being contained in separate Gallipots, the protection afforded by the glass lids, and the convenience of seeing tints through them, cause this form of colour to be most useful in all cases where it is of importance to avoid dust, dirt, and accidental admixture of tints. Winsor and Newton’s Glass-Covered Moist Colours, being preserved clean and unsullied while in use, have been adopted generally for Illumination, and all kindred arts. Colours and Trices same as those of Moist Water Colours in Pans. Pages 12 and 13. WINSOR & NEWTON’S FITTED BOXES OF GLASS-COVERED COLOURS AND MATERIALS TOE Illumination anti JHtssal Painting, DECORATIVE AND ORNAMENTAL WORK, &C. Half Guinea Box. —Containing seven Half Colours in Pans, and fittings. Guinea Box. —Containing eight Glass-covered Colours, and Materials. Guinea and a Half Box. —Containing twelve ditto ditto. Two Guinea Box. —Containing sixteen ditto ditto. Three Guinea Box. —Containing twenty-one ditto ditto. Five Guinea Box. —Containing twenty-four ditto and complete Materials. AND LOCAL ARTISTS ’ COLOURMEN, &c. 25 GLASS-COVERED MOIST WATER COLOUR. (See opposite page.) WINSOR & NEWTON’S JAPANNED TIN BOX OF COLOURS AND MATERIALS FOR PAINTING ON GLASS. Price £2 2s. WINSOR & NEWTON’S FRENCH POLISHED MAHOGANY CADDY LID BOX OF COLOURS AND MATERIALS FOR i?eraltitc Blazoning. Price £3 3s. INDIAN INK. “ SUPER SUPER 35 INDIAN ink.— (Size of Stick.) Per stick. s. d. Good, small size 80 to the lb. 0 6 Best, small size, „ „ 10 Very Choice “Super, Super” . Per stick. s. d. Best, larger, 40 to the lb. 1 6 Best, larger, 32 „ 2 6 . . . per stick 7 6 26 WINSOR 8c NEWTON, LONDON: WIN SOB, & NEWTON’S PERMANENT CHINESE WHITE. Winsoe And Newton’s Oxide of Zinc, sold under tlie name of CHINESE -WHITE. A peculiar preparation of White Oxide of Zinc, the only eligible White Figment for Water Colour Painters . PEICE Is. PEE BOTTLE. It is now upwards of thirty-seven years since Winsoe AND Newton turned their attention to remedying a want that was much felt by the Water Colour Painters of that day, viz.: of a White that should combine perfect permanency with good body in working. The invention and introduction of the pigment named by them “ Chinese White” was the result, and its superior body and freedom of working immediately attracted the notice of the leading Water Colour Painters. The late Mr. J. D. Harding being particularly desirous of ascertaining its permanency, and by submitting it to the examination of one of the greatest Chemists in Europe (the late M. Faraday), having satisfied himself that it might be employed with perfect safety, strongly re¬ commended it in preference to all other white pigments. In his 99 S. 0 0 0 d. 1 1 2 Extra Small Swan Small ,, Middle Large „ s. d. each 0 9 » 1 0 „ 1 6 „ 2 0 iH 22 „ 17* 0 3 Royal N. and HP. yy 24 „ 19* 0 4 Imperial N. HP. and R. yy 30f >, 22* 0 6 Double Elephant N. HP. and R. yy 40 „ 27 0 9 Antiquarian N. . yy 52* ,, 30* 4 0 ARTISTS’ SEAMLESS DRAWING PAPERS (WHATMAN’S). SURFACES. WEIGHT Per Sheet. s. d. Thick Imperial N. HP. and R. 90 lbs. to the ream Extra Thick Imperial N. HP. and R. 140 „ Ex. Thick Dble. Elephant N. . . 235 „ 0 9 1 3 2 6 GRIFFIN ANTIQUARIAN. A PITRE, CHOICE, AND FIRST CLASS HAND MADE DRAWING PAPER MANUFACTURED BY WHATMAN FOR WINSOR & NEWTON. Per sheet of about 53 inches by 31 ins., N. or R. . . 7s. Qd. N.B.—The initials of the Firm (W. & N.) are in the Water mark : and at the corner of every sheet is stamped their trade mark (Griffin). AND LOCAL ARTISTS' COLOURMEN , &c. 37 OLD AND CHOICE DRAWING PAPERS. Messrs. Winsor & Newton liave succeeded in getting together a choice stock of Whatman’s Drawing Papers of mature age. PRICES, DOUBLE THOSE ON OPPOSITE PAGE. {The Stock consists principally of extra thick Imperial and Double Elephant Papers .) Imitation Creswick’s Drawing Papers. Stout Imperial Is. per sheet. Stout Double Elephant 2s. per sheet. J. D. Harding’s Drawing Papers. Imperial 6d. par sheet. Extra Thick Imperial Is. per sheet. Tinted Crayon Papers. (Machine made). A great variety of Tints. Royal 8 d. per sheet. Imperial 5 d. per sheet. Double Elephant 8 d. per sheet. ( Pattern Books on application .) Handmade Tinted Papers.—Stout Imperial 7 d. per sheet. Vellum Paper. (A highly finished and toned Paper, resembling Vellum.) Extra Thick Royal Is. per sheet. Hollingworth or White Pencil Paper.—Demy Id. Medium 2 d. Royal 3d. Imperial 4d. Double Elephant 6d. per sheet. Cartridge Papers.—Medium Id. Royal 1 \d. Thin Log 2d. Thick Log 2\d. Thin Engineers’ 3d. Thick Engineers’ 4 d. per sheet. Cartoon, or Continuous Drawing Cartridge Paper, 4 ft. 6 in. wide. Thick White Is. per yard. Thin White &d. per yard. Outsides, Drawing Papers, various. 14 lb. Parcels of variously assorted kinds and surfaces, each 12s. (These Outsides have to be taken as assorted in the parcels , and cannot be specially selected .) Tracing Papers. Tracing Cloth. Transfer Papers. 38 WINSOR & NEWTON, LONDON: TURNBULL’S LONDON DRAWING BOARDS. Foolscap 15 inches by 12 Demy 18 „ 14 Medium 20* „ 15* Royal 22 „ 17* 2 sheet. 3 sheet. 4 sheet. 6 sheet. s. d. s. d. s. d. s. d. each 0 4 0 6 0 9 1 0 33 0 6 0 9 1 0 1 6 33 0 9 1 2 1 6 2 3 33 1 0 1 6 2 0 3 0 TURNBULL’S MOUNTING BOARDS. Demy Half Imperial Royal Imperial . 18 inches by 14 20* „ 14 22 „ 17 * 28 „ 20* 3 sheet. 4 sheet. s. d. 8. d. , each 0 5 0 6 ! 33 0 6 0 8 33 0 7 0 9 33 1 0 1 3 1 6 sheet. s. d. 0 8 0 10 1 0 1 9 SUPERFINE MOUNTING BOARDS. Half Imperial Royal . Imperial . 21* inches by 14* each 3 sheet, s. d. 0 3 4 sheet. s. d. 0 4 6 sheet. d. 0 6 . 23 „ 18* 33 0 4 0 6 0 8 . 28* „ 21* 33 0 6 0 8 1 0 . 38* „ 26 33 2 0 3 0 SUPERIOR PORTFOLIOS. CLOTH SIDES, ROAN BACKS AND CORNERS, AND SILK STRINGS. All sizes 5 from 4to. Imperial to Double .Elephant. AND LOCAL ARTISTS' COLOURMEN, Sc c. 39 EXTRA THICK SOLID BLOCKS. WITH OR WITHOUT COVERS. EXTRA THICK SOLID BLOCK WITH HALF BOUND COVER. MADE OF WHATMAN’S EXTRA THICK PAPERS. Each containing 32 Surfaces. Solid Blocks with Half Bound Covers. Solid Blocks without Covers. 16mo. Imperial . . 7 inches by 5 each s. 4 d. 6 s. 3 d. 0 55 Double Elephant 9 55 6 55 6 0 4 6 8yo. Imperial . . 10 55 7 55 7 0 5 6 6 mo. Imperial . . 14 55 6* 55 10 6 7 6 8 vo. Double Elephant 12 9 55 12 0 9 0 4to. Imperial . . 14 „ 10 55 14 0 10 6 3mo. Imperial . . 18 55 10 „ 21 0 15 0 4to. Double Elephant 18 „ 12 „ 24 0 18 0 Half Imperial . . 20 14 55 28 0 21 0 40 WINSOR & NEWTON, LONDON : GRIFFIN ANTIQUARIAN SOLID BLOCKS WITH OR WITHOUT COVERS. MADE OE WINSOR & NEWTON’S GRIFFIN ANTIQUARIAN. A pure, choice, and first class Drawing Taper of Whatman's Manufacture . Solid Blocks with Half Bound Covers. Solid Blocks Eacli containing 16 Surfaces. without Covers. s. d. s. d. 32mo. Imperial . . 5 inches by 3 J each 3 6 2 6 24mo. Imperial . . 7 33 „ 4 6 3 6 16mo. Imperial . . 7 33 5 „ 5 6 4 6 8 vo. Imperial . . 10 33 7 33 9 0 7 6 16mo. Antiquarian . 12 5) n 33 12 0 10 6 8 vo. Double Elephant 12 33 9 33 15 0 12 6 4to. Imperial . . 14 33 10 33 18 0 15 0 8 vo. Antiquarian . 15 33 12 33 24 0 21 0 4to. Double Elephant 18 33 12 33 30 0 25 0 Half Imperial . . 20 33 14 33 36 0 30 0 BLOCKED SKETCH BOOKS. These Sketch Books are made like Solid Blocks, but with one edge stitched and bound, and three edges pasted only. When these latter are released by being cut round in the usual manner, the Book becomes a “ Sketch Book” instead of a “Block.” MADE oe WHATMAN’S THICK PAPERS. 16mo. Royal . 5i inches by 41- . . each s. 3 d. 0 33 Imperial . .7 „ 5 . • • 33 3 6 8 vo. Royal 9 „ 5£ . • • 33 4 6 33 Imperial 10 „ 7 . • • 33 5 6 Blocked Sketch Books made of Machine Tinted Papers are about one fourth less in price than the above. AND LOCAL ARTISTS' COLOURMEN, See, 41 HALF BOUND SKETCH BOOKS. LEATHER BACKS AND ELASTIC BANDS. WINSOa fr MEWTOH HALF BOUND SKETCH BOOK. V 32mo. Imperial . . 5 inches by 3 £ each Made of Whatman’s Papers. i' 6 Made of Machine Tinted Crayon Papers. s. d. 1 6 24mo. Imperial . . 7 J) 31 55 2 0 2 0 16mo. Imperial . . 7 55 5 55 2 6 2 6 8to. Eoyal . 9 55 55 3 6 3 0 12 mo. Imperial . . 10 55 41 „ 4 0 3 6 8 vo. Imperial . . 10 „ 7 „ 4 6 4 0 4to. Eoyal • 11 * 55 9 55 6 0 4 6 4to. Imperial . . 14£ 55 10 55 8 0 6 6 . SKETCHING FOLIOS, WITH JAPANNED TIN FRAMES. Half Bound , with Leather Flap , and Pocket for containing Loose Sketches or Reserve of Paper. 8 vo. Imperial. 4to. Eoyal 6 mo. Imperial. s. d. I each 5 0 4to. Imperial . each „ 6 0 ] 4to. Double Elephant „ „ 6 6 Half Imperial . „ s. d. 7 6 12 0 15 0 42 WINSOR & NEWTON, LONDON: WINSOE & NEWTON’S GRIFFIN EXTRA CUMBERLAND LEAD ARTISTS’ DRAWING PENCILS. These Drawing Pencils are manufactured of the finest Cumberland Lead, warranted perfectly free from grit. As they contain double the quantity of Lead usually placed in Pencils of this description, they give forth a good volume of colour, and when in use they work smoothly and evenly, and may be handled with perfect freedom. Each HHHH. Extremely hard (for Engineer-' ing or Drawing on Wood) HHH. Very hard (for Architectural Drawing) HH. Hard (for fine Outline Draw¬ ing) H. Moderately hard (for light 1 sketching) FF. Very firm (for light shading) F. Firm (for fine Drawing) HB. Hard and Black (for free sketching) B. Black (for ordinary shading) BB. Soft Black (for deep shading) , EHB. Extra Hard and Black (for'! very bold sketching) BBB. Very Black (for extra deepf shading) J BBBB. Extra Soft and Black (for full,l rich, deep shading) ORDINARY CUMBERLAND LEAD DRAWING PENCILS. 4 H to BB as above . . . each 4 d EHB and BBB >> 6 d. BBBB. . 8d. AND LOCAL ARTISTS' COLOURMEN, See. 43 WINSOR & NEWTON’S IMPROVED POLISHED DRAWING PENCILS. These improved Drawing Pencils are strongly recommended for their richness of colour, variety of tint, evenness of texture, and strength of Lead. They combine freedom of handling with firmness of materiel (they can be cut to the finest point without fear of its being broken.) They are now in general use with Artists and Professors of eminence, on whose recommendation they have been adopted by the Schools of Art, Colleges, and large Drawing Academies. 2d. Each HHHH. Extremely hard (for Engineer¬ ing or Drawing on Wood) HHH. Very hard (for Architectural Drawing) HH. Hard (for fine Outline Draw¬ ing) H. Moderately hard (for light! sketching) FF. Very firm (for light shading) F. Firm (for fine Drawing) HB. Hard and Black (for free sketching) B. Black (for ordinary shading) BB. Soft Black (for deep shading) EHB. Extra Hard and Black (for! very bold sketching) I . , BBB. Very Black (for extra deep| shading) J BBBB. Extra Soft and Black (forj full, rich, deep shading) [ 6 B. Ditto with very broad Lead . 9d. ACCOUNT BOOK, REPORTER’S, COMPASS, POCKET BOOK, PROGRAMME, COLOURED, AND CHALK PENCILS. 44 WINSOR Sc NEWTON, LONDON: J. D. HARDING’S DRAWING PENCILS. s. d. Hard, Medium, Soft, Extra Soft .... each 0 6 Case of 6 complete ....... „ 30 J. D. HARDING’S PATENT LEAD TABLETS AND PATENT STUMPS. WINSOR & NEWTON, SOLE MANUFACTURERS. By means of these Tablets, the dry, ineffective drawing ordinarily produced, is exchanged for some¬ thing more akin to painting in Black Lead, and effects can with them be obtained, which are not within the compass of the Lead Pencil. The Stump is constructed on a novel principle, being a slightly curved handle with an elastic foot of whalebone covered with leather. This form admits of the stump being used with great freedom, its ap¬ plication ranging from a fine edge or line to the broad and even sweep of the full surface of the leather, the stump itself being free from the ridges which cause inequality in the working of the ordinary ones. PRICES. One, two, and three star, and extra hard Tablets. Extra soft ditto. Holders (with propellers) . Stumps (two sizes, as described above) Box with file and pad complete Each. s. d. 0 6 0 9 1 6 0 8 2 6 Complete Working Set, comprising two each one, two, and three star Tablets; three holders with propellers ; two stumps; box with file and pad; and japanned box for containing the foregoing. Price 125. AND LOCAL ARTISTS' COLOURMEN, &c. 45 CRAYONS, ftc. Best Hard Pastel Crayons —Boxes containing 12, Is.; 18, Is. Qd .; 24, 2s.; 30, 2s. Qd .; 36, 3s.; 48, 4s. Soft French Crayons—Boxes containing 26, 3s. Qd .; 42, 5s.; 56, 7s. 6d.-, 62, 10s. Qd. Conte Crayons, —Square, per dozen, Qd .; Bound, per dozen, Is.; Bound G-lazed, per dozen, Is. Qd.; in Polished Cedar, per dozen, 2s. Chaecoal, Italian Chalk, White Chalk, Bed Chalk, Lithogeaphic Chalk, Stumping Chalk. LEATHERWORK, &c. Bound Leather Pencil Cases, Small, 9 d.i Middle, is. ; Large, Is. Qd. Flat ditto, Lettered, Small, 2s.; Middle, 2s. Qd .; Large, 3s. Folding Morocco Pouch Cases, Small, 4s. ; Large, 5s. Ditto, with Colour Box Pocket, Small, 7s. ; Large, 9s. Best Leather Stumps, from 2 d. to Qd. each. Best White Paper ditto, 3 d. each. Sketching Bags, {Of light weight , but strongly made and complete with straps and spring swivel fasteners.) Designed to contain a Box of Moist Water Colours, Water Bottle, Block, Sketch Book, Brushes and small Sundries. 8 vo. Imperial size, of waterproof russet brown or “ Mail Bag,” canvas.. 4to. Imperial ditto ditto ditto 8 vo. Imperial size, of enamelled black leather . 4to. Imperial ditto ditto & s. d. 110 1 11 -6 1 11 6 2 2 0 46 WINSOR Sc NEWTON, LONDON: CHINAWARE. WINSOR & NF.VVT OlS 6 inch Oval or Oblong 3 Division Slant . each 0 Palettes. each 0 9 4 ditto • 99 0 7 ditto ditto 99 0 11 5 ditto • 99 1 8 ditto ditto 99 1 0 6 ditto • 99 1 9 ditto ditto 99 1 3 1 8 ditto • 99 1 10 ditto ditto 99 1 6 12 ditto • 99 2 6 inch Square plain Centre Slant 0 flat Tiles 99 0 9 8 ditto ditto 99 1 0 Box or 3 Slant Well 10 ditto ditto 99 1 6 Slabs • » 0 3 Square divided flat Tiles . • .,,06 6 ditto ditto .,,10 9 ditto ditto . „ 1 6 12 ditto ditto .,,20 No. 1 Nests of Cabinet Saucers . . per set 1 3 No. 2 ditto . „ 1 6 No. 3 ditto . „ 2 0 No. 1 ditto (in morocco case). ,,3 0 No. 2 ditto ditto ,, 4 0 No. 3 ditto ditto „ 5 0 3j inches by 24 Tiles (Bartholomew’s) .,,06 2% inch Saucers (Wool- wich) . . • „ 0 11 5 Slant Well Slabs No. 1 Ink and Colour Slabs No. 4 ditto ditto . No. 11 ditto ditto . No. 11J ditto ditto . 1 6 1 inch Round Tinting Saucers . H ditto ditto • 99 0 2 ditto ditto • 99 0 21 ditto ditto • 99 0 3 ditto ditto • 99 0 4 ditto ditto 0 each 0 Round Slant and Basin (for Architects’ Of¬ fices, &c.) . . each 3 6 WINSOR & NEWTON’S WATER BOTTLES AND CUPS. AND LOCAL ARTISTS' COLOURMEN, &c, 47 VST'LN.SOR 8. NEWTON NO. 2. 7s. 6d. No.3- 35. 6d. & 5$. 6d. No. 4. 4s. & 6s. 6d. No. 5. 5s. & 8s.6d No. 6. 6s. 6d. Sketcher’s Small Oval Middle Oval Large Oval Extra Large Oval Water Bottle and Water Bottle Water Bottle Water Bottle Water Bottle Brush Case complete. and Cups. and Cups. and Cups. and Cups. 48 WINSOR & NEWTON, LONDON: BEST LONDON MADE MATHEMATICAL INSTRUMENTS. I’OUB. GUINEA BOX. Boxes fitted Complete ; at Following Prices, viz. :— Hale-Guinea—One Guinea—One G-tjinea and a-Hale— Two Guineas— Two Guineas and a-Hale—Three Guineas— Three Guineas and a-Hale—Four Guineas—Five Guineas. SEPARATE HSrSTLLUnVCELTTS. Drawing Pens—Ordinary (No. 1) . „ Ivory handle, Lift up nib (No. 2) „ Electrum, Ivory Handle, Lift up nib (No. 3) Dividers — Brass, Steel Joint (No. 4) Brass, Sector Joint (No. 5) Electrum, ditto (No. 6) Brass, Hair Points (No. 7) Electrum ditto (No. 8) Compasses—Brass, Steel Joint; Half set (No. 9) . 5 6 „ Ditto slip shanks; ditto (No. 10) 7 6 „ Electrum, Sector Joint, with bar; Half set, in Case (No. 11) 31 6 Universal Compasses, Brass,' in case (No. 12) . 7 6 Napier Compasses, Electrum, „ (No. 13) . 18 0 Ditto, Complete set ditto „ (No. 14) . 31 6 Pillar Compasses, ditto „ (No. 15) . 31 6 Ditto with bars ditto „ (No. 16) . 42 0 Proportional Compasses, ditto „ (No. 17) . 42 0 Tubular Compasses, with needles, Electrum, in case (No. 18) Bows—Brass, Pen or Pencil (No. 19) „ Ditto, ditto round points (No. 20) „ Electrum, ditto ditto (No. 21) „ Ditto ditto double jointed, needle points, in case „ Spring, Set of three, in case (No. 23) „ Ditto, ditto to hold needles (No. 24) (No. 22) Each. s. d. 2 6 4 6 5 6 2 6 4 6 63 0 3 6 4 6 5 6 31 6 21 0 31 6 AND LOCAL ARTISTS' COLOURMEN, &c. 49 METALLIC SUNDRIES. Fine Gold Shells, each, 4c?., 6c?., 9c?., and Is. „ Saucers, „ 9